Podcasts about Locomotion

After decades of pop brilliance, Kylie Minogue finally made her Madison Square Garden debut - and we were there to witness it all. In this episode, Chris and Chantel Nicole give you a song-by-song, unfiltered review of the Tension Tour live in NYC.From the setlist and vocals to the staging, visuals, and crowd energy, we're breaking down every detail of these historic nights. Did Kylie rise to the moment in her first-ever MSG show? Or did the tension fall flat?Let's relive the glitter and shimmer together!Join us on Patreon!: https://www.patreon.com/CCTVPOPSFollow us on social media: https://linktr.ee/cctvpops0:00 - Intro0:35 - Tension Tour Info1:18 - Overall Thoughts 15:55 - "Lights Camera Action"18:47 - "In Your Eyes"20:13 - "Get Out Of My Way"21:21 - "What Do I Have To Do?"21:53 - "Come Into My World"23:51 - "Good As Gone"26:00 - "Spinning Around"27:50 - "Taboo" Interlude and "On A Night Like This"29:27 - "last night i dreamt i fell in love"32:23 - "Better The Devil You Know"33:12 - "Shocked"36:38 - "Things We Do For Love"37:24 - "The Locomotion"40:26 - "Hold On To Now"41:40 - Fan Requests46:39 - "Say Something"48:20 - "Supernova"50:53 - "Real Groove"51:59 - "Magic"52:38 - "Where Does The DJ Go?"54:29 - "Confide In Me"57:53 - "Slow"1:00:44 - "Timebomb"1:01:59 - "Edge of Saturday Night"1:05:11 - "Tension"1:07:31 - "Can't Get You Out Of My Head"1:10:09 - "All The Lovers"1:13:03 - "Padam Padam"1:16:11 - "Love At First Sight"

Tenderclaws debuted their first piece in competition at SXSW with a short called FACE JUMPING, which was a surreal, seemingly open world experience with a number of interactive experiments leveraging eye tracking in novel ways. Tenderclaws has consistently pushed the edges of locomotion in everyone of their interactive narratives, and FACE JUMPING is no exception. If you lock eyes with another character for long enough, and you'll have an opportunity to swap perspectives with them, which allows you to progress through various different vignettes. There's a deeply poetic story that's unfolding, but I found that I needed a lot of decoding of the dream logic, metaphors, and allegories within my conversation with Samantha Gorman and Danny Cannizaro. But it's the type of experience that I wanted to play again and again to continue to explore this world, and all of the novel eye tracking experiments that I missed. FACE JUMPING was my second favorite piece of the festival, and it ended up winning the Audience Award for the SXSW XR Experience Competition, and it was also one of the hottest tickets during the festival. This is a listener-supported podcast through the Voices of VR Patreon. Music: Fatality

It's been a big week for new music with releases from HAIM, Chappell Roan and Bon Iver – but the most important takeaway, is Frank Ocean's tease for real? Elsewhere, as the post-St Patrick's Day delirium sets in, Annie and Nick work out a plan to see Stevie Wonder on his UK tour. Plus, Sidetracked has been knocked off the top of the music podcast charts by King Charles and his love of ‘The Loco-Motion', Nick has a starring role in the new JADE video and a 191-track playlist made by Aphex Twin prompts the question – what is the optimum length for a playlist? SONGS Beyoncé - Crazy In Love Kylie Minogue – The Loco-Motion Frank Ocean – Dear April HAIM – Relationships Bon Iver, Danielle Haim – If Only I Could Wait Chappelle Roan – The Giver JADE - FUFN

In Episode 386 of The Lifetime Athlete Podcast, we discuss Locomotion for Lifetime Athletes. We examine our walk, jog, run, and sprint model and also give consideration to racewalking and striding. This is essential information for anyone wanting to learn more about keeping locomotive capacity present in the body over a long healthspan. This podcast was brought to you by…

The Goddess, The Queen. I have been a Kylie Minogue fan since she first released "The Locomotion" as a charity single back in 1987. Back in those days it was the Tweens and the Gays who were her loyal fan base but as Kylie matured, so did her music and her style. Her unique ability to reinvent herself without losing sight of herself and always being incredibly generous to her fans has kept her relevant in the changing landscape of pop music. I have been to all but one of her concert tours in Australia and I make no apologies for that. A few years back, an amazing thing happened in Kylie land, at least as far as I'm concerned anyway. The extraordinarily talented Mark from Dirty Disco started remixing her more recent single releases from her albums "Disco", "Tension" and "Tension ll". He also took on two of her global classics "Spinning Around" and "Can't Get You Out Of My Head". For me personally, this is the best thing that could have happened to Kylie's music on the dance floor. I've always thought that a lot of her remixes on past hits always seemed to be lacking punch or drive. Not the case with Dirty Disco. Mark takes her songs and completely rebuilds them into stomping dance floor anthems. In honor of her latest Australian tour, (which I will be attending on March 3rd this year), I've put together an anthology of Mark's remixes for Kylie to help prep the fan base for her tour. Kylie and Dirty Disco - this really is a match made in heaven. EnjoyAnthony1/ "SAY SOMETHING" (Dirty Disco Mainroom Remix) 2/ "MAGIC" (Dirty Disco Mainroom Remix) 3/ "I LOVE IT" (Dirty Disco Mainroom Remix) 4/ "SPINNING AROUND" (Dirty Disco Classic Club Rework)5/ "TENSION" (Dirty Disco Pillow Biters Remix)6/ "DANCE FLOOR DARLING" (Dirty Disco Mainroom Remix)7/ "MIDNIGHT RIDE" (Dirty Disco Eagle Houston Remix) ft. ORVILLE PECK & DIPLO8/ "REAL GROOVE" (Dirty Disco Mainroom Remix) ft. DUA LIPA9/ "NEW YORK CITY" (Dirty Disco Mainroom Remix) 10/ "10 OUT OF 10" (Dirty Disco Mainroom Remix) ft. OLIVER HELDENS11/ "CAN'T GET YOU OUT OF MY HEAD" (Dirty Disco Classic Club Rework)12/ "VEGAS HIGH" (Dirty Disco Mainroom Remix)13/ "LIGHTS CAMERA ACTION" (Dirty Disco Pillow Biters Remix)14/ "DANCE ALONE" (Dirty Disco Pillow Biters Remix) ft. SIA15/ "EDGE OF SATURDAY NIGHT" (Dirty Disco Mainroom Remix) ft. THE BLESSED MADONNA16/ "PADAM PADAM" (Dirty Disco Pillow Biters Remix)

House music is fantastic Tracklist: 1/ Ash Lauryn « Life Is Back » (Kai Alce Life is Sweet Interpretation) 2/ Darran Nugent « That House Feeling » 3/ Masaki Morii « Midnight Castle » 4/ DJ Disciple « A Praying Answering God » (Blackk Holy Print Remix) 5/ Not without friends, Jordan Brando, Luke Alessi, William Kiss « Mwah! » 6/ Tommy Bones « Dub Style » 7/ Can't Fake « The Awakening Of The Chicken » 8/ Masaki Morii « Burning Attack » 9/ Vincent Caira « The Choice » 10/ Kerri Chandler « Downtown » 11/ Vincent Caira « Been Dancing » 12/ Pinty, Makez « Loosen Your Bones » (Luke Solomon's Body Edit) 13/ Mark Farina, Homero Espinosa « Locomotion »

Join us as we uncover how this one-of-a-kind event came to life and why it's already a must-attend gathering for sewing, embroidery, and quilting enthusiasts.Episode Highlights:(1:18) Meet Linda Z – Hear from Linda herself as she shares how the idea for Fall Fest was born and what it took to make it happen.(4:20) Family Legacy – Linda talks about her daughters Tracy and Debbie, her grandson Nick, and how they've shaped the future of the business.(5:41) Behind the Scenes – Tracy and Debbie reveal the planning process, unexpected surprises, and standout features of the festival.(10:43) Key Takeaways – What did they hope attendees would gain from this event?(11:50) Educators Spotlight – Meet Sylvain Bergeron and Alexis Galloway, two of the top industry instructors.(15:14) Ricky Tims Interview – The legendary quilter and musician shares why he felt compelled to participate, his unique Locomotion technique, and what's next for him.(18:50) Attendee Voices – Hear firsthand experiences from festivalgoers Nita Davis, Lisa from Ontario, and Loretta Turner.(19:50) BERNINA's Commitment – John Carr, BERNINA's District Manager, explains why this event was a must for BERNINA and previews their exclusive courses.(17:51) Vendor Insights – OESD's Barb Michielicheck and Laurastar's Emily Dunlop discuss their latest products and why Fall Fest was the perfect venue to showcase them.(23:14) Ricky Tims' Closing Thoughts – How did he sum up the magic of this event?(23:48) The Big Question: Will There Be Another Fall Fest? – Linda Z reflects on the success of the event, shares her biggest takeaway, and teases what's next.Linda Z's first-ever Fall Festival of Sewing, Embroidery, and Quilting was a labor of love, embraced with gratitude, and a memory to last a lifetime. A heartfelt thank you to Linda Z and her incredible team, as well as the educators, vendors, and attendees who made this event truly special.If you're already dreaming of Fall Fest 2025, mark your calendars—the countdown has begun! For more information on the 2025 Fall Fest, go to www.lindazs.com Be sure to subscribe to, review and rate this podcast on your favorite platform…and visit our website sewandsopodcast.com for more information about today's and all of our Guests.

EPISODE #1148 GRAND FUNK RAILROAD'S MARK FARNER ON UFOs, THE NWO, & SPIRITUAL WARFARE Richard welcomes the legendary Mark Farner who discusses his brand new album and his personal UFO encounter, seeing photographs of alien bodies, the New World Order and spiritual warfare. GUEST: Mark Farner, legendary all-American frontman and guitarist was the engine that pulled the original Grand Funk Railroad repeatedly to the top of the charts, and today he's a platinum recording artist 30 times over. Now in his 70s, Farner commands the stage with the same intensity and outpouring of love as he did during the summer of '69 and his fans are still flocking to see “the Captain.” The rock patriot's synergy and open heart still come through in epic hits that defined a generation including— “I'm Your Captain” (Closer to Home)” “We're An American Band” “Heartbreaker” “Bad Time To Be In Love” and recut covers of “The Loco-Motion” and “Some Kind of Wonderful.” Being viewed as a “Rockstar” is only one facet of the legacy of this Michigan-born son.  Mark is as real as they get: he's a husband, a father, and grandfather, and in his fourth decade of marriage to wife Lesia. He's a true family man. WEBSITE: https://markfarner.com ALBUM: Closer to My Home https://markfarner.com/shop-2 SUPPORT OUR SPONSORS!!! HIMS - Making Healthy and Happy Easy to Achieve START YOUR FREE ONLINE VISIT TODAY - HIMS dot com slash STRANGE for your personalized ED Treatment options. https://www.HIMS.com/strange Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://strangeplanet.supportingcast.fm/

On this episode I'm joined by David Weck, the inventor of the BOSU ball and many other training tools who has been a major influence on my understanding of body, movement and athleticism. He has a wealth of knowledge and I had an opportunity to video conference and record with him 3 different times to discuss these subjects which we are both so passionate about. As it's 3 different conversations together, the podcast length is close to 3 hours so feel free to pause and come back to it several times.To give you an idea of some of the topics covered, David started with the concept of volumetric displacement of the core as a way to understand the internal and external torsion necessary for fundamental survival activities like locomotion, swinging, throwing, catching, and carrying.He talked about how efficient movement is about pruning away inefficiencies and emphasizing the intelligent use of the skeleton as the body's strong framework. We touched on the relationship between structure and function: the main principle being that structure dictates function, and function reshapes structure over time. Next we covered fascia, the ubiquitous tissue container and network of the nervous system of the body, which plays a pivotal role in coordinating movement, linking different parts of the body, and enabling polar muscle activation.Also, David addressed the biggest misconception in the fitness industry where people are taught that the main function of the spine is anti rotation and that it should be stiff, which is incorrect. We both highlighted rope flow as a powerful movement tool that reinforces the coiling core movement pattern, a pattern that instills a "poised to pounce" readiness and enhanced fight-or-flight capability.That is just scratching the surface of what we talked about. Please enjoy and leave a comment.QUESTION — Have you heard of the BOSU ball before?Connect with J-Mart on Social MediaNostr - npub1cqfrrgxs6mwpl2xpmh2kzw322qv2n0e4r65jllzncv65krmvwhnsct3p5uEmail - jmartfit@substack.comInstagram - https://www.instagram.com/jmartfit/ ​X - https://twitter.com/jmartfit Facebook - https://fb.me/jmartmoves ​Medium - https://jmartwrites.medium.com/Also listen to JMART CAST, my Monday Morning Bitcoin Podcast about physical and financial health. Subscribe @ https://jmartfit.substack.com/ to make JMART CAST part of your Monday morning routine!YouTube - https://youtube.com/playlist?list=PLZiptzWGRSXNYGgPEVFFzUGauXObYProZApple -Spotify -Amazon Music - https://music.amazon.ca/podcasts/53f3b6e8-ca9d-492f-bb68-0282d65344fb/jmart-castMusic: www.bensound.com This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit jmartfit.substack.com

Part 2 with David Weck! David is a world renowned inventor and biomechanist who specialises in the study of human movement and locomotion. David has been in this industry for well over 20 years and his influence reaches millions. He is the creator of the Weck Method, BOSU ball, RMT club and many more. Super interesting, successful and high energy - we hope you will love hearing Uncle Weck telling his story. If you haven't seen Episode 1 go back and check it out! 00:00 Acupuncture and TCM 08:00 Davids hip replacement recovery 16:00 Figure 8 and fluidity 19:45 Triple Warmer Meridian - San Jiao 23:30 CoreFist 28:45 Perfect transmission of force 35:25 Locomotion - looking from head down 40:20 The coil 45:20 Lower body positions 48:30 Eyes

En el episodio de hoy, tratamos de responder a la pregunta que formulamos, sobre todo matizando la autonomía o no de esos CPGs en la médula humana. Revisamos los principales autores y estudios sobre el tema y ahondamos en la evidencia más actual sobre el sistema de interneuronas que conforman los CPGs y las implicaciones para la neurorrehabilitación (estimulación epidural y terapia intensiva). Referencias del episodio: 1. Angeli, C. A., Edgerton, V. R., Gerasimenko, Y. P., & Harkema, S. J. (2014). Altering spinal cord excitability enables voluntary movements after chronic complete paralysis in humans. Brain : a journal of neurology, 137(Pt 5), 1394–1409. https://doi.org/10.1093/brain/awu038 (https://pubmed.ncbi.nlm.nih.gov/24713270/). 2. Barkan, C. L., & Zornik, E. (2019). Feedback to the future: motor neuron contributions to central pattern generator function. The Journal of experimental biology, 222(Pt 16), jeb193318. https://doi.org/10.1242/jeb.193318 (https://pmc.ncbi.nlm.nih.gov/articles/PMC6739810/). 3. Brown, T. G. (1911). The Intrinsic Factors in the Act of Progression in the Mammal. Proceedings of the Royal Society of London. Series B, Containing Papers of a Biological Character, 84(572), 308–319. http://www.jstor.org/stable/80647 (https://www.jstor.org/stable/80647). 4. Cherni, Y., Begon, M., Chababe, H., & Moissenet, F. (2017). Use of electromyography to optimize Lokomat® settings for subject-specific gait rehabilitation in post-stroke hemiparetic patients: A proof-of-concept study. Neurophysiologie clinique = Clinical neurophysiology, 47(4), 293–299. https://doi.org/10.1016/j.neucli.2017.01.008 (https://pubmed.ncbi.nlm.nih.gov/28318816/). 5. Courtine, G., Gerasimenko, Y., van den Brand, R., Yew, A., Musienko, P., Zhong, H., Song, B., Ao, Y., Ichiyama, R. M., Lavrov, I., Roy, R. R., Sofroniew, M. V., & Edgerton, V. R. (2009). Transformation of nonfunctional spinal circuits into functional states after the loss of brain input. Nature neuroscience, 12(10), 1333–1342. https://doi.org/10.1038/nn.2401 (https://pubmed.ncbi.nlm.nih.gov/19767747/). 6. Dietz V. (2010). Behavior of spinal neurons deprived of supraspinal input. Nature reviews. Neurology, 6(3), 167–174. https://doi.org/10.1038/nrneurol.2009.227 (https://pubmed.ncbi.nlm.nih.gov/20101254/). 7. Dimitrijevic, M. R., Gerasimenko, Y., & Pinter, M. M. (1998). Evidence for a spinal central pattern generator in humans. Annals of the New York Academy of Sciences, 860, 360–376. https://doi.org/10.1111/j.1749-6632.1998.tb09062.x (https://pubmed.ncbi.nlm.nih.gov/9928325/). 8. Dzeladini, F., van den Kieboom, J., & Ijspeert, A. (2014). The contribution of a central pattern generator in a reflex-based neuromuscular model. Frontiers in human neuroscience, 8, 371. https://doi.org/10.3389/fnhum.2014.00371 (https://pmc.ncbi.nlm.nih.gov/articles/PMC4071613/). 9. Gizzi, L., Nielsen, J. F., Felici, F., Moreno, J. C., Pons, J. L., & Farina, D. (2012). Motor modules in robot-aided walking. Journal of neuroengineering and rehabilitation, 9, 76. https://doi.org/10.1186/1743-0003-9-76 (https://pubmed.ncbi.nlm.nih.gov/23043818/). 10. Gosgnach S. (2022). Synaptic connectivity amongst components of the locomotor central pattern generator. Frontiers in neural circuits, 16, 1076766. https://doi.org/10.3389/fncir.2022.1076766 (https://pmc.ncbi.nlm.nih.gov/articles/PMC9730330/). 11. Grillner, S. (1981). Control of Locomotion in Bipeds, Tetrapods, and Fish. Comprehensive Physiology, 1179-1236 (https://onlinelibrary.wiley.com/doi/10.1002/cphy.cp010226). 12. Guertin P. A. (2014). Preclinical evidence supporting the clinical development of central pattern generator-modulating therapies for chronic spinal cord-injured patients. Frontiers in human neuroscience, 8, 272. https://doi.org/10.3389/fnhum.2014.00272 (https://pubmed.ncbi.nlm.nih.gov/24910602/). 13. Harkema, S., Gerasimenko, Y., Hodes, J., Burdick, J., Angeli, C., Chen, Y., Ferreira, C., Willhite, A., Rejc, E., Grossman, R. G., & Edgerton, V. R. (2011). Effect of epidural stimulation of the lumbosacral spinal cord on voluntary movement, standing, and assisted stepping after motor complete paraplegia: a case study. Lancet (London, England), 377(9781), 1938–1947. https://doi.org/10.1016/S0140-6736(11)60547-3 (https://pubmed.ncbi.nlm.nih.gov/21601270/). 14. Kathe, C., Skinnider, M. A., Hutson, T. H., Regazzi, N., Gautier, M., Demesmaeker, R., Komi, S., Ceto, S., James, N. D., Cho, N., Baud, L., Galan, K., Matson, K. J. E., Rowald, A., Kim, K., Wang, R., Minassian, K., Prior, J. O., Asboth, L., Barraud, Q., … Courtine, G. (2022). The neurons that restore walking after paralysis. Nature, 611(7936), 540–547. https://doi.org/10.1038/s41586-022-05385-7 (https://pubmed.ncbi.nlm.nih.gov/36352232/). 15. Minassian, K., Jilge, B., Rattay, F., Pinter, M. M., Binder, H., Gerstenbrand, F., & Dimitrijevic, M. R. (2004). Stepping-like movements in humans with complete spinal cord injury induced by epidural stimulation of the lumbar cord: electromyographic study of compound muscle action potentials. Spinal cord, 42(7), 401–416. https://doi.org/10.1038/sj.sc.3101615 (https://pubmed.ncbi.nlm.nih.gov/15124000/). 16. Minassian, K., Persy, I., Rattay, F., Dimitrijevic, M. R., Hofer, C., & Kern, H. (2007). Posterior root-muscle reflexes elicited by transcutaneous stimulation of the human lumbosacral cord. Muscle & nerve, 35(3), 327–336. https://doi.org/10.1002/mus.20700 (https://pubmed.ncbi.nlm.nih.gov/17117411/). 17. Radhakrishna, M., Steuer, I., Prince, F., Roberts, M., Mongeon, D., Kia, M., Dyck, S., Matte, G., Vaillancourt, M., & Guertin, P. A. (2017). Double-Blind, Placebo-Controlled, Randomized Phase I/IIa Study (Safety and Efficacy) with Buspirone/Levodopa/Carbidopa (SpinalonTM) in Subjects with Complete AIS A or Motor-Complete AIS B Spinal Cord Injury. Current pharmaceutical design, 23(12), 1789–1804. https://doi.org/10.2174/1381612822666161227152200 (https://pubmed.ncbi.nlm.nih.gov/28025945/). 18. Reier, P. J., Howland, D. R., Mitchell, G., Wolpaw, J. R., Hoh, D., & Lane, M. A. (2017). Spinal cord injury: repair, plasticity and rehabilitation. eLS, 1-12 (https://onlinelibrary.wiley.com/doi/abs/10.1002/9780470015902.a0021403.pub2).

TTO-206 Little Smoky, New House, Remodel, Chirs Farley, Expedition, Camping Trip, Muskie Fishing, Camper, Sand Geyser, Navy Trips, Counter Piracy, Outfit, Sciatica, USS Zumwalt, Stealth Ship, Swim Day, Caterpillar Drive, Naming Dog a Kid Name, Neighborly Friends, Investing in Children, Dirt Bikes, Lego Engineer Computer Electrical Software, Locomotion, Ball Pocket BullPen Duluth Clothing,

Send us a text- Folge 76: Covers in den 80ern-  Wir klären in dieser Folge ein für alle Mal:Welche Künstler war in den 80ern mit sechs Coverversionen in den deutschen Single-Charts?Warum war China Girl von David Bowie gar keine richtige Cover-Version obwohl der Song zuvor von Iggy Pop veröffentlicht worden war?Warum ist Only you in der Version der Flying Pickets gar kein Acapella-Song?Von welcher Band aus den 60ern wurden in den 80ern gleich mehrere Songs von mehreren Interpreten gecovert, die alle ein Hit wurden? - Schickt uns eure besten Liebeslieder der 80er – am besten zusammen mit der Story, was ihr dabei erlebt habt – an christian@purwienundkowa.com oder postet sie unter https://www.facebook.com/purwienundkowa. - Fun facts, hard facts & Nerd Facts Dave Stewart hatte 1981 mit Barbara Gaskin einen Nr. 1 Hit mit It's my party. Dieser Dave Stewart (aka David Lloyd Stewart) ist allerdings mit dem Dave Stewart von den Eurythmics (aka David Allen Stewart) weder verwandt noch verschwägert.Hier die Originalversion von Locomotion von Kyle Minogue: https://www.youtube.com/watch?v=4xiHfuyGVkEUnd ihr seid selbst schuld, wenn ihr das anschaut, aber hier ist Nur ein Clown von Echo Echo: https://www.youtube.com/watch?v=-sPys-4lrYg  - LinksPodcast Disko 80: https://disko80.buzzsprout.comRSS-Feed: https://feeds.buzzsprout.com/1754816.rssDisko 80 bei Replay.fm: listen.replay.fm/tunein-aac-hdHomepage: http://www.purwienundkowa.comAktuelle CD von Purwien & Kowa: https://ffm.to/puk5Musik von Purwien & Kowa: https://purwienkowa.bandcamp.comBücher von Purwien & Kowa: https://amzn.to/2W9Ftj8Videos von Purwien & Kowa: https://bit.ly/3QVfTbRFollow us on Facebook: https://www.facebook.com/purwienundkowaSpotify-Playlist Folge 76: https://open.spotify.com/playlist/109PYqqE3NM4UPhUoKLkqQ?si=d8ef154d41cf4ca2

In this episode, Josh Kennedy and James Breese dive into the essentials of strength training for cricketers. They break down the misconceptions, strategies, and vital movements necessary for optimal athletic performance on the field.You'll Learn: Why it's crucial to master proper movement patterns before adding weight, to avoid injuries and maximize strength gains.The distinctions between training to "look good" versus training to perform, and why cricketers should prioritize functional athletic movements.The seven core movement patterns that cricketers should focus on, including push, pull, hinge, squat, and rotation.Insights into achievable strength benchmarks, such as plank holds and deadlift standards, to assess and guide your training progress.Key Takeaways:Loading weight onto improper movement patterns increases injury risk; focus on movement quality before adding intensity.Athletic strength training should prioritize movement patterns over isolated muscle work to build resilience and enhance performance.Ensure every training session includes locomotion, push, pull, hinge, squat, rotation, and anti-rotation for balanced, functional strength.Once foundational strength is built, athletes can shift to more complex movements and power training, enhancing overall athleticism.Developing strength is a learned skill, not just about lifting heavy—focus on technique to maximize both safety and effectiveness.Quotes:“Never load weight onto dysfunction—train movement first to build strength that lasts.”“Locomotion, push, pull, hinge, squat, rotate, anti-rotate: these are the movements that make or break an athlete.”“Strength is a skill, and like any skill, it can be taught and refined.”Read more on our blog here!Find James on: Instagram: @jamesbreese Twitter: @_jamesbreese To learn more about Cricket Matters and download your FREE copy of The High-Performance Handbook, please visit www.cricketmatters.com

Founding member, lead singer, lead guitarist, and individual who wrote more than 90% of the Grand Funk Railroad music catalog - legendary Mark Farner - is this week's guest on the podcast! Farner has always been known as an energetic driving force on stage, the engine that pulled the original Grand Funk Railroad to the top of the charts. From his soulful voice and power rock riffs, to fueling the Funk with his atomic stage presence. Hear all about his story and his imprint on music, starting back in 1969 from his humble blue collar beginnings back in Flint. For years, Farner has captained a global crusade for love, peace and freedom as a rock ‘n' roll icon. Today, more than 60 years later – Farner commands the stage with the same intensity performing epic hits that defined a generation – “I'm Your Captain (Closer to Home)”, “Bad Time”, “Some Kind of Wonderful”, “Foot Stompin' Music”, “Heartbreaker”, “Rock & Roll Soul”, “Locomotion”, “Mean Mistreater” and “We're An American Band”. Tune in to hear about Mark's upcoming release, tour dates & much more - only on The Jay Jay French Connection: Beyond the Music! Produced & Edited by Matthew Mallinger

As one of the founding members, lead singer, lead guitarist, and wrote more than 90% of the Grand Funk Railroad music catalog, Mark Farner has always been known as the energetic driving force on stage, the engine that pulled the original Grank Funk Railroad to the top of the charts. From his soulful voice and power rock riffs, to fueling the Funk with his atomic stage presence. His story and his imprint on music starts with Flint and since 1969 from his humble beginnings and a blue-collar outlook, Farner has captained a global crusade for love, peace and freedom and became a rock 'n' roll icon. Mor the 60 years later - he commands the stage with the same intensity performing epic hits that defined a generation - "I'm Your Captian (Closer to Home)", "Bad Time", "Some Kind of Wonderful", "Foot Stompin' Music", "Heartbreaker", "Rock & Roll Soul", "Locomotion", "Mean Mistreater" and  "We're An American Band" Mark will be releasing his latest solo album, "Closer To My Home" on November 8th , and we had the opporutnity to speak with him regarding the album along with his musical career.

“Closer to My Home” is the long-awaited, new album from legendary guitarist and singer/songwriter Mark Farner. Bridging past and present, the grit of industry and the calloused hard work of a rural man, “Closer to My Home” champions Farner's multi-faceted artistry. Celebrating the 55 th anniversary of the iconic hit “(I'm Your Captain) Closer To My Home” the album is highlighted with a re-record, finding Farner in exactly the same form as 1970. “‘Closer to My Home' comes from the idea that love is at the heart of all that I do, and music is my home.” As one of the founding members, lead singer, lead guitarist, and wrote more than 90% of the Grand Funk music catalog, Farner has always been known as the energetic driving force on stage, the engine that pulled the original Grand Funk Railroad to the top of the charts. From his soulful voice and power rock riffs, to fueling the Funk with his atomic stage presence. His story and his imprint on music starts with Flint and since 1969 from his humble beginnings and a blue-collar outlook, Farner has captained a global crusade for love, peace and freedom and became a rock ‘n' roll icon. More than 60 years later – he commands the stage with the same intensity performing epic hits that defined a generation – “I'm Your Captain (Closer to Home)”, “Bad Time”, “Some Kind of Wonderful”, “Foot Stompin' Music”, “Heartbreaker”, “Rock and Roll Soul”, “Locomotion”, “Mean Mistreater” and “We're An American Band”. “Closer to My Home” is on Righteous Rock Records and is distributed by MVD Entertainment Group and is available via vinyl and CD.   Want to watch: YouTube Meisterkhan Pod (Please Subscribe)  

In today's economy, people are more considerate about what they'll spend money on, retailers have to fight to hold or grow their market share. If there's one person who knows this better than most, and will be the first to step into the ring, it's Felicity McGahan. McGahan is the Group CEO of STRAND, the Australian handbags and luggage retailer, where she is leading a transformational vision for growth by modernising, digitising and internationalising every aspect of the business. Backed up by 20 years at Gap, where she left as VP or North America Marketing, and key executive roles at Reebok, Sportsgirl, Esprit, Cotton On and Sussan, she's been with amazing brands at the right time. And been mentored by best-in-class leaders, building a reputation for successfully evolving brands for growth.   Her career in retail isn't a total surprise. Her Dad had a chain of footwear stores, and her mum was the original Sportsgirl, modelling for the iconic Australian retailer through the 70s and 80s before becoming their ever Wardrobe Consultant, “When I grew up, she was styling Kylie Minogue for Locomotion.” She was destined for it.  Listen in as Vince and Felicity discuss forging her birth certificate aged 14 to get a job, where she finds her enthusiasm and drive, and what it takes to turn a retail business around.See omnystudio.com/listener for privacy information.

In which Robert & Amy discuss kindness. Benevolence. Generosity. Fun. These are a joy to exercise, and for good (and yes, rationally self-interested) reasons. Saving the world, one starfish at a time. Also, liberated Paris, instant ramen, the Loco-Motion, Sean Connery, New Orleans, Yes, and Happy Whiskey Sour Day!

Choo Choo! All aboard the Konami hype train! They are back with a pretty insane real-time puzzler involving moving tiles, pedestrians, and some evil trains as well! We also check out Mission-X and the Intellivision prototype games King of the Mountain and Land Battle in today's episode!Website -https://historyofvideogamespodcast.comTwitter - https://twitter.com/HistoryofVideo1Email - historyvgpodcast@gmail.comHosts - Ben & WesMusic - Arranged and recorded by BenTransition Music - Track 9 from Ben's upcoming Album "Demons"

On the July 5 edition of Music History Today, Lilith Fair starts and lots of debuts, including the King. Also, happy birthday to Huey Lewis and the RZA.  For more music history, subscribe to my Spotify Channel or subscribe to the audio version of my music history podcasts, wherever you get your podcasts from ALL MUSIC HISTORY TODAY  PODCAST NETWORK LINKS - ⁠https://allmylinks.com/musichistorytoday⁠  On this date: In 1943, big band leader Harry James married actress Betty Grable. Coincidentally, Harry passed away on this date 40 years later. In 1954, Elvis had his first official recording session at Sun Studios. He recorded That's Alright Mama & 3 other songs. In 1957, Frank Sinatra divorced actress Ava Gardner. In 1958, Ray Charles recorded his performance at the Newport Jazz Festival for a live album. In 1961, blues great Slim Harpo performed on American Bandstand, becoming one of the few times that a blues artist performed on the show. In 1962, Little Eva performed the song Locomotion for the first time on television.  In 1965, Dick Clark's TV show Where the Action Is premiered. In 1966, Bill Medley of the Righteous Brothers had vocal cord surgery. In 1966, Chas Chandler of the Animals was in the audience during a Jimi Hendrix performance in New York City. Chas decided to become Jimi's manager, based on that performance. In 1968, John Lennon sold his famous Rolls-Royce with the psychedelic paint scheme. In 1969, The Rolling Stones gave a free concert in London. In 1969, the Royal Albert Hall banned rock concerts from taking place after fans rushed the stage during a performance by Chuck Berry & The Who. In 1974, Linda Ronstadt recorded her song You're No Good. In 1975, Pink Floyd performed songs from their album Wish You Were Here at the Knebworth Music Festival. In 1980, drummer Simon Kirke of Bad Company became the last guest performer to play with Led Zeppelin, as the band called it quits after drummer John Bonham's death only 2 months later. In 1984, The Everly Brothers started their reunion show. In 1987, Ben E King & Elton John were among those who performed at the Prince's Trust Rock Gala charity concert in London. In 1989, Rod Stewart accidently knocked himself unconscious after hitting his head while performing on stage. In 1997, the first Lilith Fair tour started. The all-female tour featured Sarah McLachlan, Paula Cole, Suzanne Vega, and Jewel. In 2003, the Lollapalooza concert tour started for the first time in 6 years. In 2007, Marilyn Manson was divorced by burlesque dancer Dita Von Teese.  In 2014, Jessica Simpson married football player Eric Johnson. In 2015, Damon Albarn of Blur & The Gorillaz collapsed on stage after a long performance. In 2018, Stormzy partnered with Penguin Books to create the book publishing imprint #Merky Books. In 2022, Carlos Santana collapsed on stage during a performance from dehydration. In classical music: In 1942, Heitor Villa-Lobos' piece Choros 6/9/11 was first performed. In 1965, opera star Maria Callas gave her final opera performance. In theater:  In 1947, the Broadway musical Barefoot Boy With Cheek closed. --- Support this podcast: https://podcasters.spotify.com/pod/show/musichistorytodaypodcast/support

Have you ever tried to bike 600km? Well about two dozen Nova Scotians did this past weekend as part of the LOCOmotion 600 endurance event. Organizer and participant Ashleigh Myles tells us about the event and what's next for this active group of cyclists. And on the phone-in: Our repair expert Aaron Publicover answers your questions. 

My Brother from another mother Loko who is attempting this years Hoko Hey Motorcycle Challenge. And is also riding Loco Motion. Which is a challenge where is is riding his riding motorcycle everyday of the year for 2024. And raising awareness for Duchenne muscular dystrophy and helping the boys of Mile monsters inc love their best lives. Want to help support the channel check out my social media pages and follow there as well

En MetalProgPop Cast nos juntamos 4 amigos para hablar y discutir sobre música. Guido Vilariño (el Rey Tut) es el fanático del Metal, Angel Appiani es el fanático del Rock Progresivo, Gonzalo Ares (El Colo, El Colorado, ex-Bombi) es el fanático del Pop, y Santi Grillo es el fanático del podcast.  Nosotros la pasamos muy bien, y esperamos que Uds también. En el día de hoy analizamos.... Sin restricciones es el segundo álbum de estudio del grupo musical argentino Miranda!, editado por Secsy Discos con colaboración del canal Locomotion, lanzado el 21 de septiembre de 2004. Fue producido por Eduardo Schmidt y Pablo Romero, ambos integrantes del grupo Árbol, mezclado en los estudios Panda de Buenos Aires, Argentina y masterizado en Los Ángeles, Estados Unidos, por Tom Baker.  Fue el gran éxito de su carrera, principalmente por incluir la canción «Don», que según el propio grupo fue el sencillo que les abrió las puertas a América. La frase "Es un solo, ¡es la guitarra de Lolo!", es referencia del grupo por toda América Latina. 

Acomi and Turk182 are back with another Sav-tastic episode of the green cop with the fin on top. Bringing the beat down to Chi-town. The Savage Dragon. Episode 5, Locomotion. The Overlord's men take over a train with plans to crash it into an unfinished tunnel. As Alex fights the Vicious Circle on the train, Dragon looks for a way to shut it down. Acomi and Turk182, along the occasional special guest, provide running commentary of awfulsome movie and TV shows. The hosts select movies that either one, or both, have never seen. All jokes and comments are improvised. NO PREPARED JOKES OR COMMENTS! During recording, the movies are watched at a low volume and with the subtitles on. Viewers may want to turn subtitles on as well to enhance the viewing experience. So, cue up the audio, ready the movie, and hit play when we say so. Note: This is commentary recorded by Acomi and Turk182. The commentary can be enjoyed on its own, but if you want to experience the Let's Watch! in all its glory, you'll need your own copy of the movie. Most of the movies viewed can be streamed online for free. #OMTWF #KorovaEntertainment #LetsWatch #LW #Acomi #Turk182 #awfulsome #SavageDragon #ErikLarsen #Image #ImageComics Follow Acomi on Twitter at @AcomiDraws and on Instagram at AcomiDraws. Follow Turk182 on Twitter at @Turk182_KE and on Instagram at Turk182_KE.

Take a ‘Track to the Future' in this electrifying episode of Steel Stories where we journey to the cutting edge of sustainability to learn about the groundbreaking transition to electric locomotives at U. S. Steel's Mon Valley facilities. Host David Kirkpatrick, alongside U. S. Steel's Neil Pergar and Innovative Rail Technologies' Mike Nicoletti, explore how this innovative shift not only champions environmental stewardship, but also propels the industry towards a greener future. Through engaging discussions, we uncover the technical, operational, and community impacts of replacing diesel engines with electric alternatives.

The recipe for “Stopmotion” goes a little something like this: Take two parts live action, one part stop motion animation, a dash of childlike storytelling, a pinch of losing your mind, and mix them all together. Tune in as we break down every creepy figurine, every “is this real” or “is this a hallucination” moment, and the scene that might cause even gorehounds to look away.

Forget drones, the future swims! Imagine a world where robots don't fly, they dive - not through water, but through mountains of sand, grains, and powders. This isn't science fiction, it's the reality being built by Lorenzo Conti, the engineer behind a revolutionary technology. Join Matt Watson as he digs deep into the technology behind moving through "granular materials" with unprecedented efficiency. In this episode, we dive headfirst (pun intended!) into Lorenzo's fascinating journey: From discovering a hidden connection between physics and sand to creating the world's first "Dune"-worthy sand swimmer. Navigating the challenges of changing entire industries, one grain at a time. Unveiling the secrets of movement in unpredictable environments, paving the way for a future of automated grain management. Exploring the future of robotics, where robots become platforms for customization and collaboration. And finally, challenging the status quo of international patent protection in the age of innovation. Join us as we uncover the secrets of the "granular world" and explore the future of technology that literally swims through it!   Find Startup Hustle Everywhere: https://gigb.co/l/YEh5   This episode is sponsored by Full Scale: https://fullscale.io   Visit the Crover website:  https://www.crover.tech Learn more about Lorenzo Conti: https://www.linkedin.com/in/lconti   Highlighted Discussion Points: Building robots to swim through grain with Crover founder Lorenzo Conti. 0:31 Entrepreneurship, innovation, and technology in Scotland. 1:35 Using AI to monitor grain quality and safety. 6:57 Using sensors to monitor grain quality. 11:46 Designing and manufacturing a robot for harvesting grain. 17:49 Developing a robotic system for grain storage inspection. 25:26 The patent filing process for a unique physical device. 31:54 Entrepreneurship, technology, and the future of work. 37:04  See omnystudio.com/listener for privacy information.

Legendary all-American frontman and guitarist, Mark Farner, was the engine that pulled the original Grand Funk Railroad repeatedly to the top of the charts, and today he's a platinum recording artist 30 times over. At age 75, Farner commands the stage with the same intensity and outpouring of love as he did during the summer of '69 and his fans are still flocking to see “the Captain.” The rock patriot's synergy and open heart still come through in epic hits that defined a generation including— “I'm Your Captain” (Closer to Home)”  “We're An American Band” “Heartbreaker” “Bad Time To Be In Love” and recut covers of  “The Loco-Motion” and “Some Kind of Wonderful.”  Being viewed as a “Rockstar” is only one facet of the legacy of this Michigan-born son.   Mark is as real as they get: he's a husband, a father, and grandfather, and in his fourth decade of marriage to wife Lesia. He's a true family man. “Love is unconditional,” he explains. “Just like when you hold a baby, the love transfers. I feel that love from the audience when I'm on stage.” Farner, the rock patriot that he is, works tirelessly to honor our nation's service personnel and Veterans wherever they are stationed. He wants everyone to remember the huge sacrifices our men and women in the armed services freely give; all to protect our amazing country and freedoms. Some 50 years later something magical still happens when Farner takes the stage.  His voice is still strong and on key, his guitar playing still slick and lighting quick, and his trademark prancing still commands the stage and mesmerizes his audiences around the world. “I love playing live where I can connect with people of all backgrounds,” he said. “ It's all about the fans…and all about love.” At the age of 9 Farner accepted Jesus at his dad's wake and since then has been in hot porusuit of the love found only through the blood of Christ. He is unashamed of his faith and his passion, with 4 "God Rock" albums to his credit, his mission today is to share his passion for music adn his passion for Jesus with his hoards of fans around the world.      www.nukemhunting.com  www.taurususa.com www.cva.com www.citrusafe.com www.birddogcoffeebeans.com www.christianoutdoors.org  

Podcast for a deep examination into the career and life choices of Eddie Murphy & Jim Carrey. A coconut hits Patrick on the head and now he thinks he's a medieval Parisian debutante. Joe hits him on the head with a second coconut and cures him. When Lev hits him with a third coconut, who does he think he is? Find out on this week's episode of 'What the Hell Happened to Them?' Email the cast at whathappenedtothem@gmail.com Disclaimer: This episode was recorded in February 2024. References may feel confusing and/or dated unusually quickly. 'Trading Places' is available Blu-ray & DVD (even VHS!): https://www.amazon.com/Trading-Places-Dan-Aykroyd/dp/B09CHGWZNL/ref=sr_1_1?crid=2662SGCN5ZQEQ&dib=eyJ2IjoiMSJ9.t5Us0laFrDnCE2gsUMKtqjTCqT-D7G1WDxirzTITOADngySuMCp-FrO0fRjE4xaY0EMb9wOkI2h6KIcswqZS44U_Ay6bc9FBp-URyGb-UPnV2RoeRBY3nNSaBOxS7Y73JYmcUUfxXI4tiQItDZP3Xnhz0h31ETdw6E5moNBLR4Lehssnm_vQrr-s7_0SWlBEqExPEhxnVK4acL-k9z0-gqKNx3ISmXQ5QjYWLIwBruU.j0tb9Hx4vUkAESqhGdVkFCG2atKXQnY3wpUeYE4Rukk&dib_tag=se&keywords=trading+places&qid=1707875679&s=movies-tv&sprefix=trading+place%2Cmovies-tv%2C142&sr=1-1 Music from "The Loco-Motion" by Little Eva and "Cool, Cool Considerate Men" from the '1776' soundtrack   Artwork from BJ West   quixotic, united, skeyhill, vekeman, murphy, carrey, versus, vs, trading, places, akroyd, sandler, snl, 80s, eighties, wall, street, stock, market

On the show today, we interview Dr Aaron Ames, Professor of Mechanical and Civil Engineering and Control and Dynamical Systems at CalTech. Dr Ames is also a cofounder and Chief Scientist of 3Laws - a company, providing safety-critical controls architecture for robotics companies. We talk about the last decade of development for bipedal locomotion and the recent evolution of humanoid robots since Dr Ames has been researching and investigating this interesting research area since his postdoc days. You'll also learn about the core technology that's driving robotic safety algorithms and why 3Laws came together to deliver a solution for any robotic system. You can learn more about 3Law on the web at:3lawsrobotics.io

The Romance of Modern Locomotion by Archibald Williams audiobook. In the following pages we shall peep into the history of typical companies in Great Britain, the United States, and elsewhere; consider the various forms of traction, signals, and other mechanical appliances connected with the working of a railway; notice the effects of railway communication on a country for its peaceful development, or its conquest in war; and make the tour of a typical locomotive factory. These and other matters have been treated as simply as may be, but with sufficient fullness to give the reader a fair idea of what the railway really is, how it has been made, and what the future may have in store for it. Learn more about your ad choices. Visit megaphone.fm/adchoices

The Loco-Motion, Padam Padam, Can't Get You Out of My Head… these are just some of the global hits from Kylie Minogue, but you don't know half of her story. Paris is hitting the dancefloor down memory lane with Kylie to explore the most iconic moments from her career and uncover some fun secrets from her past.See omnystudio.com/listener for privacy information.

EPISODE #993 MARK FARNER AND THE HISTORY OF GRAND FUNK RAILROAD GUEST: Mark Farner is one of the founding members, lead singer, lead guitarist, and writer of over 90% of the Grand Funk Railroad music catalog. Farner has always been known as the energetic driving force on stage, the engine that pulled the original Grand Funk Railroad to the top of the charts. His soulful voice and power rock riffs fueled the Funk along with his atomic stage presence. His story and his imprint on music starts with Flint, Mich., and since 1969 from his humble beginnings and a blue-collar outlook, Farner has captained a global crusade for love, peace and freedom and became a rock ‘n' roll icon.  More than 50 years later he commands the stage with the same intensity performing epic hits that defined a generation: “I'm Your Captain (Closer to Home)”, “Bad Time”, “Some Kind of Wonderful”, “Foot Stompin' Music”, “Heartbreaker”, “Locomotion”, “Mean Mistreater” and “We're An American Band”. Farner has amplified his remarkable career by decibels selling more than 30 million records worldwide, including 16 gold and platinum albums. Farner is launching a long-awaited instructional video series. Farner Chords, a new video series where Farner gives a detailed look at the chords and techniques behind the hits, kicks off today with “People, Let's Stop The War”. The single first appeared in the 1971 Grand Funk Railroad album, “E Pluribus Funk”. The video series is free and can only be accessed online at MarkFarner.com. Additional videos will roll out monthly. WEBSITE/LINKS: https://markfarner.com FB: Mark Farner American Band Twitter: @REALMARKFARNER YouTube: Mark Farner Instagram: markfarners_americanband VIDEO/ALBUM: Rock 'n Roll Soul: Live SUPPORT MY SPONSORS!!! THE WELLNESS COMPANY - Own Your Wellness, Own Your Health, Own Your Freedom The comprehensive Med Kit is meticulously stocked with 8 potentially life saving medicines to address injuries and emergencies. It's your safety net for the unexpected. Visit https://www.twc.health/strangeplanet and secure your Emergency MED Kit. Use CODE STRANGEPLANET to receive 10% off COOKUNITY - Award-Winning Chefs. Hundreds of Meals. Delivered weekly. Go to https://www.cookunity.com/strange or enter code Strange before checkout for 50% off your first week. DRAFTKINGS - The Official Sports Betting Partner of the NFL Playoffs New customers can bet just five bucks to get two hundred instantly in bonus bets when they download the DraftKings Sportsbook app and use code STRANGEPLANET! BECOME A PREMIUM SUBSCRIBER!!! https://strangeplanet.supportingcast.fm Use the discount code "Planet" to receive one month off the first subscription. We and our partners use cookies to personalize your experience, to show you ads based on your interests, and for measurement and analytics purposes. By using our website and services, you agree to our use of cookies as described in our Cookie Policy. Learn more about your ad choices. Visit megaphone.fm/adchoices Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://strangeplanet.supportingcast.fm/

Mark Farner was the lead vocalist, guitarist and central focus of the band Grand Funk Railroad, one of the premier bands of the 1970s. They sold over 30 million records, had two #1 hits, and a slew of gold records. Their hits include “I'm Your Captain (Closer To Home)”, “We're An American Band”, and “The Loco-Motion”.My featured song in this episode is “Free” from the album The PGS Experience by my band Project Grand Slam.  Spotify Link.---------------------------------------------The Follow Your Dream Podcast:Top 1% of all podcasts with Listeners in 200 countries!For more information and other episodes of the podcast click here. To subscribe to the podcast click here.To subscribe to our weekly Follow Your Dream Podcast email click here.To Rate and Review the podcast click here.“Dream With Robert”. Click here.—----------------------------------------“MILES BEHIND”, Robert's first album, was recorded in 1994 but was “lost” for the last 30 years. It's now been released for streaming. Featuring Randy Brecker (Blood Sweat & Tears), Anton Fig (The David Letterman Show), Al Foster (Miles Davis), Tim Ries (The Rolling Stones), Jon Lucien and many more. Called “Hip, Tight and Edgy!” Click here for all links.—--------------------------------------------“THE SINGLES PROJECT” is Robert's new EP, featuring five of his new songs. The songs speak to the ups and downs of life. From the blissful, joyous “Saturday Morning” to the darker commentary of “Like Never Before” and “The Ship”. “This is Robert at his most vulnerable” (Pop Icon Magazine)Reviews: “Amazing!” (Top Buzz Magazine)“Magical…A Sonic Tour De Force!” (IndiePulse Music)“Fabulously Enticing!” (Pop Icon Magazine)“A Home Run!” (Hollywood Digest)Listener Reviews:Saturday Morning:”A neat and simply happy song!””It's so cute and fun. It's describing a world I wish I lived in every day!”Like Never Before:”Great message!””Great song, very perceptive lyrics!”Click here for all links.—---------------------------------------------“IT'S ALIVE!” is Robert's latest Project Grand Slam album. Featuring 13 of the band's Greatest Hits performed “live” at festivals in Pennsylvania and Serbia.Reviews:"An instant classic!" (Melody Maker)"Amazing record...Another win for the one and only Robert Miller!" (Hollywood Digest)"Close to perfect!" (Pop Icon)"A Masterpiece!" (Big Celebrity Buzz)"Sterling effort!" (Indie Pulse)"Another fusion wonder for Project Grand Slam!" (MobYorkCity)Click here for all links.Click here for song videos—-----------------------------------------Audio production:Jimmy RavenscroftKymera FilmsConnect with Mark:www.markfarner.comConnect with the Follow Your Dream Podcast:Website - www.followyourdreampodcast.comEmail Robert - robert@followyourdreampodcast.com Follow Robert's band, Project Grand Slam, and his music:Website - www.projectgrandslam.comPGS Store - www.thePGSstore.comYouTubeSpotify MusicApple MusicEmail - pgs@projectgrandslam.com

Kylie Minogue came by the studio to talk about the success of Padam Padam, new album Tension, The Loco-Motion and more! Info on Beyond Sleep Here Follow Us On Social! TikTok Twitter Instagram Facebook Follow Zach Follow Dan Follow Cameron Learn more about your ad choices. Visit megaphone.fm/adchoices

Kylie Minogue came by the studio to talk about the success of Padam Padam, new album Tension, The Loco-Motion and more!Info on Beyond Sleep HereFollow Us On Social!TikTokTwitterInstagramFacebookFollow ZachFollow DanFollow Cameron

Why do we get overwhelmed when we have too many choices? Should we make our own decisions or copy other people's? And how can Angela manage her sock inventory? SOURCES:Arie Kruglanski, professor of psychology at the University of Maryland, College Park.Katy Milkman, professor of operations, information, and decisions at the University of Pennsylvania.Sylvia Plath, 20th-century American novelist and poet.Barry Schwartz, professor of social theory and social action at Swarthmore College.Herbert Simon, professor of computer science and psychology at Carnegie Mellon University.Will Smith, actor and film producer. RESOURCES:"Choice Deprivation, Choice Overload, and Satisfaction with Choices Across Six Nations," by Elena Reutskaja, Nathan N. Cheek, Barry Schwartz, et al. (Journal of International Marketing, 2021).Will, by Will Smith with Mark Manson (2021)."Can't Decide What to Stream? Netflix's New Feature Will Choose for You," by Katie Deighton (The Wall Street Journal, 2021).The Paradox of Choice: Why More Is Less, by Barry Schwartz (2004)."The Tyranny of Choice," by Barry Schwartz (Scientific American, 2004)."Maximizing Versus Satisficing: Happiness Is a Matter of Choice," by Barry Schwartz, Andrew Ward, John Monterosso, Sonja Lyubomirsky, Katherine White, and Darrin R. Lehman (Journal of Personality and Social Psychology, 2002)."Self-Determination: The Tyranny of Freedom," by Barry Schwartz (American Psychologist, 2000)."To 'Do the Right Thing' or to 'Just Do It': Locomotion and Assessment as Distinct Self-Regulatory Imperatives," by Arie Kruglanski, Erik P. Thompson, E. Tory Higgins, M. Nadir Atash, Antonio Pierro, James Y. Shah, and Scott Spiegel (Journal of Personality and Social Psychology, 2000)."Rational Choice and the Structure of the Environment," by Herbert Simon (Psychological Review, 1956).Administrative Behavior, by Herbert Simon (1947). EXTRA:"Do You Mind if I Borrow Your Personality?" by No Stupid Questions (2022)."How Much Should We Be Able to Customize Our World?" by No Stupid Questions (2021)."Are You a Maximizer or a Satisficer?" by No Stupid Questions (2020).Cars.com Superbowl Ad (2009).

Welcome to the Digging Deeper Jazz Podcast. This podcast was originally released on October 23rd, 2020, on the Jeff Antoniuk - Educator YouTube channel. Please subscribe to the YouTube channel and feel free to enjoy the video version as well.FOR ALL INSTRUMENTS!In episode #176, Jeff lets us know that we shouldn't be scared of fast and flashy licks. Further, he gives us a path to understand what it is our heroes are doing, and maybe even copy them. Today, a great Lee Morgan lick for you. It's fast and flashy and EASY. Mentioned in this podcast:• www.JazzWire.net - Since we announced JazzWire back in 2017, it has become an incredible Community of hundreds of adult musicians from over 25 different countries around the world. If you are looking for a plan for your practice, regular insights and wisdom on playing jazz, and a huge COMMUNITY of jazz players from around the world, this is the place for you! • Digging Deeper Jazz - All of the DDJ episodes include a pdf. Just write us at diggingdeeperjazz@gmail.com, and we'll offer you the pdfs in bundles of 50, or all 200 for a discount! We will also put you on the list to receive each new pdf, weekly.  Amazing practice ideas, every week, for free. What's not to love!?

It's no secret I am team lift for life. That is largely where my phrase “long haul mentality” came from. Because I am a sucker for the grind - the day to day that no one wants to do, but everyone needs. The process by which they get the REAL results that they want. It applies to weight lifting, career, building a business, any pursuit of something more than the mundane. Today we dive into physical, mental and spiritual reasons for women to lift weights. Most of these apply to men as well, but 85% of you are ladies, and that's who my clientele have always been, so, that's who we speak to today. Weight lifting is in the simplest sense, applying science to a set of skills that you build over time. This CAN and more often than not, does, manipulate the body in the form of adaptions. Those adaptations are WHY women need to lift weights. Being stronger, more mobile, having higher self efficacy and esteem are rarely bad things. First up and possibly the most focused on FEMALES: 1 Increase bone density Osteoporosis is far more prominent in women than in men. We naturally hold less muscle mass, and provide less tension to all of our connective tissues. Bone is not highly vascular which means it takes LONGER for the bone to adapt to stimulus. Muscle adapts quickest, tendons and ligaments next, due to their lack of vascularity. And lastly, bones. Locomotion happens via our muscles pulling on bones via tendons. That's literally how our bodies move. Providing tension to these tissues is how we cause NEW tissue to grow, and become stronger. That's what we want. In this case for bones. It can take six months to a year for significant bone growth to take place from weight lifting. Again, applying LOAD and tension to the skeleton is what causes this demand for new growth.  Load and tension can come in many forms - ie jogging. But weight lifting is the most superior way for this to happen. Improve and USE mobility  There is some kind of saying about your mobility and age or lifespan. Like you're only as old as your spine is mobile or something like that. This is true in my opinion for all mobility. I trained people in person for five years before going fully online. And for me, the sixties was where I saw the largest gap in ability. I trained three to four 62-67 year old women. One was a national swimmer and had amazing fitness, though she did lack strength, which is what we were working on. One could not get off the floor from a split squat and had a terrible base of fitness. I've had family members in their sixties hiking mountains and playing with grandkids and those who need assistance for daily movements. There is obviously context there, and many variables at play. But witnessing these differences is what brought the importance of mobility and strength to my mind as a trainer. Mobility, and many other pieces of fitness fall under “you don't use it, you lose it” 2 Increase muscle mass This might be an obvious one. But important nonetheless. I like to think of this in relationship to other tissues which the human body can be comprised of - mainly fat. If you're not building muscle, or largely comprised of muscle…and muscle is how we cause our bodies to MOVE, what are you made of? Truth is, a fair amount of that will be fatty tissues. Overall health benefits from hosting and maintaining muscle mass in comparison to fat mass.  Muscle is harder to build for women than men. This is due to our natural make up as well as hormone profile. Not a bad thing, we can certainly build muscle, but we definitely have to be intentional about doing so. And muscle mass becomes harder to hang on to as we age. So the importance of building and maintaining becomes more and more pertinent. Dr Gabriel Lyon has so much research and information on this. I never thought of muscle as so metabolically advantageous until hearing her speak on several podcasts. Look her up.

Episode: 1068 On trying to copy nature -- harder than you might think.  Today, we try to copy Mother Nature.

Dig out your platform heels, top up your body glitter and do the Locomotion...cos it's party week! The remaining 5 bakers face a Conga line-up of three challenges that stand between them and a place in the semi-finals. Josh, Dan, Matty, Christy and Tasha are tasked with whipping up the perfect sausage roll, a cheeky caterpillar cake and a beige-is-banned buffet. So join Sarah, Howard, Dan and Jane and they discuss the hits of party food week and debate what filling is allowed inside a sausage roll! Send us your questions each week to thebakedown@bakewithalegend.com and we'll get through as many as we can.The big news once again from Bake With A Legend is that not only are we still having great fun hosting regular online baking classes every weekend, but this year we are going to be teaching a virtual class of either the signature or the technical challenge EVERY SUNDAY at 5pm UK following the episode. So, to take your enjoyment of the series to a new level, sign up for our mystery classes as we reveal the recipes. We have limited places available for those wanting to sign up week by week so to check out the new recipes and availabilities, click here.We have many virtual classes on sale now for you to enjoy and learn from the comfort of your own home. The classes are great fun and if you use the code PODCAST at checkout you'll get 10% off, whilst gift vouchers and bundle packs are also available. You can check out our online baking classes on our website.*** If you enjoyed this podcast please do leave us a review, it'll help ensure more Bake Off fans find us and would be a huge motivation for to keep making these podcasts for you. Please note we're not affiliated to the show itself or Love Productions, but we're huge fans of their work.***You can contact us with any queries or questions at thebakedown@bakewithalegend.com. Become a member at https://plus.acast.com/s/the-bake-down-bake-off-unwrapped. Hosted on Acast. See acast.com/privacy for more information.

This weeks bonus episode features stories and articles that I found quite interesting. If there is a story or topic that you want to hear on the show, email us brian@paranormalworldproductions.com. Support Our SponsorsVisit 4 Patriots Use Promo Code SASQUATCH for 10% off your first purchase!Sasquatch Odyssey Is Sponsored By BetterHelpVisit HelloFresh Now For Your 16 Free Meals!Get Dave Here!Visit Hangar1 PublishingSasquatch Odyssey YouTube ChannelVisit Our WebsiteParanormal World Productions Merchandise Store Support The Showhttps://www.patreon.com/paranormalworldproductionsAll The Socials And Stuff/Contact Brianhttps://linktr.ee/ParanormalWorldProductionsbrian@paranormalworldproductions.com Send Brian A Voicemail Or Tell Your Storyhttps://www.speakpipe.com/SasquatchOdysseyPodcastFollow The Show On Instagram https://www.instagram.com/sasquatchodyssey/Follow The Show On TikTok https://www.tiktok.com/@sasquatchodysseypodcast?_t=8XRHQxPMFYo&_r=1Episode Source Materials https://centerforinquiry.org/blog/the-return-of-melba-ketchum/https://www.idahostatejournal.com/news/local/hit-series-the-proof-is-out-there-brings-back-pocatello-bigfoot-expert/article_18554aba-0ce0-5e80-a1e5-14394b2cc6a9.html?mibextid=2JQ9ochttps://www.ancientpages.com/2023/05/29/broken-hill-skull-and-homo-heidelbergensis/?mibextid=2JQ9oc#lmw93bt87ocw7lzxb6vThis show is part of the Spreaker Prime Network, if you are interested in advertising on this podcast, contact us at https://www.spreaker.com/show/4839697/advertisement

Episode 168 of A History of Rock Music in Five Hundred Songs looks at “I Say a Little Prayer”, and the interaction of the sacred, political, and secular in Aretha Franklin's life and work. Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have a forty-five-minute bonus episode available, on "Abraham, Martin, and John" by Dion. Tilt Araiza has assisted invaluably by doing a first-pass edit, and will hopefully be doing so from now on. Check out Tilt's irregular podcasts at http://www.podnose.com/jaffa-cakes-for-proust and http://sitcomclub.com/ Resources No Mixcloud this week, as there are too many songs by Aretha Franklin. Even splitting it into multiple parts would have required six or seven mixes. My main biographical source for Aretha Franklin is Respect: The Life of Aretha Franklin by David Ritz, and this is where most of the quotes from musicians come from. Information on C.L. Franklin came from Singing in a Strange Land: C. L. Franklin, the Black Church, and the Transformation of America by Nick Salvatore. Country Soul by Charles L Hughes is a great overview of the soul music made in Muscle Shoals, Memphis, and Nashville in the sixties. Peter Guralnick's Sweet Soul Music: Rhythm And Blues And The Southern Dream Of Freedom is possibly less essential, but still definitely worth reading. Information about Martin Luther King came from Martin Luther King: A Religious Life by Paul Harvey. I also referred to Burt Bacharach's autobiography Anyone Who Had a Heart, Carole King's autobiography A Natural Woman, and Soul Serenade: King Curtis and his Immortal Saxophone by Timothy R. Hoover. For information about Amazing Grace I also used Aaron Cohen's 33 1/3 book on the album. The film of the concerts is also definitely worth watching. And the Aretha Now album is available in this five-album box set for a ludicrously cheap price. But it's actually worth getting this nineteen-CD set with her first sixteen Atlantic albums and a couple of bonus discs of demos and outtakes. There's barely a duff track in the whole nineteen discs. Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript A quick warning before I begin. This episode contains some moderate references to domestic abuse, death by cancer, racial violence, police violence, and political assassination. Anyone who might be upset by those subjects might want to check the transcript rather than listening to the episode. Also, as with the previous episode on Aretha Franklin, this episode presents something of a problem. Like many people in this narrative, Franklin's career was affected by personal troubles, which shaped many of her decisions. But where most of the subjects of the podcast have chosen to live their lives in public and share intimate details of every aspect of their personal lives, Franklin was an extremely private person, who chose to share only carefully sanitised versions of her life, and tried as far as possible to keep things to herself. This of course presents a dilemma for anyone who wants to tell her story -- because even though the information is out there in biographies, and even though she's dead, it's not right to disrespect someone's wish for a private life. I have therefore tried, wherever possible, to stay away from talk of her personal life except where it *absolutely* affects the work, or where other people involved have publicly shared their own stories, and even there I've tried to keep it to a minimum. This will occasionally lead to me saying less about some topics than other people might, even though the information is easily findable, because I don't think we have an absolute right to invade someone else's privacy for entertainment. When we left Aretha Franklin, she had just finally broken through into the mainstream after a decade of performing, with a version of Otis Redding's song "Respect" on which she had been backed by her sisters, Erma and Carolyn. "Respect", in Franklin's interpretation, had been turned from a rather chauvinist song about a man demanding respect from his woman into an anthem of feminism, of Black power, and of a new political awakening. For white people of a certain generation, the summer of 1967 was "the summer of love". For many Black people, it was rather different. There's a quote that goes around (I've seen it credited in reliable sources to both Ebony and Jet magazine, but not ever seen an issue cited, so I can't say for sure where it came from) saying that the summer of 67 was the summer of "'retha, Rap, and revolt", referring to the trifecta of Aretha Franklin, the Black power leader Jamil Abdullah al-Amin (who was at the time known as H. Rap Brown, a name he later disclaimed) and the rioting that broke out in several major cities, particularly in Detroit: [Excerpt: John Lee Hooker, "The Motor City is Burning"] The mid sixties were, in many ways, the high point not of Black rights in the US -- for the most part there has been a lot of progress in civil rights in the intervening decades, though not without inevitable setbacks and attacks from the far right, and as movements like the Black Lives Matter movement have shown there is still a long way to go -- but of *hope* for Black rights. The moral force of the arguments made by the civil rights movement were starting to cause real change to happen for Black people in the US for the first time since the Reconstruction nearly a century before. But those changes weren't happening fast enough, and as we heard in the episode on "I Was Made to Love Her", there was not only a growing unrest among Black people, but a recognition that it was actually possible for things to change. A combination of hope and frustration can be a powerful catalyst, and whether Franklin wanted it or not, she was at the centre of things, both because of her newfound prominence as a star with a hit single that couldn't be interpreted as anything other than a political statement and because of her intimate family connections to the struggle. Even the most racist of white people these days pays lip service to the memory of Dr Martin Luther King, and when they do they quote just a handful of sentences from one speech King made in 1963, as if that sums up the full theological and political philosophy of that most complex of men. And as we discussed the last time we looked at Aretha Franklin, King gave versions of that speech, the "I Have a Dream" speech, twice. The most famous version was at the March on Washington, but the first time was a few weeks earlier, at what was at the time the largest civil rights demonstration in American history, in Detroit. Aretha's family connection to that event is made clear by the very opening of King's speech: [Excerpt: Martin Luther King, "Original 'I Have a Dream' Speech"] So as summer 1967 got into swing, and white rock music was going to San Francisco to wear flowers in its hair, Aretha Franklin was at the centre of a very different kind of youth revolution. Franklin's second Atlantic album, Aretha Arrives, brought in some new personnel to the team that had recorded Aretha's first album for Atlantic. Along with the core Muscle Shoals players Jimmy Johnson, Spooner Oldham, Tommy Cogbill and Roger Hawkins, and a horn section led by King Curtis, Wexler and Dowd also brought in guitarist Joe South. South was a white session player from Georgia, who had had a few minor hits himself in the fifties -- he'd got his start recording a cover version of "The Purple People Eater Meets the Witch Doctor", the Big Bopper's B-side to "Chantilly Lace": [Excerpt: Joe South, "The Purple People Eater Meets the Witch Doctor"] He'd also written a few songs that had been recorded by people like Gene Vincent, but he'd mostly become a session player. He'd become a favourite musician of Bob Johnston's, and so he'd played guitar on Simon and Garfunkel's Sounds of Silence and Parsley, Sage, Rosemary and Thyme albums: [Excerpt: Simon and Garfunkel, "I am a Rock"] and bass on Bob Dylan's Blonde on Blonde, with Al Kooper particularly praising his playing on "Visions of Johanna": [Excerpt: Bob Dylan, "Visions of Johanna"] South would be the principal guitarist on this and Franklin's next album, before his own career took off in 1968 with "Games People Play": [Excerpt: Joe South, "Games People Play"] At this point, he had already written the other song he's best known for, "Hush", which later became a hit for Deep Purple: [Excerpt: Deep Purple, "Hush"] But he wasn't very well known, and was surprised to get the call for the Aretha Franklin session, especially because, as he put it "I was white and I was about to play behind the blackest genius since Ray Charles" But Jerry Wexler had told him that Franklin didn't care about the race of the musicians she played with, and South settled in as soon as Franklin smiled at him when he played a good guitar lick on her version of the blues standard "Going Down Slow": [Excerpt: Aretha Franklin, "Going Down Slow"] That was one of the few times Franklin smiled in those sessions though. Becoming an overnight success after years of trying and failing to make a name for herself had been a disorienting experience, and on top of that things weren't going well in her personal life. Her marriage to her manager Ted White was falling apart, and she was performing erratically thanks to the stress. In particular, at a gig in Georgia she had fallen off the stage and broken her arm. She soon returned to performing, but it meant she had problems with her right arm during the recording of the album, and didn't play as much piano as she would have previously -- on some of the faster songs she played only with her left hand. But the recording sessions had to go on, whether or not Aretha was physically capable of playing piano. As we discussed in the episode on Otis Redding, the owners of Atlantic Records were busily negotiating its sale to Warner Brothers in mid-1967. As Wexler said later “Everything in me said, Keep rolling, keep recording, keep the hits coming. She was red hot and I had no reason to believe that the streak wouldn't continue. I knew that it would be foolish—and even irresponsible—not to strike when the iron was hot. I also had personal motivation. A Wall Street financier had agreed to see what we could get for Atlantic Records. While Ahmet and Neshui had not agreed on a selling price, they had gone along with my plan to let the financier test our worth on the open market. I was always eager to pump out hits, but at this moment I was on overdrive. In this instance, I had a good partner in Ted White, who felt the same. He wanted as much product out there as possible." In truth, you can tell from Aretha Arrives that it's a record that was being thought of as "product" rather than one being made out of any kind of artistic impulse. It's a fine album -- in her ten-album run from I Never Loved a Man the Way I Love You through Amazing Grace there's not a bad album and barely a bad track -- but there's a lack of focus. There are only two originals on the album, neither of them written by Franklin herself, and the rest is an incoherent set of songs that show the tension between Franklin and her producers at Atlantic. Several songs are the kind of standards that Franklin had recorded for her old label Columbia, things like "You Are My Sunshine", or her version of "That's Life", which had been a hit for Frank Sinatra the previous year: [Excerpt: Aretha Franklin, "That's Life"] But mixed in with that are songs that are clearly the choice of Wexler. As we've discussed previously in episodes on Otis Redding and Wilson Pickett, at this point Atlantic had the idea that it was possible for soul artists to cross over into the white market by doing cover versions of white rock hits -- and indeed they'd had some success with that tactic. So while Franklin was suggesting Sinatra covers, Atlantic's hand is visible in the choices of songs like "(I Can't Get No) Satisfaction" and "96 Tears": [Excerpt: Aretha Franklin, "96 Tears'] Of the two originals on the album, one, the hit single "Baby I Love You" was written by Ronnie Shannon, the Detroit songwriter who had previously written "I Never Loved a Man (the Way I Love You)": [Excerpt: Aretha Franklin, "Baby I Love You"] As with the previous album, and several other songs on this one, that had backing vocals by Aretha's sisters, Erma and Carolyn. But the other original on the album, "Ain't Nobody (Gonna Turn Me Around)", didn't, even though it was written by Carolyn: [Excerpt: Aretha Franklin, "Ain't Nobody (Gonna Turn Me Around)"] To explain why, let's take a little detour and look at the co-writer of the song this episode is about, though we're not going to get to that for a little while yet. We've not talked much about Burt Bacharach in this series so far, but he's one of those figures who has come up a few times in the periphery and will come up again, so here is as good a time as any to discuss him, and bring everyone up to speed about his career up to 1967. Bacharach was one of the more privileged figures in the sixties pop music field. His father, Bert Bacharach (pronounced the same as his son, but spelled with an e rather than a u) had been a famous newspaper columnist, and his parents had bought him a Steinway grand piano to practice on -- they pushed him to learn the piano even though as a kid he wasn't interested in finger exercises and Debussy. What he was interested in, though, was jazz, and as a teenager he would often go into Manhattan and use a fake ID to see people like Dizzy Gillespie, who he idolised, and in his autobiography he talks rapturously of seeing Gillespie playing his bent trumpet -- he once saw Gillespie standing on a street corner with a pet monkey on his shoulder, and went home and tried to persuade his parents to buy him a monkey too. In particular, he talks about seeing the Count Basie band with Sonny Payne on drums as a teenager: [Excerpt: Count Basie, "Kid From Red Bank"] He saw them at Birdland, the club owned by Morris Levy where they would regularly play, and said of the performance "they were just so incredibly exciting that all of a sudden, I got into music in a way I never had before. What I heard in those clubs really turned my head around— it was like a big breath of fresh air when somebody throws open a window. That was when I knew for the first time how much I loved music and wanted to be connected to it in some way." Of course, there's a rather major problem with this story, as there is so often with narratives that musicians tell about their early career. In this case, Birdland didn't open until 1949, when Bacharach was twenty-one and stationed in Germany for his military service, while Sonny Payne didn't join Basie's band until 1954, when Bacharach had been a professional musician for many years. Also Dizzy Gillespie's trumpet bell only got bent on January 6, 1953. But presumably while Bacharach was conflating several memories, he did have some experience in some New York jazz club that led him to want to become a musician. Certainly there were enough great jazz musicians playing the clubs in those days. He went to McGill University to study music for two years, then went to study with Darius Milhaud, a hugely respected modernist composer. Milhaud was also one of the most important music teachers of the time -- among others he'd taught Stockhausen and Xenakkis, and would go on to teach Philip Glass and Steve Reich. This suited Bacharach, who by this point was a big fan of Schoenberg and Webern, and was trying to write atonal, difficult music. But Milhaud had also taught Dave Brubeck, and when Bacharach rather shamefacedly presented him with a composition which had an actual tune, he told Bacharach "Never be ashamed of writing a tune you can whistle". He dropped out of university and, like most men of his generation, had to serve in the armed forces. When he got out of the army, he continued his musical studies, still trying to learn to be an avant-garde composer, this time with Bohuslav Martinů and later with Henry Cowell, the experimental composer we've heard about quite a bit in previous episodes: [Excerpt: Henry Cowell, "Aeolian Harp and Sinister Resonance"] He was still listening to a lot of avant garde music, and would continue doing so throughout the fifties, going to see people like John Cage. But he spent much of that time working in music that was very different from the avant-garde. He got a job as the band leader for the crooner Vic Damone: [Excerpt: Vic Damone. "Ebb Tide"] He also played for the vocal group the Ames Brothers. He decided while he was working with the Ames Brothers that he could write better material than they were getting from their publishers, and that it would be better to have a job where he didn't have to travel, so he got himself a job as a staff songwriter in the Brill Building. He wrote a string of flops and nearly hits, starting with "Keep Me In Mind" for Patti Page: [Excerpt: Patti Page, "Keep Me In Mind"] From early in his career he worked with the lyricist Hal David, and the two of them together wrote two big hits, "Magic Moments" for Perry Como: [Excerpt: Perry Como, "Magic Moments"] and "The Story of My Life" for Marty Robbins: [Excerpt: "The Story of My Life"] But at that point Bacharach was still also writing with other writers, notably Hal David's brother Mack, with whom he wrote the theme tune to the film The Blob, as performed by The Five Blobs: [Excerpt: The Five Blobs, "The Blob"] But Bacharach's songwriting career wasn't taking off, and he got himself a job as musical director for Marlene Dietrich -- a job he kept even after it did start to take off.  Part of the problem was that he intuitively wrote music that didn't quite fit into standard structures -- there would be odd bars of unusual time signatures thrown in, unusual harmonies, and structural irregularities -- but then he'd take feedback from publishers and producers who would tell him the song could only be recorded if he straightened it out. He said later "The truth is that I ruined a lot of songs by not believing in myself enough to tell these guys they were wrong." He started writing songs for Scepter Records, usually with Hal David, but also with Bob Hilliard and Mack David, and started having R&B hits. One song he wrote with Mack David, "I'll Cherish You", had the lyrics rewritten by Luther Dixon to make them more harsh-sounding for a Shirelles single -- but the single was otherwise just Bacharach's demo with the vocals replaced, and you can even hear his voice briefly at the beginning: [Excerpt: The Shirelles, "Baby, It's You"] But he'd also started becoming interested in the production side of records more generally. He'd iced that some producers, when recording his songs, would change the sound for the worse -- he thought Gene McDaniels' version of "Tower of Strength", for example, was too fast. But on the other hand, other producers got a better sound than he'd heard in his head. He and Hilliard had written a song called "Please Stay", which they'd given to Leiber and Stoller to record with the Drifters, and he thought that their arrangement of the song was much better than the one he'd originally thought up: [Excerpt: The Drifters, "Please Stay"] He asked Leiber and Stoller if he could attend all their New York sessions and learn about record production from them. He started doing so, and eventually they started asking him to assist them on records. He and Hilliard wrote a song called "Mexican Divorce" for the Drifters, which Leiber and Stoller were going to produce, and as he put it "they were so busy running Redbird Records that they asked me to rehearse the background singers for them in my office." [Excerpt: The Drifters, "Mexican Divorce"] The backing singers who had been brought in to augment the Drifters on that record were a group of vocalists who had started out as members of a gospel group called the Drinkard singers: [Excerpt: The Drinkard Singers, "Singing in My Soul"] The Drinkard Singers had originally been a family group, whose members included Cissy Drinkard, who joined the group aged five (and who on her marriage would become known as Cissy Houston -- her daughter Whitney would later join the family business), her aunt Lee Warrick, and Warrick's adopted daughter Judy Clay. That group were discovered by the great gospel singer Mahalia Jackson, and spent much of the fifties performing with gospel greats including Jackson herself, Clara Ward, and Sister Rosetta Tharpe. But Houston was also the musical director of a group at her church, the Gospelaires, which featured Lee Warrick's two daughters Dionne and Dee Dee Warwick (for those who don't know, the Warwick sisters' birth name was Warrick, spelled with two rs. A printing error led to it being misspelled the same way as the British city on a record label, and from that point on Dionne at least pronounced the w in her misspelled name). And slowly, the Gospelaires rather than the Drinkard Singers became the focus, with a lineup of Houston, the Warwick sisters, the Warwick sisters' cousin Doris Troy, and Clay's sister Sylvia Shemwell. The real change in the group's fortunes came when, as we talked about a while back in the episode on "The Loco-Motion", the original lineup of the Cookies largely stopped working as session singers to become Ray Charles' Raelettes. As we discussed in that episode, a new lineup of Cookies formed in 1961, but it took a while for them to get started, and in the meantime the producers who had been relying on them for backing vocals were looking elsewhere, and they looked to the Gospelaires. "Mexican Divorce" was the first record to feature the group as backing vocalists -- though reports vary as to how many of them are on the record, with some saying it's only Troy and the Warwicks, others saying Houston was there, and yet others saying it was all five of them. Some of these discrepancies were because these singers were so good that many of them left to become solo singers in fairly short order. Troy was the first to do so, with her hit "Just One Look", on which the other Gospelaires sang backing vocals: [Excerpt: Doris Troy, "Just One Look"] But the next one to go solo was Dionne Warwick, and that was because she'd started working with Bacharach and Hal David as their principal demo singer. She started singing lead on their demos, and hoping that she'd get to release them on her own. One early one was "Make it Easy On Yourself", which was recorded by Jerry Butler, formerly of the Impressions. That record was produced by Bacharach, one of the first records he produced without outside supervision: [Excerpt: Jerry Butler, "Make it Easy On Yourself"] Warwick was very jealous that a song she'd sung the demo of had become a massive hit for someone else, and blamed Bacharach and David. The way she tells the story -- Bacharach always claimed this never happened, but as we've already seen he was himself not always the most reliable of narrators of his own life -- she got so angry she complained to them, and said "Don't make me over, man!" And so Bacharach and David wrote her this: [Excerpt: Dionne Warwick, "Don't Make Me Over"] Incidentally, in the UK, the hit version of that was a cover by the Swinging Blue Jeans: [Excerpt: The Swinging Blue Jeans, "Don't Make Me Over"] who also had a huge hit with "You're No Good": [Excerpt: The Swinging Blue Jeans, "You're No Good"] And *that* was originally recorded by *Dee Dee* Warwick: [Excerpt: Dee Dee Warwick, "You're No Good"] Dee Dee also had a successful solo career, but Dionne's was the real success, making the names of herself, and of Bacharach and David. The team had more than twenty top forty hits together, before Bacharach and David had a falling out in 1971 and stopped working together, and Warwick sued both of them for breach of contract as a result. But prior to that they had hit after hit, with classic records like "Anyone Who Had a Heart": [Excerpt: Dionne Warwick, "Anyone Who Had a Heart"] And "Walk On By": [Excerpt: Dionne Warwick, "Walk On By"] With Doris, Dionne, and Dee Dee all going solo, the group's membership was naturally in flux -- though the departed members would occasionally join their former bandmates for sessions, and the remaining members would sing backing vocals on their ex-members' records. By 1965 the group consisted of Cissy Houston, Sylvia Shemwell, the Warwick sisters' cousin Myrna Smith, and Estelle Brown. The group became *the* go-to singers for soul and R&B records made in New York. They were regularly hired by Leiber and Stoller to sing on their records, and they were also the particular favourites of Bert Berns. They sang backing vocals on almost every record he produced. It's them doing the gospel wails on "Cry Baby" by Garnet Mimms: [Excerpt: Garnet Mimms, "Cry Baby"] And they sang backing vocals on both versions of "If You Need Me" -- Wilson Pickett's original and Solomon Burke's more successful cover version, produced by Berns: [Excerpt: Solomon Burke, "If You Need Me"] They're on such Berns records as "Show Me Your Monkey", by Kenny Hamber: [Excerpt: Kenny Hamber, "Show Me Your Monkey"] And it was a Berns production that ended up getting them to be Aretha Franklin's backing group. The group were becoming such an important part of the records that Atlantic and BANG Records, in particular, were putting out, that Jerry Wexler said "it was only a matter of common decency to put them under contract as a featured group". He signed them to Atlantic and renamed them from the Gospelaires to The Sweet Inspirations.  Dan Penn and Spooner Oldham wrote a song for the group which became their only hit under their own name: [Excerpt: The Sweet Inspirations, "Sweet Inspiration"] But to start with, they released a cover of Pops Staples' civil rights song "Why (Am I treated So Bad)": [Excerpt: The Sweet Inspirations, "Why (Am I Treated So Bad?)"] That hadn't charted, and meanwhile, they'd all kept doing session work. Cissy had joined Erma and Carolyn Franklin on the backing vocals for Aretha's "I Never Loved a Man the Way I Love You": [Excerpt: Aretha Franklin, "I Never Loved a Man the Way I Love You"] Shortly after that, the whole group recorded backing vocals for Erma's single "Piece of My Heart", co-written and produced by Berns: [Excerpt: Erma Franklin, "Piece of My Heart"] That became a top ten record on the R&B charts, but that caused problems. Aretha Franklin had a few character flaws, and one of these was an extreme level of jealousy for any other female singer who had any level of success and came up in the business after her. She could be incredibly graceful towards anyone who had been successful before her -- she once gave one of her Grammies away to Esther Phillips, who had been up for the same award and had lost to her -- but she was terribly insecure, and saw any contemporary as a threat. She'd spent her time at Columbia Records fuming (with some justification) that Barbra Streisand was being given a much bigger marketing budget than her, and she saw Diana Ross, Gladys Knight, and Dionne Warwick as rivals rather than friends. And that went doubly for her sisters, who she was convinced should be supporting her because of family loyalty. She had been infuriated at John Hammond when Columbia had signed Erma, thinking he'd gone behind her back to create competition for her. And now Erma was recording with Bert Berns. Bert Berns who had for years been a colleague of Jerry Wexler and the Ertegun brothers at Atlantic. Aretha was convinced that Wexler had put Berns up to signing Erma as some kind of power play. There was only one problem with this -- it simply wasn't true. As Wexler later explained “Bert and I had suffered a bad falling-out, even though I had enormous respect for him. After all, he was the guy who brought over guitarist Jimmy Page from England to play on our sessions. Bert, Ahmet, Nesuhi, and I had started a label together—Bang!—where Bert produced Van Morrison's first album. But Bert also had a penchant for trouble. He courted the wise guys. He wanted total control over every last aspect of our business dealings. Finally it was too much, and the Erteguns and I let him go. He sued us for breach of contract and suddenly we were enemies. I felt that he signed Erma, an excellent singer, not merely for her talent but as a way to get back at me. If I could make a hit with Aretha, he'd show me up by making an even bigger hit on Erma. Because there was always an undercurrent of rivalry between the sisters, this only added to the tension.” There were two things that resulted from this paranoia on Aretha's part. The first was that she and Wexler, who had been on first-name terms up to that point, temporarily went back to being "Mr. Wexler" and "Miss Franklin" to each other. And the second was that Aretha no longer wanted Carolyn and Erma to be her main backing vocalists, though they would continue to appear on her future records on occasion. From this point on, the Sweet Inspirations would be the main backing vocalists for Aretha in the studio throughout her golden era [xxcut line (and when the Sweet Inspirations themselves weren't on the record, often it would be former members of the group taking their place)]: [Excerpt: Aretha Franklin, "Ain't Nobody (Gonna Turn Me Around)"] The last day of sessions for Aretha Arrives was July the twenty-third, 1967. And as we heard in the episode on "I Was Made to Love Her", that was the day that the Detroit riots started. To recap briefly, that was four days of rioting started because of a history of racist policing, made worse by those same racist police overreacting to the initial protests. By the end of those four days, the National Guard, 82nd Airborne Division, and the 101st Airborne from Clarksville were all called in to deal with the violence, which left forty-three dead (of whom thirty-three were Black and only one was a police officer), 1,189 people were injured, and over 7,200 arrested, almost all of them Black. Those days in July would be a turning point for almost every musician based in Detroit. In particular, the police had murdered three members of the soul group the Dramatics, in a massacre of which the author John Hersey, who had been asked by President Johnson to be part of the National Advisory Commission on Civil Disorders but had decided that would compromise his impartiality and did an independent journalistic investigation, said "The episode contained all the mythic themes of racial strife in the United States: the arm of the law taking the law into its own hands; interracial sex; the subtle poison of racist thinking by “decent” men who deny they are racists; the societal limbo into which, ever since slavery, so many young black men have been driven by our country; ambiguous justice in the courts; and the devastation in both black and white human lives that follows in the wake of violence as surely as ruinous and indiscriminate flood after torrents" But these were also the events that radicalised the MC5 -- the group had been playing a gig as Tim Buckley's support act when the rioting started, and guitarist Wayne Kramer decided afterwards to get stoned and watch the fires burning down the city through a telescope -- which police mistook for a rifle, leading to the National Guard knocking down Kramer's door. The MC5 would later cover "The Motor City is Burning", John Lee Hooker's song about the events: [Excerpt: The MC5, "The Motor City is Burning"] It would also be a turning point for Motown, too, in ways we'll talk about in a few future episodes.  And it was a political turning point too -- Michigan Governor George Romney, a liberal Republican (at a time when such people existed) had been the favourite for the Republican Presidential candidacy when he'd entered the race in December 1966, but as racial tensions ramped up in Detroit during the early months of 1967 he'd started trailing Richard Nixon, a man who was consciously stoking racists' fears. President Johnson, the incumbent Democrat, who was at that point still considering standing for re-election, made sure to make it clear to everyone during the riots that the decision to call in the National Guard had been made at the State level, by Romney, rather than at the Federal level.  That wasn't the only thing that removed the possibility of a Romney presidency, but it was a big part of the collapse of his campaign, and the, as it turned out, irrevocable turn towards right-authoritarianism that the party took with Nixon's Southern Strategy. Of course, Aretha Franklin had little way of knowing what was to come and how the riots would change the city and the country over the following decades. What she was primarily concerned about was the safety of her father, and to a lesser extent that of her sister-in-law Earline who was staying with him. Aretha, Carolyn, and Erma all tried to keep in constant touch with their father while they were out of town, and Aretha even talked about hiring private detectives to travel to Detroit, find her father, and get him out of the city to safety. But as her brother Cecil pointed out, he was probably the single most loved man among Black people in Detroit, and was unlikely to be harmed by the rioters, while he was too famous for the police to kill with impunity. Reverend Franklin had been having a stressful time anyway -- he had recently been fined for tax evasion, an action he was convinced the IRS had taken because of his friendship with Dr King and his role in the civil rights movement -- and according to Cecil "Aretha begged Daddy to move out of the city entirely. She wanted him to find another congregation in California, where he was especially popular—or at least move out to the suburbs. But he wouldn't budge. He said that, more than ever, he was needed to point out the root causes of the riots—the economic inequality, the pervasive racism in civic institutions, the woefully inadequate schools in inner-city Detroit, and the wholesale destruction of our neighborhoods by urban renewal. Some ministers fled the city, but not our father. The horror of what happened only recommitted him. He would not abandon his political agenda." To make things worse, Aretha was worried about her father in other ways -- as her marriage to Ted White was starting to disintegrate, she was looking to her father for guidance, and actually wanted him to take over her management. Eventually, Ruth Bowen, her booking agent, persuaded her brother Cecil that this was a job he could do, and that she would teach him everything he needed to know about the music business. She started training him up while Aretha was still married to White, in the expectation that that marriage couldn't last. Jerry Wexler, who only a few months earlier had been seeing Ted White as an ally in getting "product" from Franklin, had now changed his tune -- partly because the sale of Atlantic had gone through in the meantime. He later said “Sometimes she'd call me at night, and, in that barely audible little-girl voice of hers, she'd tell me that she wasn't sure she could go on. She always spoke in generalities. She never mentioned her husband, never gave me specifics of who was doing what to whom. And of course I knew better than to ask. She just said that she was tired of dealing with so much. My heart went out to her. She was a woman who suffered silently. She held so much in. I'd tell her to take as much time off as she needed. We had a lot of songs in the can that we could release without new material. ‘Oh, no, Jerry,' she'd say. ‘I can't stop recording. I've written some new songs, Carolyn's written some new songs. We gotta get in there and cut 'em.' ‘Are you sure?' I'd ask. ‘Positive,' she'd say. I'd set up the dates and typically she wouldn't show up for the first or second sessions. Carolyn or Erma would call me to say, ‘Ree's under the weather.' That was tough because we'd have asked people like Joe South and Bobby Womack to play on the sessions. Then I'd reschedule in the hopes she'd show." That third album she recorded in 1967, Lady Soul, was possibly her greatest achievement. The opening track, and second single, "Chain of Fools", released in November, was written by Don Covay -- or at least it's credited as having been written by Covay. There's a gospel record that came out around the same time on a very small label based in Houston -- "Pains of Life" by Rev. E. Fair And The Sensational Gladys Davis Trio: [Excerpt: Rev. E. Fair And The Sensational Gladys Davis Trio, "Pains of Life"] I've seen various claims online that that record came out shortly *before* "Chain of Fools", but I can't find any definitive evidence one way or the other -- it was on such a small label that release dates aren't available anywhere. Given that the B-side, which I haven't been able to track down online, is called "Wait Until the Midnight Hour", my guess is that rather than this being a case of Don Covay stealing the melody from an obscure gospel record he'd have had little chance to hear, it's the gospel record rewriting a then-current hit to be about religion, but I thought it worth mentioning. The song was actually written by Covay after Jerry Wexler asked him to come up with some songs for Otis Redding, but Wexler, after hearing it, decided it was better suited to Franklin, who gave an astonishing performance: [Excerpt: Aretha Franklin, "Chain of Fools"] Arif Mardin, the arranger of the album, said of that track “I was listed as the arranger of ‘Chain of Fools,' but I can't take credit. Aretha walked into the studio with the chart fully formed inside her head. The arrangement is based around the harmony vocals provided by Carolyn and Erma. To add heft, the Sweet Inspirations joined in. The vision of the song is entirely Aretha's.” According to Wexler, that's not *quite* true -- according to him, Joe South came up with the guitar part that makes up the intro, and he also said that when he played what he thought was the finished track to Ellie Greenwich, she came up with another vocal line for the backing vocals, which she overdubbed. But the core of the record's sound is definitely pure Aretha -- and Carolyn Franklin said that there was a reason for that. As she said later “Aretha didn't write ‘Chain,' but she might as well have. It was her story. When we were in the studio putting on the backgrounds with Ree doing lead, I knew she was singing about Ted. Listen to the lyrics talking about how for five long years she thought he was her man. Then she found out she was nothing but a link in the chain. Then she sings that her father told her to come on home. Well, he did. She sings about how her doctor said to take it easy. Well, he did too. She was drinking so much we thought she was on the verge of a breakdown. The line that slew me, though, was the one that said how one of these mornings the chain is gonna break but until then she'll take all she can take. That summed it up. Ree knew damn well that this man had been doggin' her since Jump Street. But somehow she held on and pushed it to the breaking point." [Excerpt: Aretha Franklin, "Chain of Fools"] That made number one on the R&B charts, and number two on the hot one hundred, kept from the top by "Judy In Disguise (With Glasses)" by John Fred and his Playboy Band -- a record that very few people would say has stood the test of time as well. The other most memorable track on the album was the one chosen as the first single, released in September. As Carole King told the story, she and Gerry Goffin were feeling like their career was in a slump. While they had had a huge run of hits in the early sixties through 1965, they had only had two new hits in 1966 -- "Goin' Back" for Dusty Springfield and "Don't Bring Me Down" for the Animals, and neither of those were anything like as massive as their previous hits. And up to that point in 1967, they'd only had one -- "Pleasant Valley Sunday" for the Monkees. They had managed to place several songs on Monkees albums and the TV show as well, so they weren't going to starve, but the rise of self-contained bands that were starting to dominate the charts, and Phil Spector's temporary retirement, meant there simply wasn't the opportunity for them to place material that there had been. They were also getting sick of travelling to the West Coast all the time, because as their children were growing slightly older they didn't want to disrupt their lives in New York, and were thinking of approaching some of the New York based labels and seeing if they needed songs. They were particularly considering Atlantic, because soul was more open to outside songwriters than other genres. As it happened, though, they didn't have to approach Atlantic, because Atlantic approached them. They were walking down Broadway when a limousine pulled up, and Jerry Wexler stuck his head out of the window. He'd come up with a good title that he wanted to use for a song for Aretha, would they be interested in writing a song called "Natural Woman"? They said of course they would, and Wexler drove off. They wrote the song that night, and King recorded a demo the next morning: [Excerpt: Carole King, "(You Make Me Feel Like) A Natural Woman (demo)"] They gave Wexler a co-writing credit because he had suggested the title.  King later wrote in her autobiography "Hearing Aretha's performance of “Natural Woman” for the first time, I experienced a rare speechless moment. To this day I can't convey how I felt in mere words. Anyone who had written a song in 1967 hoping it would be performed by a singer who could take it to the highest level of excellence, emotional connection, and public exposure would surely have wanted that singer to be Aretha Franklin." She went on to say "But a recording that moves people is never just about the artist and the songwriters. It's about people like Jerry and Ahmet, who matched the songwriters with a great title and a gifted artist; Arif Mardin, whose magnificent orchestral arrangement deserves the place it will forever occupy in popular music history; Tom Dowd, whose engineering skills captured the magic of this memorable musical moment for posterity; and the musicians in the rhythm section, the orchestral players, and the vocal contributions of the background singers—among them the unforgettable “Ah-oo!” after the first line of the verse. And the promotion and marketing people helped this song reach more people than it might have without them." And that's correct -- unlike "Chain of Fools", this time Franklin did let Arif Mardin do most of the arrangement work -- though she came up with the piano part that Spooner Oldham plays on the record. Mardin said that because of the song's hymn-like feel they wanted to go for a more traditional written arrangement. He said "She loved the song to the point where she said she wanted to concentrate on the vocal and vocal alone. I had written a string chart and horn chart to augment the chorus and hired Ralph Burns to conduct. After just a couple of takes, we had it. That's when Ralph turned to me with wonder in his eyes. Ralph was one of the most celebrated arrangers of the modern era. He had done ‘Early Autumn' for Woody Herman and Stan Getz, and ‘Georgia on My Mind' for Ray Charles. He'd worked with everyone. ‘This woman comes from another planet' was all Ralph said. ‘She's just here visiting.'” [Excerpt: Aretha Franklin, "(You Make Me Feel Like) A Natural Woman"] By this point there was a well-functioning team making Franklin's records -- while the production credits would vary over the years, they were all essentially co-productions by the team of Franklin, Wexler, Mardin and Dowd, all collaborating and working together with a more-or-less unified purpose, and the backing was always by the same handful of session musicians and some combination of the Sweet Inspirations and Aretha's sisters. That didn't mean that occasional guests couldn't get involved -- as we discussed in the Cream episode, Eric Clapton played guitar on "Good to Me as I am to You": [Excerpt: Aretha Franklin, "Good to Me as I am to You"] Though that was one of the rare occasions on one of these records where something was overdubbed. Clapton apparently messed up the guitar part when playing behind Franklin, because he was too intimidated by playing with her, and came back the next day to redo his part without her in the studio. At this point, Aretha was at the height of her fame. Just before the final batch of album sessions began she appeared in the Macy's Thanksgiving Parade, and she was making regular TV appearances, like one on the Mike Douglas Show where she duetted with Frankie Valli on "That's Life": [Excerpt: Aretha Franklin and Frankie Valli, "That's Life"] But also, as Wexler said “Her career was kicking into high gear. Contending and resolving both the professional and personal challenges were too much. She didn't think she could do both, and I didn't blame her. Few people could. So she let the personal slide and concentrated on the professional. " Her concert promoter Ruth Bowen said of this time "Her father and Dr. King were putting pressure on her to sing everywhere, and she felt obligated. The record company was also screaming for more product. And I had a mountain of offers on my desk that kept getting higher with every passing hour. They wanted her in Europe. They wanted her in Latin America. They wanted her in every major venue in the U.S. TV was calling. She was being asked to do guest appearances on every show from Carol Burnett to Andy Williams to the Hollywood Palace. She wanted to do them all and she wanted to do none of them. She wanted to do them all because she's an entertainer who burns with ambition. She wanted to do none of them because she was emotionally drained. She needed to go away and renew her strength. I told her that at least a dozen times. She said she would, but she didn't listen to me." The pressures from her father and Dr King are a recurring motif in interviews with people about this period. Franklin was always a very political person, and would throughout her life volunteer time and money to liberal political causes and to the Democratic Party, but this was the height of her activism -- the Civil Rights movement was trying to capitalise on the gains it had made in the previous couple of years, and celebrity fundraisers and performances at rallies were an important way to do that. And at this point there were few bigger celebrities in America than Aretha Franklin. At a concert in her home town of Detroit on February the sixteenth, 1968, the Mayor declared the day Aretha Franklin Day. At the same show, Billboard, Record World *and* Cash Box magazines all presented her with plaques for being Female Vocalist of the Year. And Dr. King travelled up to be at the show and congratulate her publicly for all her work with his organisation, the Southern Christian Leadership Conference. Backstage at that show, Dr. King talked to Aretha's father, Reverend Franklin, about what he believed would be the next big battle -- a strike in Memphis: [Excerpt, Martin Luther King, "Mountaintop Speech" -- "And so, as a result of this, we are asking you tonight, to go out and tell your neighbors not to buy Coca-Cola in Memphis. Go by and tell them not to buy Sealtest milk. Tell them not to buy—what is the other bread?—Wonder Bread. And what is the other bread company, Jesse? Tell them not to buy Hart's bread. As Jesse Jackson has said, up to now, only the garbage men have been feeling pain; now we must kind of redistribute the pain. We are choosing these companies because they haven't been fair in their hiring policies; and we are choosing them because they can begin the process of saying, they are going to support the needs and the rights of these men who are on strike. And then they can move on downtown and tell Mayor Loeb to do what is right."] The strike in question was the Memphis Sanitation Workers' strike which had started a few days before.  The struggle for Black labour rights was an integral part of the civil rights movement, and while it's not told that way in the sanitised version of the story that's made it into popular culture, the movement led by King was as much about economic justice as social justice -- King was a democratic socialist, and believed that economic oppression was both an effect of and cause of other forms of racial oppression, and that the rights of Black workers needed to be fought for. In 1967 he had set up a new organisation, the Poor People's Campaign, which was set to march on Washington to demand a program that included full employment, a guaranteed income -- King was strongly influenced in his later years by the ideas of Henry George, the proponent of a universal basic income based on land value tax -- the annual building of half a million affordable homes, and an end to the war in Vietnam. This was King's main focus in early 1968, and he saw the sanitation workers' strike as a major part of this campaign. Memphis was one of the most oppressive cities in the country, and its largely Black workforce of sanitation workers had been trying for most of the 1960s to unionise, and strike-breakers had been called in to stop them, and many of them had been fired by their white supervisors with no notice. They were working in unsafe conditions, for utterly inadequate wages, and the city government were ardent segregationists. After two workers had died on the first of February from using unsafe equipment, the union demanded changes -- safer working conditions, better wages, and recognition of the union. The city council refused, and almost all the sanitation workers stayed home and stopped work. After a few days, the council relented and agreed to their terms, but the Mayor, Henry Loeb, an ardent white supremacist who had stood on a platform of opposing desegregation, and who had previously been the Public Works Commissioner who had put these unsafe conditions in place, refused to listen. As far as he was concerned, he was the only one who could recognise the union, and he wouldn't. The workers continued their strike, marching holding signs that simply read "I am a Man": [Excerpt: Stevie Wonder, "Blowing in the Wind"] The Southern Christian Leadership Conference and the NAACP had been involved in organising support for the strikes from an early stage, and King visited Memphis many times. Much of the time he spent visiting there was spent negotiating with a group of more militant activists, who called themselves The Invaders and weren't completely convinced by King's nonviolent approach -- they believed that violence and rioting got more attention than non-violent protests. King explained to them that while he had been persuaded by Gandhi's writings of the moral case for nonviolent protest, he was also persuaded that it was pragmatically necessary -- asking the young men "how many guns do we have and how many guns do they have?", and pointing out as he often did that when it comes to violence a minority can't win against an armed majority. Rev Franklin went down to Memphis on the twenty-eighth of March to speak at a rally Dr. King was holding, but as it turned out the rally was cancelled -- the pre-rally march had got out of hand, with some people smashing windows, and Memphis police had, like the police in Detroit the previous year, violently overreacted, clubbing and gassing protestors and shooting and killing one unarmed teenage boy, Larry Payne. The day after Payne's funeral, Dr King was back in Memphis, though this time Rev Franklin was not with him. On April the third, he gave a speech which became known as the "Mountaintop Speech", in which he talked about the threats that had been made to his life: [Excerpt: Martin Luther King, "Mountaintop Speech": “And then I got to Memphis. And some began to say the threats, or talk about the threats that were out. What would happen to me from some of our sick white brothers? Well, I don't know what will happen now. We've got some difficult days ahead. But it doesn't matter with me now. Because I've been to the mountaintop. And I don't mind. Like anybody, I would like to live a long life. Longevity has its place. But I'm not concerned about that now. I just want to do God's will. And He's allowed me to go up to the mountain. And I've looked over. And I've seen the promised land. I may not get there with you. But I want you to know tonight, that we, as a people, will get to the promised land. So I'm happy, tonight. I'm not worried about anything. I'm not fearing any man. Mine eyes have seen the glory of the coming of the Lord."] The next day, Martin Luther King was shot dead. James Earl Ray, a white supremacist, pled guilty to the murder, and the evidence against him seems overwhelming from what I've read, but the King family have always claimed that the murder was part of a larger conspiracy and that Ray was not the gunman. Aretha was obviously distraught, and she attended the funeral, as did almost every other prominent Black public figure. James Baldwin wrote of the funeral: "In the pew directly before me sat Marlon Brando, Sammy Davis, Eartha Kitt—covered in black, looking like a lost, ten-year-old girl—and Sidney Poitier, in the same pew, or nearby. Marlon saw me, and nodded. The atmosphere was black, with a tension indescribable—as though something, perhaps the heavens, perhaps the earth, might crack. Everyone sat very still. The actual service sort of washed over me, in waves. It wasn't that it seemed unreal; it was the most real church service I've ever sat through in my life, or ever hope to sit through; but I have a childhood hangover thing about not weeping in public, and I was concentrating on holding myself together. I did not want to weep for Martin, tears seemed futile. But I may also have been afraid, and I could not have been the only one, that if I began to weep I would not be able to stop. There was more than enough to weep for, if one was to weep—so many of us, cut down, so soon. Medgar, Malcolm, Martin: and their widows, and their children. Reverend Ralph David Abernathy asked a certain sister to sing a song which Martin had loved—“Once more,” said Ralph David, “for Martin and for me,” and he sat down." Many articles and books on Aretha Franklin say that she sang at King's funeral. In fact she didn't, but there's a simple reason for the confusion. King's favourite song was the Thomas Dorsey gospel song "Take My Hand, Precious Lord", and indeed almost his last words were to ask a trumpet player, Ben Branch, if he would play the song at the rally he was going to be speaking at on the day of his death. At his request, Mahalia Jackson, his old friend, sang the song at his private funeral, which was not filmed, unlike the public part of the funeral that Baldwin described. Four months later, though, there was another public memorial for King, and Franklin did sing "Take My Hand, Precious Lord" at that service, in front of King's weeping widow and children, and that performance *was* filmed, and gets conflated in people's memories with Jackson's unfilmed earlier performance: [Excerpt: Aretha Franklin, "Take My Hand, Precious Lord (at Martin Luther King Memorial)"] Four years later, she would sing that at Mahalia Jackson's funeral. Through all this, Franklin had been working on her next album, Aretha Now, the sessions for which started more or less as soon as the sessions for Lady Soul had finished. The album was, in fact, bookended by deaths that affected Aretha. Just as King died at the end of the sessions, the beginning came around the time of the death of Otis Redding -- the sessions were cancelled for a day while Wexler travelled to Georgia for Redding's funeral, which Franklin was too devastated to attend, and Wexler would later say that the extra emotion in her performances on the album came from her emotional pain at Redding's death. The lead single on the album, "Think", was written by Franklin and -- according to the credits anyway -- her husband Ted White, and is very much in the same style as "Respect", and became another of her most-loved hits: [Excerpt: Aretha Franklin, "Think"] But probably the song on Aretha Now that now resonates the most is one that Jerry Wexler tried to persuade her not to record, and was only released as a B-side. Indeed, "I Say a Little Prayer" was a song that had already once been a hit after being a reject.  Hal David, unlike Burt Bacharach, was a fairly political person and inspired by the protest song movement, and had been starting to incorporate his concerns about the political situation and the Vietnam War into his lyrics -- though as with many such writers, he did it in much less specific ways than a Phil Ochs or a Bob Dylan. This had started with "What the World Needs Now is Love", a song Bacharach and David had written for Jackie DeShannon in 1965: [Excerpt: Jackie DeShannon, "What the "World Needs Now is Love"] But he'd become much more overtly political for "The Windows of the World", a song they wrote for Dionne Warwick. Warwick has often said it's her favourite of her singles, but it wasn't a big hit -- Bacharach blamed himself for that, saying "Dionne recorded it as a single and I really blew it. I wrote a bad arrangement and the tempo was too fast, and I really regret making it the way I did because it's a good song." [Excerpt: Dionne Warwick, "The Windows of the World"] For that album, Bacharach and David had written another track, "I Say a Little Prayer", which was not as explicitly political, but was intended by David to have an implicit anti-war message, much like other songs of the period like "Last Train to Clarksville". David had sons who were the right age to be drafted, and while it's never stated, "I Say a Little Prayer" was written from the perspective of a woman whose partner is away fighting in the war, but is still in her thoughts: [Excerpt: Dionne Warwick, "I Say a Little Prayer"] The recording of Dionne Warwick's version was marked by stress. Bacharach had a particular way of writing music to tell the musicians the kind of feel he wanted for the part -- he'd write nonsense words above the stave, and tell the musicians to play the parts as if they were singing those words. The trumpet player hired for the session, Ernie Royal, got into a row with Bacharach about this unorthodox way of communicating musical feeling, and the track ended up taking ten takes (as opposed to the normal three for a Bacharach session), with Royal being replaced half-way through the session. Bacharach was never happy with the track even after all the work it had taken, and he fought to keep it from being released at all, saying the track was taken at too fast a tempo. It eventually came out as an album track nearly eighteen months after it was recorded -- an eternity in 1960s musical timescales -- and DJs started playing it almost as soon as it came out. Scepter records rushed out a single, over Bacharach's objections, but as he later said "One thing I love about the record business is how wrong I was. Disc jockeys all across the country started playing the track, and the song went to number four on the charts and then became the biggest hit Hal and I had ever written for Dionne." [Excerpt: Dionne Warwick, "I Say a Little Prayer"] Oddly, the B-side for Warwick's single, "Theme From the Valley of the Dolls" did even better, reaching number two. Almost as soon as the song was released as a single, Franklin started playing around with the song backstage, and in April 1968, right around the time of Dr. King's death, she recorded a version. Much as Burt Bacharach had been against releasing Dionne Warwick's version, Jerry Wexler was against Aretha even recording the song, saying later “I advised Aretha not to record it. I opposed it for two reasons. First, to cover a song only twelve weeks after the original reached the top of the charts was not smart business. You revisit such a hit eight months to a year later. That's standard practice. But more than that, Bacharach's melody, though lovely, was peculiarly suited to a lithe instrument like Dionne Warwick's—a light voice without the dark corners or emotional depths that define Aretha. Also, Hal David's lyric was also somewhat girlish and lacked the gravitas that Aretha required. “Aretha usually listened to me in the studio, but not this time. She had written a vocal arrangement for the Sweet Inspirations that was undoubtedly strong. Cissy Houston, Dionne's cousin, told me that Aretha was on the right track—she was seeing this song in a new way and had come up with a new groove. Cissy was on Aretha's side. Tommy Dowd and Arif were on Aretha's side. So I had no choice but to cave." It's quite possible that Wexler's objections made Franklin more, rather than less, determined to record the song. She regarded Warwick as a hated rival, as she did almost every prominent female singer of her generation and younger ones, and would undoubtedly have taken the implication that there was something that Warwick was simply better at than her to heart. [Excerpt: Aretha Franklin, "I Say a Little Prayer"] Wexler realised as soon as he heard it in the studio that Franklin's version was great, and Bacharach agreed, telling Franklin's biographer David Ritz “As much as I like the original recording by Dionne, there's no doubt that Aretha's is a better record. She imbued the song with heavy soul and took it to a far deeper place. Hers is the definitive version.” -- which is surprising because Franklin's version simplifies some of Bacharach's more unusual chord voicings, something he often found extremely upsetting. Wexler still though thought there was no way the song would be a hit, and it's understandable that he thought that way. Not only had it only just been on the charts a few months earlier, but it was the kind of song that wouldn't normally be a hit at all, and certainly not in the kind of rhythmic soul music for which Franklin was known. Almost everything she ever recorded is in simple time signatures -- 4/4, waltz time, or 6/8 -- but this is a Bacharach song so it's staggeringly metrically irregular. Normally even with semi-complex things I'm usually good at figuring out how to break it down into bars, but here I actually had to purchase a copy of the sheet music in order to be sure I was right about what's going on. I'm going to count beats along with the record here so you can see what I mean. The verse has three bars of 4/4, one bar of 2/4, and three more bars of 4/4, all repeated: [Excerpt: Aretha Franklin, "I Say a Little Prayer" with me counting bars over verse] While the chorus has a bar of 4/4, a bar of 3/4 but with a chord change half way through so it sounds like it's in two if you're paying attention to the harmonic changes, two bars of 4/4, another waltz-time bar sounding like it's in two, two bars of four, another bar of three sounding in two, a bar of four, then three more bars of four but the first of those is *written* as four but played as if it's in six-eight time (but you can keep the four/four pulse going if you're counting): [Excerpt: Aretha Franklin, "I Say a Little Prayer" with me counting bars over verse] I don't expect you to have necessarily followed that in great detail, but the point should be clear -- this was not some straightforward dance song. Incidentally, that bar played as if it's six/eight was something Aretha introduced to make the song even more irregular than how Bacharach wrote it. And on top of *that* of course the lyrics mixed the secular and the sacred, something that was still taboo in popular music at that time -- this is only a couple of years after Capitol records had been genuinely unsure about putting out the Beach Boys' "God Only Knows", and Franklin's gospel-inflected vocals made the religious connection even more obvious. But Franklin was insistent that the record go out as a single, and eventually it was released as the B-side to the far less impressive "The House That Jack Built". It became a double-sided hit, with the A-side making number two on the R&B chart and number seven on the Hot One Hundred, while "I Say a Little Prayer" made number three on the R&B chart and number ten overall. In the UK, "I Say a Little Prayer" made number four and became her biggest ever solo UK hit. It's now one of her most-remembered songs, while the A-side is largely forgotten: [Excerpt: Aretha Franklin, "I Say a Little Prayer"] For much of the

1. Nena - 99 Luftballons2. Icicle Works - Whisper To A Scream3. Cure - Close To Me (Extended Version)4. Adam And The Ants - Antmusic5. Midnight Oil - Power And The Passion6. O.M.D. - Locomotion (12'' Version)7. Culture Club - Karma Chameleon8. Depeche Mode - Everything Counts9. Duran Duran - Is There Something I Should Know10. King - Love & Pride (Extended)11. Pet Shop Boys - It's A Sin12. Spandau Ballet - Gold13. INXS - Original Sin14. Clash - London Calling15. Jam - Beat Surrender16. Oingo Boingo - What You See17. Cure - Why Can't I Be You?18. Adam Ant - Goody Two Shoes19. Morrissey - Suedehead (Extended)www.djroyski.comwww.patreon.com/royskiwww.mixcloud.com/djroyskiwww.facebook.com/djroyskiwww.twitter.com/djroyski

Dr. Young-Hui Chang is a Professor of Biological Sciences at Georgia Institute of Technology where he directs research in the Comparative Neuromechanics Laboratory. Research in Young-Hui's lab aims to examine how the control of movement by the nervous system is influenced by mechanics and physics during locomotion. He is interested in broad mechanisms for behaviors like walking, running, and hopping that apply within and across species. Young-Hui likes to spend his free time with his family. He, his wife, and his two boys enjoy exploring the outdoors, hiking, and camping together. Though Young-Hui was not always a particularly outdoorsy person, enrolling his sons in the Scouts program has provided an avenue for him and his family to learn more and get outside. Young-Hui received his B.S. in Mechanical Engineering and his M.S. in Animal Physiology from Cornell University. Next, he conducted his doctoral studies at the University of California, Berkeley, earning his PhD in Integrative Biology in 2000. Prior to joining the faculty at Georgia Tech, Young-Hui was a postdoctoral researcher at Emory University. While at Emory, he was awarded the Association of Korean Neuroscientists President Outstanding Research Hanwha Award. Young-Hui has also been awarded an NSF CAREER Award. In this interview, he discusses his experiences in life and science.

Kylie Minogue in studio (37:00), some birthday drama, a caller need's Zach's advice, when is it right to say "I love you", and more! Kylie Minogue came by the studio to talk about the success of Padam Padam, new album Tension, The Loco-Motion and more! Stream "Padam Padam" ►► https://kylie.lnk.to/BioIN All interviews can be heard first LIVE on AMP! Live Monday - Friday from 3-6p PT -- DOWNLOAD & LISTEN HERE: https://t.co/y3UrDZP3ab  SOCIAL: Twitter ►►https://twitter.com/zachsangshow Instagram ►►https://www.instagram.com/zachsangshow/ Facebook ►►https://www.facebook.com/ZachSangShow/ Zach ►►https://www.instagram.com/zachsang/ Dan ►►https://www.instagram.com/danzolot/ Cameron ►►https://www.instagram.com/theonlycamshaft Learn more about your ad choices. Visit megaphone.fm/adchoices

Kylie Minogue in studio (37:00), some birthday drama, a caller need's Zach's advice, when is it right to say "I love you", and more! Kylie Minogue came by the studio to talk about the success of Padam Padam, new album Tension, The Loco-Motion and more! Stream "Padam Padam" ►► https://kylie.lnk.to/BioIN All interviews can be heard first LIVE on AMP! Live Monday - Friday from 3-6p PT -- DOWNLOAD & LISTEN HERE: https://t.co/y3UrDZP3ab  SOCIAL: Twitter ►►https://twitter.com/zachsangshow Instagram ►►https://www.instagram.com/zachsangshow/ Facebook ►►https://www.facebook.com/ZachSangShow/ Zach ►►https://www.instagram.com/zachsang/ Dan ►►https://www.instagram.com/danzolot/ Cameron ►►https://www.instagram.com/theonlycamshaft Learn more about your ad choices. Visit megaphone.fm/adchoices

This is a segment of episode 348 of Last Born In The Wilderness, “The Myth Of Man The Hunter: Human Locomotion & The Diversity Of Foraging Societies w/ Cara Wall-Scheffler.” Listen to the full episode: https://www.lastborninthewilderness.com/episodes/cara-wall-scheffler Read ‘The Myth of Man the Hunter: Women's contribution to the hunt across ethnographic contexts', published at PLOS ONE: https://bit.ly/44E0DVc Biological anthropologist Dr. Cara Wall-Scheffler joins me to discuss the evolution of human locomotion and how it dovetails into the findings and conclusions of the research article she co-authored, ‘The Myth of Man the Hunter: Women's contribution to the hunt across ethnographic contexts', published last month in PLOS ONE. The data gathered and examined across numerous foraging societies by the authors of this ethnographic review points to the incredible diversity of labor males and females typically engage in to acquire food and other resources. Simultaneously, the findings and conclusions in this study upend stereotypical and essentialist notions about what the commonly understood sexual divisions of labor are—the “man as hunter” and “woman as gatherer” myth—with implications for not only anthropology as a field of study, but for contemporary discourse on topics of gender and sex. A major takeaway from this dialogue with Dr. Wall-Scheffler is that the Euro- and male-centric conceptions of the origins of Homo sapiens are breaking down. The diversity of human social arrangements and adaptation to our environments upsets colonialist and patriarchal assumptions of how we came to be, and provides openings in how we can imagine a more diverse and adaptive future for our species. Cara Wall-Scheffler is Professor and Co-Chair of Biology at Seattle Pacific University. Her research focuses on the evolution of human sexual dimorphism, particularly in the context of balancing the pressures of thermoregulation and long-distance locomotion. She has been working on this problem for over 10 years and has published numerous papers along with her students. Her work shows very clearly that different selection pressures have acted on men and women, and that women in particular have a rare (among mammals) ability to work both efficiently (energy per unit mass) and economically (total energy) when carrying loads. Women's abilities are due in part to their relatively small body size, relatively high surface area, relatively broader pelves, and unique methods of thermoregulating. WEBSITE: https://www.lastborninthewilderness.com PATREON: https://www.patreon.com/lastborninthewilderness DONATE: https://www.paypal.me/lastbornpodcast SUBSTACK: https://lastborninthewilderness.substack.com BOOK LIST: https://bookshop.org/shop/lastbornpodcast DROP ME A LINE: Call (208) 918-2837 or http://bit.ly/LBWfiledrop EVERYTHING ELSE: https://linktr.ee/patterns.of.behavior

Joe, Lauren, and Alex share their Top 5 Most Iconic Lines from the Harry Potter Series. It's the debut of a new segment by former cohost Marissa! They learn about a great grouping of spells called the Locomotion charms, and they do a little Tales Rewind as they question who was worse between Aunt Marge and Dolores Umbridge in Truth or Lies!   Show Notes: http://www.talesfromgodricshollow.com/episode-353   00:00 Open/Giveaway 8:32 Top 5 Most Iconic Lines from the Harry Potter Series 1:03:05 MugglePoll 1:09:34 The Bossengamot 1:12:07 POTTERWATCH!/News You Can Use 1:17:10 Spellio Revelio - Locomotion Charms 1:26:25 Truth or Lies 1:40:05 Community E-mails   Joe - @CustomVinylLush Lauren - @Maev_Cleric Alex - @AtariAlex Show - @TalesFromGH TikTok- @TFGHshow   Email - TalesFromGodricsHollow@gmail.com Website - www.TalesFromGodricsHollow.com Facebook - www.facebook.com/talesfromgodricshollow  Instagram - www.instagram.com/talesfromgodricshollow Podchaser - www.podchaser.com/TFGH     Special Shout Out to our Producer/Sponsor AND Headmistress "The Mysteriously Haunted Headmistress of Beauxbaton Academy"!   Thank you to ALL of the Patreon supporters!!! We can't do all of this without you all!   Support us on PATREON! www.Patreon.com/TalesFromGodricsHollow   Spellio Revelio and E-Mail sounds/beds came from https://musicradiocreative.com/