Podcasts about montanez

In June 2016, off duty Brevard County deputy Yousef Hafza had a traffic incident in Palm Bay Florida with Jose Montanez and Clarence Howard. The media called it a road-rage incident, but Montanez and Howard stalked the deputy for four miles after the initial encounter and the final confrontation took place. Deputy Hafza was charged with second-degree murder and attempted second-degree of the two suspects. The prosecution went to insane lengths to ruin Hafza's life, but a jury found him not guilty. Learn more about your ad choices. Visit megaphone.fm/adchoices

Daniel catches up with Carolina Montanez, Co-Founder of Plane 2 Sea International, a freight forwarding company established by her and three former coworkers after their previous employer closed down. Operating for 13 succcessful years, Plane 2 Sea was recently awarded the 2022 Australian Women's Small Business Award for Transport & Logistics. Daniel and Carolina explore the keys to maintaining a successful business partnership with your friends. They delve into the importance of adopting a company-first mindset to foster honesty and teamwork, and discuss why being transparent and maintaining robust client communication are superpowers in the business world.

Franchise Myths Debunked with David Montanez In this episode, we're excited to share a conversation with David Montanez, an expert in the franchise industry. We discuss common misconceptions about franchises and explore why systems and processes are critical in building a successful business model. David will guide us through topics like the unexpected benefits of franchising, which include reduced risk and access to extensive support networks, various types of franchises, David's four key components of managing a business, and semi-absentee ownership and the emerging trends affected by technology and recent global events, like COVID. Plus, we cover the all-important legal and financial advice for those looking into franchising, talk about the indispensable Franchise Disclosure Document, and learn what makes some franchises stand out over others.   What we discuss with David: + The misconception that franchises are primarily food-related + Exploring the breadth of franchise opportunities in various industries + Addressing the myths around franchising fees and starting advantages + Realities versus expectations in franchising + Advantages of Joining a Franchise + Support and Guidance for Franchisees + Opportunities in the Home Services Industry + Trends and Management in Franchising + Legal and Financial Considerations for Franchisees + Understanding Investment Requirements + Factors Leading to Franchise Success + Possible Outcomes for Franchise Owners   Resources from this Episode: Authority Brands   Thank you David! Connect with David on LinkedIn   Sign up for our FREE Business Course - Understand the 7 Phases of A business, so you know where you are now and where you need to go next! Go to https://www.millionaireuniversity.com/training.   If you enjoyed this episode with David, let us know by clicking on any of the links below to send him a quick shout-out: Instagram, Twitter, Facebook, Youtube, TikTok and LinkedIn. We'd love to hear from you!   And if you want us to answer your business questions on an upcoming episode, drop us a line at support@millioinaireuniversity.com.

Franchise Myths Debunked with David Montanez In this episode, we're excited to share a conversation with David Montanez, an expert in the franchise industry. We discuss common misconceptions about franchises and explore why systems and processes are critical in building a successful business model. David will guide us through topics like the unexpected benefits of franchising, which include reduced risk and access to extensive support networks, various types of franchises, David's four key components of managing a business, and semi-absentee ownership and the emerging trends affected by technology and recent global events, like COVID. Plus, we cover the all-important legal and financial advice for those looking into franchising, talk about the indispensable Franchise Disclosure Document, and learn what makes some franchises stand out over others. What we discuss with David: + The misconception that franchises are primarily food-related + Exploring the breadth of franchise opportunities in various industries + Addressing the myths around franchising fees and starting advantages + Realities versus expectations in franchising + Advantages of Joining a Franchise + Support and Guidance for Franchisees + Opportunities in the Home Services Industry + Trends and Management in Franchising + Legal and Financial Considerations for Franchisees + Understanding Investment Requirements + Factors Leading to Franchise Success + Possible Outcomes for Franchise Owners Resources from this Episode: Authority Brands Thank you David! Connect with David on LinkedIn Sign up for our FREE Business Course - Understand the 7 Phases of A business, so you know where you are now and where you need to go next! Go to https://www.millionaireuniversity.com/training. If you enjoyed this episode with David, let us know by clicking on any of the links below to send him a quick shout-out: Instagram, Twitter, Facebook, Youtube, TikTok and LinkedIn. We'd love to hear from you! And if you want us to answer your business questions on an upcoming episode, drop us a line at support@millioinaireuniversity.com. Learn more about your ad choices. Visit megaphone.fm/adchoices

Discover the one weird trick freight companies DON'T want you to know! Logistics expert, Carolina Montanez, reveals how to uncover THOUSANDS in hidden shipping costs draining your profits every year. Find out how optimizing your supply chain could transform your bottom line WITHOUT any extra work. Listen now to learn the freight industry secrets that could save your business!

The son of "El Rey" Tito Puente joins the podcast to talk about his current Mambo tours, memories of his Dad the Late Mambo King Tito Puente, traveling, Google' tribute to Tito Puente and More! We also recap Andy Montanez LIVE from Lehman Center and announce more concerts happening at Lehman!Visit MambointheCity.com Concert Tickets: LehmanCenter.orgSupport the show

In this conversation, Eric Montanez discusses his creative journey and the shifts in his approach and priorities. He reflects on the Chicago creative landscape and the impact it had on his inspiration and motivation. Eric also shares his thoughts on navigating the evolving digital landscape and finding balance in the overwhelming amount of content available. He emphasizes the importance of branding and communication in his work and the value of curating and supporting artists. Eric concludes by discussing the projects he chooses to invest his time and energy in, focusing on alignment and adding value. In this conversation, Eric Montanez discusses his shifting priorities and responsibilities in his career. He talks about the importance of personal projects and incubation, as well as the role of design in music. Eric also shares his thoughts on celebrating endings and the impact of his project These Days. He reflects on the challenges and rewards of working in Chicago and Los Angeles, and emphasizes the importance of finding value and adding value in creative projects. Finally, he discusses the need for artists to find internal validation and the importance of shifting mental cycles.TimeStamps:00:00 Introduction and Gratitude01:52 Shift in Approach and Reflection05:11 Chicago Creative Landscape09:07 Shifting Perspectives and Balancing Priorities12:56 Navigating the Evolving Digital Landscape19:25 Finding Balance and Intentionality21:27 Capturing Time and Reflecting on the Past25:11 Exploring Branding and Communication29:08 Curating and Supporting Artists32:37 Filling the Void with These Days Mag37:31 Adding Value and Aligning with Projects38:20 Shifting Priorities and Responsibilities39:00 Personal Projects and Incubation39:52 The Role of Design in Music41:40 The Importance of Celebrating Endings42:26 The Impact of These Days43:40 The Challenges and Rewards of Working in Chicago46:02 The Shift in Focus in Los Angeles53:24 Finding Value and Adding Value56:18 The Fluidity of Roles in Creative Projects59:15 The Importance of Internal Validation01:08:49 Shifting the Mental Cycles of Artists

Deacon Steve Greco is a permanent deacon of the Diocese of Orange. He is founder of Spirit Filled Hearts Ministry, and host of Empowered by the Spirit.  In this episode, Deacon Steve speaks with Manny Montanez, a committed Catholic and Purple Heart veteran, about his volunteerism in the Church.Empowered by the Spirit airs live weekdays at 10:00am and Fridays at 5pmPacific Time go to https://www.spiritfilledevents.com/empowered-by-the-spirit website or download our Spirit Filled Radio App for Android or Apple Devices.APPLE LINK FOR APPGOOGLE PLAY LINK FOR APPArchives of shows from Spirit Filled Radio are available on podcast at https://www.spiritfilledevents.com/empowered-by-the-spirit

Johnny welcomes Darryl back with special guest singer songwriter Kelsey Montanez.  They talk about Kelsey's experience on American Idol, her song with Chance the Rapper, her singing career and more.

On today's episode of The Coffee Break, Russ spoke with Val about her story.  The Coffee Break is the daily Christian talk and local events program on Hope Radio KCMI 97.1FM serving the Scottsbluff, NE area. Tune in for interviews with authors, musicians, pastors, and others in the Christian community and our local area! Visit our website: www.kcmifm.com Like us on Facebook: www.facebook.com/kcmifm

Merry Christmas! We've got a special Christmas IG Live Replay with Coaches Will Benitez and Nico Montanez discussing crushing mental barriers and altitude training! Coach Nico is a new edition to the RunDoyen Coaching Roster; but comes with big accolades after representing Team USA in the World Championships Marathon! Nico holds a personal best time of 2:09 in the marathon and will be running the US Olympic Trials Marathon in February! Connect with Coach Nico here:https://www.rundoyen.com/running-coaches/nico-montanez/Connect with Coach Will here:https://www.rundoyen.com/coaching-services/nutrition-coaching/Join the Next Level Running Facebook Group: https://www.facebook.com/groups/nextlevelrunningFollow @RunDoyen for IG Live sessions: https://www.instagram.com/rundoyen/Follow Coach Will Benitez (On Pace Wellness) here: www.instagram.com/onpacewellness/Check out RunDoyen if you are looking for a World Class Expert Run Coach to help you crush your running goals: https://www.rundoyen.com/If you aren't quite ready for a Run Coach, check out the Doyen Dashers Program:https://www.rundoyen.com/dashers/

Joe and Matt are back and buffer than ever. With special guest. From Diablo Radio and Comedy Fight Club, DJ LatinX, Jesse Montanez. They talk about anime, Michael Vick, and the wonders of reincarnation. This week's feat of strength is about a Scottish giant who should have fought in the American Civil War. We lift together. We riff together. Buff Boys for Life!Follow Jesse on Instagram: @jessemcomicSupport us on Patreon for bonus content:https://www.patreon.com/BuffBoysPodcastTwitter:@BuffBoysPodcastInstagram:@BuffBoysPodcastSpotify:https://open.spotify.com/show/38on5DGj89NZiyhinsPdrKiTunes:https://podcasts.apple.com/us/podcast/the-buff-boys/id1611681173Joe GormanTwitter and Instagram: @JoeWGormanMatt MaranTwitter and Instagram: @REALMattMaran

Welcome back to the show fellas ! We missed ya! Were accompanied by an old friend

Welcome back fellas !! We were a little off the rails but we had fun! ENJOY MY FRIENDS !!

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

Saludos Combo!! Les dejo las noticias del genero para este fin de semana!! Hablamos sobre Pirulo y La Tribu, detalles sobre el nuevo trabajo discografico de Andy Montanez. Llega Marc Anthony al Paseo de la Fama en Hollywood. Te traigo les eventos que estan sucediendo en el genero y como siempre los ESTRENOS mas duros!!Terminamos con una descarga contra los haters de Marc Anthony a raiz de su inclusion en el Paseo de la Fama en Hollywood.Recuerden darle like, compartir y comentar en el episodio!!Suscribete: Youtube ChannelSigueme en las redes: Nacion Salsa en las redes sociales

Rosario Montanez is not only one of the toughest jockeys you will ever meet, he is one of the toughest people you'll ever meet. Welcome to another great episode of Past the Wire TV and our phenomenal One on One Rogue's Gallery series. If you want to talk fearless and jockey injuries this is an episode you do not want to miss. Faith, determination and believing in himself carried Rosario Montanez through what most of us would not make it through, not once but twice. This is a rider who did not let having his face practically ripped off, his eye taken out, being in a coma, breaking his back or his neck stop him. There is obviously no quit in Rosario Montanez. Rosario had the bug with Irad Ortiz and fate brought their careers in very different directions. Montanez suffered a bad fall and horrific injury at Saratoga and was away from riding a long time. After paying his dues and then some he won by open lengths on his first mount back for Steve Asmussen. Fate was not done with Rosario by any means however. You'll have to hear this inspiring story for yourself. Definitely hit the like button and show some love to this jockey. Leave a note of support or encouragement as well. We will all appreciate it and so will he. If you're a trainer or owner with a nice horse look him up and give him a shot. It does not sound like you'll be sorry you did. Jon and Rosario talk a lot of racing including race riding, the tightrope between intimidation and danger, working horses you don't get to ride and more. A truly fascinating awe inspiring episode. You'll learn more about jockey injuries than you ever thought you would. They even touch base on the flack jockeys can get on social media.Thank you for watching Past the Wire TV

In this rendition of the Way Out I'm extremely excited to bring you my interview with person in long term Recovery and Producer and founder of Global Domination Productions Alex “King Roach” Montanez. Alex has been Recovering Out Loud with his Blog, Dominate the Glob since his Recovery began over a year ago and now he's Recovering Out Loud with us by sharing his journey to and through recovery to this point with us in a distinctly frank and compelling manner, and in a way that brings in stark relief hallmarks of addiction and alcoholism that are worth highlighting. Of particular import, is the common feature of active addiction that can be described as bargaining with ourselves, which we've discussed more than a time or two on this podcast. This is the act of restricting or changing the amount, frequency, type, environment, or manner of the problematic substance or behavior, which and this is key, invariably fails. As important to understand, is that we don't have to do this with other things we like, but don't have a problem with. It's the difference between liking strawberries, and being addicted to alcohol. As instructive in Alex's story is the manifestation of his Ego and how inextricably linked it was to his alcoholism. As he describes it, and so many of us can relate, alcohol was the key ingredient in perpetuating the persona he felt he needed to maintain, and without it, he was not able to be the person he wanted to be, and alcohol at the same time was destroying Alex and everything he held dear, which led to a crisis that ultimately produced perhaps an unlikely and most definitely an inspiring Recovery. An imperfect recovery that's a work in progress, but one that is proof positive that Recovery is worth every bit of effort we put in, and this phenomenal interview is worth every minute of your time so do be sure you listen up.   Contact Alex King Roach Montanez and learn more about Dominate the Globe: https://dominatetheglobe.com/   Best piece of Recovery Advice - Stop getting in your own way   Song that symbolizes Recovery to Alex – Alcohol by King Roach: https://youtu.be/XQwM9cLEIeI   Don't forget to check out “The Way Out Playlist” available only on Spotify. Curated by all our wonderful guests on the podcast! https://open.spotify.com/playlist/6HNQyyjlFBrDbOUADgw1Sz (c) 2015 - 2023 The Way Out Podcast | All Rights Reserved Theme Music: “all clear” (https://ketsa.uk/browse-music/) by Ketsa (https://ketsa.uk) licensed under CC BY-NC-ND 4.0 (https://creativecommons.org/licenses/by-nc-nd) --- Send in a voice message: https://podcasters.spotify.com/pod/show/the-way-out-podcast/message

It's CFC Confidential Episode 9! Big Dog Mark Henely and Goofball Patrick Haggerty sit down with DJ LatinX, Jesse Montanez Comedy Fight Club is brought to you by Manscaped. Go to Manscaped.com and use Promo Code "CFC20" for 20% off + free shipping For info about live shows follow us Instagram: https://www.instagram.com/comedyfight... Twitter: https://twitter.com/ComedyFightNYC Support the show and get bonus content by subscribing to our Patreon: https://www.patreon.com/comedyfightclub

Got a chance to catch up to American distance runner Nico Montanez! Nick has been selected as one of the three marathoners to represent the US at The World Championships in Budapest this summer! Nico started running around the middle school age like most of the professional athletes we love to watch on TV but his backstory is so much different than most. In fact, his energy and backstory is the main reason I wanted to chat with him! I was not disappointed! The way Nico approaches life with gratitude is not only admirable….it's inspirational. So many nuggets in here about life. How to be self aware but approach yourself with grace. How to fight self doubt and feelings/actions that are self sabotaging in nature. We obviously talked about running a bit and how awesome it's been to be in Mammoth with a legend, Deena Kastor. AND OBVIOUSLY some about that little thing he is doing this summer in Budapest called World Champs! Go follow Nico on Instagram and cheer for him in Budapest!!!

We are SO excited to bring you our 50th episode! Thank you, as always, for joining our host Teresa Palacios Smith for un cafecito with three highly intelligent leaders – Dr. Chitra Dorai, Dr. Vanessa Montanez, and Desiree Patno. Listen in to hear these leaders describe the moments that brought them where they are today.  Meet the Leaders Dr. Chitra Dorai – CEO/Founder of Amicus Brain Dr. Vanessa Montanez – Senior VP and Community Lending National Sales Manager at Citi National Bank Desiree Patno – CEO/Founder of Women in the Housing & Real Estate Ecosystem  The Leaders' Journeys Vanessa has been in residential lending for 27 years. She fell in love with helping families achieve their homeownership dreams, and that passion took her all the way to thinking of the big picture and helping families at a national level. Chitra was with IBM for 20 years as a top technical leader, CEO, and IBM fellow. She started her company for personal reasons – her mother was diagnosed with Parkinson's Disease and she realized she was not alone in dealing with the challenges of being a caregiver. Desiree has always been a problem solver. She loved selling homes, but was always looking for the next problem to be solved – in the foreclosure crisis, she became a connector and solution strategist to protect communities.  The Moments When Everything Changed Dr. Chitra was VERY successful at IBM, but when she became one of her mother's caregivers, she knew she had to throw herself behind a new passion. Her product uses AI to support caregivers at all stages of supporting those with neurological degenerative disease. Dr. Vanessa's moment came when she was laid off. She took her severance package and decided to spend it on something she truly loved: learning. She went back to school to understand more about executive leadership in the wake of the 2008 crisis. Desiree was recruited into working in the gender space of highly wealthy people in real estate. “Clubhouse” is a collective-created audio app that grew out of the pandemic shutdown to bring people of many specializations together to connect and share ideas.  Tools the Leaders Recommend Desiree likes Gamma, an AI company that can help you think and make connections.  Chitra's app, Amicus Brain, can be found at http://amicusbrain.com.  Mckenzie Institute and the Urban Institute have well-researched articles.  Leaders' Favorite Books/Courses Desiree surfs news columns to see what is currently happening. She likes small snippets and soundbites. Chitra: The Story of My Experiments With Truth by Mahatma Gandhi  Vanessa: The 7 Habits of Highly Effective People by Stephen Covey  Leaders' Favorite Quotes Vanessa: “Just when the caterpillar thought the world was going to end, it became a butterfly.” Chitra: “If you do not work on important problems, it's unlikely you'll do important work.” Desiree: “Technology-Human Balance.” Teresa: “Leadership is the capacity to translate vision into reality.”  When you help another woman rise, we all shine. And that's how we make an impact. So let's build each other up, and shine brighter than the sun. For more great content from Teresa, connect with her on LinkedIn, join her Women Who Lead Series on Facebook, and subscribe to her YouTube channel. You can find more episodes of Women Who Lead on Spotify, Apple Podcasts, and anywhere else podcasts can be found. This episode is brought to you in part by Venus et Fleur. Are you looking for a great way to show appreciation to family, friends, or even customers? Give them a floral arrangement they won't forget anytime soon. These beautiful arrangements make the perfect closing gift for any realtor to stay top of mind. Visit venusetfleur.com and use code “hsoa20” when ordering for 20% off.

This week, it's singer-songwriter Kelsey Montanez talking about the medicinal value of music, quitting music for awhile due to burnout and unhealthy advice, a steadfast refusal to write her own bios, her approach to her next album, and her upcoming single “Mr. Crybaby”.“Mr. Crybaby” will be available through most streaming services starting on July 21st.Kelsey Montanezhttps://music.apple.com/us/artist/kelsey-montanez/1625944928https://open.spotify.com/artist/6Ak3pj3iTGc3FQPgOgLyGshttps://www.instagram.com/kelseymontanez_/AUX Populi | Andy Kinghttps://www.auxchicago.com/auxpopulihttps://www.instagram.com/AUXPopuliPod/https://www.instagram.com/auxchicagoandy/Theme by Kevin MacLeodLogo by Anna White

PART 2 - The boys get together to watch UFC 290. Jesse Montanez is a stand up comedian, Dojo of Comedy regular and co-host of Diablo Radio podcast. Vinny Scarpa is an actor, stand up comedian & Dojo of Comedy regular. vicisfunny.com @thevcast @vicizfunny @jessemcomic @vinnyscarpacomedy Dojo of Comedy - Tiffscomedy.com @dojoofcomedyeast

The boys get together to watch UFC 290. Jesse Montanez is a stand up comedian, Dojo of Comedy regular and co-host of Diablo Radio podcast. Vinny Scarpa is an actor, stand up comedian & Dojo of Comedy regular. vicisfunny.com @thevcast @vicizfunny @jessemcomic @vinnyscarpacomedy Dojo of Comedy - Tiffscomedy.com @dojoofcomedyeast

Doug Benson joins the show to announce his Doug Loves Movies live podcast taping at the Bottlerocket for the DVE Comedy Fest. Sean Collier reviews The Flash, Elemental, The Blackening, and a retro pick. The Mayor Sean Casey returns to the show. Gibson Musisko is in for a virtual coffeehouse. Virginia Montanez has a new book 'Nothing, Everything.' out now.

In this weeks episode of the world's-fastest-movie-review podcast Jackson and Mike review two new films!!! First “FLAMIN' HOT”. Richard Montanez, the son of a Mexican immigrant, was a janitor at Frito Lay when he came up with the idea for Flamin' Hot Cheetos. Directed by Eva Longoria. Then a  quick review of “MENDING THE LINE” Returning to the Unites States, a wounded veteran develops a friendship with a headstrong fly fisherman and a talented photographer turned librarian. Starring Brian Cox, Perry Mattfeld, Patricia Heaton and Wes Studi.

FOMB v. Hernandez-Montanez

The crew got back together to watch UFC Fight Night France vs Albazi after our show at the Dojo of Comedy. Its always a great time when we all get to together for these and this one is no different. Enjoy! vicisfunny.com @thevcast @vicizfunny @dojodoorguy @mostlycuban @jessemcomic @phatinthehat @vinnyscarpacomedy @pocarocomedy @marioboscocomedy @dojoofcomedyeast - tiffscomedy.com njnypooltableservice.com - A Team Pool Table Services is the tri-state area's top pool table service company. EmpireSewerandWaterNJ.com - Empire Sewer And Water NJ is a family owned sewer and drain company based in New Jersey. We service everyone from residential homes/apartments, businesses, to industrial facilities. Our number one priority is to address your needs. Combat Fitness Club - @combat_fitness_club Boxing & Fitness - Private Gym, Personal 1 on 1 Training, Boxing Sessions, & Cardio Boxing Classes - 186 Main St Ridgefield Park NJ Original beat used in the intro: Intranet by Yung Kartz (yungkartzbeats.com) and edited by Vic Cedeno (vicisfunny.com)

Concierge Business Solutions (CBS) was born from a desire to serve. CBS founder, Luis A. Montanez, served in the Army for over 20 years. After 3 combat tours serving to build foreign nations, his vision became to form a business that offers construction services for building renovations, maintaining our local communities and national infrastructure. Our values are the foundation of our work, and this core philosophy drives CBS divisions and employees to deliver above and beyond our clients' expectations. Luis has over 20 years of combined experience in the areas of Accounting, Acquisitions, Government Contracting, Military Operations, Financial Management, Real Estate Investing, and Entrepreneurship. Luis' formal education consists of a Masters in Accounting and Financial Management, a Bachelors of Business Administration & Accounting and is a Licensed General Contractor for the state of Georgia. Luis enlisted in the US Army in 1998 and received his direct commission with the US Army Reserves in 2007; retired in 2021 with the rank of Major. Luis vast acquisition experience was gained through both military and civilian when serving as contingency contracting specialist for the US Army Reserves and as a Sr. Contract Auditor for the Defense Contract Auditing Agency. --- Support this podcast: https://podcasters.spotify.com/pod/show/vets2pm/support

On today's episode we are featuring Season 3 Momentum Mastermind member, Susie Montanez of Lash. in Twin Cities, Minnesota. Susie shares her journey of having a home based lash extension business, moving to a commercial location as a solo artist, then hiring her first team member and more recently - opening up a second location! Susie joined our high level coaching program, Momentum Mastermind, in January and so far… has increased her sales by 40% from last year AND Susie has pulled back to only working in the treatment room 2-3 days a week

Richard Montanez, Deputy Commissioner of Transportation for the City of Philadelphia, joins the podcast to talk about the Safe Streets and Roads for All Program (SS4A) and how the city plans to use the $30 million grant award it recently received from the US Department of Transportation funded by the Bipartisan Infrastructure Law. He describes the unique safety challenges faced by the city, and discusses the planned multimodal safety improvements for several of the city's streets and traffic infrastructure, as well as the updates for Philadelphia's Vision Zero capital plan.

Richard Montanez, Deputy Commissioner of Transportation for the City of Philadelphia, PA, USA, joins the podcast to talk about the Safe Streets and Roads for All Program (SS4A) and how the city plans to use the $30 million grant award it recently received from the U.S. Department of Transportation funded by the Bipartisan Infrastructure Law. He describes the unique safety challenges faced by the city, and discusses the planned multimodal safety improvements for several of the city's streets and traffic infrastructure, as well as the updates for Philadelphia's Vision Zero Capital Plan.

Social change requires collective action. Two targets in Texas, Dee Montanez and Stuart Mayper, have turned their experiences into a fight for psychologically safe workplaces. In this episode, I talk with them about why they got involved with passing legislation to protect workers from psychological abuse and what's happening with the Workplace Psychological Safety Act in Texas. If you live IN Texas: Write to your state legislators: https://actionnetwork.org/letters/help-get-co-sponsors-for-workplace-anti-abuse-legislation-in-texas/manage Write to Senate committee members in charge of scheduling a hearing date: https://actionnetwork.org/letters/urge-committee-member-to-move-workplace-anti-abuse-legislation-forward-in-texas If you live OUTSIDE OF Texas: Sign the petition: https://actionnetwork.org/petitions/pass-the-workplace-psychological-safety-act If you've been abused at work and would like to share your story anonymously, email info@dignitytogether.org. If you feel like you need more help, I have a free guide to recovery steps at http://www.dignitytogether.org/targets. Facebook: @HierarchyPodcast Twitter: @ScrewHierarchy

On November 18, 2010, Miguel Montanez of 46 years old was working a shift as a maintenance worker at an apartment complex where he was shot at. There were a lot of rumors in the community but none led to answers. El 18 de noviembre de 2010, Miguel Montanez de 46 años de edad se encontraba trabajando un turno como trabajador de mantenimiento en un complejo de apartamentos donde fue baleado. Hubo muchos rumores en la comunidad, pero ninguno condujo a respuestas. Learn more about your ad choices. Visit megaphone.fm/adchoices

The vision of the Mavuno Project is to reach those who are the most vulnerable and disenfranchised and take them from pain to purpose. On Thursday's Mornings with Eric and Brigitte, anti-human trafficking missionary and sexual abuse survival, Tania Andre Montanez joins us to talk about her passion for spreading the gospel along with Human Trafficking Awareness. Priscilla Shirer and Lifeway Ministry have selected the Mavuno Project as their charity of choice for April! This will allow The Mavuno Project to provide thousands of women with essential hygiene products, while also raising awareness about the devastating impact of human trafficking. The Mavuno ProjectSee omnystudio.com/listener for privacy information.

A new episode with a very serious question: Is pro wrestling gay? We grapple with this and more as we watch night one of Wrestlemania at the Dojo of Comedy. No video until I get a new tripod. vicisfunny.com @thevcast @vicizfunny @dojodoorguy @jessemcomic @phatinthehat njnypooltableservice.com - A Team Pool Table Services is the tri-state area's top pool table service company. EmpireSewerandWaterNJ.com - Empire Sewer And Water NJ is a family owned sewer and drain company based in New Jersey. We service everyone from residential homes/apartments, businesses, to industrial facilities. Our number one priority is to address your needs. Combat Fitness Club - @combat_fitness_club Boxing & Fitness - Private Gym, Personal 1 on 1 Training, Boxing Sessions, & Cardio Boxing Classes - 186 Main St Ridgefield Park NJ Original beat used in the intro: Intranet by Yung Kartz (yungkartzbeats.com) and edited by Vic Cedeno (vicisfunny.com)

UNDERCARD BATTLES: Devon Hall vs Pedro Garcia Richard Deck vs Kyle Colorado Bryan Villone vs Tony Loud MAIN EVENT: Jesse Montanez vs Sean McDonough JUDGES: Ben Miller Scott Chaplain Divya Gunasekaran Mark Henely Patrick Haggerty OFFICIALS: Mark Henely, Patrick Haggerty, Chris Pruneau, Niko Pav DJ: Chris Pruneau HOST: Matt Maran Comedy Fight Club is recorded LIVE every Sunday in NYC. Not in the NYC area? You can still watch Comedy Fight Club on youtube and follow us on Instagram and Twitter @comedyfightnyc If you want access to old episodes and bonus content subscribe to our Patreon page! https://www.patreon.com/comedyfightclub 

Nathan Lugo-Montanez and Joe Lynch discuss 3 reasons to outsource fulfillment. the empty container marketplace. Nathan is the EVP of Strategy and Transformation at STACI-US, a leading provider of supply chain end-to-end solutions. About Nathan Lugo-Montanez Nathan Lugo-Montanez is a turnaround executive with over 15 years of experience in supply chain and business operations. Throughout his career, he has specialized in turnaround and expansion projects for a wide range of industries from startups to Fortune 100 companies. In addition to his work, Nathan is a former US Army Ranger having served for over a decade with several tours in Bosnia, Iraq, and Afghanistan. He is deeply involved in numerous veteran's charities and mentors young aspiring business leaders through the Future Business Leaders of America program. Nathan is currently pursuing his doctorate in business administration with a concentration in strategy and innovation at Columbia International University and has Masters Degrees in Business and Public Administration. He is a sought-after speaker and have presented at NRF, eRetail West, and TEDx. Currently, Nathan is the EVP of Strategy and Transformation at STACI-US, where he works with the executive leadership team to develop and implement the overall strategy for STACI's business, including identifying growth opportunities, optimizing service offerings, and enhancing customer value proposition. About STACI-US STACI-US is a dynamic and innovative logistics network headquartered in Jersey City, NJ, specializing in technology driven omni-channel distribution solutions and consulting services. The company has an impressive track record of delivering cutting-edge 3PL solutions that help businesses of all sizes to optimize their supply chain and e-commerce operations, reduce costs, and increase profitability. With a team of experienced and highly skilled professionals, STACI-US has established itself as a trusted partner for businesses looking to stay ahead of the curve in today's rapidly evolving supply chain landscape. STACI US has recently acquired Amware Fufillment bringing together STACI's expertise in logistics and supply chain management with Amware's exceptional warehousing and fulfillment services across 18 locations throughout the US. Key Takeaways: 3 Reasons to Outsource Fulfillment Nathan Lugo-Montanez is the EVP of Strategy and Transformation at STACI-US, a leading provider of supply chain end-to-end solutions. In the podcast interview, Nathan and Joe discuss 3 reasons to outsource fulfillment. There are many reasons to outsource warehousing and fulfillment, but Nathan shared these: 1.) Economics (cost savings). 2.) Enables the brand to focus on their core competency. 3.) Ability to quickly scale fulfillment without investment, hiring, or hassle. 4) Technology - warehousing and fulfillment companies like STACI have invested in the technology and the expertise to leverage that technology. STACI-US support ecommerce, B2C, and B2B Clients across a diverse range of industries. STACI's services include multi-channel integrated fulfillment solutions (direct to customer, retail, and wholesale customers), kitting, complex packaging, logistics and warehousing. Staci Group Acquires Amware Fulfillment to create strong global fulfillment capability. The combined company now has 81 fulfillment centers across the U.S., France, Belgium, UK, Germany, Netherlands, Italy and Spain Learn More About 3 Reasons to Outsource Fulfillment Nathan on LinkedIn STACI-US on LinkedIn STACI-US Episode Sponsor: Tusk Logistics Tusk Logistics is a national network of the best regional parcel carriers that puts Shippers first, with lower costs, reliable service, and proactive support. Tusk save Shippers 40% or more on small parcel shipping. Tusk's technology connects your parcel operation to a national network of vetted regional carriers, all with pre-negotiated rates and reliable, predictable service. Integrating to your existing software takes minutes, and Tusk has your back with proactive shipper support on each parcel, in real time. The Logistics of Logistics Podcast If you enjoy the podcast, please leave a positive review, subscribe, and share it with your friends and colleagues. The Logistics of Logistics Podcast: Google, Apple, Castbox, Spotify, Stitcher, PlayerFM, Tunein, Podbean, Owltail, Libsyn, Overcast Check out The Logistics of Logistics on Youtube  

Jesse Montanez of Diablo Radio is hanging with us this week Jesse Montanez: Diablo Radio Instagram https://www.patreon.com/pitm Search "Panties In The Mouth" in your favorite podcast app! Or go to https://anchor.fm/pitm, also our Twitch.tv/PitM Nate Marshall: https://twitter.com/isthatnatem https://www.instagram.com/isthatnatemarshall/ Andy Malafarina: https://twitter.com/andymalafarina https://www.instagram.com/andymalafarina/ https://anchor.fm/dragthelake LeMaire Lee: https://twitter.com/lemairelee https://www.instagram.com/lemairelee/

Welcome back to another episode of Benched with Bubba. On this episode, Bubba will be joined by Jorge Montanez (@Roto_Nino) of Gaining the Edge Fantasy. They will preview the San Francisco Giants for the 2023 Fantasy Baseball season. Some Players Discussed- Thairo Estrada Mike Yastrzemski Mitch Haniger Joc Pederson Michael Conforto David Villar Logan Webb Alex Cobb Camilo Doval Many More Learn more about your ad choices. Visit podcastchoices.com/adchoices

Welcome back to another episode of Benched with Bubba. On this episode, Bubba will be joined by Jorge Montanez (@Roto_Nino) of Gaining the Edge Fantasy. They will preview the San Francisco Giants for the 2023 Fantasy Baseball season. Some Players Discussed- Thairo Estrada Mike Yastrzemski Mitch Haniger Joc Pederson Michael Conforto David Villar Logan Webb Alex Cobb Camilo Doval Many More Learn more about your ad choices. Visit podcastchoices.com/adchoices

Krave Amiko return for part 2 and this time they realize they can curse!     Find Krave Amiko at these places- https://kraveamiko.bandcamp.com facebook.com/kraveamiko instagram.com/kraveamiko www.kraveamiko.com   Thanks to Kelsey Montanez for the closing song https://www.facebook.com/KelseyMontanezMusic https://distrokid.com/hyperfollow/kelseymontanez/i-sold-my-soul https://www.instagram.com/kelseymontanez_/     Subscribe to the podcast - https://podcasts.apple.com/us/podcast/wnc-original-music/id1378776313 https://www.iheart.com/podcast/wnc-original-music-31067964/ This link has all the other places to subscribe https://gopod.me/wncom   Follow on Social Media https://www.facebook.com/wncoriginalmusic https://www.wncoriginalmusic.com https://www.instagram.com/wnc_original_music/   All music used by permission   Krave Amiko began in early 2019 by Rob Walsh and a handful of songs crafted by combining homemade lo-fi acoustic guitar samples, trip-hop inspired rhythm sections, and lyrical storytelling. The line-up is made complete by Stephanie Barcelona- vox, Nestor Teran- guitar/keys, Jonathan Harwood- drums, and Sam Barker- bass   Kelsey Montanez is one of Chicago's best kept secrets. Both intimate and ecstatic, smokey and scorching, her potent blend of blues, pop, and psychedelia has been turning heads for over a decade. Among the singer-songwriter's many talents, it's Montanez's arresting voice that has captured a devoted fanbase. It comes as no surprise that her visceral 2013 EP “A Delightful Sadness” scored her a record contract and music video with Chance the Rapper on lead single “Out of Sight.” True to her strong sense of independence, Montanez subsequently opted to pursue her own uncompromising artistic vision. It took a pandemic worth of isolation and heartbreak to transform that raw power into the refined spectacle that is her first record in over a decade. Bolstered by the pristine production of Bill Karambelas and internationally acclaimed session musicians, her music is both transcendent and catchy, demonstrating the songwriter's range and ability to transform deeply personal lyrics into searing and seductive rock. While conjuring vocalists like Amy Winehouse and Lauryn Hill, Montanez possesses her own unmistakable voice. Kelsey Montanez has been listed in the Chicago REDEYE as “15 artists to Watch" and celebrated in the Chicago Reader and Chicago Tribune. Montanez has headlined prominent Chicago venues such as the Metro, House of Blues, as well as festivals such as SXSW. Recently, Montanez was awarded the 2020 Magellan Musician in Residence at the historic Aqua Building.  

Hernandez-Montanez v. FOMB

"A second-generation Latino, Daniel Montanez is a PhD student at Boston University, a professor of theology and ethics, and the director of the Migration Crisis Initiative for the Church of God. Daniel is committed to empowering immigrant communities through ministry, scholarship, and social engagement." [from https://www.mygrationchristianconference.com/about]  RLC needs your help - please complete a listener survey: https://tinyurl.com/rlc-podcast    Learn more here: https://www.mygrationchristianconference.com/about To help sustain RLC work, you can donate here To check out what RLC is up to, please visit us www.redletterchristians.org  Follow us on Twitter: @RedLetterXians Instagram: @RedLetterXians Follow Shane on Instagram: @shane.claiborne Twitter: @ShaneClaiborne Common Hymnal information: https://commonhymnal.com/ 

Amanda Montenez is an Assistant Director at Savills. She focuses on industrial and office tenant representation and can help with other commercial real estate requirements–dispositions, acquisitions, portfolio management, etc. She looks at real estate transactions from a financial and operational perspective. Her team has other services, including business incentives and site selection to provide a […]

Hello! Weeding Out The Stoned hit Sip Studios in Jersey City, NJ on September 29th and we again invited the audience to play along from their phones! We live-streamed the show and added some new games too. Thanks to All Tha Smoke in Jersey City for our prizes and giveaways!Find our September 29th players:Garri MaderaRyan RUmmelAlexandra IzziRachael ParentaJesse MontanezSeth RuddickShafer WardJustin WilliamsFollow Alex Grubard@alexgrubardFollow Weeding Out The Stoned for upcoming shows, podcasts, videos and more:http://www.weedingoutthestoned.comhttp://www.facebook.com/weedingoutthestonedhttp://www.instagram.com/weedingoutthestonedhttp://www.twitter.com/weedingoutthestonedhttps://podcasts.apple.com/ie/podcast/weeding-out-the-stoned/id1340669075http://www.patreon.com/weedingoutthestonedUPCOMING LIVE SHOWS:http://www.weedingoutthestoned.com/buy-ticketsSupport the show

UNDERCARD BATTLES: Andrea Pranzatelli vs Sean McDonough Bryan Villone vs John Montague Sean McCracken vs Josh Tinley Chris Pruneau vs Anthony Quinn MAIN EVENT: Matt Maran vs Jesse Montanez JUDGES: Joe Gorman Bobby Sheehan Nick Carra Alex Grubard OFFICIALS: Mark Henely, Patrick Haggerty, Lawrence Reese, Niko Pav, Sean McCracken DJ: Derick Gonzalez HOST: Matt Maran Comedy Fight Club is recorded LIVE every Sunday in NYC. Not in the NYC area? You can still watch Comedy Fight Club on youtube and follow us on Instagram and Twitter @comedyfightnyc If you want access to old episodes and bonus content subscribe to our Patreon page! https://www.patreon.com/comedyfightclub

Welcome back to another episode of Benched with Bubba. On BwB EP 482 Bubba is joined by Jorge Montanez (@Roto_Nino) of NBC Sports Edge and the Bases Loaded Podcast. They will discuss some recent news, recap Week 12 of NFBC FAAB, listener questions, and more. Some Players Discussed- Oneil Cruz Anthony DeSclafani Aaron Civale Kendall Graveman Alex Kirilloff C.J. Abrams Ezequiel Duran Riley Greene Many More Learn more about your ad choices. Visit podcastchoices.com/adchoices

D.J. (@djshort) and Drew (@drewsilv) are joined by NBC Sports EDGE Baseball writer Jorge Montanez (@roto_nino) to discuss closer and bullpen situations around MLB. Among other topics, they break down Clay Holmes' dominance and how the Yankees will handle Aroldis Chapman's return, what to make of the Rays' situation in the wake of Andrew Kittredge's injury, and Raisel Iglesias' recent struggles. They also discuss some names who could rise in the closer ranks in the coming months as well as middle relief options who are worth a stash right now.  (3:08) Yankees: Clay Holmes and Aroldis Chapman (7:18) Concern for the Phillies' bullpen(11:10) The Angels and Raisel Iglesias' struggles(13:45) Rays' situation due to Andrew Kittredge's injury(25:00) LA Dodgers and Craig Kimbrel (27:38) Pitchers emerging out of committees