Podcast appearances and mentions of joe blow

Dans ce cent treizième épisode, je reçois l'unique Joe Blow (Rachelle Elie)!! Honnêtement, je regrette de ne pas avoir invité Joe Blow avant. Quel homme sympathique! J'ai rit, j'ai été touché et j'ai été surpris plus d'une fois dans cet épisode-là! On parle de ses aspirations de carrière, de ce qui l'a amené au Québec, de sa carrière en dent de scie. Pour de vrai, je lui aurais jasé pendant des heures! J'espère que vous aimerez autant que moi!Cet épisode est commandité par Voulez-Vous, une nouvelle gamme de produits de bien-être sexuel, maintenant disponible chez Uniprix, Proxim et Familiprix, près de chez vous. Site web : https://voulezvous.life/Cet épisode est commandité par les jus DOSE! Obtenez 20% de rabais sur votre première commande au go.dosejuice.com/personnages avec le code promo personnages20.Cet épisode est présenté par Saily eSim! Reçois 15% de rabais sur votre premier plan de data avec Saily! Simplement utiliser le code “personnages” au moment du checkout! Download l'application Saily ou passe par le https://saily.com/personnages !--------------------------------------------------Pour suivre Rachelle Elie:Site web: https://www.rachelleelie.com/Youtube: https://www.youtube.com/channel/UCYFRWtRiljFUw5AwSUQkwMwInstagram: https://www.instagram.com/rashelie/Tiktok: https://www.tiktok.com/@rachelleelieFacebook: https://www.facebook.com/RashelieJoe Blow: https://www.instagram.com/jooeblo?igsh=MXNtY2IxdWw2cHJ0cQ%3D%3D&utm_source=qrPour suivre Jay Laliberté:Site web: https://www.jaylali.comYoutube: https://www.youtube.com/@jaylaliberteInstagram: https://instagram.com/jaylaliTiktok: https://tiktok.com/@jaylaliiFacebook: https://www.facebook.com/jaylalib Hébergé par Acast. Visitez acast.com/privacy pour plus d'informations.

**Shan's Science Of Sound Show Replay On www.traxfm.org.This Week Shan Featured UK Hip Hop, Hip Hop Classics/Underground & Boom Bap Hip Hop From Big Daddy Kane, Naughty By Nature, The Pharcyde, De La Soul, The Herbaliser, Mark B, Roots Manuva, Beats In Progress, 4dee, Joe Blow, Barry Darkley, Thomas James Caruna, Gambit & More. #originalpirates #hiphop #undergroundhiphop #ukhiphop #hiphopmusic #hiphopclassics #electro #boombaphiphop Shan & The Science Of Sound Show Every Friday From 8:30PM UK Time On www.traxfm.org Listen Live Here Via The Trax FM Player: chat.traxfm.org/player/index.html Mixcloud LIVE :mixcloud.com/live/traxfm Free Trax FM Android App: play.google.com/store/apps/det...mradio.ba.a6bcb The Trax FM Facebook Page : https://www.facebook.com/profile.php?id=100092342916738 Trax FM Live On Hear This: hearthis.at/k8bdngt4/live Tunerr: tunerr.co/radio/Trax-FM Radio Garden: Trax FM Link: http://radio.garden/listen/trax-fm/IEnsCj55 OnLine Radio Box: onlineradiobox.com/uk/trax/?cs...cs=uk.traxRadio Radio Deck: radiodeck.com/radio/5a09e2de87...7e3370db06d44dc Radio.Net: traxfmlondon.radio.net Stream Radio : streema.com/radios/Trax_FM..The_Originals Live Online Radio: liveonlineradio.net/english/tr...ax-fm-103-3.htm**

**Shan's Science Of Sound Show Replay On www.traxfm.org.This Week Shan Featured UK Hip Hop, Hip Hop Classics/Underground & Boom Bap Hip Hop From Jeru The Damaja, Phili N Dotz, Kingdem, Heavy D & The Boyz, Million Dan, The Herbaliser, mysdiggi, 4dee, Joe Blow, Lloyd Banks Ft TL TopOfDaLyne,Immune, Grandmaster Flash & The Furious Five, Barry Darkley, Stu Bangas, Iron Sheik, Grand Puba, Chuck D & More. #originalpirates #hiphop #undergroundhiphop #ukhiphop #hiphopmusic #hiphopclassics #electro #boombaphiphop Shan & The Science Of Sound Show Every Friday From 8:30PM UK Time On www.traxfm.org Listen Live Here Via The Trax FM Player: chat.traxfm.org/player/index.html Mixcloud LIVE :mixcloud.com/live/traxfm Free Trax FM Android App: play.google.com/store/apps/det...mradio.ba.a6bcb The Trax FM Facebook Page : https://www.facebook.com/profile.php?id=100092342916738 Trax FM Live On Hear This: hearthis.at/k8bdngt4/live Tunerr: tunerr.co/radio/Trax-FM Radio Garden: Trax FM Link: http://radio.garden/listen/trax-fm/IEnsCj55 OnLine Radio Box: onlineradiobox.com/uk/trax/?cs...cs=uk.traxRadio Radio Deck: radiodeck.com/radio/5a09e2de87...7e3370db06d44dc Radio.Net: traxfmlondon.radio.net Stream Radio : streema.com/radios/Trax_FM..The_Originals Live Online Radio: liveonlineradio.net/english/tr...ax-fm-103-3.htm**

Happy Halloween friends! In typical Joe Blow fashion, we are releasing our Halloween episode just in time for Thanksgiving!  We finish off this years Joe Blow Oktoberfest with a review of what can only be described as an under-appreciated gem.     We recorded this Halloween night so join us around the fire and enjoy some good conversation with some good friends! 

“Hospital Policy means the principles, rules, and guidelines adopted by the Hospital, which may be amended, changed, or superseded from time to time.”Julie and Meagan break down hospital policies today, especially common ones you'll hear when it comes to VBAC. They chat all about VBAC agreement forms and policies surrounding continuous fetal monitoring, induction, and epidurals. Women of Strength, hospital policies are not law. They vary drastically from hospital to hospital. Some are evidence-based. Some are convenience-based. Do your research now to make sure you are not surprised by policies you are not comfortable with during labor!Defining Hospital PolicyBirth Rights ArticleNeeded WebsiteHow to VBAC: The Ultimate Prep Course for ParentsFull Transcript under Episode Details Meagan: Welcome, everybody. We are going to be talking about policies today. What do they mean? Why are they created? And when do we have the right to say no or do we have the right to say no?And I have Julie discussing this with me today. Hey. Julie: You know I'm a policy fighter. Meagan: Yes, we do. We do. The longer I have gone– in the beginning, I was not a policy fighter. I really wasn't. I was a go-with-the-flow, sure, okay, let's do it, you know best. That's really how I was. Julie: A lot of people are. Meagan: That's true. I think a lot of the time, it's because we don't know what our options are. We just don't know, so I'm really excited to get into this with you today. I always love it because we kind of get into this spicy mood sometimes when we have topics like this that we are very passionate about. We are going to be talking about policies today. I do have a Review of the Week, and this is actually a very recent review which is so fun. We just posted on our social media for Google reviews. We were specifically looking for Google reviews and podcast reviews. These are so, so important for us but also for other people to find this platform. We want people to hear these stories. We want people to feel inspired and get educated and know their rights. Your reviews truly do matter, so if you have not yet, please, please, please do so. You can leave a review on your podcast platform, or you can go over to Google and just type in “The VBAC Link”, and then you can type in a review there. This reviewer is by Savannah, and she says, “I started listening to The VBAC Link Podcast around 16 weeks pregnant and continued throughout y pregnancy. It was so good and encouraging for me as a mama who was preparing for my VBAC. It helped me gain confidence, helped me know what to look for, and what to watch out for in my providers. Hearing others' stories was so encouraging and helped me gain so much knowledge. I had my hospital VBAC unmedicated with my 8-pound, 15-ounce baby.” You guys, 8-pound, 15-ounce baby is a perfect-sized baby let me just say. “And I know that the knowledge I gained from this podcast played a huge role in being able to advocate for myself to get my birth outcome.” Huge congrats, Savannah, on your beautiful VBAC for your perfect-sized baby. I say that because you guys, let's get rid of the “big baby” term. Let's just title these babies as perfect-sized because an 8-pound, 15-ounce baby for some providers may be categorized as larger or maybe even macrosomic. it's really important to know that your baby is the perfect size and your pelvis is amazing. You can do it just like our reviewer, Savannah. Julie: Your pelvis is amazing. Meagan: Seriously. All right, you cutie. Look at you. Did you just get a haircut, by the way?Julie: I did, yesterday. It's a little short. We did some color. It's a little smidgey shorter, but then I think I wanted it to still go in a low ponytail for births. That was my goal. Meagan: I'm totally digging it. Julie: Thank you.Meagan: I should be having fresh hair, but my cute hair lady bailed on me the morning of my hair appointment. Julie: Oh no! Meagan: Sometimes we have matching nails, but we would have had matching nails. We don't have them today. You guys, we just miss each other. I miss you. Julie: Yeah. We need to go to lunch again. Meagan: We do. Yes. We love shopping, you guys. Let's talk about hospital policies. Julie: Let's do it. Meagan: We know that so many people go into– not even just birth, but really a lot of things in the medical world. They just go to a doctor's office visit or go to a small procedure, or whatever it may be, and these places have policies. I want to talk about what it means. What does a hospital policy mean? What is the definition? The definition, according to lawinsider.com, says, “Hospital policy means the principals, rules, and guidelines adopted by a hospital which may be amended, changed, or superseded from time to time.” Julie: Oh, I love that addition. Amended, changed, or superseded. Meagan: Yep. Julie: Yeah. Meagan: Yeah. It can. Julie: And it does. Meagan: And it does. It does. Julie: It does. Meagan: You guys, let's just start off right now with the fact of a hospital policy– or a policy, okay? A policy in general is not law. It is not law. If you decide to decline a hospital policy– Julie: It is well within your rights. Meagan: Well within your rights. You could get some kickback. You could probably expect it. Julie: You probably will. Meagan: But, that's okay. That's okay. My biggest advice is if you are receiving or being told that this is a hospital policy, and you disagree with the policy, or maybe you agree with the policy for someone else, but for you, it's not working, and you say no, and they say, “Well, –”Julie: “It's hospital policy.” Meagan: “This policy is policy, and if you choose to break it, then you can sign an AMA.” Julie: You are so funny. “This policy is policy.” It's like that though. Meagan: That's literally what they say. Julie: They say, “It's hospital policy.” And you say, “Well, I don't agree with that policy.” “Well, it's hospital policy.”Meagan: “Well, it's policy.” Okay. Well, I'm telling you I don't like your stupid policy. Julie: I don't like your stupid policy. We are spicy, huh? Meagan: I mean it, though. I think I maybe shared this a little bit, but I had a client who had a home birth planned. She decided to go to the hospital because she had preeclampsia, and this nurse was not giving her her baby. She kept saying, “It's policy. It's policy. It's policy.” I was like, “This mom's word trumps your policy.” As a doula, I was getting into some rocky, choppy waters I was feeling. I could just feel the tension building. It did not feel comfortable at all. I looked at my client. Julie: You're just like, “Give her her doggone baby.” Meagan: They could kick me out. They could. I need you to know that they really could kick me out. She was like, “That's okay. I want my baby.” So I pushed. I pushed. I pushed and I pushed. We did get her her baby, but we had to fight. We really, really, really had to fight, and it sucks. It really, really sucks. So there is a website called pregnancyjusticeus.org. We're going to have this. I have not actually gone through all of it. It is– how many pages is this, Julie? It is a lot of pages. It is 65 pages, you guys. It's 65 pages of birthright information, going through a lot. Julie: It will be linked in the show notes. Meagan: Yes, it sure will. If you want to go through this, I highly encourage it. It is from Birth Rights and Birth Rights Bar Association, the National Advocates for Pregnant Women. Like I said, it's 65 pages, but what they said in here I just think is so powerful. It says, “There is no point in pregnancy in which people lose their civil and human rights, and yet all over the world, people often experience mistreatment and violations of their rights during pregnancy and birth and postpartum.” We see these things. Julie: You need to make that a social media post. People need to know this. Meagan: Yes. Down here even further, it says, “We also know that doulas and other people providing support to pregnant and birthing people often bear witness to rights violation of clients of loved ones. In a recent survey, 65% of doulas and nurses indicated that they had witnessed providers occasionally or “often” engage in procedures explicitly against their patients' wishes.” This is a serious issue. Julie: It is a serious issue. I feel like it's really frustrating, especially as a birth photographer where my lines as a doula are very separate, but I always doula a little bit at every birth I go to. It's not hands-on stuff always, but it's hard when you see people getting taken advantage of and they don't know they are being taken advantage of and they don't know that they have options or choices and they don't know that they can decline or request changes, and that's probably the hardest part is that people just don't know. I have a little tangent, but I'm in this Facebook support group for this medication that I'm on. It really amazes me continuously about how little people know about a medication that they are taking, a pretty serious medication that they are taking, and how little their doctors inform them of what the medication is and what some of the side effects and issues are, and what they can reasonably expect from it because some people have completely unreasonable expectations because they haven't dug into it at all. The other day, somebody said something like, “I've been really, really tired and fatigued since I started this medication, but I called my doctor and she said that fatigue is not a common side effect with this medication,” and I'm like, “What?” It's literally listed on the manufacturer's website that it's a side effect. It's listed on the insert for the medication. It's talked about all the time in this Facebook group, and it can be caused by a number of things that this medication affects. The fact that either her doctor didn't know or just told her– anyway, it leads me. I promise there's a point to this. It leads me to the fact that your doctor does not know everything about everything, especially a family doctor. This medication is prescribed by family doctors sometimes and endocrinologists. It is impossible for them to know everything about everything. Something like obstetrics and gynecology is more specialized so it is more focused. It is a more centralized area of study, but still, your doctor doesn't know everything about everything. It is not uncommon for them to not keep up in advancements in medications and technology and practices as they evolve. It's very, very common for the medical community to be 10-15 years behind the current research and evidence. It just is. Doctors and nurses and all of these things who have to have to have a certain number of contact numbers per year to keep up with training and education, but it is impossible for them to keep up with everything. It is okay for you to have different opinions than your provider. It's okay for you to want different things than is hospital policy, and it is perfectly reasonable for you to make those requests and for those requests to be honored. It is also okay for you to know more about a particular thing than your provider might. Meagan: Yep. Julie: Period, exclamation point, shazam. Meagan: Well, we've talked about this with other providers. We've heard other stories where people come in. They have stats that their providers haven't even seen. They just get stuck in their own way and their policies, and there are other things going on outside, so they just point-blank say, “No, this is how it is,” and you might have more information. That doesn't mean you are more educated or qualified or whatever to be a doctor. Julie: Yeah, exactly. Meagan: It doesn't mean, “Oh, I might as well be a doctor because I know this information and you don't,” but it means that you may have found information that your provider is not aware of. It is okay for you to bring that to their attention. In fact, do it. Congratulations for them to find out the information that they might not have known yet, so they can do better for the next patient. Julie: I want to say that there is an attitude with some medical care providers of, “Don't confuse your Google search with my medical degree.” Meagan: Yes. Julie: Come on. I really have a big problem when people get like that because first of all, and I've said this before, and I will continue to say it again, we have at our fingertips access to the largest amount of information ever available in humankind ever at our desktops. We can sit down, and you can go and find information and studies related to anything ever. Yes, don't go looking at Joe Blow down the street's opinion about childbirth or whatever. Yes, that might be a credible source. It might not be, but you can literally find these same studies, the same research, and the same information that these providers have access to in their path to their medical degree. Is it extensive? No. Are you going to have the hands-on experience that they have doing these procedures and C-sections and things like that? No, you're not, but you still have access to the same information that they have access to. I have a big problem when providers have this arrogant attitude that they know more. Yes, they do know more generally. They might not know more when it comes down to specific things that have been updated since they have gotten out of school. Meagan: Yeah. I feel like in a lot of ways, we hear these policies and these things come up, and you're like, “But where?” Then they can't show you the policy or stat. Julie: Yeah, then they'll be like, “You're 20x more likely to rupture.” You're like, “Can you send me the research?” They're like, “It's the way we've always done it.” Meagan: I did a one-on-one consult, and a provider told someone that they had this astronomical amount of percentage of rupturing, and I was like, “Wait, what?” Julie: Seriously. Meagan: I was like, “Please challenge your provider and ask them for that.” She did, and they were unable to give her that. We can just hear things, and if we just take them, it can be scary, and it can impact decisions when maybe that's not true. I also want to talk about policy for providers. Their policy should be that everyone should have informed consent. They have policies, too, that not only you have to follow or that they have to follow. It's a whole thing. There are many policies. Your provider really has to explain the risks, benefits, and alternatives for any medical procedure, intervention, or anything coming your way, but we see it not happening most of the time. We just see people doing stuff because it's within their normal routine but it's breaking policy which is so frustrating to me. So you can break policy? I want intermittent monitoring. I don't want consistent monitoring. I'm breaking a policy? Julie: So what?Meagan: So what? Julie: So what? Sorry. Meagan: Let's talk a little bit more about VBAC and policies surrounding VBAC. We know that policies are just there. They've been created. During COVID, holy Hannah. We saw these policies change weekly, you guys. Julie: Daily. Meagan: Yeah, seriously. They went in and they were like, “This is our new policy. This is our new policy. This is our new policy,” and I was like, “What?” Julie: It was freaking whiplash.Meagan: Yes, it was horrible. It was horrible. But they can change a policy just like that. You can say no to a policy just like that. So, okay. Sorry. I digress. Let's go back. Let's talk about what policies often surround VBAC. I know a lot of the time, in hospitals all over, it's a policy that midwives cannot treat VBAC. Or you can't be induced because it's a policy. You can't induce VBAC. We talked about this before we started recording, and I said it just now. It has to be consistent monitoring. Julie: Yeah. Well, can I just do a little bit of a timeout and a rewind for half a second? Hospitals are businesses, okay? I just want to explain this to everybody. Hospitals are businesses. I think we know that. You don't have to have that explained. Businesses, in order for them to run efficiently and smoothly, need to have policies, guidelines, best practices, standards of care, procedures, and things like that. It is a business. It is okay for them to set parameters for which they want their providers and nurses and everybody who is at the hospital to operate under, right? It's okay for them to have those things. It's okay for them to set those because if you didn't have those, the business would fall apart. Everybody would be doing whatever the heck they want. There would be a lot of disorder, right? Meagan: Yes. Julie: So policies and procedures and these best practices and things like that are created in order to keep things aligned and have a nice model of care so that they can be more cost-efficient so that the patients know what to expect so that the providers have a routine and things like that. Meagan: Yeah. Julie: There are reasons for these things. However, when we like to push back, when we are bothered, and the thing that really is frustrating about these policies is when they are put in place so rigidly that there's no flexibility and that it takes away a patient's autonomy, and that it removes individualized care from the birth experience. So this is why we want to talk about this. This is why we don't think all policies are dumb. No, we don't. We see the reason. We understand why they are in place. However, we want you to know that it is well within your rights as a human to decline and request changes for these policies, and to desire something different, and to have that desire respected. It's hard when some providers and nurses get so stuck in the fact that, “This is policy,” that they take away your autonomy and your right to choose. That's what we're pushing back against, and that's what we want you to know. These policies are not law. You have the right to want something different and to request something different, and to have that right respected. Okay.Meagan: Absolutely. Absolutely. I couldn't agree more. I do think it can be really hard because they have these things to keep order and to keep things tidy.Julie: And with the intention to keep you safe. Meagan: Yes.Julie: But sometimes intentions don't always translate well. But anyway. Meagan: Yeah. But really quickly before we get into what policies surrounding VBAC are, when we start questioning policy, there are things that can come into play where there are threats, there is coercion, there is gaslighting that starts happening because they are really panicked that you are questioning their policy. They feel very uncertain that you are questioning that. Julie: They may even feel unsafe, or they might never have had the policy challenged before so they don't know what to do about it. Right?Meagan: Yeah. Yeah. Just know that if people are coming at you with, “Well, if you don't do this, then this,” or whatever it may be, then it can get intense, but you can still say no. You can also ask for a copy of that policy. Again, even though that policy isn't law, you can still ask for it. Julie: Ideally, you can do this before labor begins because it's really hard to fight and bump up against these policies during labor. Meagan: Yeah. Julie: It's going to be a lot harder. Meagan: Yeah. Yeah. Okay, so let's go in. I talked a little bit about fetal monitoring. Julie: Induction. Meagan: Not being seen by certain people. No induction. Or the opposite. Julie: You have to be induced. Meagan: You have to be induced. Julie: By such and such a date. Meagan: Yes. It's just so funny because it varies all over. Julie: It does vary all over. Meagan: Let's talk about it. Okay, so fetal monitoring. Julie: Don't forget epidural placement too. Meagan: Yes. Epidurals. Julie: We can talk about that. That's my favorite one to argue against. Anyways. Okay.Meagan: There are so many. Okay, let's talk about fetal monitoring. What is the policy typically behind continuous fetal monitoring?Julie: Yeah, so most hospitals– in fact, I've never met a hospital where this hasn't been the hospital policy– is that continuous fetal monitoring is required for everybody, but especially for VBAC. They double down for VBAC because one of the first signs of uterine rupture, especially for someone who has an epidural, is irregular fetal heart tones. That can be one of the first signs of uterine rupture. Most hospitals are very, very adamant about having continuous fetal monitoring, especially for people who are undergoing a TOLAC which is a trial of labor after a Cesarean. It's not a bad word. It's just how it's defined in the medical community before you have your VBAC.The reason they do that, like I just said— but honestly, if you don't have an epidural and if you aren't under any type of pain medication, the first sign of uterine rupture for you is going to be really intense pain. That's going to be your first sign. Especially if you are going unmedicated, I think it's perfectly reasonable to request intermittent monitoring. Do you want me to go into why they introduced fetal monitoring in the first place?Okay, in the early 1970s, we saw lots of rapid advancements in the medical field and technology related to the medical field. Things like continuous fetal monitoring got introduced. Antibiotics became more readily accessible. The procedures themselves, especially the C-section procedure, became perfected and easier to do with fewer complications and fever rates of infections. All sorts of things started happening at a really rapid pace in the early 1970s. One of the things that got introduced was continuous fetal monitoring. The intention behind the continuous fetal monitoring when it got introduced was to decrease the rates of cerebral palsy in infants. Cerebral palsy usually happens when during either pregnancy or labor, oxygen is deprived to the brain of the baby. It can cause a stroke and damage part of the white matter in the brain. The idea behind it was if you could catch the reduced flow of oxygen to the baby by monitoring its heart rate, you could intervene and do a C-section in time to get the baby out before cerebral palsy happens, essentially. The interesting thing about that is that after continuous fetal monitoring was introduced, there was no change in the rate of cerebral palsy. It stayed the same. It still is very similar. But what it did do is that it was one component that increased the rates of C-sections and other interventions. They are more likely to take a baby out due to nonreassuring fetal heart tones, and we've seen no improvement in maternal mortality and morbidity rates and infant mortality rates either with the introduction of all of these interventions. Meagan: Yeah. One of the reasons why they say that it's mandatory for VBACs specifically is because fetal heart tones decelerating is one of the signs, one of many, that a uterine rupture may be taking place. Julie: Right, right. I said that. Meagan: Oh, you did. Julie: Yeah. Meagan: I was reading the link. I missed that. Julie: No, no. You're fine. Say it again. It's okay.Meagan: No, you're fine. Okay. So with uterine rupture, fetal heart decels are not always a symptom of uterine rupture. What do you feel like it means? I feel like so many people feel more comfortable having their baby on the monitor so they can hear them. Julie: Oh, they do. You know what? The staff is more likely to do that too. This is really sad, but we have a labor and delivery culture that is very, very comfortable sitting at a desk down a hall watching a monitor to see how a patient is doing rather than remaining in the room and watching them. They rely more on what is going on on the contraction monitor and the heart rate monitor than they do the visible signs of the patient. It's how they've been trained. It's how they monitor dozens of people at once in a labor and delivery unit, and I feel like continuous fetal monitoring and the contraction monitor are other ways that de-individualizes care. I don't know if that's a word. It takes out the individuality. It takes out the rights to the human and it takes out really watching the person, and relies too much on the data. Data is good. I love data. Don't get me wrong. I am a data junkie 110%, but data can only take you so far. I feel like that's why people freak out about the continuous fetal monitor thing. “How are we supposed to know if you're doing okay at the desk because we can't see the chart on the screen if we're not monitoring you continuously?” It puts more work on them, which is okay. I can't imagine being a labor and delivery nurse because sometimes you have more than one patient that you're monitoring and watching, and you've got lots of other things to do including charting and all of this stuff. Meagan: Yeah, this is one of those things that was created that even though the evidence didn't prove that the reason why it was created worked out, it stayed because it brought ease to monitoring labor, and monitoring it not in the same room, and being able to have five other patients while seeing a chart. Okay, so fetal monitoring is one. Let's talk about the induction or the non-induction that we've seen policies on both ways which also is so weird to me. I know it's hospital to hospital, but why aren't we going off of evidence?Julie: Dude, dude. Do you know what is so funny to me? I will also cry this out from the rooftops until I die, but if you really want to understand what maternal healthcare is like in the United States, you've got to talk to a doula or a birth photographer because we see not only hospital births and home births and birth center births, but we see all of the different hospitals and how they vary in hospital policy. It is so funny to me sometimes the conversations that I hear or have with labor and delivery nurses who insist one thing, then the next labor and delivery nurse in the next hospital insists on something completely different. “Oh, it's not safe to go past 20 for Pitocin on VBAC,” then the next hospital will be like, “Yeah, it's perfectly safe as long as you are monitored and the OB signs off on it.” It's so up, down, and sideways based on whatever this specific hospital policy is. It's not their fault which is why sometimes I like travel nurses in labor and delivery units because they go all around the country and have vastly different experiences with all the different hospitals. It's fun to see the culture shift that can come in when that happens. Meagan: Yeah. Okay, so in some hospitals, it is policy that you have to go into labor spontaneously. Julie: Yeah. They will not induce for VBAC. Oh, but if you haven't had your baby by 40 weeks, it's hospital policy to do a C-section. Meagan: Yeah, they will not induce you, but then if you don't go into labor by 40 weeks, they have to schedule a C-section. What's the evidence there, and why is that even being a policy?A lot of providers after 40 weeks fear or they say that VBAC uterine rupture chances skyrocket after 40 weeks because, “Oh, that baby is getting bigger. They're stretching that uterus out,” but that's really not necessarily the case. We're seeing it happen more and more and more where people are then doubting their body's ability to give birth or go into labor. They are so scared that their baby's going to get so big that they're going to cause uterine rupture if they go past 40 weeks. I mean, really. You guys, the amount of things that we see coming in The VBAC Link's DM's– I love that you guys write us. Please keep writing us, but it's frustrating, not that you're writing us, but that these providers are telling people these things. Then we have the opposite that we have to induce by 40 weeks. Julie: Can I read you this thing? There's a post in The VBAC Link Community today. It was a VBAC agreement form. If you're birthing at a hospital, you're more than likely going to have to sign a piece of paper showing all of the risks of VBAC, but they don't ever make you do that for a C-section. This hospital VBAC policy, hold on. I was reading it this morning. Listen to this. This is word for word from this VBAC agreement form from a hospital. “I am aware that the best chance for a successful VBAC is to go into spontaneous labor, and that the risk of Cesarean section is increased past my due date. In an effort to afford me the best chance of achieving VBAC, I agree to be induced the 39th week of pregnancy or sooner if medical issues are present if I am still pregnant.”In that same paragraph, they say that the best chance of a successful VBAC is going into spontaneous labor, but if you don't go into labor by 39 weeks, we're going to induce you. Meagan: It also says that after 40 weeks, Cesarean chances increase so we have to induce a whole week before. Julie: Yeah. Right? Meagan: I'm sorry. Julie: This is real life. How is this even a thing? Blah, blah, blah. That's what I say. Screw your policy. How can you contradict yourself like that? It says, “The risk of a Cesarean section is increased past my due date, but it's also increased if you induce me, so either way I have increased risk.” This is literally what they are telling you in this form that they make you sign. Meagan: You know, those forms are so important to pay attention to, you guys. As you are getting these forms, the VBAC consent forms, or VBAC agreement forms or whatever. They title them all differently. Julie: I'm just reading this hospital policy more. Sorry. “I am aware of the hospital policy requiring two IV access sites.” Meagan: Okay. Today, which you guys, was last– I'm trying to think. It was a month ago. Okay, a month ago– I recorded the episode today, but a month ago, when this is coming out. Go listen to Paige's midwifery episode. She just was talking about that. That is a policy within the hospital that she helps people at. They have two hep locks. This was news to me as of today, and now you are seeing this in this policy. Why? Why? What is the evidence behind that? Why?Julie: This VBAC agreement form is every single thing that we are talking about. “I agree to have continuous fetal monitoring. I am aware of this policy by this obstetric group–.” I won't say it because maybe we shouldn't call them out. Maybe we should. “--to require epidural placement by the time of active labor. I am aware of the implication that certain complications of labor can be life-threatening to myself and my baby. These can only be addressed promptly at the hospital. To lessen the risk of delay during a complication, I agree (in bold)--”Meagan: Yes. All of the agrees are in bold.Julie: “--to come to the hospital immediately if I am in labor or if my water breaks.”Meagan: Ugh. Julie: “I have been adequately about the risks, benefits, and alternatives of VBAC, and have the opportunity to ask questions. I am aware that no one is able to guarantee a successful VBAC and that repeat C-section may be indicated if my baby is breech, I do not adequately dilate, I am able to push my baby out, my baby does not tolerate labor, there is a concern for uterine rupture, or if any unforeseen medical issue arises during my pregnancy which makes labor unsafe–” according to who?Anyways, “certain methods of induction of labor are not permitted to be used in patients with prior Cesarean sections. I understand that if I am induced, the only safe options include medical dilation with a balloon, Pitocin, and breaking my water.” That, I feel like, is accurate. Meagan: That is valid. That is valid. Okay.Julie: That's the only one. Cool. Meagan: Cool. Out of ten. Julie: Are you reading this right now? Do you have it up?Meagan: Yes. I pulled it up. Let's talk about epidural. You guys, this has 86 comments already. One of the commenters said, “You absolutely do not need to get an epidural, have continuous monitoring, or go into the hospital when labor begins. These are often things to avoid when trying for a VBAC.” Julie: Yes. Yes. Meagan: You absolutely can have these things. “You can have these things, but having an epidural before 6 centimeters can put you at a higher risk of Cesarean including continuous monitoring. Your rights override policies.” This is what she said. She said, “Are you in the States? Did you sign this?” Julie: But I love what Flor Cruz with Badass Mother Birth said. “This is atrocious. Run. I would rather give birth in the woods by myself than to agree with this monstrosity.” Meagan: Really, though. We have so many things coming at us. We're so vulnerable when we are pregnant, and we want a VBAC so badly. We have forms like this being given, or we have policies being thrown at us, and we say, “Just say no,” but when you're in that moment, it's really difficult. I think something that I want to say is, as you are learning these policies, as you're learning more, figure out if you are someone who can stand up to these policies and say no, or figure out if there's someone on your team who you need to have be there to help you find the strength to say no. Also, make sure that your family knows and your team knows what's important to you when it comes to these policies. What triggers you? It is very difficult to say no or, “I am not going to do that,” or to not even say a word because they just strap the monitors on you, or call anesthesia because they just did a cervical exam, and the nurse logged that you're 6 centimeters, so anesthesia is just coming down, but you might be doing really well and not want an epidural. Okay, I want to talk about epidurals. Julie: Let's talk about epidurals. Jinx. Let's do it. This is my favorite policy to tear apart and rip apart. Here's the thing. The reason why they tell you they want an epidural placed, but you don't have to have it turned on, just to have it placed just in case, is if a uterine rupture happens, you can dose up the epidural and go back to surgery, and they don't have to put you under anesthesia. It sounds great, right? Cool, yeah. Let's do that. That sounds great. I don't want to go under general anesthesia if I have to have a C-section. Here's the problem with that. First of all, going under general anesthesia does carry more risks than having surgery with a spinal or an epidural. It does. That's just common knowledge. Nobody is going to argue that here. We get that. The problem is that in a true emergency, we're talking about seconds matter. Minutes matter. If you have a catastrophic uterine rupture and baby has to be out now, baby has to be out in minutes or less. They are going to do a splash and dash. They are going to throw the antiseptic, the orange stuff– Meagan: Iodine? Julie: Iodine. They're going to throw iodine on your belly, and they're going to slice you open. Sorry, that was a very not-sensitive way to say that. They're going to take the baby out as fast as possible once you're in the OR. They have to knock you out under general anesthesia. There is not enough time to dose an epidural, especially if it's not ever turned on. But even if it is turned on, it takes 20 minutes or more to get an epidural dose to surgical strength to where you will not feel the incision and the surgery that comes with a C-section. 15-20 minutes at minimum in order to get you dosed to surgical strength. If you have an epidural, and it is urgent where minutes matter, you will have to go under general anesthesia no matter what, period. If a C-section is needed, there is time to give you a spinal which takes effect in just a few minutes, 3-4 minutes. It takes some time to get the anesthesiologist in and the OR prepped and things like that, but usually and realistically, if it's something that's urgent but not emergent, you can get a baby out in 10-15 minutes without already having an epidural placed. Here's the thing. Placing an epidural is preparing you for surgery, period. If there's an emergency, you will have to be put under general anesthesia, period. If a C-section is needed, and minutes don't matter, but we need to get this baby out soon, you can get a spinal, period. So, screw that epidural hospital policy. It's literally for convenience so you already have an epidural placed so that they can take you back to do a C-section. Meagan: Yeah. But again, the epidural just doesn't get in fast enough even if it's placed or not. Julie: Exactly. Meagan: Ugh, I hate it. I hate when it's like, “I don't want an epidural, but I'm getting it just in case.” Okay, then going back to this policy that she was just reading, “will not labor at home. If my water breaks, I have to come right in.” You guys, if you want to labor at home, do your research. I understand. Always, always– I don't even care if you are a VBAC or you're planning an induction or what. Always learn the signs of uterine rupture, always. It's so important to know. Even though it happens very little, it happens, and we need to know the signs. But, it's okay to labor at home. Talk to your provider about that. If they are like, “The second you have a contraction, you have to come in,” that is a red flag. You guys, they also start monitoring and pushing induction even though your labor has been going. They induce your labor more. They get it going further. What if you're having prodromal labor, and it's just going, and then it stops for 5 hours? There are so many things. I'm no provider. I can't say, “You must labor at home,” or “You should really labor at home,” but really look at these things and understand what could happen if you choose to go in the second your water breaks. Let me tell you what happened to me. My water broke. I went straight in. Within an hour, I hadn't progressed too much, so they started Pitocin. They immediately started Pitocin. They kept cranking it up. My body was struggling. I was struggling. My baby had a couple of decels. They called it. It's just really, really frustrating. I mean, you guys. We have so many comments in this here that I could just read all of them because they say a lot. They say a lot. This is fear-based care. I'm sorry that you're having to go through this.” “This is the dumbest thing I've ever heard,” someone said. Julie: Seriously. Meagan: When it comes to hospital policy, it's not a law. It's really not a law. Stand up for yourself. Understand the policies surrounding VBAC. When you are looking for a provider, we cannot stress this enough. Ask them about their policies. If their policy is that you must get that just-in-case epidural, you have to have that baby by 40 weeks or we induce or we schedule a Cesarean, you have to come in the second a contraction starts, if your water breaks, you must come in. You have to come in. They're making people sign these policies like they are the law. Julie: Yeah, like it's a legal document like you can't change your mind. That's what it does. It makes people think they have to agree to things. “I signed the document, so here I go.” Meagan: Here I am. I have a written agreement, but they can change. What did it say? What did the very first definition say? It says, “It can be amended, changed, or superseded.” Supersede. Julie: Superseded. Yes. But here's the thing, too. I'm kind of glad when hospitals do this because it shows you all of the red flags. It lines out the red flags, no questions, black and white, red flags laid out for you. Then you know either how to address them before labor, or how to hightail it out of there and find another practice because nothing is worse than getting blindsided during labor by a policy that you don't agree with and having to advocate to change that during labor.I would encourage you if your provider doesn't make you sign a wonky form, then before you even start care with them, find out what their hospital policies are about VBAC. Find out so that you can address them ahead of time. Have your provider sign off on changes to policy that you want, and put it in your medical records so that if you get a different provider on the day that you go into labor, that provider can access your records and see that it has been signed off, or approved, or whatever your changes are that they are going to make to the policy for you and your specific needs. It is okay to ask for that. It is okay to fight for that. It is necessary to fight for that sometimes. Obviously, it would be ideal for you to find a birth location whose policies align with the things that you want. Sometimes, somebody might want continuous fetal monitoring. Maybe it makes them feel better mentally. Maybe that's just their preference, and that's okay. It's okay to want that, but it's not okay to let a system dictate how you want to birth when you want something different. Meagan: Yes. Absolutely. It's also not okay for you to feel cornered or like you're bad, coerced, or you're a bad mom because you're making a decision that goes against a policy. I don't like that. I do not like that. It's not okay. I highly suggest going and checking out the show notes and reading more about your birth rights, what they mean, and all of it. In part of that little birth rights document pdf, the 65-page document, it talks about down in the first 4 or 5 pages– let's see. It says, “I have the right to–”, and then it has a whole bunch of things. It says, “To say no and be heard. To have my basic needs be met. To labor in the way that works for me. To birth vaginally. To know all of my options. To change midwives, doctors, and nurses. To not be touched. To ask people to leave. To feed my baby human milk. To leave the hospital or the birth center.” You guys, you have rights. You have rights. You are amazing. Use your rights if you are in a corner that feels like they are being taken away or they're gaslighting you, or coercing you, or whatever it may be. You have rights. Check this document out. I highly suggest it. Talk to your providers. Check out their policies. Dissect the policies. Dissect them. Really break it down. What does that mean? Why is this being put on as a policy?In one policy that Julie just read, it said that they will not induce, and that VBAC is not applicable to being induced with certain things other than x, y, and z. Okay, if you do the research and you learn about that, that is pretty dang valid. That is understandable. That policy has been put in place for your safety. Okay? But there are others that I would say no to. They may be thinking that it's for your safety, but there is no evidence behind them. Dissect them. Learn them. Learn how to advocate for yourself. Get your team ready. Know it's not a law, and love yourself because you deserve more. Okay. Anything else you'd like to add, Julie?Julie: No. I love that. Love yourself. Take ownership. Take ownership of your own birth experience. Don't give it to somebody else. Stand up for yourself. Take ownership. I love what you just said. Love yourself. You deserve to have choices in how you are treated during your birth experience. Meagan: Yes, absolutely. Okay, thanks, everybody. ClosingWould you like to be a guest on the podcast? Tell us about your experience at thevbaclink.com/share. For more information on all things VBAC including online and in-person VBAC classes, The VBAC Link blog, and Meagan's bio, head over to thevbaclink.com. Congratulations on starting your journey of learning and discovery with The VBAC Link.Support this podcast at — https://redcircle.com/the-vbac-link/donationsAdvertising Inquiries: https://redcircle.com/brands

Joe Blow (Bonus Episode). Joe Blow of Dog Company joins me for a conversation about his solo work, his other bands, the new album, more upcoming new music, and upcoming shows. The episode also includes tracks from Joe Blow, Riot Squad, The Staggers, and Dog Company. Have a GREAT weekend!

Let's Chat!!Welcome to Episode 140 of C3: Crystals, Cauldrons, & Cocktails, where we blend the ancient arts with the cutting-edge world of technology to explore the fascinating realm of Techno Magick! Join us as we sip on futuristic cocktails, cast spells through screens, and uncover the ways in which modern witches are integrating technology into their magical practices.In this episode, we'll delve into the innovative world of Techno Magick, discussing how digital tools, social media, and electronic devices can be used to enhance your witchcraft. From creating digital sigils to harnessing the power of online communities, we'll explore the endless possibilities for integrating technology with traditional magical practices.As we sip on our tech-inspired cocktails infused with herbs and crystals that resonate with technological energies, we'll share tips and techniques for crafting your own Techno Magick rituals. Whether you're looking to boost your magical practice with the help of apps, connect with fellow witches worldwide, or simply infuse your tech with a touch of enchantment, this episode offers a treasure trove of modern magic.So grab your cauldron, pour yourself a cocktail, and join us as we journey into the electrifying world of Techno Magick. Cheers to the fusion of ancient wisdom and modern innovation! (And Wren's Techno Fear?)There Are No Gays In MontanaComing out can be hard, especially in rural America. There Are No Gays In Montana is...Listen on: Apple Podcasts SpotifySupport the Show.Until then, Stay Witchy!!River's Etsy Store: www.batsandbaublesinc.etsy.comWebsite: www.c3witchypodcast.comMerch: www.c3witchypodcastmerch.comOur wonderful logo is done by: www.nellamarinadraws.etsy.comIntro and Outro Audio:podcast intro & outro music:Góða Nótt by Alexander NakaradaLink: https://filmmusic.io/song/4754-g-a-n-ttLicense: https://filmmusic.io/standard-liceSound from Zapsplat.com – Witches Cauldrons bubbling

Will Old Joe Blow His State Of The Union Speech? https://www.audacy.com/989word The Charlie James Show   Listen on Spotify : https://spoti.fi/3MXOvGP Apple Podcasts: https://podcasts.apple.com/us/podcast/the-charlie-james-show-podcast/id1547262821   Follow us on Social Media Join our Live Stream Weekdays - 3pm to 7pm   Facebook: https://www.facebook.com/989word Rumble: https://rumble.com/c/c-2031096 X: https://twitter.com/989word Instagram: https://www.instagram.com/989word/   "Red Meat, Greenville." 03/07/24

The Joe Blow horror Show and The Nightclub have once again crossed streams! Join the boys as they record their favorites from 2023 in a FIRST TIME EVER LIVE RECORDING!  Bostuna travels into the swamp where the meet up on Bourbon street created epic hangovers and even more epic memories!

"What was the hardest time you laughed as a kid?" This week's episode takes us into the teacher's lounge, where we hear the cautionary tale of Joe Blow - the man who lost it all to a Dyson Airblade.Want to jump to the action? Improv begins at [15:45]Looking for more content?Support the pod! Join our Patreon for weekly bonus episodes and TONS of exclusive premium contentJoin the Discord communityDive into our discord channel to connect with fellow fans, discuss your favorite episodes, and meet the hosts of the show!Performers:Hosts: Dan White, Tim Lyons, & Damian AnayaEditor/Producer: Matthew Williams

#cancelculture is alive and well in these streets. Now it's Steve Harvey, tomorrow it's Joe Blow. But who ain't did something in their past that can be scrutinized today? How is it right to come after people who have chosen to change their lives? Not to say it was right what they did in the past nor should they get away with their indiscretions but isn't the whole purpose of life to forgive. Do they deserve prison and/or cancel culture when they have already realized their mistakes in life and are consciously making an effort to be a better person. But maybe not Steve Harvey because Essie Berry, ReRun's wife is claiming he is to this day harassing her. Racism vs Colorism: Can someone be racist if you believe your race has no power? Some black people feel as if other minorities are racist against them but is it because of colorism? It's up for debate. Check out Juan Doh “FHYF” featuring Big Bank https://youtu.be/dc9EWtEHBvo?si=C3BewlbCYE-Ympz0 And as always, stay Honesty Unbothered. --- Send in a voice message: https://podcasters.spotify.com/pod/show/honestly-unbothered/message Support this podcast: https://podcasters.spotify.com/pod/show/honestly-unbothered/support

We kick off our month of Oops All Jason with Bryan leading this weeks meeting of Friday the 13th Part 8: Jason Take Manhattan. Joining us are very special guests from the Joe Blow Horror show, T-Boo and Boss Tuna. Check em out now and thanks for chuddling! Follow our Guests! Instagram, FaceBook, PodBean Join the Club! Join the Patreon! Chuddle the Website! Follow the Chuddlers on social media! Discord: Chuddle the Discord Chuddle the Pod: Slasher - @chuddlethepod IG - @chuddlethepod  Sam on Letterboxd - @chuddlethesam Ross on IG - @RossPurvis Email: chuddlethepod@gmail.com      

Tonight we go way, way out. Outer space, inner space, and of course the space between Joe Blow's ears. All this, plus, news of the weird, wonderful, and wicked.

THE ADD BOYS EPISODE 62: JOE BLOW --- Send in a voice message: https://podcasters.spotify.com/pod/show/theaddboys/message

He's earned himself a new nickname last week: Joe Blow.

world News and More

The cocaine mystery is ongoing, for some reason. The White House claims we'll know the culprit by Monday. How come it's going to take that long? One listener calls in to explain the tendencies of a coke user and how they definitely match up to one very specific Biden-ism. Tune in to find out what it is!

So, it turns out that Bumblin' Biden's got a lot more problems than just a little cocaine in the White House; that's of course what the Marxist Media is saying about Biden's blow, what's the big deal? Who cares? It's just coke, it's just cocaine, what's the big deal? Try some! So as the legacy media desperately tries to cover for Blowin' Biden, we have a new poll out that's absolutely terrifying the Democrats!    Highlights:  ●      “1 in 3 Democrats, whether nationally or in swing states, want someone else other than Joe Blow! Joe Blow, the cocaine commander, is being rejected by 30% of his own party! But don't worry, we got all those indictments, don't we? How are they doing? How are those indictments going to bring down Trump?" ●      "And here you have the future of the party being polled, voters under the age of 45, and they're telling a very, very different story; and it's a story that we're seeing duplicated throughout Europe as well!" ●      “The future belongs to Trump; there's no way around this! Whether we look at polls inside the Republican Party or polls putting Trump head-to-head with Biden, they're showing the same picture; and it's absolutely panicking the Democrats, just as it should!”   Timestamps: [02:31] Trump would crush Biden by 7 points [03:21] Trump doubled his fundraising [06:37] What does the poll for the election say? Resources:  ●      Give your skin a healing feeling. Soothing benefits of pure Bentonite Clay. Made the Amish Way on a farm in South Dakota. Use Promo Code: TURLEY for an exclusive discount. Olde Country Soap. Experience the Tradition. Go to https://www.oldecountrysoap.com/ ●      Learn how to protect your life savings from inflation and an irresponsible government, with Gold and Silver. Go to http://www.turleytalkslikesgold.com/ ●      The Courageous Patriot Community is inviting YOU! Join the movement now and build the parallel economy at https://join.turleytalks.com/insiders-club-evergreen/?utm_medium=podcast ●      Get Over 66% OFF All of Mike Lindell's Products using code TURLEY: https://www.mypillow.com/turley   Thank you for taking the time to listen to this episode.  If you enjoyed this episode, please subscribe and/or leave a review. Sick and tired of Big Tech, censorship, and endless propaganda? Join my Insiders Club with a FREE TRIAL today at: https://insidersclub.turleytalks.com Make sure to FOLLOW me on Twitter: https://twitter.com/DrTurleyTalks BOLDLY stand up for TRUTH in Turley Merch! Browse our new designs right now at: https://store.turleytalks.com/ Do you want to be a part of the podcast and be our sponsor? Click here to partner with us and defy liberal culture! If you would like to get lots of articles on conservative trends make sure to sign-up for the 'New Conservative Age Rising' Email Alerts.

The President's spokesperson was asked if the individual who brought cocaine into the White House should be prosecuted. Her answer spoke volumes.

GOP Lawmakers Question Who Gave Joe Biden's Corporation Nearly $10M in 2017, DEMAND Special Counsel over Bribery allegations, Lauren Boebert, who just filed articles of impeachment against Biden will be here, and Mitt Romney's Senate Primary challenger Trent Staggs also joins the show Check Out Our Partners: Moink: https://moinkbox.com/Benny Learn more about your ad choices. Visit megaphone.fm/adchoices

Tune in at 7pm for another episode of the dopest Hip Hop in the known galaxy; THE MOTHER FUCKING KILLA TAPES HIP HOP SHOW! Visit: www.killatapes.com Download the app: https://play.google.com/store/apps/details?id=com.app.killatapesl Track List: Kool Keith - Space Mountain  Addi P - not finished yet  Amos & Pro P - Bullish Buyers & Bearish Sellers Frisco Boogie - Timboots & Hoodies Feat DJ Glibstylez  Coops - If I Die FRD FRLN - Stay Dangerous 24 Vision - geyser Chubs & Machacha - LIQUID DEATH  Cult Encounters - blue mood  MC Slip - Mad Pretty  Layman - Mellowdy (Prod. Abstract Soundz) Culture Vultures - Preach (Prod. Jack Danz) Pyraminds - We Came a Long Way Roccwell & DJ C.S.P. feat. Ren Thomas - Just In Case Rollo x Risk1 feat. Joe Blow - 2 swordsmen  World of Ghosts -  Critical Whuut Tom Caruana - Killing It ft. Scorzayzee, Genesis Elijah & Amy True Jehst - Doctor

Tune in at 7pm for another episode of the dopest Hip Hop in the known galaxy; THE MOTHER FUCKING KILLA TAPES HIP HOP SHOW! Visit: www.killatapes.com Download the app: https://play.google.com/store/apps/details?id=com.app.killatapesl Track List: Menace Mendoza - Retrospective Introspect Ft Conflix Amos & Pro P - The Dreadful Penny Ft. Manage Broken Britain - 4Dee , Joe Blow & Skinnyman - Broken Britain Jehst - Daily Planet feat. Confucius MC PERCY FILTH - Open Up - featuring Larry Diamond, Kemastry, Wundrop, Bil Next Black Josh - RAGE ft. Lunar C & Lord Apex Jumzilla & Treb Won - WORLD'S SLEEPIN (feat. Poets 1, Serbz & Dj Toby Gee) Insideus & 10 Duckets - Algae Evolucian - Safe ft. EF Knows & Pinny Piff Lerics feat Alt States-Cuts by DJ Glibstylez-Slayerz On The Looze Coops - Back To School Juxx Diamondz & 2wo Offishall ft. Ledger - 2 For $80 Micall Parknsun - Still…. odd pilot - TAKE ME TO YOUR LEADER Uncle Mic Nitro - Eye of the Storm Krash Slaughta Aye of the Storm  Kashmere - Galaktus- Herald of Galaktus (feat. Ramson Badbonez) Village Live - Blaktrix & A.H. Fly - Shoey Ft. Sonnyjim

Welcome to March 27th, 2023 on the National Day Calendar. Today we celebrate a regular Joe and a spicy history. Ordinary Joe, Joe Sixpack, Joe Blow, Joe Schmoe, Average Joe...did you ever wonder if other cultures have their own "Joes"? These Joe terms are used primarily in North America to refer to a completely average person but there are parallel terms in other languages such as Old Mate in Australia, Herr und Frau Osterreicher in Austria (meaning Mr and Mrs Austria), Israel Israeli in, you guessed it, Israel and even Tizio, Caio e Sempronio in Italy, the equivalent of Tom, Dick and Harry! It seems that pretty much everyone around the world has their own way to refer to their own Average Joe. On National Joe Day take your pick of what it means to be you. The Spanish rice dish known as Paella, has an interesting history. Rice was first brought to Spain by the Moors around 1,200 years ago. Because of this, the word for rice or arroz does not come from Latin, but rather from Arabic. Then there’s the word paella itself which refers to the pan in which the meal is cooked. The word comes from the old French for pan or paelle. Are you following along? Good. Because there’s more. Some people claim that the word paella is a contraction of para ella, which means for her, because the man who supposedly came up with the recipe did so for his love. Celebrate National Spanish Paella Day with this uniquely delicious dish and its spicy history. I’m Anna Devere and I’m Marlo Anderson. Thanks for joining us as we Celebrate Every Day. Learn more about your ad choices. Visit megaphone.fm/adchoices

What's better than winter winding down giving way to spring? A new Joe Blow episode!  The boys are back with reviews of our first in the Godzilla franchise with Godzilla vs. Biollante and Oz Perkins' The Blackcoat's Daughter.   Join the conversation in our Discord channel: https://discord.gg/M7NzCE8V

Within hip-hop DJing and turntablism circles Joel Lipman is a legend of epic proportions. DJ, producer, record-maker, Joel's meticulous dedication to his craft stretches back to his role as a member of the crew of DJs – Optimas Prime – under the moniker Monkey. In this intimate conversation, we discuss his come up permeating hip hop in wales as one of the most skilled scratch DJ's and making music today as Elmono. Listen wherever you get your podcasts , including but not limited to the below streaming platforms: Credits: Paul "DJ PR-1" Robles, Peter "Parker" Hall aka Neuropol, Marcus "DJ Cuz" Wood, Rob "Joe Blow" Picton, Matt "Junior Disprol" Herbert, and Alfred "Daedelus" Darlington Produced by: Dale Lewis and Luke Bailey for Fly Fidelity Media Art direction: Lloyd Bailey Special thanks to Friendly Rich(The Tom Green Show) and Matt "Junior Disprol" Herbert About: From the producers of Fly Fidelity comes a candid and celebratory history of Welsh Hip Hop—featuring long-form, neglected and under-documented tales from Wales. Hosted by Luke Bailey, Hip Hop Cymru Wales dives into the notable and nuanced evolution of Welsh hip hop history and its impact, exploring the intimate road map to an incredible and powerful culture that's still enduring and changing lives today. A live exhibition coming Summer 2023 at the National Museum Cardiff in partnership with Avant Cymru supported by Heritage Lottery Fund Wales and Great Western Railway

Killa Tapes Hip Hop Show 109 www.killatapes.com Download the app: https://play.google.com/store/apps/details?id=com.app.killatapesl Featuring C.o.N-Vers, Archetype, Slippy Skills, Deeq, Nemrot, D'Lyfa Reilly, Heavy Links, Habitat 617, Doc T, Jehst, Marty B, Planet Asia, Redeyeblue, El Da Sensei, Skuff, Prose, Steady, Effeks, Joe Blow, Cult of the Damned and many more… The beats on the show are by producers from We Stay True

Welcome to the first episode of Hip Hop Wales Cymru Podcast. This episode, Cardiff based DJ and producer, Jason "Jaffa" Farrell is our first honorary guest, joining us to discuss his unique journey and enduring career. Known for rocking jams during hip hop's earliest development, Jaffa leveraged his success as a local staple into a permanent position as one of Wales' most recognised DJ's today. From recording with Jive Records as one half of Just The Duce, to attempting the world record for the longest continuous DJ marathon, to hosting a bi-weekly radio show, This That & The Third, Jaffa has remained a consistent force in hip hop for almost three decades. Credits: Jason "DJ Jaffa" Farrell, Ed "Mr Phormula" Holden, Sophie "LilMiz" Barras, Jonathan "Johnny B" Burgess, Tom "Killer Tom" Clugston, Ben "DW Smith" Cook, Huw Stephens, Robert "Joe Blow" Picton, Terry "Rapster-Tee" Cooper, Jaya Had a Dream, Samuel "Mudmowth" Jones, Ricardo "DJ Comfort" Banks, Kwam Chang, Mark "Bad Belly" Lang, Paul "Rollo", Motion Dance, Pete "Pedro", Joseph "Joe Dirt" Barker, Miles Day, Gem Squires, Dave Akton, Dek-Masha Slicer Man, Tom Wallace, Neil "DJ Lok" Archer, Roy "DJ Moneyshot" Spencer, MC Mercury, Kaptin Barritt. Produced by: Dale Lewis and Luke Bailey for Fly Fidelity Media Art direction: Mango Design Special thanks to Matt "Junior Disprol" Herbert and Friendly Rich (The Tom Green Show) About: From the producers of Fly Fidelity comes a candid and celebratory history of Welsh Hip Hop—featuring long-form, neglected and under-documented tales from Wales. Hosted by Luke Bailey, Hip Hop Cymru Wales dives into the notable and nuanced evolution of Welsh hip hop history and its impact, exploring the intimate road map to an incredible and powerful culture, that's still enduring and changing lives today. A live exhibition coming Summer 2023 at the National Museum Cardiff in partnership with Avant Cymru supported by Heritage Lottery Fund Wales and Great Western Railway

Killa Tapes Hip Hop Show 108 www.killatapes.com Download the app: https://play.google.com/store/apps/details?id=com.app.killatapesl Featuring Deeq, Nemrot, Uncle Mic Nitro, Children of Zeus, Phorcite, Mr Nobody, Pro P, Montener The Menace, Verbz, Ramson Badbones, Joe Blow, Junior Disprol, Joe Dirt, Cult of the Damned, Cuban Pete and many more… The beats on the show are by Dead Ott

DON'T KEEP YOUR MOUTH SHUTAtty. Michael Brewer, Criminal Justice Attorney, President, and CEO of the Brewer Law Firm, is the first-ever attorney in the show. In today's episode of The Fearless Mindset, we continue the conversation on his experience and insights around providing legal advice for celebrities and crime in the country in general. HIGHLIGHTSOn assisting in Madonna's and other celebrities' casesScam artists and other issues you should be prepared for towards the end of the yearDealing with false victimsThe effects of isolation during the pandemicCommon behavior in active shootersThe connection between drugs and violenceGOLDEN NUGGETSMIKE: Protecting yourself from crime, specifically from stalkers“I think you always have to worry about your security, even if you're Joe Blow living out in middle America and take a look around your house. I'm a big believer in security systems. Think about weak points of entry places where people might get into and be very careful on social media. People put way too much information out there on social media.”MIKE: Identifying warning signs and speaking up“One of the key things they found was that somebody always knows beforehand. These people don't simply erupt out of the blue and somebody other than the shooter knows about it before they act. The question is, does that information get shared and do they get stopped? Because there is a really definite pattern that they go through” Check out the first part of our amazing conversation with Michael Brewer here:SOMETHING HOT IS BREWING: High-profile security cases and more with Michael Brewer (Part 1)Connect with Mike and learn more about his work:Mike Brewer on LinkedInTo hear more episodes of The Fearless Mindset podcast, you can go to  https://the-fearless-mindset.simplecast.com/  or listen to major podcasting platforms such as Apple, Google Podcasts, Spotify, etc. You can also subscribe to the Fearless Mindset YouTube Channel to watch episodes on video.

An episode all about redefining curiosity. Curiosity, judgement, and awareness is not a positive or negative. It can be neutral, it can be a new way to look at a situation and it can be infinite. Stop limiting your possibilities and begin making demands for yourself. And as always, if you're enjoying the show please share it with someone who you think would enjoy it as well. It is your continued support that will help us continue to help others. Thank you so much! Never miss another show by subscribing at LesleyLogan.co/subscribe.In this episode you will learn about:- How to become the question - Redefining judgment to not be neutral. It doesn't have to be a positive or a negative thing. - The whole new realm of curiosity. What is curiosity is infinite? - Learning to choose as you go - Going beyond the answer for unlimited possibilities. - Choice creates awarenessIf you have any questions about this episode or want to get some of the resources we mentioned, head over to LesleyLogan.co/podcast. If you have any comments or questions about the Be It pod shoot us a message at beit@lesleylogan.co . And as always, if you're enjoying the show please share it with someone who you think would enjoy it as well. It is your continued support that will help us continue to help others. Thank you so much! Never miss another show by subscribing at LesleyLogan.co/subscribe.  If you enjoyed this episode, make sure and give us a five star rating and leave us a review on iTunes, Podcast Addict, Podchaser or Castbox.Be It Till You See It Podcast SurveyUse this link to get your Toe Sox!ResourcesWatch the Be It Till You See It podcast on YouTube!Lesley Logan websiteBe It Till You See It PodcastOnline Pilates Classes by Lesley LoganOnline Pilates Classes by Lesley Logan on YouTubeProfitable PilatesSocial MediaInstagramFacebookLinkedInEpisode Transcript:Lesley Logan  Okay. We're like going sent back to the future, kind of like that. And then when we're going back to the future. I am thrilled. I'm so thrilled. I was recently on our this week's guests podcast, probably earlier this summer, actually. And I was like, "Oh my God, I have to have her back on the pod." Because y'all love her so frickin much like, to this day, I still get people quoting her podcast. She is episode number one numero uno, Joanna Vargas. She's one of the dearest women in my life. She always inspires me, she really like it's like, she's like fuel for like, like the soul like, was it like chicken soup for the soul, she's that she's that? (Lesley laughs) She is. And I wanted to bring her back on because I know that she's like, been changing her business, changing what she's doing. And I think I said this in the podcast, but I'm gonna get a little bit more detailed here. I feel like it's really easy for me to bring guests on, for them to share their story with you and you to go, "Oh, they've made it. Goal achieved. They're it, there exactly... that's it." And I have a guest coming up for you. His name is Alan Jr. Stein, Stein Jr., Alan Stein, Jr. and he said, "You'll never see me in an art museum. I am not going to be a completed work. Like I'm never going to be a finished piece of art. I'm always in process." And so I share that because I brought, I bringing Joanna on because I really do want you to see that we don't, anyone you listen to, anyone you're seeing on social media people that you're aspiring and and being inspired by their not finished pieces of work, they are works in pro... in in progress always or and if they're not, then then they're missing out on the whole point of life I feel like. And so I loved Joanna's vulnerability, her authenticity, how she's willing to share that she is in process. And she is working on something new and working out some new things and just really feeling it out and what does that look like? And I thought it'd be so fun for you to almost get behind the scenes of someone's life. And so I hope this brings you joy, makes you think, makes you ask yourself different questions and allows you to give yourself permission that you are not, you do not have to be perfect, that's boring anyways, and that you to get to be in process, in progress, in practice and whatever other P word that allows you to to grow and be it till you see it. So here's Joanna Vargas.Welcome to the Be It Till You See It podcast where we talk about taking messy action, knowing that perfect is boring. I'm Lesley Logan, Pilates instructor and fitness business coach. I've trained thousands of people around the world and the number one thing I see stopping people from achieving anything is self doubt. My friends, action brings clarity and it's the antidote to fear. Each week, my guests will bring Bold, Executable, Intrinsic and Targeted steps that you can use to put yourself first and Be It Till You See It. It's a practice, not a perfect. Let's get started.All right, Be It babes. I have, I have, well, she's a numero uno. She's number one. Joanna Vargas was episode one of the Be It Till You See It podcast. And first of all, when I mean episode one, I mean, before I start this podcast, I was like, "What friends will say yes to someone who has no listeners? And who will believe in in everything that we're doing here?" And Joanna was, well Joanna is always fiery and always inspiring and truly an incredible friend. And so I was recently on her podcast and I was like, "We have to just have you back on and share your journey of where you are now." Because I think a lot of times we get excited about someone and then we just think, "Oh, they've done it. They've made it." Like they're they're in an art gallery. But we're always evolving, always changing. So Joanna Vargas, welcome back to the Be It pod. Tell everybody what's going on, what's been going on since we last spoke?Joanna Vargas  Be It squad, I'm so excited to be here. When, Lesley when you asked me to be on it again. I mean, I'm so blessed and humbled because many times you'll be asked to be on a podcast but when you come back twice is like, oh, yeah. (Lesley: Yeah.) And to be first on yours was so cool. And I still have many of your followers DM me all the time with like questions, because I'm the question girl. So where I am now is a much lighter place than where I was before. I'm not where I would like to be yet, right? I mean, maybe all of us can say that but I'm much better lighter place. And so I'm producing two events right now. And (Lesley: Oh my God.) I got a podcast going on. And I've been teaching a lot more in fitness and really discovering a whole new way to teach fitness so that it doesn't drain and kill me. And you know, it only took 25 years to figure that out. That's where I am now.Lesley Logan  Yeah. Oh, well. Yeah, I that I understand as a, as a teacher as well, I understand that so much. And I think we can even talk about that in a moment. But I, first of all two events, that's, I love it you're like, "I'm in a lighter place. I'm just doing two events and the podcast, and I'm just teaching more." But for those of you who haven't listened to the episode one, you're gonna go back and listen to after this one. Joanna is the question girl, how does it get any better than this? And that's something that like, you've, you've taught me, I have the tattoo, I wonder on my hands, I'm always in wonder because of you. So I'm not getting stuck in the like, what could go wrong? It's like, what what could go right? Like, I wonder what could happen next. And I in my Agency, coaching group, people literally still go, how does it get any better than this? Like after like their wins, after like a thing I say, and it's just so cool that this many years later, I mean, I know you're on the pod last year, but like you've had you in our groups before they still quote that about you. And so, I know like you've made these changes? Are you still the question girl? Are you asking different questions of yourself? Like, what's been going on there?Joanna Vargas  I'm still a question girl. And a new thing that I am developing and kind of moving into is actually being the question. So when I learned how to ask questions, I was asking them. Now I know this may sound like, "Okay, what are you talking about Joanna?" But when you're actually being the energy of curiosity, so you be the question all the time without even having to use words, without even having to use a sentence, you actually be the energy of curiosity, more and more and more. And that's where I'm stepping into. Because I'm noticing Lesley, when I asked questions, I'm kind of going through the motions. And it's almost like it's just a sentence with the question mark at the end. And it almost lost its validity because I was doing it so often. Now, they have opened up so much for me. But I still know that when I was asking the question, I was searching for the answer, even though I was saying I'm looking for the awareness, because an answer is limited. And I was still looking for me, so that I can get it right. I still was looking so that it could feel easy in my life. And what I've discovered is that, 'how does it get any better than this', can actually come into your life as complete shit. (Lesley laughs) And you're like, "This is better?" And I've noticed I'm more aware that I am really judgmental on this is good and this is shit. And so when I ask, how does it get better? I'm actually judging that I want it to feel better. And what if the universe, what if God life wants to gift you something so freakin incredible, that you can't even fathom if you were here for lifetimes and lifetimes and lifetimes. If you had a pen and you can write down a million things that you would never ever, ever come up with. But it may show up and look and feel like shit at the beginning maybe shit for 10 years. But it actually is so incredibly amazing. And so I'm releasing the judgment of I'm asking but with a little asterix of but I want it like this.Lesley Logan  So I this is what I love. Okay, I there's a couple of things here. Because I think when I first met you and you were doing that, how does it get any better than this? You were 'being it' like, you had that curiosity and that energy and you were exploring it. And I think just like any new thing, right? Like, I can do a new fitness thing. We're like, curious and excited. And we're like sharing our goals. And then it kind of becomes part of the routine. And then it big. It's it's like a relationship. Like when you're first a relationship. It's like hot and heavy and so fun and you can't wait to see them. And you're like, when you kiss them, you're actually thinking about kissing them. And then like, you know, you start thinking, "Oh, I'm kissing you. And I also have to get out the door. And I can't forget that thing over there." Like do you know what I mean? (Joanna: And I gotta do laundry and I'm kissing you.) Yeah, yeah, do you what I mean? And so I think it sounds like you're, you're trying to re romance, like bring back the romance of the curiosity and not putting the aspect like, how does it any better than this? And in my head, I'm sending you universe very specific things that I want. And you're getting back into that curiosity, space. And I think I've been there like I've been like, "Okay, I'm letting the universe like bring me what I want." And like, "But this is what I want. (Joanna: Yes.) And I want it like right now." Yeah.Joanna Vargas  It's so, it's such like a whole other different realm. I'm going to call it of judgment because we are taught that judgment means to judge something in not a great light. Like I'm judging you that you're not pretty. Okay. But that's a judgment. But also saying somebody is pretty is a judgment, because all it means is that I am judging from my point of view of this is what I think. And so many times when we ask questions, we're asking it with judgment attached to it, we're asking left, right, it should be duo. And what if it's infinite? Like infinite, infinite, infinite. And I can feel it now, I'm aware of it Lesley, when I'm asking from left or right of, how does it get better, good or bad? As opposed to, how does it get better infinite and genuine curiosity? I was curious before but like, this is a whole new realm of curiosity.Lesley Logan  Well, let me think like, what I like about this also is that like, I think a lot of people could pigeonhole themselves. Like, I'm the this person, you're the question, girl. I'm the Be It girl, I like this. And it can make us feel like we can't explore and expand into other things. But there's another realm, as you mentioned, and I want to go back because you mentioned the good or bad, and how does it get any better than this? I mean, sometimes we have to take like it's going to be, it's going to feel like shit to get better. Like, we have to, we have to rip things away to, if you remove things from our life to get to the next thing, like I can think of like people who've had gone through divorce, but now they're with the best person ever. Like, if they hadn't had that then if they hadn't had that bad thing happened to them, they wouldn't be with the person that they're with now, or jobs, like losing a job that you loved, or a thing that you had. And then now you're in this next level, you wouldn't you can't have both. So I think it's, I think you're right. I think it's really easy for us to judge things as good or bad. And it's, and it can just be what it is, and that it's setting us up for the next thing. It's very interesting. There was a, there was a time, and Gretchen Rubin was sharing. I really wish I could remember the whole story, which episode it was, it was years ago, but I can remember myself driving down the street on sunset listening to the story. And the story went like, somebody's kid was supposed to go on a field trip, and they broke their arm. And someone goes, "Oh my God, I'm so sorry. She can't go. That sucks so much." Like, "Does it? How do we know it's bad?" And then, of course, on the camping trip that she missed, there was a car accident, some kids got hurt and like, "Oh, my God, and she's so glad that she wasn't there." It's like, I don't, I don't actually, how do we know that that was better that she wasn't there? Like this, this whole idea that we keep going, "Oh my God, thank goodness... that didn't happen to you." Or "Oh, that sucks that that happened to you." It's like, there's a reason why it's happening and it may not be bad or good. It could actually just be what it is.Joanna Vargas  Yeah, like going, I love that that you brought that up, Lesley because that's where I'm playing right now, is I'm training my body. Just like in Pilates, just like in fitness, we train our muscles, and we build them. So right now I'm building the muscle of light or heavy, light or heavy. So I'll ask my body. Let's say for example, I'm between two choices. We always have infinite choice. But what if you have two choices in your business you're like, "Do I go with this vendor? Or do I go with this vendor?" And you can go back and forth with pros and cons and research etc, etc. And what if you just ask, "Alright, truth if I go with this vendor will it create more for my life? Or will it create less for my life." And your body is going to give you like a light or heavy. Okay truth, if I go with this vendor is it going to create my life or not... or create less for my life? Yes, no. Yes, no. So I'm trying to work on just going yes, no. Yes, no. Give me a yes. Give me a no. Give me a yes. Give me a no. Because I'm re training myself and when I was a young girl of when I was taught, you don't know. You have to ask adults for the answer. We know everything for you. And I'm here to tell you, you know, you know, we have so much power for our lives, we know so much. But it's re training ourselves again to know. So I'll just ask, "If I go with this, will it create my future? If I go with them, will it decay my future?" And I'll just get a yes or no. And then what happens Lesley is all hear the little voice of like, "Yeah, but. Yeah, but." And the next question is, "Is that mine?" (Lesley: Mmmm) Different types of questions from the, "How does it get any better than this? Is that mine?" Because most of our thoughts, feelings and emotions they are not ours. We're picking up other people's stuff. All the time. Lesley Logan  You are, you couldn't be more correct on that. And it's because I think like I think even when I I want to change my schedule and Brad's like, "Oh my God." Aren't you worried about your clients, like not liking it. And I said, "No. I need to change my schedule. I can't do this schedule anymore." And I remember him saying that and I remember thinking another time, I need to change something and hit that question came up and it's not him. Like whatever that question was, was someone else's question that came through. Right. But like I remember going, "Oh, that's not mine. I actually don't worry when I changed my schedule." Like, I know that I will show it better if I do the schedule that feels good to me. And I think for people listening might be like, "How do I feel it's my body." I'll, I'll tell you a story and maybe you have a another way. Our friend Kareen Walsh, you know, Kareen. (Joanna: Yeah.) Yeah. So she, y'all, she was one of the episodes I don't remember probably in the tens. But she, I was out with her in Scottsdale, and I was drinking my AG 1. They don't sponsor the show, but I was drinking it. And she's like, "Oh, I've always wanted to try that but I was afraid like, I don't know, if my like how will feel in my body." So I gave her my bottle of of it and she held it and she closed her eyes. And she just let her body like lean into it or away from it. And she's like, "Oh, I think my body will like that." And so, in that moment, I was like, "Oh, that is..." She is listening to her body in that moment. She is feeling what it feels like. And I think a lot of us try to answer the question up here in our head, just like you were saying, and, and to actually be the question, to feel the question to go inward. You're correct. A lot of us have all the answers we need inside of us even if the answer is go ask so and so.Joanna Vargas  Yes, yes. Yeah. It's just just like that movie. What is it? When she has the red shoes. What is it? Wi...Lesley Logan  Oh, The Wizard of Oz. Yeah.Joanna Vargas  At the end of the movie. She says you've always had the you've always, whatever the fairy (Lesley: Yeah.) godmother says, (Lesley: Yeah.) you've always had the answers, you've always known the wayLesley Logan  You've always had the way to get home, already.Joanna Vargas  ... For each and every one of us. You know, I do want to tell a story. I was in Arizona talking about Scottsdale, Lindsey Swartz, shout out to our girl Lindsey. And it was a great event. And I was at the VIP party the night before. And I've been playing with this next question. It's my favorite right now as we speak in real time, and it's universe show me what my reality. What's my reality? Show me my reality. What's my reality? Because right now I have so many thoughts, feelings and emotions coming at me front left, you know all of us that say, "Oh, that little voice that says this." Is that your voice, is that somebody else's voice. It's not your voice. But we are taught that it's our voice. And we're listening to ourselves. So I'm like, "That's not my voice." So where I am right now, Lesley is like, there's so much in my head. I don't even know what's mine anymore. I can't see. It's like, I'm in this hoarder's house and there's just books and crap everywhere. And I'm like, "I can't even see my house right now. So show me what my house is. Show me what my reality is." So I'm at her VIP event. It's Friday, the night before. There's about 200 women there. We're all in our PJs. It's like this PJ girls night out. And I walk in, and I hear a DJ playing music and you know me, I love music. And I'm like, "What?" So I start to walk over to the DJ, and I see this DJ playing music and nobody's dancing. Right. And she's playing like Beyonce, and like Bad Bunny. I mean, just all like the fun jams. And there's about 10 other booths there, you could take photos, you can get your hair curled, you can get your nails done, like all kinds of Pajama party type things ...Lesley Logan  So fun. I want to go to that VIP party.Joanna Vargas  So fun. And I start dancing. Everybody is in line to do the nails, to do the hair. I start dancing, and I'm all by myself dancing. I get there at 6:30 and the party is for two hours until 8:30. And I'm dancing out there. And then all of a sudden I get that ... feeling you know that like ... Everybody's looking at me. Oh my gosh. Okay, what am I going to keep dancing? Am I going to keep being this weirdo out here all by myself. And the thing is, this DJ was so happy that I was dancing to her music because she's an artist and she's like, "Gosh, finally somebody's I'm here for all of you. But all of you are all out, you know, getting your nails done and things like that." (Lesley: Yeah.) So I kept asking for two hours Lesley, I kept checking in, "Universe show me my reality. Show me my reality. Because right now I want to get off the dance floor because I feel like everybody's looking at me." One out of 200 girls is dancing, right? And I kept getting, Joanna dance. This is your reality. Your reality is you don't care if everybody's looking at you. You don't care if people are videotaping you. That's your reality. Now, when you get embarrassed, if you feel like everybody's looking at you, thinking that you're drunk, like I thought, "Oh my God, everybody's think I'm drunk." Like I'm that drunk girl dancing all night. Right. And I'm like, can I receive the judgment? And I kept getting, yes. So I kept asking, show me my reality. And I kept getting, dance dance. So I danced Lesley, no joke from 6:30 to 8:30. I did not stop once. I was that crazy girl that dance two hours. I was totally sweating. I never went to any other of the booths. Now I'm telling the story because I was so aware that more women wanted to dance. I was aware of it that they wanted to, like they were passing me and going, "Oh my gosh, you look like you having so much fun." And I would grab their hand like, "Come dance with me." And they're like, "No." It wasn't their reality. It's I know, as young children as two three year olds, we're bouncing up in our diapers. It's like, you see little kids and they're on Instagram, little videos, they are on (Lesley: Yeah.) TikTok videos and parents are like, "Oh my God, they're so cute." But something happens because we buy other people's thoughts, feelings and emotions of, "Oh my God, I'm embarrassed. What are people gonna think? I don't know how to dance." Story after story after story. And I kept going through that same story, as I'm on the dance floor. "Oh, my gosh, I'm going to be in so many photos." I mean, all this stuff of these voices. And I'm like, "This is not my reality. Show me my reality." And my reality was not going to get my nails done. My reality was not going to curl my ... I'm like, "I can curl my hair anytime. I have a curling iron. I got my nails done."Lesley Logan  Yeah. I'm not gonna curl my hair before I go to bed.Joanna Vargas  Yeah. I'm like, "So is this, what is it Joanna? What is it really?" As I'm dancing on, as I'm being the question, the energy of the question, and I just kept getting, keep dancing, keep dancing. I'm like, Okay, keep dancing. Be the invitation for people. And at the end of those two hours, one of the girls that I know, she came up to me, and she was like, she hasn't seen me in a year, two years since the pandemic. She's like, "Joanna, oh, my gosh, I haven't seen you." She's like, "I want you to come and be my host of my event." And it's this Saturday as we speak. So do you see what was created from me dancing like a crazy person? I mean, in this reality, I was the crazy person. But you get what I mean, (Lesley: Yeah.) like you that I was totally sober. I was out there, sweating crazy. But my reality was, "Joanna, keep choosing this, keep choosing this, keep choosing this because something great is out there." And I kept asking, "How does it get better? What else is possible?" Along with all the other questions, and boom, and I know there's something there. I don't know what it is yet. I don't want to make a conclusion, Lesley, like, "Oh, my God, I'm going to I'm doing this event. And this is the rest of my life." I just know something is going to be created. I could feel it, I could get the (Lesley: Yeah.) goosebumps, right from this event. And I'm speaking there this Saturday, and I'm so freaking excited. I'm going to be on the mic hosting a large entrepreneur event from (Lesley: It's insane.) a question that I kept asking. So this is what can be created. Now Lesley, if I would have written down a million gazillion trillion possibilities that could have happened, I would have never written down, I'm going to be hosting an event from ...Lesley Logan  Right, right. No. And so I love this, because I think a lot of people like okay, I just need to meet this person. And then they'll invite me to this area. I network with this person and it's like, you, you were at a networking event. So yes, you do need to be put in the room. But you don't actually have to, like, "What am I going to say? How do I get them to do this?" You just have to be yourself, you have to be in, you have to listen to what your what you're being called to do. And it might be in your instance, it was to dance the whole time and just have a really good time being yourself. And for others, it could be like literally just introducing yourself to the person that you're so scared to say hi to, like, just say hi to them. And like, you know, but listening to your body. And I think that's really cool that you just kept checking in with yourself. I don't think people know how to do that as often. I think it's very it was is it when you started doing this? Was it really comfortable to ask yourself these questions? Or was it like uncomfortable like, "This is weird, I'm talking to myself a lot."Joanna Vargas  It was really uncomfortable because this is a new tool that I'm using is, universal, show me my reality. So this is the first time that I actually was that tool for two hours straight. I've been using it like here and there. I have an alarm that goes up on my phone to kind of remind myself, but this is the first time and I totally know what you're saying, Lesley, because I'm not saying that everybody needs to dance. What I'm saying is to check in, "What's my reality?" Maybe your reality is getting your hair done, when you wouldn't normally get your hair done. Or maybe your reality is leaving earlier. Maybe your reality is talking to the person next to you, you know, and so I also use that tool because I went early to the event, and I didn't know anybody. And I could feel that I was shrinking Lesley, like standing in the corner. Like I don't know anybody. And I kept asking, show me my reality. And what I got Lesley was, "walk up to these girls". Okay, so I walked up to three girls talking, and I would just insert myself in the conversation. That's not highly like me. But it is though. It is me. It is my reality.Lesley Logan  ... feels like you though, that feels like the Joanna I know. But I understand, well, I understand after a couple of years of not being around people, a couple of years of not doing the things that you normally do. It's not like, and also in a lot of things we change, especially in the last couple of years. I've changed a lot of ways and I also didn't change in a lot of ways. But I can see how like outside of that consistent environment of going up to people. And then finally going like, "Is this what I do? I do do this. Oh, I did ..." Like you know what I mean? And then you just didn't and you're like, this is not me. You're like actually this is me because this feels really good while I'm doing this right now.Joanna Vargas  Yeah. Actually, this is me, but I was going into the other thoughts I've heard the, "Oh, you don't know them. They're already talking. It's going to be rude to jump in." Like all that stuff in my head. I'm like, I just inserted myself like a five year old on a playground in kindergarten, (Lesley: Yeah.) "Hi, do you want to be my friend?" It was just like that. And (Lesley: Yeah.) I walked up and I was like, "Oh, I'm gonna get a drink. Does anybody want to go with me?" And again, I probably would have just talked and see if they were going to ask me to go for a drink. But for me to be the ins... that's not my default, so to speak, I'll do it. But ... (Lesley: Yeah.) my default, and but I kept checking in and one of the girls was like, "Yeah, let's go get a drink." So went over there had a drink with her. But what was created, it just kept going from A, B, C, and it just kept going, going from probably, I pro... what I wanted to do what felt comfortable Lesley was to sit on one of the couches there at the hotel and check my phone, that felt comfortable. I had to check my email, I gotta check. You know, I couldn't use that as an excuse, as a as a reason that I am not talking to people.Lesley Logan  That is ... and also like, what if you, what like just going back to something where you're like, "That's not really who I am. So I don't know what I normally do." But what if that is who you are you just haven't been doing that?Joanna Vargas  Yes. Because that's like, show me my it's like the hoarder house again, I know where I live, I just can't see it right now. I know who I am. I am that person that just walks up to people and "Hi." But I can't see it right now because all the other stuff in my head all the cobwebs of these voices and things and like, "It's not mine. It's not mine. Joanna, there's 200 women in here that all feel nervous. So you're picking up their nervousness, too. It's not yours."Lesley Logan  Oh, yeah. No, it also I'm just so grateful that you're here because I think you're in, we're always in process, you know, and it's easy for me to bring on guests and for people to share their strengths. And share what they're going in, like, they sound like they have it all together. And for and then certain compartments, they have it all together and certain compartments. I have most of it together. You know, but I also think that like, when, like, there is a process. So for example, I used to do a morning pep talk on my Instagram stories every morning. Like I probably did it for a year, every morning, rarely missed, just like reminding people something. And then one morning, I was just like, "I just don't want to do it today, ... don't want to do today." And then I was like, "Let's do it tomorrow." And then I like the ... I was just like, "I'm not doing that." And then all of a sudden, I was like, "When was the last time I fucking did that?" Like, I just forgot that. And then I was like, "Oh, I wonder I wonder if I should do that again." And I just was like, "Hey, guys, I haven't done this in a while. I don't really want to do it right now. I'm going to do it a different time. Because I'm just feeling into like what I want my new morning to be." And my new morning is very much asking myself every day like, because I like to get my Pilates every day. I like to get my meditation in at some point every day. And I was trying to always fit it in the morning. And now I'm like, actually, I could probably fit in things drift in different times of the day. So what if I just asked myself this morning, this morning, "Okay, I don't have another meeting till this time. I want to get these things in. I'm gonna do them right now. I'm gonna do this right now." And so I'm like, I'll just check, I'm gonna give him their pep talks a different times a day, and it's gonna be okay. It's gonna be amazing. It's gonna be find and no one has ever said, "You bitch. You used to be my morning pep talk." They didn't say that. But like, the stories we can tell ourselves like, "I have to do it because I've always done it." And it's like, yeah, if people are have a membership that you've, they've paid you for, you should probably keep doing what they paid for, until you can like, exit that out. But other things we can change the morning things that we do, we can change the that we maybe you were the sourdough person in your neighborhood and you're not anymore. And that's, it's okay. And I know we tell ourselves, "Oh my God, I'm a lot of these people down. And this this." Actually, they'll get sourdough from someone else. (Lesley laughs)Joanna Vargas  I'm laughing because it's so light. That is so true in my world. I did this morning, 30 day challenge for 10 months, and I was going to do it for one year straight. And it was I really loved those 10 months. They were so much fun. And one day I just the next month started I'm like, "I don't want to do it." It was so much like a five year old kid, like, "I don't want to do soccer anymore, Mom. I don't want to dance." You know, when they come home and they're like, "I'm done." And the mom's like, "What? I just paid for?" And I'm like, "I just don't want to do it. I'm just done." And I might go back to it and I may not. And I'm still there with you, Lesley of the eye, it worked for me at that time. And I'm not saying that I may not go who knows what else is possible, I wonder. But as of right now, I'm choosing as I go kind of like minute by minute. I don't it's (Lesley: Yeah.) not as rigid anymore.Lesley Logan  Joanna I love that. And I also think like when was that wrong to not be a five year old whose was like, "Oh, I don't want to do that right now." Like when did we feel like we... I mean I I understand y'all have to go to fucking work and you don't want to go to work. Okay, like we have jobs, okay. But when it comes to certain things, we put a lot of pressure on ourselves around, especially like the timeline of things like we'll have a lot of listeners who like trying to put something together. There's a lot of pressure around, launching it, getting it going, getting it out there. And it's like, yeah, you got to make some money. So we got to figure this out. But it's okay if you're like, you know, this was a goal of mine and I don't want to do it anymore.Joanna Vargas  Yeah, I do want to tap on something that has changed my life. And it's the term, choice creates awareness. And what we were taught that awareness creates choice. So I'm gonna explain it this way. Kids make a choice, then they discover that they may or may not like it, and that they have awareness. Then they go, "Oh, I don't want to do it any more because I did it. Tried it. I don't like it, or I just don't like it anymore right now." But we were taught from adults that it's no awareness creates choice, for example, you're supposed to know that's why you're supposed to research pros and cons everything before. And then once you have the answer, which I've talked about answer or just limited possibilities, then you make a choice. And I'm actually here to say it's actually backwards. It's the way five year olds do it. Make a choice. And the difference also, Lesley is we've misconstrued the word choice with decision. And decision means till death do you part forever and ever. I have to do this morning inspiration and I'm doing on my Instagram forever, kind of that feeling. (Lesley: Yeah.) And that's where we have the, what are you going to major in and high college? Who you going to marry? What do you get? It's like, forever these decisions and choices only good for a small amount of seconds. Lesley Logan  Yeah, like I'm choosing to have lunch today at two o'clock. And like, you know, like, it's and I and I can go oh, can become aware. Actually, I really enjoy lunch at this time. That's fucking amazing. (Joanna: Yeah, you might go ...) or no, never doing that again, that was too late for me.Joanna Vargas  You might say, I'm gonna have ... okay, it's 1:30. And you might say, I'm gonna have lunch at two o'clock. And once you say out loud, I'm gonna have lunch at two o'clock. That's choice, and then you might, no actually I want to do it at 2:30. And are you willing, though, for the people around you to call you flighty though? But in this reality, it's called flighty, if you change your mind. And I train my employees that work with me, I'm like, look, I run my business on choice and awareness. I don't run it on decisions and conclusions. So if you're a conclusion girl where you need everything, like cement before, this is probably not going to be a great working relationship, because I do in this reality changed my mind a lot. And it's because I make choices than I have more awareness. I make a choice and I have more awareness. I make a choice that I'll have more awareness. From Monday to Friday, the thing looks completely different because I keep having more awareness.Lesley Logan  Yeah. Well, and also, because, first of all, I think what's interesting here, though, is everything we do, we can guesstimate what the outcome is going to be. Right. Like I'm with, I'm like, "Okay, I'm going to, I'm going to make these flashcards and we're going to sell this many," and those are like guesstimations. Because I, you know, have to have some sort of plan, right? And then the cards get made, I put them out there, and I get feedback on those things. If I don't listen to that feedback, if I don't look at how people are talking about them, how they're using them, how they're playing with them. And I only keep selling them the way I had planned. I could either, I could ... I'll most likely miss out on so much possibility. And so is I hate that it's flighty, because it's more to me, like you're reading the room, and you're taking in the information and you're making another choice, taking the information and making another choice. And the reality is, is like none of us are psychic. So you can have a great idea. And if you all if you're like this is the plan I created in cement, and I'm just going to keep going. You could miss out on an amazing journey. And like the actual thing working out like a lot of things I think don't work out because people don't make another choice to change direction or make a left turn over here. Add this thing in over here. Am I making sense? That makes sense?Joanna Vargas  Totally makes sense. Because what I'm getting from that is like, I made this choice, it's not working, so now I'm wrong. I made the wrong choice. And you can't make a wrong choice. Like you just can't, I'm here to tell you but you can't make a wrong choice because that goes back to the judgment of "this is wrong, this is right". Because what if making those cards you're asking the questions, "How does it get better yet any better? I wonder what these cards are going to create for people. I wonder what these cards are going to create for my business." And you put the cards out and they're not that great or there's misspellings or whatever. But I wonder by putting those cards out what if something was created from there that doesn't have to be about the cards. What it is something else? What about putting those cards out there Joe Blow sees it, Joe Blow calls you and says I would like to do X Y Z with you that has nothing to do with Pilates. But because these cards were a failure or they're wrong, but it created something because you got the awareness to put these cards out there. (Lesley: Yeah.) And that's where I want to flip it. What if (Lesley: Yeah.) everything is the opposite like the matrix ... (Lesley laughs) the cards. You knowLesley Logan  Oh, my God you're speaking Brad's ... language now. Yeah, I I'm really I'm really intrigued by this. And I think, I think every single person listening to be it till you see it, to have what you want. You can not think like, it's Humble the Poet, we are not concrete, we are constructs. And so we, in order for you to continue to grow, you have to be paying attention like, "Oh, oh, I made this choice. Oh, okay, that's interesting that happened. Okay, I'll make this choice because of that. Okay, I'll just this do this." And so instead of going, "Nope, I said, I was going to do it on this date, it's going to happen," like you do live events. Like, if there is a fire the day before morning, the day before your race, you're not gonna be like, "Well, we said the run was today, everyone paid for today." No, their fucking health is not gonna be able to run today, they're gonna have to run next week when the fire is out. And like everyone just had, that's how we had to all do it during the pandemic. And we somehow got so tired of everything, pivoting all the time that we're like, everything has to happen when it says, everything has to happen when we set because we have to just like, you know what I mean?Joanna Vargas  Yeah, oh, because like, I want to talk about business if there's, I think (Lesley: Yeah.) there's a lot of business owners, right that listening ... (Lesley: Yeah.) podcast. I'm going to give this example, I'm producing these events this past summer, and I produced four of them. And they were parties, they were like 90s parties, 80s parties. And it felt very heavy. It didn't feel like it was the right time yet to make the the itinerary for the event. Now my team's like, "Joanna, the events this Friday. What's the itinerary?" And I'm like, "Just be with me right now because I'm going to make one choice." And I said, "The choice right now is I'm going to call, you know, Greg Smith, and I'm going to let me talk to Greg Smith, and I'll call you back." They're like, "Okay." Because I just needed to make one small choice. So it talked to Greg Smith on the phone, I got more awareness. And then that led me to the next thing, to the next person to call. And then that choice ment, led me to more awareness. And I kept changing the awareness. And even to the day before Lesley, I changed the whole itinerary. And I gotta tell you, that event was the most fun event, everybody that left there was like, "That was the best event ever." And I kept asking, and I kept getting curious. But if I would have stayed with the same itinerary that was on the copy of the Facebook event, from Monday until Friday, I don't think we would have had the same party. And again, (Lesely: Yeah.) it goes back to are you willing to be the person that people are like, "Oh, gosh, Joanna keeps changing her mind." I think that's the biggest question. Are you willing to be that different? Because if (Lesley: Yeah.) you're not, then you're going to stick with that plan. And it might be so much juicier or and then you DM me on Instagram and go, "Joanna, these questions aren't working." And I'm like, "Yeah, but are you really being the question? You're asking the question, but then yet you're still making decisions and not making choice and following the awareness."Lesley Logan  Do you remember the magic eight balls? (Joanna: Yeah.) You're like, ask her a question and then like, you were like, you were like telling it what answer to give you. Right. Like you're like, and I went to give you not the answer. And you're like, (Joanna: Yep.) shake it again until you got the answer. And like, that's what I'm hearing you say. And I think the other thing that I'm hearing you say is like, choice is actually just a different word for like, taking action. And action brings clarity, and action is the antidote to fear. And so if you're like, these choice things is confusing. It's like, all she's saying is take one action, and then see what you find out from that action, and then take another step. And then another step. And so instead of trying to, I think what also with decisions, people are trying to plan out all the steps to the journey, they're like trying to make the roadmap to go from here to wherever they're trying to grow in their business or in their life. It's like those girls in college who like wrote down their entire like itinerary of a husband and I was like, "Good luck with that. That list is long." You know, but like before they ever dated it's like you've ever dated, you even know if you like this about someone, you've never even gone on a date. So go on a date and see if you actually like person who you know orders my dinner for me just feel that out first. So I think like the differences like perfection is like, I'm gonna make this decision and it's gonna go this way and you're saying, you're, the way you're being it, the way you're being the question is like, no, I'm gonna I'm gonna work on taking action getting clarity, taking action, getting clarity, and it will it will become what it is because I'm being at right now in the moment. I mean, this can, doesn't get more how's it get better than this? Because this is so be it till you see it.Joanna Vargas  How does it get better? Yeah. And you know what, I love that and I'm just, I'm being called to throw this in there because it is action, it is taking action. And there's something about the word choice that rings for me, if it rings true for you, please take it if, if the word action rings true, great. Like, for me the word choice just rings different for me. (Lesley: It's empowering.) Yeah, it's a little different than, like, take action. Now, whatever works for you, please choose it. I like the word choice, like, "Oh, I got choice. I'm gonna make a choice. I'm gonna make a choice." And when I change my diction, that way, something changes. And it helps me know that I know. And so I just wanted to throw that out there.Lesley Logan  I also just think you need a new sticker. It's like got choices. You know, like the got milk ... (Joanna: You got a choice.) that choices. (Joanna: Yeah.) Yeah. (Joanna: Yes.) Oh, my gosh, Joanna, this is amazing. We're going to take a brief break and find out how people can find you, follow you, be the question with you.Joanna Vargas  Yep, please follow me on Instagram @joannavargasofficial, you can also go to joannavargas.co, .co and I have my own podcast as well. It's called The Get Up Girl. And I always talk about this kind of stuff if you want different tricks, different tools that you've already heard the other stuff and you're like, "I'm still hitting a wall." That's what that shows for.Lesley Logan  Yeah, you're y'all have to listen to The Get Up Girl. So fun. Just hit subscribe a lot of pop up on your in your feed just like you like to be a pot. And, and I you always have amazing conversations and unique outlooks. And I think it gives so many, it gives so much permission for people to not have the answer. You know, so yeah. Okay, you know, because you're here from the first, the first episode, bold, executable, intrinsic, targeted action steps, targeted choices, people can take to be it till they see it. What do you have for us?Joanna Vargas  Ah, all right, this is one of my faves. Make the demand of you and ask the universe. Because many times, Lesley, we get it backwards. We make the demand of the universe. And then we ask ourselves, and that's I know, that's also taking action, make the demand of yourself. There's this like energetic shift when you make the demand, like, I'm going to make the demand of Joanna and make a choice. And then ask life universe. And when that happens, they work together. And things are able to be created in your life. So if you want to be it, make the demand of you. And that's a whole other show right there. Because we could talk about that for a while. But if that rings true for you throw that on your phone as a reminder and say, "I make the demand of me today and choose for me."Lesley Logan  Yeah, yeah, it's another way to prioritize ourselves first. Yeah. I love that. I love you so much. Thank you for being here. Everyone, how are you going to use what Joanna shared with in your life? How are you, how are you going to make choices? How are you going to get more clarity? How are you going to be the person who's willing to change their mind? I want to know, Joanna's gonna want to know. Make sure you tag Joanna, tag the @be_it_pod. Share this with a friend who is maybe stuck in a lot of decisions and and choices. And until next time, Be It Till You See It.Joanna Vargas  Thank you.Lesley Logan  That's all I got for this episode of the Be It Till You See It podcast. One thing that would help both myself and future listeners is for you to rate the show and leave a review. And follow or subscribe for free wherever you listen to your podcasts. Also, make sure to introduce yourself over at the @be_it_pod on Instagram. I would love to know more about you. Share this episode with whoever you think needs to hear it. Help us and others BE IT TILL YOU SEE IT. Have an awesome day!  'Be It Till You See It' is a production of 'As The Crows Fly Media'. It's written produced, filmed and recorded by your host Lesley Logan and me, Brad Crowell. Our Associate Producer is Amanda Frattarelli.  Kevin Perez at Disenyo handles all of our audio editing.Brad Crowell  Our theme music is by Ali at APEX Production Music. And our branding by designer and artist, Gianranco Cioffi.  Lesley Logan  Special thanks to our designer Jaira Mandal for creating all of our visuals (which you can't see because this is a podcast) and our digital producer, Jay Pedroso for editing all videos each week so you can.  Brad Crowell  And to Angelina Herico for transcribing each of our episodes so you can find them on our website. And, finally to Meridith Crowell for keeping us all on point and on time.Transcribed by https://otter.aiSupport this podcast at — https://redcircle.com/be-it-till-you-see-it/donationsAdvertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

Message from Pastor Warren Johnson on August 28, 2022

Just an average ‘Joe Blow from down the street', you've probably never heard of Charles Admire. He joins Robbie, though, to talk about his personal initiative to introduce his non-hunting friends to this thing we love so much, and discusses what it means to him to be a true ‘Ambassador Of Hunting' to those friends and family. He shares his playbook for any hunter to introduce a non-hunter to becoming a hunter. See more from Blood Origins: https://bit.ly/BloodOrigins_Subscribe Music: Migration by Ian Post (Winter Solstice), licensed through artlist.io Learn more about your ad choices. Visit megaphone.fm/adchoices

We're just going to be real with you here. Life comes at you quick sometimes and you can't always plan everything out. We had not planned on covering 'Barry'. But guess what? We are doing it anyway!Join your hosts Magnum Mills and Jamie G as they break down the hit HBO show 'Barry'. More specifically, they will be doing spoiler review/discussion podcasts that will drop each Wednesday after a new episode of 'Barry' has aired.The comedy, the drama, the darkness, NoHo Hank.... we're here for it all! Please join us as we talk all things 'Barry'. Please remember to follow the podcast so you get notified when each new episode is released. Find us on social media @BarryPodcast.Find The Joe Blow Football Show at JoeBlowFootballShow.com and on social media @JoeBlowShow.Thanks again for checking us out and we can't WAIT to break down all things 'Barry'.

My Podcast isn't for kids under 21 years of age. This episode contains adult language & is Not suitable for sensitive Democratic libtards. Please Subscribe for more amazing contents!! Everything is Real & Raw on my Podcast & we don't have time for cry babies. So either get over it & have a thick skin or don't listen!! Now let's get to it. --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app Support this podcast: https://anchor.fm/monica-spirit-queen/support

Commentary on the current POTUS and his intentions towards Black America --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app

Episode 141 of A History of Rock Music in Five Hundred Songs looks at “River Deep Mountain High'”, and at the career of Ike and Tina Turner.  Click the full post to read liner notes, links to more information, and a transcript of the episode. Also, this episode was recorded before the sad death of the great Ronnie Spector, whose records are featured a couple of times in this episode, which is partly about her abusive ex-husband. Her life paralleled Tina Turner's quite closely, and if you haven't heard the episode I did about her last year, you can find it at https://500songs.com/podcast/episode-110-be-my-baby-by-the-ronettes/. I wish I'd had the opportunity to fit a tribute into this episode too. Patreon backers also have a ten-minute bonus episode available, on "Wild Thing" by the Troggs. Tilt Araiza has assisted invaluably by doing a first-pass edit, and will hopefully be doing so from now on. Check out Tilt's irregular podcasts at http://www.podnose.com/jaffa-cakes-for-proust and http://sitcomclub.com/ Resources As usual, all the songs excerpted in the podcast can be heard in full at Mixcloud. Always Magic in the Air: The Bomp and Brilliance of the Brill Building Era by Ken Emerson is a good overview of the Brill Building scene, and I referred to it for the material about Jeff Barry and Ellie Greenwich. I've referred to two biographies of Phil Spector in this episode, Phil Spector: Out of His Head by Richard Williams and He's a Rebel by Mark Ribkowsky. Tina Turner has written two autobiographies. I Tina is now out of print but is slightly more interesting, as it contains interview material with other people in her life. My Love Story is the more recent one and covers her whole life up to 2019. Ike Turner's autobiography Takin' Back My Name is a despicable, self-serving, work of self-justification, and I do not recommend anyone buy or read it. But I did use it for quotes in the episode so it goes on the list. Ike Turner: King of Rhythm by John Collis is more even-handed, and contains a useful discography. That Kat Sure Could Play! is a four-CD compilation of Ike Turner's work up to 1957. The TAMI and Big TNT shows are available on a Blu-Ray containing both performances. There are many compilations available with some of the hits Spector produced, but I recommend getting Back to Mono, a four-CD overview of his career containing all the major singles put out by Philles. There are sadly no good compilations of Ike and Tina Turner's career, as they recorded for multiple labels, and would regularly rerecord the hits in new versions for each new label, so any compilation you find will have the actual hit version of one or two tracks, plus a bunch of shoddy remakes. However, the hit version of "River Deep, Mountain High" is on the album of the same name, which is a worthwhile album to get,. Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript Today's episode is unfortunately another one of those which will require a content warning, because we're going to be talking about Ike and Tina Turner. For those of you who don't know, Ike Turner was possibly the most famously abusive spouse in the whole history of music, and it is literally impossible to talk about the duo's career without talking about that abuse. I am going to try not to go into too many of the details -- if nothing else, the details are very readily available for those who want to seek them out, not least in Tina's two autobiographies, so there's no sense in retraumatising people who've experienced domestic abuse by going over them needlessly -- but it would be dishonest to try to tell the story without talking about it at all. This is not going to be an episode *about* Ike Turner's brutal treatment of Tina Turner -- it's an episode about the record, and about music, and about their musical career -- but the environment in which "River Deep, Mountain High" was created was so full of toxic, abusive, destructive men that Ike Turner may only be the third-worst person credited on the record, and so that abuse will come up. If discussion of domestic abuse, gun violence, cocaine addiction, and suicide attempts are likely to cause you problems, you might want to read the transcript rather than listen to the podcast. That said, let's get on with the story. One of the problems I'm hitting at this point of the narrative is that starting with "I Fought the Law" we've hit a run of incredibly intertangled stories  The three most recent episodes, this one, and nine of the next twelve, all really make up one big narrative about what happened when folk-rock and psychedelia hit the Hollywood scene and the Sunset Strip nightclubs started providing the raw material for the entertainment industry to turn into pop culture. We're going to be focusing on a small number of individuals, and that causes problems when trying to tell a linear narrative, because people don't live their lives sequentially -- it's not the case that everything happened to Phil Spector, and *then* everything happened to Cass Elliot, and *then* everything happened to Brian Wilson. All these people were living their lives and interacting and influencing each other, and so sometimes we'll have to mention something that will be dealt with in a future episode. So I'll say here and now that we *will* be doing an episode on the Lovin' Spoonful in two weeks. So when I say now that in late 1965 the Lovin' Spoonful were one of the biggest bands around, and possibly the hottest band in the country, you'll have to take that on trust. But they were, and in late 1965 their hit "Do You Believe in Magic?" had made the top ten: [Excerpt: The Lovin' Spoonful, "Do You Believe in Magic?"] Phil Spector, as always, was trying to stay aware of the latest trends in music, and he was floundering somewhat. Since the Beatles had hit America in 1964, the hits had dried up -- he'd produced a few minor hit records in 1964, but the only hits he'd made in 1965 had been with the Righteous Brothers -- none of his other acts were charting. And then the Righteous Brothers left him, after only a year. In late 1965, he had no hit acts and no prospect of having any. There was only one thing to do -- he needed to start making his own folk-rock records. And the Lovin' Spoonful gave him an idea how to do that. Their records were identifiably coming from the same kind of place as people like the Byrds or the Mamas and the Papas, but they were pop songs, not protest songs -- the Lovin' Spoonful weren't doing Dylan covers or anything intellectual, but joyous pop confections of a kind that anyone could relate to. Spector knew how to make pop records like that. But to do that, he needed a band. Even though he had been annoyed at the way that people had paid more attention to the Righteous Brothers, as white men, than they had to the other vocalists he'd made hit records with (who, as Black women, had been regarded by a sexist and racist public as interchangeable puppets being controlled by a Svengali rather than as artists in their own right), he knew he was going to have to work with a group of white male vocalist-instrumentalists if he wanted to have his own Lovin' Spoonful. And the group he chose was a group from Greenwich Village called MFQ. MFQ had originally named themselves the Modern Folk Quartet, as a parallel to the much better-known Modern Jazz Quartet, and consisted of Cyrus Faryar, Henry Diltz, Jerry Yester, and Chip Douglas, all of whom were multi-instrumentalists who would switch between guitar, banjo, mandolin, and bass depending on the song. They had combined Kingston Trio style clean-cut folk with Four Freshmen style modern harmonies -- Yester, who was a veteran of the New Christy Minstrels, said of the group's vocals that "the only vocals that competed with us back then was Curt Boettcher's group", and  they had been taken under the wing of manager Herb Cohen, who had got them a record deal with Warner Brothers. They recorded two albums of folk songs, the first of which was produced by Jim Dickson, the Byrds' co-manager: [Excerpt: The Modern Folk Quartet, "Sassafras"] But after their second album, they had decided to go along with the trends and switch to folk-rock. They'd started playing with electric instruments, and after a few shows where John Sebastian, the lead singer of the Lovin' Spoonful, had sat in with them on drums, they'd got themselves a full-time drummer, "Fast" Eddie Hoh, and renamed themselves the Modern Folk Quintet, but they always shortened that to just MFQ. Spector was convinced that this group could be another Lovin' Spoonful if they had the right song, and MFQ in turn were eager to become something more than an unsuccessful folk group. Spector had the group rehearsing in his house for weeks at a stretch before taking them into the studio. The song that Spector chose to have the group record was written by a young songwriter he was working with named Harry Nilsson. Nilsson was as yet a complete unknown, who had not written a hit and was still working a day job, but he had a talent for melody, and he also had a unique songwriting sensibility combining humour and heartbreak. For example, he'd written a song that Spector had recorded with the Ronettes, "Here I Sit", which had been inspired by the famous graffito from public toilet walls -- "Here I sit, broken-hearted/Paid a dime and only farted": [Excerpt: The Ronettes, "Here I Sit"] That ability to take taboo bodily functions and turn them into innocent-sounding love lyrics is also at play in the song that Spector chose to have the MFQ record. "This Could be the Night" was written by Nilsson from the perspective of someone who is hoping to lose his virginity -- he feels like he's sitting on dynamite, and he's going to "give her some", but it still sounds innocent enough to get past the radio censors of the mid-sixties: [Excerpt: Harry Nilsson, "This Could Be the Night (demo)"] Spector took that song, and recorded a version of it which found the perfect balance between Spector's own wall of sound and the Lovin' Spoonful's "Good Time Music" sound: [Excerpt: MFQ, "This Could be the Night"] Brian Wilson was, according to many people, in the studio while that was being recorded, and for decades it would remain a favourite song of Wilson's -- he recorded a solo version of it in the 1990s, and when he started touring solo for the first time in 1998 he included the song in his earliest live performances. He also tried to record it with his wife's group, American Spring, in the early 1970s, but was unable to, because while he could remember almost all of the song, he couldn't get hold of the lyrics. And the reason he couldn't get hold of the lyrics is that the record itself went unreleased, because Phil Spector had found a new performer he was focusing on instead. It happened during the filming of the Big TNT Show, a sequel to the TAMI Show, released by American International Pictures, for which "This Could Be the Night" was eventually used as a theme song. The MFQ were actually performers at the Big TNT Show, which Spector was musical director and associate producer of, but their performances were cut out of the finished film, leaving just their record being played over the credits. The Big TNT Show generally gets less respect than the TAMI Show, but it's a rather remarkable document of the American music scene at the very end of 1965, and it's far more diverse than the TAMI show. It opens with, of all people, David McCallum -- the actor who played Ilya Kuryakin on The Man From UNCLE -- conducting a band of session musicians playing an instrumental version of "Satisfaction": [Excerpt: David McCallum, "Satisfaction"] And then, in front of an audience which included Ron and Russel Mael, later of Sparks, and Frank Zappa, who is very clearly visible in audience shots, came performances of every then-current form of popular music. Ray Charles, Petula Clark, Bo Diddley, the Byrds, the Lovin' Spoonful, Roger Miller, the Ronettes, and Donovan all did multiple songs, though the oddest contribution was from Joan Baez, who as well as doing some of her normal folk repertoire also performed "You've Lost That Lovin' Feelin'" with Spector on piano: [Excerpt: Joan Baez and Phil Spector, "You've Lost That Lovin' Feelin'"] But the headline act on the eventual finished film was the least-known act on the bill, a duo who had not had a top forty hit for four years at this point, and who were only on the bill as a last-minute fill-in for an act who dropped out, but who were a sensational live act. So sensational that when Phil Spector saw them, he knew he needed to sign them -- or at least he needed to sign one of them: [Excerpt: Ike and Tina Turner with the Ikettes, "Please, Please, Please"] Because Ike and Tina Turner's performance at the Big TNT Show was, if anything, even more impressive than James Brown's performance on the TAMI Show the previous year. The last we saw of Ike Turner was way back in episode eleven. If you don't remember that, from more than three years ago, at the time Turner was the leader of a small band called the Kings of Rhythm. They'd been told by their friend B.B. King that if you wanted to make a record, the person you go to was Sam Phillips at Memphis Recording Services, and they'd recorded "Rocket '88", often cited as the first ever rock and roll record, under the name of their sax player and vocalist Jackie Brenston: [Excerpt: Jackie Brenston and the Delta Cats, "Rocket '88"] We looked at some of the repercussions from that recording throughout the first year and a half or so of the podcast, but we didn't look any more at the career of Ike Turner himself. While "Rocket '88" was a minor hit, the group hadn't followed it up, and Brenston had left to go solo. For a while Ike wasn't really very successful at all -- though he was still performing around Memphis, and a young man named Elvis Presley was taking notes at some of the shows. But things started to change for Ike when he once again turned up at Sam Phillips' studio -- this time because B.B. King was recording there. At the time, Sun Records had still not started as its own label, and Phillips' studio was being used for records made by all sorts of independent blues labels, including Modern Records, and Joe Bihari was producing a session for B.B. King, who had signed to Modern. The piano player on the session also had a connection to "Rocket '88" -- when Jackie Brenston had quit Ike's band to go solo, he'd put together a new band to tour as the Delta Cats, and Phineas Newborn Jr had ended up playing Turner's piano part on stage, before Brenston's career collapsed and Newborn became King's pianist. But Phineas Newborn was a very technical, dry, jazz pianist -- a wonderful player, but someone who was best suited to playing more cerebral material, as his own recordings as a bandleader from a few years later show: [Excerpt: Phineas Newborn Jr, "Barbados"] Bihari wasn't happy with what Newborn was playing, and the group took a break from recording to get something to eat and try to figure out the problem. While they were busy, Turner went over to the piano and started playing. Bihari said that that was exactly what they wanted, and Turner took over playing the part. In his autobiography, Turner variously remembers the song King was recording there as "You Know I Love You" and "Three O'Clock Blues", neither of which, as far as I can tell, were actually recorded at Phillips' studio, and both of which seem to have been recorded later -- it's difficult to say for sure because there were very few decent records kept of these things at the time. But we do know that Turner played on a lot of King's records in the early fifties, including on "Three O'Clock Blues", King's first big hit: [Excerpt: B.B. King, "Three O'Clock Blues"] For the next while, Turner was on salary at Modern Records, playing piano on sessions, acting as a talent scout, and also apparently writing many of the songs that Modern's artists would record, though those songs were all copyrighted under the name "Taub", a pseudonym for the Bihari brothers, as well as being a de facto arranger and producer for the company. He worked on many records made in and around Memphis, both for Modern Records and for other labels who drew from the same pool of artists and musicians. Records he played on and produced or arranged include several of Bobby "Blue" Bland's early records -- though Turner's claim in his autobiography that he played on Bland's version of "Stormy Monday" appears to be incorrect, as that wasn't recorded until a decade later. He did, though, play on Bland's “Drifting from Town to Town”, a rewrite of Charles Brown's “Driftin' Blues”, on which, as on many sessions run by Turner, the guitarist was Matt “Guitar” Murphy, who later found fame with the Blues Brothers: [Excerpt: Bobby "Blue" Bland with Ike Turner and his Orchestra, "Driftin' Blues"] Though I've also seen the piano part on that credited as being by Johnny Ace – there's often some confusion as to whether Turner or Ace played on a session, as they played with many of the same artists, but that one was later rereleased as by Bobby “Blue” Bland with Ike Turner and his Orchestra, so it's safe to say that Ike's on that one. He also played on several records by Howlin' Wolf, including "How Many More Years", recorded at Sam Phillips' studio: [Excerpt: Howlin' Wolf, "How Many More Years?"] Over the next few years he played with many artists we've covered already in the podcast, like Richard Berry and the Flairs, on whose recordings he played guitar rather than piano: [Excerpt: The Flairs, "Baby Wants"] He also played guitar on records by Elmore James: [Excerpt: Elmore James, "Please Find My Baby"] and played with Little Junior Parker, Little Milton, Johnny Ace, Roscoe Gordon, and many, many more. As well as making blues records, he also made R&B records in the style of Gene and Eunice with his then-wife Bonnie: [Excerpt: Bonnie and Ike Turner, "My Heart Belongs to You"] Bonnie was his fourth wife, all of them bigamous -- or at least, I *think* she was his fourth. I have seen two different lists Turner gave of his wives, both of them made up of entirely different people, though it doesn't help that many of them also went by nicknames. But Turner started getting married when he was fourteen, and as he would often put it "you gave a preacher two dollars, the papers cost three dollars, that was it. In those days Blacks didn't bother with divorces." (One thing you will see a lot with Turner, unfortunately, is his habit of taking his own personal misbehaviours and claiming they were either universal, or at least that they were universal among Black people, or among men. It's certainly true that some people in the Southeastern US had a more lackadaisical attitude towards remarrying without divorce at the time than we might expect, but it was in no way a Black thing specifically -- it was a people-like-Ike-Turner thing -- see for example the very similar behaviour of Jerry Lee Lewis. I'm trying, when I quote him, not to include too many of these generalisations, but I thought it important to include that one early on to show the kind of self-justification to which he was prone throughout his entire life.) It's largely because Bonnie played piano and was singing with his band that Turner switched to playing guitar, but there was another reason – while he disliked the attention he got on stage, he also didn't want a repeat of what had happened with Jackie Brenston, where Brenston as lead vocalist and frontman had claimed credit for what Ike thought of as his own record. Anyone who saw Ike Turner and his Kings of Rhythm was going to know that Ike Turner was the man who was making it all happen, and so he was going to play guitar up front rather than be on the piano in the background. So Turner took guitar lessons from Earl Hooker, one of the great blues guitarists of the period, who had played with Turner's piano inspiration Pinetop Perkins before recording solo tracks like "Sweet Angel": [Excerpt: Earl Hooker, "Sweet Angel"] Turner was always happier in the studio than performing live -- despite his astonishing ego, he was also a rather shy person who didn't like attention -- and he'd been happy working on salary for Modern and freelancing on occasion for other labels like Chess and Duke. But then the Biharis had brought him out to LA, where Modern Records was based, and as Joel Bihari put it "Ike did a great job for us, but he was a country boy. We brought him to L.A., and he just couldn't take city life. He only stayed a month, then left for East St. Louis to form his own band. He told me he was going back there to become a star." For once, Turner's memory of events lined up with what other people said about him. In his autobiography, he described what happened -- "Down in Mississippi, life is slow. Tomorrow, you are going to plough this field. The next day, you going to cut down these trees. You stop and you go on about your business. Next day, you start back on sawing trees or whatever you doing. Here I am in California, and this chick, this receptionist, is saying "Hold on, Mr Bihari, line 2... hold line 3... Hey Joe, Mr Something or other on the phone for you." I thought "What goddamn time does this stop?"" So Turner did head to East St. Louis -- which is a suburb of St. Louis proper, across the Mississippi river from it, and in Illinois rather than Missouri, and at the time a thriving industrial town in its own right, with over eighty thousand people living there. Hardly the laid-back country atmosphere that Turner was talking about, but still also far from LA both geographically and culturally. He put together a new lineup of the Kings of Rhythm, with a returning Jackie Brenston, who were soon recording for pretty much every label that was putting out blues and R&B tracks at that point, releasing records on RPM, Sue, Flair, Federal, and Modern as well as several smaller labels. usually with either Brenston or the group's drummer Billy Gayles singing lead: [Excerpt: Billy Gayles with Ike Turner's Kings of Rhythm, "Just One More Time"] None of these records was a success, but the Kings of Rhythm were becoming the most successful band in East St. Louis. In the mid-fifties the only group that was as popular in the greater St. Louis metro area was the Johnny Johnson trio -- which soon became the Chuck Berry trio, and went on to greater things, while the Kings of Rhythm remained on the club circuit. But Turner was also becoming notorious for his temper -- he got the nickname "Pistol-Whippin' Ike Turner" for the way he would attack people with his gun, He also though was successful enough that he built his own home studio, and that was where he recorded "Boxtop". a calypso song whose middle eight seems to have been nicked from "Why Do Fools Fall In Love?" and whose general feel owes more than a little to "Love is Strange": [Excerpt: Ike Turner, Carlson Oliver, and Little Ann, "Boxtop"] The female vocals on that track were by Turner's new backing vocalist, who at the time went by the stage name "Little Ann". Anna Mae Bullock had started going to see the Kings of Rhythm regularly when she was seventeen, because her sister was dating one of the members of the band, and she had become a fan almost immediately. She later described her first experience seeing the group: "The first time I saw Ike on stage he was at his very best, sharply dressed in a dark suit and tie. Ike wasn't conventionally handsome – actually, he wasn't handsome at all – and he certainly wasn't my type. Remember, I was a schoolgirl, all of seventeen, looking at a man. I was used to high school boys who were clean-cut, athletic, and dressed in denim, so Ike's processed hair, diamond ring, and skinny body – he was all edges and sharp cheekbones – looked old to me, even though he was only twenty-five. I'd never seen anyone that thin! I couldn't help thinking, God, he's ugly." Turner didn't find Bullock attractive either -- one of the few things both have always agreed on in all their public statements about their later relationship was that neither was ever particularly attracted to the other sexually -- and at first this had caused problems for Anna Mae. There was a spot in the show where Turner would invite a girl from the audience up on stage to sing, a different one every night, usually someone he'd decided he wanted to sleep with. Anna Mae desperately wanted to be one of the girls that would get up on stage, but Turner never picked her. But then one day she got her chance. Her sister's boyfriend was teasing her sister, trying to get her to sing in this spot, and passed her the microphone. Her sister didn't want to sing, so Anna Mae grabbed the mic instead, and started singing -- the song she sang was B.B. King's "You Know I Love You", the same song that Turner always remembered as being recorded at Sun studios, and on which Turner had played piano: [Excerpt: B.B. King, "You Know I Love You"] Turner suddenly took notice of Anna Mae. As he would later say, everyone *says* they can sing, but it turned out that Anna Mae could. He took her on as an occasional backing singer, not at first as a full member of the band, but as a sort of apprentice, who he would teach how to use her talents more commercially. Turner always said that during this period, he would get Little Richard to help teach Anna Mae how to sing in a more uncontrolled, exuberant, style like he did, and Richard has backed this up, though Anna Mae never said anything about this. We do know though that Richard was a huge fan of Turner's -- the intro to "Good Golly Miss Molly": [Excerpt: Little Richard, "Good Golly Miss Molly"] was taken almost exactly from the intro to "Rocket '88": [Excerpt: Jackie Brenston and the Delta Cats, "Rocket '88"] and Richard later wrote the introduction to Turner's autobiography. So it's possible -- but both men were inveterate exaggerators, and Anna Mae only joined Ike's band a few months before Richard's conversion and retirement from music, and during a point when he was a massive star, so it seems unlikely. Anna Mae started dating Raymond Hill, a saxophone player in the group, and became pregnant by him -- but then Hill broke his ankle, and used that as an excuse to move back to Clarksdale, Mississippi, to be with his family, abandoning his pregnant teenage girlfriend, and it seems to be around this point that Turner and Anna Mae became romantically and sexually involved. Certainly, one of Ike's girlfriends, Lorraine Taylor, seems to have believed they were involved while Anna Mae was pregnant, and indeed that Turner, rather than Hill, was the father. Taylor threatened Bullock with Turner's gun, before turning it on herself and attempting suicide, though luckily she survived. She gave birth to Turner's son, Ike Junior, a couple of months after Bullock gave birth to her own son, Craig. But even after they got involved, Anna Mae was still mostly just doing odd bits of backing vocals, like on "Boxtop", recorded in 1958, or on 1959's "That's All I Need", released on Sue Records: [Excerpt: Ike Turner's Kings of Rhythm, "That's All I Need"] And it seemed that would be all that Anna Mae Bullock would do, until Ike Turner lent Art Lassiter eighty dollars he didn't want to pay back. Lassiter was a singer who was often backed by his own vocal trio, the Artettes, patterned after Ray Charles' Raelettes. He had performed with Turner's band on a semi-regular basis, since 1955 when he had recorded "As Long as I Have You" with his vocal group the Trojans, backed by "Ike Turner and his Orchestra": [Excerpt: The Trojans, Ike Turner and His Orchestra, "As Long as I Have You"] He'd recorded a few more tracks with Turner since then, both solo and under group names like The Rockers: [Excerpt: The Rockers, "Why Don't You Believe?"] In 1960, Lassiter needed new tyres for his car, and borrowed eighty dollars from Turner in order to get them -- a relatively substantial amount of money for a working musician back then. He told Turner that he would pay him back at a recording session they had booked, where Lassiter was going to record a song Turner had written, "A Fool in Love", with Turner's band and the Artettes. But Lassiter never showed up -- he didn't have the eighty dollars, and Turner found himself sat in a recording studio with a bunch of musicians he was paying for, paying twenty-five dollars an hour for the studio time, and with no singer there to record. At the time, he was still under the impression that Lassiter might eventually show up, if not at that session, then at least at a future one, but until he did, there was nothing he could do and he was getting angry. Bullock suggested that they cut the track without Lassiter. They were using a studio with a multi-track machine -- only two tracks, but that would be enough. They could cut the backing track on one track, and she could record a guide vocal on the other track, since she'd been around when Turner was teaching Lassiter the song. At least that way they wouldn't have wasted all the money. Turner saw the wisdom of the idea -- he said in his autobiography "This was the first time I got hip to two-track stereo" -- and after consulting with the engineer on the session, he decided to go ahead with Bullock's plan. The plan still caused problems, because they were recording the song in a key written for a man, so Bullock had to yell more than sing, causing problems for the engineer, who according to Turner kept saying things like "Goddammit, don't holler in my microphone". But it was only a demo vocal, after all, and they got it cut -- and as Lassiter didn't show up, Turner took Lassiter's backing vocal group as his own new group, renaming the Artettes to the Ikettes, and they became the first of a whole series of lineups of Ikettes who would record with Turner for the rest of his life. The intention was still to get Lassiter to sing lead on the record, but then Turner played an acetate of it at a club night where he was DJing as well as performing, and the kids apparently went wild: [Excerpt: Ike and Tina Turner, "A Fool in Love"] Turner took the demo to Juggy Murray at Sue Records, still with the intention of replacing Anna Mae's vocal with Lassiter's, but Murray insisted that that was the best thing about the record, and that it should be released exactly as it was, that it was a guaranteed hit. Although -- while that's the story that's told all the time about that record by everyone involved in the recording and release, and seems uncontested, there does seem to be one minor problem with the story, which is that the Ikettes sing "you know you love him, you can't understand/Why he treats you like he do when he's such a good man". I'm willing to be proved wrong, of course, but my suspicion is that Ike Turner wasn't such a progressive thinker that he was writing songs about male-male relationships in 1960. It's possible that the Ikettes were recorded on the same track as Tina's guide vocals, but if the intention was to overdub a new lead from Lassiter on an otherwise finished track, it would have made more sense for them to sing their finished backing vocal part. It seems more likely to me that they decided in the studio that the record was going to go out with Anna Mae singing lead, and the idea of Murray insisting is a later exaggeration. One thing that doesn't seem to be an exaggeration, though, is that initially Murray wanted the record to go out as by Ike Turner's Kings of Rhythm featuring Little Ann, but Turner had other ideas. While Murray insisted "the girl is the star", Turner knew what happened when other people were the credited stars on his records. He didn't want another Jackie Brenston, having a hit and immediately leaving Turner right back where he started. If Little Ann was the credited singer, Little Ann would become a star and Ike Turner would have to find a new singer. So he came up with a pseudonym. Turner was a fan of jungle women in film serials and TV, and he thought a wild-woman persona would suit Anna Mae's yelled vocal, and so he named his new star after Sheena, Queen of the Jungle, a female Tarzan knock-off comic character created by Will Eisner and Jerry Iger in the thirties, but who Turner probably knew from a TV series that had been on in 1955 and 56. He gave her his surname, changed "Sheena" slightly to make the new name alliterative and always at least claimed to have registered a trademark on the name he came up with, so if Anna Mae ever left the band he could just get a new singer to use the name. Anna Mae Bullock was now Tina Turner, and the record went out as by "Ike and Tina Turner": [Excerpt: Ike and Tina Turner, "A Fool in Love"] That went to number two on the R&B charts, and hit the top thirty on the pop charts, too. But there were already problems. After Ike had had a second son with Lorraine, he then got Tina pregnant with another of his children, still seeing both women. He had already started behaving abusively towards Tina, and as well as being pregnant, she was suffering from jaundice -- she says in the first of her two autobiographies that she distinctly remembered lying in her hospital bed, hearing "A Fool in Love" on the radio, and thinking "What's love got to do with it?", though as with all such self-mythologising we should take this with a pinch of salt. Turner was in need of money to pay for lawyers -- he had been arrested for financial crimes involving forged cheques -- and Juggy Murray wouldn't give him an advance until he delivered a follow-up to "A Fool in Love", so he insisted that Tina sneak herself out of the hospital and go into the studio, jaundiced and pregnant, to record the follow-up. Then, as soon as the jaundice had cleared up, they went on a four-month tour, with Tina heavily pregnant, to make enough money to pay Ike's legal bills. Turner worked his band relentlessly -- he would accept literally any gig, even tiny clubs with only a hundred people in the audience, reasoning that it was better for the band's image to play  small venues that had to turn people away because they were packed to capacity, than to play large venues that were only half full. While "A Fool in Love" had a substantial white audience, the Ike and Tina Turner Revue was almost the epitome of the chitlin' circuit act, playing exciting, funky, tightly-choreographed shows for almost entirely Black audiences in much the same way as James Brown, and Ike Turner was in control of every aspect of the show. When Tina had to go into hospital to give birth, rather than give up the money from gigging, Ike hired a sex worker who bore a slight resemblance to Tina to be the new onstage "Tina Turner" until the real one was able to perform again. One of the Ikettes told the real Tina, who discharged herself from hospital, travelled to the venue, beat up the fake Tina, and took her place on stage two days after giving birth. The Ike and Tina Turner Revue, with the Kings of Rhythm backing Tina, the Ikettes, and male singer Jimmy Thomas, all of whom had solo spots, were an astonishing live act, but they were only intermittently successful on record. None of the three follow-ups to "A Fool in Love" did better than number eighty-two on the charts, and two of them didn't even make the R&B charts, though "I Idolize You" did make the R&B top five. Their next big hit came courtesy of Mickey and Sylvia. You may remember us talking about Mickey and Sylvia way back in episode forty-nine, from back in 2019, but if you don't, they were one of a series of R&B duet acts, like Gene and Eunice, who came up after the success of Shirley and Lee, and their big hit was "Love is Strange": [Excerpt: Mickey and Sylvia, "Love is Strange"] By 1961, their career had more or less ended, but they'd recorded a song co-written by the great R&B songwriter Rose Marie McCoy, which had gone unreleased: [Excerpt: Mickey and Sylvia, "It's Gonna Work Out Fine"] When that was shelved they remade it as an Ike and Tina Turner record, with Mickey and Sylvia being Ike -- Sylvia took on all the roles that Ike would normally do in the studio, arranging the track and playing lead guitar, as well as joining the Ikettes on backing vocals, while Mickey did the spoken answering vocals that most listeners assumed were Ike, and which Ike would replicate on stage. The result, unsurprisingly, sounded more like a Mickey and Sylvia record than anything Ike and Tina had ever released before, though it's very obviously Tina on lead vocals: [Excerpt: Ike and Tina Turner, "It's Gonna Work Out Fine"] That made the top twenty on the pop charts -- though it would be their last top forty hit for nearly a decade as Ike and Tina Turner. They did though have a couple of other hits as the Ikettes, with Ike Turner putting the girl group's name on the label so he could record for multiple labels. The first of these, "I'm Blue (The Gong Gong Song)" was a song Ike had written which would later go on to become something of an R&B standard. It featured Dolores Johnson on lead vocals, but Tina sang backing vocals and got a rare co-production credit: [Excerpt: The Ikettes, "I'm Blue (The Gong Gong Song)"] The other Ikettes top forty hit was in 1965, with a song written by Steve Venet and Tommy Boyce -- a songwriter we will be hearing more about in three weeks -- and produced by Venet: [Excerpt: The Ikettes, "Peaches 'n' Cream"] Ike wasn't keen on that record at first, but soon came round to it when it hit the charts. The success of that record caused that lineup of Ikettes to split from Ike and Tina -- the Ikettes had become a successful act in their own right, and Dick Clark's Caravan of Stars wanted to book them, but that would have meant they wouldn't be available for Ike and Tina shows. So Ike sent a different group of three girls out on the road with Clark's tour, keeping the original Ikettes back to record and tour with him, and didn't pay them any royalties on their records. They resented being unable to capitalise on their big hit, so they quit. At first they tried to keep the Ikettes name for themselves, and got Tina Turner's sister Alline to manage them, but eventually they changed their name to the Mirettes, and released a few semi-successful records. Ike got another trio of Ikettes to replace them, and carried on with Pat Arnold, Gloria Scott, and Maxine Smith as the new Ikettes,. One Ikette did remain pretty much throughout -- a woman called Ann Thomas, who Ike Turner was sleeping with, and who he would much later marry, but who he always claimed was never allowed to sing with the others, but was just there for her looks. By this point Ike and Tina had married, though Ike had not divorced any of his previous wives (though he paid some of them off when Ike and Tina became big). Ike and Tina's marriage in Tijuana was not remembered by either of them as a particularly happy experience -- Ike would always later insist that it wasn't a legal marriage at all, and in fact that it was the only one of his many, many, marriages that hadn't been, and was just a joke. He was regularly abusing her in the most horrific ways, but at this point the duo still seemed to the public to be perfectly matched. They actually only ended up on the Big TNT Show as a last-minute thing -- another act was sick, though none of my references mention who it was who got sick, just that someone was needed to fill in for them, and as Ike and Tina were now based in LA -- the country boy Ike had finally become a city boy after all -- and would take any job on no notice, they got the gig. Phil Spector was impressed, and he decided that he could revitalise his career by producing a hit for Tina Turner. There was only one thing wrong -- Tina Turner wasn't an act. *Ike* and Tina Turner was an act. And Ike Turner was a control freak, just like Spector was -- the two men had essentially the same personality, and Spector didn't want to work with someone else who would want to be in charge. After some negotiation, they came to an agreement -- Spector could produce a Tina Turner record, but it would be released as an Ike and Tina Turner record. Ike would be paid twenty thousand dollars for his services, and those services would consist of staying well away from the studio and not interfering. Spector was going to go back to the old formulas that had worked for him, and work with the people who had contributed to his past successes, rather than leaving anything to chance. Jack Nitzsche had had a bit of a falling out with him and not worked on some of the singles he'd produced recently, but he was back. And Spector was going to work with Jeff Barry and Ellie Greenwich again. He'd fallen out with Barry and Greenwich when "Chapel of Love" had been a hit for the Dixie Cups rather than for one of Spector's own artists, and he'd been working with Mann and Weill and Goffin and King instead. But he knew that it was Barry and Greenwich who were the ones who had worked best with him, and who understood his musical needs best, so he actually travelled to see them in New York instead of getting them to come to him in LA, as a peace offering and a sign of how much he valued their input. The only problem was that Spector hadn't realised that Barry and Greenwich had actually split up.  They were still working together in the studio, and indeed had just produced a minor hit single for a new act on Bert Berns' label BANG, for which Greenwich had written the horn arrangement: [Excerpt: Neil Diamond, "Solitary Man"] We'll hear more about Neil Diamond, and about Jeff Barry's work with him, in three weeks. But Barry and Greenwich were going through a divorce and weren't writing together any more, and came back together for one last writing session with Spector, at which, apparently, Ellie Greenwich would cry every time they wrote a line about love. The session produced four songs, of which two became singles. Barry produced a version of "I Can Hear Music", written at these sessions, for the Ronettes, who Spector was no longer interested in producing himself: [Excerpt: The Ronettes, "I Can Hear Music"] That only made number ninety-nine on the charts, but the song was later a hit for the Beach Boys and has become recognised as a classic. The other song they wrote in those sessions, though, was the one that Spector wanted to give to Tina Turner. "River Deep, Mountain High" was a true three-way collaboration -- Greenwich came up with the music for the verses, Spector for the choruses, and Barry wrote the lyrics and tweaked the melody slightly. Spector, Barry, and Greenwich spent two weeks in their writing session, mostly spent on "River Deep, Mountain High". Spector later said of the writing "Every time we'd write a love line, Ellie would start to cry. I couldn't figure out what was happening, and then I realised… it was a very uncomfortable situation. We wrote that, and we wrote ‘I Can Hear Music'…. We wrote three or four hit songs on that one writing session. “The whole thing about ‘River Deep' was the way I could feel that strong bass line. That's how it started. And then Jeff came up with the opening line. I wanted a tender song about a chick who loved somebody very much, but a different way of expressing it. So we came up with the rag doll and ‘I'm going to cuddle you like a little puppy'. And the idea was really built for Tina, just like ‘Lovin' Feelin” was built for the Righteous Brothers.” Spector spent weeks recording, remixing, rerecording, and reremixing the backing track, arranged by Nitzsche, creating the most thunderous, overblown, example of the Wall of Sound he had ever created, before getting Tina into the studio. He also spent weeks rehearsing Tina on the song, and according to her most of what he did was "carefully stripping away all traces of Ike from my performance" -- she was belting the song and adding embellishments, the way Ike Turner had always taught her to, and Spector kept insisting that she just sing the melody -- something that she had never had the opportunity to do before, and which she thought was wonderful. It was so different from anything else that she'd recorded that after each session, when Ike would ask her about the song, she would go completely blank -- she couldn't hold this pop song in her head except when she was running through it with Spector. Eventually she did remember it, and when she did Ike was not impressed, though the record became one of the definitive pop records of all time: [Excerpt: Ike and Tina Turner, "River Deep, Mountain High"] Spector was putting everything on the line for this record, which was intended to be his great comeback and masterpiece. That one track cost more than twenty thousand dollars to record -- an absolute fortune at a time when a single would normally be recorded in one or two sessions at most. It also required a lot of work on Tina's part. She later estimated that she had sung the opening line of the song a thousand times before Spector allowed her to move on to the second line, and talked about how she got so hot and sweaty singing the song over and over that she had to take her blouse off in the studio and sing the song in her bra. She later said "I still don't know what he wanted. I still don't know if I pleased him. But I never stopped trying." Spector produced a total of six tracks with Tina, including the other two songs written at those Barry and Greenwich sessions, "I'll Never Need More Than This", which became the second single released off the "River Deep, Mountain High" album, and "Hold On Baby", plus cover versions of Arthur Alexander's "Every Day I Have to Cry Some", Pomus and Shuman's "Save the Last Dance", and "A Love Like Yours (Don't Come Knocking Everyday)" a Holland-Dozier-Holland song which had originally been released as a Martha and the Vandellas B-side. The planned album was to be padded out with six tracks produced by Ike Turner, mostly remakes of the duo's earlier hits, and was planned for release after the single became the hit everyone knew it would. The single hit the Hot One Hundred soon after it was released: [Excerpt: Ike and Tina Turner, "River Deep, Mountain High"] ...and got no higher up the charts than number eighty-eight. The failure of the record basically destroyed Spector, and while he had been an abusive husband before this, now he became much worse, as he essentially retired from music for four years, and became increasingly paranoid and aggressive towards the industry that he thought was not respectful enough of his genius. There have been several different hypotheses as to why "River Deep Mountain High" was not a success. Some have said that it was simply because DJs were fed up of Spector refusing to pay payola, and had been looking for a reason to take him down a peg. Ike Turner thought it was due to racism, saying later “See, what's wrong with America, I think, is that rather than accept something for its value… what it's doing, America mixes race in it. You can't call that record R&B. But because it's Tina… if you had not put Tina's name on there and put ‘Joe Blow', then the Top 40 stations would have accepted it for being a pop record. But Tina Turner… they want to brand her as being an R&B artist. I think the main reason that ‘River Deep' didn't make it here in America was that the R&B stations wouldn't play it because they thought it was pop, and the pop stations wouldn't play it because they thought it was R&B. And it didn't get played at all. The only record I've heard that could come close to that record is a record by the Beach Boys called ‘Good Vibrations'. I think these are the two records that I've heard in my life that I really like, you know?” Meanwhile, Jeff Barry thought it was partly the DJs but also faults in the record caused by Phil Spector's egomania, saying "he has a self-destructive thing going for him, which is part of the reason that the mix on ‘River Deep' is terrible, he buried the lead and he knows he buried the lead and he cannot stop himself from doing that… if you listen to his records in sequence, the lead goes further and further in and to me what he is saying is, ‘It is not the song I wrote with Jeff and Ellie, it is not the song – just listen to those strings. I want more musicians, it's me, listen to that bass sound. …' That, to me, is what hurts in the long run... Also, I do think that the song is not as clear on the record as it should be, mix-wise. I don't want to use the word overproduced, because it isn't, it's just undermixed." There's possibly an element of all three of these factors in play. As we've discussed, 1965 seems to have been the year that the resegregation of American radio began, and the start of the long slow process of redefining genres so that rock and roll, still considered a predominantly Black music at the beginning of the sixties, was by the end of the decade considered an almost entirely white music. And it's also the case that "River Deep, Mountain High" was the most extreme production Spector ever committed to vinyl, and that Spector had made a lot of enemies in the music business. It's also, though, the case  that it was a genuinely great record: [Excerpt: Ike and Tina Turner, "River Deep, Mountain High"] However, in the UK, it was promoted by Decca executive Tony Hall, who was a figure who straddled both sides of the entertainment world -- as part of his work as a music publicist he had been a presenter on Oh Boy!, written a column in Record Mirror, and presented a Radio Luxembourg show. Hall put his not-inconsiderable weight behind promoting the record, and it ended up reaching number two in the UK -- being successful enough that the album was also released over here, though it wouldn't come out in the US for several years. The record also attracted the attention of the Rolling Stones, who invited Ike and Tina to be their support act on a UK tour, which also featured the Yardbirds, and this would be a major change for the duo in all sorts of ways. Firstly, it got them properly in contact with British musicians -- and the Stones would get Ike and Tina as support artists several times over the next few years -- and also made the UK and Europe part of their regular tour itinerary. It also gave the duo their first big white rock audience, and over the next several years they would pivot more and more to performing music aimed at that audience, rather than the chitlin' circuit they'd been playing for previously. Ike was very conscious of wanting to move away from the blues and R&B -- while that was where he'd made his living as a musician, it wasn't music he actually liked, and he would often talk later about how much he respected Keith Richards and Eric Clapton, and how his favourite music was country music. Tina had also never been a fan of blues or R&B, and wanted to perform songs by the white British performers they were meeting. The tour also, though, gave Tina her first real thoughts of escape. She loved the UK and Europe, and started thinking about what life could be like for her not just being Ike Turner's wife and working fifty-one weeks a year at whatever gigs came along. But it also made that escape a little more difficult, because on the tour Tina lost one of her few confidantes in the organisation. Tina had helped Pat Arnold get away from her own abusive partner, and the two had become very close, but Arnold was increasingly uncomfortable being around Ike's abuse of Tina, and couldn't help her friend the way she'd been helped. She decided she needed to get out of a toxic situation, and decided to stay in England, where she'd struck up an affair with Mick Jagger, and where she found that there were many opportunities for her as a Black woman that simply hadn't been there in the US. (This is not to say that Britain doesn't have problems with racism -- it very much does, but those problems are *different* problems than the ones that the US had at that point, and Arnold found Britain's attitude more congenial to her personally). There was also another aspect, which a lot of Black female singers of her generation have mentioned and which probably applies here. Many Black women have said that they were astonished on visiting Britain to be hailed as great singers, when they thought of themselves as merely average. Britain does not have the kind of Black churches which had taught generations of Black American women to sing gospel, and so singers who in the US thought of themselves as merely OK would be far, far, better than any singers in the UK -- the technical standards were just so much lower here. (This is something that was still true at least as late as the mid-eighties. Bob Geldof talks in his autobiography about attending the recording session for "We Are the World" after having previously recorded "Do They Know It's Christmas?" and being astonished at how much more technically skilled the American stars were and how much more seriously they took their craft.) And Arnold wasn't just an adequate singer -- she was and is a genuinely great talent -- and so she quickly found herself in demand in the UK. Jagger got her signed to Immediate Records, a new label that had been started up by the Stones manager Andrew Oldham, and where Jimmy Page was the staff producer. She was given a new name, P.P. Arnold, which was meant to remind people of another American import, P.J. Proby, but which she disliked because the initials spelled "peepee". Her first single on the label, produced by Jagger, did nothing, but her second single, written by a then-unknown songwriter named Cat Stevens, became a big hit: [Excerpt: P.P. Arnold, "The First Cut is the Deepest"] She toured with a backing band, The Nice, and made records as a backing singer with artists like the Small Faces. She also recorded a duet with the unknown singer Rod Stewart, though that wasn't a success: [Excerpt: Rod Stewart and P.P. Arnold, "Come Home Baby"] We'll be hearing more about P.P. Arnold in future episodes, but the upshot of her success was that Tina had even fewer people to support her. The next few years were increasingly difficult for Tina, as Ike turned to cocaine use in a big way, became increasingly violent, and his abuse of her became much more violent. The descriptions of his behaviour in Tina's two volumes of autobiography are utterly harrowing, and I won't go into them in detail, except to say that nobody should have to suffer what she did. Ike's autobiography, on the other hand, has him attempting to defend himself, even while admitting to several of the most heinous allegations, by saying he didn't beat his wife any more than most men did. Now the sad thing is that this may well be true, at least among his peer group. Turner's behaviour was no worse than behaviour from, say, James Brown or Brian Jones or Phil Spector or Jerry Lee Lewis, and it may well be that behaviour like this was common enough among people he knew that Turner's behaviour didn't stand out at all. His abuse has become much better-known, because the person he was attacking happened to become one of the biggest stars in the world, while the women they attacked didn't. But that of course doesn't make what Ike did to Tina any better -- it just makes it infinitely sadder that so many more people suffered that way. In 1968, Tina actually tried to take her own life -- and she was so fearful of Ike that when she overdosed, she timed it so that she thought she would be able to at least get on stage and start the first song before collapsing, knowing that their contract required her to do that for Ike to get paid. As it was, one of the Ikettes noticed the tablets she had taken had made her so out of it she'd drawn a line across her face with her eyebrow pencil. She was hospitalised, and according to both Ike and Tina's reports, she was comatose and her heart actually stopped beating, but then Ike started yelling at her, saying if she wanted to die why didn't she do it by jumping in front of a truck, rather than leaving him with hospital bills, and telling her to go ahead and die if this was how she was going to treat him -- and she was so scared of Ike her heart started up again. (This does not seem medically likely to me, but I wasn't there, and they both were). Of course, Ike frames this as compassion and tough love. I would have different words for it myself. Tina would make several more suicide attempts over the years, but even as Tina's life was falling apart, the duo's professional career was on the up. They started playing more shows in the UK, and they toured the US as support for the Rolling Stones. They also started having hits again, after switching to performing funked-up cover versions of contemporary hits. They had a minor hit with a double-sided single of the Beatles' "Come Together" and the Stones' "Honky-Tonk Women", then a bigger one with a version of Sly and the Family Stone's "I Want to Take You Higher", then had their biggest hit ever with "Proud Mary". It's likely we'll be looking at Creedence Clearwater Revival's original version of that song at some point, but while Ike Turner disliked the original, Tina liked it, and Ike also became convinced of the song's merits by hearing a version by The Checkmates Ltd: [Excerpt: The Checkmates Ltd, "Proud Mary"] That was produced by Phil Spector, who came briefly out of his self-imposed exile from the music business in 1969 to produce a couple of singles for the Checkmates and Ronnie Spector. That version inspired Ike and Tina's recording of the song, which went to number four on the charts and won them a Grammy award in 1971: [Excerpt: Ike and Tina Turner, "Proud Mary"] Ike was also investing the money they were making into their music. He built his own state-of-the-art studio, Bolic Sound, which Tina always claimed was a nod to her maiden name, Bullock, but which he later always said was a coincidence. Several other acts hired the studio, especially people in Frank Zappa's orbit -- Flo and Eddie recorded their first album as a duo there, and Zappa recorded big chunks of Over-Nite Sensation and Apostrophe('), two of his most successful albums, at the studio. Acts hiring Bolic Sound also got Tina and the Ikettes on backing vocals if they wanted them, and so for example Tina is one of the backing vocalists on Zappa's "Cosmik Debris": [Excerpt: Frank Zappa, "Cosmik Debris"] One of the most difficult things she ever had to sing in her life was this passage in Zappa's song "Montana", which took the Ikettes several days' rehearsal to get right. [Excerpt: Frank Zappa and the Mothers of Invention, "Montana"] She was apparently so excited at having got that passage right that she called Ike out of his own session to come in and listen, but Ike was very much unimpressed, and insisted that Tina and the Ikettes not get credit on the records they made with Zappa. Zappa later said “I don't know how she managed to stick with that guy for so long. He treated her terribly and she's a really nice lady. We were recording down there on a Sunday. She wasn't involved with the session, but she came in on Sunday with a whole pot of stew that she brought for everyone working in the studio. Like out of nowhere, here's Tina Turner coming in with a rag on her head bringing a pot of stew. It was really nice.” By this point, Ike was unimpressed by anything other than cocaine and women, who he mostly got to sleep with him by having truly gargantuan amounts of cocaine around. As Ike was descending further into paranoia and abuse, though, Tina was coming into her own. She wrote "Nutbush City Limits" about the town where she grew up, and it reached number 22 on the charts -- higher than any song Ike ever wrote: [Excerpt: Ike and Tina Turner, "Nutbush City Limits"] Of course, Ike would later claim that he wrote the music and let Tina keep all the credit. Tina was also asked by the Who to appear in the film version of their rock opera Tommy, where her performance of "Acid Queen" was one of the highlights: [Excerpt: Tina Turner, "Acid Queen"] And while she was filming that in London, she was invited to guest on a TV show with Ann-Margret, who was a huge fan of Ike and Tina, and duetted with Tina -- but not Ike -- on a medley of her hits: [Excerpt: Tina Turner and Ann-Margret, "Nutbush City Limits/Honky Tonk Woman"] Just as with "River Deep, Mountain High", Tina was wanted for her own talents, independent of Ike. She was starting to see that as well as being an abusive husband, he was also not necessary for her to have a career. She was also starting to find parts of her life that she could have for herself, independent of her husband. She'd been introduced to Buddhist meditation by a friend, and took it up in a big way, much to Ike's disapproval. Things finally came to a head in July 1976, in Dallas, when Ike started beating her up and for the first time she fought back. She pretended to reconcile with him, waited for him to fall asleep, and ran across a busy interstate, almost getting hit by a ten-wheel truck, to get to another hotel she could see in the distance. Luckily, even though she had no money, and she was a Black woman in Dallas, not a city known for its enlightened attitudes in the 1970s, the manager of the Ramada Inn took pity on her and let her stay there for a while until she could get in touch with Buddhist friends. She spent the next few months living off the kindness of strangers, before making arrangements with Rhonda Graam, who had started working for Ike and Tina in 1964 as a fan, but had soon become indispensable to the organisation. Graam sided with Tina, and while still supposedly working for Ike she started putting together appearances for Tina on TV shows like Cher's. Cher was a fan of Tina's work, and was another woman trying to build a career after leaving an abusive husband who had been her musical partner: [Excerpt: Cher and Tina Turner, "Makin' Music is My Business"] Graam became Tina's full-time assistant, as well as her best friend, and remained part of her life until Graam's death a year ago. She also got Tina booked in to club gigs, but for a long time they found it hard to get bookings -- promoters would say she was "only half the act". Ike still wanted the duo to work together professionally, if not be a couple, but Tina absolutely refused, and Ike had gangster friends of his shoot up Graam's car, and Tina heard rumours that he was planning to hire a hit man to come after her. Tina filed for divorce, and gave Ike everything -- all the money the couple had earned together in sixteen years of work, all the property, all the intellectual property -- except for two cars, one of which Ike had given her and one which Sammy Davis Jr. had given her, and the one truly important thing -- the right to use the name "Tina Turner", which Ike had the trademark on. Ike had apparently been planning to hire someone else to perform as "Tina Turner" and carry on as if nothing had changed. Slowly, Tina built her career back up, though it was not without its missteps. She got a new manager, who also managed Olivia Newton-John, and the manager brought in a song he thought was perfect for Tina. She turned it down, and Newton-John recorded it instead: [Excerpt: Olivia Newton-John, "Physical"] But even while she was still playing small clubs, her old fans from the British rock scene were boosting her career. In 1981, after Rod Stewart saw her playing a club gig and singing his song "Hot Legs", he invited her to guest with him and perform the song on Saturday Night Live: [Excerpt: Rod Stewart and Tina Turner, "Hot Legs"] The Rolling Stones invited Tina to be their support act on a US tour, and to sing "Honky Tonk Women" on stage with them, and eventually when David Bowie, who was at the height of his fame at that point, told his record label he was going to see her on a night that EMI wanted to do an event for him, half the record industry showed up to the gig. She had already recorded a remake of the Temptations' "Ball of Confusion" with the British Electric Foundation -- a side project for two of the members of Heaven 17 -- in 1982, for one of their albums: [Excerpt: British Electric Foundation, "Ball of Confusion"] Now they were brought in to produce a new single for her, a remake of Al Green's "Let's Stay Together": [Excerpt: Tina Turner, "Let's Stay Together"] That made the top thirty in the US, and was a moderate hit in many places, making the top ten in the UK. She followed it up with another BEF production, a remake of "Help!" by the Beatles, which appears only to have been released in mainland Europe. But then came the big hit: [Excerpt: Tina Turner, "What's Love Got to Do With It?"] wenty-six years after she started performing with Ike, Tina Turner was suddenly a major star. She had a string of successes throughout the eighties and nineties, with more hit records, film appearances, a successful autobiography, a film based on the autobiography, and record-setting concert appearan

Join Jamie G and Magnum Mills from The Joe Blow Football Show as they break down the seventh and eighth episodes of 'It's Always Sunny in Philadelphia" from their record-breaking 15th season.They are covering:Episode 7 - Dee Sinks in a BogEpisode 8 - The Gang Carries a Corpse Up a MountainLooking For Something in Particular?0:00 - Intro/Opening Credits0:46 - Dee Sinks in a Bog24:03 - The Gang Carries a Corpse Up a Mountain45:33 - Overall Thoughts on Season 1547:55 - Upcoming Schedule48:49 - What We Want From Season 1651:25 - Outro/Social Media Information53:12 - End CreditsCan you believe that these are the final two episodes of Season 15? Hopefully we won't have to wait nearly as long for Season 16 as we did for Season 15. There is a lot going on in these final episodes and we're going to do our best to break it all down for you.In addition to breaking down the episodes, The Gang will also take a look back at Season 15 as a whole and talk about what we'll cover between now and the Season 16 Premiere. This is The Night Pod Cometh, Presented by the Joe Blow Football Show.Find us on your favorite podcast platform by searching for "Night Pod Cometh".We're on Twitter & Instagram @NightPodComethYou can find all of our Joe Blow content at JoeBlowFootballShow.com and on Twitter & Instagram at @JoeBlowShowWe've also got Fantasy Football, Dynasty Football, DFS, Wagering and Survivor content @SeizeTheGapFF on Twitter & Instagram.Thank you VERY MUCH for checking us out, we really appreciate it. We love ALL of the Sunny Fans out there in the world. If you could please LIKE and SUBSCRIBE, it would help us out a TON! Thanks again, Get Rum Hammered!

Join Jamie G and Magnum Mills from The Joe Blow Football Show as they break down the fifth and sixth episodes of 'It's Always Sunny in Philadelphia" from their record-breaking 15th season.They are covering:Episode 5 - The Gang Goes to IrelandEpisode 6 - The Gang's Still in IrelandThe Gang isn't messing around here, they're in Ireland and they're staying there? For how long? For the rest of the season? There's a ton of stuff going on here as the show continues to answer some long-standing questions while also creating some new ones. This is The Night Pod Cometh, Presented by the Joe Blow Football Show.Find us on your favorite podcast platform by searching for "Night Pod Cometh".We're on Twitter & Instagram @NightPodComethYou can find all of our Joe Blow content at JoeBlowFootballShow.com and on Twitter & Instagram at @JoeBlowShowWe've also got Fantasy Football, Dynasty Football, DFS, Wagering and Survivor content @SeizeTheGapFF on Twitter & Instagram.Thank you VERY MUCH for checking us out, we really appreciate it. We love ALL of the Sunny Fans out there in the world. If you could please LIKE and SUBSCRIBE, it would help us out a TON! Thanks again, Get Rum Hammered!

In typical Joe Blow fashion, we are wrapping up our Summer of the Dead series the week of Christmas! We review George Romero's final installment in his Dead series with special guest Grindhouse Zombie.     Merry Christmas and stay tuned for a Christmas special!

Join Jamie G and Magnum Mills as they break down the third and fourth episodes of 'It's Always Sunny in Philadelphia" from their record-breaking 15th season.They are covering:Episode 3 - The Gang Buys a Roller RinkEpisode 4 - The Gang Replaces Dee with a MonkeyThese two episodes were NOT what we were expecting, but we mean that in a good way. They might wind up being viewed as fairly consequential in the show's run when it's all said and done. Not only that, but they both packed some great laughs in.This is The Night Pod Cometh, Presented by the Joe Blow Football Show.We're on Twitter & Instagram @NightPodComethYou can find all of our Joe Blow content at JoeBlowFootballShow.com and on Twitter & Instagram at @JoeBlowShowWe've also got Fantasy Football, Dynasty Football, DFS, Wagering and Survivor content @SeizeTheGapFF on Twitter & Instagram.Thank you VERY MUCH for checking us out, we really appreciate it. We love ALL of the Sunny Fans out there in the world. If you could please LIKE and SUBSCRIBE, it would help us out a TON! Thanks again, Get Rum Hammered!

Meet Lisa Kipps Brown an entrepreneur, an author, and an expert on web access and accessibility. She is no stranger to disabilities as her father was blind and showed her constantly that his blindness was no more than a nuisance. You will discover how she entered the business of creating websites and how she has tirelessly worked to ensure that her work was inclusive for all.   Lisa will share not only her life journey, but she will describe why disrupting your now is an important opportunity for all of us to explore. You will even learn her views about the importance of web access and how she accomplishes it today including using accessiBe and its artificial intelligence website product to make her job more successful. Lisa is a real technological visionary and, yes, unstoppable. Some directories do not show full show notes. For the complete transcription please visit https://michaelhingson.com/podcast About our Guest: Author of Disrupt Your Now and Boomer Cashout, and marketing strategist behind the only NASCAR team racing to combat veteran suicide, Lisa Kipps-Brown helps entrepreneurs solve big picture problems with disruptive strategic thinking. Her natural talent for transforming basic ideas into disruptive strategy and valuable collaborations has people like Forbes 30 Under 30-listed blind PhD chemist Dr. Hoby Wedler calling her a "cognitive powerhouse." Steve Sims, author of Bluefishing, says she's a unicorn who bridges the gap between digital natives and digital immigrants. Since starting her web & marketing strategy company in 1996, Lisa has been a pioneer in business use of the web. Take it from one of her clients: "if you're not afraid of challenging the status quo, Lisa Kipps-Brown can help you build a business that's sustainable and means more than money." She's the expert you're missing, and likely didn't even know you need. No gobbledygook, guaranteed! http://lisakippsbrown.com http://disruptyournow.com About the Host: Michael Hingson is a New York Times best-selling author, international lecturer, and Chief Vision Officer for accessiBe. Michael, blind since birth, survived the 9/11 attacks with the help of his guide dog Roselle. This story is the subject of his best-selling book, Thunder Dog. Michael gives over 100 presentations around the world each year speaking to influential groups such as Exxon Mobile, AT&T, Federal Express, Scripps College, Rutgers University, Children's Hospital, and the American Red Cross just to name a few. He is Ambassador for the National Braille Literacy Campaign for the National Federation of the Blind and also serves as Ambassador for the American Humane Association's 2012 Hero Dog Awards. https://michaelhingson.com https://www.facebook.com/michael.hingson.author.speaker/ https://twitter.com/mhingson https://www.youtube.com/user/mhingson https://www.linkedin.com/in/michaelhingson/ accessiBe Links https://accessibe.com/ https://www.youtube.com/c/accessiBe https://www.linkedin.com/company/accessibe/mycompany/ https://www.facebook.com/accessibe/ Thanks for listening! Thanks so much for listening to our podcast! If you enjoyed this episode and think that others could benefit from listening, please share it using the social media buttons on this page. Do you have some feedback or questions about this episode? Leave a comment in the section below! Subscribe to the podcast If you would like to get automatic updates of new podcast episodes, you can subscribe to the podcast on Apple Podcasts or Stitcher. You can also subscribe in your favorite podcast app. Leave us an Apple Podcasts review Ratings and reviews from our listeners are extremely valuable to us and greatly appreciated. They help our podcast rank higher on Apple Podcasts, which exposes our show to more awesome listeners like you. If you have a minute, please leave an honest review on Apple Podcasts. Transcription Notes Michael Hingson  00:00 Access Cast and accessiBe Initiative presents Unstoppable Mindset. The podcast where inclusion, diversity and the unexpected meet. Hi, I'm Michael Hingson, Chief Vision Officer for accessiBe and the author of the number one New York Times bestselling book, Thunder dog, the story of a blind man, his guide dog and the triumph of trust. Thanks for joining me on my podcast as we explore our own blinding fears of inclusion unacceptance and our resistance to change. We will discover the idea that no matter the situation, or the people we encounter, our own fears, and prejudices often are our strongest barriers to moving forward. The unstoppable mindset podcast is sponsored by accessiBe, that's a c c e s s i  capital B e. Visit www.accessibe.com to learn how you can make your website accessible for persons with disabilities. And to help make the internet fully inclusive by the year 2025. Glad you dropped by we're happy to meet you and to have you here with us.   Michael Hingson  01:20 Welcome to another episode of Unstoppable Mindset, the podcast where inclusion, diversity and the unexpected meet.  Today, I think we get to do some unexpected things, at least I hope so that'll make it even more fun. But we will also talk about inclusion and diversity. Our guest is Lisa Kipps. Brown, who I met earlier this year, she's got an interesting story to tell. And we have lots of interesting experiences to discuss some of which we've kind of collaborated in from a distance and somewhere I think she'll just tell you things that you'll find interesting. So Lisa, welcome to unstoppable mindset.   Lisa Kipps-Brown  02:00 Thank you so much for having me, Michael, it's great to be with you.   Michael Hingson  02:05 So let's start with the usual tell us a little bit about you in general, share some things maybe they that you'd like people to know about you.   Lisa Kipps-Brown  02:16 Okay, well, I'm an entrepreneur, I've been an entrepreneur since 1990. And in 95, I used to be an accountant. And in 95, I discovered web design. So I ditched all the accounting stuff I was doing. And in 96, I started a web design company. So ever since then, I've been doing web and marketing strategy. And I'm now you know, because of all the platforms out there that people need less coding, and so forth. Most of what I do now is big picture strategy for companies, helping them disrupt their own business, so to get them out of a rut.   Michael Hingson  02:56 What got you into web design? I mean, why did you decide to do that from what you were doing?   Lisa Kipps-Brown  03:01 Well, I would, at the time, I owned a business that I was consulting with other small businesses. So I was working on big picture strategy anyway, but mostly within kind of the financial area. And I was also the financial controller for an international software company. But I didn't like accounting. I was really good at it, but I just didn't like it. And one of the young guys, I was the only American working for the company. And one of the coders was like, Oh, you ought to check out web design. Well, I'm 60. Michael. So back when I was in college, when you took coding, you took Fortran, which meant he had to sit there and do the punch cards. I was like, No way. I'm not doing that. Well, we also did basic and that was on a PC, but you still wasn't like immediate gratification. But he piqued my interest enough that I looked into it. And I realized, oh my gosh, I could combine my business background and my creativity and my low threshold for boredom, let's call it and I could combine all of those things and help businesses in a way that other people wouldn't be able to just because of the variety of my background, so I ditched everything accounting, and have been and have been doing everything pretty much web based ever since.   Michael Hingson  04:28 I remember being in college at UC Irvine and the first computer that I was really exposed to was an IBM 360 Of course we had IBM Selectric terminals and of course you're right Fortran and and some other things along the way. And then basic did come along. I never did learn COBOL but I did take Fortran although I don't remember a whole lot of it now and probably   Lisa Kipps-Brown  04:58 wouldn't be very easily. I hated that, you know, the punch cards and everything. But I love the logic behind, you know, when I was actually coding with web design, I loved it because it was like solving puzzles. But I didn't have to go through the misery and drudgery of sitting in line and doing the punch cards and having them compiled. So it's funny how if you can figure out what you like, like inside of yourself, not the task, but why you like things and why you don't, it will really help you find your thing in life that you're meant to do.   Michael Hingson  05:34 I remember, the first time the university got a card punching device that had an 80 character display. So you could actually put all of the characters in, proofread it, and then push the button to punch the cards. Oh, wow.   Lisa Kipps-Brown  05:54 See, we didn't have that. They may have already had it. But they may have made us do what we were doing. Because it was like, computer science 101 or whatever. I just know, I hated it.   Michael Hingson  06:06 I think yeah, but I think it was, was probably pretty sensible to have the punch card device with a display because it meant you didn't waste as many cards. It didn't change the logic or anything. It only said, Okay, did you really mean to put these characters in before you push punch. So a lot of times this, of course, none of that was usable by me directly. But I remember being involved with a number of people and observing them and talking with them. And they said it was such an an amazing improvement. Because now they made many fewer mistakes. By the time the card got punched, yes. And so that when it got punched, if it messed up, then it was a different kind of a problem. It wasn't a typo. Typically, it was perhaps a little bit of an error in logic or an error and understanding something about coding. But you're right. Programming is a wonderful way to explore and think about puzzles. It's all about logic. And as we know, the machines do just what we tell them or they did them. But we now have the the arena where we're moving more into artificial intelligence. And the day is going to come when machines really will be more unpredictable to us. Because they're thinking among themselves. Of course, science fiction writers have been writing about that for a while. And as late as Dan Brown and origin and other things like that. And of course, Ray Kurzweil talks about the singularity when we marry our brains and computer brains, and then it will be really interesting to see whose will will win out.   Lisa Kipps-Brown  07:53 But yes, it will be.   Michael Hingson  07:57 It will be interesting. But computer programming was was very fascinating. I took one year of information, computer science, and it was all required part of our degree programs and physics and so on. And and used and we use the computers a lot, we use the 360. Then we got a PDP 10 into the system. And of course, all of us just worked at remote terminals, albeit sometimes in the computer science building in the computer room, but a lot of times in physics, our access was through remote terminals in a completely different building. So it was a while actually once I joined UC Irvine before I actually got to go in and and visit the computer room and experience it close up. But it was a lot of fun.   Lisa Kipps-Brown  08:49 Yeah, it is. And you know something else funny about it. When I was in college I never studied. Well, I didn't in high school either. But I drove my my roommates crazy because I would never study but I always got A's and B's, because I just learned really easily. Then when I discovered web design, of course back then there was no Google. And there was really no resources online even without service to the learn. So I would buy all these coding books, and go to bed with my coding books. I mean, by that time I was 35. And my roommates, if they came to visit, they were like, Oh my gosh, I cannot believe you have a book and a highlighter. And I said well, it just goes to show you if you find something that you really are interested in, you know that it makes all the difference in being motivated or not.   Michael Hingson  09:40 I don't remember for sure the author but one of our computer science teachers told us that one of the standard jokes they had for a while was that when you enrolled in ICS one information computer science one. The first night the professor would say You know, our textbook is entitled Introduction to Programming. And I think the author's name was Ken Ingram, I'm not sure. But you need to read chapter one. And he told us about it, because Chapter One was literally half the book. Oh my god, you had two days to read it. It's pretty clever. But still, you know, we all learned and, and I very much enjoyed. What? Taking computer science courses, physics and so on. Did because there was logic to it. And it did create and answer puzzles. And it was always fun when you when you got a puzzle that you had to, to work on figuring out whether it was programming it or especially when you get into physics and dealing with a lot of the theories and expanding on them. It's all about puzzles.   Lisa Kipps-Brown  10:54 Yes, for sure. Just so was your major physics?   Michael Hingson  10:59 Yes. I love that. My master's is in physics.   Lisa Kipps-Brown  11:02 Okay. Okay. I didn't realize that. That's cool. So it   Michael Hingson  11:07 was a it was a lot of fun. And I did, I did pretty well with it. I did study a lot I needed to do that. Partly, I think for me, also, was that I had challenges with access to information, of course, being blind. Yeah, especially back in the 70s. And even earlier, but for me, the 70s information was not readily available. And when I needed a physics book, I had to get the professor's to tell me what they were going to use in class months ahead of time, which they were very resistive to doing. Because Oh, we want to wait till the last possible. Second, we want to get the latest thing. And I said, Look, here's the problem. And some of the we're not very sensitive to it. And I had to invoke pressure from part of the the university administration. And there was a person, Jan Jenkins, who later became Jan Jergens, who was the person who ran the Office of Special services for persons with disabilities at UC Irvine, and Jan told me early on, I'm not going to do things for you, I'm not going to do things for any of the people who come in here, I will facilitate for you. If you're not able to get a professor to give you the information, then I am the the person at the university who can help make that happen. And and I think that's always been the way it should be done. We have too many, we have too many college programs out where the the office does everything you want to take a test, we'll set it up for you. You You need something you just tell us we'll do it. If students don't learn that level of independence to do it themselves, if they don't learn to hire their own readers and fire their own readers. And yes, we still need people to read material from time to time, although there's now other technologies that help but if you don't learn to do those things, it doesn't serve you well later in life.   Lisa Kipps-Brown  13:09 For sure. So the books, the books for your courses, did you were you able to get them in Braille? Did you have to have somebody read it to you? Or did you buy an audio book or what the   Michael Hingson  13:21 problem was, especially in math, and physics, and so on is doing it. And they were available in recorded form sometimes. But that doesn't really work. You know, you don't, you don't study or analyze from an audio book, you need to be able to go through it, you need to be able to search it, you've got to be able to go forwards and backwards and sideways and so on. So the only way to really do it is Braille. Yeah. And Braille is a technology that any person who is blind should use and I define blindness. And we've talked about it on these podcasts a little bit. But I define blindness as a situation where if your eyesight is diminished to the point where you need to use alternatives to print to do things, no matter what the alternatives are large print, closer to television, or braille or whatever, you should consider yourself blind and learn blindness techniques. Because if you don't, especially if you're losing your eyesight and you lose the rest of it, then you're going to have to be retrained. And psychologically you haven't made that leap. So for me, getting the books in braille was important. And the reason we needed to have the information and access to the books months in advance is that back in those days, people would hand transcribe the books. My favorite transcriber, a lady named Eleanor savage who I finally got to meet years and years later, but Eleanor actually took a cruise every year around the world and what she did is she took her brailler and most of the time as part of that cruise she was transcribing physics books for me A great idea. And and she and she was great at her job. She knew the mathematical code, the Nimeth code for Braille mathematics, she was able to transcribe the books. And as a result, I was able to have the mostly on time, which, which was great.   Lisa Kipps-Brown  15:19 I totally agree with you, Michael, about people making. Basically what you're saying is people need to put themselves out of their comfort zone, because that's how we grow. And like you said, you need to be prepared. I have, I have a vision issue that it doesn't interfere too much with me now, but I never know when it might. And so I do things like when I get up at night, and I will do this anyway. But I don't ever turn on the lights when I get on it. Get up at night, I do things like that, to force myself to think without seeing being able to act without see.   Michael Hingson  15:52 Right? Well, what what got you into this mode of really thinking about doing things without eyesight?   Lisa Kipps-Brown  15:59 Well, my father was blind, he was not born blind, he started losing his sight when he was eight. And both of his retinas detached. So by the time he was, I guess, probably 16, he was totally blind. So of course, he never saw us, or anything. But growing up around him, he was just daddy to us. You know, we didn't think about him being blind, because he was just there, he rode horses, he shot guns, he owned his own business, he even mowed the grass. And because he would mow barefoot on because he could tell with his feet, which grass was longer and which wasn't. So when growing up around somebody like that, I didn't realize how different he was because as the city was just daddy, and you know, all of his adult friends would always be like, Oh my god, your father is so amazing. And I'm like, okay, whatever, you know. And it wasn't until I was an adult that I really realized how amazing he was. But I'm never ever one time in my life ever heard him say I can't do that. He had a lay a full woodworking shop in our basement with the lathe and all this stuff. So the point of that is that when you grow up around somebody like that, it's like osmosis, you just naturally think differently, because you're around somebody who was constantly adapting and figuring out how to do what they want to do, even if people think they shouldn't be able to. And so I realize how him losing his sight. Gave me and my sister such an advantage, just because of growing up with him.   Michael Hingson  17:45 So he learned to solve puzzles.   Lisa Kipps-Brown  17:49 Yes, yeah.   Michael Hingson  17:52 In every sense of the word, because that's, that's what it's about. I wonder what people thought when they saw him mowing the lawn barefoot. Oh, wow.   Lisa Kipps-Brown  18:02 They probably were, well, where they live. We live in a rural area. And their house was beside my grandmother's and my aunt so I don't know if really anybody saw him besides him. But people have seen him do a lot of things that they just cannot believe that he has done and um, I mean, he rode like he would do trail rides, the whole weekend long and it'd be like on his horse, it'd be like 35 miles each way. And things like that. The house that I own now is actually on a lake and when I was growing up a friend of his and it I found out after I bought it that at one of the parties that his friend had that a bunch of them were going to go waterskiing with daddy wanted to drive the boat. So they took him around the lake a couple times for him to get his bearings, and he drove the boat for the site admin to water. See, I'm not saying that was a good idea. But that was a it didn't surprise me at all that he did. And I'm sure there was a sighted person sitting beside him just in case something had gone wrong. But you know, yourself. It's almost almost like sonar y'all see, but you see in a different way than we do.   Michael Hingson  19:14 Yeah, I was thinking that probably someone sat next to him because it would be really hard to hear. Maybe not too hard. But when you're getting close to the shore, so you make the appropriate turn. There are sounds and you could learn to tell the difference from being in the middle of the lake when when you're there as opposed to being at the shore. But if it were me, I would want someone to be there just to make sure I had that information. Right now. Maybe it's because I haven't learned to do that.   Lisa Kipps-Brown  19:47 No, I cannot I didn't ask his friend that was telling me I can't imagine that they didn't have somebody beside him but just the fact most people would never dream that somebody has can't seek to do something like that. It's like going to our cabin in the mountains, it's 120 miles from our home. And you know, he'd been going up there his whole life riding in the car with different people. So if he had somebody take him up there who had never been before, and it was just them in the car, he could literally tell them every turn, yeah, like, oh, about, you know, a half a mile up the road, you're gonna go around the curb and a dip and blah, blah, blah, and it blew people's minds. But as I said earlier, he it was so ingrained in him, because he felt it and, and heard it. And that was the way he could visualize if you will, to give directions to somebody else.   Michael Hingson  20:47 Sure. Um, I know, and I can do the same thing. What really amazes me is having now used a guy dogs, most of them can be asleep on the floor in the back seat or, or up between our passenger seats in our in our van today. But they could be asleep on the floor, and wake up when we turn on to our street. Uh huh. I think that's even more amazing. Because for me, knowing where I am, when I'm traveling to and from a place on a regular basis, frankly, that's easy. Yeah. And I think that it gets back to the point, that eyesight is not the only game in town. And the reality is that we don't, as a, as a people choose to learn to use the alternative techniques that blind people do, that might enhance our own lives, as people who can see. And that's why one of the reasons it's the best training centers for blind people teach partially blind people to travel under blindfold. And then they say, Look, when you go out in the world, as long as you can see, you still have that eyesight, but use your cane in conjunction with it, and enhance what you do. And the people who adopt that philosophy, find that it really makes a great difference in how well they can function and how well they do function. Because they've learned the techniques, and they've psychologically accepted that there's nothing wrong with being blind.   Lisa Kipps-Brown  22:26 I love that. That's great.   Michael Hingson  22:29 So it makes perfect sense to do. And, and it's, it's something that I wish more people would would recognize. And it's kind of why I adopted in our book, Thunder dog, in this section called guide dog wisdom. One of the lessons that I say we learned from Roselle on September 11, is don't let your sight get in the way of your vision.   Lisa Kipps-Brown  22:52 Oh, yeah.   Michael Hingson  22:55 Because it happens all too often.   Lisa Kipps-Brown  22:57 And, and an example that I think all of us can relate to, is Google Maps, or any map thing, somebody will be driving, and they can see the road signs or whatever. But if the map tells them to do something, and even if they see it, they're like, oh, but the map said in people, you know, it's relying too much on other things. And so that's not a really, that's not the same thing. But it does show how people will rely too much on something at the expense of something that's basically right in their face, telling them what to do.   Michael Hingson  23:36 Right? Well, and there's nothing wrong with going by what the map says. But what we don't learn to do is to use all the information to our senses. To accomplish a task, we don't use everything, we rely on one thing, we don't look at everything that's available to us to make the most intelligent decision that we can make.   Lisa Kipps-Brown  24:00 Right? So an extreme example of that would be if a street says one way do not turn in the map and saying turn, obviously you're not going to turn. But you know that that's an extreme example, and I haven't been with anybody that does that. But I've even been with people that know where they're going. And they will still turn at a different place just because the map tells them to even though they've been to the place a million times. So it's it's pretty funny how people give up their own control by defending and things like that.   Michael Hingson  24:33 I have been in cars where people did exactly what you just said they go by the map as opposed to and they have turned the wrong way. Fortunately, they weren't very busy streets. So we we survived. But still, people do that, rather than looking at everything around them. And I really wish that as a people we would teach ourselves and our parents would spend more time teaching us To observe and think and question and analyze, because, as you know, from dealing with puzzles no matter what they are, that's what it's about.   Lisa Kipps-Brown  25:10 That's right. I'll give you another example of something that he did with us that we didn't think much about it at the time, but we would have been learning from, he would play basketball with us. So we had a basketball goal that he actually built for us, he, you know, dug the hole and put the pole up and everything and the concrete, and he would play like horse and around the world, those kinds of things. And we would knock on the post of the basketball goal, so that he could get his bearings where it is. And then in his mind, you know, he would calculate the height and, and he would shoot, and he was really good at it. So think much about it. But, but when you see somebody doing those things on a regular basis, and never saying, Oh, I can't do that. I mean, literally the first time he did it, it would, he would have been like, he probably just said, Let's go play basketball or shoot basketball. And, um, so when you're around people like that, you just absorb that way of thinking, in that no challenge is too big.   Michael Hingson  26:21 And, you know, even if you don't accomplish everything in the challenge, you learn from it.   Lisa Kipps-Brown  26:28 That's right. Yeah, a lot of NASA we learned the most from our failures, don't we?   Michael Hingson  26:33 We do. And, and what's a failure? It's an opportunity to learn, like, What's the mistake? Was it a mistake when you made it? Probably not. People would judge it as a mistake. But the real question is, you did it, what do you learn from it? And if it was a mistake, can you improve upon it? I was talking with someone this morning, we're actually working toward writing a new book, called standard dog is out there still, which is our my story of being in the World Trade Center. But we're writing a new book. Originally, I talked about our thought about calling it blinded by fear or not. Because most people really are blinded by fear. And when I say blinded, I mean that they tend to just totally let fear take over and they can't deal with moving forward. They don't know how to make decisions. They lose perspective. But we actually changed the title of it. It's actually now been submitted as a proposal. So we're hoping that a publisher will pick it up. But our our latest title is a guide dogs Guide to Being brave. And we're doing it from the standpoint of Roselle, who was with me in the World Trade Center, of course, on September 11. But we talk a lot in the book about life choices. And do we go back and analyze and I was talking with my my colleague who's helping to write the book, my co author, Carrie Wyatt can't. Can you trace your life back to the choices that you've made? Can you go back and look at your choices, and see what brought you to where you are and what you learned along the way? And we both agreed, most people can't do that. And what started it was that I made the comment, I can go back and look at my life. I know the choices that I've made along the way, especially the major ones over the past many number of years now being close to 72. But I know the choices that I've made, and I know what I've learned each time from those choices. And that's invaluable.   Lisa Kipps-Brown  28:42 Yes, it is. And I remember, this is just one small example for people out there. I remember you and I speaking this past summer and you were talking about being in an airport or something and you said you wanted to get lost. So that then you could learn your way around or something to that effect you didn't somebody to just lead you to where you needed to go, that you needed to find it on your own. So you can learn from it   Michael Hingson  29:09 did a lot of that in the World Trade Center. And the value was that it got to the point where I couldn't get lost in the World Trade Center. With within a few seconds of just doing some listening and observing. I always knew where I was.   Lisa Kipps-Brown  29:23 Yeah, because everything sounds different from the different angles in the floors. And not that I can't hear it that like y'all can. But I think I am more aware of it than most people out here things in our house. I'll be like, What is that noise and my husband's like, what noise? And then I'll just go looking and looking until I trace track it down and I'll find some little something you know, yeah. That's pretty cool, though that you couldn't get lost.   Michael Hingson  29:52 Well, and the the reality is that that you could learn to do that. You know, people always say To me, well, you're blind. So your your other senses are heightened. And someone at one of the training Senator center centers, senators, they need training. One of the training centers that I've visited over the years said, Is that No, it isn't a matter of heightened senses, other than you've trained yourself to heighten your senses. And the the fact is that any number of sighted people have done that look at SEAL teams look at a lot of elite military people look at people who are very deeply involved in something or other, they become focused, and they've trained themselves to deal with a lot of those things.   Lisa Kipps-Brown  30:46 Yeah, follow through. Yeah, when I get up in the night, and I don't turn in the light. So many times you would think he would remember because we've been married 34 years now. But very frequently, it'll wake up my husband, he's like, wait, you want me to turn on the light? I'm like, no, no, turn it on. Don't turn in. I want to do it in the dark. You know, I just like the challenge.   Michael Hingson  31:09 Or, or better yet, and why aren't you learning to do that? Exactly.   Lisa Kipps-Brown  31:13 Yeah. Why do you have to turn over life for everything. And, you know, Daddy would be in the basement. He had a dim down there, and he would listen to music all the time. And somebody if somebody came to see him, and they might say something like, How do I turn the light? And he's like, why do you need light? I don't have a light. You know, he'd always give people a hard time. You don't need a light   Michael Hingson  31:32 to waste of electricity. Exactly. Yeah, well, Dick herbal Shimer, who is my geometry teacher in high school, who we've stayed very long time friends with, tells the story, and I had actually forgotten it. But he came over to our house. Once, when I was in his class, as I say, we became very close friends. And he wanted to see our ham radio setup. And my father and I were both ham radio operators by then. And we went into the den where it was all set up. And he said, I remember saying, Well, you know, I'm not able to see it very well. Can I turn the light on? And I? And I said, Well, why? Sorry, I forgot. But we'll accommodate you, you know, but yeah, it is it is what people are used to. And every time you have a power failure, what's the first thing you do you go find a candle or a flashlight, rather than maybe learning not to be so quick to use those and and raising your own senses simply by training yourself to listen, or to observe in other ways?   Lisa Kipps-Brown  32:40 Yeah, and a lot of times it's not even really that dark, even if it's in the middle of the night because the moon or you know, so be it's just such a habit for people to feel like they have to have that light.   Michael Hingson  32:54 Now then there are some people who are really scary share Heckerling, the founder, or co founder of accessiBe, tells me that one of his best friends who is blind is one of the chief coders that they work with. And this gentleman, being blind, can write code, carry on a conversation with you, and be listening to music all at the same time. Yes, scary. I don't have   Lisa Kipps-Brown  33:26 to do that. I can type and carry on a conversation at the same time. And but I don't know if I could pay attention to music, but I'm just so used to that, you know, because my husband would be like, You're not listening to me. I'm like, yeah, yes, I am. That's cool.   Michael Hingson  33:45 Well, I can type in carry on a conversation at the same time, sometimes I do realize that accuracy might not be as good or, or I know that I made a mistake. And I have to go back and correct it more as I'm typing. If I'm carrying on a conversation at the same time.   Lisa Kipps-Brown  34:01 Code is way different than just, you know, for me to just be typing something. Do writing code is way different. Because you really have to be right with that.   Michael Hingson  34:13 Well, again, you you develop a mindset and you develop and train yourself to be able to do that. I'm sure. It's very doable. It's just not something that I've learned to do. So I just choose to be jealous of that guy who can do it. Yeah. It's a life choice.   Lisa Kipps-Brown  34:30 Man, you do other things that he's probably jealous up. So   Michael Hingson  34:35 I guess probably so. So, you know, you you've done some writing, you've written some books, right?   Lisa Kipps-Brown  34:45 Yeah, I've written three, the latest one release this past summer in July.   Michael Hingson  34:52 What is that one called?   Lisa Kipps-Brown  34:53 It's called Disrupt your Now the successful entrepreneurs guide to reimagining your business and last   Michael Hingson  35:00 Tell us about that, if you would, please.   Lisa Kipps-Brown  35:02 Okay, well, over all of these decades of helping business owners, I realized that a lot of the people that I work with, they start a business and they're like, Yes, I'm gonna be my own boss, and I'm gonna, you know, control my life, and yada, yada, yada. And then before they know it, they realize they built a business that they don't even like, they don't want to own, but they're trapped. Because I'm like a job, you can't just walk away. And my theory on it is that the reason they do that is because they're paying too much attention to what everybody else is doing, instead of what they want their life to be like. So you know, people within an industry, they'll look around at competitors, or whatever, and they'll think everything they're doing, I need to do. But if you want a different type of lifestyle, then you need to do it differently than they're doing it. So like for me, even though I own a web design company that you know, there are a lot of agencies out there, they have a lot of employees, I have never wanted to have many employees, because I don't like managing people, I don't want to be tied to one place geographically, which was another reason I really loved web design when I when I on, discovered it in. So there, I like for my life, I like to be able to adapt it as I go. So like when my mom got Alzheimer's, I can adapt my business. So I like having a really agile business that I can change on a whim that somebody else who's building a business to sell, they're going to need to make different decisions than I did. And if we are copying each other, then we're not going to end up with what we wanted. So that's why I wrote the book disrupt your now. And really I tell people stop thinking someday or one day and start thinking right now, what are some things that you can do now to start making your life and your business what you want it to be?   Michael Hingson  37:11 So let me name two people, Mark Zuckerberg and Bill Gates. Why were they successful?   Lisa Kipps-Brown  37:19 Oh, well, part of its timing part of its doggedness, part of its vision and creativity, I'm sure that you're   Michael Hingson  37:32 well, and what I was thinking of was just in terms of what you're saying, they chose to be different. Or Jeff Bezos is another one. They, they, they envisioned what they wanted. And they were open to exploring ways to make it happen. I mean, look at what Jeff Jeff Bezos did, even though he doesn't always make things as accessible as we would like. But none of them do, actually. But Jeff Bezos created this company, to sell books, and to then later to sell other things online. And I remember for years, Amazon was not very proud, well, was not profitable. And he kept saying it's going to be and he kept doing various things until he made it successful. And make no mistake, it came from him. Yes. Steve Jobs apple. It started out and originally, the Macintosh wasn't necessarily the the greatest thing. But he worked at it. He had a vision. And then Apple took off,   Lisa Kipps-Brown  38:47 right? You know, with an Amazon, I actually the first book I wrote, and some other books that I didn't write, I actually sold those on Amazon and back in the 90s 97 to 2000, before I sold the company, and that was when most people didn't even know hadn't even heard of Amazon yet. You know, but, um, so I've been following him for many, many years. But and that's the thing, it's like people don't, they don't understand how to think differently, just like we were talking about with our senses. They get so ingrained in making decisions based on the ways that they think they're supposed to make them that they don't look at alternatives. So I'll give you a business example for me. So in 97, I was working with a client whose she owned the company that had had print products and it was a set of technical books, gods and and of course, they will print books and her husband had died of cancer. She sold up inventory, she could not afford to take it back to print. So she was gonna go bankrupt and started talking to her. Why have these three questions, Michael that? So I'm going to stick this in here at three questions that I use that I realized I got out of growing up around daddy. The first is fly. The second is why not in the third is what if. So with her without me thinking about it, I'm like, Well, why don't you figure out a way that you don't have to pay for it? And she goes, Lena, oh, how can I ever do that? Well, I actually got books pre ordered, gave people 25% discount. So by the time she had to order, she had enough money, she didn't have to pay for it. But then I was like, why not figure out a way that you can do have this product, but having in a version that you don't ever have to have print? And she's like, How could that be possible. And remember, this is 97 I so I know, we can figure out a way that you could turn the the books, each individual page into a file online for people to download, because a lot of the people that used it were marine surveyors and yacht brokers and stuff. And of course, she thought I was crazy. But I said, if you did that, you could update it constantly. You wouldn't have to wait a year or two to add the next volume. And then lastly, what if we could actually create an entire new revenue revenue stream for you? So long story short, I developed a system for her to turn the books and the individual it they later ended up being PDFs. At first, they weren't just images. But we sold subscriptions, and yearly and monthly subscriptions for professionals that needed it. But we sold daily subscriptions to Joe Blow that was interested in just researching boats, like having a glass of wine. And he's like, Oh, I think I want dreaming of having a bed. You know, we want to be able to look at technical line drawings and stuff. So we created a whole new business model. And this was in 9798. Nobody, that all of the subscription based businesses back then online, were basically internet service providers like AOL, stuff like that. And I actually sold it right before the.com bubble burst. So that's an example of nobody would have back then no, nobody would have ever thought about taking a book and turning it into something digital. And I doubt I would have if I hadn't grown up with my father, you know, just having that different mindset.   Michael Hingson  42:44 But also, you had the opportunity to ask those questions, because someone came along who had a problem? Yes. And you recognize the inspiration that came into your mind about why why not? And what if? And it seems to me the most powerful of those three questions is what if, yeah, because that's the one that really makes you vision?   Lisa Kipps-Brown  43:04 I agree. I love the whole idea. The why is the part that people are like, are you crazy? This is why it's obvious why I'm doing it. And the why not? Is then they really, it's pushing them out of their comfort zone. Oh, you know, like her? How can I have a book that's not printed? So it's like the why the why not? It's easing them to that third class question. What if? And what if is the disruptive question that think of something like your wildest dreams of what if you could do something this way? What would the craziest idea be? And there's probably a way that you can actually make it happen?   Michael Hingson  43:45 Yeah, the what if gives you the general question, then you get to the details.   Lisa Kipps-Brown  43:52 I'll give you an example, not entrepreneurial. And so I was working with a woman who had been laid off from a government job. And she said a half to get another job and government because of the retirement plan, and so forth. And but she had been really unhappy in the job. And I said, Why do you want to get back into a similar situation when you were so unhappy? And you know, you automatically have the bureaucracy and the six steps of promotion? Why not try to find something simple or something better in the private sector? And what if you could get a job with a fast growing private company, that literally there's no limit to your ability to grow that they could even create a position for you once they get to know you? So she ended up after several months of me coaching her and adapting her skills, translating her skills over and so that she would understand that yes, she did have the skill set for this. She took a job with a private company, and she's making 60% more a year than she was making. I'm like, you can take every bit of that and invest it into a retirement plan, you know, instead of being stuck down at the lower level, just so that you can have this retirement plan.   Michael Hingson  45:19 How long ago did you do this?   Lisa Kipps-Brown  45:21 This was this year.   Michael Hingson  45:23 Okay. And so the question is, since you obviously, keep in touch with her right now, is she happier?   Lisa Kipps-Brown  45:29 She loves it there. And the really cool thing, Michael, is that it's b2b. So as she's working, she's working in this place, that there's really unlimited potential, because of the kind of company it is, but she's also working with business clients. So she's making great contacts, that that also increases her opportunities in the long run, because you never know who she might meet, that they might decide they want her. Her world is just so much bigger now.   Michael Hingson  46:06 And she gets to be creative. And maybe when she was in the government job, and I don't know, but I'm assuming from my experiences in dealing with the government world, she, her creativity was very possibly greatly stifled. Now, she might have to relearn to do some of that. But she gets to be creative.   Lisa Kipps-Brown  46:26 Yes, be creative. Again, he can in people think creative means art and stuff, no creative thinking, and thinking strategically and thinking differently than than other people think. And she's really good at that. But you're right, it had gotten very stifle. So now she's having to nurture that part of herself again, because she does have the freedom to use that talent.   Michael Hingson  46:53 Well, and the other part of it is, what's wrong with questioning? Why What's wrong was saying, Well, yeah, that's the way we've always done it. But why do we need to do that? Why not explore something different? Or of course, then take it to the what if we did this instead. But But bottom line is, what's wrong with questioning and exploring, and making yourself and others think more creatively and thinking about all the various options to get the best solution?   Lisa Kipps-Brown  47:31 Actually, I think there's nothing wrong with it. And I think if more companies and even the government, but let's just stick with business, I think if more companies encourage their employees to think entrepreneurially, the then employees would be happier, they'd be more productive, they would end up in positions that they're better suited for. And the company would end up more prosperous and more valuable, if they would just allow people to think entrepreneurially. And instead of everybody being afraid, they're going to do something wrong. And everybody thinking bureaucratically,   Michael Hingson  48:10 there's a TV show that that Karen especially likes to watch, and we binge watched three episodes earlier this week, I in one of them, someone was hired to manage our actually be head chef at a restaurant. And in this restaurant, everything was done a certain way. The ketchup would go in the middle of the plate, so you could put it on easily your steak or your french fries. And what this person did was put the ketchup on the side. And management couldn't understand and wouldn't accept the concept of doing something different. And maybe there's a reason for doing that.   Lisa Kipps-Brown  49:01 What was that show?   Michael Hingson  49:04 It shows that people aren't open to new ideas are open to exploring other ways that may be better.   Lisa Kipps-Brown  49:11 For sure. Now, I mean, what is the name of the show, though?   Michael Hingson  49:14 Oh, what was the show? It's called a million little things.   Lisa Kipps-Brown  49:18 Oh, I need to watch that. Okay, I need to check that out. That sounds really good. It's   Michael Hingson  49:23 put on a few years, and she she especially really likes it. So but I think it's a very relevant point. Why is it that we have to do it a certain way and you know what, it is possible that maybe there was a lot of analysis and there was a lot of thought that went into doing something in a certain way, but then explain it will help people understand it, because if you do that one of two things will most likely happen. One is they'll say oh, okay, or they'll say, Yeah, but what if we look at this? Yeah, and, and both of those are reasonable scenarios. But it starts by accepting the fact that it's good for people to learn and understand and analyze.   Lisa Kipps-Brown  50:19 Yeah, you You are so right. Let me give you another example. Because I think it helps people learn when they have different types of examples, but I love that capture point. Um, so last year with the Cares Act, most communities when they got money for businesses, they would just divvy it up and somehow decide which businesses got how much money. So it would be a certain number of businesses, small businesses, that got you know, a chunk of money. And it just kind of stopped there. It helped them and help them keep employees on but it didn't do anything exponentially in the community. So I worked with one of my colleagues who, by the way, the tourism director there used to work for me. So I know what a creative thinker she is. And she went to her County and said, Look, I have money left in my tourism budget, can I take that and match it with the Cares Act money that we're having, and figure out a way that we can do a matching gift card campaign so that the money could also benefit, it could benefit more businesses. So what we ended up doing is, we developed a system that you could go on as a citizen and buy a $40 gift card for any of the businesses that were participating, but you only pay $20. So you as a person who lived in that community, were automatically saving $20. And then $40 went to the business, whose gift card you were buying, right? So the net effect, we turned $900,000 into 2.7 million, because they did the matching. And what was really cool is most people think, Oh, well, gift cards, they think shopping and restaurants and stuff. And there's nothing wrong with that. But we had businesses in their like daycare centers, Dentist medical centers, car repair, fuel oil. So imagine the the family who, you know, may have low wages anyway, but also maybe worried about keeping their jobs. And all of a sudden, they're able to buy these gift cards and get their childcare for half price for a few weeks. So I was really proud of that, that and you know, it's just sitting there and go, and why do we just want to give the money to a few businesses? Why not figure out a way that more businesses can benefit? And what if we could figure out a way that citizens could also benefit from it?   Michael Hingson  53:11 Why is it that bureaucracies and governments so stifle creativity? And so strongly disincentive people for being creative? Or maybe the better question is, how do we change that mindset? And I know that, in part has to come from getting the right leader to really run it. But it is so unfortunate that we we so poor, are so pervasive about not encouraging questioning, and creativity and so on. It's just so unfortunate.   Lisa Kipps-Brown  53:49 Yeah, it's like, this is the way you do it. This is it, do it this way. And growing up, we're taught to be like that, in school and everything, these this is what you do. These are the rules, and you're supposed to do it. And, you know, I think part of it with business starts with efficiency and so forth. But I think a lot of it is fear. Because you think about it with a company, a manager, whether it's a middle manager or a top manager, they are afraid to change things because they are being judged on the performance up, and rightfully so, you know, they need to the company needs to be profitable, but it makes them more afraid to try anything that might be disruptive in a good way. You know, and but that's how the big changes come about. It's not the small things like you know, just making something that looks a little bit better. It's the disruptive changes that that changed the whole focus for industries.   Michael Hingson  54:50 Well, and they also fear that somebody come up will come up with a better idea than they have had, or maybe a better way Doing things, and this other person will get the credit and they will lose out. Yeah, and we don't recognize that a leader who truly leads also knows when to let somebody else take the lead on doing a project. And that the real leaders are the people who can direct and guide and inspire. But may or may not necessarily have the right idea or the only or the best idea, but will encourage other people to come up with ideas. And in fact, that may catapult someone else into a great position. But the true leader who adopts that mindset, is never going to fail. And they're and they're always also going to feel really good about what they did to bring this person into the, into the limelight, if you will.   Lisa Kipps-Brown  55:57 100%, I'm in total agreement with that I had a great, I have a guest on my show the other day on my Disrupt your Now show, a woman who has developed a disruptive platform for human resources. And it is so cool. And that is her whole thing about helping companies start thinking differently in managing their personnel and turning away from performance reviews, and all those things that people ate, and making it more people based and smell things along the way. So we had a conversation about this exact thing about allowing people to be more entrepreneurial.   Michael Hingson  56:40 I remember working for a company once, and I worked in a remote office, the founder and owner of the company are one of the two founders, but the president of the company was back seeing how we were doing and we went to dinner, and we were talking about salaries and what people made. And he conveyed the message that it was really unfortunate and crazy that salespeople made more money than he did. And he could not understand why anyone would think it's a problem, that the President didn't necessarily make the most amount of money in a company like that particular one, and that, that salespeople could make much more money, even if it's just in one month. But he couldn't understand how that could happen. And why that anyone would find that acceptable.   Lisa Kipps-Brown  57:43 Yeah, I've seen people like that, too. And they don't understand that if, if you don't have the people making whatever it is you're selling, if you don't have the people who can sell it, you don't have a company, so he wouldn't have a job if it weren't for those people. But people at the top, a lot of those people have too much too big of egos and too much self importance. And they automatically think that there's so much worth so much more, rather than, hey, I owe my position to them, I owe my success to them.   Michael Hingson  58:19 And in the long run the executive, if they make the company successful by hiring people, who may be in the short term make more money than they do. Those people, if they've structured a right will be fine. financially.   Lisa Kipps-Brown  58:36 Yes, yeah. everybody ends up better off,   Michael Hingson  58:42 of course, and that's as it should be. It's, it's all again, going back to the mindset, and how we choose to approach what we do and how to approach life. And so having the concept like disrupt your now is, is so important. And I could say it's unfortunate that we have to have that kind of a concept. But we do because we get so locked into a pattern that we don't look at alternatives. I'm a great Star Trek fan. And I remember watching some of the Star Trek movies like The Wrath of Khan, which, which I thought was probably about the best of the Star Trek movies. But one of the things that was talked about in that movie a lot was how people thought. And I don't know whether you watch any of the science fiction movies, but one of the the villain, as Spock put it to Captain Kirk, once tends to think in two dimensions. And of course, you're in space, which really means you can do three dimensions. And by changing Kirk's mindset with that, they won and we're able to succeed but we We don't tend to be nearly as open sometimes as we should be.   Lisa Kipps-Brown  1:00:05 Yeah, I need to go back and watch that, Michael, because I'd forgotten about that. It's been years since I've watched it. It's just easier to go, you know, the path of least resistance, get up and do the same things. Like we've always done them. It's just easier and most people prefer easy. Most people don't really want excitement. And I'm one of those people. One of my biggest fears is boredom. Just like I like making things exciting. And I like figuring out different ways to do things.   Michael Hingson  1:00:39 I'm not sure it's necessarily easier. If you have a mindset that encourages you to if some people say, think outside the box, if you think differently. In fact, if you're constantly doing that, you may find that that's easier anyway. Because you're you're looking for the easier way to get where you want to go. And both of those are part of it.   Lisa Kipps-Brown  1:01:07 Yeah, definitely. And I can tell you doing things, the accepted way is definitely not easier for me. It's, oh, gosh, it's like, it's like torture, because I'm always looking for just it doesn't have to be necessarily actually a doing something differently, son. And that's what people have a hard time understanding. I just like looking at everything. Why are we doing it this way? You know, why is it that way? Why can't it be another way?   Michael Hingson  1:01:43 And again, as long as you look at it that way, and you're open to options, you may find that the way you're already doing it is the best way.   Lisa Kipps-Brown  1:01:56 Right? Yeah. Cuz then you've got verifications.   Michael Hingson  1:01:59 There's no need to change, just to change, you should change because there's a reason to change. Exactly. Yeah. And I've been in situations where people say, Well, yeah, maybe we've always done it that way. But we're going to do it this way. Because we should try something different. Why?   Lisa Kipps-Brown  1:02:15 Exactly. Yeah. And I'll tell you, that is a big problem, when new blood comes into a company, because they want to make their mark, you know, and they want to be like, Oh, we're gonna do this big thing. You know, it might be a manager of a product line or whatever. You know, Pete, nice, er, manager or whatever. But they want to come in and do they want to try to come in and do things their way so that they have a win that then they can brag about? But many times, it's it would be better off leaving it like it is and finding something different to go after.   Michael Hingson  1:02:54 Right? That's the other part of it. Well, I have to ask you about your involvement in NASCAR and some projects with that. I know that's how we originally met you we were introduced by Herbie wetzler who we're also going to have on unstoppable mindset. But tell me about NASCAR and what you've done and what what the project is.   Lisa Kipps-Brown  1:03:19 Yeah. So this is another thing that came out of those three questions on calling Garrett is a young NASCAR driver. Three years ago, his dad contacted me to talk about strategy. I don't know if the listeners know very much about NASCAR. But it's a brutal sport, the drivers have to bring their own sponsors in. And they're basically free agents. And once a sponsor comes into NASCAR, there are very few truly new sponsors at the higher level. Usually what happens is a new sponsor will come in and then once they get in there, they realize, oh, this is really cool. You know, and then other teams try to poach them or they start looking around. So it ends up everybody's going after the same buckets of money. So with him, I said, Why do you want to go after the same same buckets of money, you've got to figure out a way that you can make yourself be the only driver that could do something for people? Why not figure out a way that you're the only one and so nobody can take your the partners who truly are the best partners for you. Nobody can take them because they are not able to do what you are able to. And then the what if became, what if you could help other people while you're doing it? Because he really wanted his career to me more than entertainment when he was older. He and his dad had had that conversation that they really wanted it to have a bigger meaning. So we ended up I'll fast forward through but we ended up on Promoting racing for heroes and the Rosie network, which are two nonprofits that help veterans and military families and racing for Heroes is suicide prevention. And they provide free mental and physical health services job training, job placement in the Rosi Network provides entrepreneur services. So we were working on this, we were promoting them pro bono, we crowdfunded the first race for 2020, we beat our goal, we had never crowdfunded, we beat our goal of 200,000, and were able to raise enough to pay for stem cell treatments for veteran with multiple sclerosis. So that made history two things of making history right there, the Crowdfunder in the stem cells. Then we brought in the first service disabled black owned, small business sponsor, we also um, we had a the opportunity for micro businesses to be part of the marketing campaign, if they gave just $10 to the crowdfund or they got to use a badge in all of their marketing, it had the NASCAR logo on it and Collins logo. So that had never been done before. And that was for veteran owned and military spouse owned businesses. That was another way for us to give back to them. And then this past summer, as you know, we had the first Braille paint scheme in NASCAR in the first blind, don't sponsor and I am very happy to say that access to be was one of the sponsors on that car. And that car was all about access, access to resources, whether it's online, or healthcare or education, or whatever. But um, oh. And we had the first blind gun sponsor, who was also Hopi Wendler. So even with COVID, we have made NASCAR history in five different ways, that are all about helping other people and that are all about bringing some kind of access to people, whether it's healthcare, job training, entrepreneurial training, yet, all those different things. And I'm just really proud to be a part of it. But it's very personal to me on many levels, because my husband is retired Navy. So I know how hard it is when they transition out of the military to fit back in, you know, into the civilian world. My grandfather killed himself when I was five. And my grandmother tried to when I was three, I mean, three years later, when I was eight. So the suicide prevention, I know had the ripple effects. And that that has, and then, of course, daddy being blind, and me being able to have Hobi, and except to be on the car and having the Braille paint scheme. All three of those things are just so important to me personally, and it just makes me feel really happy that we've been able to do it.   Michael Hingson  1:08:12 It sounds exciting, of course, it's a bigger challenge to having to do it during a COVID environment in the COVID year, but you're persevering?   Lisa Kipps-Brown  1:08:22 Yes, we are right now we are fighting to get funding for next year. And you know, still with COVID going on, we're not able to do we have really wanted to rely mostly on crowdfunding, but like everybody else, we're having to adapt. Because people, you know, average people are less able to give to campaign. So we're turning more to corporate sponsors again. But unlike other, whether it's a nonprofit or sponsorship type thing, unlike all the other people that are going after those buckets of money, we approach it as a b2b service. We talk to potential partners, and we're like, what is the biggest problem that you have in business? And how can we help you solve it, it might have nothing to do with the race car at all, you know, but by them sponsoring the car, they have access to all of us all of we we have experts who can then help them in their business. And we've done things like help a convenience store that find and vet and locate good veteran products to carry. And if you think about that, that would be hugely expensive to do. Because first you have to do the research to find the products and make sure they're good and make sure it's not something that's already in a bunch of stores. Then you also have to vet the veteran because there's so much stolen value So we have about 50,000 businesses, veteran and military spouse owned businesses in our network, and the Rosi network, one of the nonprofit's we promote, they actually already vet businesses to make sure that they truly are veteran or military spouse owned. As a matter of fact, they do that for Google. Also, they're the exclusive provider of that for Google. So with this convenience store, we already have this huge network and we could readily recommend products to them. The Ro

Mr. Substance offers a seldom heard insight into his recent collaborations with the likes of Joe Blow and Bard Picasso's Blue City, working with K-Saulz and more!

https://www.killatapespodcast.com Featuring; Up 2 know good, Wais P, Paul Wall, Termanology, KXNG Crooked, Statik Selektah, Data Haux, 24vision, Doc Terror, Jfraallday, Rummy Rozier, Dead poetz society, Different breed 860, Dr Lekta, Awon, Krumbsnatcha, Solomon Childs, Cuban Pete, Mike Titan, A7MC, Jason Famous Beats, 4Dee, Joe Blow, Dj Callie Ban, Tommy Evans, King Tetrus, Conscious Route Beats; The beats on today's show were produced by Rogue One Beats and Mighty Mindless Cartoons Tracklist; Up 2 know good - Normally Different Clubber Lang ft. Paul Wall,Termanology & KXNG Crooked(Produced by Statik Selektah) Data Haux - Hexagon-X 24vision nil by mouth Doc Terror Feat.Jfraallday SHOOTING BARS Prod.Rummy Rozier Dead poetz society & Dofferent breed 860 - Tug of War Do Not Associate & Ziggy T - Aim and Shoot Dr Lekta - All In Life Feat Awon Krumbsnatcha - TOUCHDOWN feat Solomon Childs and Cuban Pete Mike Titan X A7MC X Jason Famous Beats - Uncensored - 01 Uncensored State of Terrorism - 4Dee, Joe Blow, Produced by Dj Callie Ban Tommy Evans The Only Way (feat. Ishy) King Tetrus - Timeless Conscious Route - Don't Call Me [Forest DLG Remix]

Free Community based Life Coaching. If you ever wondered about dating someone who is in a leadership position or considered a boss. Dating a leader or boss is not like dating your average Joe Blow, so Dr. Kaci explains and gives tips on getting in a upper echelon relationship. Dr Kaci Owner and founder of Speaking Freedom is a Certified Life Coach, Published Author (It's My Time, 2006), Podcast Host, Business Strategist, and Love Coach. After overcoming all the obstacles of Life, Dr. Kaci grew into a well-rounded and compassionate leader, who has spent most of her adult life dedicated to God and understanding her purpose. Over the last decade Dr. Kaci has been helping anyone she encounters grow in Purpose, Self-Acceptance, Healing beyond Trauma, Showing Love to everyone you encounter, and more! Dr. Kaci believes that Love encompasses Accountability, Responsibility and Self Discipline! After years of research Dr. Kaci, coined as the Cardiologist of the Emotionally Scarred, developed Spiritual Human Behavior, a new area of psychology that brings Spirituality, Human Behavior & Heart Healing to unlock Individual Purpose. The Theory of Spiritual Human Behavior Book is scheduled to be release early 2022, but The Faith Collection, a 4 part self-paced & optional Coach Supported course (4 Audiobooks & 4 Workbooks), as well as other books in production. For more information or to Order online visit www.edu-freedom.org --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app Support this podcast: https://anchor.fm/speakingfreedomradio/support

Free Community based Life Coaching. If you ever wondered about dating someone who is in a leadership position or considered a boss. Dating a leader or boss is not like dating your average Joe Blow, so Dr. Kaci explains and gives tips on getting in a upper echelon relationship. Dr Kaci Owner and founder of Speaking Freedom is a Certified Life Coach, Published Author (It's My Time, 2006), Podcast Host, Business Strategist, and Love Coach. After overcoming all the obstacles of Life, Dr. Kaci grew into a well-rounded and compassionate leader, who has spent most of her adult life dedicated to God and understanding her purpose. Over the last decade Dr. Kaci has been helping anyone she encounters grow in Purpose, Self-Acceptance, Healing beyond Trauma, Showing Love to everyone you encounter, and more! Dr. Kaci believes that Love encompasses Accountability, Responsibility and Self Discipline! After years of research Dr. Kaci, coined as the Cardiologist of the Emotionally Scarred, developed Spiritual Human Behavior, a new area of psychology that brings Spirituality, Human Behavior & Heart Healing to unlock Individual Purpose. The Theory of Spiritual Human Behavior Book is scheduled to be release early 2022, but The Faith Collection, a 4 part self-paced & optional Coach Supported course (4 Audiobooks & 4 Workbooks), as well as other books in production. For more information or to Order online visit www.edu-freedom.org --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app

Erica and Jaime sit down with Jenn Sivananthan of Naturally Sassy to learn how she started her own business, how she chose a name for it and what advice she has for budding entrepreneurs. 

Recapping the summer games. Seeing old faces in new places. Looking forward to preseason football.

What is food insecurity? It does not sound like something that needs an immediate solution. Progressives must be more direct. --- Support this podcast: https://anchor.fm/egbertowillies/support

Blodmonath has begun! We commune under the sanguine moon before entering in to winters gloom pursing lips for penance and a prayer in hopes that the dead go somewhere. Annihilation is always near yet out of reach, the closest we come is when stars speak through an eternal all hollows eve until black holes silenty bleed.... Join solo practitioner Travis Maxel Boone as he reveals all the films he watched during the 31 Nights of Halloween! The stars are speaking again.... They crank and wind in timeless motion.... A stir of malice in the cosmic machine.... Now is time to put pretend to bed.... During blood month even the ghosts are dead! Many of tonights selections have been talked about on The Joe Blow Horror Show, hosted by Bostuna and T-Boo(Travis Maxel Boone). You can find Joe Blow here: https://joeblowhorrorshow.podbean.com/ Night of The Demon(1980): https://www.youtube.com/watch?v=hgk1vOyVGAc Cinemassacre's Monster Madness Night of The Demon(1980) Review: https://cinemassacre.com/2010/10/17/night-of-the-demon/

Hello and welcome to episode 160 of The Stress Factor Podcast. We have a special edition for you this time from DJ Scottie B. It's a live recording of an all vinyl oldskool set from when he recently returned to his hometown from Cardiff, Wales. recorded May 23rd 2014 at the Welsh Club Cardiff UK. "Big thank you to all who came out was great to see ya. Massive respect to: Louise, Fav, Jekyll and Hyde, T Bone, MC's NRG, Joe Blow, Fordee." -- Scottie B Tracklist 01. Engineers revenge- sounds of euro 02. Jem 77-Out of time 03. dave Charlesworth - Energizer 1 04. Sy kick - emotion05. Dj rap - divine rhythm 06. Dj SS and eq - dj's anthem07. 2 bad mice - bomb scare 08. Sl2 - djs take control 09. 2 bad mice - hold it down 10. NDX feat. badman - higher than heaven 11. Engineers revenge - time to move. 12. Urban Shakedown - Some justice 13. Sl2 - way in my brain. 14. Awesome 3 - don't go KLAM mix 15. Bizarre Inc. - Playing with knives 16. Family foundation - Express yourself - ragga rave mix 17. Lennie De Ice - We are IE 18. Blame - Music takes you- white label mix 19. New Era - New Era 20. NDX feat badman - Come With Me