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Lorren sustained burns to his right forearm and hand while working with hot oil. The burn area is red with blistering, and the patient reports significant pain. On examination, capillary refill is intact, and the wound blanches with pressure. The patient is referred to physical therapy to prevent complications during the early phase of healing. Which intervention is MOST appropriate during the initial phase of rehabilitation?A) Daily aggressive stretching to maintain range of motionB) Moisturizing and scar massage to prevent contracture formationC) Gentle range of motion exercises to prevent joint stiffnessD) Compression wrapping to reduce hypertrophic scarringDOWNLOAD THIS EPISODES CHEATSHEET:www.nptecheatsheet.com/burns25
In this week's edition of Being Green, Glynis Crook together with World Wide Fund for Nature, South Africa's Senior manager, Circular Economy, Lorren de Kock, offer some tips to make your Christmas celebrations more environmentally friendly.
Welcome to another episode of The Fresh CrEd Podcast! Today, we're excited to have Mr. Lorren Walker, President and CEO of Elias Walker, and former Chief of Staff at USDA Ag Marketing Services. With a stellar career in agricultural policy, Lorren has been pivotal in shaping the regulations that keep our food supply safe and sustainable. In this episode, Lorren shares his journey from his early days in food policy in Washington, D.C., to leading a top-tier consulting firm. We dive deep into the importance of advocacy, the intricacies of the farm bill, and the critical role of fresh produce in schools. Recorded live at IFPA's Washington Conference, this conversation provides unique insights into the agricultural sector's challenges and opportunities. Special thanks to our sponsors for this episode: Cactus Packaging Supplies, Equifruit, Corner Image Packaging, Sunfed, and IFCO. Your support helps us bring these important conversations to our listeners. Tune in for an engaging and informative discussion that's perfect for industry professionals, growers, and anyone passionate about the future of fresh produce. And remember, subscribe to The Fresh CrEd Podcast to stay updated with our latest episodes! https://linktr.ee/TheFreshCrEd #agriculture #farming #farmlife #sustainableagriculture #WashingtonDC
Tempo, energia e esforço, como medir esses elementos para alcançar a independência financeira. Uma análise sobre o Brasil. O filme "One Love" e Lorren https://youtube.com/@IvanTonon?si=yh4bhIZ1EaYCmqT_ https://open.spotify.com/track/06PqCTjgqD5SLemzSmg5OT?si=0a1H-BEcStuUj-m2exqweA
Lorren Rodriguez, a Latina and mother of two, entered motherhood at 21, undergoing a transformative journey marked by challenges and self-discovery. When her firstborn was diagnosed with a sensory disorder and ASD at 3, Lorren grappled with "mom guilt" but turned adversity into purpose.Motivated by her experiences, Lorren shifted careers to work with neurodiverse children and families. Today, she offers reiki and guided meditation sessions, providing healing, solace, and clarity. Lorren's commitment lies in supporting others on similar paths, reflecting her compassionate approach to life's intricate moments.In this conversations you will hear: Lorren's background and the story of her child's ASD diagnosisParenting our inner child as we parent our children "our children are our grandest teachers"Practicing meditation with your children Reiki and breathwork intensifies your intuitive giftsI don't have to mask, I don't have to help everyone, "are you in the space to hold space?"What does it mean to be a mindful parent?Learn about Lorren's offerings Lorren's Instagram: atypical_ladies
As we mark a slew of national and international clean-up days, in this week's edition of Being Green, Glynis Crook asks WWF South Africa's circular economy portfolio senior manager, Lorren de Kock, if we are facing a ‘waste crisis'.
We learn about Elodin's now-successful pedagogy. We talk about how long you can stay awake without going maaaad, a character beat for Lorren in a comedy moment, and look at the moments Kvothe calls the wind. @pageofthewind pageofthewind.com Join the community on Discord at https://discord.gg/tCZc6kXQcg To support the ongoing WGA and SAG-AFTRA strike as they battle for a living wage and decent working conditions, visit one or more of these links: https://www.wgacontract2023.org/strike-hub https://entertainmentcommunity.org/ https://actionnetwork.org/fundraising/the-snacklist-support-striking-workers
We are so excited to have Jessica Lorren and Kat Braman with us today. The two are both destination photographers who have been in the industry for 15 years. Within the last couple of years, the two merged their individual photography businesses to become Lorren & Braman. They also have started The Reed Community. Which is a community for creatives in search of sustainability within work and life so we don't burn out. On today's episode, we'll be talking with them all about balance and harmony and how basically balance isn't a real thing. That said, they have some great ideas on how you can have a more harmonious life. So stay tuned for business and life tips. We have a free download on our website: https://www.yourreed.co/. Just a little download about how to reclaim your creativity. Lorren and Braman Instagram Lorren and Braman Website DARE TO DEVELOP INSTAGRAM DARE TO DEVELOP SHOW NOTES ASHLEY'S INSTAGRAM/WEBSITE KRISTINE'S INSTAGRAM/WEBSITE
On this episode, Kristin hosts Jessica Lorren and Kat Braman from Lorren and Braman who are luxury wedding photographers and the creators of REED which was born out of a longing to reclaim creativity by evoking, embracing, and developing the artist within. Jessica and Kat share about the beginning stages of their business as photographers and how becoming a mother shaped and changed that. We dig into some interesting topics like the bullshit of balance, surprising feelings once you reach a certain goal, burn out, the major role of community, and so much more. The two photographers also share more about the details of REED and how you can become involved and connected. More about Jessica and Kat and their Reed program: Reed is our solution to a common but often-overlooked problem from which many creatives suffer. We come into this world as artists, full of inspiration and ideas with space and capacity to create freely. As time goes on we experience challenges, seasons of life change, and demands only increase. The artist we once were is asked to step aside and called upon only when needed. Neglected and uninspired, she has little to draw on when summoned and thus our connection with her diminishes. Complacency replaces creativity and burn-out ensues but her spark within us can never fully extinguish. Reed was born out of a longing to reclaim creativity by evoking, embracing and developing the artist within. Our desire is to offer a place of hope, healing and harmony for inspiration to flourish and our inner artist to thrive. We hope you'll join us. Connect with Jessica and Kat: Website: yourreed.co Facebook: https://www.facebook.com/groups/yourreed/ TikTok: https://www.tiktok.com/@reedcommunity Connect with Kristin: Instagram @kristinsweeting Book a Discovery Call First Impressions Workshop 2/13 - workshop your dating and/or social media profiles with us! Join the March 2023 group coaching cohort here! Connect with Dangerous Creatives: Instagram@dangerouscreatives Credits: Music by @jamielono and @shammydee Produced by @jenmadigancreative https://jenmadigancreative.com
Hello and welcome to another episode of the Purposeful Parent Podcast. We are excited to welcome our guest Lorren Rodriguez to the show today. Lorren is a Latinx mom and life coach who takes pride in the mindful way she is showing up for her kids. She helps moms let go of guilt and embrace their unique journey. Where to find Lorren: Instagram: @atypical_ladies * * * Thank you for listening to the Purposeful Parent Podcast. If you are enjoying the podcast, make sure to subscribe, rate, and share it with your friends. To learn more about Melissa and Kristin follow @the_pursposeful_parent on Instagram. You can also find out what Melissa is up to by following @Inner_Architect on Instagram. To keep up with Kristin, follow @LanguageNinjas on Instagram. Join our Purposeful Parent Facebook Group to meet other parents, educators, and caregivers who are inspired to create change in their lives and their kids. We would love to hear how you are choosing to purposefully parent, so please feel free to reach out to us and say hi.
Today's troop leader interview is featuring Lorren from Eastern South Carolina. She's sharing how her troop of Junior & Cadette "misfits" came to be and how they operate to keep the girls in Scouting. She's also sharing a crazy childhood memory from Girl Scouts that is going to blow your mind to think about from a parent or troop leader perspective. Times have changed!
When dealing with dog reactivity, we often place most of our attention on the dogs. In this episode, I speak with Loki's guardian, Lorren, of @polka_dot_loki on Instagram, all about their journey and reflect on Lorren's wellbeing throughout the training process. We discuss:Loki's reactivity journey trying multiple different methods to help recover his anxietyThe science behind why dog guardians can also develop anxious behaviors (becoming reactive to your dog's triggers)The first steps you can take to finding the right coaching program for your pupThanks to Lorren for having me on her show: https://www.instagram.com/polka_dot_loki/Check out my website https://www.getacalmdog.com/ to learn more about ways to work with us.Subscribe to my Dog Liaison Channel on Youtube And follow me on Instagram @dog_liaison
Recorded live on stage with Harry Styles' band at Coachella, Hannah & Sarah discuss Selena Gomez's new documentary 'My Mind & Me', Elon Musk charging $8 for blue ticks on Twitter and interview Harry Styles' sax player Lorren Chiodo about her experiences playing in his band at Coachella, touring, and life in the US. PLUS we do an abridged version of a 'Hot Ones' hot wings challenge. Donate to our GoFundMe here https://gofund.me/b0466a3a To skip to Lorren's interview go to approx 44:45
Episode one hundred and fifty-six of A History of Rock Music in Five Hundred Songs looks at “I Was Made to Love Her", the early career of Stevie Wonder, and the Detroit riots of 1967. Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have a twenty-minute bonus episode available, on "Groovin'" by the Young Rascals. Tilt Araiza has assisted invaluably by doing a first-pass edit, and will hopefully be doing so from now on. Check out Tilt's irregular podcasts at http://www.podnose.com/jaffa-cakes-for-proust and http://sitcomclub.com/ Resources As usual, I've put together a Mixcloud playlist of all the recordings excerpted in this episode. The best value way to get all of Stevie Wonder's early singles is this MP3 collection, which has the original mono single mixes of fifty-five tracks for a very reasonable price. For those who prefer physical media, this is a decent single-CD collection of his early work at a very low price indeed. As well as the general Motown information listed below, I've also referred to Signed, Sealed, and Delivered: The Soulful Journey of Stevie Wonder by Mark Ribowsky, which rather astonishingly is the only full-length biography of Wonder, to Higher Ground: Stevie Wonder, Aretha Franklin, Curtis Mayfield, and the Rise and Fall of American Soul by Craig Werner, and to Detroit 67: The Year That Changed Soul by Stuart Cosgrove. For Motown-related information in this and other Motown episodes, I've used the following resources: Where Did Our Love Go? The Rise and Fall of the Motown Sound by Nelson George is an excellent popular history of the various companies that became Motown. To Be Loved by Berry Gordy is Gordy's own, understandably one-sided, but relatively well-written, autobiography. Women of Motown: An Oral History by Susan Whitall is a collection of interviews with women involved in Motown. I Hear a Symphony: Motown and Crossover R&B by J. Andrew Flory is an academic look at Motown. The Motown Encyclopaedia by Graham Betts is an exhaustive look at the people and records involved in Motown's thirty-year history. How Sweet It Is by Lamont Dozier and Scott B. Bomar is Dozier's autobiography, while Come and Get These Memories by Brian and Eddie Holland and Dave Thompson is the Holland brothers'. Standing in the Shadows of Motown: The Life and Music of Legendary Bassist James Jamerson by "Dr Licks" is a mixture of a short biography of the great bass player, and tablature of his most impressive bass parts. And Motown Junkies is an infrequently-updated blog looking at (so far) the first 694 tracks released on Motown singles. Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript A quick note before I begin -- this episode deals with disability and racism, and also deals from the very beginning with sex work and domestic violence. It also has some discussion of police violence and sexual assault. As always I will try to deal with those subjects as non-judgementally and sensitively as possible, but if you worry that anything about those subjects might disturb you, please check the transcript. Calvin Judkins was not a good man. Lula Mae Hardaway thought at first he might be, when he took her in, with her infant son whose father had left before the boy was born. He was someone who seemed, when he played the piano, to be deeply sensitive and emotional, and he even did the decent thing and married her when he got her pregnant. She thought she could save him, even though he was a street hustler and not even very good at it, and thirty years older than her -- she was only nineteen, he was nearly fifty. But she soon discovered that he wasn't interested in being saved, and instead he was interested in hurting her. He became physically and financially abusive, and started pimping her out. Lula would eventually realise that Calvin Judkins was no good, but not until she got pregnant again, shortly after the birth of her second son. Her third son was born premature -- different sources give different numbers for how premature, with some saying four months and others six weeks -- and while he apparently went by Stevland Judkins throughout his early childhood, the name on his birth certificate was apparently Stevland Morris, Lula having decided not to give another child the surname of her abuser, though nobody has ever properly explained where she got the surname "Morris" from. Little Stevland was put in an incubator with an oxygen mask, which saved the tiny child's life but destroyed his sight, giving him a condition called retinopathy of prematurity -- a condition which nowadays can be prevented and cured, but in 1951 was just an unavoidable consequence for some portion of premature babies. Shortly after the family moved from Saginaw to Detroit, Lula kicked Calvin out, and he would remain only a peripheral figure in his children's lives, but one thing he did do was notice young Stevland's interest in music, and on his increasingly infrequent visits to his wife and kids -- visits that usually ended with violence -- he would bring along toy instruments for the young child to play, like a harmonica and a set of bongos. Stevie was a real prodigy, and by the time he was nine he had a collection of real musical instruments, because everyone could see that the kid was something special. A neighbour who owned a piano gave it to Stevie when she moved out and couldn't take it with her. A local Lions Club gave him a drum kit at a party they organised for local blind children, and a barber gave him a chromatic harmonica after seeing him play his toy one. Stevie gave his first professional performance when he was eight. His mother had taken him to a picnic in the park, and there was a band playing, and the little boy got as close to the stage as he could and started dancing wildly. The MC of the show asked the child who he was, and he said "My name is Stevie, and I can sing and play drums", so of course they got the cute kid up on stage behind the drum kit while the band played Johnny Ace's "Pledging My Love": [Excerpt: Johnny Ace, "Pledging My Love"] He did well enough that they paid him seventy-five cents -- an enormous amount for a small child at that time -- though he was disappointed afterwards that they hadn't played something faster that would really allow him to show off his drumming skills. After that he would perform semi-regularly at small events, and always ask to be paid in quarters rather than paper money, because he liked the sound of the coins -- one of his party tricks was to be able to tell one coin from another by the sound of them hitting a table. Soon he formed a duo with a neighbourhood friend, John Glover, who was a couple of years older and could play guitar while Stevie sang and played harmonica and bongos. The two were friends, and both accomplished musicians for their age, but that wasn't the only reason Stevie latched on to Glover. Even as young as he was, he knew that Motown was soon going to be the place to be in Detroit if you were a musician, and Glover had an in -- his cousin was Ronnie White of the Miracles. Stevie and John performed as a duo everywhere they could and honed their act, performing particularly at the talent shows which were such an incubator of Black musical talent at the time, and they also at this point seem to have got the attention of Clarence Paul, but it was White who brought the duo to Motown. Stevie and John first played for White and Bobby Rodgers, another of the Miracles, then when they were impressed they took them through the several layers of Motown people who would have to sign off on signing a new act. First they were taken to see Brian Holland, who was a rising star within Motown as "Please Mr. Postman" was just entering the charts. They impressed him with a performance of the Miracles song "Bad Girl": [Excerpt: The Miracles, "Bad Girl"] After that, Stevie and John went to see Mickey Stevenson, who was at first sceptical, thinking that a kid so young -- Stevie was only eleven at the time -- must be some kind of novelty act rather than a serious musician. He said later "It was like, what's next, the singing mouse?" But Stevenson was won over by the child's talent. Normally, Stevenson had the power to sign whoever he liked to the label, but given the extra legal complications involved in signing someone under-age, he had to get Berry Gordy's permission. Gordy didn't even like signing teenagers because of all the extra paperwork that would be involved, and he certainly wasn't interested in signing pre-teens. But he came down to the studio to see what Stevie could do, and was amazed, not by his singing -- Gordy didn't think much of that -- but by his instrumental ability. First Stevie played harmonica and bongos as proficiently as an adult professional, and then he made his way around the studio playing on every other instrument in the place -- often only a few notes, but competent on them all. Gordy decided to sign the duo -- and the initial contract was for an act named "Steve and John" -- but it was soon decided to separate them. Glover would be allowed to hang around Motown while he was finishing school, and there would be a place for him when he finished -- he later became a staff songwriter, working on tracks for the Four Tops and the Miracles among others, and he would even later write a number one hit, "You Don't Have to be a Star (to be in My Show)" for Marilyn McCoo and Billy Davis Jr -- but they were going to make Stevie a star right now. The man put in charge of that was Clarence Paul. Paul, under his birth name of Clarence Pauling, had started his career in the "5" Royales, a vocal group he formed with his brother Lowman Pauling that had been signed to Apollo Records by Ralph Bass, and later to King Records. Paul seems to have been on at least some of the earliest recordings by the group, so is likely on their first single, "Give Me One More Chance": [Excerpt: The "5" Royales, "Give Me One More Chance"] But Paul was drafted to go and fight in the Korean War, and so wasn't part of the group's string of hit singles, mostly written by his brother Lowman, like "Think", which later became better known in James Brown's cover version, or "Dedicated to the One I Love", later covered by the Shirelles, but in its original version dominated by Lowman's stinging guitar playing: [Excerpt: The "5" Royales, "Dedicated to the One I Love"] After being discharged, Clarence had shortened his name to Clarence Paul, and had started recording for all the usual R&B labels like Roulette and Federal, with little success: [Excerpt: Clarence Paul, "I'm Gonna Love You, Love You Til I Die"] He'd also co-written "I Need Your Lovin'", which had been an R&B hit for Roy Hamilton: [Excerpt: Roy Hamilton, "I Need Your Lovin'"] Paul had recently come to work for Motown – one of the things Berry Gordy did to try to make his label more attractive was to hire the relatives of R&B stars on other labels, in the hopes of getting them to switch to Motown – and he was the new man on the team, not given any of the important work to do. He was working with acts like Henry Lumpkin and the Valladiers, and had also been the producer of "Mind Over Matter", the single the Temptations had released as The Pirates in a desperate attempt to get a hit: [Excerpt: The Pirates, "Mind Over Matter"] Paul was the person you turned to when no-one else was interested, and who would come up with bizarre ideas. A year or so after the time period we're talking about, it was him who produced an album of country music for the Supremes, before they'd had a hit, and came up with "The Man With the Rock and Roll Banjo Band" for them: [Excerpt: The Supremes, "The Man With The Rock and Roll Banjo Band"] So, Paul was the perfect person to give a child -- by this time twelve years old -- who had the triple novelties of being a multi-instrumentalist, a child, and blind. Stevie started spending all his time around the Motown studios, partly because he was eager to learn everything about making records and partly because his home life wasn't particularly great and he wanted to be somewhere else. He earned the affection and irritation, in equal measure, of people at Motown both for his habit of wandering into the middle of sessions because he couldn't see the light that showed that the studio was in use, and for his practical joking. He was a great mimic, and would do things like phoning one of the engineers and imitating Berry Gordy's voice, telling the engineer that Stevie would be coming down, and to give him studio equipment to take home. He'd also astonish women by complimenting them, in detail, on their dresses, having been told in advance what they looked like by an accomplice. But other "jokes" were less welcome -- he would regularly sexually assault women working at Motown, grabbing their breasts or buttocks and then claiming it was an accident because he couldn't see what he was doing. Most of the women he molested still speak of him fondly, and say everybody loved him, and this may even be the case -- and certainly I don't think any of us should be judged too harshly for what we did when we were twelve -- but this kind of thing led to a certain amount of pressure to make Stevie's career worth the extra effort he was causing everyone at Motown. Because Berry Gordy was not impressed with Stevie's vocals, the decision was made to promote him as a jazz instrumentalist, and so Clarence Paul insisted that his first release be an album, rather than doing what everyone would normally do and only put out an album after a hit single. Paul reasoned that there was no way on Earth they were going to be able to get a hit single with a jazz instrumental by a twelve-year-old kid, and eventually persuaded Gordy of the wisdom of this idea. So they started work on The Jazz Soul of Little Stevie, released under his new stagename of Little Stevie Wonder, supposedly a name given to him after Berry Gordy said "That kid's a wonder!", though Mickey Stevenson always said that the name came from a brainstorming session between him and Clarence Paul. The album featured Stevie on harmonica, piano, and organ on different tracks, but on the opening track, "Fingertips", he's playing the bongos that give the track its name: [Excerpt: Little Stevie Wonder, "Fingertips (studio version)"] The composition of that track is credited to Paul and the arranger Hank Cosby, but Beans Bowles, who played flute on the track, always claimed that he came up with the melody, and it seems quite likely to me that most of the tracks on the album were created more or less as jam sessions -- though Wonder's contributions were all overdubbed later. The album sat in the can for several months -- Berry Gordy was not at all sure of its commercial potential. Instead, he told Paul to go in another direction -- focusing on Wonder's blindness, he decided that what they needed to do was create an association in listeners' minds with Ray Charles, who at this point was at the peak of his commercial power. So back into the studio went Wonder and Paul, to record an album made up almost entirely of Ray Charles covers, titled Tribute to Uncle Ray. (Some sources have the Ray Charles tribute album recorded first -- and given Motown's lax record-keeping at this time it may be impossible to know for sure -- but this is the way round that Mark Ribowsky's biography of Wonder has it). But at Motown's regular quality control meeting it was decided that there wasn't a single on the album, and you didn't release an album like that without having a hit single first. By this point, Clarence Paul was convinced that Berry Gordy was just looking for excuses not to do anything with Wonder -- and there may have been a grain of truth to that. There's some evidence that Gordy was worried that the kid wouldn't be able to sing once his voice broke, and was scared of having another Frankie Lymon on his hands. But the decision was made that rather than put out either of those albums, they would put out a single. The A-side was a song called "I Call it Pretty Music But the Old People Call it the Blues, Part 1", which very much played on Wonder's image as a loveable naive kid: [Excerpt: Little Stevie Wonder, "I Call it Pretty Music But the Old People Call it the Blues, Part 1"] The B-side, meanwhile, was part two -- a slowed-down, near instrumental, version of the song, reframed as an actual blues, and as a showcase for Wonder's harmonica playing rather than his vocals. The single wasn't a hit, but it made number 101 on the Billboard charts, just missing the Hot One Hundred, which for the debut single of a new artist wasn't too bad, especially for Motown at this point in time, when most of its releases were flopping. That was good enough that Gordy authorised the release of the two albums that they had in the can. The next single, "Little Water Boy", was a rather baffling duet with Clarence Paul, which did nothing at all on the charts. [Excerpt: Clarence Paul and Little Stevie Wonder, "Little Water Boy"] After this came another flop single, written by Brian Holland, Lamont Dozier, and Janie Bradford, before the record that finally broke Little Stevie Wonder out into the mainstream in a big way. While Wonder hadn't had a hit yet, he was sent out on the first Motortown Revue tour, along with almost every other act on the label. Because he hadn't had a hit, he was supposed to only play one song per show, but nobody had told him how long that song should be. He had quickly become a great live performer, and the audiences were excited to watch him, so when he went into extended harmonica solos rather than quickly finishing the song, the audience would be with him. Clarence Paul, who came along on the tour, would have to motion to the onstage bandleader to stop the music, but the bandleader would know that the audiences were with Stevie, and so would just keep the song going as long as Stevie was playing. Often Paul would have to go on to the stage and shout in Wonder's ear to stop playing -- and often Wonder would ignore him, and have to be physically dragged off stage by Paul, still playing, causing the audience to boo Paul for stopping him from playing. Wonder would complain off-stage that the audience had been enjoying it, and didn't seem to get it into his head that he wasn't the star of the show, that the audiences *were* enjoying him, but were *there* to see the Miracles and Mary Wells and the Marvelettes and Marvin Gaye. This made all the acts who had to go on after him, and who were running late as a result, furious at him -- especially since one aspect of Wonder's blindness was that his circadian rhythms weren't regulated by sunlight in the same way that the sighted members of the tour's were. He would often wake up the entire tour bus by playing his harmonica at two or three in the morning, while they were all trying to sleep. Soon Berry Gordy insisted that Clarence Paul be on stage with Wonder throughout his performance, ready to drag him off stage, so that he wouldn't have to come out onto the stage to do it. But one of the first times he had done this had been on one of the very first Motortown Revue shows, before any of his records had come out. There he'd done a performance of "Fingertips", playing the flute part on harmonica rather than only playing bongos throughout as he had on the studio version -- leaving the percussion to Marvin Gaye, who was playing drums for Wonder's set: [Excerpt: Little Stevie Wonder, "Fingertips (Parts 1 & 2)"] But he'd extended the song with a little bit of call-and-response vocalising: [Excerpt: Little Stevie Wonder, "Fingertips (Parts 1 & 2)"] After the long performance ended, Clarence Paul dragged Wonder off-stage and the MC asked the audience to give him a round of applause -- but then Stevie came running back on and carried on playing: [Excerpt: Little Stevie Wonder, "Fingertips (Parts 1 & 2)"] By this point, though, the musicians had started to change over -- Mary Wells, who was on after Wonder, was using different musicians from his, and some of her players were already on stage. You can hear Joe Swift, who was playing bass for Wells, asking what key he was meant to be playing in: [Excerpt: Little Stevie Wonder, "Fingertips (Parts 1 & 2)"] Eventually, after six and a half minutes, they got Wonder off stage, but that performance became the two sides of Wonder's next single, with "Fingertips Part 2", the part with the ad lib singing and the false ending, rather than the instrumental part one, being labelled as the side the DJs should play. When it was released, the song started a slow climb up the charts, and by August 1963, three months after it came out, it was at number one -- only the second ever Motown number one, and the first ever live single to get there. Not only that, but Motown released a live album -- Recorded Live, the Twelve-Year-Old Genius (though as many people point out he was thirteen when it was released -- he was twelve when it was recorded though) and that made number one on the albums chart, becoming the first Motown album ever to do so. They followed up "Fingertips" with a similar sounding track, "Workout, Stevie, Workout", which made number thirty-three. After that, his albums -- though not yet his singles -- started to be released as by "Stevie Wonder" with no "Little" -- he'd had a bit of a growth spurt and his voice was breaking, and so marketing him as a child prodigy was not going to work much longer and they needed to transition him into a star with adult potential. In the Motown of 1963 that meant cutting an album of standards, because the belief at the time in Motown was that the future for their entertainers was doing show tunes at the Copacabana. But for some reason the audience who had wanted an R&B harmonica instrumental with call-and-response improvised gospel-influenced yelling was not in the mood for a thirteen year old singing "Put on a Happy Face" and "When You Wish Upon a Star", and especially not when the instrumental tracks were recorded in a key that suited him at age twelve but not thirteen, so he was clearly straining. "Fingertips" being a massive hit also meant Stevie was now near the top of the bill on the Motortown Revue when it went on its second tour. But this actually put him in a precarious position. When he had been down at the bottom of the bill and unknown, nobody expected anything from him, and he was following other minor acts, so when he was surprisingly good the audiences went wild. Now, near the top of the bill, he had to go on after Marvin Gaye, and he was not nearly so impressive in that context. The audiences were polite enough, but not in the raptures he was used to. Although Stevie could still beat Gaye in some circumstances. At Motown staff parties, Berry Gordy would always have a contest where he'd pit two artists against each other to see who could win the crowd over, something he thought instilled a fun and useful competitive spirit in his artists. They'd alternate songs, two songs each, and Gordy would decide on the winner based on audience response. For the 1963 Motown Christmas party, it was Stevie versus Marvin. Wonder went first, with "Workout, Stevie, Workout", and was apparently impressive, but then Gaye topped him with a version of "Hitch-Hike". So Stevie had to top that, and apparently did, with a hugely extended version of "I Call it Pretty Music", reworked in the Ray Charles style he'd used for "Fingertips". So Marvin Gaye had to top that with the final song of the contest, and he did, performing "Stubborn Kind of Fellow": [Excerpt: Marvin Gaye, "Stubborn Kind of Fellow"] And he was great. So great, it turned the crowd against him. They started booing, and someone in the audience shouted "Marvin, you should be ashamed of yourself, taking advantage of a little blind kid!" The crowd got so hostile Berry Gordy had to stop the performance and end the party early. He never had another contest like that again. There were other problems, as well. Wonder had been assigned a tutor, a young man named Ted Hull, who began to take serious control over his life. Hull was legally blind, so could teach Wonder using Braille, but unlike Wonder had some sight -- enough that he was even able to get a drivers' license and a co-pilot license for planes. Hull was put in loco parentis on most of Stevie's tours, and soon became basically inseparable from him, but this caused a lot of problems, not least because Hull was a conservative white man, while almost everyone else at Motown was Black, and Stevie was socially liberal and on the side of the civil rights and anti-Vietnam movements. Hull started to collaborate on songwriting with Wonder, which most people at Motown were OK with but which now seems like a serious conflict of interest, and he also started calling himself Stevie's "manager" -- which did *not* impress the people at Motown, who had their own conflict of interest because with Stevie, like with all their artists, they were his management company and agents as well as his record label and publishers. Motown grudgingly tolerated Hull, though, mostly because he was someone they could pass Lula Mae Hardaway to to deal with her complaints. Stevie's mother was not very impressed with the way that Motown were handling her son, and would make her opinion known to anyone who would listen. Hull and Hardaway did not get on at all, but he could be relied on to save the Gordy family members from having to deal with her. Wonder was sent over to Europe for Christmas 1963, to perform shows at the Paris Olympia and do some British media appearances. But both his mother and Hull had come along, and their clear dislike for each other was making him stressed. He started to get pains in his throat whenever he sang -- pains which everyone assumed were a stress reaction to the unhealthy atmosphere that happened whenever Hull and his mother were in the same room together, but which later turned out to be throat nodules that required surgery. Because of this, his singing was generally not up to standard, which meant he was moved to a less prominent place on the bill, which in turn led to his mother accusing the Gordy family of being against him and trying to stop him becoming a star. Wonder started to take her side and believe that Motown were conspiring against him, and at one point he even "accidentally" dropped a bottle of wine on Ted Hull's foot, breaking one of his toes, because he saw Hull as part of the enemy that was Motown. Before leaving for those shows, he had recorded the album he later considered the worst of his career. While he was now just plain Stevie on albums, he wasn't for his single releases, or in his first film appearance, where he was still Little Stevie Wonder. Berry Gordy was already trying to get a foot in the door in Hollywood -- by the end of the decade Motown would be moving from Detroit to LA -- and his first real connections there were with American International Pictures, the low-budget film-makers who have come up a lot in connection with the LA scene. AIP were the producers of the successful low-budget series of beach party films, which combined appearances by teen heartthrobs Frankie Avalon and Annette Funicello in swimsuits with cameo appearances by old film stars fallen on hard times, and with musical performances by bands like the Bobby Fuller Four. There would be a couple of Motown connections to these films -- most notably, the Supremes would do the theme tune for Dr. Goldfoot and the Bikini Machine -- but Muscle Beach Party was to be the first. Most of the music for Muscle Beach Party was written by Brian Wilson, Roger Christian, and Gary Usher, as one might expect for a film about surfing, and was performed by Dick Dale and the Del-Tones, the film's major musical guests, with Annette, Frankie, and Donna Loren [pron Lorren] adding vocals, on songs like "Muscle Bustle": [Excerpt: Donna Loren with Dick Dale and the Del-Tones, "Muscle Bustle"] The film followed the formula in every way -- it also had a cameo appearance by Peter Lorre, his last film appearance before his death, and it featured Little Stevie Wonder playing one of the few songs not written by the surf and car writers, a piece of nothing called "Happy Street". Stevie also featured in the follow-up, Bikini Beach, which came out a little under four months later, again doing a single number, "Happy Feelin'". To cash in on his appearances in these films, and having tried releasing albums of Little Stevie as jazz multi-instrumentalist, Ray Charles tribute act, live soulman and Andy Williams-style crooner, they now decided to see if they could sell him as a surf singer. Or at least, as Motown's idea of a surf singer, which meant a lot of songs about the beach and the sea -- mostly old standards like "Red Sails in the Sunset" and "Ebb Tide" -- backed by rather schlocky Wrecking Crew arrangements. And this is as good a place as any to take on one of the bits of disinformation that goes around about Motown. I've addressed this before, but it's worth repeating here in slightly more detail. Carol Kaye, one of the go-to Wrecking Crew bass players, is a known credit thief, and claims to have played on hundreds of records she didn't -- claims which too many people take seriously because she is a genuine pioneer and was for a long time undercredited on many records she *did* play on. In particular, she claims to have played on almost all the classic Motown hits that James Jamerson of the Funk Brothers played on, like the title track for this episode, and she claims this despite evidence including notarised statements from everyone involved in the records, the release of session recordings that show producers talking to the Funk Brothers, and most importantly the evidence of the recordings themselves, which have all the characteristics of the Detroit studio and sound like the Funk Brothers playing, and have absolutely nothing in common, sonically, with the records the Wrecking Crew played on at Gold Star, Western, and other LA studios. The Wrecking Crew *did* play on a lot of Motown records, but with a handful of exceptions, mostly by Brenda Holloway, the records they played on were quickie knock-off album tracks and potboiler albums made to tie in with film or TV work -- soundtracks to TV specials the acts did, and that kind of thing. And in this case, the Wrecking Crew played on the entire Stevie at the Beach album, including the last single to be released as by "Little Stevie Wonder", "Castles in the Sand", which was arranged by Jack Nitzsche: [Excerpt: Little Stevie Wonder, "Castles in the Sand"] Apparently the idea of surfin' Stevie didn't catch on any more than that of swingin' Stevie had earlier. Indeed, throughout 1964 and 65 Motown seem to have had less than no idea what they were doing with Stevie Wonder, and he himself refers to all his recordings from this period as an embarrassment, saving particular scorn for the second single from Stevie at the Beach, "Hey Harmonica Man", possibly because that, unlike most of his other singles around this point, was a minor hit, reaching number twenty-nine on the charts. Motown were still pushing Wonder hard -- he even got an appearance on the Ed Sullivan Show in May 1964, only the second Motown act to appear on it after the Marvelettes -- but Wonder was getting more and more unhappy with the decisions they were making. He loathed the Stevie at the Beach album -- the records he'd made earlier, while patchy and not things he'd chosen, were at least in some way related to his musical interests. He *did* love jazz, and he *did* love Ray Charles, and he *did* love old standards, and the records were made by his friend Clarence Paul and with the studio musicians he'd grown to know in Detroit. But Stevie at the Beach was something that was imposed on Clarence Paul from above, it was cut with unfamiliar musicians, Stevie thought the films he was appearing in were embarrassing, and he wasn't even having much commercial success, which was the whole point of these compromises. He started to get more rebellious against Paul in the studio, though many of these decisions weren't made by Paul, and he would complain to anyone who would listen that if he was just allowed to do the music he wanted to sing, the way he wanted to sing it, he would have more hits. But for nine months he did basically no singing other than that Ed Sullivan Show appearance -- he had to recover from the operation to remove the throat nodules. When he did return to the studio, the first single he cut remained unreleased, and while some stuff from the archives was released between the start of 1964 and March 1965, the first single he recorded and released after the throat nodules, "Kiss Me Baby", which came out in March, was a complete flop. That single was released to coincide with the first Motown tour of Europe, which we looked at in the episode on "Stop! In the Name of Love", and which was mostly set up to promote the Supremes, but which also featured Martha and the Vandellas, the Miracles, and the Temptations. Even though Stevie had not had a major hit in eighteen months by this point, he was still brought along on the tour, the only solo artist to be included -- at this point Gordy thought that solo artists looked outdated compared to vocal groups, in a world dominated by bands, and so other solo artists like Marvin Gaye weren't invited. This was a sign that Gordy was happier with Stevie than his recent lack of chart success might suggest. One of the main reasons that Gordy had been in two minds about him was that he'd had no idea if Wonder would still be able to sing well after his voice broke. But now, as he was about to turn fifteen, his adult voice had more or less stabilised, and Gordy knew that he was capable of having a long career, if they just gave him the proper material. But for now his job on the tour was to do his couple of hits, smile, and be on the lower rungs of the ladder. But even that was still a prominent place to be given the scaled-down nature of this bill compared to the Motortown Revues. While the tour was in England, for example, Dusty Springfield presented a TV special focusing on all the acts on the tour, and while the Supremes were the main stars, Stevie got to do two songs, and also took part in the finale, a version of "Mickey's Monkey" led by Smokey Robinson but with all the performers joining in, with Wonder getting a harmonica solo: [Excerpt: Smokey Robinson and the Motown acts, "Mickey's Monkey"] Sadly, there was one aspect of the trip to the UK that was extremely upsetting for Wonder. Almost all the media attention he got -- which was relatively little, as he wasn't a Supreme -- was about his blindness, and one reporter in particular convinced him that there was an operation he could have to restore his sight, but that Motown were preventing him from finding out about it in order to keep his gimmick going. He was devastated about this, and then further devastated when Ted Hull finally convinced him that it wasn't true, and that he'd been lied to. Meanwhile other newspapers were reporting that he *could* see, and that he was just feigning blindness to boost his record sales. After the tour, a live recording of Wonder singing the blues standard "High Heeled Sneakers" was released as a single, and barely made the R&B top thirty, and didn't hit the top forty on the pop charts. Stevie's initial contract with Motown was going to expire in the middle of 1966, so there was a year to get him back to a point where he was having the kind of hits that other Motown acts were regularly getting at this point. Otherwise, it looked like his career might end by the time he was sixteen. The B-side to "High Heeled Sneakers" was another duet with Clarence Paul, who dominates the vocal sound for much of it -- a version of Willie Nelson's country classic "Funny How Time Slips Away": [Excerpt: Stevie Wonder and Clarence Paul, "Funny How Time Slips Away"] There are a few of these duet records scattered through Wonder's early career -- we'll hear another one a little later -- and they're mostly dismissed as Paul trying to muscle his way into a revival of his own recording career as an artist, and there may be some truth in that. But they're also a natural extension of the way the two of them worked in the studio. Motown didn't have the facilities to give Wonder Braille lyric sheets, and Paul didn't trust him to be able to remember the lyrics, so often when they made a record, Paul would be just off-mic, reciting the lyrics to Wonder fractionally ahead of him singing them. So it was more or less natural that this dynamic would leak out onto records, but not everyone saw it that way. But at the same time, there has been some suggestion that Paul was among those manoeuvring to get rid of Wonder from Motown as soon as his contract was finished -- despite the fact that Wonder was the only act Paul had worked on any big hits for. Either way, Paul and Wonder were starting to chafe at working with each other in the studio, and while Paul remained his on-stage musical director, the opportunity to work on Wonder's singles for what would surely be his last few months at Motown was given to Hank Cosby and Sylvia Moy. Cosby was a saxophone player and staff songwriter who had been working with Wonder and Paul for years -- he'd co-written "Fingertips" and several other tracks -- while Moy was a staff songwriter who was working as an apprentice to Cosby. Basically, at this point, nobody else wanted the job of writing for Wonder, and as Moy was having no luck getting songs cut by any other artists and her career was looking about as dead as Wonder's, they started working together. Wonder was, at this point, full of musical ideas but with absolutely no discipline. He's said in interviews that at this point he was writing a hundred and fifty songs a month, but these were often not full songs -- they were fragments, hooks, or a single verse, or a few lines, which he would pass on to Moy, who would turn his ideas into structured songs that fit the Motown hit template, usually with the assistance of Cosby. Then Cosby would come up with an arrangement, and would co-produce with Mickey Stevenson. The first song they came up with in this manner was a sign of how Wonder was looking outside the world of Motown to the rock music that was starting to dominate the US charts -- but which was itself inspired by Motown music. We heard in the last episode on the Rolling Stones how "Nowhere to Run" by the Vandellas: [Excerpt: Martha and the Vandellas, "Nowhere to Run"] had inspired the Stones' "Satisfaction": [Excerpt: The Rolling Stones, "(I Can't Get No) Satisfaction"] And Wonder in turn was inspired by "Satisfaction" to come up with his own song -- though again, much of the work making it into an actual finished song was done by Sylvia Moy. They took the four-on-the-floor beat and basic melody of "Satisfaction" and brought it back to Motown, where those things had originated -- though they hadn't originated with Stevie, and this was his first record to sound like a Motown record in the way we think of those things. As a sign of how, despite the way these stories are usually told, the histories of rock and soul were completely and complexly intertwined, that four-on-the-floor beat itself was a conscious attempt by Holland, Dozier, and Holland to appeal to white listeners -- on the grounds that while Black people generally clapped on the backbeat, white people didn't, and so having a four-on-the-floor beat wouldn't throw them off. So Cosby, Moy, and Wonder, in trying to come up with a "Satisfaction" soundalike were Black Motown writers trying to copy a white rock band trying to copy Black Motown writers trying to appeal to a white rock audience. Wonder came up with the basic chorus hook, which was based around a lot of current slang terms he was fond of: [Excerpt: Stevie Wonder, "Uptight"] Then Moy, with some assistance from Cosby, filled it out into a full song. Lyrically, it was as close to social comment as Motown had come at this point -- Wonder was, like many of his peers in soul music, interested in the power of popular music to make political statements, and he would become a much more political artist in the next few years, but at this point it's still couched in the acceptable boy-meets-girl romantic love song that Motown specialised in. But in 1965 a story about a boy from the wrong side of the tracks dating a rich girl inevitably raised the idea that the boy and girl might be of different races -- a subject that was very, very, controversial in the mid-sixties. [Excerpt: Stevie Wonder, "Uptight"] "Uptight" made number three on the pop charts and number one on the R&B charts, and saved Stevie Wonder's career. And this is where, for all that I've criticised Motown in this episode, their strategy paid off. Mickey Stevenson talked a lot about how in the early sixties Motown didn't give up on artists -- if someone had potential but was not yet having hits or finding the right approach, they would keep putting out singles in a holding pattern, trying different things and seeing what would work, rather than toss them aside. It had already worked for the Temptations and the Supremes, and now it had worked for Stevie Wonder. He would be the last beneficiary of this policy -- soon things would change, and Motown would become increasingly focused on trying to get the maximum returns out of a small number of stars, rather than building careers for a range of artists -- but it paid off brilliantly for Wonder. "Uptight" was such a reinvention of Wonder's career, sound, and image that many of his fans consider it the real start of his career -- everything before it only counting as prologue. The follow-up, "Nothing's Too Good For My Baby", was an "Uptight" soundalike, and as with Motown soundalike follow-ups in general, it didn't do quite as well, but it still made the top twenty on the pop chart and got to number four on the R&B chart. Stevie Wonder was now safe at Motown, and so he was going to do something no other Motown act had ever done before -- he was going to record a protest song and release it as a single. For about a year he'd been ending his shows with a version of Bob Dylan's "Blowin' in the Wind", sung as a duet with Clarence Paul, who was still his on stage bandleader even though the two weren't working together in the studio as much. Wonder brought that into the studio, and recorded it with Paul back as the producer, and as his duet partner. Berry Gordy wasn't happy with the choice of single, but Wonder pushed, and Gordy knew that Wonder was on a winning streak and gave in, and so "Blowin' in the Wind" became Stevie Wonder's next single: [Excerpt: Stevie Wonder and Clarence Paul, "Blowin' in the Wind"] "Blowin' in the Wind" made the top ten, and number one on the R&B charts, and convinced Gordy that there was some commercial potential in going after the socially aware market, and over the next few years Motown would start putting out more and more political records. Because Motown convention was to have the producer of a hit record produce the next hit for that artist, and keep doing so until they had a flop, Paul was given the opportunity to produce the next single. "A Place in the Sun" was another ambiguously socially-aware song, co-written by the only white writer on Motown staff, Ron Miller, who happened to live in the same building as Stevie's tutor-cum-manager Ted Hull. "A Place in the Sun" was a pleasant enough song, inspired by "A Change is Gonna Come", but with a more watered-down, generic, message of hope, but the record was lifted by Stevie's voice, and again made the top ten. This meant that Paul and Miller, and Miller's writing partner Bryan Mills, got to work on his next two singles -- his 1966 Christmas song "Someday at Christmas", which made number twenty-four, and the ballad "Travellin' Man" which made thirty-two. The downward trajectory with Paul meant that Wonder was soon working with other producers again. Harvey Fuqua and Johnny Bristol cut another Miller and Mills song with him, "Yester-Me, Yester-You, Yesterday": [Excerpt: Stevie Wonder, "Yester-Me, Yester-You, Yesterday"] But that was left in the can, as not good enough to release, and Stevie was soon back working with Cosby. The two of them had come up with an instrumental together in late 1966, but had not been able to come up with any words for it, so they played it for Smokey Robinson, who said their instrumental sounded like circus music, and wrote lyrics about a clown: [Excerpt: The Miracles, "The Tears of a Clown"] The Miracles cut that as album filler, but it was released three years later as a single and became the Miracles' only number one hit with Smokey Robinson as lead singer. So Wonder and Cosby definitely still had their commercial touch, even if their renewed collaboration with Moy, who they started working with again, took a while to find a hit. To start with, Wonder returned to the idea of taking inspiration from a hit by a white British group, as he had with "Uptight". This time it was the Beatles, and the track "Michelle", from the Rubber Soul album: [Excerpt: The Beatles, "Michelle"] Wonder took the idea of a song with some French lyrics, and a melody with some similarities to the Beatles song, and came up with "My Cherie Amour", which Cosby and Moy finished off. [Excerpt: Stevie Wonder, "My Cherie Amour"] Gordy wouldn't allow that to be released, saying it was too close to "Michelle" and people would think it was a rip-off, and it stayed in the vaults for several years. Cosby also produced a version of a song Ron Miller had written with Orlando Murden, "For Once in My Life", which pretty much every other Motown act was recording versions of -- the Four Tops, the Temptations, Billy Eckstine, Martha and the Vandellas and Barbra McNair all cut versions of it in 1967, and Gordy wouldn't let Wonder's version be put out either. So they had to return to the drawing board. But in truth, Stevie Wonder was not the biggest thing worrying Berry Gordy at this point. He was dealing with problems in the Supremes, which we'll look at in a future episode -- they were about to get rid of Florence Ballard, and thus possibly destroy one of the biggest acts in the world, but Gordy thought that if they *didn't* get rid of her they would be destroying themselves even more certainly. Not only that, but Gordy was in the midst of a secret affair with Diana Ross, Holland, Dozier, and Holland were getting restless about their contracts, and his producers kept bringing him unlistenable garbage that would never be a hit. Like Norman Whitfield, insisting that this track he'd cut with Marvin Gaye, "I Heard it Through the Grapevine", should be a single. Gordy had put his foot down about that one too, just like he had about "My Cherie Amour", and wouldn't allow it to be released. Meanwhile, many of the smaller acts on the label were starting to feel like they were being ignored by Gordy, and had formed what amounted to a union, having regular meetings at Clarence Paul's house to discuss how they could pressure the label to put the same effort into their careers as into those of the big stars. And the Funk Brothers, the musicians who played on all of Motown's hits, were also getting restless -- they contributed to the arrangements, and they did more for the sound of the records than half the credited producers; why weren't they getting production credits and royalties? Harvey Fuqua had divorced Gordy's sister Gwen, and so became persona non grata at the label and was in the process of leaving Motown, and so was Mickey Stevenson, Gordy's second in command, because Gordy wouldn't give him any stock in the company. And Detroit itself was on edge. The crime rate in the city had started to go up, but even worse, the *perception* of crime was going up. The Detroit News had been running a campaign to whip up fear, which it called its Secret Witness campaign, and running constant headlines about rapes, murders, and muggings. These in turn had led to increased calls for more funds for the police, calls which inevitably contained a strong racial element and at least implicitly linked the perceived rise in crime to the ongoing Civil Rights movement. At this point the police in Detroit were ninety-three percent white, even though Detroit's population was over thirty percent Black. The Mayor and Police Commissioner were trying to bring in some modest reforms, but they weren't going anywhere near fast enough for the Black population who felt harassed and attacked by the police, but were still going too fast for the white people who were being whipped up into a state of terror about supposedly soft-on-crime policies, and for the police who felt under siege and betrayed by the politicians. And this wasn't the only problem affecting the city, and especially affecting Black people. Redlining and underfunded housing projects meant that the large Black population was being crammed into smaller and smaller spaces with fewer local amenities. A few Black people who were lucky enough to become rich -- many of them associated with Motown -- were able to move into majority-white areas, but that was just leading to white flight, and to an increase in racial tensions. The police were on edge after the murder of George Overman Jr, the son of a policeman, and though they arrested the killers that was just another sign that they weren't being shown enough respect. They started organising "blu flu"s -- the police weren't allowed to strike, so they'd claim en masse that they were off sick, as a protest against the supposed soft-on-crime administration. Meanwhile John Sinclair was organising "love-ins", gatherings of hippies at which new bands like the MC5 played, which were being invaded by gangs of bikers who were there to beat up the hippies. And the Detroit auto industry was on its knees -- working conditions had got bad enough that the mostly Black workforce organised a series of wildcat strikes. All in all, Detroit was looking less and less like somewhere that Berry Gordy wanted to stay, and the small LA subsidiary of Motown was rapidly becoming, in his head if nowhere else, the more important part of the company, and its future. He was starting to think that maybe he should leave all these ungrateful people behind in their dangerous city, and move the parts of the operation that actually mattered out to Hollywood. Stevie Wonder was, of course, one of the parts that mattered, but the pressure was on in 1967 to come up with a hit as big as his records from 1965 and early 66, before he'd been sidetracked down the ballad route. The song that was eventually released was one on which Stevie's mother, Lula Mae Hardaway, had a co-writing credit: [Excerpt: Stevie Wonder, "I Was Made to Love Her"] "I Was Made to Love Her" was inspired by Wonder's first love, a girl from the same housing projects as him, and he talked about the song being special to him because it was true, saying it "kind of speaks of my first love to a girl named Angie, who was a very beautiful woman... Actually, she was my third girlfriend but my first love. I used to call Angie up and, like, we would talk and say, 'I love you, I love you,' and we'd talk and we'd both go to sleep on the phone. And this was like from Detroit to California, right? You know, mother said, 'Boy, what you doing - get off the phone!' Boy, I tell you, it was ridiculous." But while it was inspired by her, like with many of the songs from this period, much of the lyric came from Moy -- her mother grew up in Arkansas, and that's why the lyric started "I was born in Little Rock", as *her* inspiration came from stories told by her parents. But truth be told, the lyrics weren't particularly detailed or impressive, just a standard story of young love. Rather what mattered in the record was the music. The song was structured differently from many Motown records, including most of Wonder's earlier ones. Most Motown records had a huge amount of dynamic variation, and a clear demarcation between verse and chorus. Even a record like "Dancing in the Street", which took most of its power from the tension and release caused by spending most of the track on one chord, had the release that came with the line "All we need is music", and could be clearly subdivided into different sections. "I Was Made to Love Her" wasn't like that. There was a tiny section which functioned as a middle eight -- and which cover versions like the one by the Beach Boys later that year tend to cut out, because it disrupts the song's flow: [Excerpt: Stevie Wonder, "I Was Made to Love Her"] But other than that, the song has no verse or chorus, no distinct sections, it's just a series of lyrical couplets over the same four chords, repeating over and over, an incessant groove that could really go on indefinitely: [Excerpt: Stevie Wonder, "I Was Made to Love Her"] This is as close as Motown had come at this point to the new genre of funk, of records that were just staying with one groove throughout. It wasn't a funk record, not yet -- it was still a pop-soul record, But what made it extraordinary was the bass line, and this is why I had to emphasise earlier that this was a record by the Funk Brothers, not the Wrecking Crew, no matter how much some Crew members may claim otherwise. As on most of Cosby's sessions, James Jamerson was given free reign to come up with his own part with little guidance, and what he came up with is extraordinary. This was at a time when rock and pop basslines were becoming a little more mobile, thanks to the influence of Jamerson in Detroit, Brian Wilson in LA, and Paul McCartney in London. But for the most part, even those bass parts had been fairly straightforward technically -- often inventive, but usually just crotchets and quavers, still keeping rhythm along with the drums rather than in dialogue with them, roaming free rhythmically. Jamerson had started to change his approach, inspired by the change in studio equipment. Motown had upgraded to eight-track recording in 1965, and once he'd become aware of the possibilities, and of the greater prominence that his bass parts could have if they were recorded on their own track, Jamerson had become a much busier player. Jamerson was a jazz musician by inclination, and so would have been very aware of John Coltrane's legendary "sheets of sound", in which Coltrane would play fast arpeggios and scales, in clusters of five and seven notes, usually in semiquaver runs (though sometimes in even smaller fractions -- his solo in Miles Davis' "Straight, No Chaser" is mostly semiquavers but has a short passage in hemidemisemiquavers): [Excerpt: Miles Davis, "Straight, No Chaser"] Jamerson started to adapt the "sheets of sound" style to bass playing, treating the bass almost as a jazz solo instrument -- though unlike Coltrane he was also very, very concerned with creating something that people could tap their feet to. Much like James Brown, Jamerson was taking jazz techniques and repurposing them for dance music. The most notable example of that up to this point had been in the Four Tops' "Bernadette", where there are a few scuffling semiquaver runs thrown in, and which is a much more fluid part than most of his playing previously: [Excerpt: The Four Tops, "Bernadette"] But on "Bernadette", Jamerson had been limited by Holland, Dozier, and Holland, who liked him to improvise but around a framework they created. Cosby, on the other hand, because he had been a Funk Brother himself, was much more aware of the musicians' improvisational abilities, and would largely give them a free hand. This led to a truly remarkable bass part on "I Was Made to Love Her", which is somewhat buried in the single mix, but Marcus Miller did an isolated recreation of the part for the accompanying CD to a book on Jamerson, Standing in the Shadows of Motown, and listening to that you can hear just how inventive it is: [Excerpt: Marcus Miller, "I Was Made to Love Her"] This was exciting stuff -- though much less so for the touring musicians who went on the road with the Motown revues while Jamerson largely stayed in Detroit recording. Jamerson's family would later talk about him coming home grumbling because complaints from the touring musicians had been brought to him, and he'd been asked to play less difficult parts so they'd find it easier to replicate them on stage. "I Was Made to Love Her" wouldn't exist without Stevie Wonder, Hank Cosby, Sylvia Moy, or Lula Mae Hardaway, but it's James Jamerson's record through and through: [Excerpt: Stevie Wonder, "I Was Made to Love Her"] It went to number two on the charts, sat between "Light My Fire" at number one, and "All You Need is Love" at number three, with the Beatles song soon to overtake it and make number one itself. But within a few weeks of "I Was Made to Love Her" reaching its chart peak, things in Detroit would change irrevocably. On the 23rd of July, the police busted an illegal drinking den. They thought they were only going to get about twenty-five people there, but there turned out to be a big party on. They tried to arrest seventy-four people, but their wagon wouldn't fit them all in so they had to call reinforcements and make the arrestees wait around til more wagons arrived. A crowd of hundreds gathered while they were waiting. Someone threw a brick at a squad car window, a rumour went round that the police had bayonetted someone, and soon the city was in flames. Riots lasted for days, with people burning down and looting businesses, but what really made the situation bad was the police's overreaction. They basically started shooting at young Black men, using them as target practice, and later claiming they were snipers, arsonists, and looters -- but there were cases like the Algiers Motel incident, where the police raided a motel where several Black men, including the members of the soul group The Dramatics, were hiding out along with a few white women. The police sexually assaulted the women, and then killed three of the men for associating with white women, in what was described as a "lynching with bullets". The policemen in question were later acquitted of all charges. The National Guard were called in, as were Federal troops -- the 82nd Airborne Division, and the 101st Airborne from Clarksville, the division in which Jimi Hendrix had recently served. After four days of rioting, one of the bloodiest riots in US history was at an end, with forty-three people dead (of whom thirty-three were Black and only one was a policeman). Official counts had 1,189 people injured, and over 7,200 arrests, almost all of them of Black people. A lot of the histories written later say that Black-owned businesses were spared during the riots, but that wasn't really the case. For example, Joe's Record Shop, owned by Joe Von Battle, who had put out the first records by C.L. Franklin and his daughter Aretha, was burned down, destroying not only the stock of records for sale but the master tapes of hundreds of recordings of Black artists, many of them unreleased and so now lost forever. John Lee Hooker, one of the artists whose music Von Battle had released, soon put out a song, "The Motor City is Burning", about the events: [Excerpt: John Lee Hooker, "The Motor City is Burning"] But one business that did remain unburned was Motown, with the Hitsville studio going untouched by flames and unlooted. Motown legend has this being down to the rioters showing respect for the studio that had done so much for Detroit, but it seems likely to have just been luck. Although Motown wasn't completely unscathed -- a National Guard tank fired a shell through the building, leaving a gigantic hole, which Berry Gordy saw as soon as he got back from a business trip he'd been on during the rioting. That was what made Berry Gordy decide once and for all that things needed to change. Motown owned a whole row of houses near the studio, which they used as additional office space and for everything other than the core business of making records. Gordy immediately started to sell them, and move the admin work into temporary rented space. He hadn't announced it yet, and it would be a few years before the move was complete, but from that moment on, the die was cast. Motown was going to leave Detroit and move to Hollywood.
Keith Lorren is an entrepreneur who I met while traveling in Europe. He has traveled and worked around the globe, exploring cultures and traditional cuisines while developing culinary products for major corporations. He is known as the Spice King! Keith has been through a lot of diversity in his lifetime but has become a strong person due to it all! Now Keith is sharing his wisdom with us and I can't wait for you to all get to know him!!!! Topics Discussed • Fear of public speaking • Comfort zone • How to deal with negative and positive feedback • Segregation • Sticking out AND being different • Importnace of Vision• Going against the grain• Finding your voice• Manifestation• Faith• Influence • Importnace of Travel • Money + Wealth• Happiness• Validation• Failure• Risk and Reward Check out Spice King's Instagram!!! Connect with me on Instagram, Facebook, TIK TOK, and now YOUTUBE!!! You can now watch all the interviews on my youtube channel! If you have a story you would like to share with the world, reach out to me!Sending love and joy your way!Selina Novello
This is a free preview of a paid episode. To hear more, visit ismatu.substack.comMe and my friend + former roomie Lorren discuss my exes, male-related stress, and how perplexing it is that there are men who cannot differentiate between basic vegetables.
Robby, Pepper, and Lorren continue further into the labyrinth as the sound of impending danger continues to grow louder. If you have ideas for games we can play, questions you want us to answer, or something you want to see during The Summer Of Wanderful, DM us, send us an email, or tweet at us. You can find us on Facebook, Instagram, and Twitter @WanderfulPod Tweet at us using #WanderfulPod to possibly have your name featured in the show as a character or something like that. Have an interesting, fun, or wacky idea for an item for me to sell to the characters on the show? Whether its a weapon, a piece of armor, an accessory, or whatever, email it to us at wanderfulpod@gmail.com. If you like the show, don't forget to tell your friends about us! Artwork by Jayla Jones: Instagram: @jaylamaejones Portfolio: jaylajones.squarespace.com
Refiloe and Resident CSI & Nature Conservationist, Tim Neary speaks to Project Manager of Circular Plastics Economy with WWF SA, Lorren de Kock reviews the WWF's economic modelling study of three African countries – Côte d'Ivoire, Kenya and South Africa which shows that a shift towards a circular plastics economy could generate more economic activity and create more jobs than a business-as-usual scenario, the Study also shows that people tend not to separate waste at home, despite the value in some packaging materials to collectors. See omnystudio.com/listener for privacy information.
Today's guest is Angel Williams from Lorren capital LLC is Wichita falls, Texas real estate investment firm that specializes in syndicated multifamily investment. With nearly 20 years experience in the local real estate market and current involvement in more than 70 million in syndicated properties. That company is well positioned to help investors reach their investment goals.HighlightsHolding properties for a long-termHow to vet properties before finalizing dealsBeing real while networkingKnowing the risk tolerance of people could be challengingBest and Worst experiences investing in real estateGrab your tickets for the Multifamily AP 360 Summit at www.MultifamilyAP360.comBook Recommendation: Positive IntelligenceConnect with Angel WilliamsPodcast Website: www.theacademypresents.comREI Website: www.lorenncapital.comConnect with Rama KWebsite: www.ushacapital.comEmail: info@ushacapital.com
He's Justin, a doctor who just moved to Cookoutville, moved on from his dead wife, and about to move into a swank ranch property. She's Lorren, a children's book author not interested in love since she divorced an Awful Husband. It's Tonight and Forever, Brenda Jackson's first book! Generally all of the potentially troubling stuff in this book happened in the past - there's an emotionally and physically abusive ex husband, an uncool mustache, a Dead Brain Cancer Wife, that sort of thing. Unfortunately the mustache is in the present of the book, as you can see from the otherwise fantastic cover.
Guest: Lorren de Kock | Project Manager: Circular Plastics Economy at World Wide Fund for Nature (WWF) A recently released report on the real cost of plastic pollution, commissioned by the World Wide Fund for Nature, says South Africa is the 11th worst offender for leaking land-based plastic into the ocean. It was prepared by the global consulting firm, Dalberg, which says that the country could tackle the crisis more efficiently if it were to sign up to the a new global plastics treaty. The report found that the minimum lifetime cost to South Africa of the plastic produced in 2019 alone was a staggering R885 billion. This includes costs generated by the damage to livelihoods and key industries such as fishing and tourism, and the cleaning up of plastic pollution. To find out more about the report, we speak to the WWF South Africa's Project Manager: Circular Plastics Economy. Lorren de Kock. See omnystudio.com/listener for privacy information.
Episode 15: A delightful conversation with the knowledgeable Behavioural Therapist, Lorren Rodriguez who specializes in autism. Having a son on the spectrum herself she's well-versed on the subject & brings a lot of light & tools through her education & personal experience to support others. You can find her on Instagram @atypical_ladies
Brown Book Series sits down with Award Winning, New York Times and USA Today Bestselling author Brenda Jackson. Mrs. Jackson addresses the rumor of retirement and introduces us to newcomer YA author Lorren Madaris. Connect with Brenda Jackson: https://www.brendajackson.netSubscribe NOW to The Brown Book Series https://www.youtube.com/c/BrownBookSeriesConnect with Brown Book Series hosted by Shay Baby onlineVisit the Brown Book Series WEBSITE: http://www.brownbookseries.comFollow Brown Book Series: http://Twitter.com/BrownBookSeriesLike Brown Book Series: https://Facebook.com/BrownBookSeriesFollow Brown Book Series: https://Instagram.com/BrownBookSeriesAbout Brown Book Series:The Brown Book Series hosted by Shay Baby features interviews of your favorite Award Winning, New York Times and USA Today Bestselling authors.Fun and informative conversation, Hilarious games, Book discussions, book launch parties and romance events.
This episode we're looking above Estes Park's peaks to the dark skies above. Rocky Mountain National Park isn't just a haven for beautiful landscapes and wildlife, it's also an oasis of stars. Light pollution is a problem all over the world. Many of us who live in cities have never seen the true magnitude of the Milky Way. That's what we're going to look for and it's going to take us to meet Mike Connolly, the owner Estes Park's biggest telescope, and to also to meet one Estes Park's most celebrated residents, astronaut Loren Shriver, who commanded the shuttle mission that deployed the Hubble Space Telescope.
Lorren de Kock, Project Manager: Circular Plastics Economy with WWF South Africa and Co-author of the report Classic1027 on Twitter #ClassicBusiness · Classic1027 on Facebook #ClassicBusiness
Lorren de Kock, Project Manager: Circular Plastics Economy with WWF South Africa and Co-author of the report
Problematic food packaging, poorly informed consumers, poor design of plastic packaging, an unstable supply chain and a lack of co-operation between brand owners, producers and retailers are among the many reasons why South Africa is lagging behind when it comes to recycling. These findings are contained in a new World Wildlife Fund (WWF) report titled "Plastics: From Recycling to post-consumer Recyclate" which looks at recycling from an industry perspective. For more on this, Lulu Gaboo spoke to Lorren de Kock, Co-author of the report, and Project Manager for Circular Plastics Economy with WWF South Africa... See omnystudio.com/listener for privacy information.
Lorren Cunningham : Le Livre qui transforme les nations - 38 by Radio Réveil
Lorren Cunningham : Le Livre qui transforme les nations - 37 by Radio Réveil
We are back in LA for lucky number 13 with Lorren from Illinois! Lorren is a crafter that came to us through James' Tik Tok and wanted to talk to a couple strangers! Lorren had an incredible story about finding out her father wasn't actually her father! You do not want to miss this fascinating tale of parental infidelity and much more!If you are a podcaster who wants to get involved with Talking To Strangers, or just someone who would like to tell their story on the podcast, please reach out to me at brickert4h@gmail.com!Lorren's Etsy page: https://www.etsy.com/shop/LorrensCraftingCo?ref=search_shop_redirect
Lorren Cunningham : Le Livre qui transforme les nations - 18 by Radio Réveil
Lorren Cunningham : Le Livre qui transforme les nations - 17 by Radio Réveil
In Hebrew, the name “Mosha” means “Salvation”. That was the name of a 13-year-old boy who was forced into a Nazi concentration camp, and spent the next five years in 18 more. Yet somehow, he lived. In this episode of Follow Your Different, Daniel Gefen shares a real, raw dialogue about his grandfather Mosha, and how he has influenced Daniel’s life and his drive to become a podcasting entrepreneur. You’ll also hear about how Daniel embraces faith, family, and philosophy to guide his life, and how he turns frustration into fascination. Mosha, the Survivor Daniel shares the story of his grandfather, Mosha. Mosha was a survivor of the Nazi concentration camps. He was shot, buried alive, and hanged twice, yet he somehow managed to live on. After the war, Mosha fled to Switzerland. He had no money, no connections, and couldn’t even speak the language. While all he had was himself, he made full use of his talents. He built a farm by himself, and continued to build himself up until he had his own hotel business. Yet even as a multimillionaire hotel owner, Mosha had always strived to live a simpler life. All his focus was on how he could help others be happy. “The reason he opened the hotel wasn't to make money. The reason he opened the hotel was because he wanted to serve people. That's how he lived his life. He lived in a very small little apartment above the hotel his whole life, didn't drive a car, and gave away pretty much almost all of his money to charities.” - Daniel Gefen Giving Voice to Others through Podcasting Daniel talks about how the more recent generations have become too focused on themselves. While it’s not a bad thing to have some self-love, being too wrapped up with oneself can narrow one’s view. Sometimes, focusing outwardly and living for something or someone else can give you a higher purpose. For Daniel, it was giving voice to those who have long yearned to share their stories through his podcasts. “I kind of feel like my career is all about giving people exposure right through podcasting. My whole career is all about giving people the opportunity to promote and share their stories and get themselves out there on the biggest podcast. Ironically, I feel like I'm doing something that my grandfather couldn't do.” - Daniel Gefen Don’t Lock Yourself in a Should Prison Daniel continues to paint a picture on how his grandfather’s past trauma has also affected future generations of the family. Yet he doesn’t blame his grandfather nor his father for it. Instead of letting things stay as it is, Daniel strived to reach out and build a strong connection with his father. Rather than focusing on what other people should do, Daniel decided to focus on what he could do for them. He also learned to choose what’s best given the situation, rather than hoping for that perfect ending. “I have a mentor, a rabbi, who many times has said to me, “You know, do you want to be right? Or do you want to be happy? You can't always have both. Sometimes you can. But a lot of times, you cannot have both. So what do you want? You get to choose.” ” - Daniel Gefen To hear more from Daniel Gefen and on how his grandfather inspired him to be an entrepreneur, download and listen to this episode. Bio: Daniel Gefen is a serial entrepreneur and founder of Gefen Media Group - a podcast production and booking agency helping clients build a loyal following through the power of podcasting. He is also the host of the top-rated podcast show called 'Can I Pick Your Brain?' which has exceeded over 150,000 downloads and was named top 26 podcasts to listen to by CIO Magazine. He has interviewed over 100 thought leaders, Billionaires and celebrities. In 2017, he was named one of the top 25 most influential influencers and has been featured in dozens of media publications including Forbes Inc, CIO, Influencive, Success Radio and over 70 leading podcasts. Daniel lives with his wife Lorren and 4 children in the hills of Bet Shemesh, Israel.
Keith Lorren is known affectionately around the world as "The Spiciest Man in the World", "The Duke of Delicious", "The Kaiser of Curry", "The King of Spice", and the man who "Invented Cooking!" Most importantly, he is the World's Premier Spice Designer.He has traveled and worked around the globe in countries such as China, Japan, the UAE, and Greece, exploring cultures and traditional cuisines while developing culinary products for major corporations and cooking for famous guests.Keith Lorren obtained his culinary education by traveling internationally, working and managing various restaurants in Miami, Florida, Shanghai, China, Dubai, UAE, and studying Culinary Arts at the Culinary Institute of America in Hyde Park, New York. He also obtained a Business Administration degree from Nova Southeastern University, Davie, Florida.Keith Lorren has worked behind the scenes at the Food Network Studios in Manhattan, NY, developing recipes for top shows, and has been a guest on several television and radio programs including NBC's Today Show, Food Network's Guy's Grocery Games, and Travel Channel's Park Secrets. Currently, The Spice King Keith Lorren's Spices are sold in over 2000 stores including Walmart, Stop & Shop, Jewel Osco, and Big Y World Class Markets. Keith Lorren's Gourmet Products are the best tasting, most innovative, most healthy spice blends in the history of the world. The Spice King Collection is a luxury line of gourmet spice blends that are 10 x's more flavorful than anything currently on the market. With over 14 herbs/spices in each bottle, you would have to use a whole cabinet full of spices to get the flavor of just one bottle of Keith Lorren spice mix.While living in the middle east and working with the Arab perfume makers, I developed a special technique that infuses the spices with concentrated aromatic oils making them 10x's more flavorful and 10x's more healthy than any other spices currently sold in stores. We're now getting tens of thousands of orders from all over the world.On today's podcast, Keith shares his journey from being a car washer in Florida to eventually cooking for the royal family in UAE. Keith isn't the spiciest man in the world for a reason. Keith found a way to bottle his knowledge, skills, and passion and not only sold out but got into hundreds of big-box stores all around the country. This episode is a favorite not just cause Keith is a friend but because his story of building a career in the field he loves is so inspirational. Keith invites you to open up and experience the Spice King Collection before you smell the alluring aromas, the complexity of perfection, look at the unmatched quality and vibrancy of the herbs. These are the best spices in the history of the world, specially designed for each dish. So without further ado a give to you my friend Keith Lorren, aka The Spice King.Connect with KeithInstagramYouTubeFacebookWebsiteThank you so much for tuning into Millionaire Voice. This show was designed for entrepreneurs who want to learn from successful business owners and those who are looking for the wisdom to invest in themselves. If you are hungry for success and you have been looking for a show to take you to the next level then this is the show you have been waiting for.Be sure to subscribe to the show on Apple, Spotify, or wherever you consume podcasts. Please be sure to leave us a 5-Star review on Apple Podcasts and follow us on Instagram. Hosted on Acast. See acast.com/privacy for more information.
Simmon tells of the haunting history of Gibea. We talk about Lorren’s pretext, Gibea’s merits, and get a crash course in utilitarianism. @pageofthewind pageofthewind.com
Puppet and Kvothe do a little verbal sparring. We talk about what Lorren might know, Puppet’s magic, and what the fire hazards suggest. @pageofthewind pageofthewind.com
The lads settle their bets, but raise more questions. We talk about why there might be contradictory material, what Lorren is capable of, and historiographical bias. @pageofthewind pageofthewind.com
Listen as Lorren De Kock chats to Nwabisa Mayema about the circular economy and how she sees it as a regenerative model. Lorren is one of our Zero Waste Challenge advisory board members and works in the circular plastics economy programme for WWF. The programme primarily focuses on policy, the business sector, and the consumer to drive the systemic change that is required. Instead of focusing on waste management, their focus is on what can be done ‘upstream' in the value chain to prevent waste, and plastic waste specifically. This is what will drive long term change. Lorren gives some great insight into how regulation can spur innovation. A perfect example is the upcoming ban on organic waste to landfill. A perfect example of the opportunities presented by the circular economy and how we can then move towards a circular economy. What are your ideas and how will you rise to the #ZeroWaste challenge? Visit our website to find our more about the Branson Centre's Zero Waste Challenge.
Soup’s on and Dinnah’s ready! This episode Kvothe gets quite romantic with Denna, or Dianne...or Dinnah... or whatever her name is. Either way, he’s head over heels for her and spends a lot of time walking around with her or walking around looking for her. He also manages to get slightly on Kilvin’s bad side by making a certain lamp, and he stays on Lorren’s bad side, a fact that is made worse when he decides to write a catchy little tune about a donkey...Join us this week as we discuss chapters 60-65 of the Name of the Wind! Please follow us on Facebook, review, and subscribe! --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app --- Send in a voice message: https://anchor.fm/fantasticbooks/message
Welcome to Episode 17! This is the final part of my conversation with four-foot-tall Lorren Cackowski. Lorren lives in Las Vegas. In this episode, we delve into what it’s like to date as a little person. Turns out, it’s the easiest thing ever! … Just kidding. We, as little people, experience the normal pitfalls of any dating scenario. Plus add in a solid helping of being short-statured and you’ve got the perfect mix for an interesting podcast. Please enjoy part three of my conversation with Lorren Cackowski. Feel free to drop us a line at: abigdealpod@gmail.com Also, you can follow us on IG: @bigdealpod Facebook: @bigdealpod --- Send in a voice message: https://anchor.fm/imkindofabigdeal/message Support this podcast: https://anchor.fm/imkindofabigdeal/support
Welcome to Episode 16! This episode is Part 2 of my chat with my friend Lorren Cackowski. Lorren is a four-foot-tall sexy nurse server at a popular restaurant in Las Vegas. We talk about her experience acting on a major film: Disney’s OZ: The Great And Powerful and also how she handles being in a position where she is constantly around different people. Her encounters run the gamut from easy to difficult and everything in between. Please enjoy part 2 of my conversation with Lorren Cackowski. Feel free to drop us a line at: abigdealpod@gmail.com Also, you can follow us on IG: @bigdealpod Facebook: @bigdealpod --- Send in a voice message: https://anchor.fm/imkindofabigdeal/message Support this podcast: https://anchor.fm/imkindofabigdeal/support
Welcome to Episode 15! In this episode, I chat with my friend Lorren Cackowski. I met Lorren in Michigan when we were both hired to play munchkins on the Disney film Oz: The Great And Powerful. She’s an incredibly strong-willed individual who doesn’t let any obstacle stand in her way. At 4 feet tall, she received a lot of attention from being prom queen to working as a bikini-clad bartender at a dive bar in Detroit, to finding her way to Vegas. Lorren has always left her mark and maintained a positive attitude through all of the ups and downs. It should just be said that people can be jerks sometimes. Please enjoy my conversation with Lorren Cackowski. Feel free to drop us a line at: abigdealpod@gmail.com Also, you can follow us on IG: @bigdealpod Facebook: @bigdealpod --- Send in a voice message: https://anchor.fm/imkindofabigdeal/message Support this podcast: https://anchor.fm/imkindofabigdeal/support
The boys tell Kvothe what they have heard of Devi. We talk about culprits, Lorren’s motivation, and how Devi and Kvothe both cultivate their reputations. @pageofthewind pageofthewind.com
Today's podcast is sponsored by a bag of frozen riced cauliflower that I found in my freezer, because in a freak podcasting accident, I gave myself a gigundous fat lip. Seriously, so painful. I'm just trying not to talk with a lisp right now. Alex saw me holding the frozen cauliflower bag on my face and I muttered, "I hate podcasting," and he observed, "It's certainly more dangerous than I thought." And this is a day in the life of someone as clumsy as I am. While trying to strap on my fancy headphones, I clocked myself in the lip. We are halfway through our series, "Lighten Up about Parenting," and if you're just joining us, this series is cool because you're getting bonus interviews, two for the price of one...which is still free...I'm not really sure about the math on that. In addition to an awesome guest line-up for you throughout this 10-part series, I've also invited 10 beta testers from all over the country to share their honest thoughts about my upcoming book, Calm the H*ck Down. They were given an early copy of my book and volunteered to use their kids as guinea pigs to see if my book actually works. I want to make sure if you grab a copy of Calm the H*ck Down that it's going to help you, as well as hopefully make you laugh. So today I'm chatting for a few minutes with Sarah from Michigan, mother of two boys, one on the autism spectrum, about Calm the H*ck Down. We talk about the book and also what it was like getting an autism diagnosis, and she offers advice for parents in the middle of getting an autism diagnosis. And then, stay tuned, because writer and army wife Lorren Lemmons is joining me to talk about how she lightens up about parenting. Lorren is a writer, a military spouse, and a former pediatric nurse. She talks about packing and moving with kids, and what it looks like preparing your kids to move. She has three kids and her four-year-old lived in four states before the age of four, so she knows a lot about this. We also talk about expectations she had going into parenting and how she calms the heck down. Lorren's got some really fun ideas, so listen in, and lighten up! Free Pandemic Parenting ebook when you preorder Calm the H*ck Down! Calm the H*ck Down comes out December 8, and if you preorder it now, you'll immediately receive my ebook, Pandemic Parenting: How to Calm Down When the World's Messed Up, available exclusively to those who preorder. Links from the show: Check out Lorren's website Connect with her on Instagram The Magic of Motherhood It's Not Fair Women Are Scary _____________________________________________ As an Amazon Associate I earn from qualifying purchases.
On this episode, we believe that love is greater than anything. Our relationships to ourselves and all things outside of ourselves when operating from a place of love has the best outcomes. The most fundamental loving relationship is between romantic partners. The desire to meet, fall in love and form lasting partnership is something that unites us as humans. Before the internet, you'd meet at a place of worship, schools, bars, concerts or maybe the library. Sure that still happens but 48% of 18- to 29-year-olds say they have ever used a dating site or app, and the share is 38% among those ages 30 to 49. Lesbian, gay or bisexual (LGB) adults are roughly twice as likely as those who are straight to say they ever used a dating platform (55% vs. 28%). It seems that online dating is how at least half of us are finding potential partners. The internet is the information highway, and in this case, the highway to love. On this episode I sat down with Marco (who identifies as gay) and my daughter Lorren, (who identifies as straight). Both are single, and one is happily so. Lorren is a beautiful black woman who is Navigating her career and the dating scene in LA. She is an actor and artist, who is single and ready to mingle. Marco, is a handsome black man who is a successful PR professional, in LA. He is happily dating, but not seeking anything serious. Both are originally from the Midwest, and will share the experiential truth about dating in 2020. Some of these facts we cover in this episode are eyebrow raising.
Page 112: Learning Stuff… is Good Lorren agrees to let Kvothe back into the archives. We get picked off one by one, talk about Elodin’s opinion of tradition, and Lorren’s secret knowledge. @pageofthewind pageofthewind.com
Kvothe explains why he picked Auri’s name. We talk about why Elodin makes his decision, the dangers of naming, and what’s going on with Lorren. pageofthewind.com patreon.com/pageofthewind
Beyond the hashtags, the powerful protests, and the media coverage lives the real, honest, and maybe uncomfortable conversations between white people and black people that need to take place. Can we do that? Yes we can, if we choose to. Actress Lorren Cotton sat down to talk about her experience as a black woman in America, how racism shows up in her life, how it has shown up in her life, how it shows up in our school systems, in workplaces, on the streets, in the entertainment industry, and of course in our legal and policing systems. We can choose to have these conversations surrounding black lives, and with black voices. Lorren Cotton is a Los Angeles based actress and writer, known for https://www.imdb.com/title/tt1997433?ref_=nmbio_mbio (Lured) (2012), https://www.imdb.com/title/tt6279258?ref_=nmbio_mbio (Where the Water Runs) (2018), https://www.imdb.com/title/tt0818516?ref_=nmbio_mbio (Resurrection Mary) (2005), https://www.imdb.com/title/tt1352727/?ref_=nm_flmg_act_24 (L.A.A.P Presents Family Values) (2007) and her YouTube series “Bible Stories: By KEY Lo-Lo”. A Chicago native, she studied at Columbia College & The Second City, and began doing theatre & film work. She then moved to Los Angeles & continued her training at Upright Citizens Brigade. Currently she can be seen in various commercials, on YouTube collaborating with many up & coming talent and performing live & viral with her all-female sketch comedy troupe, OvaryActing. She stars as "Angie" in the web series 'Not by Choice'Learn more about Lorren Cotton and check out her work on https://www.youtube.com/playlist?list=PLXCUciNXzEbgfp1Qiu47VXeSw74pgVuQe (Youtube): https://youtu.be/4HqVLHD99n4 (https://youtu.be/4HqVLHD99n4) Want to learn more about the https://blacklivesmatter.com/ (Black Lives Matter) movement and become more informed about black lives and voices? Visit https://blacklivesmatter.com/ (https://blacklivesmatter.com/) Make sure you are following https://theshekcheck.com/ (The Shek Check) on all our social media hot spots. Facebook: https://www.facebook.com/TheShekCheck/ (https://www.facebook.com/TheShekCheck/) Instagram: https://www.instagram.com/theshekcheck/ (https://www.instagram.com/theshekcheck/) Twitter: https://twitter.com/ShekCheck (https://twitter.com/ShekCheck)
Jack and Aria head for international waters from the safety of their makeshift LA studio when they bring their first foreign guest onto the show, Lorren Chiodo, a wildly talented saxophonist who has made her way to the US from Australia. Lorren shares not only her story but her musical gifts, while even partaking in a singalong/butchering of an Australian classic with the hosts.
This week I had the pleasure of sitting down with Industrial engineer turned WWF plastics consultant Lorren de Kock. In her mid 30’s Lorren realised she needed a change in a career path and needed to do something that made a difference so she went back to University part time while still working and raising a familNow Lorren heads up the Plastics team at WWF where she works with the various stakeholders in the industry to find solutions to the problems we face.We discussed many aspects of the plastic problem from bioplastics and why they are not a solution for us here in South Africa yet to the plastics system and industry as a whole and the shift towards a circular economy. I left far more educated as to where we stand and what the issues are that we face as well as more questions about how we move forward and start solving the problem. If you want to know more about our plastic system and issues you must listen to this podcast.
Fela explains the secret war in the Archives. We talk about real-world analogues to the Archives problem, make a small crackpot theory, and Lorren’s organizational mania. @pageofthewind pageofthewind@gmail.com pageofthewind.com
Appearing on this episode of Money Making Conversations is Michael Boatman, Two-time NAACP Image Award Winning Actor, Screenwriter, Author and Star of "The Good Fight" on CBS All Access; is Chef Keith Lorren, Known as "The King of Spice", Founder & CEO of Keith Lorren Global LLC, a luxury line of gourmet spice blends; Dr. Ian Smith, Physician, TV Personality, and New York Times #1 Best-selling Author, talking new book, "Clean & Lean: 30 Days, 30 Foods, A New You!"; Sheila Marmon, Founder & CEO of Mirror Digital, an interactive media and advertising company helping Fortune 500 brands.Each Money Making Conversations show hosted by Rushion McDonald is about entrepreneurship and entertainment. We provide the consumer and business owner access to Celebrities, CEOs, Entrepreneurs and Industry Decision Makers. They in turn deliver information about career planning, motivation, financial literacy and how they lead a balanced life. Don't miss Money Making Conversations with host Rushion McDonald streaming LIVE every Monday at 10AM-12PM EST on biz1190 (www.biz1190.com), on our Facebook fanpage at Facebook.com/MoneyMakingConversations, anytime through our iHeartRadio Podcast, which can be found under the Business/Finance Section, Fridays at 10AM ET on SiriusXM Channel 141: H.U.R. Voices and Fridays at 7PM ET on SiriusXM Channel 142: HBCU. We want to keep you Winning with your Career and your Life! #AskMMCThe Money Making Conversations radio talk show shares the “Secrets of Success” experienced firsthand by marketing and branding expert Rushion McDonald. Mr. McDonald is a brand guru and has been a marketer for major national and global brands like State Farm, Ford and Home Depot. He has worked with Kevin Hart, Stephen A. Smith, Jamie Foxx and most notably, Steve Harvey and will provide access to women and multicultural markets to expand the reach of your brand. The show features one-on-one career advice to callers, contributions from corporate leaders, successful entrepreneurs, celebrity interviews regarding their business ventures, social media branding, financial planning and information to empower small businesses to a path of success!“The Kind of Talk that Inspires Change.”https://www.facebook.com/MoneyMakingConversations/https://www.iheart.com/podcast/53-Money-Making-Conversations-28341098/https://www.rushionmcdonald.com/https://www.facebook.com/rushionmcdonald/https://twitter.com/RushionMcDonaldhttps://www.instagram.com/rushionmcdonald/https://www.linkedin.com/in/rushionmcdonaldhttp://biz1190.com/radioshow/5557Learn more about your ad-choices at https://www.iheartpodcastnetwork.comSupport the show: https://www.steveharveyfm.com/See omnystudio.com/listener for privacy information.
Appearing on this episode of Money Making Conversations is Michael Boatman, Two-time NAACP Image Award Winning Actor, Screenwriter, Author and Star of "The Good Fight" on CBS All Access; is Chef Keith Lorren, Known as "The King of Spice", Founder & CEO of Keith Lorren Global LLC, a luxury line of gourmet spice blends; Dr. Ian Smith, Physician, TV Personality, and New York Times #1 Best-selling Author, talking new book, "Clean & Lean: 30 Days, 30 Foods, A New You!"; Sheila Marmon, Founder & CEO of Mirror Digital, an interactive media and advertising company helping Fortune 500 brands.Each Money Making Conversations show hosted by Rushion McDonald is about entrepreneurship and entertainment. We provide the consumer and business owner access to Celebrities, CEOs, Entrepreneurs and Industry Decision Makers. They in turn deliver information about career planning, motivation, financial literacy and how they lead a balanced life. Don’t miss Money Making Conversations with host Rushion McDonald streaming LIVE every Monday at 10AM-12PM EST on biz1190 (www.biz1190.com), on our Facebook fanpage at Facebook.com/MoneyMakingConversations, anytime through our iHeartRadio Podcast, which can be found under the Business/Finance Section, Fridays at 10AM ET on SiriusXM Channel 141: H.U.R. Voices and Fridays at 7PM ET on SiriusXM Channel 142: HBCU. We want to keep you Winning with your Career and your Life! #AskMMCThe Money Making Conversations radio talk show shares the “Secrets of Success” experienced firsthand by marketing and branding expert Rushion McDonald. Mr. McDonald is a brand guru and has been a marketer for major national and global brands like State Farm, Ford and Home Depot. He has worked with Kevin Hart, Stephen A. Smith, Jamie Foxx and most notably, Steve Harvey and will provide access to women and multicultural markets to expand the reach of your brand. The show features one-on-one career advice to callers, contributions from corporate leaders, successful entrepreneurs, celebrity interviews regarding their business ventures, social media branding, financial planning and information to empower small businesses to a path of success!“The Kind of Talk that Inspires Change.”https://www.facebook.com/MoneyMakingConversations/https://www.iheart.com/podcast/53-Money-Making-Conversations-28341098/https://www.rushionmcdonald.com/https://www.facebook.com/rushionmcdonald/https://twitter.com/RushionMcDonaldhttps://www.instagram.com/rushionmcdonald/https://www.linkedin.com/in/rushionmcdonaldhttp://biz1190.com/radioshow/5557 Learn more about your ad-choices at https://news.iheart.com/podcast-advertisers
Appearing on this episode of Money Making Conversations is Chef Keith Lorren, Known as "The King of Spice", Founder & CEO of Keith Lorren Global LLC, a luxury line of gourmet spice blends.Each Money Making Conversations show hosted by Rushion McDonald is about entrepreneurship and entertainment. We provide the consumer and business owner access to Celebrities, CEOs, Entrepreneurs and Industry Decision Makers. They in turn deliver information about career planning, motivation, financial literacy and how they lead a balanced life. Don't miss Money Making Conversations with host Rushion McDonald streaming LIVE every Monday at 10AM-12PM EST on biz1190 (www.biz1190.com), on our Facebook fanpage at Facebook.com/MoneyMakingConversations, anytime through our iHeartRadio Podcast, which can be found under the Business/Finance Section, Fridays at 10AM ET on SiriusXM Channel 141: H.U.R. Voices and Fridays at 7PM ET on SiriusXM Channel 142: HBCU. We want to keep you Winning with your Career and your Life! #AskMMCThe Money Making Conversations radio talk show shares the “Secrets of Success” experienced firsthand by marketing and branding expert Rushion McDonald. Mr. McDonald is a brand guru and has been a marketer for major national and global brands like State Farm, Ford and Home Depot. He has worked with Kevin Hart, Stephen A. Smith, Jamie Foxx and most notably, Steve Harvey and will provide access to women and multicultural markets to expand the reach of your brand. The show features one-on-one career advice to callers, contributions from corporate leaders, successful entrepreneurs, celebrity interviews regarding their business ventures, social media branding, financial planning and information to empower small businesses to a path of success!“The Kind of Talk that Inspires Change.”https://www.facebook.com/MoneyMakingConversations/https://www.iheart.com/podcast/53-Money-Making-Conversations-28341098/https://www.rushionmcdonald.com/https://www.facebook.com/rushionmcdonald/https://twitter.com/RushionMcDonaldhttps://www.instagram.com/rushionmcdonald/https://www.linkedin.com/in/rushionmcdonaldhttp://biz1190.com/radioshow/5557Learn more about your ad-choices at https://www.iheartpodcastnetwork.comSupport the show: https://www.steveharveyfm.com/See omnystudio.com/listener for privacy information.
Appearing on this episode of Money Making Conversations is Chef Keith Lorren, Known as "The King of Spice", Founder & CEO of Keith Lorren Global LLC, a luxury line of gourmet spice blends.Each Money Making Conversations show hosted by Rushion McDonald is about entrepreneurship and entertainment. We provide the consumer and business owner access to Celebrities, CEOs, Entrepreneurs and Industry Decision Makers. They in turn deliver information about career planning, motivation, financial literacy and how they lead a balanced life. Don’t miss Money Making Conversations with host Rushion McDonald streaming LIVE every Monday at 10AM-12PM EST on biz1190 (www.biz1190.com), on our Facebook fanpage at Facebook.com/MoneyMakingConversations, anytime through our iHeartRadio Podcast, which can be found under the Business/Finance Section, Fridays at 10AM ET on SiriusXM Channel 141: H.U.R. Voices and Fridays at 7PM ET on SiriusXM Channel 142: HBCU. We want to keep you Winning with your Career and your Life! #AskMMCThe Money Making Conversations radio talk show shares the “Secrets of Success” experienced firsthand by marketing and branding expert Rushion McDonald. Mr. McDonald is a brand guru and has been a marketer for major national and global brands like State Farm, Ford and Home Depot. He has worked with Kevin Hart, Stephen A. Smith, Jamie Foxx and most notably, Steve Harvey and will provide access to women and multicultural markets to expand the reach of your brand. The show features one-on-one career advice to callers, contributions from corporate leaders, successful entrepreneurs, celebrity interviews regarding their business ventures, social media branding, financial planning and information to empower small businesses to a path of success!“The Kind of Talk that Inspires Change.”https://www.facebook.com/MoneyMakingConversations/https://www.iheart.com/podcast/53-Money-Making-Conversations-28341098/https://www.rushionmcdonald.com/https://www.facebook.com/rushionmcdonald/https://twitter.com/RushionMcDonaldhttps://www.instagram.com/rushionmcdonald/https://www.linkedin.com/in/rushionmcdonaldhttp://biz1190.com/radioshow/5557 Learn more about your ad-choices at https://news.iheart.com/podcast-advertisers
One of my biggest issues/problems/roadblocks was feeling a lack of connection to the world around me. I felt isolated, left out. No matter what I did, I couldn't figure out what was wrong and what was preventing me from feeling connected. I've come a long way from those feelings, in part, by replacing bad habits with better habits. Our guest today knows all about this and works tirelessly helping people discover their voice and share their message with the world. Daniel Gefen is a serial entrepreneur and founder of Gefen Media Group - a podcast production and booking agency helping clients build a loyal following through the power of podcasting. He is the author of the best selling book called “The Self Help Addict: Turn An Overdose Of Information Into A Life Of Transformation” Daniel lives with his wife Lorren and 4 children in the hills of Bet Shemesh, Israel. Learn more about your ad choices. Visit https://megaphone.fm/adchoices (megaphone.fm/adchoices)
Where do you draw the line between planning to ensure smooth sailing and just getting on with an endeavor that ultimately ends up in learning? On today's episode, serial entrepreneur, podcast host and author Daniel Gefen talks about the value of authenticity and spontaneity over polished scripts, the beauty of just doing, and how to gain self-respect. “Self-respect comes from doing hard work and achieving things.” - Daniel Gefen Three Things We Learned People fall prey to procrastination to achieve perfection We don't consume things far removed from our realities, and we don't appreciate anything that is deceptively picture-perfect either. But we are also susceptible to putting off what we must do in hopes of achieving perfection. What it ultimately boils down to, however, is the fear of actually taking action. How we know it is time to quit working on ourselves Self-improvement is important, but there comes a point when we need to stop learning and start doing instead. This applies to a lot of things, from feeling that you lack enough information to start writing the book you want to write about or planning the architecture of a house that won't build itself. A lot of successful people don't stall; they just do. We have way too much time on our hands Because it is such a luxury nowadays, people have way too much time to spare thinking too deeply into things. A certain kind of unease usually follows this, and no self-respecting human should subject themselves to such quandaries. But we earn self-respect not through stalling but through hard work and achieving. There is a fine line between learning to gain self-improvement and doing to learn. With life so unpredictable that we don't ever truly become ready for it, which of the two is the way to go? Bio: Daniel Gefen is a serial entrepreneur and founder of Gefen Media Group - a podcast production and booking agency helping clients build a loyal following through the power of podcasting. He is also the host of the top-rated podcast show called ‘Can I Pick Your Brain?' which has exceeded over 150,000 downloads and was named top 26 podcasts to listen to by CIO Magazine. He has interviewed over 100 thought leaders, billionaires and celebrities. In 2017, he was named one of the top 25 most influential influencers and has been featured in dozens of media publications including Forbes, INC, CIO, Influencive, Success Radio and over 70 leading podcasts. Daniel lives with his wife Lorren and 4 children in the hills of Bet Shemesh, Israel. You can listen to his show by searching for 'Can I Pick Your Brain?' on iTunes or other podcast platforms. Links: http://www.danielgefen.com www.TheSelfHelpAddict.com https://twitter.com/ipickbrains We hope you enjoyed Daniel Gefen on this episode of Legends and Losers! Christopher loves hearing from his listeners. Feel free to email him, connect on Facebook, Twitter, Instagram and subscribe on iTunes!
Daniel Gefen is a serial entrepreneur and founder of Gefen Media Group - a podcast production and booking agency helping clients build a loyal following through the power of podcasting. He is also the host of the top-rated podcast show called ‘Can I Pick Your Brain?’ which has exceeded over 150,000 downloads and was named top 26 podcasts to listen to by CIO Magazine. He has interviewed over 100 thought leaders, Billionaires and celebrities. In 2017, he was named one of the top 25 most influential influencers and has been featured in dozens of media publications including Forbes Inc, CIO, Influencive, Success Radio and over 70 leading podcasts.Daniel lives with his wife Lorren and 4 children in the hills of Bet Shemesh, Israel.You can listen to his show by searching for 'Can I Pick Your Brain?' on iTunes or other podcast platforms.You can also visit his personal website: www.DanielGefen.comFor further details about his book go to www.TheSelfHelpAddict.com And don’t forget to support the podcast by subscribing, reviewing, and sharing. Unstructured Links: Web: https://unstructuredpod.com/ Facebook: https://facebook.com/unstructuredp Twitter: https://twitter.com/unstructuredp Instagram: https://www.instagram.com/unstructuredp/
Daniel Gefen is a serial entrepreneur and founder of Gefen Media Group - a podcast production and booking agency helping clients build a loyal following through the power of podcasting. He is also the host of the top-rated podcast show called ‘Can I Pick Your Brain?’ which has exceeded over 150,000 downloads and was named top 26 podcasts to listen to by CIO Magazine. He has interviewed over 100 thought leaders, billionaires and celebrities. In 2017, he was named one of the top 25 most influential influencers and has been featured in dozens of media publications including Forbes Inc, CIO, Influencive, Success Radio and over 70 leading podcasts. Daniel lives with his wife Lorren and 4 children in the hills of Bet Shemesh, Israel. Join The Brotherhood Join the Front Row Dads private Facebook community so you can ask questions, share ideas, and be part of a supportive group of incredible brothers who help one another navigate the role of marriage and fatherhood. Visit FrontRowDads.com/facebook For more information, visit FrontRowDads.com
Copy That Pops: Writing Tips and Psychology Hacks for Business
International bestselling author and podcaster extraordinnaire Daniel Gefen stops by for an incredible chat! Learn how to stand out above the crowd and promote yourself, your book, and your podcast! This is one of my favorite interviews of all time so far! Must-listen. A few exciting highlights include:– Networking events introductions! [Daniel’s response to my question will shock you!] – Can you guess where Daniel is recording this interview?! – Learn some tricks to becoming the most memorable person at a networking event! – What is the “Who am I to write a book?” fear – Find out how to deal with haters and trolls – Learn about the power of your expertise and why you should write that book or start that podcast! Now! – How to get minions running around doing the work of networking and marketing for you! – Why the time is now to tell the world what you know! – Find out the promise Daniel made to his son that made him finally write his book! It’s touching and inspiring. Take Action Now! TRAINING on Hitting Amazon Best Seller! Free COMMUNITY to Collab with as you Write Your Best Seller! The Best CLASS to Hit Amazon Best Seller! (This is the best way to achieve success)* Guest: Daniel Gefen is a serial entrepreneur and founder of Gefen Media Group – a podcast production and booking agency helping clients build a loyal following through the power of podcasting. He is also the host of the top-rated podcast show called ‘Can I Pick Your Brain?’ which has exceeded over 150,000 downloads and was named top 26 podcasts to listen to by CIO Magazine. He has interviewed over 100 thought leaders, billionaires, and celebrities. In 2017, he was named one of the top 25 most influential influencers and has been featured in dozens of media publications including Forbes, Inc, CIO, Influencive, Success Radio, and over 70+ leading podcasts. Daniel lives with his wife Lorren and 4 children in the hills of Bet Shemesh, Israel. Great Quotes: “You go to networking events because you want to earn business.” – Daniel Gefen “Nobody is going to buy because you’re in a selling place.” – Daniel Gefen “If you go to a networking event, just take people’s business cards and listen; you become the most interesting and popular person there.” – Daniel Gefen “Getting on podcast shows, creating podcasts, and writing books, is to me, one of the most valuable ways to network.” –Daniel Gefen “When someone is reading your book it’s like they are learning your whole story in their time.” – Daniel Gefen “Imagine your book has legs, and it’s just running around doing the work for you.” – Daniel Gefen “We end up writing the book that we want to read.” – Daniel Gefen “When we do something, we feel like it’s not a big deal.” – Daniel Gefen “Haters push people over the edge.” – Daniel Gefen “Don’t be afraid to get on a platform and shout.” – Daniel Gefen “Real relationships is what ends up creating business transactions.” – Daniel Gefen Links to Mentions in This Podcast Episode: Jeff Hoffman of Priceline The Minions The Self Help Addict: Turn an Overdose of Information Into a Life of Transformation Visit Daniel’s Personal Website! The Gefen Media Group Read More: Shownotes for 126: Bestselling Books, Top Podcasts, and Networking Event Intros - Oh My! - with Daniel Gefen
Turn an overdose of information into a life of transformation! Daniel Geffen has done it and I am happy to share this episode the week he launched his book and achieved #1 Amazon Bestseller status. Daniel Gefen is a serial entrepreneur and founder of Gefen Media Group - a podcast production and booking agency helping clients build a loyal following through the power of podcasting. He is also the host of the top-rated podcast show called ‘Can I Pick Your Brain?’ which has exceeded over 150,000 downloads and was named top 26 podcasts to listen to by CIO Magazine. He has interviewed over 100 thought leaders, Billionaires and celebrities. In 2017, he was named one of the top 25 most influential influencers and has been featured in dozens of media publications including Forbes Inc, CIO, Influencive, Success Radio and over 70 leading podcasts. Originally from the UK, Daniel lives with his wife Lorren and 4 children in the hills of Bet Shemesh, Israel.
Welcome to the Musea Podcast! This is episode #32 featuring wedding photographer Jessica Lorren. In this episode, Jessica talks about her branding, how quality relationships defines what success is for her and what she is looking for when she shoots details at a wedding.
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