POPULARITY
7 episodes with moman
6 episodes with moman
3 episodes with moman
4 episodes with moman
3 episodes with moman
3 episodes with moman
2 episodes with moman
3 episodes with moman
2 episodes with moman
迎接十年一遇的存債良機，富養自己不是夢！ 中信優息投資級債【00948B】有「平準金」及「月配息」，小資也能輕鬆跟隊，【00948B】投資就是發！ 一同「債」現王者新高度，詳細資訊請見： https://bit.ly/3y7XL7A -- 伯朗精品級咖啡「世界藏家」新登場！ 嚴選五國精品咖啡豆 獨家製程 打造高品質咖啡 五國頂級美式 散發堅果可可馥郁香氣 五國特選拿鐵 融入柑橘花香層次堆疊 伯朗世界藏家 全台超商、量販 各大通路熱賣中！ 金車線上購
durée : 01:00:40 - Tous en scène - par : Aurélie Charon - Jean-Claude Grumberg publie la pièce "Dans le couloir" aux Éditions Actes-Sud. Sa pièce "Moman, pourquoi les méchants sont méchants ?" avec Hervé Pierre et Clotilde Mollet se joue à la Scala à Paris jusqu'au 19 juin. - invités : Jean-Claude Grumberg Dramaturge, écrivain.; Hervé Pierre comédien; Clotilde Mollet comédienne
durée : 01:00:40 - Tous en scène - par : Aurélie Charon - Jean-Claude Grumberg publie la pièce "Dans le couloir" aux Éditions Actes-Sud. Sa pièce "Moman, pourquoi les méchants sont méchants ?" avec Hervé Pierre et Clotilde Mollet se joue à la Scala à Paris jusqu'au 19 juin. - invités : Jean-Claude Grumberg Dramaturge, écrivain.; Hervé Pierre comédien; Clotilde Mollet comédienne
durée : 00:57:59 - Affaires culturelles - par : Arnaud Laporte - Alors que son très beau livre “La plus précieuse des marchandises” a été adapté en film d'animation par Michel Hazanavicius, on peut également goûter l'écriture de Jean-Claude Grumberg sur la scène de la Scala, où se joue sa pièce “Moman, Pourquoi les méchants sont méchants ?”. Rencontre. - invités : Jean-Claude Grumberg Dramaturge, écrivain.
MO man found dead in a tree, Amazon Company agrees to pay lawsuit https://linktr.ee/risencrime Learn more about your ad choices. Visit podcastchoices.com/adchoices
Nan tan lontan, nan mond matematik la yo te fè referans a tèm «moman» an pou deziye yon inite mezi ki dire 90 segonn.Jodia nan anpil lang, yon moman vle di yon ti tan ki pa trò long, trè souvan mwens ke 5 minit. Nan kreyòl la tou, li vle di sa men lang lan pa tap bèl si mo a pat gen yon lòt siyifikasyon.Wi, moman nan lang kreyòl la, depandaman de jan ou itilizel la ka vle di yon lòt kokennchenn bagay!!Ki bagay?!Ebyen si ou pat konnen, timesye #Tchilaks yo pral fè ou konnen e konprann.ENJOY!
David talks to Praveen Moman who grew up in the wilds of Uganda, where his family was part of the pioneering Asian community central to opening up East Africa. He then moved to the UK after becoming a refugee during the Amin expulsion. In 1997, Praveen returned to Uganda where he founded Volcanoes Safaris. Volcanoes Safaris has been at the forefront of reviving gorilla and chimpanzee ecotourism in Uganda and Rwanda. The lodges are sensitive to the culture of local communities, the need to use resources in a sustainable way, and empowering local communities. In 2005 Volcanoes Safaris became a signatory to the UN Kinshasa Declaration on Saving the Great Apes.
asirans se fondasyon pou ninpot moun ki renmen gen yon kay finans pwoteje finans ou ak fanmi w se siy ki montre lanmou gen pou yo. --- Support this podcast: https://podcasters.spotify.com/pod/show/donpolopodcast/support
in this episode we talk to the founder of Volcanoes Safaris Eco Tourism Lodges in Africa, Praveen Moman. He takes us on their 25 year journey to increase the Gorilla and Chimpanzee populations through community engagement. He also explains how operating sustainably is an imperative and not a buzzword. At the end of the episode you may be asking yourself if your organization is operating as a “cost free arrangement." Watch Praveen Moman's TedX talk
33 Year old Dixon, Mo man Chris Hoye went missing over a year ago. His wife Alysha sits down for an indepth interview and shares new details about her husband's dissspearance and what life has been like since he vanished. Thank you to the Fort NOT Lost in the Woods sponsors, Security Bank of Pulaski County, The Bow and Barrel Sportsmen Center, Nexthome Team Ellis, and TK's Pizza. The Fort NOT Lost in the Woods Podcast is a production of O'Quinn Marketing. If you have a show idea or would like to be a guest or sponsor, email tracy@oquinnmarketing.com.
During their brief lifespan, the Box Tops earned a reputation as one of the best blue-eyed soul groups of the '60s, even if their recorded legacy wasn't as large or consistent as, say, the Righteous Brothers or the Rascals. Today they're remembered not only for their smashes "The Letter" and "Cry Like a Baby," but as the launching pad for singer Alex Chilton, who went on to become one of rock's most revered cult figures thanks to his groundbreaking power pop unit Big Star. In his teenage years, Chilton was an amazingly gritty Memphis soul belter akin to an American version of the Spencer Davis Group's Stevie Winwood. The Box Tops' music also encompassed touches of pop and psychedelia, although the group's own lack of control over it eventually led to their split-up. The Box Tops began life as the Devilles, a white R&B group featuring guitarists Gary Talley and John Evans, bassist Bill Cunningham, and drummer Danny Smythe. After the band's local popularity blossomed, teenage singer Alex Chilton joined up, and the Devilles quickly caught the attention of songwriters/producers Chips Moman and Dan Penn, who were on the lookout for a Stevie Winwood-type white soul singer. Changing their name to the Box Tops to avoid confusion with a different group of the same name, they signed with Bell Records and began recording at Moman's Memphis-based American Studio. The first single the group cut, "The Letter," rocketed to the top of the charts in 1967, not only spending four weeks at number one but ending up as Billboard magazine's number one single of the year. (Chilton was all of 16 at the time.) With a hit on their hands, Penn began to exert more control over the group; in the wake of "The Letter," he frequently used session musicians on the Box Tops' recordings, sometimes replacing the whole band behind Chilton, sometimes just individual members. Frustrated, Evans and Smythe both left the band to return to school in early 1968, and were replaced by Rick Allen (ex-Gentrys) and Tom Boggs, respectively. The follow-up to "The Letter," "Neon Rainbow," didn't do nearly as well, but the Box Tops managed another massive hit in 1968 with the Dan Penn/Spooner Oldham tune "Cry Like a Baby," which went to number two on the pop charts. Although a couple of minor hits followed in "I Met Her in Church" and "Choo Choo Train," Chilton was rapidly growing dissatisfied with the inconsistency of the material the Box Tops were handed (which was clear on the three LPs the group had released through 1968). As a result, Chilton was chafing at Penn's extreme reluctance to allow him to record his own original compositions. By the time of the Box Tops' fourth and final LP, 1969's Dimensions (an attempt to make a more cohesive album), Penn had bowed out and moved on to other projects. Several Chilton songs appeared on Dimensions, including "I Must Be the Devil," and the group had one last minor hit with "Soul Deep." Cunningham subsequently departed, also to go back to school, and the Box Tops began to disintegrate. When their contract expired in February 1970, they officially disbanded, and Chilton moved to Greenwich Village for a while. Not finding the creative hospitality he'd hoped for, Chilton soon returned to Memphis and joined an Anglo-pop outfit run by his friend Chris Bell; they morphed into Big Star, one of the most revered and mercurial bands in power pop (or, for that matter, underground rock & roll) history.
Mountain gorilla tourism owes its legacy to one man - Praveen Moman. A visionary conservationist and entrepreneur, Praveen is also called the father of great ape ecotourism in Rwanda's Virunga Mountains and the Bwindi Impenetrable Forest of Uganda.Praveen grew up surrounded by Uganda's natural beauty so his passion for conservation was sparked at an early age. After graduating university, he worked for several years in conservation projects in Africa, including as a researcher in Rwanda's Virunga National Park, which is home to endangered mountain gorillas."When you see a gorilla, there's a recognition of some deep connection between you."In 1997, he founded Volcanoes Safaris with the goal of promoting sustainable tourism in Uganda and Rwanda. The company's mission is to provide unique and authentic travel experiences while supporting local communities and protecting the environment. Volcanoes Safaris operates several luxury lodges and camps, including the award-winning Virunga Lodge, which offers stunning views of the Virunga Mountains and the nearby gorilla habitats."Our priority should be to look after the local people. People have got to be part of the conservation chain."Volcanoes Safaris has become a model for sustainable tourism, and the company's efforts have contributed to the growth of Rwanda's tourism industry. The ethos is based around community conservation - working closely with local communities to ensure that they benefit from conservation efforts. Volcanoes Safaris works with several local community groups, including women's cooperatives and youth groups, to provide training and employment opportunities in the tourism industry. Volcanoes also supports several conservation initiatives, such as the Mountain Gorilla Veterinary Project, which provides medical care to gorillas in the wild.Click here to visit Volcanoes Safaris WebsiteSupport the showTalking Apes is an initiative of the nonprofit GLOBIO. Official website: talkingapes.orgInstagram: @talkingapes_podcastTwitter: @talking_apes Click here to support the show.
Join this channel to get access to perks: https://www.youtube.com/channel/UCVTStgqIapZJ-A98TgdCzNQ/join Real Domine Barca Benzema on fire Lampard back lan Chelsea Pep fè on konparezon Lukaku viktim de rasis Mbappe Pete koken a PSG FOR ALL LIVE SOCCER GAMES Android: https://play.google.com/store/apps/details?id=com.jmsports101.jmlivesports Iphone: https://apps.apple.com/us/app/j-m-live-sports-schedule-news/id1596908628#jmsports101 #haiti #sports --- Support this podcast: https://podcasters.spotify.com/pod/show/jmsports101/support
These past 6 weeks have been such a blessing.If you have been along for every episode of this journey….thank you!If you're just tuning in…buckle up and get ready.Here is the final episode in this 6 part series featuring the legendary Lil Tankie.Tune in and enjoy! You can listen to Lil Tankie's music on all streaming platforms or by clicking here: https://linktr.ee/liltankieP.S.Want to connect with your creativity and the feeling you get when you boldly share your story?Then consider joining our brave, messy, awkward, and loving community here: www.tomearl.me/dcminvite
We have another first-time-ever situation on this week's episode.After reviewing the previous 4 episodes I asked Lil Tankie if he would come back so I could ask him some follow-up questions.The results…two more bonus episodes for you.Yes!Tune in and enjoy.You can listen to Lil Tankie's music on all streaming platforms or by clicking here: https://linktr.ee/liltankieP.S.Want to connect with your creativity and the feeling you get when you boldly share your story?Then consider joining our brave, messy, awkward, and loving community here: www.tomearl.me/dcminvite
Love and gratitude.That is what I'm feeling as I share this week's episode with you.I am so thankful to Lil Tankie for sharing so much of his knowledge, creativity, and energy with us.Trust me…this week's episode is amazing.Tune in and enjoy.You can listen to Lil Tankie's music on all streaming platforms or by clicking here: https://linktr.ee/liltankieP.S.Want to connect with your creativity and the feeling you get when you boldly share your story? Then consider joining our brave, messy, awkward, and loving community here: www.tomearl.me/dcminvite
We are back for episode 3 of 6 featuring Lil Tankie!Y'all.This is the first time I've ever had a guest feature for 6 back-to-back episodes.That is how powerful and important these conversations are.Let's do this.Enjoy!You can listen to Lil Tankie's music on all streaming platforms or by clicking here: https://linktr.ee/liltankieP.S.Want to connect with your creativity and the feeling you get when you boldly share your story? Then consider joining our brave, messy, awkward, and loving community here: www.tomearl.me/dcminvite
It is my absolute honor to introduce to you the legendary Lil Tankie.You may know him from past episodes as MoMan or Amoja Sumler.Towards the end of 2022, Amoja Sumler launched his music into the world under the name Lil Tankie.Lil Tankie and I sat down together for not just one session…but two.And from those two sessions, we have created 6 episodes for you!So I hope you enjoy this 1st of 6 episodes featuring Lil Tankie.Enjoy!You can listen to Lil Tankie's music on all streaming platforms or by clicking here: https://linktr.ee/liltankieP.S.Want to connect with your creativity and the feeling you get when you boldly share your story?Then consider joining our brave, messy, awkward, and loving community here: www.tomearl.me/dcminvite
Chronique de Patrick Delisle-Crevier, journaliste culturel au 7 jours : fin de l'émission La Tour. Le retour de La Petite Vie et nostalgie.Pour de l'information concernant l'utilisation de vos données personnelles - https://omnystudio.com/policies/listener/fr
Entrevue avec Claude Meunier, auteur de La petite vie et interprète du fameux Ti-Mé « Popa » : de nouveaux épisodes originaux de la comédie mythique La petite vie, seront tournés. La nouvelle a été confirmée par Radio-Canada mercredi.Pour de l'information concernant l'utilisation de vos données personnelles - https://omnystudio.com/policies/listener/fr
Adi and Skyy discuss shows they've watched over the years - incredibly light and relaxing stuff this episode! Shows Discussed (as pulled from the episode outline): Skyy's Shows Living Single Gilmore Girls Bobs Burgers Desperate Housewives You Jamie Foxx show Adi's Shows -the sopranos - regular show - Ramy & Mo - Man like Mobeen - stranger things (mutual bonding over hating Netflix) Follow us on: Twitter - @PodGreenhouse Email us at: greenhousegaslightingpod@gmail.com https://linktr.ee/greenhousegaslighting
The Box Tops is an American rock band formed in Memphis in 1967. They are best known for the hits "The Letter", "Cry Like a Baby", "Choo Choo Train," and "Soul Deep" and are considered a major blue-eyed soul group of the period. They performed a mixture of current soul music songs by artists such as James & Bobby Purify and Clifford Curry; pop tunes such as "A Whiter Shade of Pale" by Procol Harum; and songs written by their producers, Dan Penn, Spooner Oldham, and Chips Moman. Vocalist Alex Chilton went on to front the power pop band Big Star and to launch a career as a solo artist, during which he occasionally performed songs he had sung with the Box Tops.The Box Tops' music combined elements of soul music and light pop. Their records are prime examples of the styles made popular by Moman and Penn at American Sound Studio in Memphis. Many of their lesser known Top 40 hits, including "Neon Rainbow", "I Met Her in Church", and "Sweet Cream Ladies, Forward March", are considered minor classics. As rock critic Lester Bangs wrote in a review of the group's Super Hits album, "A song like 'Soul Deep' is obvious enough, a patented commercial sound, yet within these strictures it communicates with a depth and sincerity of feeling that holds the attention and brings you back often."Bill CunninghamBorn January 23, 1950, Memphis Tennessee.Plays bass (both bass guitar and upright bass), cello, piano, and organ.Bill's father was a SUN recording artist and worked with Sam Phillips at SUN studio intermittently from 1953-61. He first recorded under the name Buddy Cunningham and later under the name Buddy Blake. Buddy was inducted into the Rockabilly Hall of Fame as the first percussionist on an Elvis Presley record. That session at SUN took place September 10, 1954 and included the following songs:‘Tomorrow Night, Blue Moon Of Kentucky, I'll Never Let You Go (Little Darlin'), Just Because, Satisfied, Good Rockin' Tonight, I Don't Care If The Sun Don't Shine'Musicians: Elvis Presley, Scotty Moore, and Bill Black; Doug Poindexter – guitar, Buddy Cunningham – drum soundsBill's older brother, B.B. Cunningham Jr., was a member of The Hombres and sang and co-wrote the hit ‘Let It All Hang Out.' He played bass for Jerry Lee Lewis for almost 15 years.Bill played various instruments in a number of early 1960s Memphis bands, before joining the group that eventually became The Box Tops. One of these bands, The Jynx, included Chris Bell (who later founded Big Star). Between The Jynx and The Box Tops Bill played with another Memphis group called The Jokers, which included Richard Rosebrough who later would play on a number of Big Star, Alex Chilton, and Chris Bell recordings.Bill remained a member of the Box Tops until September of 1969, when he decided to return to school to get a music degree in performance (upright bass).Though Bill virtually vanished from the pop music scene after he left the Box Tops, he rose in the ranks of classical musicians, playing in many symphony orchestras and in ballet and opera companies throughout the Midsouth while attending university. During this period he backed in performance artists as diverse as Eddy Arnold, Van Cliburn, Isaac Hayes, the Romeros (Spanish guitarists), and Dionne Warwick.For a brief period Bill became a resident of Germany and worked, studied, and traveled in many European countries.During work on his Masters Degree in music (back in the United States), Bill worked with Chris Bell at Ardent Studio, providing the string arrangement for Chris' “You And Your Sister. ” Around this period, Bill competed with numerous bassists from across the country for an opening in the White House orchestra in Washington, DC. He won and moved to Washington. In the mid to late 1970s, he played for most White House dinners, receptions, and special quest performances for Presidents Ford and Carter and for many State Department celebrations for Secretaries of State Kissinger and Vance. During this period Bill played for numerous dignitaries, including the Queens of England and Holland, as well as various heads of states from around the world. Also, during this period Bill recorded sound tracks for a number of TV specials, including some with Jim Henson and the Muppets.Throughout his classical music career he played with many of the world's best known performers and conductors. For example, Bill's last classical-music public performance was backing Itzhak Perlman and Pinchas Zukerman in a White House celebration at the signing of the Camp David Accord ( the Middle East peace agreement signed by Sadat, Begin, and Carter).In 1979, Bill was studying in Philadelphia with Roger Scott, the principal bassist of the Philadelphia Philharmonic, when he decided to change professions. This shift led to a MBA (Master of Business Administration) degree in international business and to a profession that assists with U.S. bilateral and multilateral trade issues.In 1996, Bill played the principal role in reforming the original Box Tops. He played bass and shared responsibility for keyboard parts with John on the ‘Tear Off' album. Bill toured with the group from 1997-2010, holding down the bottom end on stage with his bass lines.In 2015, Bill teamed up with Gary to bring back The Box Tops' music to audiences, playing bass and sharing vocal responsibilities.
Dany et Josey jugent Pat qui appel sa blonde "Moman".
出道32年，陶晶瑩7/30「MOMAN」台北小巨蛋演唱會佳評如潮，麥克風是「五月天」世界巡迴的同等設備？有尋求氣功師傅、整骨師傅的協助？總彩排驚覺舞台搖晃，且高陡難行耗體力？換裝時間只有2分30秒，能上廁所嗎？老公與兒子演出前落淚原因？「李家班」安可曲原本不是「Danger Zone」？ DJ：陶晶瑩（飛碟電台） 週一至五 首播 16:00-17:00 週六 精華重播 19:00-20:00 ▶ 飛碟聯播網 Youtube頻道 http://bit.ly/2Pz4Qmo ▶ 飛碟聯播網 FB粉絲團 https://www.facebook.com/ufonetwork92… ▶ 網路線上收聽 http://www.uforadio.com.tw/stream/str…… ▶ 飛碟APP、收聽零距離！ IOS：https://reurl.cc/3jYQMV Android：https://reurl.cc/5GpNbR ▶ Podcast SoundOn : https://bit.ly/30Ia8Ti Apple Podcasts : https://apple.co/3jFpP6x Spotify : https://spoti.fi/2CPzneD Google 播客：https://bit.ly/3gCTb3G 陶晶瑩 ●Instagram：@momoleelee ●YouTube：陶晶瑩fun人生、陶口秀 ●facebook：陶晶瑩 ●Podcast：陶爾CP蕃茄醬
Episode 149 of A History of Rock Music in Five Hundred Songs looks at “Respect", and the journey of Aretha Franklin from teenage gospel singer to the Queen of Soul. Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have a fifteen-minute bonus episode available, on "I'm Just a Mops" by the Mops. 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/ Also, people may be interested in a Facebook discussion group for the podcast, run by a friend of mine (I'm not on FB myself) which can be found at https://www.facebook.com/groups/293630102611672/ Errata I say "Rock-a-Bye Your Baby to a Dixie Melody" instead of "Rock-a-Bye Your Baby With a Dixie Melody". Also I say Spooner Oldham co-wrote "Do Right Woman". I meant Chips Moman. Resources No Mixcloud this week, as there are too many songs by Aretha Franklin. My main biographical source for Aretha Franklin is Respect: The Life of Aretha Franklin by David Ritz, and this is where most of the quotes from musicians come from. I also relied heavily on I Never Loved a Man the Way I Loved You by Matt Dobkin. Information on C.L. Franklin came from Singing in a Strange Land: C. L. Franklin, the Black Church, and the Transformation of America by Nick Salvatore. Rick Hall's The Man From Muscle Shoals: My Journey from Shame to Fame contains his side of the story. Country Soul by Charles L Hughes is a great overview of the soul music made in Muscle Shoals, Memphis, and Nashville in the sixties. Peter Guralnick's Sweet Soul Music: Rhythm And Blues And The Southern Dream Of Freedom is possibly less essential, but still definitely worth reading. And the I Never Loved a Man album is available in this five-album box set for a ludicrously cheap price. But it's actually worth getting this nineteen-CD set with her first sixteen Atlantic albums and a couple of bonus discs of demos and outtakes. There's barely a duff track in the whole nineteen discs. Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript Before I start this episode, I have to say that there are some things people may want to be aware of before listening to this. This episode has to deal, at least in passing, with subjects including child sexual abuse, intimate partner abuse, racism, and misogyny. I will of course try to deal with those subjects as tactfully as possible, but those of you who may be upset by those topics may want to check the episode transcript before or instead of listening. Those of you who leave comments or send me messages saying "why can't you just talk about the music instead of all this woke virtue-signalling?" may also want to skip this episode. You can go ahead and skip all the future ones as well, I won't mind. And one more thing to say before I get into the meat of the episode -- this episode puts me in a more difficult position than most other episodes of the podcast have. When I've talked about awful things that have happened in the course of this podcast previously, I have either been talking about perpetrators -- people like Phil Spector or Jerry Lee Lewis who did truly reprehensible things -- or about victims who have talked very publicly about the abuse they've suffered, people like Ronnie Spector or Tina Turner, who said very clearly "this is what happened to me and I want it on the public record". In the case of Aretha Franklin, she has been portrayed as a victim *by others*, and there are things that have been said about her life and her relationships which suggest that she suffered in some very terrible ways. But she herself apparently never saw herself as a victim, and didn't want some aspects of her private life talking about. At the start of David Ritz's biography of her, which is one of my main sources here, he recounts a conversation he had with her: "When I mentioned the possibility of my writing an independent biography, she said, “As long as I can approve it before it's published.” “Then it wouldn't be independent,” I said. “Why should it be independent?” “So I can tell the story from my point of view.” “But it's not your story, it's mine.” “You're an important historical figure, Aretha. Others will inevitably come along to tell your story. That's the blessing and burden of being a public figure.” “More burden than blessing,” she said." Now, Aretha Franklin is sadly dead, but I think that she still deserves the basic respect of being allowed privacy. So I will talk here about public matters, things she acknowledged in her own autobiography, and things that she and the people around her did in public situations like recording studios and concert venues. But there are aspects to the story of Aretha Franklin as that story is commonly told, which may well be true, but are of mostly prurient interest, don't add much to the story of how the music came to be made, and which she herself didn't want people talking about. So there will be things people might expect me to talk about in this episode, incidents where people in her life, usually men, treated her badly, that I'm going to leave out. That information is out there if people want to look for it, but I don't see myself as under any obligation to share it. That's not me making excuses for people who did inexcusable things, that's me showing some respect to one of the towering artistic figures of the latter half of the twentieth century. Because, of course, respect is what this is all about: [Excerpt: Aretha Franklin, "Respect"] One name that's come up a few times in this podcast, but who we haven't really talked about that much, is Bobby "Blue" Bland. We mentioned him as the single biggest influence on the style of Van Morrison, but Bland was an important figure in the Memphis music scene of the early fifties, which we talked about in several early episodes. He was one of the Beale Streeters, the loose aggregation of musicians that also included B.B. King and Johnny Ace, he worked with Ike Turner, and was one of the key links between blues and soul in the fifties and early sixties, with records like "Turn on Your Love Light": [Excerpt: Bobby "Blue" Bland, "Turn on Your Love Light"] But while Bland was influenced by many musicians we've talked about, his biggest influence wasn't a singer at all. It was a preacher he saw give a sermon in the early 1940s. As he said decades later: "Wasn't his words that got me—I couldn't tell you what he talked on that day, couldn't tell you what any of it meant, but it was the way he talked. He talked like he was singing. He talked music. The thing that really got me, though, was this squall-like sound he made to emphasize a certain word. He'd catch the word in his mouth, let it roll around and squeeze it with his tongue. When it popped on out, it exploded, and the ladies started waving and shouting. I liked all that. I started popping and shouting too. That next week I asked Mama when we were going back to Memphis to church. “‘Since when you so keen on church?' Mama asked. “‘I like that preacher,' I said. “‘Reverend Franklin?' she asked. “‘Well, if he's the one who sings when he preaches, that's the one I like.'" Bland was impressed by C.L. Franklin, and so were other Memphis musicians. Long after Franklin had moved to Detroit, they remembered him, and Bland and B.B. King would go to Franklin's church to see him preach whenever they were in the city. And Bland studied Franklin's records. He said later "I liked whatever was on the radio, especially those first things Nat Cole did with his trio. Naturally I liked the blues singers like Roy Brown, the jump singers like Louis Jordan, and the ballad singers like Billy Eckstine, but, brother, the man who really shaped me was Reverend Franklin." Bland would study Franklin's records, and would take the style that Franklin used in recorded sermons like "The Eagle Stirreth Her Nest": [Excerpt: C.L. Franklin, "The Eagle Stirreth Her Nest"] And you can definitely hear that preaching style on records like Bland's "I Pity the Fool": [Excerpt: Bobby "Blue" Bland, "I Pity the Fool"] But of course, that wasn't the only influence the Reverend C.L. Franklin had on the course of soul music. C.L. Franklin had grown up poor, on a Mississippi farm, and had not even finished grade school because he was needed to work behind the mule, ploughing the farm for his stepfather. But he had a fierce intelligence and became an autodidact, travelling regularly to the nearest library, thirty miles away, on a horse-drawn wagon, and reading everything he could get his hands on. At the age of sixteen he received what he believed to be a message from God, and decided to become an itinerant preacher. He would travel between many small country churches and build up audiences there -- and he would also study everyone else preaching there, analysing their sermons, seeing if he could anticipate their line of argument and get ahead of them, figuring out the structure. But unlike many people in the conservative Black Baptist churches of the time, he never saw the spiritual and secular worlds as incompatible. He saw blues music and Black church sermons as both being part of the same thing -- a Black culture and folklore that was worthy of respect in both its spiritual and secular aspects. He soon built up a small circuit of local churches where he would preach occasionally, but wasn't the main pastor at any of them. He got married aged twenty, though that marriage didn't last, and he seems to have been ambitious for a greater respectability. When that marriage failed, in June 1936, he married Barbara Siggers, a very intelligent, cultured, young single mother who had attended Booker T Washington High School, the best Black school in Memphis, and he adopted her son Vaughn. While he was mostly still doing churches in Mississippi, he took on one in Memphis as well, in an extremely poor area, but it gave him a foot in the door to the biggest Black city in the US. Barbara would later be called "one of the really great gospel singers" by no less than Mahalia Jackson. We don't have any recordings of Barbara singing, but Mahalia Jackson certainly knew what she was talking about when it came to great gospel singers: [Excerpt: Mahalia Jackson, "Precious Lord, Take My Hand"] Rev. Franklin was hugely personally ambitious, and he also wanted to get out of rural Mississippi, where the Klan were very active at this time, especially after his daughter Erma was born in 1938. They moved to Memphis in 1939, where he got a full-time position at New Salem Baptist Church, where for the first time he was able to earn a steady living from just one church and not have to tour round multiple churches. He soon became so popular that if you wanted to get a seat for the service at noon, you had to turn up for the 8AM Sunday School or you'd be forced to stand. He also enrolled for college courses at LeMoyne College. He didn't get a degree, but spent three years as a part-time student studying theology, literature, and sociology, and soon developed a liberal theology that was very different from the conservative fundamentalism he'd grown up in, though still very much part of the Baptist church. Where he'd grown up with a literalism that said the Bible was literally true, he started to accept things like evolution, and to see much of the Bible as metaphor. Now, we talked in the last episode about how impossible it is to get an accurate picture of the lives of religious leaders, because their life stories are told by those who admire them, and that's very much the case for C.L. Franklin. Franklin was a man who had many, many, admirable qualities -- he was fiercely intelligent, well-read, a superb public speaker, a man who was by all accounts genuinely compassionate towards those in need, and he became one of the leaders of the civil rights movement and inspired tens of thousands, maybe even millions, of people, directly and indirectly, to change the world for the better. He also raised several children who loved and admired him and were protective of his memory. And as such, there is an inevitable bias in the sources on Franklin's life. And so there's a tendency to soften the very worst things he did, some of which were very, very bad. For example in Nick Salvatore's biography of him, he talks about Franklin, in 1940, fathering a daughter with someone who is described as "a teenager" and "quite young". No details of her age other than that are given, and a few paragraphs later the age of a girl who was then sixteen *is* given, talking about having known the girl in question, and so the impression is given that the girl he impregnated was also probably in her late teens. Which would still be bad, but a man in his early twenties fathering a child with a girl in her late teens is something that can perhaps be forgiven as being a different time. But while the girl in question may have been a teenager when she gave birth, she was *twelve years old* when she became pregnant, by C.L. Franklin, the pastor of her church, who was in a position of power over her in multiple ways. Twelve years old. And this is not the only awful thing that Franklin did -- he was also known to regularly beat up women he was having affairs with, in public. I mention this now because everything else I say about him in this episode is filtered through sources who saw these things as forgivable character flaws in an otherwise admirable human being, and I can't correct for those biases because I don't know the truth. So it's going to sound like he was a truly great man. But bear those facts in mind. Barbara stayed with Franklin for the present, after discovering what he had done, but their marriage was a difficult one, and they split up and reconciled a handful of times. They had three more children together -- Cecil, Aretha, and Carolyn -- and remained together as Franklin moved on first to a church in Buffalo, New York, and then to New Bethel Church, in Detroit, on Hastings Street, a street which was the centre of Black nightlife in the city, as immortalised in John Lee Hooker's "Boogie Chillun": [Excerpt: John Lee Hooker, "Boogie Chillen"] Before moving to Detroit, Franklin had already started to get more political, as his congregation in Buffalo had largely been union members, and being free from the worst excesses of segregation allowed him to talk more openly about civil rights, but that only accelerated when he moved to Detroit, which had been torn apart just a couple of years earlier by police violence against Black protestors. Franklin had started building a reputation when in Memphis using radio broadcasts, and by the time he moved to Detroit he was able to command a very high salary, and not only that, his family were given a mansion by the church, in a rich part of town far away from most of his congregation. Smokey Robinson, who was Cecil Franklin's best friend and a frequent visitor to the mansion through most of his childhood, described it later, saying "Once inside, I'm awestruck -- oil paintings, velvet tapestries, silk curtains, mahogany cabinets filled with ornate objects of silver and gold. Man, I've never seen nothing like that before!" He made a lot of money, but he also increased church attendance so much that he earned that money. He had already been broadcasting on the radio, but when he started his Sunday night broadcasts in Detroit, he came up with a trick of having his sermons run long, so the show would end before the climax. People listening decided that they would have to start turning up in person to hear the end of the sermons, and soon he became so popular that the church would be so full that crowds would have to form on the street outside to listen. Other churches rescheduled their services so they wouldn't clash with Franklin's, and most of the other Black Baptist ministers in the city would go along to watch him preach. In 1948 though, a couple of years after moving to Detroit, Barbara finally left her husband. She took Vaughn with her and moved back to Buffalo, leaving the four biological children she'd had with C.L. with their father. But it's important to note that she didn't leave her children -- they would visit her on a regular basis, and stay with her over school holidays. Aretha later said "Despite the fact that it has been written innumerable times, it is an absolute lie that my mother abandoned us. In no way, shape, form, or fashion did our mother desert us." Barbara's place in the home was filled by many women -- C.L. Franklin's mother moved up from Mississippi to help him take care of the children, the ladies from the church would often help out, and even stars like Mahalia Jackson would turn up and cook meals for the children. There were also the women with whom Franklin carried on affairs, including Anna Gordy, Ruth Brown, and Dinah Washington, the most important female jazz and blues singer of the fifties, who had major R&B hits with records like her version of "Cold Cold Heart": [Excerpt: Dinah Washington, "Cold Cold Heart"] Although my own favourite record of hers is "Big Long Slidin' Thing", which she made with arranger Quincy Jones: [Excerpt: Dinah Washington, "Big Long Slidin' Thing"] It's about a trombone. Get your minds out of the gutter. Washington was one of the biggest vocal influences on young Aretha, but the single biggest influence was Clara Ward, another of C.L. Franklin's many girlfriends. Ward was the longest-lasting of these, and there seems to have been a lot of hope on both her part and Aretha's that she and Rev. Franklin would marry, though Franklin always made it very clear that monogamy wouldn't suit him. Ward was one of the three major female gospel singers of the middle part of the century, and possibly even more technically impressive as a vocalist than the other two, Sister Rosetta Tharpe and Mahalia Jackson. Where Jackson was an austere performer, who refused to perform in secular contexts at all for most of her life, and took herself and her music very seriously, and Tharpe was a raunchier, funnier, more down-to-earth performer who was happy to play for blues audiences and even to play secular music on occasion, Ward was a *glamorous* performer, who wore sequined dresses and piled her hair high on her head. Ward had become a singer in 1931 when her mother had what she later talked about as a religious epiphany, and decided she wasn't going to be a labourer any more, she was going to devote her life to gospel music. Ward's mother had formed a vocal group with her two daughters, and Clara quickly became the star and her mother's meal ticket -- and her mother was very possessive of that ticket, to the extent that Ward, who was a bisexual woman who mostly preferred men, had more relationships with women, because her mother wouldn't let her be alone with the men she was attracted to. But Ward did manage to keep a relationship going with C.L. Franklin, and Aretha Franklin talked about the moment she decided to become a singer, when she saw Ward singing "Peace in the Valley" at a funeral: [Excerpt: Clara Ward, "Peace in the Valley"] As well as looking towards Ward as a vocal influence, Aretha was also influenced by her as a person -- she became a mother figure to Aretha, who would talk later about watching Ward eat, and noting her taking little delicate bites, and getting an idea of what it meant to be ladylike from her. After Ward's death in 1973, a notebook was found in which she had written her opinions of other singers. For Aretha she wrote “My baby Aretha, she doesn't know how good she is. Doubts self. Some day—to the moon. I love that girl.” Ward's influence became especially important to Aretha and her siblings after their mother died of a heart attack a few years after leaving her husband, when Aretha was ten, and Aretha, already a very introverted child, became even more so. Everyone who knew Aretha said that her later diva-ish reputation came out of a deep sense of insecurity and introversion -- that she was a desperately private, closed-off, person who would rarely express her emotions at all, and who would look away from you rather than make eye contact. The only time she let herself express emotions was when she performed music. And music was hugely important in the Franklin household. Most preachers in the Black church at that time were a bit dismissive of gospel music, because they thought the music took away from their prestige -- they saw it as a necessary evil, and resented it taking up space when their congregations could have been listening to them. But Rev. Franklin was himself a rather good singer, and even made a few gospel records himself in 1950, recording for Joe Von Battle, who owned a record shop on Hastings Street and also put out records by blues singers: [Excerpt: C.L. Franklin, "I Am Climbing Higher Mountains" ] The church's musical director was James Cleveland, one of the most important gospel artists of the fifties and sixties, who sang with groups like the Caravans: [Excerpt: The Caravans, "What Kind of Man is This?" ] Cleveland, who had started out in the choir run by Thomas Dorsey, the writer of “Take My Hand Precious Lord” and “Peace in the Valley”, moved in with the Franklin family for a while, and he gave the girls tips on playing the piano -- much later he would play piano on Aretha's album Amazing Grace, and she said of him “He showed me some real nice chords, and I liked his deep, deep sound”. Other than Clara Ward, he was probably the single biggest musical influence on Aretha. And all the touring gospel musicians would make appearances at New Bethel Church, not least of them Sam Cooke, who first appeared there with the Highway QCs and would continue to do so after joining the Soul Stirrers: [Excerpt: The Soul Stirrers, "Touch the Hem of his Garment"] Young Aretha and her older sister Erma both had massive crushes on Cooke, and there were rumours that he had an affair with one or both of them when they were in their teens, though both denied it. Aretha later said "When I first saw him, all I could do was sigh... Sam was love on first hearing, love at first sight." But it wasn't just gospel music that filled the house. One of the major ways that C.L. Franklin's liberalism showed was in his love of secular music, especially jazz and blues, which he regarded as just as important in Black cultural life as gospel music. We already talked about Dinah Washington being a regular visitor to the house, but every major Black entertainer would visit the Franklin residence when they were in Detroit. Both Aretha and Cecil Franklin vividly remembered visits from Art Tatum, who would sit at the piano and play for the family and their guests: [Excerpt: Art Tatum, "Tiger Rag"] Tatum was such a spectacular pianist that there's now a musicological term, the tatum, named after him, for the smallest possible discernible rhythmic interval between two notes. Young Aretha was thrilled by his technique, and by that of Oscar Peterson, who also regularly came to the Franklin home, sometimes along with Ella Fitzgerald. Nat "King" Cole was another regular visitor. The Franklin children all absorbed the music these people -- the most important musicians of the time -- were playing in their home, and young Aretha in particular became an astonishing singer and also an accomplished pianist. Smokey Robinson later said: “The other thing that knocked us out about Aretha was her piano playing. There was a grand piano in the Franklin living room, and we all liked to mess around. We'd pick out little melodies with one finger. But when Aretha sat down, even as a seven-year-old, she started playing chords—big chords. Later I'd recognize them as complex church chords, the kind used to accompany the preacher and the solo singer. At the time, though, all I could do was view Aretha as a wonder child. Mind you, this was Detroit, where musical talent ran strong and free. Everyone was singing and harmonizing; everyone was playing piano and guitar. Aretha came out of this world, but she also came out of another far-off magical world none of us really understood. She came from a distant musical planet where children are born with their gifts fully formed.” C.L. Franklin became more involved in the music business still when Joe Von Battle started releasing records of his sermons, which had become steadily more politically aware: [Excerpt: C.L. Franklin, "Dry Bones in the Valley"] Franklin was not a Marxist -- he was a liberal, but like many liberals was willing to stand with Marxists where they had shared interests, even when it was dangerous. For example in 1954, at the height of McCarthyism, he had James and Grace Lee Boggs, two Marxist revolutionaries, come to the pulpit and talk about their support for the anti-colonial revolution in Kenya, and they sold four hundred copies of their pamphlet after their talk, because he saw that the struggle of Black Africans to get out from white colonial rule was the same struggle as that of Black Americans. And Franklin's powerful sermons started getting broadcast on the radio in areas further out from Detroit, as Chess Records picked up the distribution for them and people started playing the records on other stations. People like future Congressman John Lewis and the Reverend Jesse Jackson would later talk about listening to C.L. Franklin's records on the radio and being inspired -- a whole generation of Black Civil Rights leaders took their cues from him, and as the 1950s and 60s went on he became closer and closer to Martin Luther King in particular. But C.L. Franklin was always as much an ambitious showman as an activist, and he started putting together gospel tours, consisting mostly of music but with himself giving a sermon as the headline act. And he became very, very wealthy from these tours. On one trip in the south, his car broke down, and he couldn't find a mechanic willing to work on it. A group of white men started mocking him with racist terms, trying to provoke him, as he was dressed well and driving a nice car (albeit one that had broken down). Rather than arguing with them, he walked to a car dealership, and bought a new car with the cash that he had on him. By 1956 he was getting around $4000 per appearance, roughly equivalent to $43,000 today, and he was making a *lot* of appearances. He also sold half a million records that year. Various gospel singers, including the Clara Ward Singers, would perform on the tours he organised, and one of those performers was Franklin's middle daughter Aretha. Aretha had become pregnant when she was twelve, and after giving birth to the child she dropped out of school, but her grandmother did most of the child-rearing for her, while she accompanied her father on tour. Aretha's first recordings, made when she was just fourteen, show what an astonishing talent she already was at that young age. She would grow as an artist, of course, as she aged and gained experience, but those early gospel records already show an astounding maturity and ability. It's jaw-dropping to listen to these records of a fourteen-year-old, and immediately recognise them as a fully-formed Aretha Franklin. [Excerpt: Aretha Franklin, "There is a Fountain Filled With Blood"] Smokey Robinson's assessment that she was born with her gifts fully formed doesn't seem like an exaggeration when you hear that. For the latter half of the fifties, Aretha toured with her father, performing on the gospel circuit and becoming known there. But the Franklin sisters were starting to get ideas about moving into secular music. This was largely because their family friend Sam Cooke had done just that, with "You Send Me": [Excerpt: Sam Cooke, "You Send Me"] Aretha and Erma still worshipped Cooke, and Aretha would later talk about getting dressed up just to watch Cooke appear on the TV. Their brother Cecil later said "I remember the night Sam came to sing at the Flame Show Bar in Detroit. Erma and Ree said they weren't going because they were so heartbroken that Sam had recently married. I didn't believe them. And I knew I was right when they started getting dressed about noon for the nine o'clock show. Because they were underage, they put on a ton of makeup to look older. It didn't matter 'cause Berry Gordy's sisters, Anna and Gwen, worked the photo concession down there, taking pictures of the party people. Anna was tight with Daddy and was sure to let my sisters in. She did, and they came home with stars in their eyes.” Moving from gospel to secular music still had a stigma against it in the gospel world, but Rev. Franklin had never seen secular music as sinful, and he encouraged his daughters in their ambitions. Erma was the first to go secular, forming a girl group, the Cleo-Patrettes, at the suggestion of the Four Tops, who were family friends, and recording a single for Joe Von Battle's J-V-B label, "No Other Love": [Excerpt: The Cleo-Patrettes, "No Other Love"] But the group didn't go any further, as Rev. Franklin insisted that his eldest daughter had to finish school and go to university before she could become a professional singer. Erma missed other opportunities for different reasons, though -- Berry Gordy, at this time still a jobbing songwriter, offered her a song he'd written with his sister and Roquel Davis, but Erma thought of herself as a jazz singer and didn't want to do R&B, and so "All I Could Do Was Cry" was given to Etta James instead, who had a top forty pop hit with it: [Excerpt: Etta James, "All I Could Do Was Cry"] While Erma's move into secular music was slowed by her father wanting her to have an education, there was no such pressure on Aretha, as she had already dropped out. But Aretha had a different problem -- she was very insecure, and said that church audiences "weren't critics, but worshippers", but she was worried that nightclub audiences in particular were just the kind of people who would just be looking for flaws, rather than wanting to support the performer as church audiences did. But eventually she got up the nerve to make the move. There was the possibility of her getting signed to Motown -- her brother was still best friends with Smokey Robinson, while the Gordy family were close to her father -- but Rev. Franklin had his eye on bigger things. He wanted her to be signed to Columbia, which in 1960 was the most prestigious of all the major labels. As Aretha's brother Cecil later said "He wanted Ree on Columbia, the label that recorded Mahalia Jackson, Duke Ellington, Johnny Mathis, Tony Bennett, Percy Faith, and Doris Day. Daddy said that Columbia was the biggest and best record company in the world. Leonard Bernstein recorded for Columbia." They went out to New York to see Phil Moore, a legendary vocal coach and arranger who had helped make Lena Horne and Dorothy Dandridge into stars, but Moore actually refused to take her on as a client, saying "She does not require my services. Her style has already been developed. Her style is in place. It is a unique style that, in my professional opinion, requires no alteration. It simply requires the right material. Her stage presentation is not of immediate concern. All that will come later. The immediate concern is the material that will suit her best. And the reason that concern will not be easily addressed is because I can't imagine any material that will not suit her." That last would become a problem for the next few years, but the immediate issue was to get someone at Columbia to listen to her, and Moore could help with that -- he was friends with John Hammond. Hammond is a name that's come up several times in the podcast already -- we mentioned him in the very earliest episodes, and also in episode ninety-eight, where we looked at his signing of Bob Dylan. But Hammond was a legend in the music business. He had produced sessions for Bessie Smith, had discovered Count Basie and Billie Holiday, had convinced Benny Goodman to hire Charlie Christian and Lionel Hampton, had signed Pete Seeger and the Weavers to Columbia, had organised the Spirituals to Swing concerts which we talked about in the first few episodes of this podcast, and was about to put out the first album of Robert Johnson's recordings. Of all the executives at Columbia, he was the one who had the greatest eye for talent, and the greatest understanding of Black musical culture. Moore suggested that the Franklins get Major Holley to produce a demo recording that he could get Hammond to listen to. Major Holley was a family friend, and a jazz bassist who had played with Oscar Peterson and Coleman Hawkins among others, and he put together a set of songs for Aretha that would emphasise the jazz side of her abilities, pitching her as a Dinah Washington style bluesy jazz singer. The highlight of the demo was a version of "Today I Sing the Blues", a song that had originally been recorded by Helen Humes, the singer who we last heard of recording “Be Baba Leba” with Bill Doggett: [Excerpt: Helen Humes, "Today I Sing the Blues"] That original version had been produced by Hammond, but the song had also recently been covered by Aretha's idol, Sam Cooke: [Excerpt: Sam Cooke, "Today I Sing the Blues"] Hammond was hugely impressed by the demo, and signed Aretha straight away, and got to work producing her first album. But he and Rev. Franklin had different ideas about what Aretha should do. Hammond wanted to make a fairly raw-sounding bluesy jazz album, the kind of recording he had produced with Bessie Smith or Billie Holiday, but Rev. Franklin wanted his daughter to make music that would cross over to the white pop market -- he was aiming for the same kind of audience that Nat "King" Cole or Harry Belafonte had, and he wanted her recording standards like "Over the Rainbow". This showed a lack of understanding on Rev. Franklin's part of how such crossovers actually worked at this point. As Etta James later said, "If you wanna have Black hits, you gotta understand the Black streets, you gotta work those streets and work those DJs to get airplay on Black stations... Or looking at it another way, in those days you had to get the Black audience to love the hell outta you and then hope the love would cross over to the white side. Columbia didn't know nothing 'bout crossing over.” But Hammond knew they had to make a record quickly, because Sam Cooke had been working on RCA Records, trying to get them to sign Aretha, and Rev. Franklin wanted an album out so they could start booking club dates for her, and was saying that if they didn't get one done quickly he'd take up that offer, and so they came up with a compromise set of songs which satisfied nobody, but did produce two R&B top ten hits, "Won't Be Long" and Aretha's version of "Today I Sing the Blues": [Excerpt: Aretha Franklin, "Today I Sing the Blues"] This is not to say that Aretha herself saw this as a compromise -- she later said "I have never compromised my material. Even then, I knew a good song from a bad one. And if Hammond, one of the legends of the business, didn't know how to produce a record, who does? No, the fault was with promotion." And this is something important to bear in mind as we talk about her Columbia records. Many, *many* people have presented those records as Aretha being told what to do by producers who didn't understand her art and were making her record songs that didn't fit her style. That's not what's happening with the Columbia records. Everyone actually involved said that Aretha was very involved in the choices made -- and there are some genuinely great tracks on those albums. The problem is that they're *unfocused*. Aretha was only eighteen when she signed to the label, and she loved all sorts of music -- blues, jazz, soul, standards, gospel, middle-of-the-road pop music -- and wanted to sing all those kinds of music. And she *could* sing all those kinds of music, and sing them well. But it meant the records weren't coherent. You didn't know what you were getting, and there was no artistic personality that dominated them, it was just what Aretha felt like recording. Around this time, Aretha started to think that maybe her father didn't know what he was talking about when it came to popular music success, even though she idolised him in most areas, and she turned to another figure, who would soon become both her husband and manager. Ted White. Her sister Erma, who was at that time touring with Lloyd Price, had introduced them, but in fact Aretha had first seen White years earlier, in her own house -- he had been Dinah Washington's boyfriend in the fifties, and her first sight of him had been carrying a drunk Washington out of the house after a party. In interviews with David Ritz, who wrote biographies of many major soul stars including both Aretha Franklin and Etta James, James had a lot to say about White, saying “Ted White was famous even before he got with Aretha. My boyfriend at the time, Harvey Fuqua, used to talk about him. Ted was supposed to be the slickest pimp in Detroit. When I learned that Aretha married him, I wasn't surprised. A lot of the big-time singers who we idolized as girls—like Billie Holiday and Sarah Vaughan—had pimps for boyfriends and managers. That was standard operating procedure. My own mother had made a living turning tricks. When we were getting started, that way of life was part of the music business. It was in our genes. Part of the lure of pimps was that they got us paid." She compared White to Ike Turner, saying "Ike made Tina, no doubt about it. He developed her talent. He showed her what it meant to be a performer. He got her famous. Of course, Ted White was not a performer, but he was savvy about the world. When Harvey Fuqua introduced me to him—this was the fifties, before he was with Aretha—I saw him as a super-hip extra-smooth cat. I liked him. He knew music. He knew songwriters who were writing hit songs. He had manners. Later, when I ran into him and Aretha—this was the sixties—I saw that she wasn't as shy as she used to be." White was a pimp, but he was also someone with music business experience -- he owned an unsuccessful publishing company, and also ran a chain of jukeboxes. He was also thirty, while Aretha was only eighteen. But White didn't like the people in Aretha's life at the time -- he didn't get on well with her father, and he also clashed with John Hammond. And Aretha was also annoyed at Hammond, because her sister Erma had signed to Epic, a Columbia subsidiary, and was releasing her own singles: [Excerpt: Erma Franklin, "Hello Again"] Aretha was certain that Hammond had signed Erma, even though Hammond had nothing to do with Epic Records, and Erma had actually been recommended by Lloyd Price. And Aretha, while for much of her career she would support her sister, was also terrified that her sister might have a big hit before her and leave Aretha in her shadow. Hammond was still the credited producer on Aretha's second album, The Electrifying Aretha Franklin, but his lack of say in the sessions can be shown in the choice of lead-off single. "Rock-a-Bye Your Baby With a Dixie Melody" was originally recorded by Al Jolson in 1918: [Excerpt: Al Jolson, "Rock-a-Bye Your Baby With a Dixie Melody"] Rev. Franklin pushed for the song, as he was a fan of Jolson -- Jolson, oddly, had a large Black fanbase, despite his having been a blackface performer, because he had *also* been a strong advocate of Black musicians like Cab Calloway, and the level of racism in the media of the twenties through forties was so astonishingly high that even a blackface performer could seem comparatively OK. Aretha's performance was good, but it was hardly the kind of thing that audiences were clamouring for in 1961: [Excerpt: Aretha Franklin, "Rock-a-Bye Your Baby With a Dixie Melody"] That single came out the month after _Down Beat_ magazine gave Aretha the "new-star female vocalist award", and it oddly made the pop top forty, her first record to do so, and the B-side made the R&B top ten, but for the next few years both chart success and critical acclaim eluded her. None of her next nine singles would make higher than number eighty-six on the Hot One Hundred, and none would make the R&B charts at all. After that transitional second album, she was paired with producer Bob Mersey, who was precisely the kind of white pop producer that one would expect for someone who hoped for crossover success. Mersey was the producer for many of Columbia's biggest stars at the time -- people like Barbra Streisand, Andy Williams, Julie Andrews, Patti Page, and Mel Tormé -- and it was that kind of audience that Aretha wanted to go for at this point. To give an example of the kind of thing that Mersey was doing, just the month before he started work on his first collaboration with Aretha, _The Tender, the Moving, the Swinging Aretha Franklin_, his production of Andy Williams singing "Moon River" was released: [Excerpt: Andy Williams, "Moon River"] This was the kind of audience Aretha was going for when it came to record sales – the person she compared herself to most frequently at this point was Barbra Streisand – though in live performances she was playing with a small jazz group in jazz venues, and going for the same kind of jazz-soul crossover audience as Dinah Washington or Ray Charles. The strategy seems to have been to get something like the success of her idol Sam Cooke, who could play to soul audiences but also play the Copacabana, but the problem was that Cooke had built an audience before doing that -- she hadn't. But even though she hadn't built up an audience, musicians were starting to pay attention. Ted White, who was still in touch with Dinah Washington, later said “Women are very catty. They'll see a girl who's dressed very well and they'll say, Yeah, but look at those shoes, or look at that hairdo. Aretha was the only singer I've ever known that Dinah had no negative comments about. She just stood with her mouth open when she heard Aretha sing.” The great jazz vocalist Carmen McRea went to see Aretha at the Village Vanguard in New York around this time, having heard the comparisons to Dinah Washington, and met her afterwards. She later said "Given how emotionally she sang, I expected her to have a supercharged emotional personality like Dinah. Instead, she was the shyest thing I've ever met. Would hardly look me in the eye. Didn't say more than two words. I mean, this bitch gave bashful a new meaning. Anyway, I didn't give her any advice because she didn't ask for any, but I knew goddamn well that, no matter how good she was—and she was absolutely wonderful—she'd have to make up her mind whether she wanted to be Della Reese, Dinah Washington, or Sarah Vaughan. I also had a feeling she wouldn't have minded being Leslie Uggams or Diahann Carroll. I remember thinking that if she didn't figure out who she was—and quick—she was gonna get lost in the weeds of the music biz." So musicians were listening to Aretha, even if everyone else wasn't. The Tender, the Moving, the Swinging Aretha Franklin, for example, was full of old standards like "Try a Little Tenderness": [Excerpt: Aretha Franklin, "Try a Little Tenderness"] That performance inspired Otis Redding to cut his own version of that song a few years later: [Excerpt: Otis Redding, "Try a Little Tenderness"] And it might also have inspired Aretha's friend and idol Sam Cooke to include the song in his own lounge sets. The Tender, the Moving, the Swinging Aretha Franklin also included Aretha's first original composition, but in general it wasn't a very well-received album. In 1963, the first cracks started to develop in Aretha's relationship with Ted White. According to her siblings, part of the strain was because Aretha's increasing commitment to the civil rights movement was costing her professional opportunities. Her brother Cecil later said "Ted White had complete sway over her when it came to what engagements to accept and what songs to sing. But if Daddy called and said, ‘Ree, I want you to sing for Dr. King,' she'd drop everything and do just that. I don't think Ted had objections to her support of Dr. King's cause, and he realized it would raise her visibility. But I do remember the time that there was a conflict between a big club gig and doing a benefit for Dr. King. Ted said, ‘Take the club gig. We need the money.' But Ree said, ‘Dr. King needs me more.' She defied her husband. Maybe that was the start of their marital trouble. Their thing was always troubled because it was based on each of them using the other. Whatever the case, my sister proved to be a strong soldier in the civil rights fight. That made me proud of her and it kept her relationship with Daddy from collapsing entirely." In part her increasing activism was because of her father's own increase in activity. The benefit that Cecil is talking about there is probably one in Chicago organised by Mahalia Jackson, where Aretha headlined on a bill that also included Jackson, Eartha Kitt, and the comedian Dick Gregory. That was less than a month before her father organised the Detroit Walk to Freedom, a trial run for the more famous March on Washington a few weeks later. The Detroit Walk to Freedom was run by the Detroit Council for Human Rights, which was formed by Rev. Franklin and Rev. Albert Cleage, a much more radical Black nationalist who often differed with Franklin's more moderate integrationist stance. They both worked together to organise the Walk to Freedom, but Franklin's stance predominated, as several white liberal politicians, like the Mayor of Detroit, Jerome Cavanagh, were included in the largely-Black March. It drew crowds of 125,000 people, and Dr. King called it "one of the most wonderful things that has happened in America", and it was the largest civil rights demonstration in American history up to that point. King's speech in Detroit was recorded and released on Motown Records: [Excerpt: Martin Luther King, "Original 'I Have a Dream' Speech”] He later returned to the same ideas in his more famous speech in Washington. During that civil rights spring and summer of 1963, Aretha also recorded what many think of as the best of her Columbia albums, a collection of jazz standards called Laughing on the Outside, which included songs like "Solitude", "Ol' Man River" and "I Wanna Be Around": [Excerpt: Aretha Franklin, "I Wanna Be Around"] The opening track, "Skylark", was Etta James' favourite ever Aretha Franklin performance, and is regarded by many as the definitive take on the song: [Excerpt: Aretha Franklin, "Skylark"] Etta James later talked about discussing the track with the great jazz singer Sarah Vaughan, one of Aretha's early influences, who had recorded her own version of the song: "Sarah said, ‘Have you heard of this Aretha Franklin girl?' I said, ‘You heard her do “Skylark,” didn't you?' Sarah said, ‘Yes, I did, and I'm never singing that song again.” But while the album got noticed by other musicians, it didn't get much attention from the wider public. Mersey decided that a change in direction was needed, and they needed to get in someone with more of a jazz background to work with Aretha. He brought in pianist and arranger Bobby Scott, who had previously worked with people like Lester Young, and Scott said of their first meeting “My first memory of Aretha is that she wouldn't look at me when I spoke. She withdrew from the encounter in a way that intrigued me. At first I thought she was just shy—and she was—but I also felt her reading me...For all her deference to my experience and her reluctance to speak up, when she did look me in the eye, she did so with a quiet intensity before saying, ‘I like all your ideas, Mr. Scott, but please remember I do want hits.'” They started recording together, but the sides they cut wouldn't be released for a few years. Instead, Aretha and Mersey went in yet another direction. Dinah Washington died suddenly in December 1963, and given that Aretha was already being compared to Washington by almost everyone, and that Washington had been a huge influence on her, as well as having been close to both her father and her husband/manager, it made sense to go into the studio and quickly cut a tribute album, with Aretha singing Washington's hits: [Excerpt: Aretha Franklin, "Cold Cold Heart"] Unfortunately, while Washington had been wildly popular, and one of the most important figures in jazz and R&B in the forties and fifties, her style was out of date. The tribute album, titled Unforgettable, came out in February 1964, the same month that Beatlemania hit the US. Dinah Washington was the past, and trying to position Aretha as "the new Dinah Washington" would doom her to obscurity. John Hammond later said "I remember thinking that if Aretha never does another album she will be remembered for this one. No, the problem was timing. Dinah had died, and, outside the black community, interest in her had waned dramatically. Popular music was in a radical and revolutionary moment, and that moment had nothing to do with Dinah Washington, great as she was and will always be.” At this point, Columbia brought in Clyde Otis, an independent producer and songwriter who had worked with artists like Washington and Sarah Vaughan, and indeed had written one of the songs on Unforgettable, but had also worked with people like Brook Benton, who had a much more R&B audience. For example, he'd written "Baby, You Got What It Takes" for Benton and Washington to do as a duet: [Excerpt: Brook Benton and Dinah Washington, "Baby, You Got What it Takes"] In 1962, when he was working at Mercury Records before going independent, Otis had produced thirty-three of the fifty-one singles the label put out that year that had charted. Columbia had decided that they were going to position Aretha firmly in the R&B market, and assigned Otis to do just that. At first, though, Otis had no more luck with getting Aretha to sing R&B than anyone else had. He later said "Aretha, though, couldn't be deterred from her determination to beat Barbra Streisand at Barbra's own game. I kept saying, ‘Ree, you can outsing Streisand any day of the week. That's not the point. The point is to find a hit.' But that summer she just wanted straight-up ballads. She insisted that she do ‘People,' Streisand's smash. Aretha sang the hell out of it, but no one's gonna beat Barbra at her own game." But after several months of this, eventually Aretha and White came round to the idea of making an R&B record. Otis produced an album of contemporary R&B, with covers of music from the more sophisticated end of the soul market, songs like "My Guy", "Every Little Bit Hurts", and "Walk on By", along with a few new originals brought in by Otis. The title track, "Runnin' Out of Fools", became her biggest hit in three years, making number fifty-seven on the pop charts and number thirty on the R&B charts: [Excerpt: Aretha Franklin, "Runnin' Out of Fools"] After that album, they recorded another album with Otis producing, a live-in-the-studio jazz album, but again nobody involved could agree on a style for her. By this time it was obvious that she was unhappy with Columbia and would be leaving the label soon, and they wanted to get as much material in the can as they could, so they could continue releasing material after she left. But her working relationship with Otis was deteriorating -- Otis and Ted White did not get on, Aretha and White were having their own problems, and Aretha had started just not showing up for some sessions, with nobody knowing where she was. Columbia passed her on to yet another producer, this time Bob Johnston, who had just had a hit with Patti Page, "Hush, Hush, Sweet Charlotte": [Excerpt: Patti Page, "Hush, Hush, Sweet Charlotte"] Johnston was just about to hit an incredible hot streak as a producer. At the same time as his sessions with Aretha, he was also producing Bob Dylan's Highway 61 Revisited, and just after the sessions finished he'd go on to produce Simon & Garfunkel's Sounds of Silence album. In the next few years he would produce a run of classic Dylan albums like Blonde on Blonde, John Wesley Harding, and New Morning, Simon & Garfunkel's follow up Parsley, Sage, Rosemary & Thyme, Leonard Cohen's first three albums, and Johnny Cash's comeback with the Live at Folsom Prison album and its follow up At San Quentin. He also produced records for Marty Robbins, Flatt & Scruggs, the Byrds, and Burl Ives during that time period. But you may notice that while that's as great a run of records as any producer was putting out at the time, it has little to do with the kind of music that Aretha Franklin was making then, or would become famous with. Johnston produced a string-heavy session in which Aretha once again tried to sing old standards by people like Oscar Hammerstein and Jerome Kern. She then just didn't turn up for some more sessions, until one final session in August, when she recorded songs like "Swanee" and "You Made Me Love You". For more than a year, she didn't go into a studio. She also missed many gigs and disappeared from her family's life for periods of time. Columbia kept putting out records of things she'd already recorded, but none of them had any success at all. Many of the records she'd made for Columbia had been genuinely great -- there's a popular perception that she was being held back by a record company that forced her to sing material she didn't like, but in fact she *loved* old standards, and jazz tunes, and contemporary pop at least as much as any other kind of music. Truly great musicians tend to have extremely eclectic tastes, and Aretha Franklin was a truly great musician if anyone was. Her Columbia albums are as good as any albums in those genres put out in that time period, and she remained proud of them for the rest of her life. But that very eclecticism had meant that she hadn't established a strong identity as a performer -- everyone who heard her records knew she was a great singer, but nobody knew what "an Aretha Franklin record" really meant -- and she hadn't had a single real hit, which was the thing she wanted more than anything. All that changed when in the early hours of the morning, Jerry Wexler was at FAME Studios in Muscle Shoals recording a Wilson Pickett track -- from the timeline, it was probably the session for "Mustang Sally", which coincidentally was published by Ted White's publishing company, as Sir Mack Rice, the writer, was a neighbour of White and Franklin, and to which Aretha had made an uncredited songwriting contribution: [Excerpt: Wilson Pickett, "Mustang Sally"] Whatever the session, it wasn't going well. Percy Sledge, another Atlantic artist who recorded at Muscle Shoals, had turned up and had started winding Pickett up, telling him he sounded just like James Brown. Pickett *hated* Brown -- it seems like almost every male soul singer of the sixties hated James Brown -- and went to physically attack Sledge. Wexler got between the two men to protect his investments in them -- both were the kind of men who could easily cause some serious damage to anyone they hit -- and Pickett threw him to one side and charged at Sledge. At that moment the phone went, and Wexler yelled at the two of them to calm down so he could talk on the phone. The call was telling him that Aretha Franklin was interested in recording for Atlantic. Rev. Louise Bishop, later a Democratic politician in Pennsylvania, was at this time a broadcaster, presenting a radio gospel programme, and she knew Aretha. She'd been to see her perform, and had been astonished by Aretha's performance of a recent Otis Redding single, "Respect": [Excerpt: Otis Redding, "Respect"] Redding will, by the way, be getting his own episode in a few months' time, which is why I've not covered the making of that record here. Bishop thought that Aretha did the song even better than Redding -- something Bishop hadn't thought possible. When she got talking to Aretha after the show, she discovered that her contract with Columbia was up, and Aretha didn't really know what she was going to do -- maybe she'd start her own label or something. She hadn't been into the studio in more than a year, but she did have some songs she'd been working on. Bishop was good friends with Jerry Wexler, and she knew that he was a big fan of Aretha's, and had been saying for a while that when her contract was up he'd like to sign her. Bishop offered to make the connection, and then went back home and phoned Wexler's wife, waking her up -- it was one in the morning by this point, but Bishop was accustomed to phoning Wexler late at night when it was something important. Wexler's wife then phoned him in Muscle Shoals, and he phoned Bishop back and made the arrangements to meet up. Initially, Wexler wasn't thinking about producing Aretha himself -- this was still the period when he and the Ertegun brothers were thinking of selling Atlantic and getting out of the music business, and so while he signed her to the label he was originally going to hand her over to Jim Stewart at Stax to record, as he had with Sam and Dave. But in a baffling turn of events, Jim Stewart didn't actually want to record her, and so Wexler determined that he had better do it himself. And he didn't want to do it with slick New York musicians -- he wanted to bring out the gospel sound in her voice, and he thought the best way to do that was with musicians from what Charles Hughes refers to as "the country-soul triangle" of Nashville, Memphis, and Muscle Shoals. So he booked a week's worth of sessions at FAME studios, and got in FAME's regular rhythm section, plus a couple of musicians from American Recordings in Memphis -- Chips Moman and Spooner Oldham. Oldham's friend and songwriting partner Dan Penn came along as well -- he wasn't officially part of the session, but he was a fan of Aretha's and wasn't going to miss this. Penn had been the first person that Rick Hall, the owner of FAME, had called when Wexler had booked the studio, because Hall hadn't actually heard of Aretha Franklin up to that point, but didn't want to let Wexler know that. Penn had assured him that Aretha was one of the all-time great talents, and that she just needed the right production to become massive. As Hall put it in his autobiography, "Dan tended in those days to hate anything he didn't write, so I figured if he felt that strongly about her, then she was probably going to be a big star." Charlie Chalmers, a horn player who regularly played with these musicians, was tasked with putting together a horn section. The first song they recorded that day was one that the musicians weren't that impressed with at first. "I Never Loved a Man (the Way I Love You)" was written by a songwriter named Ronnie Shannon, who had driven from Georgia to Detroit hoping to sell his songs to Motown. He'd popped into a barber's shop where Ted White was having his hair cut to ask for directions to Motown, and White had signed him to his own publishing company and got him to write songs for Aretha. On hearing the demo, the musicians thought that the song was mediocre and a bit shapeless: [Excerpt: Aretha Franklin "I Never Loved a Man (the Way I Love You) (demo)"] But everyone there was agreed that Aretha herself was spectacular. She didn't speak much to the musicians, just went to the piano and sat down and started playing, and Jerry Wexler later compared her playing to Thelonius Monk (who was indeed one of the jazz musicians who had influenced her). While Spooner Oldham had been booked to play piano, it was quickly decided to switch him to electric piano and organ, leaving the acoustic piano for Aretha to play, and she would play piano on all the sessions Wexler produced for her in future. Although while Wexler is the credited producer (and on this initial session Rick Hall at FAME is a credited co-producer), everyone involved, including Wexler, said that the musicians were taking their cues from Aretha rather than anyone else. She would outline the arrangements at the piano, and everyone else would fit in with what she was doing, coming up with head arrangements directed by her. But Wexler played a vital role in mediating between her and the musicians and engineering staff, all of whom he knew and she didn't. As Rick Hall said "After her brief introduction by Wexler, she said very little to me or anyone else in the studio other than Jerry or her husband for the rest of the day. I don't think Aretha and I ever made eye contact after our introduction, simply because we were both so totally focused on our music and consumed by what we were doing." The musicians started working on "I Never Loved a Man (the Way I Love You)", and at first found it difficult to get the groove, but then Oldham came up with an electric piano lick which everyone involved thought of as the key that unlocked the song for them: [Excerpt: Aretha Franklin, "I Never Loved a Man (the Way I Love You)"] After that, they took a break. Most of them were pleased with the track, though Rick Hall wasn't especially happy. But then Rick Hall wasn't especially happy about anything at that point. He'd always used mono for his recordings until then, but had been basically forced to install at least a two-track system by Tom Dowd, Atlantic's chief engineer, and was resentful of this imposition. During the break, Dan Penn went off to finish a song he and Spooner Oldham had been writing, which he hoped Aretha would record at the session: [Excerpt: Dan Penn and Spooner Oldham, "Do Right Woman, Do Right Man"] They had the basic structure of the song down, but hadn't quite finished the middle eight, and both Jerry Wexler and Aretha Franklin chipped in uncredited lyrical contributions -- Aretha's line was "as long as we're together baby, you'd better show some respect to me". Penn, Oldham, Chips Moman, Roger Hawkins, and Tommy Cogbill started cutting a backing track for the song, with Penn singing lead initially with the idea that Aretha would overdub her vocal. But while they were doing this, things had been going wrong with the other participants. All the FAME and American rhythm section players were white, as were Wexler, Hall, and Dowd, and Wexler had been very aware of this, and of the fact that they were recording in Alabama, where Aretha and her husband might not feel totally safe, so he'd specifically requested that the horn section at least contain some Black musicians. But Charlie Chalmers hadn't been able to get any of the Black musicians he would normally call when putting together a horn section, and had ended up with an all-white horn section as well, including one player, a trumpet player called Ken Laxton, who had a reputation as a good player but had never worked with any of the other musicians there -- he was an outsider in a group of people who regularly worked together and had a pre-existing relationship. As the two outsiders, Laxton and Ted White had, at first, bonded, and indeed had started drinking vodka together, passing a bottle between themselves, in a way that Rick Hall would normally not allow in a session -- at the time, the county the studio was in was still a dry county. But as Wexler said, “A redneck patronizing a Black man is a dangerous camaraderie,” and White and Laxton soon had a major falling out. Everyone involved tells a different story about what it was that caused them to start rowing, though it seems to have been to do with Laxton not showing the proper respect for Aretha, or even actually sexually assaulting her -- Dan Penn later said “I always heard he patted her on the butt or somethin', and what would have been wrong with that anyway?”, which says an awful lot about the attitudes of these white Southern men who thought of themselves as very progressive, and were -- for white Southern men in early 1967. Either way, White got very, very annoyed, and insisted that Laxton get fired from the session, which he was, but that still didn't satisfy White, and he stormed off to the motel, drunk and angry. The rest of them finished cutting a basic track for "Do Right Woman", but nobody was very happy with it. Oldham said later “She liked the song but hadn't had time to practice it or settle into it I remember there was Roger playing the drums and Cogbill playing the bass. And I'm on these little simplistic chords on organ, just holding chords so the song would be understood. And that was sort of where it was left. Dan had to sing the vocal, because she didn't know the song, in the wrong key for him. That's what they left with—Dan singing the wrong-key vocal and this little simplistic organ and a bass and a drum. We had a whole week to do everything—we had plenty of time—so there was no hurry to do anything in particular.” Penn was less optimistic, saying "But as I rem
As part of the Holy Triangulation of Relationship episodes, pag-uusapan naman ngayon nina Dusco and Clara ang napakasakit na time when partners need to accept the fact na tapos na kung ano man ang meron sila. Gusto mo ba 'yung mabilis at malinaw na paghihiwalay, o 'yung paghihiwalay na drawn out at talaga namang masakit?***DISCLAIMER: The views and opinions expressed by the podcast creators, hosts, and guests do not necessarily reflect the official policy and position of Podcast Network Asia. Any content provided by the people on the podcast are of their own opinion, and are not intended to malign any religion, ethnic group, club, organization, company, individual, or anyone or anything. Hosted on Acast. See acast.com/privacy for more information.
They called him 'The Moman.' People from all over would come to watch and listen as he defended the worse of the worse doing the Wild West days. Yet he hated the law. Listen and learn about a man who was named the best lawyer of the century. 8.08 minutes long Presented by C.R. King TRUE STORIES OF THE OLD WEST. Hosted by Joy Morris.
They called him 'The Moman.' People from all over would come to watch and listen as he defended the worse of the worse doing the Wild West days. Yet he hated the law. Listen and learn about a man who was named the best lawyer of the century. 8.08 minutes long Presented by C.R. King TRUE STORIES OF THE OLD WEST. Hosted by Joy Morris.
Mwa febriye pou rive mas se moman pou nou etan moun nwa nan nouvo mond nan Kisa pou n fè pou jenerasyon ap vini kap viv pi byen epi patisipe nan avansman mond la kote tè a nou ka jwi l ansanm . --- Support this podcast: https://podcasters.spotify.com/pod/show/donpolopodcast/support
Listen now (26 min) | In this episode of Word.Life, Donney is in conversation with revolutionary poet, essayist, activist and scholar, Amoja ‘MoMan’ Sumler. They discuss his poem “The Key to Hitting”, systemic abuse and the literal violence that has plagued Black Americans for generations.
This week we stepped inside the barbershop with Chevez Moman of The BarberZone. "We touch everybody, from the pimp to the preacher." Chevez talks about the barbershop as an open and honest space for Black men, and the relationships nurtured there. That relationship, between the Black man and his barber, is often long-lasting, following them from adolescence to adulthood. Chevez also touches on mental health, the transparency clients often have with their barbers and stylists and keeping the barbershop a safe space for everybody. Listen to Chevez's podcast In the BaberZone here. Hosted by Tareya & EhKees. Engineered at The Dreamcatchers Recording Studio. Executive Producers: Tareya Palmer, Malcolm White and Jenn Nielsen. Associate Producer: Taijuan Nichole Moorman. #ColumbusCantWait #TheCCWShow #CCWSeason3 #CCWBlackSpaces #ProtectBlackSpaces #HonorBlackSpaces --- Send in a voice message: https://anchor.fm/columbus-cant-wait/message
Today's episode features stories from London and New Jersey.Reasons to Listen this Week:Pork punsA fatbergToilet talkAss jokesThe perils of naked cyclingA banned tanning momAn alien love storyContact Us: Instagram: @horriblehistorypod Twitter: @thehorriblepod Email: horriblehistorypodcast@gmail.com Support Your Hosts:Learn all about your options on our website!Sources: AP NewsAll That's InterestingDaily CallerNewJersey.comHuffpostTMZSupport the show (https://www.patreon.com/horriblehistory)
Moman rive pou pran biznis ou serye konmanse chache yon plas pou mete l. --- Support this podcast: https://podcasters.spotify.com/pod/show/donpolopodcast/support
We pick right up where we left off on the last episode. Finishing the ten fun questions. Favorite music genres, food from our past, and much more.We would love to hear from you and what you have been working on in your life. Can we toot your horn? Tag us on social media with something you have accomplished or learned and we will share it on the next episode!What to support the channel? Buy some coffee! $16 plus shipping for some of the best coffee you will ever put in your face hole! Trust me you do not want to miss this limited drop of coffee before it is gone!Social mediaFacebookInstagramJoeBryonSHARING IS CARING AND LEAVING A REVIEW IS THE SAME AS GIVING US A BACK RUB!! THANK YOU FOR ALL OF YOUR SUPPORT!
Sumagot si Jesus, “Hindi mo nauunawaan ngayon ang ginagawa ko, ngunit mauunawaan mo rin pagkatapos.” Support the show
Marshall and guest Kelsey Moman (Country music fan from New Mexico) breakdown Hard Workin' Man, the first song off Brooks & Dunn's album of the same title. Hooky with Sloane by Bird Creek Creative Commons — Attribution 3.0 Unported— CC BY 3.0 https://creativecommons.org/licenses/...Music provided by FreeMusic109 https://youtube.com/FreeMusic109
VDVV-820_0105 -De Tai Hoi Long Hoa 1 -Ky Nguyen Di Lac Da Mo Man Roi -Phap Nhu Y La GiPodCast ChannelsVô Vi Podcast - Vấn Đạo Vô Vi Podcast - Băn GiảngVô Vi Podcast - Nhạc Thiền
＠受疫情影響延後演出的陶晶瑩《MOMAN》小巨蛋演唱會，確定延至6月5日舉辦，除了準備30年來的音樂菁華，預告將有驚喜，也謝謝大家的耐心等候，邀請所有歌迷一起進小巨蛋同樂。 ＠「Penthouse上流戰爭」 主演：柳真、金素妍、李智雅…等 講述的是爲了躋身江南的象徵——即最頂樓的Penthouse，而賭上人生、奮力奔走且逐漸變成怪物的一名女子扭曲的慾望和母性。劇情內容包含以對偶然目擊到的殺人事件保持沉默為條件，因此獲得最高級房地產信息的主角，得到了進入江南的最後一張入門票、順利躋身上流社會，並爲了在上流社會中成功實現房地產與教育、金錢和知識兩種價值而選擇了完全不同以往的生活。 ＠根據2019年AC尼爾森（ACNielsen）針對網路原生世代的電視收視習慣調查，在18至24歲的觀眾群裡，三立台語八點檔的收視率最高達到4.85，而民視也有4.24，勝過偶像劇、歌唱比賽和體育轉播。 DJ：陶晶瑩（飛碟電台） 週一至五 首播 16:00-17:00 週六 精華重播 19:00-20:00 ▶ 飛碟聯播網 Youtube頻道 http://bit.ly/2Pz4Qmo ▶ 飛碟聯播網 FB粉絲團 https://www.facebook.com/ufonetwork92… ▶ 網路線上收聽 http://www.uforadio.com.tw/stream/str…… ▶ 飛碟APP、收聽零距離！ Android：https://reurl.cc/j78ZKm iOS：https://reurl.cc/ZOG3LA ▶ Podcast SoundOn : https://bit.ly/30Ia8Ti Apple Podcasts : https://apple.co/3jFpP6x Spotify : https://spoti.fi/2CPzneD Google 播客：https://bit.ly/3gCTb3G 陶晶瑩 ●Instagram：@momoleelee ●YouTube：陶晶瑩fun人生、陶口秀 ●facebook：陶晶瑩 #PENTHOUSE上流戰爭 #鄉土劇 #MOMAN演唱會
Moman was born in late 1800s, he was a rough man who enjoyed fighting. Twice he was imprisoned; why would he ever want to be a lawyer? --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app
Recognized by Poetry Slam Inc as a “Legend of the South,” Amoja Sumler (author of “Fables, Foibles, & Other ‘Merican Sins”) is a nationally celebrated poet, essayist and one of the preeminent emerging voices of leftist intersectional social advocacy. A Watering Hole graduate fellow and 2020 MFA recipient, Amoja’s work throughout the Arkansas poetry scene was a legendary seed. From his essay’s discussing the role of law enforcement to the value of capitalism he is best known for fusing the art of the intellectual into the familiar. Amoja has headlined poetry festivals such as the Austin International Poetry Festival, the Bridgewater International Poetry Festival, Write NOLA in New Orleans and Rock the Republic in Texas. As a resident artist of several southern Arts in Education rosters, Amoja lectures at schools and literary nonprofits, while teaching creative pedagogy and keynoting at social advocacy conferences like Long Beach Indie Film Pedagogy Conference and Furious Flower, throughout the nation. His poetry appears in the Pierian Literary Journal, Muddy Ford Press, Swimming With Elephants, FreezeRay Poetry, and the Antigonish Review as well as other journals.
This week I am joined by Jessica Reilly-Moman. Jessica is a social scientist, political ecologist, and a mixed media journalist focusing on climate change and resilience in coastal communities. We discuss her climate research that has led her through the mountains, to large-scale solar projects in the desert, and sailing through Latin America. Jessica's cross-national perspective has given her insight on the unique set of issues in different places but also their commonalities. She shines a light on inequities as they relate to climate change and why we must view climate actions not as having singular effects, but rather as a whole system. And who and how they impact. After all of her worldly travels, Jessica is back to where she grew up in New England finishing her Ph.D. in Ecology & Environmental Studies at the University of Maine's Darling Marine Center. In her off time from saving the world, she enjoys singing and dancing with her daughter. She even treats us to a little serenade! Mentioned: Ivanpah Energy and Resources Group at Berkeley Sailing for Climate blog Tomorrow's Air Jessica Reilly-Moman
一同觀禮陶子姐的房事，2/27前進小巨蛋➡https://kklivetw.kktix.cc/events/fa54fw ig: marc_orange、maryintower 業配合作請來信: dearmarc1122@gmail.com 贊助馬克信箱▶ 街口 - 900866569 台灣 - https://p.allpay.com.tw/kp4Ja 海外 - https://paypal.me/ormarc #馬克信箱 #MOMAN
Pou anpil nan nou mwa desanm se mwa pou nou evalye rezolisyon ke nou te pran pou ane sa, gade kiyes ladan yo, nou rive reyalize, kiyès ki pa lwen reyalize ak ki lòt pami yo ou pap gentan reyalize pou rès ane a. Majorite nan nou Toujou gon eksplikasyon pou chak sak rive nan lavi, pou chak desizyon ke nou pran, chak pawòl ak aksyon ke nou poze etc... Pou kèk moun, pa rive reyalize yon rezolisyon kel te pran son echèk, e tout moun pa dijere yon moman echek menm Jan e se pa tout moun tout ki ka rive kenbe tout Bon sans ak Bon konprann li pendan period echek yo e pou ta menm rive fè siksè. Lidè Ki pratike yon modèl lidèship ki santrel sou moun gen ase kapasite poul konprann ke li nòmal siw echwe, paske pa gen okenn echek ki son fatalite! Anpil moun konsidere echek kòm yon fatalite, e son mo ke anpil moun evite prononse Paske pou yo echek pa gen anyen pou wè ak siksè donk yo deside rete lwen mo sa. Kitem diw jodia ke, echek pa yon fatalite, ni chek pa ka anpechew fè siskè lèw trè detèmine, lew konsistans ak lew ouvri pouw resevwa bon jan feedback ki objektif... Piyès moun pata sipoze gon etikek dechwe jus paskel eksperimante echek youn ak plizyè fwa nan aktivite ke lap mennen. Mwen menm, ou menm ak anpil lot moun ankò; a yon moman nan lavi oswa nan aktivite ke nap mennen te eksperimante echek; se vre gen nan nou ki fè eksperyans Lan yon sel fwa e konsa tou gen moun kifèl plizyè fwa deja. E pou anpil nan nou, moman echek yo konn afekte vi pèsonèl oswa profesyonèl nou e mwen pa yon eksepsyon nan reg la. Souvan echek nou yo vini aprè chwa ke nou fè epi desizyon ke nou pran men anpil fwa tou nou echwe se parapò ak risk ke nou pran, e se youn pami anpil lot rezon ki fè kek moun Pè pran risk jus pou yo pa echwe. Refleksyonm nan epizod sa se poum diw ke: siw Pè pran risk sa vle di kew poko prè pouw grandi e siw poko prè pouw grandi sa vle di gon pakèt domèn nan laviw kew pa prè pouw amelyore.... Souvan nou pa deside bay tet nou yon Chans pou nou vin moun ke nou swete ye a jus paske nou Pè echwe or nou panse lap pranw plis tan si rekomanse olye ke nou wè kantite posiblite pouw pi byen fè sa wap fè a siw ta rekomanse. Majorite nan nou celebre epi pran kom modèl anpil lidè, selbrite ak antreprenè ki rive fè gro siksè nan lavi yo ak lavi biznis yo, e pi souvan se siksè a yo prezante nou, yo pa Toujou rezime tout peripesi ke moun sa yo pase avan ke yo rive kote ke yo a jus paske anpil moun toujou vle disosye difiklte ak echek de rezilta ke nou rele siksè a. Mwen vle raplew ke narativ yo change parapò ak epok epi sikonstans yo, sa ki konn rann li trè difisil pou anpil nan nou di tet nou ke mwen pa bezwen pafè poum komanse men pito mwen dwe komanse jodia poum vin pafè demen. Mwen pataje avew 6 aksyon kew ka pratike lew fè fas ak situation echèk. 1- Pran yon tan pouw raple tet ou poukisaw te komanse. Rezon sa ki te fèw chwazi komanse sa wap fe a; Esiw vle kontinye ou pa sipoze pedi koneksyon sa. 2- Pran tan pouw fon yon rezime tout move desizyon kew te pran pandan prosesis la, pa pouw ka jije tet ou ni aksyonw yo men pito pouw sa gon pi Bon konpreyansyon de poukisaw te fè de chwa konsa. Men kitem diw: toujou sonje sa; pa gon moun, pa menm yon sel ; ki rive akonpli gro Bagay sanl pa charye deyel: moman difisil, santiman dekourajman, youn oswa plizyè echek, yon kantite fwa preske endefini kel te oblige rekomanse ak chanje estratejil pandan tout prosesis la... Donk lew ap fè fas ak Moman sa yo nan kous paw la, sonje ke gen moun ki pase etap sa yo deja eki prè pou tandew epi baw konsèy, sonje ke Lew echwe pa vle di kew pap rive fè siksè Nan sa wap fè a men pito son okazyon pouw konprann ak preparew pi byen pou siksè kap gen pou vini an. Les Brown: “Anything is worth doing is worth doing badly. Anything is worth doing right if you know how to do it but otherwise you have to do it badly until you get it right”. Sonje abone ak chanèl nou an pouw ka rete konekte ak nou epi gen tout denye epizod yo. --- Send in a voice message: https://anchor.fm/davidson-jules/message
飛碟聯播網《飛碟早餐 唐湘龍時間》2020.12.18 週五藝文單元 全方位藝人 陶晶瑩 《姊姊妹妹站出來！陶晶瑩的30年演藝人生》 ◎內容簡介 陶晶瑩（陶子）迎來出道30周年，以歌手出道的她，後期轉戰主持發展有聲有色，接連成為三金典禮主持人，身兼DJ、作家、創業家等多重身分。近期宣布要在2021年2月27日唱進台北小巨蛋。 陶晶瑩今年7月首度在網路平台開闢全新戰線《陶口秀》，她一直保持新人的心態，以最低姿態來學習新事物、適應不斷變動的媒體環境，雖然已是3座金鐘獎的得主，也曾16度主持台灣的三金頒獎典禮，不過，談起她也曾有「不被看好」的過去。 她回顧自己出道發行的第一張專輯《天空不要為我掉眼淚》專輯照和現今對比，因為不服氣，所以更加努力，努力主持、努力唱歌、努力生活和生小孩。 她也曾在低潮的時候萌生退意，想要離開演藝事業；曾為繁重的主持工作累出病來，不得不暫時交出收視率正夯的主持棒去休養。不過，她面對逆境總是不斷激勵自己勇敢克服難關，如今的她擁有2個孩子和可愛的家庭，也擁有自己的事業，鼓勵姐姐妹妹都要站起來，成為自己人生的女王。 ◎演出簡介 活動名稱：大同氣密窗 2021 陶晶瑩【MOMAN】台北小巨蛋演唱會 演出時間：2021年2月27日（六）19:30 演出場地：台北小巨蛋 ◎來賓簡介：陶晶瑩 十歲唱歌，二十歲以説話為業，三十歲寫作，四十歲有了四口之家，五十歲希望把上述的事都能反覆做好。總是在找好玩的事，總是容易替別人生氣、為別人感動。自己呢？自己正在享受生命的樂趣、生活的驚嚇和摧殘。 購票資訊請上KKTIX網站查詢 ▶ 《飛碟早餐》FB粉絲團 https://www.facebook.com/ufobreakfast/ ▶ 飛碟聯播網FB粉絲團 https://www.facebook.com/ufonetwork921/ ▶ 網路線上收聽 http://www.uforadio.com.tw/stream/stream.html ▶ 飛碟APP，讓你收聽零距離 Android：https://reurl.cc/j78ZKm iOS：https://reurl.cc/ZOG3LA ▶ 飛碟Podcast SoundOn : https://bit.ly/30Ia8Ti Apple Podcasts : https://apple.co/3jFpP6x Spotify : https://spoti.fi/2CPzneD Google 播客：https://bit.ly/3gCTb3G #陶晶瑩 #陶口秀 #唐湘龍 #唐湘龍時間
Episode 105 of A History of Rock Music in Five Hundred Songs looks at “Green Onions”, and how a company started by a Western Swing fiddle player ended up making the most important soul records of the sixties. Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have a ten-minute bonus episode available, on “He’s So Fine” by the Chiffons. 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/ —-more—- Resources I used three main books when creating this episode. Two were histories of Stax — Soulsville USA: The Story of Stax by Rob Bowman, and Respect Yourself: Stax Records and the Soul Explosion by Robert Gordon. Country Soul by Charles L Hughes is a more general overview of soul music made in Tennessee and Alabama in the sixties, but is useful as it’s less likely to take statements about racial attitudes entirely at face value. This is a good cheap compilation of Booker T and the MGs’ music. If the Erwin Records tracks here interest you, they’re all available on this compilation. The Complete Stax-Volt Singles vol. 1: 1959-1968 is a nine-CD box set containing much of the rest of the music in this episode. It’s out of print physically, but the MP3 edition, while pricey, is worth it. Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript And now we come to the end of the backfilling portion of the story. Since “Telstar” we’ve been looking at records from 1962 that came out just before “Love Me Do” — we’ve essentially been in an extended flashback. This is the last of those flashback episodes, and from next week on we’re moving forward into 1963. Today we’re going to look at a record by a group of musicians who would be as important to the development of music in the 1960s as any, and at the early years of Stax Records, a label that would become as important as Chess, Motown, or Sun. Today, we’re looking at “Green Onions” by Booker T. and the MGs, and how a white country fiddle player accidentally kickstarted the most important label in soul music: [Excerpt: Booker T. and the MGs, “Green Onions”] Our story starts in Memphis, with Jim Stewart, a part-time fiddle player. Stewart was in a Western Swing band, and was hugely influenced by Bob Wills, but he wasn’t making any real money from music. Instead, he was working a day job at a bank. But he was still interested in music, and wanted to be involved in the industry. One of the gigs he’d had was in the house band at a venue where Elvis sometimes played in his early years, and he’d seen how Elvis had gone from an obscure local boy all the way to the biggest star in the world. He knew he couldn’t do that himself, but he was irresistibly attracted to any field where that was *possible*. He found his way into the industry, and into music history as a result of a tip from his barber. The barber in question, Erwin Ellis, was another country fiddle player, but he owned his own record label, Erwin Records. Erwin Records was a tiny label — it was so tiny that its first release, by Ellis himself, seems not to exist anywhere. Even on compilations of Erwin Records material, it’s not present, which is a shame, as it would be interesting from a historical perspective to hear Ellis’ own playing. But while Ellis was unsuccessful both as a fiddle player and as a record company owner, he did manage to release a handful of rockabilly classics on Erwin Records, like Hoyt Jackson’s “Enie Meanie Minie Moe”: [Excerpt: Hoyt Jackson, “Enie Meanie Minie Moe”] and “Boppin’ Wig Wam Willie” by Ray Scott, who had written “Flyin’ Saucers Rock & Roll” for Billy Lee Riley, and who was backed by Riley’s Little Green Men on this single: [Excerpt: Ray Scott, “Boppin’ Wig Wam WIllie”] Ellis’ label wasn’t hugely successful, but he made some decent money from it, and he explained the realities of the music industry to Stewart as Stewart was sat in his barber’s chair. He told Stewart that you didn’t make money from the records themselves — small labels didn’t sell much — but that he was making some good money from the songs. The formula for success in the music business, Ellis explained, was that when you got a new artist through the door, you told them they could only record originals, not cover versions — and then you made sure they signed the publishing over to you. If you sold a record, you were just selling a bit of plastic, and you’d already paid to make the bit of plastic. There was no real money in that. But if you owned the song, every time that record was played on the radio, you got a bit of money with no extra outlay — and if you owned enough songs, then some of them might get covered by a big star, and then you’d get some real money. Hoyt Jackson, Ellis’ biggest act, hadn’t had any hits himself, but he’d written “It’s A Little More Like Heaven (Where You Are)”: [Excerpt: Hoyt Jackson, “It’s A Little More Like Heaven (Where You Are)”] Hank Locklin had recorded a cover version of it, which had gone to number three on the country charts: [Excerpt: Hank Locklin “It’s a Little More Like Heaven”] And Johnny Cash had rewritten it a bit, as “You’re the Nearest Thing to Heaven”, and had also had a top five country hit with it: [Excerpt: Johnny Cash, “You’re the Nearest Thing to Heaven”] Ellis explained to Stewart that he was still getting cheques every few months because he owned the publishing for this song that someone else had written and brought to him. If you owned the publishing for a song that became a hit, then you had a steady source of income without having to lift a finger. And people would just give you the publishing on their songs if you agreed to put a record of them out. For someone like Stewart, who worked in a bank and knew a little bit about finance, that sounded just about perfect. He pulled together a singing DJ, a piano player, and a rhythm guitarist he knew, and they pooled their savings and raised a thousand dollars to put out a record. Stewart wrote a song — the only song he’d ever write — Fred Byler, the DJ, sang it, and they hired Ellis and his tape recorder to record it in Jim’s wife’s uncle’s garage. They came up with the name Satellite Records for their label — nobody liked it, but they couldn’t think of anything better, and satellites were in the news with the recent launch of Sputnik. “Blue Roses” by Fred Byler, came out to pretty much no sales or airplay: [Excerpt: Fred Byler, “Blue Roses”] The next record was more interesting — “Boppin’ High School Baby” by Don Willis is a prime slice of Memphis rockabilly, though one with so much slapback echo that even Joe Meek might have said “hang on, isn’t that a bit much?”: [Excerpt: Don Willis, “Boppin’ High School Baby”] That also didn’t sell — Stewart and his partners knew nothing about the music business. They didn’t know how to get the records distributed to shops, and they had no money left. And then Erwin Ellis moved away and took his tape recorder with him, and Stewart’s wife’s uncle wanted to use his garage again and so wouldn’t let them record there any more. It looked like that would be the end of Satellite Records. But then three things changed everything for Jim Stewart, and for music history. The first of these was that Stewart’s new barber was also interested in music — he had a daughter who he thought could sing, and he had a large storage space he wasn’t using, in Brunswick on the outskirts of the city. If they’d record his daughter, they could use the storage space as a studio. The second was Chips Moman. Chips was a teenage guitarist who had been playing a friend’s guitar at a drugstore in Memphis, just hanging around after work, when Warren Smith walked in. Smith was a Sun Records rockabilly artist, who’d had a minor hit with “Rock and Roll Ruby”: [Excerpt: Warren Smith, “Rock and Roll Ruby”] Smith liked Moman’s playing, and offered him a job — Moman’s initial response was “doing what?” Moman had joined Smith’s band on guitar, then played with Johnny and Dorsey Burnette. He went with the Burnettes to California, where he was a session player for a time — though I’ve never been able to find a list of any of the records he played on, just people saying he played at Gold Star Studios. He’d then joined Gene Vincent’s Blue Caps, before being in an accident which had led him to come back to Memphis. He’d played guitar on the Don Willis session, and he’d essentially produced it, applying some of the techniques he’d learned in Californian studios. He was young, he was eager to make records, and he knew what he was doing. And the third event was that Stewart managed to persuade his sister, Estelle Axton, to buy out his business partners. Estelle was a naturally business-minded person who also had a yearning to do something involving music, and had been doing things in little ways. For example, the people where she worked all liked music but found they were too busy to go to the record shop — so Estelle would make a list of records they liked, go to one of the wholesalers that distributed music to record shops, buy records there for seventy-six cents, and sell them to her colleagues for a dollar. Estelle persuaded her husband, against his better judgement, to remortgage their house, and she used the money to buy recording equipment. Moman helped them set it up in the barber’s storage space, and Satellite Records started up again, restarting their numbering as if from scratch with what they were now considering their first real release — a song that Moman had co-written, sung by a black vocal group, the Vel-Tones: [Excerpt: The Vel-Tones, “Fool in Love”] The record was pretty much in the style of the white pop semi-doo-wop that was charting at the time, but the singers were black, and so it had to be promoted as R&B, and Jim Stewart made visits to Black DJs like Al Bell and Rufus Thomas, and managed to get the record some airplay. It was popular enough that the record got picked up for distribution by Mercury, and actually brought Satellite a small profit. But the label still wasn’t doing well, and they were finding it difficult to persuade musicians to trek all the way out to Brunswick. And the studio space was bad in other ways — it was right near a train track, and the noise of the trains would disrupt the sessions. And while it was free, at some point they would actually have to make a record featuring Stewart’s barber’s daughter, which nobody actually fancied doing. So they decided to move studios again, and in doing so they were inspired by another Memphis record label. Hi Records had started around the same time as Satellite, and it had had a few big hits, most notably “Smokie (Part 2)” by the Bill Black Combo, the group that Elvis’ former bass player had formed when Elvis had joined the army: [Excerpt: Bill Black Combo: “Smokie (Part 2)”] For their studio, Hi used an old cinema — a lot of cinemas were closing down in the late fifties, due to the combination of television and the drive-in making indoor cinemas less appealing, and because white flight to the suburbs meant that people with money no longer lived in walking distance of cinemas the way they used to. The Satellite team found an old cinema on East McLemore Avenue, much closer to the centre of Memphis and easier for musicians to get to. That cinema had stopped showing films a year or two earlier, and there’d been a brief period where it had been used for country music performances, but the area was becoming increasingly Black, as white people moved away, and while plenty of Black people liked country music, they weren’t exactly welcomed to the performances in segregated 1950s Memphis, and so the building was abandoned, and available cheap. Meanwhile, Estelle’s son Charles was trying to get into the music business, too. Before I go any further in talking about him, I should say that I’ve had to depart from my normal policy when talking about him. Normally, I refer to people by the name they chose to go by, but in his case he was known by a nickname which was harmless in that time and place, but later became an extremely offensive racist slur in the UK, used against people of Pakistani descent. The word didn’t have those connotations in the US at the time, and he died before its use as a slur became widely known over there, but I’m just going to call him Charles. And speaking of words which might be considered racial slurs, the band that Charles joined — an all-white group who loved to play R&B — was called the Royal Spades. This was supposedly because of their love of playing cards, but there’s more than a suspicion that the racial connotations of the term were used deliberately, and that these white teenage boys were giggling at their naughty racial transgressiveness. The group had originally just been a guitar/bass/drum band, but Charles Axton had approached them and suggested they should get a horn section, offering his services as a tenor player. They’d laughed when he told them he’d only been playing a couple of weeks, but once he explained that his mother and uncle owned a record label, he was in the group, and they’d expanded to have a full horn section. The group was led by guitarist Steve Cropper and also included his friend, the bass player Duck Dunn, and Cropper and Charles Axton helped with the refurbishing of the cinema into a recording studio. The cinema had another advantage, too — as well as the auditorium, which became the studio, it had a lobby and concession stand. Estelle Axton turned that into a record shop, which she ran herself — with Cropper often helping out behind the counter. She instituted a policy that, unlike other record shops, people could hang around all day listening to music, without necessarily buying anything. She also brought in a loyalty card scheme — buy nine records and get a tenth record for free — which allowed her to track what individual customers were buying. She soon became so knowledgeable about what was selling to the Black teenagers of the area that she boasted that if you came into the shop with twenty dollars, she’d have sold you nineteen dollars’ worth of records before you left — she’d leave you with a dollar so you could pay for your transport home, to make sure you could come back with more money. By having a record shop in the record studio itself, they knew what was selling and could make more music that sounded like that. By having a crowd around all day listening to music, they could put the new recordings on and gauge the response before pressing a single copy. Satellite Records suddenly had a market research department. And they soon had an ally in getting them airplay. Rufus Thomas was the most important man in Black entertainment in Memphis. He was a popular DJ and comedian, he was the compere at almost every chitlin’ circuit show in the area, and he was also a popular singer. He’d been the one to record the first hit on Sun Records, “Bear Cat”, the answer record to “Hound Dog” we talked about way back in episode fifteen: [Excerpt: Rufus Thomas, “Bear Cat”] Rufus Thomas knew Jim Stewart from when Stewart had been promoting the Vel-Tones single, and so he came into the newly opened studio and suggested he cut a few tracks. If you’ve got a record label, and a DJ wants to make a record with you, that’s a godsend — you’re guaranteed airplay, not only for that record, but for a few of your others. And if that DJ also happens to be a genuine talent who’d made hit records before, you jump at the chance. Thomas also brought in his daughter, Carla, who happened to have an astonishing voice. For the first session in the new studio, they recorded a song Rufus had written, “‘Cause I Love You”, with a few musicians that he knew, including a bass player called Wilbur Steinberg, and with Steve Cropper sitting in on guitar and Chips Moman producing. Also in the studio was David Porter, a teenager who sang in a band with Bob Tally, the trumpet player on the session — Porter was skipping school so he could be in a real recording studio, even though he wasn’t going to be singing on the session. When they started playing the song, Tally decided that it would sound good with a baritone sax on it. Nobody in the studio played saxophone, but then Porter remembered one of his classmates at Booker T Washington High School. This classmate was also called Booker T. — Booker T. Jones — and he could play everything. He played oboe, sax, trombone, double bass, guitar, and keyboards, and played them all to a professional standard. Porter popped over to the school, walked into the classroom Jones was in, told the teacher that another teacher wanted to see Jones, pulled him out of the class, and told him he was going to make a record. They borrowed a baritone sax from the school’s music room, went back to the studio, and Jones played on “‘Cause I Love You” by Rufus and Carla Thomas: [Excerpt: Rufus and Carla Thomas, “‘Cause I Love You”] “‘Cause I Love You” became a local hit, and soon Jim Stewart got a call from Jerry Wexler at Atlantic, offering to start distributing it, and any future records by Rufus and Carla Thomas. Stewart didn’t really know anything about the business, but when Wexler explained to Stewart that he was the producer of “What’d I Say” by Ray Charles, Stewart knew that was someone he needed to work with — he’d recently had a sort of Damascene conversion after hearing that record, and was now fully committed to his company’s new R&B style. For a five thousand dollar advance, Atlantic ended up with the rights to press and distribute all future masters from Satellite. The next single from the label was a Carla Thomas solo record, “Gee Whizz, Look at His Eyes”. For that session, they booked in some string players, and Bob Tally was meant to write an arrangement for them. However, he didn’t turn up to the session, and when Stewart went round to his house to find him, he discovered that Tally hadn’t written the arrangement, and had been up all night playing at a gig and was in no fit state to write one. Stewart had to make the string players play from a head arrangement — something string players normally never do — and ended up giving them directions like “just play donuts!”, meaning semibreves or whole notes, which are drawn as ovals with a hole in the middle, like a donut. Despite this, “Gee Whizz” went to number five on the R&B charts and ten on the pop charts. Satellite Records had a real hit: [Excerpt: Carla Thomas, “Gee Whizz, Look at His Eyes”] Satellite were starting to build up a whole team of people they could call on. Steve Cropper was working in the record shop, so he was available whenever they needed a guitar part playing or a second keyboard adding. David Porter was working at Big Star, the grocery store across the road, and he turned out to be a talented songwriter and backing vocalist. And of course there was the band that Cropper and Charles Axton were in, which had now been renamed to the Mar-Keys, a pun on “marquis” as in the noble title, and “keys” as in keyboards, as Estelle Axton thought — entirely correctly — that their original name was inappropriate. They also had a pool of Black session players they could call on, mostly older people who’d been brought to them by Rufus Thomas, and there were always eager teenagers turning up wanting to do anything they could in order to make a record. It was the Mar-Keys who finally gave Satellite the distinctive sound they were looking for. Or, at least, it was under the Mar-Keys’ name that the record was released. An instrumental, “Last Night”, was recorded at several sessions run by Moman, often with different lineups of musicians. The Mar-Keys at this point consisted of Steve Cropper, Duck Dunn, Charles Axton, Wayne Jackson, Terry Johnson, Smoochy Smith, and Don Nix, but the lineup on the finished recording had Smith on keyboards, Axton on sax and Jackson on trumpet, with some sources saying that Cropper provided the second keyboard part while others say he only played on outtakes, not on the final version. The other four musicians were Black session players — Lewie Steinberg, Wilbur’s brother, on bass, Gilbert Caples and Floyd Newman on saxes, and Curtis Green on drums. Floyd Newman also did the spoken “Ooh, last night!” that punctuated the record: [Excerpt: The Mar-Keys, “Last Night”] Jim Stewart and Chips Moman were both convinced that would be a flop, as was Jerry Wexler when he heard it. But Estelle Axton believed in its potential — and also believed in her son, who Stewart had little time for. Jim Stewart didn’t want his useless nephew’s band on his label at all if he could help it, but Estelle Axton wanted her son to have a hit. She got a test pressing to a DJ, who started playing it, and people started coming into the shop asking for the record. Eventually, Stewart gave in to his sister’s pressure, and agreed to release the record. There was only one problem — when they pulled the tape out, they found that the first section of the track had somehow been erased. They had to hunt through the rubbish, looking through discarded bits of tape, until they found another take of the song that had a usable beginning they could splice in. They did a very good job — I *think* I can hear the splice, but if it’s where I think it is, it’s about the cleanest editing job on analogue tape I’ve ever heard. If I’m right, the edit comes right in the middle of this passage: [Excerpt: The Mar-Keys, “Last Night”] Did you hear it? The song’s authorship has been debated over the years, because the horn part and the keyboard part were written separately. Caples and Newman, the session sax players, had come up with the horn part, and so always said they should get solo composition credit. Smoochy Smith had separately written the keyboard part, which came from something he’d been working on on his own, so he got credit too. Chips Moman had suggested combining the keyboard and horn lines, and so he got songwriting credit as well. And Charles Axton didn’t contribute anything to the song other than playing on the record, but because his family owned the record label, he got credit as well. The record became a big hit, and there are a couple of hypotheses as to why. Steve Cropper always argued that it was because you could dance the Twist to it, and so it rode the Twist craze, while others have pointed out that at one point in the record they leave a gap instead of saying “Ooh last night” as they do the rest of the way through. That gap allowed DJs to do the interjection themselves, which encouraged them to play it a lot. It made number three on the pop charts and number two on the R&B charts, and it led to Satellite Records coming to the attention of another label, also called Satellite, in California, who offered to sell the Memphis label the rights to use the name. Jim Stewart had never liked Satellite as a name anyway, and so they quickly reissued the record with a new label, named after the first letters of Jim Stewart and Estelle Axton’s surnames. Stax Records was born. The Mar-Keys immediately hit the road to promote the single — which brought resentment from the Black session players, some of whom claim that during the session it hadn’t even been intended as a Mar-Keys record, and who were annoyed that even though the record was primarily their work they weren’t getting the recognition and a bunch of white boys were. Cropper soon got tired of the tour, quit the group and came back to Memphis — he was annoyed partly because the other band members, being teenage boys, many of them away from home for the first time, acted like wild animals, and partly because Cropper and Charles Axton both believed themselves to be the band’s leader and that the other should obey them. Cropper went back to working in the record shop, and playing on sessions at Stax. The second Mar-Keys single was recorded by the studio musicians while the group were out on tour — the first they even knew about it was when they saw it in the shop: [Excerpt: The Mar-Keys, “The Morning After”] That was much less successful, but the label was still interested in making instrumentals. They started a subsidiary label, Volt — if you put records out with two different label names, it was more likely that radio stations would play more of your records, because it wouldn’t seem like they were playing one label too much — and the first single on it was an instrumental that Chips Moman wrote, “Burnt Biscuits”, by a group consisting of Moman, Rufus Thomas’ son Mavell, Lewie Steinberg, and Howard Grimes: [Excerpt: The Triumphs, “Burnt Biscuits”] That wasn’t a hit, though Moman thought it had the potential to become as big as “Last Night”. It was released under the name “the Triumphs”, after the sports car Moman drove. Shortly after that, Moman produced what would be the last classic record he’d make for Stax, when he produced “You Don’t Miss Your Water” by a new singer, William Bell, who had previously been one of the backing vocalists on “Gee Whiz”. That track had Mavell Thomas on piano, Lewie Steinberg on bass, Ron Capone on drums, and Booker T. Jones on organ — by this point Booker T. was being called on a lot to play keyboards, as Floyd Newman recommended him as a reliable piano player in the hopes that if Jones was on keyboards, he wouldn’t be playing baritone sax, so Newman would get more of those gigs: [Excerpt: William Bell, “You Don’t Miss Your Water”] That was a great record, one of the defining records of the new country-soul genre along with Arthur Alexander’s records, but it would be the last thing Moman would do at Stax. He’d not been getting on with Estelle Axton, and he also claims that he had been promised a third of the company, but Jim Stewart changed his mind and refused to cut him in. Everyone has a different story about what happened, but the upshot was that Moman left the company, went to Nashville for a while, and then founded his own studio, American, in another part of Memphis. Moman would become responsible for writing and producing a whole string of soul, country, and rock classics, and I’m sure we’ll be hearing more from him in the next couple of years. After Moman left, the label floundered a little bit for a few months. Jim Stewart and Steve Cropper split the production duties that Moman had had between them. Stewart had already produced several records for Carla Thomas, and Cropper was a great musician who had been spending every second he could learning how to make records, so they could cope, but they released a mixture of really good soul records that failed to hit the charts, and truly dire novelty country songs like “The Three Dogwoods” by Nick Charles, a song from the perspective of the tree that became the cross on which Jesus was crucified: [Excerpt: Nick Charles, “The Three Dogwoods”] That was co-written by Cropper, which shows that even the man who co-wrote “In the Midnight Hour”, “Dock of the Bay” and “Knock on Wood” had his off days. The record that would prove Stax to be capable of doing great things without Chips Moman came about by accident. Stax was still not exclusively a soul label, and it was cutting the odd country and rockabilly record, and one of the people who was going to use the studio was Billy Lee Riley. You might remember Riley from a year ago, when we looked at his “Flyin’ Saucers Rock ‘n’ Roll”: [Excerpt: Billy Lee Riley and the Little Green Men, “Flyin’ Saucers Rock ‘n’ Roll”] Riley was running his own label at the time, and doing various bits of session work and singing for other people. No-one’s quite sure what he was using the studio for in early 1962 — some say he was cutting a jingle, some say he cut a few actual tracks but that they were awful, and others that he turned up too drunk to record. Either way, the session ended early, and the musicians were at a loose end. The musicians on this session were three of the regular Stax musicians — Steve Cropper, who had just turned twenty, on guitar, Booker T. Jones, who was still a teenager, on organ, and Lewie Steinberg, a decade older than either, on bass. The fourth musician was Al Jackson, who like Steinberg was an older Black man who had cut his teeth playing jazz and R&B throughout the fifties. Booker had played with Jackson in Willie Mitchell’s band, and had insisted to everyone at Stax that they needed to get this man in, as he was the best drummer Jones had ever heard. Jackson was making money from gigging, and didn’t want to waste his time playing sessions, which he thought would not be as lucrative as his regular gigs with Willie Mitchell. Eventually, Stax agreed to take him on on a salary, rather than just paying him one-off session fees, and so he became the first musician employed by Stax as a full-time player — Cropper was already on salary, but that was for his production work and his work at the record shop. As the session had ended rather disappointingly, the four were noodling on some blues as they had nothing better to do. Jim Stewart clicked on the talkback from the control room to tell them to go home, but then heard what they were playing, and told them to start it again so he could get it down on tape: [Excerpt: Booker T and the MGs, “Behave Yourself”] Stewart was happy with that track, but singles needed two sides, and so they needed to come up with something else. Cropper remembered a little musical lick he’d heard on the radio one day when he’d been driving with Booker — they’d both been fascinated by that lick, but neither could remember anything else about the song (and to this day no-one’s figured out what the song they’d heard was). They started noodling around with that lick, and shaped it into a twelve-bar instrumental: [Excerpt: Booker T. and the MGs, “Green Onions”] That was even better than the other track, and they needed a funky name to go with such a funky track. Lewie Steinberg thought that onions were the funkiest thing he could think of, and so the track became “Green Onions”. As the last instrumental they’d released with food as a title, “Burnt Biscuits”, had been by the Triumphs, they thought the group name should be another sports car name, and so it came out as by Booker T and the MGs. (They later said that MG stood either for Memphis Group or for Mixed Group, because they had both Black and white members, but the original idea was definitely the car – they just didn’t want to have a trademark lawsuit on their hands). “Green Onions” went to number one on the R&B charts and number three on the pop charts, and became the biggest thing Stax had ever recorded. That core group became the Stax house band, playing on every session from that point on. If they recorded an instrumental on their own, it went out as by Booker T and the MGs. If they recorded an instrumental with horn players, it went out as by the Mar-Keys, and they also played backing all the singers who came through the door of Stax, and there would be a lot of them over the next few years. There were a couple of changes — Booker T actually went off to university soon after recording “Green Onions”, so for a couple of years he could only play on weekends and during holidays — on weekdays, the studio used another keyboard player, again suggested by Floyd Newman, who had hired a young man for his bar band when the young man could only play piano with one hand, just because he seemed to have a feel for the music. Luckily, Isaac Hayes had soon learned to play with both hands, and he fit right in while Booker was away at university. The other change came a couple of years later, when after the MGs had had a few hits, Lewie Steinberg was replaced by Duck Dunn. Steinberg always claimed that the main reason he was dropped from the MGs was because he was Black and Steve Cropper wanted another white man. Cropper has always said it was because Duck Dunn had a harder-edged style that fit their music better than Steinberg’s looser feel, but also that Dunn had been his best friend for years and he wanted to play more with him. The two Black members of the MGs have never commented publicly, as far as I can tell, on the change. But whether with Jones or Hayes, Steinberg or Dunn, the MGs would be the foundation of Stax’s records for the rest of the sixties, as well as producing a string of instrumental hits. And it was those instrumental hits that led to the arrival of the person who would make Stax a legendary label. Joe Galkin, a record promoter to whom Jim Stewart owed a favour, was managing a local guitarist, Johnny Jenkins, and brought him into the studio to see if Stax could get him an instrumental hit, since they’d had a few of those. Jenkins did eventually release a single on Stax, but it wasn’t particularly special, and didn’t have any success: [Excerpt: Johnny Jenkins, “Spunky”] The day of Jenkins’ first session was a flop, they’d not been able to get anything decent recorded, and the musicians started to pack up. But Galkin had made a deal with the singer in Jenkins’ band — if he’d drive Jenkins to the studio, since Jenkins couldn’t drive, he’d try to get a record cut with him as well. Nobody was interested, but Galkin wore Jim Stewart down and he agreed to listen to this person who he just thought of as Johnny Jenkins’ driver. After hearing him, Steve Cropper ran out to get Lewie Steinberg, who was packing his bass away, and tell him to bring it back into the studio. Cropper played piano, Jenkins stayed on guitar, and Booker, Al, and Lewie played their normal instruments. Jim Stewart wasn’t particularly impressed with the results, but he owed Galkin a favour, so he released the record, a fun but unoriginal Little Richard soundalike: [Excerpt: Otis Redding, “Hey Hey Baby”] But soon DJs flipped the record, and it was the B-side that became the hit: [Excerpt: Otis Redding, “These Arms of Mine”] Otis Redding would never again be thought of as just Johnny Jenkins’ driver, and Stax Records was about to hit the big time.
Episode 105 of A History of Rock Music in Five Hundred Songs looks at "Green Onions", and how a company started by a Western Swing fiddle player ended up making the most important soul records of the sixties. Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have a ten-minute bonus episode available, on "He's So Fine" by the Chiffons. 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/ ----more---- Resources I used three main books when creating this episode. Two were histories of Stax -- Soulsville USA: The Story of Stax by Rob Bowman, and Respect Yourself: Stax Records and the Soul Explosion by Robert Gordon. Country Soul by Charles L Hughes is a more general overview of soul music made in Tennessee and Alabama in the sixties, but is useful as it's less likely to take statements about racial attitudes entirely at face value. This is a good cheap compilation of Booker T and the MGs' music. If the Erwin Records tracks here interest you, they're all available on this compilation. The Complete Stax-Volt Singles vol. 1: 1959-1968 is a nine-CD box set containing much of the rest of the music in this episode. It's out of print physically, but the MP3 edition, while pricey, is worth it. Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript And now we come to the end of the backfilling portion of the story. Since "Telstar" we've been looking at records from 1962 that came out just before "Love Me Do" -- we've essentially been in an extended flashback. This is the last of those flashback episodes, and from next week on we're moving forward into 1963. Today we're going to look at a record by a group of musicians who would be as important to the development of music in the 1960s as any, and at the early years of Stax Records, a label that would become as important as Chess, Motown, or Sun. Today, we're looking at "Green Onions" by Booker T. and the MGs, and how a white country fiddle player accidentally kickstarted the most important label in soul music: [Excerpt: Booker T. and the MGs, "Green Onions"] Our story starts in Memphis, with Jim Stewart, a part-time fiddle player. Stewart was in a Western Swing band, and was hugely influenced by Bob Wills, but he wasn't making any real money from music. Instead, he was working a day job at a bank. But he was still interested in music, and wanted to be involved in the industry. One of the gigs he'd had was in the house band at a venue where Elvis sometimes played in his early years, and he'd seen how Elvis had gone from an obscure local boy all the way to the biggest star in the world. He knew he couldn't do that himself, but he was irresistibly attracted to any field where that was *possible*. He found his way into the industry, and into music history as a result of a tip from his barber. The barber in question, Erwin Ellis, was another country fiddle player, but he owned his own record label, Erwin Records. Erwin Records was a tiny label -- it was so tiny that its first release, by Ellis himself, seems not to exist anywhere. Even on compilations of Erwin Records material, it's not present, which is a shame, as it would be interesting from a historical perspective to hear Ellis' own playing. But while Ellis was unsuccessful both as a fiddle player and as a record company owner, he did manage to release a handful of rockabilly classics on Erwin Records, like Hoyt Jackson's "Enie Meanie Minie Moe": [Excerpt: Hoyt Jackson, "Enie Meanie Minie Moe"] and "Boppin' Wig Wam Willie" by Ray Scott, who had written "Flyin' Saucers Rock & Roll" for Billy Lee Riley, and who was backed by Riley's Little Green Men on this single: [Excerpt: Ray Scott, "Boppin' Wig Wam WIllie"] Ellis' label wasn't hugely successful, but he made some decent money from it, and he explained the realities of the music industry to Stewart as Stewart was sat in his barber's chair. He told Stewart that you didn't make money from the records themselves -- small labels didn't sell much -- but that he was making some good money from the songs. The formula for success in the music business, Ellis explained, was that when you got a new artist through the door, you told them they could only record originals, not cover versions -- and then you made sure they signed the publishing over to you. If you sold a record, you were just selling a bit of plastic, and you'd already paid to make the bit of plastic. There was no real money in that. But if you owned the song, every time that record was played on the radio, you got a bit of money with no extra outlay -- and if you owned enough songs, then some of them might get covered by a big star, and then you'd get some real money. Hoyt Jackson, Ellis' biggest act, hadn't had any hits himself, but he'd written "It's A Little More Like Heaven (Where You Are)": [Excerpt: Hoyt Jackson, "It's A Little More Like Heaven (Where You Are)"] Hank Locklin had recorded a cover version of it, which had gone to number three on the country charts: [Excerpt: Hank Locklin "It's a Little More Like Heaven"] And Johnny Cash had rewritten it a bit, as "You're the Nearest Thing to Heaven", and had also had a top five country hit with it: [Excerpt: Johnny Cash, "You're the Nearest Thing to Heaven"] Ellis explained to Stewart that he was still getting cheques every few months because he owned the publishing for this song that someone else had written and brought to him. If you owned the publishing for a song that became a hit, then you had a steady source of income without having to lift a finger. And people would just give you the publishing on their songs if you agreed to put a record of them out. For someone like Stewart, who worked in a bank and knew a little bit about finance, that sounded just about perfect. He pulled together a singing DJ, a piano player, and a rhythm guitarist he knew, and they pooled their savings and raised a thousand dollars to put out a record. Stewart wrote a song -- the only song he'd ever write -- Fred Byler, the DJ, sang it, and they hired Ellis and his tape recorder to record it in Jim's wife's uncle's garage. They came up with the name Satellite Records for their label -- nobody liked it, but they couldn't think of anything better, and satellites were in the news with the recent launch of Sputnik. "Blue Roses" by Fred Byler, came out to pretty much no sales or airplay: [Excerpt: Fred Byler, "Blue Roses"] The next record was more interesting -- "Boppin' High School Baby" by Don Willis is a prime slice of Memphis rockabilly, though one with so much slapback echo that even Joe Meek might have said "hang on, isn't that a bit much?": [Excerpt: Don Willis, "Boppin' High School Baby"] That also didn't sell -- Stewart and his partners knew nothing about the music business. They didn't know how to get the records distributed to shops, and they had no money left. And then Erwin Ellis moved away and took his tape recorder with him, and Stewart's wife's uncle wanted to use his garage again and so wouldn't let them record there any more. It looked like that would be the end of Satellite Records. But then three things changed everything for Jim Stewart, and for music history. The first of these was that Stewart's new barber was also interested in music -- he had a daughter who he thought could sing, and he had a large storage space he wasn't using, in Brunswick on the outskirts of the city. If they'd record his daughter, they could use the storage space as a studio. The second was Chips Moman. Chips was a teenage guitarist who had been playing a friend's guitar at a drugstore in Memphis, just hanging around after work, when Warren Smith walked in. Smith was a Sun Records rockabilly artist, who'd had a minor hit with "Rock and Roll Ruby": [Excerpt: Warren Smith, "Rock and Roll Ruby"] Smith liked Moman's playing, and offered him a job -- Moman's initial response was "doing what?" Moman had joined Smith's band on guitar, then played with Johnny and Dorsey Burnette. He went with the Burnettes to California, where he was a session player for a time -- though I've never been able to find a list of any of the records he played on, just people saying he played at Gold Star Studios. He'd then joined Gene Vincent's Blue Caps, before being in an accident which had led him to come back to Memphis. He'd played guitar on the Don Willis session, and he'd essentially produced it, applying some of the techniques he'd learned in Californian studios. He was young, he was eager to make records, and he knew what he was doing. And the third event was that Stewart managed to persuade his sister, Estelle Axton, to buy out his business partners. Estelle was a naturally business-minded person who also had a yearning to do something involving music, and had been doing things in little ways. For example, the people where she worked all liked music but found they were too busy to go to the record shop -- so Estelle would make a list of records they liked, go to one of the wholesalers that distributed music to record shops, buy records there for seventy-six cents, and sell them to her colleagues for a dollar. Estelle persuaded her husband, against his better judgement, to remortgage their house, and she used the money to buy recording equipment. Moman helped them set it up in the barber's storage space, and Satellite Records started up again, restarting their numbering as if from scratch with what they were now considering their first real release -- a song that Moman had co-written, sung by a black vocal group, the Vel-Tones: [Excerpt: The Vel-Tones, "Fool in Love"] The record was pretty much in the style of the white pop semi-doo-wop that was charting at the time, but the singers were black, and so it had to be promoted as R&B, and Jim Stewart made visits to Black DJs like Al Bell and Rufus Thomas, and managed to get the record some airplay. It was popular enough that the record got picked up for distribution by Mercury, and actually brought Satellite a small profit. But the label still wasn't doing well, and they were finding it difficult to persuade musicians to trek all the way out to Brunswick. And the studio space was bad in other ways -- it was right near a train track, and the noise of the trains would disrupt the sessions. And while it was free, at some point they would actually have to make a record featuring Stewart's barber's daughter, which nobody actually fancied doing. So they decided to move studios again, and in doing so they were inspired by another Memphis record label. Hi Records had started around the same time as Satellite, and it had had a few big hits, most notably "Smokie (Part 2)" by the Bill Black Combo, the group that Elvis' former bass player had formed when Elvis had joined the army: [Excerpt: Bill Black Combo: "Smokie (Part 2)"] For their studio, Hi used an old cinema -- a lot of cinemas were closing down in the late fifties, due to the combination of television and the drive-in making indoor cinemas less appealing, and because white flight to the suburbs meant that people with money no longer lived in walking distance of cinemas the way they used to. The Satellite team found an old cinema on East McLemore Avenue, much closer to the centre of Memphis and easier for musicians to get to. That cinema had stopped showing films a year or two earlier, and there'd been a brief period where it had been used for country music performances, but the area was becoming increasingly Black, as white people moved away, and while plenty of Black people liked country music, they weren't exactly welcomed to the performances in segregated 1950s Memphis, and so the building was abandoned, and available cheap. Meanwhile, Estelle's son Charles was trying to get into the music business, too. Before I go any further in talking about him, I should say that I've had to depart from my normal policy when talking about him. Normally, I refer to people by the name they chose to go by, but in his case he was known by a nickname which was harmless in that time and place, but later became an extremely offensive racist slur in the UK, used against people of Pakistani descent. The word didn't have those connotations in the US at the time, and he died before its use as a slur became widely known over there, but I'm just going to call him Charles. And speaking of words which might be considered racial slurs, the band that Charles joined -- an all-white group who loved to play R&B -- was called the Royal Spades. This was supposedly because of their love of playing cards, but there's more than a suspicion that the racial connotations of the term were used deliberately, and that these white teenage boys were giggling at their naughty racial transgressiveness. The group had originally just been a guitar/bass/drum band, but Charles Axton had approached them and suggested they should get a horn section, offering his services as a tenor player. They'd laughed when he told them he'd only been playing a couple of weeks, but once he explained that his mother and uncle owned a record label, he was in the group, and they'd expanded to have a full horn section. The group was led by guitarist Steve Cropper and also included his friend, the bass player Duck Dunn, and Cropper and Charles Axton helped with the refurbishing of the cinema into a recording studio. The cinema had another advantage, too -- as well as the auditorium, which became the studio, it had a lobby and concession stand. Estelle Axton turned that into a record shop, which she ran herself -- with Cropper often helping out behind the counter. She instituted a policy that, unlike other record shops, people could hang around all day listening to music, without necessarily buying anything. She also brought in a loyalty card scheme -- buy nine records and get a tenth record for free -- which allowed her to track what individual customers were buying. She soon became so knowledgeable about what was selling to the Black teenagers of the area that she boasted that if you came into the shop with twenty dollars, she'd have sold you nineteen dollars' worth of records before you left -- she'd leave you with a dollar so you could pay for your transport home, to make sure you could come back with more money. By having a record shop in the record studio itself, they knew what was selling and could make more music that sounded like that. By having a crowd around all day listening to music, they could put the new recordings on and gauge the response before pressing a single copy. Satellite Records suddenly had a market research department. And they soon had an ally in getting them airplay. Rufus Thomas was the most important man in Black entertainment in Memphis. He was a popular DJ and comedian, he was the compere at almost every chitlin' circuit show in the area, and he was also a popular singer. He'd been the one to record the first hit on Sun Records, "Bear Cat", the answer record to "Hound Dog" we talked about way back in episode fifteen: [Excerpt: Rufus Thomas, "Bear Cat"] Rufus Thomas knew Jim Stewart from when Stewart had been promoting the Vel-Tones single, and so he came into the newly opened studio and suggested he cut a few tracks. If you've got a record label, and a DJ wants to make a record with you, that's a godsend -- you're guaranteed airplay, not only for that record, but for a few of your others. And if that DJ also happens to be a genuine talent who'd made hit records before, you jump at the chance. Thomas also brought in his daughter, Carla, who happened to have an astonishing voice. For the first session in the new studio, they recorded a song Rufus had written, "'Cause I Love You", with a few musicians that he knew, including a bass player called Wilbur Steinberg, and with Steve Cropper sitting in on guitar and Chips Moman producing. Also in the studio was David Porter, a teenager who sang in a band with Bob Tally, the trumpet player on the session -- Porter was skipping school so he could be in a real recording studio, even though he wasn't going to be singing on the session. When they started playing the song, Tally decided that it would sound good with a baritone sax on it. Nobody in the studio played saxophone, but then Porter remembered one of his classmates at Booker T Washington High School. This classmate was also called Booker T. -- Booker T. Jones -- and he could play everything. He played oboe, sax, trombone, double bass, guitar, and keyboards, and played them all to a professional standard. Porter popped over to the school, walked into the classroom Jones was in, told the teacher that another teacher wanted to see Jones, pulled him out of the class, and told him he was going to make a record. They borrowed a baritone sax from the school's music room, went back to the studio, and Jones played on "'Cause I Love You" by Rufus and Carla Thomas: [Excerpt: Rufus and Carla Thomas, "'Cause I Love You"] "'Cause I Love You" became a local hit, and soon Jim Stewart got a call from Jerry Wexler at Atlantic, offering to start distributing it, and any future records by Rufus and Carla Thomas. Stewart didn't really know anything about the business, but when Wexler explained to Stewart that he was the producer of "What'd I Say" by Ray Charles, Stewart knew that was someone he needed to work with -- he'd recently had a sort of Damascene conversion after hearing that record, and was now fully committed to his company's new R&B style. For a five thousand dollar advance, Atlantic ended up with the rights to press and distribute all future masters from Satellite. The next single from the label was a Carla Thomas solo record, "Gee Whizz, Look at His Eyes". For that session, they booked in some string players, and Bob Tally was meant to write an arrangement for them. However, he didn't turn up to the session, and when Stewart went round to his house to find him, he discovered that Tally hadn't written the arrangement, and had been up all night playing at a gig and was in no fit state to write one. Stewart had to make the string players play from a head arrangement -- something string players normally never do -- and ended up giving them directions like "just play donuts!", meaning semibreves or whole notes, which are drawn as ovals with a hole in the middle, like a donut. Despite this, "Gee Whizz" went to number five on the R&B charts and ten on the pop charts. Satellite Records had a real hit: [Excerpt: Carla Thomas, "Gee Whizz, Look at His Eyes"] Satellite were starting to build up a whole team of people they could call on. Steve Cropper was working in the record shop, so he was available whenever they needed a guitar part playing or a second keyboard adding. David Porter was working at Big Star, the grocery store across the road, and he turned out to be a talented songwriter and backing vocalist. And of course there was the band that Cropper and Charles Axton were in, which had now been renamed to the Mar-Keys, a pun on "marquis" as in the noble title, and "keys" as in keyboards, as Estelle Axton thought -- entirely correctly -- that their original name was inappropriate. They also had a pool of Black session players they could call on, mostly older people who'd been brought to them by Rufus Thomas, and there were always eager teenagers turning up wanting to do anything they could in order to make a record. It was the Mar-Keys who finally gave Satellite the distinctive sound they were looking for. Or, at least, it was under the Mar-Keys' name that the record was released. An instrumental, "Last Night", was recorded at several sessions run by Moman, often with different lineups of musicians. The Mar-Keys at this point consisted of Steve Cropper, Duck Dunn, Charles Axton, Wayne Jackson, Terry Johnson, Smoochy Smith, and Don Nix, but the lineup on the finished recording had Smith on keyboards, Axton on sax and Jackson on trumpet, with some sources saying that Cropper provided the second keyboard part while others say he only played on outtakes, not on the final version. The other four musicians were Black session players -- Lewie Steinberg, Wilbur's brother, on bass, Gilbert Caples and Floyd Newman on saxes, and Curtis Green on drums. Floyd Newman also did the spoken "Ooh, last night!" that punctuated the record: [Excerpt: The Mar-Keys, "Last Night"] Jim Stewart and Chips Moman were both convinced that would be a flop, as was Jerry Wexler when he heard it. But Estelle Axton believed in its potential -- and also believed in her son, who Stewart had little time for. Jim Stewart didn't want his useless nephew's band on his label at all if he could help it, but Estelle Axton wanted her son to have a hit. She got a test pressing to a DJ, who started playing it, and people started coming into the shop asking for the record. Eventually, Stewart gave in to his sister's pressure, and agreed to release the record. There was only one problem -- when they pulled the tape out, they found that the first section of the track had somehow been erased. They had to hunt through the rubbish, looking through discarded bits of tape, until they found another take of the song that had a usable beginning they could splice in. They did a very good job -- I *think* I can hear the splice, but if it's where I think it is, it's about the cleanest editing job on analogue tape I've ever heard. If I'm right, the edit comes right in the middle of this passage: [Excerpt: The Mar-Keys, "Last Night"] Did you hear it? The song's authorship has been debated over the years, because the horn part and the keyboard part were written separately. Caples and Newman, the session sax players, had come up with the horn part, and so always said they should get solo composition credit. Smoochy Smith had separately written the keyboard part, which came from something he'd been working on on his own, so he got credit too. Chips Moman had suggested combining the keyboard and horn lines, and so he got songwriting credit as well. And Charles Axton didn't contribute anything to the song other than playing on the record, but because his family owned the record label, he got credit as well. The record became a big hit, and there are a couple of hypotheses as to why. Steve Cropper always argued that it was because you could dance the Twist to it, and so it rode the Twist craze, while others have pointed out that at one point in the record they leave a gap instead of saying "Ooh last night" as they do the rest of the way through. That gap allowed DJs to do the interjection themselves, which encouraged them to play it a lot. It made number three on the pop charts and number two on the R&B charts, and it led to Satellite Records coming to the attention of another label, also called Satellite, in California, who offered to sell the Memphis label the rights to use the name. Jim Stewart had never liked Satellite as a name anyway, and so they quickly reissued the record with a new label, named after the first letters of Jim Stewart and Estelle Axton's surnames. Stax Records was born. The Mar-Keys immediately hit the road to promote the single -- which brought resentment from the Black session players, some of whom claim that during the session it hadn't even been intended as a Mar-Keys record, and who were annoyed that even though the record was primarily their work they weren't getting the recognition and a bunch of white boys were. Cropper soon got tired of the tour, quit the group and came back to Memphis -- he was annoyed partly because the other band members, being teenage boys, many of them away from home for the first time, acted like wild animals, and partly because Cropper and Charles Axton both believed themselves to be the band's leader and that the other should obey them. Cropper went back to working in the record shop, and playing on sessions at Stax. The second Mar-Keys single was recorded by the studio musicians while the group were out on tour -- the first they even knew about it was when they saw it in the shop: [Excerpt: The Mar-Keys, "The Morning After"] That was much less successful, but the label was still interested in making instrumentals. They started a subsidiary label, Volt -- if you put records out with two different label names, it was more likely that radio stations would play more of your records, because it wouldn't seem like they were playing one label too much -- and the first single on it was an instrumental that Chips Moman wrote, "Burnt Biscuits", by a group consisting of Moman, Rufus Thomas' son Mavell, Lewie Steinberg, and Howard Grimes: [Excerpt: The Triumphs, "Burnt Biscuits"] That wasn't a hit, though Moman thought it had the potential to become as big as "Last Night". It was released under the name "the Triumphs", after the sports car Moman drove. Shortly after that, Moman produced what would be the last classic record he'd make for Stax, when he produced "You Don't Miss Your Water" by a new singer, William Bell, who had previously been one of the backing vocalists on "Gee Whiz". That track had Mavell Thomas on piano, Lewie Steinberg on bass, Ron Capone on drums, and Booker T. Jones on organ -- by this point Booker T. was being called on a lot to play keyboards, as Floyd Newman recommended him as a reliable piano player in the hopes that if Jones was on keyboards, he wouldn't be playing baritone sax, so Newman would get more of those gigs: [Excerpt: William Bell, "You Don't Miss Your Water"] That was a great record, one of the defining records of the new country-soul genre along with Arthur Alexander's records, but it would be the last thing Moman would do at Stax. He'd not been getting on with Estelle Axton, and he also claims that he had been promised a third of the company, but Jim Stewart changed his mind and refused to cut him in. Everyone has a different story about what happened, but the upshot was that Moman left the company, went to Nashville for a while, and then founded his own studio, American, in another part of Memphis. Moman would become responsible for writing and producing a whole string of soul, country, and rock classics, and I'm sure we'll be hearing more from him in the next couple of years. After Moman left, the label floundered a little bit for a few months. Jim Stewart and Steve Cropper split the production duties that Moman had had between them. Stewart had already produced several records for Carla Thomas, and Cropper was a great musician who had been spending every second he could learning how to make records, so they could cope, but they released a mixture of really good soul records that failed to hit the charts, and truly dire novelty country songs like "The Three Dogwoods" by Nick Charles, a song from the perspective of the tree that became the cross on which Jesus was crucified: [Excerpt: Nick Charles, "The Three Dogwoods"] That was co-written by Cropper, which shows that even the man who co-wrote "In the Midnight Hour", "Dock of the Bay" and "Knock on Wood" had his off days. The record that would prove Stax to be capable of doing great things without Chips Moman came about by accident. Stax was still not exclusively a soul label, and it was cutting the odd country and rockabilly record, and one of the people who was going to use the studio was Billy Lee Riley. You might remember Riley from a year ago, when we looked at his "Flyin' Saucers Rock 'n' Roll": [Excerpt: Billy Lee Riley and the Little Green Men, "Flyin' Saucers Rock 'n' Roll"] Riley was running his own label at the time, and doing various bits of session work and singing for other people. No-one's quite sure what he was using the studio for in early 1962 -- some say he was cutting a jingle, some say he cut a few actual tracks but that they were awful, and others that he turned up too drunk to record. Either way, the session ended early, and the musicians were at a loose end. The musicians on this session were three of the regular Stax musicians -- Steve Cropper, who had just turned twenty, on guitar, Booker T. Jones, who was still a teenager, on organ, and Lewie Steinberg, a decade older than either, on bass. The fourth musician was Al Jackson, who like Steinberg was an older Black man who had cut his teeth playing jazz and R&B throughout the fifties. Booker had played with Jackson in Willie Mitchell's band, and had insisted to everyone at Stax that they needed to get this man in, as he was the best drummer Jones had ever heard. Jackson was making money from gigging, and didn't want to waste his time playing sessions, which he thought would not be as lucrative as his regular gigs with Willie Mitchell. Eventually, Stax agreed to take him on on a salary, rather than just paying him one-off session fees, and so he became the first musician employed by Stax as a full-time player -- Cropper was already on salary, but that was for his production work and his work at the record shop. As the session had ended rather disappointingly, the four were noodling on some blues as they had nothing better to do. Jim Stewart clicked on the talkback from the control room to tell them to go home, but then heard what they were playing, and told them to start it again so he could get it down on tape: [Excerpt: Booker T and the MGs, "Behave Yourself"] Stewart was happy with that track, but singles needed two sides, and so they needed to come up with something else. Cropper remembered a little musical lick he'd heard on the radio one day when he'd been driving with Booker -- they'd both been fascinated by that lick, but neither could remember anything else about the song (and to this day no-one's figured out what the song they'd heard was). They started noodling around with that lick, and shaped it into a twelve-bar instrumental: [Excerpt: Booker T. and the MGs, "Green Onions"] That was even better than the other track, and they needed a funky name to go with such a funky track. Lewie Steinberg thought that onions were the funkiest thing he could think of, and so the track became "Green Onions". As the last instrumental they'd released with food as a title, "Burnt Biscuits", had been by the Triumphs, they thought the group name should be another sports car name, and so it came out as by Booker T and the MGs. (They later said that MG stood either for Memphis Group or for Mixed Group, because they had both Black and white members, but the original idea was definitely the car – they just didn't want to have a trademark lawsuit on their hands). "Green Onions" went to number one on the R&B charts and number three on the pop charts, and became the biggest thing Stax had ever recorded. That core group became the Stax house band, playing on every session from that point on. If they recorded an instrumental on their own, it went out as by Booker T and the MGs. If they recorded an instrumental with horn players, it went out as by the Mar-Keys, and they also played backing all the singers who came through the door of Stax, and there would be a lot of them over the next few years. There were a couple of changes -- Booker T actually went off to university soon after recording "Green Onions", so for a couple of years he could only play on weekends and during holidays -- on weekdays, the studio used another keyboard player, again suggested by Floyd Newman, who had hired a young man for his bar band when the young man could only play piano with one hand, just because he seemed to have a feel for the music. Luckily, Isaac Hayes had soon learned to play with both hands, and he fit right in while Booker was away at university. The other change came a couple of years later, when after the MGs had had a few hits, Lewie Steinberg was replaced by Duck Dunn. Steinberg always claimed that the main reason he was dropped from the MGs was because he was Black and Steve Cropper wanted another white man. Cropper has always said it was because Duck Dunn had a harder-edged style that fit their music better than Steinberg's looser feel, but also that Dunn had been his best friend for years and he wanted to play more with him. The two Black members of the MGs have never commented publicly, as far as I can tell, on the change. But whether with Jones or Hayes, Steinberg or Dunn, the MGs would be the foundation of Stax's records for the rest of the sixties, as well as producing a string of instrumental hits. And it was those instrumental hits that led to the arrival of the person who would make Stax a legendary label. Joe Galkin, a record promoter to whom Jim Stewart owed a favour, was managing a local guitarist, Johnny Jenkins, and brought him into the studio to see if Stax could get him an instrumental hit, since they'd had a few of those. Jenkins did eventually release a single on Stax, but it wasn't particularly special, and didn't have any success: [Excerpt: Johnny Jenkins, "Spunky"] The day of Jenkins' first session was a flop, they'd not been able to get anything decent recorded, and the musicians started to pack up. But Galkin had made a deal with the singer in Jenkins' band -- if he'd drive Jenkins to the studio, since Jenkins couldn't drive, he'd try to get a record cut with him as well. Nobody was interested, but Galkin wore Jim Stewart down and he agreed to listen to this person who he just thought of as Johnny Jenkins' driver. After hearing him, Steve Cropper ran out to get Lewie Steinberg, who was packing his bass away, and tell him to bring it back into the studio. Cropper played piano, Jenkins stayed on guitar, and Booker, Al, and Lewie played their normal instruments. Jim Stewart wasn't particularly impressed with the results, but he owed Galkin a favour, so he released the record, a fun but unoriginal Little Richard soundalike: [Excerpt: Otis Redding, "Hey Hey Baby"] But soon DJs flipped the record, and it was the B-side that became the hit: [Excerpt: Otis Redding, "These Arms of Mine"] Otis Redding would never again be thought of as just Johnny Jenkins' driver, and Stax Records was about to hit the big time.
Dans cet épisode de 3d8plus4 bercés par la crise d'ironie aigue qui frappe l'administration Trump, nous parlons brièvement de l'annonce de l'évènement iPhone 12 le 13 octobre, du early access de Baldur's Gate 3, des retards dans la sortie du dernier James Bond et du nouveau Dune, avant de plonger dans Final Fantasy 14 (encore!) sans oublier le review initial de Luis sur Star Wars : Rogue Squadron. Du côté des jeux de table on parle des nouveautés de Games Workshop de la semaine et de certains nouveaux jeux virtuels sur Steam (ROOT, Game of Thrones) avant de parler de films regardables (Enola Holmes, The Gentlemen) et de la nouvelle série Criminal UK sur Netflix.Nouvelles:iPhone 12 eventBaldur's Gate Early AccessNo time To Die, Dune - delays!Jeux Vidéo:Final Fantasy 14Star Wars SquadronsWoW ShadowlandsDoom EternalSuper Mario Bros Jeux de Table:Space Marine CodexNecron CodexAge of Sigmar - Sons of Behemat ROOT (Steam)Game of Thrones (Steam)TV/Cinema:The GentlemenEnola Holmes (Netflix)Criminal UK (Netflix)Questions, commentaires: 3d8plus4@gmail.comSuivez-nous sur Twitter: @3d8plus4
Au Nigeria, pour faire face à la crise économique, le président Muhammadu Buhari a acté la fin définitive des subventions pour les importations de produits pétroliers dans le pays, qui ne possède pas de réelle capacité de raffinage. S’il reste en partie encadré, le prix du pétrole à la pompe sera désormais indexé sur le marché. En conséquence, après une forte baisse, le prix du carburant a augmenté ces deux derniers mois, jusqu’à atteindre un record de 161 nairas le litre, soit 35 centimes d’euros. Ce prix peut sembler encore dérisoire mais les Nigérians sont très attachés à l'essence bon marché, qu'ils voient comme un de leurs rares privilèges. Dans la cohue de la fin de journée, les stations essences de Lagos sont envahies par des files de voitures. Par la fenêtre, les automobilistes pressés tendent des billets de 1 000 nairas aux employés qui remplissent leurs réservoirs. Dans sa voiture, John Kayode se montre résigné quand on évoque avec lui l’augmentation du prix du carburant ces dernières semaines. « On la ressent sérieusement, mais l’essence, c’est une nécessité, explique-t-il. Donc, cette hausse des prix va affecter tout le monde, tous les secteurs. C’est difficile de faire le plein pour aller de la maison au travail. Le prix est vraiment trop élevé. Mais on ne peut rien faire contre ça. Je dois utiliser ma voiture pour aller travailler. » Double peine L’exaspération des Nigérians face à la suppression des subventions sur le pétrole est encore accentuée par une augmentation importante des prix de l’électricité, qui ont doublé le 1er septembre. La double peine, pour Oliver, qui remplit un jerricane pour faire fonctionner son générateur. « J’ai besoin d’essence pour avoir de l’électricité, comme ça mes enfants, ma famille, peuvent avoir accès à l’information et savoir ce qu’il se passe dans ce pays, déclare-t-il. Sans essence, pas d’électricité. Et je ne vois pas comment on pourrait vivre dans l’obscurité. Je comprends bien que le gouvernement essaie de régler certains problèmes liés à la crise du Covid-19. Mais il devrait aussi penser au peuple. » La suppression de la subvention du carburant semblait pourtant inévitable. Entre 2006 et 2019, cette mesure d’aide a coûté 27 milliards de dollars à l’État nigérian, qui fait maintenant face à de sérieux problèmes de trésorerie. « Les bénéfices pour l’économie sont nombreux, estime Tunji Oyebanji, à la tête de Moman, une organisation représentative des distributeurs qui gèrent les stations-service à travers le Nigeria. Cela va permettre d’économiser beaucoup d’argent, que nous allons pouvoir réinvestir dans la santé, dans l’éducation ou dans les infrastructures, autant de secteurs qui ont vraiment besoin de financements. Les prix du carburant dans les pays voisins reflètent de manière beaucoup plus juste les prix du marché international, alors que les tarifs de l’essence étaient maintenus artificiellement bas au Nigeria. Cela a encouragé la contrebande d’essence. Donc la fin des subventions devrait aussi mettre un frein à ces pratiques. » Pour l’heure, le marché pétrolier est encore suspendu à l’évolution de la crise liée au Covid-19, qui pourrait de nouveau faire chuter le prix du baril et entraver durablement la production. Au Nigeria, elle est passée ces derniers mois à 1,5 million de barils par jour contre plus de deux millions auparavant. ► À lire aussi : Fin des subventions sur les carburants au Nigeria
The NFL season is underway and TV ratings have dropped. Since then, the league has tried to "embrace" the BLM movement but is it too late? Amin (@thematrixkiller) and Mo Man (@momanthepoet) discuss their journeys away from 'merica's game. _____________________________________________________ Follow us on IG @MatrixPodcast Like us on facebook.com/MatrixPodcast Email questions, comments, show topics & trollin' to ExitTheMatrixPodcast@gmail.com
We back (sorry we left you, without a dope beat to step to). Season 3 is here and you see the MF title pleighboi. Amin, Mo Man and Kita say their peace on creepy joe and the dems. Also we talk "Everything Woke" about Avatar: The Last Airbender. Also, also ... we missed y'all. ----------------------------------------------------------------------- Follow on IG @MatrixPodcast Like us on facebook.com/MatrixPodcast Email questions, comments, show topics & trollin' to ExitTheMatrixPodcast@gmail.com
This week’s episode brings you a powerful conversation with Amoja MoMan Sumler. If you’ve been a part of THE Celebration since for a while, you’ll recognize MoMan from past episodes. For the new folks: MoMan is a nationally celebrated poet, essayist, and one of the preeminent emerging voices of leftist intersectional social advocacy. This interview takes a dive deep into how we can have action back up our proclamation that Black Lives Matter. Plus we talk about: Virtue Signaling vs. Actually Taking Action Aspiring Allyship vs. Performative Allyship How to align our actions with our values for change The case for defunding the police How the NFL, Amazon, and other corporations can actually prove that they support Black Lives Matter I’m telling you – that’s just the tip of the iceberg. This interview with MoMan goes in hard. MoMan is also one of the most brilliant poets I know, and he made sure to share three powerful poems with us. On top of all that: my daughter Jayanma makes a cameo appearance! Let’s do it.
The Major Oil Marketers Association of Nigeria said the Federal Government has spent about N10trn subsidising petroleum products in the last 15 years. MOMAN and other stakeholders, including the Depot and Petroleum Products Marketers Association of Nigeria and the Petroleum Products Retail Outlets Owners Association of Nigeria, said there was a need for full deregulation in the petroleum downstream sector. They stated this on Thursday during the Nigeria Petroleum Downstream Consultative Summit, which was held online. The Chairman, MOMAN, Mr. Adetunji Oyebanji, described the downstream sector as pivotal and fundamental to the health of the nation’s economy. Oyebanji is the managing director/chief executive officer of 11Plc (formerly Mobil Oil Nigeria Plc). He said It is an industry that requires significant investment to improve service delivery and to generate employment, to help expand and grow the economy, especially at this very trying time. According to him, there are adequate structures that can be put in place to ensure that the consumers are not cheated when market forces are allowed to determine prices. --- This episode is sponsored by · Afrolit Podcast: Hosted by Ekua PM, Afrolit shares the stories of multi-faceted Africans one episode at a time. https://open.spotify.com/show/2nJxiiYRyfMQlDEXXpzlZS?si=mmgODX3NQ-yfQvR0JRH-WA Support this podcast: https://anchor.fm/newscast-africa/support
Nan epizod sa, Emmy chita pale avèk Wilnise François, yon enfimyè, yon "herbalist". Wilnise pataje esans li avèk nou, li pale de kijan li fè pou li kiltive lanmou pou tèt li, rityèl li fè pou li jwenn enèji…Wilnise fyè anpil de eritaj li, se sa ki te enspire l kreye "Well Fed" ki se business li . Al tande pou ka enspire! --- Support this podcast: https://anchor.fm/nannanpodcast/support
INSTAGRAM:https://www.instagram.com/dailyregispodcast/ --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app
Abel Rincón en Youtube Twitter Personal - @abelrincon1 @TennisAid1 Instagram - @abelrinconv Spotify - Perfil Lista Spotify - Go A Full or Go Home Suunto 9 Baro - 462€ Unboxing apple watch en Youtube Airpods - 139€ Bose Quiet confort 3 II - 255€ K&F Concept Bag - 59,95€ Douche bags- 95€ Sony a6600 - 1360€ Sony 10-18mm F4 - 650€ Gorillapod 3Kg - 60€ Video B&H - Youtube Marshall Acton II - 190€ Canon EOS R - 1999€ Sony A7III - 1888€ Foco Led redondo Neewer - 60€ Luz de mano Moman - 50€ Tutorial de Final Cut Pro de Cherru
Abel Rincón en Youtube Twitter Personal - @abelrincon1 @TennisAid1 Instagram - @abelrinconv Spotify - Perfil Lista Spotify - Go A Full or Go Home Suunto 9 Baro - 462€ Unboxing apple watch en Youtube Airpods - 139€ Bose Quiet confort 3 II - 255€ K&F Concept Bag - 59,95€ Douche bags- 95€ Sony a6600 - 1360€ Sony 10-18mm F4 - 650€ Gorillapod 3Kg - 60€ Video B&H - Youtube Marshall Acton II - 190€ Canon EOS R - 1999€ Sony A7III - 1888€ Foco Led redondo Neewer - 60€ Luz de mano Moman - 50€ Tutorial de Final Cut Pro de Cherru
Mpa rete kwè ke gen yon pi gro défi ke ensètitid! E Ensetitid se youn nan défi ke anpill dirijan rankontre souvan. Nenpòt defi ke nou abitye rankontre nan aktivite ke nap mennen yo, Mpa kwè ke nou te janm rankontre yon situation ki osi enprevizib ke pandemi sa ke mond lan ap fe fas jounen jodia. Nouvel nap tande chak jou sou Koman pandemi sa ap vale teren nan mond lan, ba nou ase rezon pou nou pedi kontwol panse ak refleksyon nou yo, fè nou aji tankou moun Ki pèdi bon sans yo, e nan yon moman parey kapasite poun rete tet fret, epi wè a klè kote nou vle ale a diminye fas ak tansyon ki egziste otou pandemi an ki pa sispann kreye situation ki pat previzib pou okenn nou nan, bon oswa lidè medyok onetman okenn nan nou pat prevwa ke se konsa 2020 an tap komanse; Kote ke ensetitid ta pral sel sipesta! Eksperyans pam kom lidè, m’en sitou kom moun ki gen kom travay jere moun epi planifye pou fiti se pwemye fwa mtrouvem nan yon situation kote moblije fè plis ke 2-3 plan jus paske démen yo vin ensèten donk planifikation yo vin pa garanti e situation yo vin pi enprevizib. M’en tou, Sitiyasyon sa pemet Mwen konprann ke li nomal ke planification oswa desizyon nou yo rive afekte pa sitiyasyon aktyel yo nan moman kriz, sitou lè ensetitid ak sikonstans enprevizib yo vle Fè pâti de sa ke majorité nan nou te pran pou nòm lan. Chak jou nouvel yo pa sispann anpire e santiman ensetitid pa sispann grandi Lakay nou. Gen Anpil tansyon, presyon, alantou nou e gouvènman yo pa sispann deplwaye resous ak eneji pou kontrekare pandémie an ki kontinye kap vanse, sa ki vin diminye pi plis kapasite nou poun rete kalm epi wè a klè ki direksyon nou sipoze pran nan moman kriz la, E anpil nan nou preske pedi kapasite sa. Kom lidè kapasite ke nou genyen poun rete tet fret, rete lisid, kapasite poun rete kalm avek tout bonsans nou nan objektif pou nou wè a klè epi fè chwa ki rezonab yo se pi bon chwa ou kapab fè oswa pi bon konpotmàn ke ou kapab genyen nan moman kriz. Fas ak a situation pandemi sa li klè pou nou tout ke vizyon nou se rive anpeche ke virus sa kontinye pwopaje epi jwenn fomil sa poun rive konbat virus la, e msur ke fason nap rive konbat virus lan ap diferan parapò ak endividwalite nou chak kom lidè e se pa yon problème paske nou bezwen konprann ke lidèship nan limenm son konsèp ki kontextyel; e anpil fwa moman kriz yo konn lakoz nou reconsidère fasôn nou wè lidè nou yo... Men sam surrr de li, seke volonté nou genyen poun sa wè a klè desizyon nap pran chak jou epi jwenn fomil sa poun kwape viris lan pap chanje. Anpill moun wè moman kriz yo tankou yon malekdisyon e yo gen tout kalite rezon pou pwouvew sa, petet yo gen rezon. Men kitem diw janm wè moman kriz yo, nan je pam moman kriz yo se moman kote bon lidè yo toujou fè diferans lan ant lidè medyok yo m’en tou se moman ki edew grandi, moman ki edew dekouvri talanw ak kapasite kap domi nan ou e kew pat janm imajine kel te la. Pou mwen moman kriz yo se opotinite pouw kontinye konfime kapasitew kom bon lidè nan fason wap itil lot moun. Se pousa li enpotan pouw Fè sur ke pendan moman kriz sa, ou aprann yon nouvo konpetans, fe sur kew aprann ak dekouvri kiyes ou ye reyelman, fe sur ke ou jwenn omwen yon fason anplis kap pemet ou itil kominitèw pi byen. Paske chwa wap fe jodia an la ap gen konsekans sou demenw e siw pa trouvel nesesè pouw aprann anyen ki bon nan moman kriz sa, konnen pwoblem ou pat janm yon pwoblem tan kifew pat reyalize okenn nan pwojèw yo m’en pito yon pwoblem disiplin... pran yon titan pouw réfléchit ak sa. antanke lidè aksepte kew pa gen tout répons yo ni kew paka fe tout bagay pou kow donk li plis ke enpotan pouw jwenn konplisite sa ki kapab egziste ant ou menm ak ekip ou, e konsa nan moman kriz yo kominikasyon ou menm ak ekip ou oswa moun wap lid yo ap fasil paske vizyon epi diresyon an kle pou tout moun. Pwochen epizod la se pou byento e pa bliye Non pam se Davidson Jules. Mèsi paske chwazi pataje epizod sa ak yon zanmi! --- Send in a voice message: https://anchor.fm/davidson-jules/message Support this podcast: https://anchor.fm/davidson-jules/support
Seeing mountain gorillas in the wild is one of the rarest and most inspiring wildlife experiences on the planet. There is an immediate bond, a sense of connection. When you look a mountain gorilla in the eye, you see yourself reflected back.Follow Praveen Moman, one of the world's leading conservationists, into the Virunga Mountains of Rwanda in search of the critically endangered mountain gorilla. Through our journey, we learn about Praveen's work to protect this last stand of one of the world's most incredible creatures. Far from being the King Kong monsters we once feared, mountain gorillas, we discover, are gentle, benign and incredibly intelligent. Seeing them up close is one of the world's greatest wildlife adventures.But that's not all. Praveen also takes us to the Kyambura Gorge, in Uganda, in search of a lost troop of Chimpanzees who have become isolated due to deforestation and human expansion into the area. Like the gorillas, we share an existential bond with these primates and Praveen is leading an effort to help safeguard their future.This is more than just a wildlife adventure. Over the last 20 years Praveen has pioneered a new style of community-led conservation that puts the needs of indigenous people first. In doing so, he has shown how communities can benefit from the conservation of their lands while at the same time helping to rebuild one of the world's most war-torn regions. This is a positive and uplifting story about the power of hope to change the world.Highlights include:- Trekking in the Virunga Mountains of Rwanda in search of the critically endangered mountain gorilla- Hearing what it feels like to sit quietly among the troop, as babies come curiously up to explore, and the 400lb male silverback brushes past- Learning about the history, science and conservation of these incredible primates, including the story of Diane Fossey one of the first champions of their cause- Walking into the Kyambura Gorge as the lost troop of Chimpanzees comes down from the canopy and surrounds you on all sides- Being inspired by Praveen's story, a refugee of Uganda who returned to his beloved homeland to help rebuild one of the most war-torn regions on the planet- Finding out about his visionary model of community-led conservation, a system which has since been adopted around the world BOOK THIS TRIP:Praveen's conservation efforts are funded by eco-tourism. His company, Volcanoes Safaris, has four lodges - three in Uganda and one in Rwanda - that specialise in taking guests on primate safaris. They are widely recognised as the best, and most sustainable, way to see these incredible animals in the wild, as well as find out more about the local communities that surround them. I've written about them for years and highly recommend them. For more information, please visit: https://volcanoessafaris.com For other eco-tourism adventure ideas related to the show, please visit the individual episode pages at http://www.Armchair-Explorer.com SUPPORT COMMUNITY CONSERVATION:If you can't make the trip, but want to find out more about how you can help Praveen's conservation efforts, please visit his non-profit the Volcanoes Safari Partnership Trust: https://volcanoessafaris.com/community/To find out more about the Kyambura Gorge Ecotourism Project and how you can help to protect this lost troop of chimpanzees, please visit: https://volcanoessafaris.com/kyambura-community-projects/ SUPPORT GORILLA CONSERVATION:Diane Fossey's Gorilla Fund is the largest and longest running organisation dedicated solely to the conservation of mountain gorillas: https://gorillafund.orgMORE ABOUT PRAVEEN:https://volcanoessafaris.com/all-people/praveen-moman/Ted Talk: https://www.youtube.com/watch?v=5PWqFTr7DHg MORE ABOUT THE SHOW: http://www.Armchair-Explorer.com
It's a real treat to bring you today's episode of Bear the Light for three reasons. First, it's an interview with our first male guest! I'm grateful to Andrew Moman of Twin Rose Farm for being willing to step into those inaugural shoes.Second, Andrew was referred to the show by his sister, Anne Brock, who was interviewed on episode 2 of the show. Thank you, Anne!And third, Andrew is a fresh-cut-flower farmer local to the Nashville area whose entire life is life powered and sustained by the earth and by community, and I cannot imagine a more fitting time to be talking to someone whose life is sustained outdoors and with other people during a time when our freedom to experience both of those things is seriously curtailed.We recorded this episode before the coronavirus hit us in the States, and I've added some notes in the intro of the episode, thanks to an update Andrew gave me, about how their business is responding and faring during this time.I was quite touched by this conversation, both because of what it demonstrates of the beauty and trust of living interdependently and of what we can learn from those who are willing to dive in with both feet and learn as they go.Connect with Andrew and Twin Rose Farm on their website and on Instagram at @twinrosefarm.Connect with Christianne on Instagram at @christiannesquires or by subscribing to the Light Notes email list.And consider applying to be a guest on the show! Fill out the guest application form here.
Loleda I. Moman native of Pittsburgh, PA is a wife of 23 years to Sean Moman, Sr and together they have two children. She is a recent author, “ Lives Restored By Grace From Tragedy to Triumph”. For the past 17 years, she served in ministry as Director of Care Connections Ministries serving men and women in the community with social, emotional, physical and spiritual need. Loleda is now employed with AHN - Forbes Hospital as a medical Social Worker as of June 2019. In addition, Loleda continues to serve the community as Democratic Committeewoman. Her passion as a Social Worker continues to flourish as she strives for excellence in Christ. She obtained her Bachelors Degree in Social Work from Carlow University, 2010; her Masters Degree in Organizational Leadership from Point Park University, 2014 and her Masters Degree in Social Work from University of Pittsburgh, 2018. Loleda I. Moman, MA,MSW
Real estate photographer/videographer and marketing expert David Moman joins the podcast to answer questions such as how to stage for photography, how photo licensing works and how to effectively market using media. For more tips from David, check out his stories on Instagram @crimsonhomesphotography.
Harmonik au Casino de Paris se youn nan pi bèl moman nan karyè Sanders Solon --- Send in a voice message: https://anchor.fm/carelinthemorning/message
Period kote yon ane ap fini pou yon lot antre, tradiksyon yo fè ke nou toujou pran rezolisyon ak fikse kisa objektif nou yo ye pou ane kap antre a. E anpil moun toujou renmen antisipe sou kisa ane sa pral pote pou yo, anpil moun toujou kwè ane sa pral miyò ke sa kap fini an m’en anpil nan nou pa rann kont ke pou ane a pi bon ke sak prale fok dabò nou dakò chanje abitid nou yo epi aksepte fe efo Ki nesesè pou ane a ka pi bon vre. Etid ak statistik ke Harvard Business fè, montre ke moun ki ekri objektif yo gen plis ke 10% chans pou yo rive atenn objektif sa yo ke sila yo ki pa ekri anyen yo. Lidè kom nenpot lot moun anjeneral son nesite pou yo gen fikse kisa Ki objektif yo nan lavi epi defini yon plan ki ap pemet yo rive akonpli misyon yo, gen objektif Se byen men chwazi respekte objektif sa yo pi enpotan toujou. Pouw sa rive atenn objektif ou yo, nou rete kwè ke li plis ke enpotan pouw ekri apre chak objektif POUKISA li enpotan pou ou pouw rive atenn objektif sa. Menm Jan yon bousòl kapital poul edew sitye tet ou epi rejwenn rout ou se konsa objektif oui yo kapital pouw sa rive fè sikse nan lavi. Paske nenpot lew ta vle abandone oswa fon lòt koub Se POUKISA sa kew t ekri apre objektif sa yo kap edew rete fokis sou sa ki se priyoritew nan lavi. Anndan epizod sa nou pataje 4 konsey avew ke nou kwè kap edew fikse bon objektif epi respekte yo. Kat konsey sa yo se: Konn ki Kote ou vle ale; avan tout bagay defini kisa sikse vle di pou ou; Ekri objektif ou yo epi swiv pwogrèw; Aprann mande konsey. Ane sa kap antre pap pi bon ke ane sa ki prale a si tout fwa ou kontinye ap fe menm bagay ke wap fe yo, ane kap fini pap miyo ke ane sa siw pa deside chanje abitid Ou yo, ane kap vini an pap pi bon siw pa défini kisa prioritéw yo ye nan lavi, ane kap vini an pap pi bon sil pa pran tan pouw fikse objektif ou yo epi di poukisa li enpotan pouw respekte epi atenn chak grenn objektif sa yo. Ane kap vini ap vreman pi bon ke ane sa kap fini sof siw dakò pou fe efo ki nesesè poul sa pi bon, epi fe ke objektif ou yo vin priorité pou ou epi swete ke fason wap panse ak Jan wap mennen viw baze oswa annamoni ak objektif ou yo. sonje ke siksè pa yon bagay Ki rive pa aksidan m’en pito se chwa ak desisyon wap pran chak jou kap pemet ou fe sikse. Mwen konnen li pa fasil pouw chanje abitid nan yon bat je m’en mwen konnen tou ke tout chanjman posib m’en wap bezwen: volonté, deteminasyon epi pasyans pouw rive fè. Karen Lamb di: “Yon ane ankò, wap swete kew tè komanse jodia”. Kidonk fikse kisa Ki objektif Ou, son egzesis kew sipoze fe jodia menm, pa lot ane, pa lot mwa, pa Demen men Se jodia menm. E pi gro manti nou renmen bay tet nou, lè nou pa vle komanse yon inisyativ ke nou genyen, se di tet nou ke nap tann bon moman an, sann pa rann nou kont ke koze nap tann bon moman an son mit ke nou kreye nan tet nou Ki pou kenbe-n nan kras eke nan vi reyèl la pa gen bagay Ki rele bon Moman. Nenpot saw komanse jodia nan 5 lane aprè wap rann ou kont ke koze bon Moman an pat janm egziste e pa janm neglije komanse fè yon bagay jus paske ou jije kew pa gen ase eksperyans pou sa, se pa yon krim kew komanse yon bagay kew pat gen okenn eksperyans ladanl e verite a sèke ekspeyans vini parapò ak kantite tanw genyen depi wap fe sa. Donk jodia a se pi bon Moman an pouw komanse initiative kew swete a, pa pè echwe paske echek sa yo ap seviw kom leson pou pwoche etap la. Sonje defini kisa siksè vle di pou ou Siw pa konn ki rezilta wap cheche oswa ki rezilta Ou sipoze genyen, lap difisil pouw fikse objektif ki ka pemet Ou rive fè siksè men sitou jwenn rezilta sa kew te swete a. Mèsi #DJ. --- Send in a voice message: https://anchor.fm/davidson-jules/message Support this podcast: https://anchor.fm/davidson-jules/support
LinkedIn is growing by leaps and bounds and is consistently rated as the most trusted social media network. ACRE social media intern Rayven Lane talks to ACRE's Director of Education, Marketing & Communications Cherie Moman about how to effectively use LinkedIn Ads to break through the noise, grow your network and establish yourself as an authority on the platform. Cherie will be presenting on how to build your organic presence on LinkedIn at ACREcom20 on February 7, 2020, at The Club in Birmingham, Ala. Register today!
On this episode: Almighty, Bacon, Flip, Jager, Killa and Moman are talking Destiny 2! The game is now mostly free to play opening the game up to a large amount of new players! The guys discuss the latest information on the next Playstation. Red Dead is coming to PC, our thoughts on that. Also we cover Movies and get down with some Movie Triva and the fan favorite Weird News! RIPs of the week: #RIPMANNYThe Digital Core is just getting started and can greatly use YOUR support! If you are seeing this and you liked what you heard in our podcast - Please LIKE, RATE, FOLLOW, and SUBSCRIBE We greatly appreciate any support- - - - Who is The Digital Core?? We are a group of gamers and long time friends. We banded together to start this podcast to share our thoughts and opinions on a variety of subjects we hope you find entertaining! FOR EVERYTHING ELSE ABOUT THE DIGITAL CORE, VISIT OUR WEBSITE: THEDIGITALCORE.NETYOU CAN ALSO CHECK OUT OUR SOCIAL MEDIA FOR MORE CONTENT:= YOUTUBE == TWITCH == TWITTER == FACEBOOK == INSTAGRAM == MIXER =Want to contact The Digital Core directly????? Email: contactdigitalcore@gmail.comFind out more at https://thedigitalcore-unnamed-podcast.pinecast.co
On this episode: We are down to THREE but that is okay. Almighty, Jager and Moman bring the podcast to you this week! The three amigos give comments on the new Call of Duty Modern Warfare game. A first time dive into some tech reviews where we cover what gaming on a ultrawide is like. No Man's Sky has been forgotten, again. Gears 5 underwhelms again and this week we have Trivia and discuss what information we learned from the Area 51 raids! Be sure to listen to this jam packet episode! RIPs of the week: #RIPBACON, #RIPFLIP, #RIPKILLA, #RIPMANNYThe Digital Core is just getting started and can greatly use YOUR support! If you are seeing this and you liked what you heard in our podcast - Please LIKE, RATE, FOLLOW, and SUBSCRIBE We greatly appreciate any support- - - - Who is The Digital Core?? We are a group of gamers and long time friends. We banded together to start this podcast to share our thoughts and opinions on a variety of subjects we hope you find entertaining! FOR EVERYTHING ELSE ABOUT THE DIGITAL CORE, VISIT OUR WEBSITE: THEDIGITALCORE.NETYOU CAN ALSO CHECK OUT OUR SOCIAL MEDIA FOR MORE CONTENT:= YOUTUBE == TWITCH == TWITTER == FACEBOOK == INSTAGRAM == MIXER =Want to contact The Digital Core directly????? Email: contactdigitalcore@gmail.comFind out more at https://thedigitalcore-unnamed-podcast.pinecast.co
ACRE's Director of Education, Marketing and Communications Cherie Moman discusses the Mars Opportunity Rover, Darwinism and the growth of PropTech on this week's episode of Real Estate Matters!
Anpil moun konnen Samantha Colas kòm animatris Soleil d’Été, yon konkou chan pou timoun ke l ap anime depi plis pase 10 lane. Apre tout siksè sa Samantha deside al patisipe nan konkou Miss Haïti pou l ka sèvi modèl pou plis moun. Lè l fin ranpòte konkou sa li pat sispann resevwa kritik sou rezo sosyal yo. Yo kritikel pou sa l mete, jan l penyen, janl pale, janl mache e yo jije kel pa merite siksè li. Moman sa yo te difisil men Samantha aprann de yo e jodia li vin yon moun ki grandi. • • • For some, it respresents affirmation; a sense of great accomplishment which confers a degree of respect and admiration while for others, it gives an opportunity to have an opinion and offer non requested and destructive criticism from their couch behind the silver screen or by using their free social media subscription unproductively. This week, Koze avè m goes beneath the twinkling hollow silver circle with Samantha Colas, Miss Haiti 2018. Former host of Soleil d'Été, Samantha Colas believed that she had more under her belt and went for the very coveted title of Miss Haiti. Born in Port au Prince she was crowned in 2018. But the cheers would only last for about a night. She woke up to reality when she found out the next day what social media had to say. What was being shily whispered throughout the competion like her choice to wear her hair natural or her overall physic was on full blast after the crown had landed on her head. She was even stoned for what represents her second ticket to life; a scar in her arm from being trapped under the rubble of the devastating earthquake of January 12, 2010. Today, Samantha believes that although she had to go over few hurdles, the experience she gained from the competition, with all that came with it, was only sweet- not at all bitter. She encourages anyone who wishes to race for the crown to use the stones thrown at them to build bridges which they can use to cross over to the much sunnier side. She also encourages delayed gratification and reminds that only with hard work and discipline can all that one's heart desire come to fruition. --- Send in a voice message: https://anchor.fm/koze-av-m/message
Nan lokazyon premye anivèsè Nannan Podcast , Emmy te ankouraje oditè yo poze l kestyon sou lavi l , sou konfyans nan tèt ou , sou coaching .... ti moman sa ap fè w dekouvri Li on ti kal pi plis. --- Support this podcast: https://anchor.fm/nannanpodcast/support
Phoenix Fan Fusion (Comic-Con) 2019!!!(#RIPManny)Join us as we regale you with stories of our journey at Phoenix Fan Fusion 2019, hanging out with Bob Ross and Our fallen friend on this episode. We also discuss the pros and cons of Eating Ass (Stickers), what we are looking forward to at this year's E3, and MoMan picking up a new VR set.The Digital Core is just getting started and can greatly use your support. If you are seeing this and you like what you hear in our podcast - Please LIKE, RATE, FOLLOW, and SUBSCRIBE We greatly appreciate any support- - - - Who is The Digital Core?? We are a group of gamers and long time friends. We banded together to start this podcast to share our thoughts and opinions on a variety of subjects we hope you find entertaining! FOR EVERYTHING ELSE ABOUT THE DIGITAL CORE, VISIT OUR WEBSITE: THEDIGITALCORE.NETYOU CAN ALSO CHECK OUT OUR SOCIAL MEDIA FOR MORE CONTENT:= YOUTUBE == TWITCH == TWITTER == FACEBOOK == INSTAGRAM == MIXER =Want to contact The Digital Core directly????? Email: contactdigitalcore@gmail.comMusic featured in podcast: Intro (Creative Commons Attribution License). WRLD - Triumph Outro (Creative Commons Attribution License). Jesse Warren - Miles Above You Find out more at https://thedigitalcore-unnamed-podcast.pinecast.co
Donnie J AKA Heer Cheeto gets another win after Robert Mueller and his special council gets Thanos snapped. How does this relate to fascism? Like what even is fascism? We break down the BDS movement and talk how boycotting corporations can be effective. Venezuela ranked #1 in the whole world for housing rights so enjoy them apples 'Merica. How do you treat yourself in late stage capitalism? How does stillness/prayer/meditation feed you? We need a woosah moment because folks out here stealing articles. Mo Man talks how his article on black capitalism was cherry picked.
Rīt Mančestras derbijs, kur uzvara svarīga abām komandām. “United” novājināta un ar problēmām iekšienē. Kas uzvarēs?
We enter the Matrix and talk about "Clout Chasers" and 'Merica's love of war. Why shouldn't athletes get paid? We can't figure it out. Mo Man recites a "Stalker Anthem" and we talk problematic behavior in songwriting. We talk the privileges of masculinity via patriarchy and get real with how we need to continue to unlearn oppressive behavior.
We pay homage to icon Nipsey Hussle. His life, his music and the controversy surrounding his death. The reason reparations must be given to oppressed peoples worldwide. Mo Man and Amin try to sell each other a song. All this and the democrats (roughly) 2653 candidates ready to challenge president Tampico juice. We discuss (some of) them.
Amin shares his current contract disputes as we talk about where artists should draw the line in capitalism. We get the talking about "wokest" rappers and who's posin'. Mo Man runs for office and explains his platform. What's a "Dragon's Deal"? We'll explain ok, just give us a second jeez.
Ich liebe Kaffee, morgens, mittags, abend. Manchmal aber sucht man den besonderen Kaffee. Wo aber bekommt man diesen her? Was macht Kaffee aus? Woran erkenne ich qualitativ hochwertigen Kaffee und woran nicht? Mit all diesen Fragen im Gepäck, bin ich zu David Schiel gefahren. Er ist Inhaber und Betreiber von "man crafted coffee", Barista und Kaffeenerd. Er hat mir all diese Fragen beantwortet und noch ganz viele mehr.
Aerial photography and videography can be a great addition to your marketing plan. Real estate photographer, videographer and certified drone pilot David Moman joins Cherie to review rules, regulations and best practices for using drones in real estate.
Robert Holloway talks about how to become a high school sports official with the Mississippi High School Activites Association http://misshsaa.com/officialsDr. Jimmy Steward talks about sports heath http://www.mpbonline.org/SouthernRemedy/Friday Night Injury Clinic https://www.umc.edu/Healthcare/Orthopaedics/Sports%20Medicine/Friday-Night-Injury-Clinic.htmlAt the Friday Night Injury Clinic, each student-athlete will be examined and treated by a UMMC Orthopaedics expert. The physician’s time is free of charge, though patients are charged for any additional services. Located at the University Physicians Pavilion, Suite D on the UMMC campus in Jackson. Open Fridays, 9-11 p.m., or until the last student is seen. Walk-ins are welcome, but if possible, call ahead at (601) 815-4721. Chris Brooks talks high school football. http://www.mississippigridiron.com/Cornhole for a Cure Tournament Saturday, August 18, 2018 3:00 pm Reunion Beach, Madison, MS The 64-team, double-elimination cornhole tournament is a fundraiser benefitting people with cystic fibrosis through the Steps for Shep Foundation. The organization works to fund research for a cure and raise awareness, in addition to assisting patients dealing with the disease. https://stepsforshep.com/event/cornhole-cure-tournament/2018 SWAC Kickoff Party Saturday, August 18, 2018 7:00 pm - 11:00 pm Walter Payton Center at Jackson State University, Jackson, MS The Blue Bengal Athletic Association hosts the annual kickoff party in support of SWAC football programs. Henry Rhodes and the Mo-Money Band perform. Includes food, drinks, dancing and more. https://www.facebook.com/events/912833192257489/Choctaw Fanfare Saturday, August 18, 2018 5:00 pm - 9:00 pm Mississippi College Clinton, MS The event features coaches, players and administrators from Mississippi College. Participants can enjoy photo opportunities, question-and-answer portions and more in anticipation of the upcoming football season. https://securelb.imodules.com/s/1153/rd18/interior.aspx?sid=1153&gid=1&pgid=1325&cid=2732RUNable $5 5K Thursday, August 16, 2018 6:00 pm Outback Steakhouse, Flowood, MS The family-friendly 5K run/walk raises funds for Children's of Mississippi, helping to pay for renovations and construction of a new hospital tower. The route is dog- and stroller-friendly. No registration required. https://www.facebook.com/events/434662790352112/Moman & Harris 5K Run/Walk Saturday, August 18, 2018 7:00 am New Hope Baptist Church, Jackson, MS The 22nd annual race is a fundraiser for New Hope Christian School and features awards, door prizes, a one-mile fun run and a tot trot. https://www.newhope-baptist.org/Bowling for Charity Saturday, August 25, 2018 1:00 pm - 3:00 pm Metro 24 Bowling Center, Jackson, MS Lynch Lodge No. 2 hosts its annual four-person-team bowling tournament. Trophies awarded to the top three teams, along with monetary contributions to the charities of their choosing. Registration deadline is Aug. 16. https://www.facebook.com/events/1892679487701929/South Central Summer Games Saturday, August 25, 2018 Sunday, August 26, 2018 8:00 am - 4:00 pm Three Lions Crossfit Richland, MS The fourth annual indoor and outdoor crossfit competition features prizes for the top finishers. Each athlete or team performs three workouts over the course of the day and one mystery workout. https://www.facebook.com/events/190423901649965/ Run for the Ribbons Saturday, August 25, 2018 University of Mississippi Medical Center Pavilion Jackson, MS The 5K run/walk is to raise awareness for the five primary gynecologic cancers, with proceeds benefitting the gynecologic oncology fund to further education and patient services. Also includes a 100-yard tot trot for children under age 12. https://raceroster.com/events/2018/18726/run-for-the-ribbons-5kMake a Miracle Superhero 5K & Fun Run Saturday, August 25, 2018 Madison Central High School, Madison The annual superhero-themed run/walk is a fundraiser for the Batson Children’s Hospital. Superhero costumes are encouraged. https://raceroster.com/events/2018/14588/make-a-miracle-superhero-5k-and-fun-run See acast.com/privacy for privacy and opt-out information.
Nan epizòd sa, nap pale de Stress. Nou travèse anpil moman difisil nan lavi nou. peyi nou konnen antil moman enstabilite. Kijan pou nou fè fas kare ak yo? kijan poun jere Timoun yo? --- Support this podcast: https://anchor.fm/tim-valda/support
On this episode of 'Real Estate 2020' We take you behind the scenes as Jeff Sibbach along with Top Sibbach Team Agent Sharon take direction from Videographer 'Moman' as they try shooting a email marketing video discussing the real estate market nearly one year after President Trump's election.
HARMONIK- AN TI MOMAN @ CLUB SPACE by GUY WEWE RADIO A
INTERVIEW EXCLUSIVE- RICARDO SOU ALBUM KONPA KI PLIS AP MACHE MOMAN NAN MARTINIQUE by GUY WEWE RADIO A
Heeeej! Denna gång är tyvärr inte Isak ”The Voice” Bengtsson med i avsnittet… Men vi spelar Battlefield 1-betan samtidigt som vi snackar skit, det är väl alltid något? Avsnittet hittar ni här, via Itunes eller via vår klassiska Rss-feed. Aloha!
I am excited to bring you this month's Expression Session. My guest is the infamous Mo-Man. I truly loved recording this conversation and am excited to share it! Plus, Mo-Man performs 3 of his poems! Mo-Man will be the feature for the Live and Online open mic on September 18th. This is a monthly expression session I host where you can attend from anywhere in the world via internet or phone. It is a writing workshop, open mic, and featured performance. For more information and to attend please visit tomearl.com/events. To listen to all of my podcasts please visit tomearl.com/podcast.
The sexual revolution is in Session. This week Masterful Mindgasms is bringing the phenomenal spoken word poet and poetry coach, the Poetry Slam Master of Little Rock, AR, Co-Founder and President of Poets in the Street, MoMan aka Amoja Moman Sumler into the building to join us on the Comfy Couch !! The theme for the evening Safe, Sane and Concentual Kink - so get those BDSM, fetish and/or group sex pieces ready!! Remember..Moman is a poetry coach, so bring your A game!!! #Unmuted ink #open mic #spokenword #poets #love #rappers #writers #singers #artists #peace #unity # respect #hiphopartist #Jamie Bond from Unmuted Ink #KelligraphyPens #Open Mic #MasterfulMindgasms #books #Chamber Seven #TheOralReport #Radio #EroticEchoes #WKPJBRadio #WKPJB Radio Presents #poetry #poets #performance #rappers #Singers #songwriter #indie artists #underground #UndergroundMusic #R&B #jazz #Rock #djs #Producer #publishing #poems #workshops #seminars #Open Mic #BlogTalkRadio #Itunes #jamieALLday #IBJB #itsbondjamiebond #music #genre #song #songs #TagsForLikes #melody #hiphop #rnb #pop #love #rap #dubstep #instagood #beat #beats #jam #myjam #party #partymusic #newsong #lovethissong #remix #favoritesong #bestsong #photooftheday #bumpin #repeat #listentothis #goodmusic #instamusic
In The BarberZone with Chevez Moman The HOTTEST HOUR in the Game. Join us Monday 9pm EST(Eastern time) for Informationative,Candid, Educational, Entertaining Dialogues about what happenning in Barbering & in Our Community. Show Topic: TBA Listener Call in #3476373850 and Press 1...To express your opinion of the show topic. LISTEN LIVE at www.blogtalkradio.com/barberzone orwww.barberzone.org under BZ Radio. Become a friend of the show on Blogtalk... www.blogtalkradio.com/barberzone Follow the BarberZone on Facebook & Twitter: www.facebook.com/barberzone www.twitter.com/barberzone "Come Get Your Head Right" BZ Radio EVERY Monday 9pm EST...
Step into the BarberZone to "Come Get Your Head Right" with your Host Chevez M. Moman from the BarberZone Barber Studio, where we discuss the issues going on in the Barber & Beauty industry... Updates on the new clippers, techniques, products. Letting you know about upcoming Hair Shows & related events. Discussions about the tools to success in our trade. Interviews with some of the mover & shakers in the business... Spotlights on the people that grind daily in the shop. Promoting Barber Love and harmony in the business. 'Come Get Your Head Right."
Step into the BarberZone to "Come Get Your Head Right" with your Host Chevez M. Moman, where we discuss the issues going on in the Barber & Beauty industry... Today show was blessed with a dialogue on whats clippers to use, how to adjust them and cutting routines from: GWhiz,Kristi Faulkner and Members of the Wahl Design Team, BoogsTheBarber, Michael MC Razor Clark and Davida Leary of Black Ice. It is invaluable information...Please utilize this info.
Step into the BarberZone and "Come Get Your Head Right" with your Host Chevez M. Moman as he discusses tips on how to Diversify and Maximum your God given Talents and skills with the Infamous Bronner Bros Barber Battle Champion Mr. Garland "GWhiz" Fox and Mar Da Barber. Call-in Number 347-637-3850 join the conversation and spread some Barber Love.
"Step into the BarberZone" Checkout the 1st Show hosted by Chevez M. Moman live from the BarberZone Barber Studio in Columbus, Ohio when he discusses Whats going on in the barber industry and kicks it with some of the most influential people in the industry. Today's Guest include Boonie from the movie "Good Hair", Dwayne Thompson from Against the Grain Mag & The Barber of the Year Mr. Eric Cheeks.
© 2020-2025 Ivy Podcast Discovery LLC
