Podcast appearances and mentions of Mike Dorsey

With Denise away, JD has complied a great GAY rewind remix with filmmaker Anthony Hand, financial coach David Lester, blogger and author Sean O'Callaghan and Chih and Mike Dorsey of The dumpling Dudes.

Chaz and AJ spoke to film maker Mike Dorsey this morning about Diddy's arrest charges, and what other details might still be made public. Mike made a documentary about the Biggie and Tupac murders, and addressed a possible connection to Diddy from recent arrests over the 28-year-old shootings.  Photo credit: Reuters 

Mike Dorsey

Mike Dorsey

Mike Dorsey was on with Chaz and AJ to talk about the long road to getting an arrest in the decades-old murder of rapper Tupac. Mike is a filmmaker, and has been personally involved in a private investigation into the details for years.  Image Credit: REUTERS/Lucas Jackson/File Photo

http://www.CoachMikeD.com Make sure to grab a copy of my latest book, "The 33 Laws of Impact & Fulfillment: your peak performance guide to leading from within" https://www.amazon.com/33-Laws-Impact-Fulfillment-Performance/dp/B0C488MH4S/ref=sr_1_1?keywords=Mike+Dorsey&qid=1684119559&s=audible&sr=1-1 This quick Episode dives into the concept of "Forcing your will." Take a quick listen and share what you learn. Have an amazing day. Subscribe: Apple Podcasts: https://podcasts.apple.com/us/podcast/impact-and-fulfillment-with-coach-mike-d/id1230596918 Stitcher: https://www.stitcher.com/show/black-fathers-now YouTube: @CoachMikeD https://www.youtube.com/channel/UCtczqqU6-ZAwG37LcRpwJ3Q Be Blessed, Well and Wise!

http://www.CoachMikeD.com Episode 319 of Impact and Fulfillment w/ Coach Mike D is a quick reminder for you to figure out whats best for you and have the courage and confidence to rock with that no matter what everyone else is doing. Take a quick listen. ALSO...May 2, 2023 my new book, "The 33 Laws of Impact and Fulfillment" drops via Amazon. https://www.amazon.com/stores/Mike-Dorsey/author/B00UYB4LXW?ref=ap_rdr&store_ref=ap_rdr&isDramIntegrated=true&shoppingPortalEnabled=true Subscribe: Apple Podcasts: https://podcasts.apple.com/us/podcast/impact-and-fulfillment-with-coach-mike-d/id1230596918 Stitcher: https://www.stitcher.com/show/black-fathers-now YouTube: https://www.youtube.com/channel/UCtczqqU6-ZAwG37LcRpwJ3Q Follow @CoachMikeD on Social media Everywhere... Be Blessed, Well and Wise!

Mike Dorsey by Garage Daze w/ Arch Madness

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To commemorate Father's Day, in this week's episode of the Mental Conditioning Gym podcast, Elliot speaks with Mike Dorsey. Mike is a Personal Development coach and host of the Black Father's NOW! podcast. When you have a Mental Conditioning coach and Personal Development Coach on the same episode AND speaking about such a powerful topic as fatherhood then you know this is going to be a GREAT episode filled with a lot of takeaways. Gentlemen get your pen and paper! Episode Highlights:Influences and examples of manhood growing upLove is commitmentManhood foundation for FatherhoodWhat is a "quality" man?Family StructureRaising SonsRaising DaughtersTo learn more about Mike and his podcast Black Father's NOW! visit his websiteSupport the podcast by subscribing and leaving a review wherever you listen. Share episodes with others. To learn more about the Mental Conditioning Gym and our services visit our website

Health is one of those things many of us don't pay mind to until we have a big scare!  A big scare got me focused and although it sucks to have happened that way, I'm grateful for it.  This week I needed a FRIEND to lean on to talk about health and the homie Mike Dorsey came through for our, We Do It For The Kids Series! We talked about health, why it matters, why we hide it from people especially our kids, and how to move forward once you know your health needs attention.  IG: @blackfathersnow @FatherhoodIsLit Blog & Show Notes:  No Health, No Dad: We Do It For Our Kids Merch: #FatherhoodIsLit Gear

Chih Lin and Mike Dorsey were trained as engineers and worked in the oil & gas industry in Houston, Texas. But both were miserable at work and decided they needed to make a change. They launched a company called “Dumpling Dudez” and turned their attention to teaching small groups of people the art of dumpling-making. They started in April, 2019 and had a successful launch. And when Covid-19 shut down their in-person classes, they switched to virtual classes and selling the world's first "ready-to-bake" dumping commercially. At the age of 15, Chih Lin came to the United States from Taiwan. He learned how to make dumplings from his grandmother. "I don't remember the taste of the dumplings. But I always remember how I feel when I make dumplings with my family. That's what dumpling making is...your hands are busy and then you live in the present. And when you live in the present, the conversations come up very nicely, very real and easier for you to connect with other people." Chih's business & life partner Mike Dorsey concludes the episode with some strong advice for second act aspirants: "If you're really unhappy at work and it's causing you so much grief, find an exit strategy and start working towards it today. A small step today can become a huge leap tomorrow." Click here to learn more about the Dumpling Dudez, their classes and their "ready-to-bake" dumplings.    

When you hear the word deadbeat, you associate it with a deadbeat mother or father but others can be deadbeats as well! This week Mike Dorsey and I talked about dealing with people that show deadbeat tendencies whether they have kids or not! Think of that friend or family member that always says we can't wait to hang with you and the family but never show up!  2 friends talking about life as a father, raw and uncut! Tune In IG: @blackfathersnow @FatherhoodIsLit Blog & Show Notes:   We Do It For Our Kids Merch: #FatherhoodIsLit Gear

Around here, real child support isn't just a check we write to the court system. Instead, child support is being there for your child's ups and downs as they grow in life.  This week, Mike Dorsey and I talked about the definition society emphasizes, what we feel real child support looks like and even got into a discussion on weaponizing child support.  Money can finance things but it can never replace the true value REAL FATHERS bring to the table. Keep making YOUR PRESENCE felt!  IG: @blackfathersnow @FatherhoodIsLit Blog & Show Notes:  Child Support: We Do It For Our Kids Merch: #FatherhoodIsLit Gear

Conversations help us grow and when we grow our kids grow with us! This week I wanted to jump on a call with my friend Mike Dorsey of the Black Fathers Now community to share some of our conversation in a new series called: We Do It For Our Kids! Doing it for your kids might look different but we all do it because we care. Tune in to hear some of the things we talked about like not being perfect all the time and finding spots within our everyday lives that we can use to educate our kids without being that annoying old head DAD! Gems were dropped between great friends, now you can learn from them as well! Lets get it! IG: @blackfathersnow @FatherhoodIsLit Blog & Show Notes: We Do It For Our Kids!  Merch: #FatherhoodIsLit Gear

Hey Listener, it's a big milestone as WYI? Hits it's 50th episode. This week Dan Simonson aka Simo is in the basement and over the course of the interview we figure out that we're basically Brennan and Dale from Stepbrothers. Simo collects original art, prints, show posters, and flash art. Topics this week include. James Billiter is America's artistic sweetheart. Johnny Manizel in a wig. Going to Ohio State stories. College football talk. UC vs. OSU. Gigantic poster tents and falling into a collection. Getting taxidermy tattoos. A governor and a multiple room collection. Clunky COVID conversations. Commissioning artists. You need to follow Mike Dorsey because he creates incredible art. Tattoo talk. Hey artists, make your work frameable. Collecting show posters (Jason Isbell. Gaslight Anthem). What is the most valuable piece of art that you own? The Bouncing Souls. Cover ups. The future of the collection. 

Mike dives into numerous topics including 2Pac, Biggie, Suge Knight, Death Row vs Bad Boy and much more!Mike Dorsey is a television producer, documentary filmmaker, editor, and writer. Most recently, he was co-producer on the scripted crime series "Unsolved" for NBCUniversal, now on Netflix, and producer and editor of the hit paranormal documentary "Demon House," which received a limited theatrical release in the US and premiered as the #1 documentary on iTunes.His other documentary projects include "Murder Rap: Inside the Biggie and Tupac Murders"; the Manson film "The Six Degrees of Helter Skelter," which BuzzFeed readers named the 4th-scariest documentary ever made; "The Oyler House: Richard Neutra's Desert Retreat," about mid-century modern architecture; and the WWII documentary "Lost Airmen of Buchenwald," which aired on networks in the US and around the world.Mike holds a degree in Marketing from the W.P. Carey School of Business at Arizona State University. He is an active member of the Producers Guild of America. He grew up in Orange County, California and in southwest Colorado.

Episode 129 of A History of Rock Music in Five Hundred Songs looks at “(I Can't Get No) Satisfaction” by the Rolling Stones, and how they went from being a moderately successful beat group to being the only serious rivals to the Beatles. Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have an eleven-minute bonus episode available, on "I'll Never Find Another You" by the Seekers. 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 created a Mixcloud streaming playlist with full versions of all the songs in the episode. i used a lot of resources for this episode. Two resources that I've used for this and all future Stones episodes — The Rolling Stones: All The Songs by Phillipe Margotin and Jean-Michel Guesden is an invaluable reference book, while Old Gods Almost Dead by Stephen Davis is the least inaccurate biography. When in doubt, the version of the narrative I've chosen to use is the one from Davis' book. I've also used Andrew Loog Oldham's autobiography Stoned, and Keith Richards' Life, though be warned that both casually use slurs. Sympathy for the Devil: The Birth of the Rolling Stones and the Death of Brian Jones by Paul Trynka is, as the title might suggest, essentially special pleading for Jones. It's as well-researched and well-written as a pro-Jones book can be, and is worth reading for balance, though I find it unconvincing. This web page seems to have the most accurate details of the precise dates of sessions and gigs. And this three-CD set contains the A and B sides of all the Stones' singles up to 1971, including every Stones track I excerpt in this episode. Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript Today, we're going to look at one of the most important riffs in rock and roll history -- the record that turned the distorted guitar riff into the defining feature of the genre, even though the man who played that riff never liked it. We're going to look at a record that took the social protest of the folk-rock movement, aligned it with the misogyny its singer had found in many blues songs, and turned it into the most powerful expression of male adolescent frustration ever recorded to that point. We're going to look at "Satisfaction" by the Rolling Stones: [Excerpt: The Rolling Stones, "Satisfaction"] A note before we start this -- this episode deals with violence against women, and with rape. If you're likely to be upset hearing about those things, you might want to either skip this episode, or read the transcript on the website first. The relevant section comes right at the end of the episode, so you can also listen through to the point where I give another warning, without missing any of the rest of the episode. Another point I should make here -- most of the great sixties groups have very accurate biographies written about them. The Stones, even more than the Beatles, have kept a surprising amount of control over their public image, with the result that the only sources about them are either rather sanitised things made with their co-operation, or rather tabloidy things whose information mostly comes from people who are holding a grudge or have a particular agenda. I believe that everything in this episode is the most likely of the various competing narratives, but if you check out the books I used, which are listed on the blog post associated with this episode, you'll see that there are several different tellings of almost every bit of this story. So bear that in mind as you're listening. I've done my best. Anyway, on with the episode.  When we left the Rolling Stones, they were at the very start of their recording career, having just released their first big hit single, a version of "I Wanna Be Your Man", which had been written for them by Lennon and McCartney.  The day after they first appeared on Top of the Pops, they were back in the recording studio, but not to record for themselves. The five Stones, plus Ian Stewart, were being paid two pounds a head by their manager/producer Andrew Oldham to be someone else's backing group. Oldham was producing a version of "To Know Him is to Love Him", the first hit by his idol Phil Spector, for a new singer he was managing named Cleo Sylvester: [Excerpt: Cleo, "To Know Him is to Love Him"] In a further emulation of Spector, the B-side was a throwaway instrumental. Credited to "the Andrew Oldham Orchestra", and with Mike Leander supervising, the song's title, "There Are But Five Rolling Stones", gave away who the performers actually were: [Excerpt: The Andrew Oldham Orchestra, "There Are But Five Rolling Stones"] At this point, the Stones were still not writing their own material, but Oldham had already seen the writing on the wall -- there was going to be no place in the new world opened up by the Beatles for bands that couldn't generate their own hits, and he had already decided who was going to be doing that for his group.  It would have been natural for him to turn to Brian Jones, still at this point the undisputed leader of the group, and someone who had a marvellous musical mind. But possibly in order to strengthen the group's identity as a group rather than a leader and his followers -- Oldham has made different statements about this at different points -- or possibly just because they were living in the same flat as him at the time, while Jones was living elsewhere, he decided that the Rolling Stones' equivalent of Lennon and McCartney was going to be Jagger and Richards. There are several inconsistencies in the stories of how Jagger and Richards started writing together -- and things like what the actual first song they wrote together was, or when they wrote it, will probably always be lost to the combination of self-aggrandisement and drug-fuelled memory loss that makes it difficult to say anything definitive about much of their career. But we do know that one of the earliest songs they wrote together was "As Tears Go By", a song that wasn't considered suitable for the group -- though they did later record a version of it -- and was given instead to Marianne Faithfull, a young singer with whom Jagger was about to enter into a relationship: [Excerpt: Marianne Faithfull, "As Tears Go By"] It's not entirely clear who wrote what on that song -- it's usually referred to as a Jagger/Richards collaboration, but it's credited to Jagger, Richards, and Oldham, and at least one source claims it was actually written by Jagger and the session guitarist Big Jim Sullivan -- and if so, this would be the first time of many that a song written by Jagger or Richards in collaboration with someone else would be credited to Jagger and Richards without any credit going to their co-writer. But the consensus story, as far as there is a consensus, seems to be that Oldham locked Jagger and Richards into a kitchen, and told them they weren't coming out until they had a song written. And it had to be a proper song, not a pastiche of something else, and it had to be the kind of song you could release as a single, not a blues song. After spending all night in the kitchen, Richards eventually got bored of being stuck in there, and started strumming his guitar and singing "it is the evening of the day", and the two of them quickly came up with the rest of the song. After "As Tears Go By", they wrote a lot of songs that they didn't feel were right for the group, but gave them away to other people, like Gene Pitney, who recorded "That Girl Belongs to Yesterday": [Excerpt: Gene Pitney, "That Girl Belongs to Yesterday"] Pitney, and his former record producer Phil Spector, had visited the Stones during the sessions for their first album, which started the day after that Cleo session, and had added a little piano and percussion to a blues jam called "Little by Little", which also featured Allan Clarke and Graham Nash of the Hollies on backing vocals. The songwriting on that track was credited to Spector and Nanker Phelge, a group pseudonym that was used for jam sessions and instrumentals. It was one of two Nanker Phelge songs on the album, and there was also an early Jagger and Richards song, "Tell Me", an unoriginal Merseybeat pastiche: [Excerpt: The Rolling Stones, "Tell Me"] But the bulk of the album was made up of cover versions of songs by Bo Diddley, Chuck Berry, Rufus Thomas, Marvin Gaye, and other Black American musicians. The album went to number one in the UK album charts, which is a much more impressive achievement than it might sound. At this point, albums sold primarily to adults with spending money, and the album charts changed very slowly. Between May 1963 and February 1968, the *only* artists to have number one albums in the UK were the Beatles, the Stones, Dylan, the Monkees, the cast of The Sound of Music, and Val Doonican. And between May 63 and April 65 it was *only* the Beatles and the Stones. But while they'd had a number one album, they'd still not had a number one single, or even a top ten one. "I Wanna Be Your Man" had been written for them and had hit number twelve, but they were still not writing songs that they thought were suited for release as singles, and they couldn't keep asking the Beatles to help them out, so while Jagger and Richards kept improving as songwriters, for their next single they chose a Buddy Holly B-side: [Excerpt: Buddy Holly, "Not Fade Away"] The group had latched on to the Bo Diddley rhythm in that song, along with its machismo -- many of the cover versions they chose in this period seem to have not just a sexual subtext but to be overtly bragging, and if Little Richard is to be believed on the subject, Holly's line "My love is bigger than a Cadillac" isn't that much of an exaggeration. It's often claimed that the Stones exaggerated and emphasised the Bo Diddley sound, and made their version more of an R&B number than Holly's, but if anything their version owes more to someone else.  The Stones' first real UK tour had been on a bill with Mickie Most, Bo Diddley, Little Richard, and the Everly Brothers, and Keith Richards in particular had been amazed by the Everlys. He said later "The best rhythm guitar playing I ever heard was from Don Everly. Nobody ever thinks about that, but their rhythm guitar playing is perfect". Don Everly, of course, was himself very influenced by Bo Diddley, and learned to play in open-G tuning from Diddley -- and several years later, Keith Richards would make that tuning his own, after being inspired by Everly and Ry Cooder.  The Stones' version of "Not Fade Away" owes at least as much to Don Everly's rhythm guitar style as to that of Holly or Diddley. Compare, say, the opening of "Wake Up Little Suzie": [Excerpt: The Everly Brothers, "Wake Up Little Suzie"] The rhythm guitar on the Stones version of "Not Fade Away" is definitely Keith Richards doing Don Everly doing Bo Diddley: [Excerpt: The Rolling Stones, "Not Fade Away"] That was recorded during the sessions for their first album, and was, depending on whose story you believe, another track that featured Phil Spector and Gene Pitney on percussion, recorded at the same session as "Little by Little", which became its B-side. Bill Wyman, who kept copious notes of the group's activities, has always said that the idea that it was recorded at that session was nonsense, and that it was recorded weeks later, and Oldham merely claimed Spector was on the record for publicity purposes. On the other hand, Gene Pitney had a very strong memory of being at that session. Spector had been in the country because the Ronettes had been touring the UK with the Stones as one of their support acts, along with the Swinging Blue Jeans and Marty Wilde, and Spector was worried that Ronnie might end up with one of the British musicians. He wasn't wrong to worry -- according to Ronnie's autobiography, there were several occasions when she came very close to sleeping with John Lennon, though they never ended up doing anything and remained just friends, while according to Keith Richards' autobiography he and Ronnie had a chaste affair on that tour which became less chaste when the Stones later hit America. But Spector had flown over to the UK to make sure that he remained in control of the young woman who he considered his property. Pitney, meanwhile, according to his recollection, turned up to the session at the request of Oldham, as the group were fighting in the studio and not getting the track recorded. Pitney arrived with cognac, telling the group that it was his birthday and that they all needed to get drunk with him. They did, they stopped fighting, and they recorded the track: [Excerpt: The Rolling Stones, "Not Fade Away"] "Not Fade Away" made number three on the UK charts, and also became the first Stones record to chart in the US at all, though it only scraped its way to number forty-eight, not any higher. But in itself that was a lot -- it meant that the Stones had a record doing well enough to justify them going to the US for their first American tour.  But before that, they had to go through yet another UK tour -- though this isn't counted as an official tour in the listings of their tours, it's just a bunch of shows, in different places, that happened to be almost every night for a couple of months. By this time, the audience response was getting overwhelming, and shows often had to be cut short to keep the group safe. At one show, in Birkenhead, the show had to be stopped after the band played *three bars*, with the group running off stage after that as the audience invaded the stage. And then it was off to the US, where they were nowhere near as big, though while they were over there, "Tell Me" was also released as a single to tie in with the tour, and that did surprisingly well, making number twenty-four. The group's first experience of the US wasn't an entirely positive one -- there was a disastrous appearance on the Dean Martin Show on TV, with Martin mocking the group both before and after their performance, to the extent that Bob Dylan felt moved to write in the liner notes to his next album “Dean Martin should apologise t'the Rolling Stones”. But on the other hand, there were some good experiences. They got to see James Brown at the Apollo, and Jagger started taking notes -- though Richards also noted *what* Jagger was noting, saying "James wanted to show off to these English folk. He's got the Famous Flames, and he's sending one out for a hamburger, he's ordering another to polish his shoes and he's humiliating his own band. To me, it was the Famous Flames, and James Brown happened to be the lead singer. But the way he lorded it over his minions, his minders and the actual band, to Mick was fascinating" They also met up with Murray the K, the DJ who had started the career of the Ronettes among others. Murray had unilaterally declared himself "the fifth Beatle", and was making much of his supposed connections with British pop stars, most of whom either had no idea who he was or actively disliked him (Richards, when talking about him, would often replace the K with a four-letter word usually spelled with a "c"). The Stones didn't like him any more than any of the other groups did, but Murray played them a record he thought they'd be interested in -- "It's All Over Now" by the Valentinos, the song that Bobby Womack had written and which was on Sam Cooke's record label: [Excerpt: The Valentinos, "It's All Over Now"] They decided that they were going to record that, and handily Oldham had already arranged some studio time for them. As Giorgio Gomelsky would soon find with the Yardbirds, Oldham was convinced that British studios were simply unsuitable for recording loud blues-based rock and roll music, and Phil Spector had suggested to him that if the Stones loved Chess records so much, they might as well record at Chess studios.  So while the group were in Chicago, they were booked in for a couple of days in the studio at Chess, where they were horrified to discover that their musical idol Muddy Waters was earning a little extra cash painting the studio ceiling and acting as a roadie, helping them in with their equipment.  (It should be noted here that Marshall Chess, Leonard Chess' son who worked with the Stones in the seventies, has denied this happened. Keith Richards insists it did.) But after that shock, they found working at Chess a great experience. Not only did various of their musical idols, like Willie Dixon and Chuck Berry, as well as Waters, pop in to encourage them, and not only were they working with the same engineer who had recorded many of those people's records, but they were working in a recording studio with an actual multi-track system rather than a shoddy two-track tape recorder. From this point on, while they would still record in the UK on occasion, they increasingly chose to use American studios.  The version of "It's All Over Now" they recorded there was released as their next single. It only made the top thirty in the US -- they had still not properly broken through there -- but it became their first British number one: [Excerpt: The Rolling Stones, "It's All Over Now"] Bobby Womack was furious that the Stones had recorded his song while his version was still new, but Sam Cooke talked him down, explaining that if Womack played his cards right he could have a lot of success through his connection with these British musicians. Once the first royalty cheques came in, Womack wasn't too upset any more. When they returned to the UK, they had another busy schedule of touring and recording -- and not all of it just for Rolling Stones work. There was, for example, an Andrew Oldham Orchestra session, featuring many people from the British session world who we've noted before -- Joe Moretti from Vince Taylor's band, John Paul Jones, Jimmy Page, Andy White, Mike Leander, and more. Mick Jagger added vocals to their version of "I Get Around": [Excerpt: The Andrew Oldham Orchestra, "I Get Around"] It's possible that Oldham had multiple motives for recording that -- Oldham was always a fan of Beach Boys style pop music more than he was of R&B, but he also was in the process of setting up his own publishing company, and knew that the Beach Boys' publishers didn't operate in the UK. In 1965, Oldham's company would become the Beach Boys' UK publishers, and he would get a chunk of every cover version of their songs, including his own. There were also a lot of demo sessions for Jagger/Richards songs intended for other artists, with Mick and Keith working with those same session musicians -- like this song that they wrote for the comedian Jimmy Tarbuck, demoed by Jagger and Richards with Moretti, Page, Jones, John McLaughlin, Big Jim Sullivan, and Andy White: [Excerpt: Mick Jagger and Keith Richards, "We're Wastin' Time"] But of course there were also sessions for Rolling Stones records, like their next UK number one single, "Little Red Rooster": [Excerpt: The Rolling Stones, "Little Red Rooster"] "Little Red Rooster" is a song that is credited to Willie Dixon, but which actually combines several elements from earlier blues songs, including a riff inspired by the one from Son House's "Death Letter Blues": [Excerpt: Son House, "Death Letter Blues"] A melody line and some lines of lyric from Memphis Minnie's "If You See My Rooster": [Excerpt: Memphis Minnie, "If You See My Rooster"] And some lines from Charley Patton's "Banty Rooster Blues": [Excerpt: Charley Patton, "Banty Rooster Blues"] Dixon's resulting song had been recorded by Howlin' Wolf in 1961: [Excerpt: Howlin' Wolf, "Little Red Rooster"] That hadn't been a hit, but Sam Cooke had recorded a cover version, in a very different style, that made the US top twenty and proved the song had chart potential: [Excerpt: Sam Cooke, "Little Red Rooster"] The Rolling Stones version followed Howlin' Wolf's version very closely, except that Jagger states that he *is* a cock -- I'm sorry, a rooster -- rather than that he merely has one. And this would normally be something that would please Brian Jones immensely -- that the group he had formed to promote Delta and Chicago blues had managed to get a song like that to number one in the UK charts, especially as it was dominated by his slide playing. But in fact the record just symbolised the growing estrangement between Jones and the rest of his band. When he turned up at the session to record "Little Red Rooster", he was dismayed to find out that the rest of the group had deliberately told him the wrong date. They'd recorded the track the day before, without him, and just left a note from Jagger to tell him where to put his slide fills. They spent the next few months ping-ponging between the UK and the US. In late 1964 they made another US tour, during which at one point Brian Jones collapsed with what has been variously reported as stress and alcohol poisoning, and had to miss several shows, leaving the group to carry on without him. There was much discussion at this point of just kicking him out of the band, but they decided against it -- he was still perceived as the group's leader and most popular member. They also appeared on the TAMI show, which we've mentioned before, and which we'll look at in more detail when we next look at James Brown, but which is notable here for two things. The first is that they once again saw how good James Brown was, and at this point Jagger decided that he was going to do his best to emulate Brown's performance -- to the extent that he asked a choreographer to figure out what Brown was doing and teach it to him, but the choreographer told Jagger that Brown moved too fast to figure out all his steps. The other is that the musical director for the TAMI Show was Jack Nitzsche, and this would be the start of a professional relationship that would last for many years. We've seen Nitzsche before in various roles -- he was the co-writer of "Needles and Pins", and he was also the arranger on almost all of Phil Spector's hits. He was so important to Spector's sound that Keith Richards has said “Jack was the Genius, not Phil. Rather, Phil took on Jack's eccentric persona and sucked his insides out.” Nitzsche guested on piano when the Stones went into the studio in LA to record a chunk of their next album, including the ballad "Heart of Stone", which would become a single in the US. From that point on, whenever the Stones recorded in LA, Nitzsche would be there, adding keyboards and percussion and acting as an uncredited co-producer and arranger. He was apparently unpaid for this work, which he did just because he enjoyed being around the band. Nitzsche would also play on the group's next UK single, recorded a couple of months later. This would be their third UK number one, and the first one credited to Jagger and Richards as songwriters, though the credit is a rather misleading one in this case, as the chorus is taken directly from a gospel song by Pops Staples, recorded by the Staple Singers: [Excerpt: The Staple Singers, "This May Be The Last Time"] Jagger and Richards took that chorus and reworked it into a snarling song whose lyrics were based around Jagger's then favourite theme -- how annoying it is when women want to do things other than whatever their man wants them to do: [Excerpt: The Rolling Stones, "The Last Time"] There is a deep, deep misogyny in the Stones' lyrics in the mid sixties, partly inspired by the personas taken on by some blues men (though there are very few blues singers who stuck so unrelentingly to a single theme), and partly inspired by Jagger's own relationship with Chrissie Shrimpton, who he regarded as his inferior, even though she was his superior in terms of the British class system. That's even more noticeable on "Play With Fire", the B-side to "The Last Time". "The Last Time" had been recorded in such a long session that Jones, Watts, and Wyman went off to bed, exhausted. But Jagger and Richards wanted to record a demo of another song, which definitely seems to have been inspired by Shrimpton, so they got Jack Nitzsche to play harpsichord and Phil Spector to play (depending on which source you believe) either a bass or a detuned electric guitar: [Excerpt: The Rolling Stones, "Play With Fire"] The demo was considered good enough to release, and put out as the B-side without any contribution from the other three Stones. Other songs Chrissie Shrimpton would inspire over the next couple of years would include "Under My Thumb", "19th Nervous Breakdown", and "Stupid Girl". It's safe to say that Mick Jagger wasn't going to win any boyfriend of the year awards. "The Last Time" was a big hit, but the follow-up was the song that turned the Stones from being one of several British bands who were very successful to being the only real challengers to the Beatles for commercial success. And it was a song whose main riff came to Keith Richards in a dream: [Excerpt: The Rolling Stones, "(I Can't Get No) Satisfaction)"] Richards apparently had a tape recorder by the side of his bed, and when the riff came to him he woke up enough to quickly record it before falling back to sleep with the tape running. When he woke up, he'd forgotten the riff, but found it at the beginning of a recording that was otherwise just snoring. For a while Richards was worried he'd ripped the riff off from something else, and he's later said that he thinks that it was inspired by "Dancing in the Street". In fact, it's much closer to the horn line from another Vandellas record, "Nowhere to Run", which also has a similar stomping rhythm: [Excerpt: Martha and the Vandellas, "Nowhere to Run"] You can see how similar the two songs are by overlaying the riff from “Satisfaction” on the chorus to “Nowhere to Run”: [Excerpt “Nowhere to Run”/”Satisfaction”] "Nowhere to Run" also has a similar breakdown. Compare the Vandellas: [Excerpt: Martha and the Vandellas, "Nowhere to Run"] to the Stones: [Excerpt: The Rolling Stones, "(I Can't Get No) Satisfaction"] So it's fairly clear where the song's inspiration came from, but it's also clear that unlike a song like "The Last Time" this *was* just inspiration, rather than plagiarism.  The recorded version of "Satisfaction" was never one that its main composer was happy with. The group, apart from Brian Jones, who may have added a harmonica part that was later wiped, depending on what sources you read, but is otherwise absent from the track, recorded the basic track at Chess studios, and at this point it was mostly acoustic. Richards thought it had come out sounding too folk-rock, and didn't work at all. At this point Richards was still thinking of the track as a demo -- though by this point he was already aware of Andrew Oldham's tendency to take things that Richards thought were demos and release them. When Richards had come up with the riff, he had imagined it as a horn line, something like the version that Otis Redding eventually recorded: [Excerpt: Otis Redding, "(I Can't Get No) Satisfaction"] So when they went into the studio in LA with Jack Nitzsche to work on some tracks there including some more work on the demo for “Satisfaction”, as well as Nitzsche adding some piano, Richards also wanted to do something to sketch out what the horn part would be. He tried playing it on his guitar, and it didn't sound right, and so Ian Stewart had an idea, went to a music shop, and got one of the first ever fuzz pedals, to see if Richards' guitar could sound like a horn. Now, people have, over the years, said that "Satisfaction" was the first record ever to use a fuzz tone. This is nonsense. We saw *way* back in the episode on “Rocket '88” a use of a damaged amp as an inspired accident, getting a fuzzy tone, though nobody picked up on that and it was just a one-off thing. Paul Burlison, the guitarist with the Rock 'n' Roll Trio, had a similar accident a few years later, as we also saw, and went with it, deliberately loosening tubes in his amp to get the sound audible on their version of "Train Kept A-Rollin'": [Excerpt: Johnny Burnette and the Rock 'n' Roll Trio, "Train Kept A-Rollin'"] A few years later, Grady Martin, the Nashville session player who was the other guitarist on that track, got a similar effect on his six-string bass solo on Marty Robbins' "Don't Worry", possibly partly inspired by Burlison's sound: [Excerpt: Marty Robbins, "Don't Worry"] That tends to be considered the real birth of fuzz, because that time it was picked up by the whole industry. Martin recorded an instrumental showing off the technique: [Excerpt: Grady Martin, "The Fuzz"] And more or less simultaneously, Wrecking Crew guitarist Al Casey used an early fuzz tone on a country record by Sanford Clark: [Excerpt: Sanford Clark, "Go On Home"] And the pedal steel player Red Rhodes had invented his own fuzz box, which he gave to another Wrecking Crew player, Billy Strange, who used it on records like Ann-Margret's "I Just Don't Understand": [Excerpt: Ann-Margret, "I Just Don't Understand"] All those last four tracks, and many more, were from 1960 or 1961. So far from being something unprecedented in recording history, as all too many rock histories will tell you, fuzz guitar was somewhat passe by 1965 -- it had been the big thing on records made by the Nashville A-Team and the Wrecking Crew four or five years earlier, and everyone had moved on to the next gimmick long ago. But it was good enough to use to impersonate a horn to sketch out a line for a demo. Except, of course, that while Jagger and Richards disliked the track as recorded, the other members of the band, and Ian Stewart (who still had a vote even though he was no longer a full member) and Andrew Oldham all thought it was a hit single as it was. They overruled Jagger and Richards and released it complete with fuzz guitar riff, which became one of the most well-known examples of the sound in rock history. To this day, though, when Richards plays the song live, he plays it without the fuzztone effect. Lyrically, the song sees Mick Jagger reaching for the influence of Bob Dylan and trying to write a piece of social commentary. The title line seems, appropriately for a song partly recorded at Chess studios, to have come from a line in a Chuck Berry record, "Thirty Days": [Excerpt: Chuck Berry, "Thirty Days"] But the sentiment also owes more than a little to another record by a Chess star, one recorded so early that it was originally released when Chess was still called Aristocrat Records -- Muddy Waters'  "I Can't Be Satisfied": [Excerpt: Muddy Waters, "I Can't Be Satisfied"] “Satisfaction” is the ultimate exercise in adolescent male frustration. I once read something, and I can't for the life of me remember where or who the author was, that struck me as the most insightful critique of the sixties British blues bands I've ever heard. That person said that by taking the blues out of the context in which the music had been created, they fundamentally changed the meaning of it -- that when Bo Diddley sang "I'm a Man", the subtext was "so don't call me 'boy', cracker". Meanwhile, when some British white teenagers from Essex sang the same words, in complete ignorance of the world in which Diddley lived, what they were singing was "I'm a man now, mummy, so you can't make me tidy my room if I don't want to". But the thing is, there are a lot of teenagers out there who don't want to tidy their rooms, and that kind of message does resonate. And here, Jagger is expressing the kind of aggressive sulk that pretty much every teenager, especially every frustrated male teenager will relate to. The protagonist is dissatisfied with everything in his life, so criticism of the vapidity of advertising is mixed in with sexual frustration because women won't sleep with the protagonist when they're menstruating: [Excerpt: The Rolling Stones, "(I Can't Get No) Satisfaction"] It is the most adolescent lyric imaginable, but pop music is an adolescent medium. The song went to number one in the UK, and also became the group's first American number one. But Brian Jones resented it, so much so that when they performed the song live, he'd often start playing “I'm Popeye the Sailor Man”. This was partly because it wasn't the blues he loved, but also because it was the first Stones single he wasn't on (again, at least according to most sources. Some say he played acoustic rhythm guitar, but most say he's not on it and that Richards plays all the guitar parts). And to explain why, I have to get into the unpleasant details I talked about at the start. If you're likely to be upset by discussion of rape or domestic violence, stop the episode now. Now, there are a number of different versions of this story. This is the one that seems most plausible to me, based on what else I know about the Stones, and the different accounts, but some of the details might be wrong, so I don't want anyone to think that I'm saying that this is absolutely exactly what happened. But if it isn't, it's the *kind* of thing that happened many times, and something very like it definitely happened. You see, Brian Jones was a sadist, and not in a good way. There are people who engage in consensual BDSM, in which everyone involved is having a good time, and those people include some of my closest friends. This will never be a podcast that engages in kink-shaming of consensual kinks, and I want to make clear that what I have to say about Jones has nothing to do with that. Because Jones was not into consent. He was into physically injuring non-consenting young women, and he got his sexual kicks from things like beating them with chains. Again, if everyone is involved is consenting, this is perfectly fine, but Jones didn't care about anyone other than himself. At a hotel in Clearwater, Florida, on the sixth of May 1965, the same day that Jagger and Richards finished writing "Satisfaction", a girl that Bill Wyman had slept with the night before came to him in tears. She'd been with a friend the day before, and the friend had gone off with Jones while she'd gone off with Wyman. Jones had raped her friend, and had beaten her up -- he'd blackened both her eyes and done other damage. Jones had hurt this girl so badly that even the other Stones, who as we have seen were very far from winning any awards for being feminists of the year, were horrified. There was some discussion of calling the police on him, but eventually they decided to take matters into their own hands, or at least into one of their employees' hands. They got their roadie Mike Dorsey to teach him a lesson, though Oldham was insistent that Dorsey not mess up Jones' face. Dorsey dangled Jones by his collar and belt out of an upstairs window and told Jones that if he ever did anything like that again, he'd drop him. He also beat him up, cracking two of Jones' ribs. And so Jones was not in any state to play on the group's first US number one, or to play much at all at the session, because of the painkillers he was on for the cracked ribs.  Jones would remain in the band for the next few years, but he had gone from being the group's leader to someone they disliked and were disgusted by. And as we'll see the next couple of times we look at the Stones, he would only get worse.

In this episode of Garage Daze, Archie gets a call from legendary bassist Rudy Sarzo and QFM's Mike Dorsey stops by the Hawks Nest. The Gimme5 Listener Poll asks what is on your 2021 rock wish list? Arch and Dorsey read your comments. Grab a cold one and join us in the garage for episode 4 of Garage Daze.

"The Bottle Rockets announce their retirement. We celebrate with some tunes.. New to the mix: Hotels on Mars, OrangeG, John Andrews and The Yawns, Mike Dorsey and more! https://www.youtube.com/watch?v=s4urafbEOQU https://www.youtube.com/watch?v=BH0w9QCu0OI 00:00 - Emily (Bit Logic the 8-bit version by The Bottle Rockets) 03:06 - Happy Anniversary - The Bottle Rockets 07:52 - Half Over You - Little Gold 10:50 - Thinkin' Of You - Brother Galen 15:04 - Random Rules - Silver Jews 18:55 - Indiana - Hotels On Mars 20:36 - Emily  21:50 - Family Pain - Swamp Dogg 24:45 - Letter For Rose - Tucker Riggleman & The Cheap Dates 28:39 - outpost - OrangeG 33:32 - New California Blue - John Andrews and The Yawns 37:20 - Emily  38:37 - London - Mike Dorsey 41:43 - Ground Me - Sam Newton 44:40 - The Wire - Jonas Carping 47:52 - Bad Time To Be An Outlaw - The Bottle Rockets 51:02 - Emily  52:56 - Solitaire - The Bottle Rockets 55:48 - Finish "

My guest today is Leadership and personal development coach, Author of Dynamic Black Fatherhood Manifesto and creator of Black Fathers Now, Mike Dorsey. In this episode Mike shares his journey through manhood the lessons he learned along the way.

What possessed two engineers to ditch their corporate jobs in oil and gas, take a leap of faith and launch a business making dumplings? The answer is in this week's episode of Our Voices Matter Podcast. Chih Lin and Mike Dorsey are all about community, connection and story -- and their story is a doozy! I won't spoil it for you, but I will give you a hint. They asked themselves a simple, yet profound question: "Are you just fitting in, or do you belong?" They then found the courage to answer honestly, and take action.I invite you to put in your earbuds or fire up YouTube to savor every morsel of my conversation with the Dumpling Dudez. I'm now done with the puns. Enjoy!www.ourvoicesmatterpodcast.comwww.lorellemedia.comThis podcast is devoted to empowering us all to better understand each other's differences...one story at a time. Emmy Award-winning journalist, Linda Lorelle, guides guests through insightful, unexpected conversations that reveal our common humanity. This show is not about politics per se; it is about finding a way to reclaim civility in the context of the contentious times in which we live, by sharing our personal and professional stories, in hopes that others might find a glimpse of themselves.Support the show (http://patreon.com/OurVoicesMatterPodcast)

In this episode, Mike and Chih of Dumpling Dudez talk about their transition from corporate to establishing their own business. They share what inspired them to transition, the things they needed to prepare, how they work as partners, and how they faced struggles that came along, including how they scaled during the pandemic. Listen up, learn, and be inspired by their story.KEY TAKEAWAYS FROM THIS EPISODEWhoever you are today is because of all the struggles you went through.Look at hardships as an opportunity to grow and be a better version of yourself.Embrace your struggles. If you are going through a hard time, use that as fuel to pivot and make yourself better and the energy to conquer even stronger future struggles. Stay agile. Be ready to adapt to changes. Deciding to shift fully to business or start it while working would depend on your financial situation and working style.In transitioning, financial planning is important. Consider two years' budget and scale slowly.When working together with your partner, you have to talk about work responsibilities, be clear with them, and play each other’s strengths. If you are in a relationship, remember that the relationship is important. Put your relationship first, schedule time for each other. Have free time for yourself.It is not about failure but the response to failure that matters.Not everyone has to like you. Be yourself.If you want a change, then you got to have time for it.The most important thing is your why, why you started your business, always remind yourself of that. TODAY’S GUESTMike Dorsey and Chih Lin began with a leap of faith into a world they knew little about. They have worked in corporate America for the past 15 years. Climbing the corporate ladder and so busy building dreams for others, they forgot how to dream ourselves. They were comfortable but weren’t fulfilled. They wanted more out of life and were willing to risk it all to follow their dreams and pursue their passions. On April 1st, 2019, they both quit their jobs, and DumplingDudez™ was born.Connect and know more about Mike and Chih and their company here:Website: www.dumplingdudez.comFacebook: www.facebook.com/DumplingDudez Instagram: www.instgram.com/DumplingDudezIf you’re feeling tired and overwhelmed, it is time to hire a virtual assistant! Check outsmartvirtualassistants.com and learn how you can get your life back.

This is a repeat episode right in time for your New Year's Resolutions.  Weight issues have been a concern for me all my life and I realize that I am not alone in the struggle.  Let's have a healthy 2021! For more information about Michael's Diet Plan contact MOVINGWITHMIKE19@GMAIL.COM Remember the TV Show, The Biggest Loser.  I don’t know about you, but I was a big fan of the reality show.   The show was a big hit and then it quickly lost its advertising.  Doctors were complaining that the diets and physical exercise was unhealthy and false in its presentation to the public.  Previous contestants spoke out about the misrepresentation, and other contestants were shamed in public for gaining the weight back. It got ugly.  The Show did not go away quietly; it was ripped away like big band-aid.  It’s gone. Today, on the phone I have Michael Dorsey as our guest on Something…came from Baltimore. You know these people who radiate positive and good energy, someone that you are attached to and you are happy to hang out with.  Good Karma Energy.  That is Mike Dorsey.  Mike is a busy man, a Minister, Motivation Speaker, a Corporate Trainer, and you can hear him on the radio, you can see him in a play.   Mike is on the move, and always with a smile on his face.  And Mike Dorsey is an open book when it comes to his weight struggles. And, the Biggest Loser is Back! Please Subscribe to SOMETHING came from Baltimore Youtube: https://www.youtube.com/channel/UCj7HKmMrFB4vAQm3SKzvftA Facebook:  https://www.facebook.com/tomfunproductions Itunes: https://podcasts.apple.com/us/podcast/something-came-from-baltimore/id1400504427 Anchor: https://anchor.fm/somethingcame-from-baltim --- Send in a voice message: https://anchor.fm/somethingcame-from-baltim/message Support this podcast: https://anchor.fm/somethingcame-from-baltim/support

Join Katie on the PIVOT podcast as she talks with Mike Dorsey and Chih Lin, the owners of the Dumpling Dudez. She finds out what they've had to do to cater to today's market and how their business model has changed. Find Dumpling Dudez online at: https://www.dumplingdudez.com/

For more information about Michael's Diet Plan contact MOVINGWITHMIKE19@GMAIL.COM Remember the TV Show, The Biggest Loser. I don’t know about you, but I was a big fan of the reality show. The show was a big hit and then it quickly lost its advertising. Doctors were complaining that the diets and physical exercise was unhealthy and false in its presentation to the public. Previous contestants spoke out about the misrepresentation, and other contestants were shamed in public for gaining the weight back. It got ugly. The Show did not go away quietly; it was ripped away like big band-aid. It’s gone. Today, on the phone I have Michael Dorsey as our guest on Something…came from Baltimore. You know these people who radiate positive and good energy, someone that you are attached to and you are happy to hang out with. Good Karma Energy. That is Mike Dorsey. Mike is a busy man, a Minister, Motivation Speaker, a Corporate Trainer, and you can hear him on the radio, you can see him in a play. Mike is on the move, and always with a smile on his face. And Mike Dorsey is an open book when it comes to his weight struggles. And, the Biggest Loser is Back! --- Send in a voice message: https://anchor.fm/somethingcame-from-baltim/message

Mike D as he is affectionately known, is a Proud Husband and Father! He's a Personal Development Coach and Communications Consultant, sought after Speaker, Author, Content Creator and Workshop Facilitator to those looking to Uncover their Unique Greatness and Embrace the Fullness of Who they Authentically Are. Mike's Unique Life Experiences and Gift of Communication Helps him Bring Thought-Provoking Insight and Life Changing Perspectives to diverse and eclectic groups from various walks of life. Mike is Blessed with the calling of: • Effectively Challenging the Mindset of Teens and Young Adults • Helping Professionals Unlock Their Unique Potential • Equipping Individuals with Courage and Confidence in the Midst of Transition Mike's collection of experiences, education and personal development led to the creation of the Double Down on YOU Leadership and Personal Development Process. From the stage and in workshop settings, He challenges individuals to “Embrace their GREATNESS while pursing their INTEREST; Recognizing FAULTS & FAILURES and Guarding themselves against their Personal TRIGGERS“. He effectively encourages individuals to Unwrap their Unique G.I.F.T. (Greatness, Interest, Faults/Failures, Triggers) Additionally, He's super engaged in EVERYTHING associated with Black Male Excellence: from Birth to Legacy. He's COMMITTED to doing his part to help reshape the narrative that's so often presented regarding Black Men. Some of the resources he's already created: • Black Fathers, NOW! Podcast • The Book – Dynamic Black Fatherhood Manifesto These resources serve as a framework to Inspire Excellence in Black Fatherhood. They also serve as a platform and structure for Workshops and Speaking Engagements Specifically targeting Black Fathers. Mike is Blessed with the calling of: • Effectively Challenging the Mindset of Teens and Young Adults • Helping Professionals Unlock Their Unique Potential • Equipping Individuals with Courage and Confidence in the Midst of Transition Mike's collection of experiences, education and personal development led to the creation of the Double Down on YOU Leadership and Personal Development Process. From the stage and in workshop settings, He challenges individuals to “Embrace their GREATNESS while pursing their INTEREST; Recognizing FAULTS & FAILURES and Guarding themselves against their Personal TRIGGERS“. He effectively encourages individuals to Unwrap their Unique G.I.F.T. (Greatness, Interest, Faults/Failures, Triggers) Additionally, He's super engaged in EVERYTHING associated with Black Male Excellence: from Birth to Legacy. He's COMMITTED to doing his part to help reshape the narrative that's so often presented regarding Black Men. Some of the resources he's already created: • Black Fathers, NOW! Podcast • The Book – Dynamic Black Fatherhood Manifesto These resources serve as a framework to Inspire Excellence in Black Fatherhood. They also serve as a platform and structure for Workshops and Speaking Engagements Specifically targeting Black Fathers. Recently, Mike was on our show. During our conversation, Mike talked about: – Growing up in Augusta, Georgia being raised by his family and the village and having James Brown attending the same church his family went to – The importance of family history – If his parents experienced racism – The qualities his parents instilled in him that he still carries today – Leaving Augusta to go to Georgia Tech University – Some of his career in sales for different companies – The story behind Black Fathers NOW! – Making the decision to get married – Both moments that he became a father including a word of advice about being the father of a girl – Comparing his growing up years to his children's – Some misconceptions about Black fathers – What he has learned about himself during the Black Fathers NOW! journey – How people can handle the Covid19 situation You can contact Mike via: Website Black Fathers NOW! – Podcasts Black Fathers NOW! – Instagram Instagram Linkedin YouTube Facebook Twitter Dynamic Black Fatherhood Manifesto: A Commitment to Excellence in Life, Fatherhood and the Support of Dynamic Black Men Visit The Dr. Vibe Show™ at https://www.thedrvibeshow.com/ Please feel free to email us at dr.vibe@thedrvibeshow.com Please feel free to “Like” the “The Dr. Vibe Show” Facebook Fan Page here God bless, peace, be well and keep the faith, Dr. Vibe dr.vibe@thedrvibeshow.com 2018 Innovation Award Winner – Canadian Ethnic Media Association Producer of Google+ Hangouts – The Good Men Project The Dr. Vibe Show™ At “The Good Men Project” One of the first Brand Ambassador's – Cuisine Noir Magazine Dr. Vibe – Producer And Co-host of Black Men Talking On WJMS Radio Dr. Vibe on HuffPost Live – August 2, 2013 2013 Black Weblog Awards Finalist (Best Podcast) 2012 Black Weblog Awards Winner (Best International Blog) 2012 Black Weblog Awards Finalist (Best Podcast) 2011 Black Weblog Awards Finalist (Best International Blog and Best Podcast Series) Black Blog Of The Day – Black Bloggers Network – June 23, 2011 Twitter Twitter hashtag: #DrVibe The Dr. Vibe Show™ – iTunes Dr. Vibe Media – You Tube The Dr. Vibe Show™ – Stitcher Radio The Dr. Vibe Show™ – TuneIn Radio The Dr. Vibe Show™ – Google Play Music The Dr. Vibe Show™ – iHeartRadio The Dr. Vibe Show™ at Anchor Linkedin – The Dr. Vibe Show™ Instagram The Dr. Vibe Show Facebook Fan Page

Murder Rap; Inside The Biggie & Tupac Murders

In this episode, I am joined by my good friend and host of "Black Fathers NOW" podcast, Mike Dorsey. We discuss fatherhood and Mike's podcast on fatherhood as well as why it is important to give fathers a voice in the podcast space. Check it out!  Social Media Links/Plugs  https://www.instagram.com/i_am_mikedorsey/ https://www.instagram.com/BlackFathersNOW/ https://www.blackfathersnow.com/ Dynamic Black Fatherhood Manifesto: A Commitment to Excellence in Life, Fatherhood and the Support of Dynamic Black Men: Amazon.com/dp/1719482527/ref=cm_sw_em_r_mt_dp_U_ag7uEb8DZ8KXY   If you have a question for the podcast call 571-336-6560 or leave a question via this Google Form.   Intro/Outro music provided by Ryan Rosemond. Check out his Soundcloud channel here: https://soundcloud.com/brothersrosemond/albums  Please follow Positive Philter: Positive Philter Facebook Page Positive Philter Twitter Positive Philter Instagram  If you would like to support the podcast, please consider donating to the Positive Philter Patreon page: https://www.patreon.com/positivephilter Positive Philter was selected by FeedSpot as Top 20 Positive Thinking Podcasts on the web. https://blog.feedspot.com/positive_thinking_podcasts/

In at Number 9, One Click Movement, meet Mike Dorsey. From our off the Bench Live, Mike talks about his movement and how to achieve your dreams.   Ep. 49

This year the Berkshire Association of Behavior Analysis and Therapy (BABAT), our regional conference, celebrated it’s 40th anniversary. As a special treat, the BABAT board asked us at ABA Inside Track to interview guest speakers and attendees to celebrate this momentous occasion. It took Rob a while to edit together THREE HOURS of awesome conversations about BABAT, but now, here it is in all it’s glory. Listen to some of the best minds in the field and their thoughts on the BABAT conference, its history, present, and future. Big thanks to Stacie Bancroft, Liz Martineau, Maureen Kelly, Alison Bergenholtz, Christal Braughton, Ryan Laurie, Beth, Cheryl Lynn Guarini, Catharine Sorenson, Natalie Mandel, Carolyn Beaumier, Colleen Callahan, Leslie Quiroz, Kim Madar, Katy Trust, Brandon Richardson, Amy Weinstock, Kendra Guinness, Sam Breeman, Terry Paretti, Nan Leonard, Mary Jane Weiss, Mike Dorsey, Alan Harchick, Jason Bourret, John Austin, Brian Blair, Jeff Tiger, Ivy Chong, Amanda LePrime, Francesca Espinoza, Ilene Schwartz, Terry Falcamata, Jeanne Donaldson, Joel Ringdahl, Einar Ingvarsson, Alan Neuringer, David Wilder, Jim Carr, Bill Ahearn, and Dave Palmer for their gracious gift of time.

SOCK! POW! ZOK! We take on the Dynamic Duo and the original Batman television series from the 1960s, and the fates of its many cast members, including Adam West, Frank Gorshin, Burgess Meredith, Cesar Romero, Julie Newmar, and Vincent Price! We also discuss the passing of Cars frontman Ric Ocasek and singer Eddie Money, host Scott Michaels' days of prank-calling celebrities, and more.  Co-host Mike Dorsey with Burt Ward (Robin) at a martial arts event at Hollywood Park in 2012Envelope from Cesar Romero to host Scott Micheals with Oprah invitation included to keep an enclosed photo from bending  Thank you note from Vincent Price to Scott

Author, Podcaster, and Community Organizer Mike Dorsey talks about his book, Dynamic Black Fatherhood Manifesto. We talk about Mike's motivation to create a community for active and engaged black fathers and the impact of his work within and outside the black community.

We talk the deaths of Rebel Without a Cause's James Dean, Sal Mineo, and Natalie Wood. And we also discuss Luke Perry, Jan-Michael Vincent, Brody Stevens, Karl Lagerfeld, The Black Dahlia, and more! Scott's The Monkees drum head denying the Manson rumor Video: Comedian Brody Stevens on "The Meltdown" Video: Brody Stevens "The Half Hour" on Comedy Central Link: Read about the Magic Castle Suicide - "He hung himself, and the great irony is that he was really good at rope magic." Link: "Family searching for original Mickey Mouse Club Mouseketeer Dennis Day" Video: Rebel Without a Cause official trailer Last photo of James Dean before leaving the LA area in his Porsche 550 Spyder on the day he died (Corbis) Scott Michaels with producer Lloyd Adams and Dearly Departed Podcast co-host Mike Dorsey following James Dean's last drive Link: Information on the Remembering James Dean Festival in Fairmount, Indiana. Video: One of the last interviews with Sal Mineo, on the set of P.S. Your Cat is Dead. Sal Mineo's apartment in West Hollywood Sal Mineo murder scene Link: "Cracking the Case of Murdered Actor Sal Mineo" - James Ellroy Video: Sal Mineo's "Start Movin'" Video: Lana Wood confronts Robert Wagner about her sister's death Buy: Black Dahlia, Red Rose by Piu Eatwell

Sponsor (Make sure to visit and grab some awesome Apparel): www.BlackFamilyApparel.com Make sure to grab a copy of my book "Dynamic Black Fatherhood Manifesto" via www.amazon.com or from www.BlackFathersnow.com for bulk pricing email BlackFathersNow@gmail.com For more about me and Inquiries on Speaking....please visit www.iammikedorsey.com for more info. This Episode asks the simple question, "Can YOU handle the Hype?"  This was spawned by the recent bizarre injury to College Basketball's most Hyped player in over a decade, Zion Williamson.  Lots of thoughts and questions are presented in this episode.  What are your takeaways?  Make sure to follow @BlackFathersNow via Facebook and Instagram and @BlkFathersNOW via Twitter.  Subscribe via iTunes/Apple Podcasts, Stitcher, Googleplay and iHeartRadio.  make sure to also subscribe to my YouTube page: Mike Dorsey YouTube Channel Be Blessed, Well and Wise! Mike Dorsey

Scott and Mike discuss The Addams Family and the deaths of cast members Carolyn Jones, Jackie Coogan, Ted Cassidy, and Ken Weatherwax. We also talk a little about Carol Channing, the Manson Family, the famous Hollywood Forever Cemetery, and more! Video: Watch a short video of Dearly Departed Tours and Museum's Sharon Tate Birthday Party, with their newly acquired personal effects (Link) Link: Check out LA Woman Tours! Article: Read about Manson follower Bobby Beausoleil getting recommended for parole (Link) Video: There used to be a recording online of Beausoleil and fellow former Manson follower Clem Grogan playing in a band together in prison (probably Beausoleil's "Freedom Orchestra" band) where we're pretty sure Beausoleil called Grogan out by name, but the link appears to have been taken down. However, this live video of the band from 1978 appears to show the two of them performing together (Link) Link: Support Justice for Homicide Victims Buy: In Morticia's Shadow: The Life & Career of Carolyn Jones ...and Addams Chronicles: An Altogether Ooky Look at the Addams Family by Stephen Cox Some of the cremains of Ken Weatherwax (Pugsley)on display at Dearly Departed Tours and Museum in Hollywood Link: Check out the Hollywood Forever Cemetery Article: Judy Garland's remains moved to LA (Link) Article: Read about the man buried in the crypt over Marilyn Monroe (Link) Video: Amazing newsreel footage about the lynching of the accused murderers of Jackie Coogan's college friend, Brooke Hart (Link) Jackie Coogan's roadster after the crash that killed both his fatherand his best friend, fellow actor Junior Durkin Article: An interesting blog post about the crash and Coogan's friendship with Durkin (Link) Dearly Departed Podcast co-host Mike Dorsey with Batman series actor Burt Ward (Robin) in 2012

Whether you love it or hate it,  Metallica's "Black Album" is a hard rock staple.  In this week's episode of Vinyl Analysis, Archie and Mike Dorsey dig in to the highs...and the lows of this divisive record.

Mike Dorsey is a television producer and documentary filmmaker. He co-produced 2018’s USA Network series Unsolved: The Murders of Tupac and The Notorious B.I.G., starring Josh Duhamel, Jimmi Simpson, and Bokeem Woodbine. He also co-produced and edited the 2018 paranormal documentary Demon House, starring Zak Bagans from Ghost Adventures, which spent 10 weeks as Google Play’s #1 documentary. His latest documentary as a filmmaker is Murder Rap: Inside the Biggie and Tupac Murders, about the Biggie and Tupac murder investigations. Previously, Mike made the Manson Family documentary The Six Degrees of Helter Skelter, the WWII documentary Lost Airmen of Buchenwald , and The Oyler House: Richard Neutra's Desert Retreat. He recently released his second WWII documentary, titled Happy, which was awarded Best Documentary Short at the 2017 Phoenix Film Festival. Mike is currently a producer and editor at Discovery. He was formerly the Senior Director of Programming for the Outdoor Channel. He has a Marketing degree from Arizona State University. MarauderWorks.com Murder Rap - Trailer : https://www.youtube.com/watch?v=C_7kG4SbBdI&t= Murder Rap - Tupac Murder Confession : https://www.youtube.com/watch?v=xQuLM3kH7sk&t= Unsolved (for USA Network) - Trailer : https://www.youtube.com/watch?v=7-xRZW1-P5I

"Transitioning From Being Laid Off To Creating A Business That Gives Him Life" Join us as Mike Dorsey, the founder of Black Fathers Now podcast discusses his transition from being laid off from his job to creating a business that utilizes his gifts and gives him life.

Archie and radio personality, Mike Dorsey, break out their flannel shirts and dive deep into Pearl Jam "Ten."  What NBA star had a huge influence on this album?  Why is Eddie Vedder lucky to even be in the band?  Did grunge really kill hair bands?  All this and more on this episode of Vinyl Analysis.

This week I welcome Mike Dorsey on the Money Champ. Mike is a husband, father, author, podcaster, speaker, content creator and entrepreneur. He is also the founder of Black Fathers Now. Mike will be sharing his story of getting rid of his student loan debt and changing his financial future after graduating with a degree […]

Mike Dorsey is back on the show to discuss is hit documentary Murder Rap as well as his work on the USA Show Unsolved.

Director/ Producer Michael Dorsey stops by GraffitiTalkRadio and breaks down the Murder Rap Documentary, Insights into investigation and any new discoveries into the murders of Two of HipHop’s Biggest Stars.

Alan November is a big-name educational consultant who was once a champion of technology in the classroom. But after EdSurge talked to him at ISTE, it seems that his message has slightly changed: technology isn’t having the impact we hoped for in schools. Expectations were high for edtech. People said it would solve every problem in education, and some venture capitalists agreed. Now, November says, we’re facing a more sober reality as we see what technology can and, more importantly, cannot do. EdSurge caught up briefly with November and Mike Dorsey, Director of Secondary Curriculum, Instruction, and Assessment for the Houston Independent School District, for this week's podcast.