Podcasts about My Girl

Send us a textIt's a first and I feel that is a shameACTRESS MONTH : Rosario DawsonToday were talking about:This week we dive deep into The Water Man (2020), a heartfelt adventure where a young boy runs away into the woods to find a possibly-immortal man who may—or may not—be able to cure his mom's illness. There's mystery! There's friendship! There's a horse named Cheese!It's like someone mixed My Girl with Pan's Labyrinth, but made it PG and said, “What if trauma, but make it whimsical?” We talk fire zombies, childhood grief, questionable adult supervision, and the true meaning of emotional side quests. Also, we still don't really understand who—or what—the Water Man actually is. But we tried.Bring snacks. And tissues.If you guys have any request for future movie request please send us an emailat whowatchesthispodcast@gmail.com - Theme Music -Lee Rosevere - Arcade Montage - Music For Podcast 3https://leerosevere.bandcamp.com/ Join the FB group page:https://www.facebook.com/WhoWatchesThisPodcast/YOUTUBE CHANNEL for commentary on shows and movies:https://www.youtube.com/channel/UCrexJV9qExxnAz45E0AJQMw

From the moment we hear those first notes blaring through stadium speakers, something magical happens. Baseball's walk-up songs do more than just fill empty space—they transform ordinary at-bats into cinematic moments, creating instant connections between players and fans.Matt and Sam dive into the fascinating world of MLB entrance music, exploring how these brief musical snippets reveal player personalities while energizing crowds. Whether it's Francisco Lindor's unexpected choice of "My Girl" that has entire Mets crowds singing in unison long after the music stops, or the bass-heavy swagger of Aaron Judge's "Swag Surfin'" that signals a potential home run, these musical decisions are carefully calculated for maximum impact.The conversation spans from classic rock anthems like "Layla" (Pete Alonso) and "Whole Lotta Love" (Austin Wells) to contemporary hits from Rihanna and Lil Baby, with each selection offering insight into the player behind it. We even venture into international territory with Korean star Young Hoo Lee's electrifying choice of Supreme Team's "Dang, Dang, Dang."Beyond the music itself, Matt and Sam explore the fascinating superstitions surrounding walk-up songs, including Nick Castellanos's strange reputation for hitting home runs during tragic news broadcasts, and how players often change their music during slumps or hitting streaks. With players getting just 30 seconds to make an impression through sound, every beat counts.Whether you're a baseball die-hard or simply appreciate how music heightens dramatic moments, this episode delivers an entertaining look at the soundtrack of America's pastime. Want to feel like you're walking into your next important meeting with the swagger of an MLB slugger? This playlist has you covered.https://music.apple.com/us/playlist/2025-baseball-walk-up-music/pl.u-02GgC4oxbVhttps://open.spotify.com/playlist/4IGT9SHaR5fje3uClZRsKx?si=b73ad9cdd8b54207 1 .Texas – BigXthaPlug2. My Girl – The Temptations3. Drip Too Hard – Lil Baby & Gunna4. Layla – Derek & The Dominos5. Whole Lotta Love – Led Zeppelin6. Swag Surfin' – F.L.Y. (Fast Life Yungstaz)7. Armed and Dangerous – Juice WRLD8. Top Gun Anthem – Harold Faltermeyer & Steve Stevens9. Don't Stop 'Til You Get Enough – Michael Jackson10. Needed Me – Rihanna11. Edge of Seventeen – Stevie Nicks12. Dang Dang Dang – Supreme Team

Monday night hosts Elisha and Molly sat down in the studio with Cameron from Creature Fear! The band having just put out their brand new single ‘My Girl’s A Dream But She Only Loves Jesus’, they spoke all things about the track and their upcoming shows in celebration of its release.See omnystudio.com/listener for privacy information.

From the moment we hear those first notes blaring through stadium speakers, something magical happens. Baseball's walk-up songs do more than just fill empty space—they transform ordinary at-bats into cinematic moments, creating instant connections between players and fans.Matt and Sam dive into the fascinating world of MLB entrance music, exploring how these brief musical snippets reveal player personalities while energizing crowds. Whether it's Francisco Lindor's unexpected choice of "My Girl" that has entire Mets crowds singing in unison long after the music stops, or the bass-heavy swagger of Aaron Judge's "Swag Surfin'" that signals a potential home run, these musical decisions are carefully calculated for maximum impact.The conversation spans from classic rock anthems like "Layla" (Pete Alonso) and "Whole Lotta Love" (Austin Wells) to contemporary hits from Rihanna and Lil Baby, with each selection offering insight into the player behind it. We even venture into international territory with Korean star Young Hoo Lee's electrifying choice of Supreme Team's "Dang, Dang, Dang."Beyond the music itself, Matt and Sam explore the fascinating superstitions surrounding walk-up songs, including Nick Castellanos's strange reputation for hitting home runs during tragic news broadcasts, and how players often change their music during slumps or hitting streaks. With players getting just 30 seconds to make an impression through sound, every beat counts.Whether you're a baseball die-hard or simply appreciate how music heightens dramatic moments, this episode delivers an entertaining look at the soundtrack of America's pastime. Want to feel like you're walking into your next important meeting with the swagger of an MLB slugger? This playlist has you covered.https://music.apple.com/us/playlist/2025-baseball-walk-up-music/pl.u-02GgC4oxbVhttps://open.spotify.com/playlist/4IGT9SHaR5fje3uClZRsKx?si=b73ad9cdd8b54207 1 .Texas – BigXthaPlug2. My Girl – The Temptations3. Drip Too Hard – Lil Baby & Gunna4. Layla – Derek & The Dominos5. Whole Lotta Love – Led Zeppelin6. Swag Surfin' – F.L.Y. (Fast Life Yungstaz)7. Armed and Dangerous – Juice WRLD8. Top Gun Anthem – Harold Faltermeyer & Steve Stevens9. Don't Stop 'Til You Get Enough – Michael Jackson10. Needed Me – Rihanna11. Edge of Seventeen – Stevie Nicks12. Dang Dang Dang – Supreme Team Support the showVisit us at https://www.superawesomemix.com to learn more about our app, our merchandise, our cards, and more!

On this episode of Life's Undertaking, Brad Jones and Toronto Mike discuss the Ridley's sponsorship of the Grilled Cheese Challenge and Toronto Maple Leafs baseball before turning the channel and talking My Girl and what the movie represents.

     This week... Insurmountable obstacles, unfortunate events, and darker obsessions collide in four films about love that wounds and scars and ends unavoidably tragic.     When a young woman is found murdered after leaving his house, down on his luck and violently tempered screenwriter Dix finds himself squarely in the police's frame. Only the testimony of his beautiful neighbor keeps him from immediate arrest. As his prosecution drags out, a relationship between them blooms. Can the blossoming relationship withstand the suspicions and outside glances? Did Dix succumb to his rage fueled impulses and will he do it again? An existential noir masterpiece with a towering lead performance, In a Lonely Place.     In the summer of 1972, young Vada Sultenfuss lives with her widowed father. Vada has a tendency toward hypochondria and a fascination with death, likely from losing her mother at birth and growing up in the town funeral parlor. This summer, Vada begins growing into her own and suffers many of life's first times. Widely considered a classic of the 1990s with a pair of fantastic child lead performances and a final act that scared a generation, My Girl.     Young Douzi is abandoned by his mother at a Peking Opera troupe. His youth is spent training to play dan, female lead, roles while his best friend, Shitou, learns jing, heroic male roles. From the brutal violence of their training, the oppressive occupation of the Second Sino-Japanese War, and the crushing repression of the Cultural Revolution, Douzi and Shitou's relationship carries them through 50 years. Beautifully shot, delicately edited, and widely considered one of the best films produced in Mainland China, Farewell My Concubine.     Two households, both alike in dignity, in fair Verona Beach, where we lay our scene, from ancient grudge break new mutiny... the star-crossed lovers draw the conclusion of Baz Luhrmann's Red Curtain Trilogy of theatrical motif. Hyper stylized with an energy that has few equals and a cast that matches it beat for beat, The Bard's most well known work's third major film adaption that still brings tears of joy to long suffering High School English teachers everywhere... William Shakespeare's Romeo + Juliet.     All that and Dave loses a letter, Tyler feels new emotions in a fetal positions, and Kevin likes to watch... everything. Join us, won't you?   Episode 410- Love That Scars

Finn Brothers, 29 February 1988, Los angeles KCRW's SNAP. Performances include: Six Months in a Leaky Boat, Throw Your Arms Around Me, Fraction Too Much Friction, Charlie, Coca Cola Kid Jingle, She Got Body She Got Soul, Message to My Girl, Show a Little Mercy, Better Be Home Soon, Bye Bye Love, The Jazz Butcher, Dirty Creature, Poor Boy, I Hope I Never, Song for Noel, Whaling, You Send Me, Now We're Getting Somewhere, Goodnight Irene, Pokarekare AnaYou can significantly support the continuation of the 240 podcast for a donation of just a couple dollars per month. This goes directly towards covering the podcast hosting fees. Big thank yous if you are in a position to help. Head over here to: http://patreon.com/240neilfinn

This is a fun one! We each decided to give our 5 greatest death scenes in movie history. Perhaps it was because it was gory and gruesome. Maybe because it was funny. Or it made our list because of how sad it made us. There are a bunch and we are gonna dive in! Lite spoilers ahead. The movies being discussed are: Boondock Saints, In a Violent Nature, Starship troopers, Zombieland, Harry Potter and the Deathly Hollows, Shaun of the Dead, American History X, Bone Tomahawk, The Untouchables, The Jackyl, Ghost Ship, Ned Kelly, The Patriot, Game of Thrones, My Girl, Jackie Brown, Rocky 3 and more. Learn more about your ad choices. Visit megaphone.fm/adchoices

Jessica Martin is an actress, singer, and illustrator. Specialising as an impressionist, her television roles have included Spitting Image, Copy Cats and The Bobby Davro Show. She featured as the werewolf Mags in the 1988 Doctor Who serial The Greatest Show in the Galaxy, and provided the voice of the Queen in the 2007 Doctor Who Christmas special, "Voyage of the Damned". On stage, she starred with Gary Wilmot in the West End show Me and My Girl for two years at the Adelphi Theatre and then on a national tour. She went on to play leading musical roles including Mabel in the 1996 production of Mack and Mabel at the Piccadilly Theatre, Nellie Forbush in South Pacific, Mrs Lovett in Sweeney Todd, Norma Desmond in Sunset Boulevard and the Lady of the Lake in the national tour of Spamalot. Her autobiography, as a graphic novel, Life Drawing: A Life Under Lights, was published in 2019 .Jessica Martin is our guest in episode 483 of My Time Capsule and chats to Michael Fenton Stevens about the five things she'd like to put in a time capsule; four she'd like to preserve and one she'd like to bury and never have to think about again .Buy Jessica's autobiography, Life Drawing: A Life Under Lights, here - https://www.artymisspublishing.com/new-products/ekbzc3h96cyxui3xaedahdyl2yxg58 .For everything Jessica Martin, visit - https://jessicamartinofficial.com .Follow Jess Robinson on Instagram: @jessica_martinvibe .Follow My Time Capsule on Instagram: @mytimecapsulepodcast & Twitter/X & Facebook: @MyTCpod .Follow Michael Fenton Stevens on Twitter/X: @fentonstevens & Instagram @mikefentonstevens .Produced and edited by John Fenton-Stevens for Cast Off Productions .Music by Pass The Peas Music .Artwork by matthewboxall.com .This podcast is proud to be associated with the charity Viva! Providing theatrical opportunities for hundreds of young people . Get bonus episodes and ad-free listening by becoming a team member with Acast+! Your support will help us to keep making My Time Capsule. Join our team now! https://plus.acast.com/s/mytimecapsule. Hosted on Acast. See acast.com/privacy for more information.

Hey hey, welcome back to The Embodied Baddie Podcast! I'm your host, Chrystal Rose—coach, burnout survivor, and your go-to girl for slaying stress and creating a life that actually feels as good as it looks.And oof, you're in for a juicy one today. I'm joined by the fabulous Jenny Stilley—yes, that Jenny, the genius behind BohoBlu Boutique, My Girl in LA and now the stunning jewelry line PRESSIE. We're talking success, health, and how to stop running your biz like it's a sprint when life is clearly a damn marathon.In This Episode, We Chat About…

Welcome to the Sisterhood of Sweat. I am absolutely thrilled to welcome you to a very special episode of The Sisterhood of Sweat! Today, we're taking a nostalgic, soulful ride with none other than the legendary group, The Stylistics—the voices behind timeless classics like "You Make Me Feel Brand New," "Stop, Look, Listen (To Your Heart)," and "You Are Everything." These icons have earned five Gold singles, three Gold albums, and a permanent place in our hearts. And guess what? They're back with their first new album in almost 20 years, Falling in Love with My Girl, dropping February 21, 2025! We're talking brand new music, epic collaborations—including a swoon-worthy Valentine's Day single “Yes, I Will” with Shania Twain—and stories that will make you fall in love with their sound all over again. So whether you're a lifelong fan or just discovering their magic, this is one conversation you don't want to miss.

Hey friends! In this episode, I sat down with Teresa—a skilled massage therapist, intuitive toe reader, and dedicated self-love coach who also happens to be one of my closest friends. We kicked things off by sharing the wild story of how our friendship started, including a ridiculous road trip that we somehow survived after returning from Bali.We also got real about giving ourselves grace—especially when recovering from being sick and trying to get back to “normal.” Spoiler: it's never as easy as we think, but hey, we're all just figuring it out. Then there's my ongoing battle with those readers I now have to use just to see—I swear, they make me feel so old! And don't even get me started on that moment when I thought I might have to engage my emergency response plan. Let's just say life keeps us on our toes (pun totally intended).Oh, and if you love a good laugh, this episode is packed with giggling fits that will definitely make you feel like you're hanging out with your besties. My hope is that by listening to our stories—our mistakes, our moments of vulnerability—you'll feel a little less alone and a lot more empowered to embrace your own journey, imperfections and all.Below are the Instagram Pages, Movies and TV Show referenced in the episodeInstagram PagesTeresa & Shranda: @thedeependofhealing & @helloshrandalynMovies and TV ShowsSteel Magnolias (1989)Showgirls (1995)White Chicks (2004)Anchorman: The Legend of Ron Burgundy (2004)Step Brothers (2008)My Girl (1991)Game of Thrones (2011–2019)

Join Angela Long as she brings a message called 'My Girl' from Mothers Day 2025.-FOLLOW US ➤ Instagram: https://www.instagram.com/alivewexford/ ➤ Facebook: https://www.facebook.com/ALIVEwexford/ ➤ Twitter: https://twitter.com/AliveWexford

This week, Keith and Mike attempt to rank the most important superficial traits that influence male sexual desire, beginning with a list that includes weight, ethnicity, facial attractiveness, figure, and everything else. What begins as an exercise in prioritization soon becomes a deep dive into personal biases, aesthetic heuristics, and a surprising amount of geometry. Keith provides a mechanical breakdown of sexual logistics with overweight partners, which leads to a somewhat academic discussion of bodily angles and the limitations of certain sexual positions. Mike contributes moral support, skepticism, and vivid analogies involving sport-fucking and Eastern European machinery. From there, the conversation leads to the relationship between apparent enthusiasm during sex and perceived long-term viability as a partner. The hosts consider whether women might accidentally disqualify themselves from relationship consideration by enjoying themselves too much during a first hookup. They explore the intersection of perceived chastity, authenticity of arousal, and the complicated social signaling involved in early sexual encounters. At no point does anyone suggest that human mating psychology is simple, pleasant, or fair. Later, the two evaluate a listener question involving pegging, face-sitting, and the limits of vulnerability in sexual dynamics. Mike posits that being a "vulnerable and whimpering mess" may carry a cost in perceived masculinity, especially outside the bedroom. Keith agrees, citing personal experiences and a fatherly punch in the film My Girl as evidence that competence and dominance remain socially desirable traits. The show wraps up with a discussion of another listener whose girlfriend experiences post-sex disgust and sadness. Various hypotheses are considered, including religious shame, misaligned intimacy expectations, and the absence of orgasms. Mike, citing their podcasting experience as a credential, suggests that breaking up may be the simplest solution. Twitter: @ymmvpod Facebook: ymmvpod Email: ymmvpod@gmail.com

Stew and Smith are back with another episode of the It Doesn't Hold Up podcast discussing My Girl from 1991. But does it hold up?Email – ⁠⁠itdoesntholduppodcast@gmail.com⁠⁠Instagram – @itdoesntholduppodcastTwitter/X- @doesntholduppodYoutube @itdoesntholduppodcast

Pass auf, was du dir wünscht: Du willst wieder Feuer in deiner Beziehung? Dein Schatz wirkt jetzt wie besessen ... Und das Hotel gefällt dir so gut, dass du am liebsten nie wieder abreisen würdest? Das kannst du auch gar nicht mehr ... Zwei gruslige Hörspiele pünktlich zum Vollmond! 00:00 Beginn Episode 02:05 Beginn Folge 11: «My Girl» 18:18 Gespräch 22:25 Beginn Folge 12: «Hotel Limbus» 45:03 Gespräch ____________________ Von: Susanne Janson («My Girl») und Wolfram Höll («Hotel Limbus») in Dialektfassungen von Karin Berri ____________________ Mit: Vera Bommer (Steffi), Aaron Hitz (Phil), Dashmir Ristemi (Besim) und Lucy Wirth (Zoey) sowie Wanda Wylowa (Fabienne), Winema Rossi (Adriana), Michael von Burg (Michi), Franziska von Fischer (Zoeys Mutter), Kamil Krejci (Direktor), Barbara Falter (Portier), Reto Stalder (Barmann), Isabelle Menke (Polizistin) und Peter Jecklin (Förster) ____________________ Intro-Musik: Lukas Fretz – Dramaturgie: Simone Karpf Musik: Mirjam Skal – Produzenten «Grauen»: Wolfram Höll und Simone Karpf – Tontechnik: Roland Fatzer und Ueli Karlen – Regie: Karin Berri und Wolfram Höll ____________________ Produktion: SRF 2021 ____________________ Die bisherigen Folgen von «Grauen» im Krimi-Podcast findet Ihr hier:

The Stylistics announce their first new album in almost two decades titled "Falling in Love with My Girl" to be released on February 21, 2025. Soul legends collaborate with Shania Twain on single "Yes, I Will" which drops on Valentine's Day, February 14th.This new collection to also feature music legends Ronnie Wood, Gene Simmons, Billy F. Gibbons, The Elton John Band, Steve Lukather, Bill Champlin, Tower of Power, and many more. The Stylistics announce their first new album in almost two decades titled "FALLING IN LOVE WITH MY GIRL," which will be released worldwide on February 21, 2025. The soul legends known for their iconic hits, "Stop, Look, Listen (To Your Heart)," "You Are Everything," "You Make Me Feel Brand New," and more, earning them 5 Gold singles and 3 Gold albums, will bring audiences their first new single from the 21-track album "Yes, I Will," featuring Shania Twain, on February 14. "FALLING IN LOVE WITH MY GIRL," produced by Tom Cridland and Executive Produced by Deborah Cridland, will feature a who's who of legendary and noted artists who collaborated on the album alongside Twain: Ronnie Wood of The Rolling Stones, Gene Simmons of KISS, The Elton John Band (including Nigel Olsson and Davey Johnstone), Bill Champlin of Chicago, Billy F. Gibbons of ZZ Top, Steve Lukather of Toto, Tower of Power, Ray Parker, Jr., Jay Graydon, Justin Hawkins of The Darkness, The Real Thing, Nathan East and Carly Paoli. For "Yes, I Will," Twain had been invited to sing on one of the tracks already written, but she had in mind the perfect song for the album that she had co-written with Nathan East, (to which Tom Cridland contributed), that was a soulful fit for The Stylistics. Ray Parker Jr., Steve Lukather and East performed on the track that was the last song recorded for the collection, and is the first new track in 17 years to be released by the legendary group. Says Twain, "I'm so happy that this song I wrote 'Yes, I Will' has found a home on The Stylistics album. That is just so exciting. It's a special song that came together on one special day at my home where I was hanging out with some friends and musicians. So I think it turned out great and I'm just really excited to share it with the whole world." Airrion Love from The Stylistics adds, "I fell in love with Shania Twain the first time I heard 'You're Still the One' - a great song that I still love. When we heard there might be a chance to do something with her we said, "Hell yeah!"" The Stylistics' original members Airrion Love and Herb Murrell, together with Jason Sharp who joined the group in 2011, recorded their vocals at Spice House Sound in Philadelphia, Pennsylvania, and at Wright Way Studios in Baltimore, Maryland. Tom Cridland arranged and recorded the background vocals in the Scottish Highlands and at Fame Studios in Muscle Shoals, Alabama. The Elton John Band including Nigel Olsson and Davey Johnstone laid down the instrumental tracks at the Record Plant in Hollywood, California. "FALLING IN LOVE WITH MY GIRL" was the last album ever made at the legendary recording studio. Most of the songs were written by Tom Cridland together with Anthony King of Blackpool and Anthony's wife, Fiona Shaw. Two tracks were written by Airrion Love, "Sad Tomorrows" and "I Get A Feeling." Become a supporter of this podcast: https://www.spreaker.com/podcast/arroe-collins-like-it-s-live--4113802/support.

The Stylistics announce their first new album in almost two decades titled "Falling in Love with My Girl" to be released on February 21, 2025. Soul legends collaborate with Shania Twain on single "Yes, I Will" which drops on Valentine's Day, February 14th.This new collection to also feature music legends Ronnie Wood, Gene Simmons, Billy F. Gibbons, The Elton John Band, Steve Lukather, Bill Champlin, Tower of Power, and many more. The Stylistics announce their first new album in almost two decades titled "FALLING IN LOVE WITH MY GIRL," which will be released worldwide on February 21, 2025. The soul legends known for their iconic hits, "Stop, Look, Listen (To Your Heart)," "You Are Everything," "You Make Me Feel Brand New," and more, earning them 5 Gold singles and 3 Gold albums, will bring audiences their first new single from the 21-track album "Yes, I Will," featuring Shania Twain, on February 14. "FALLING IN LOVE WITH MY GIRL," produced by Tom Cridland and Executive Produced by Deborah Cridland, will feature a who's who of legendary and noted artists who collaborated on the album alongside Twain: Ronnie Wood of The Rolling Stones, Gene Simmons of KISS, The Elton John Band (including Nigel Olsson and Davey Johnstone), Bill Champlin of Chicago, Billy F. Gibbons of ZZ Top, Steve Lukather of Toto, Tower of Power, Ray Parker, Jr., Jay Graydon, Justin Hawkins of The Darkness, The Real Thing, Nathan East and Carly Paoli. For "Yes, I Will," Twain had been invited to sing on one of the tracks already written, but she had in mind the perfect song for the album that she had co-written with Nathan East, (to which Tom Cridland contributed), that was a soulful fit for The Stylistics. Ray Parker Jr., Steve Lukather and East performed on the track that was the last song recorded for the collection, and is the first new track in 17 years to be released by the legendary group. Says Twain, "I'm so happy that this song I wrote 'Yes, I Will' has found a home on The Stylistics album. That is just so exciting. It's a special song that came together on one special day at my home where I was hanging out with some friends and musicians. So I think it turned out great and I'm just really excited to share it with the whole world." Airrion Love from The Stylistics adds, "I fell in love with Shania Twain the first time I heard 'You're Still the One' - a great song that I still love. When we heard there might be a chance to do something with her we said, "Hell yeah!"" The Stylistics' original members Airrion Love and Herb Murrell, together with Jason Sharp who joined the group in 2011, recorded their vocals at Spice House Sound in Philadelphia, Pennsylvania, and at Wright Way Studios in Baltimore, Maryland. Tom Cridland arranged and recorded the background vocals in the Scottish Highlands and at Fame Studios in Muscle Shoals, Alabama. The Elton John Band including Nigel Olsson and Davey Johnstone laid down the instrumental tracks at the Record Plant in Hollywood, California. "FALLING IN LOVE WITH MY GIRL" was the last album ever made at the legendary recording studio. Most of the songs were written by Tom Cridland together with Anthony King of Blackpool and Anthony's wife, Fiona Shaw. Two tracks were written by Airrion Love, "Sad Tomorrows" and "I Get A Feeling." Become a supporter of this podcast: https://www.spreaker.com/podcast/arroe-collins-unplugged-totally-uncut--994165/support.

Anne ist im Tropenhaus zu Gast und spricht mit Angela über die verschiedenen Rollen und Repräsentationen von Müttern in Filmen, warum sie oft in negatives Licht gerückt werden und welche Lieblingsdarstellungen die beiden haben. Kostümfrau Annes Podcasts TH 01 Die Addams Family in verrückter Tradition Kammerflimmern-Folge Aristocats Mrs. Brisby und das Geheimnis von NIMH Little Women (2019) Little Women (1994) 101 Dalmatiner (1961) Wednesday (2022) Liebling, ich habe die Kinder geschrumpft (1989) Kevin allein zu Haus (1990) TELEKADDI - Kevin allein zu Haus You're Good - Abandonment Fears and Home Alone w. Anne Thériault Märchenstunde-Podcast Tarzan (1999) Urmel aus dem Eis (1969) Into the Woods Die Legende der Prinzessin Kaguya Paddington in Peru TV Tropes: Empty Nest Spiderman-Trilogie Lois & Clark: The New Adventures of Superman Tangled Juno Der Junge und der Reiher Beetlejuice (1988) Sleepy Hollow (1999) Drei Haselnüsse für Aschenbrödel (1973) Die bunte Seite des Monds TH 62 Wreck it Ralph: Disney Princesses Belle (2021) My Girl (1991) Der Graf von Monte Christo (2024) Roter Drache Everything Everywhere All at Once (2022) Rot (2022) Merida (2012) The Wild Robot (2024) Ponyo (2008) Vaiana 2 Kinderfilmblog Mein Nachbar Totoro (1988) Klassiker Faible-Podcast - Totoro

Erik Childress and Peter Sobczynski run down titles you can get on physical media this week and, not gonna lie, there's a lot of baggage. There's the Mick Jagger film that say on the shelf for two years along with Lindsay Lohan's collaboration with Paul Schrader and William Friedkin's infamous Al Pacino murder mystery set within the gay community. Not to mention John Wayne playing Genghis Khan and the poor timing for an Eric Red horror film. But even controversy can be put aside for cinema sunshine. You can now get Milos Forman's Mozart film in its original theatrical incarnation. Maybe you don't even remember the issue parents had with one of the loveliest coming-of-age films of the ‘90s. And why would you say anything controversial about Carol Reed's masterpiece? All that plus Guillermo Del Toro's debut and the genius of poking fun at documentaries on this week's Blu-ray show. 0:00 – Intro 3:13 - Criterion (Performance 4K, Cronos 4K) 22:43 - Vinegar Syndrome (The Joy of Sex, Virtuosity 4K, The Canyons) 48:18 - Arrow (Cruising 4K) 1:05:54 - Kino (The Conqueror, Graveyard Shift 4K, Body Parts 4K) 1:24:14 - Sony (My Girl 4K) 1:37:39 - LionsGate (The Third Man 4K) 1:44:22 - Warner (Amadeus 4K) 1:55:51 – New Television on Blu-ray (Noble House, Documentary Now: The Complete Series) 2:01:01 - New Theatrical Titles On Blu-ray (Hard Truths) 2:05:13 – New Blu-ray Announcements

 It's January 1994 and we have loads of movies including Ace Ventura Pet Detective, My Girl 2, and more.

It's February which means Valentine's Day!!! So, I pickled a rom-com... sort of. First time guest Lucio Vasquez and I talk about My Girl. Starring Dan Aykroyd, Jamier Lee Curtis, Macaulay Culkin and Anna Chumsky. We talk about the romance between the adults and the chemistry between the kids. We also address the infamous scene in the movie. You can support this podcast with my Patreon page with the link below. This podcast can be found on Cross The Streams Media platform. www.patreon.com/scottwhite www.scottyblanco.com www.instagram.com/scottspodcasts www.crossthestreamsmedia.com

Some podcast apps may not display links from our show notes properly, so we have included a list of links at the end of this description. * When a film touches us, makes us laugh, and has that feel-good spirit, we want more of it. We want a sequel! In this episode, psychotherapist and CIIS Assistant Professor in the Integral Counseling Psychology program Emily Marinelli is joined by therapist and activist DDS Dobson-Smith for a conversation exploring the psychology of movie sequels from the 1980s and 1990s. * Sharing personal stories and insights from their latest book Comfort Sequels, Emily dives deep into the psychology behind what makes certain movie sequels memorable, safe, predictable, and comforting. These sequels are more of the universe we love—exploring something new while maintaining something familiar. Emily interprets characters, story arcs, and major themes while sharing fun and random behind-the-scenes facts about sequels including Grease 2, Gremlins 2, My Girl 2, Ghostbusters II, Batman Returns and more. * This episode was recorded during an in-person and live streamed event at California Institute of Integral Studies on August 21st, 2024. You can also watch it on the CIIS Public Programs YouTube channel. A transcript is available at ciispod.com. To find out more about CIIS and public programs like this one, visit our website ciis.edu and connect with us on social media @ciispubprograms. * We hope that each episode of our podcast provides opportunities for growth, and that our listeners will use them as a starting point for further introspection. Many of the topics discussed on our podcast have the potential to bring up feelings and emotional responses. If you or someone you know is in need of mental health care and support, here are some resources to find immediate help and future healing: * -Visit 988lifeline.org or text, call, or chat with The National Suicide Prevention Lifeline by dialing 988 from anywhere in the U.S. to be connected immediately with a trained counselor. Please note that 988 staff are required to take all action necessary to secure the safety of a caller and initiate emergency response with or without the caller's consent if they are unwilling or unable to take action on their own behalf. * -Visit thrivelifeline.org or text “THRIVE” to begin a conversation with a THRIVE Lifeline crisis responder 24/7/365, from anywhere: +1.313.662.8209. This confidential text line is available for individuals 18+ and is staffed by people in STEMM with marginalized identities. * -Visit translifeline.org or call (877) 565-8860 in the U.S. or (877) 330-6366 in Canada to learn more and contact Trans Lifeline, who provides trans peer support divested from police. * -Visit ciis.edu/ciis-in-the-world/counseling-clinics to learn more and schedule counseling sessions at one of our centers. * -Find information about additional global helplines at befrienders.org. * LINKS * Podcast Transcripts: https://www.ciispod.com/ * California Institute of Integral Studies (CIIS) Website: https://www.ciis.edu/ * CIIS Public Programs YouTube Channel: https://www.youtube.com/c/ciispublicprograms * CIIS Public Programs Instagram: https://www.instagram.com/ciispubprograms/ * Mental Health Care and Support Resources: https://988lifeline.org/ https://thrivelifeline.org/ https://translifeline.org/ https://www.ciis.edu/ciis-in-the-world/counseling-clinics https://befrienders.org/

1973's Slither was the directorial debut of Howard Zieff (Private Benjamin, My Girl) and the screenwriting debut for W.D. Richter (Invasion of the Body Snatchers, Big Trouble In Little China). In the freewheeling comedic thriller, James Caan goes on the road looking for a stash of embezzled money with Peter Boyle, Louise Lasser and Sally Kellerman in tow.  Famously, Caan was quoted saying he took the role for the money and had little understanding of the story. Dan and Vicky discuss the film along with lots of recently seen including Nosferatu, The Front Room, Shudder's doc series Horror's Greatest, Better Man, Leigh Wannell's Wolfman, Trim Season and The Brutalist. *Sound issues exist in this episode.  We hope they won't detract from your enjoyment of the show.    Our socials:  hotdatepod.com FB:  Hot Date Podcast Twitter: @HotDate726 Insta:  hotdatepod

In this final episode of Great Minds, Otis Williams, the founder and last surviving member of The Temptations, takes us on a journey through the legendary group's history. From his early days in Texarkana to the vibrant music scene of Detroit, Otis shares how the group evolved from the Distants to Motown superstars. He reflects on pivotal moments, including the addition of David Ruffin and Eddie Kendricks, their breakthrough with "My Girl," and the challenges of navigating fame, racial discrimination, and industry changes. With personal anecdotes, insights into their global impact, and reflections on the group's enduring legacy, this episode is a must-listen for music lovers and Motown enthusiasts alike.

Momma Carson.Based on a post by FinalStand, in 13 parts. Listen to the ► Podcast at Explicit Novels. Since a quick 'cool down' in the pool seemed like a Great idea at that instant, I sidled down the sofa and retrieved swimming trunks from my book bag. Though not Speedos, Brandy still approved. This also allowed me to 'clean up' with my underwear then stow it away in the plastic bag the trunks had come in.‘Okay,' she rang out once we were back in shirts and shorts. Mamma Carson came into view and all the blood which had been struggling back up to my brain raced to my enraged cock. Brandy's Mom was wearing a light grey sports bra, with nipples poking out invitingly, matching boy shorts, with clearly evident camel toe, and; ah; petite workout moccasins? That's what they looked like anyway. She completed the ensemble with a baby blue hair bow holding most of her hair back and a matching linen towel over her right shoulder.Undoubtedly; I was drooling.‘Mamma!' Brandy exclaimed in faux-surprise over 'Mamma's' attire.‘I just wanted to work out in the home gym and to know if you wanted to join me; like old times,' Mrs. Carson asked all innocent-like. What Brandy said was a bit less innocent and way more indicative of Brandy's trust in me (or so I thought).‘Mamma, dressed that way; I'm afraid Vlad might rape you. I'm pretty sure his brother Mikhail will; if he sees you walking around dressed like that,' Brandy chortled. Jodi May Memphis Carson wasn't a believer so I turned to the woman whose opinion truly mattered.‘Can I? Can I? Can I?' I pleaded as I fell to my knees before Brandy. ‘Please, please, please! Can I have her?'‘What!' squawked Brandy even as her eyes shone with feverish glee.‘What?' gawked Jodi May, not wanting to comprehend the scene before her; and her powerlessness in it.‘She's, my, Mother,' Brandy put both fists on her hips and began scolding me.‘Yeah, yeah, yeah,' I rapidly nodded like a maddened Fool.‘What she said,' Mamma Carson affirmed.‘Don't you care that she's my Mamma?' Brandy's tone became teasing.‘I think it is extra-special that she's your mother,' I kept up the head-bobbing.‘But I'm; ah; older enough to be her Mother,' the older Carson protested.‘Yes,' I turned to Jodi May, ‘you are what I have to look forward to if we get married, Jodi May.' Then I added a bit of my newfound cunning by saying, ‘You are almost as good as the real Brandy to my way of thinking.'I turned back to My Girl because I wasn't sure how good my Poker Face was, or how good Jodi May was at reading the hearts of young men. In reality, I didn't want a Brandy substitute and would wait for the real Brandy to become available as opposed to 'settling'.That wasn't what both women had heard though. For Brandy, it was a cruelly landed barb; on the Mother who had slept with her previous beau; as if Darius hadn't bothered to both tell Brandy and demand she never reveal she knew; because he was that kind of twisted piece of work, poisoning Daughter against her Mother.Out of sight of Mamma, I crossed the first and fore fingers of my hands to create the '#' sign followed by a '1' as I mouthed 'girl'. She winked with her hooded, left eye to show she'd caught on to my game.‘Prince, don't get pouty,' Brandy stroked my cheek. ‘It is just that Darius used to tucker her out and you are easily twice the lover he ever was to me. I don't want you screwing her unconscious like you did me our first time either,' she added on, ‘on her first day back.'‘Brandy; what?' Jodi May mentally backpedaled. ‘Who told you such stuff?'‘Darius told me, Mamma. He even showed me a video of you, him and Rashaan in a three-way,' she undercut any further attempts at denial. ‘It's okay. I believed Darius' lies too and made even worse mistakes; like believing he cared about me as opposed to his real purpose; which was to hurt Daddy.'‘Baby, you can't; I mean; it was one mistake,' she evaded.‘He showed me two tapes,' Brandy looked saddened to catch her maternal champion in a lie.‘Brandy; I; ‘‘Mamma, I'm free of him now,' Brandy let a single tear track her cheek. ‘Vlad saved me.'I took this as my clue to rise up, stop playing the Clown and return to being her masculine Guardian and Protector. I wrapped Brandy up in both arms as she wrapped my waist up in hers. Soft kisses landed on the top of her head.‘Hey, Princess?'‘Yes Prince?'‘How about you go upstairs and get dressed for a gym workout and I'll stay down here with your mother and; ‘ I led off.‘Yes; and; ,' Brandy wiggled while she looked straight up into my gaze.‘I'll spank her until you return. Seems totally fair and unbiased to me.'‘Spanking my ass is not enough for you?' she sniffle-giggled.‘Wait? What? I get to spank both your asses?!?!?'‘No,' she protested. ‘You get to spank Mamma, but only until I get back.'‘Brandy!' Mom exclaimed.‘Mamma, I'll change real fast, I promise,' Brandy shot me another wink then sprinted off before there could be any other verbal roadblocks.More, as in more of Jodi MayA few seconds later;‘Young man, I am not going to let you spank me,' Jodi May announced.‘If you don't, can you imagine how much more disappointed in you Brandy will be when she gets back? Sleeping with Darius was a stupid thing to do, but you both know how charismatic he could be. Lying to her about what you did was dumber and overly cruel to a young woman who deserves the truth desperately,' I glared her way.‘That doesn't equate to me degrading myself before you,' she frowned.‘Oh, come on,' I attempted to placate the mother. ‘Just lay across my lap. I'll give one good smack when I hear her coming down the stairs and she'll be mollified.'Maybe I had a good Poker Face after all, or perhaps mine was yet another lie Jodi May wanted/choose to believe.‘Well, don't get slap happy,' she wagged a finger at me as she came around the sofa. She certainly walked slowly enough to hard-sell her reluctance.I languidly sat down, then beckoned her forward with my forefinger. Her eyes rolled heavenward at my theater even as she complied; by crawling across my lap. I held off my 'gulp' until she wasn't looking at me.Step 1: I held my palms upraised and clasped together in supplication and prayer while whispering, ‘Таксиарх Архангел Михаил, за то, что я собираюсь получить, я смиренно благодарен.' ‘Taksiarkh Arkhangel Mikhail, za to, chto ya sobirayus' poluchit', ya smirenno blagodaren.'‘Are you saying Grace over my Behind?' she looked over her shoulder at me, somewhat caught between cross and bemused.‘Your whole body, Ma'am. Your whole body and it is only fitting and proper that I do so. Anything less would be sacrilegious in the extreme,' I smiled. Jodi May smirked. She shouldn't have been so confident.Step 2 saw me putting my left forearm casually over her shoulder blades. Now she was tensing up and becoming physically uneasy, but too late for that.Step 3 and I began massaging her buttocks.‘Hey! What are you doing?' she hissed. Her attempts to rise were countered by me applying pressure with my forearm. My right hand rose and came down with a resounding 'Smack!' ‘Ow! What the; ‘‘It should be obvious,' I humored her. ‘I lied. You've been bad. Worse, you've been bad to Brandy in my presence and I'm not going to tolerate that, not for one second. Clear enough?'‘Let go,' she struggled valiantly. ‘I said; Ow! Ugh,' she sniffled as a second blow was followed by a third in rapid succession.‘Next time it will be three and the number keeps going on up, got it?' I stated. She hesitated so my right hand rose.‘Yes,' she yielded cautiously.‘Okay. Here are the new Ground Rules. Brandy is the Lady of this House, not you. You ran off while she stayed. Play nice and my family will work overtime to not make things even worse between you and your husband when he returns. Cross any of us, or Brandy, and you have no clue how bad it will get,' I began.‘And if I say 'no' are you going to continue to beat me?' she challenged. Down came three hard blows on her luscious posterior which vibrated deliciously with each impact.‘Ow, ow, Ow!' she teared up. ‘Stop! Please stop!' It would have been more convincing if I hadn't spotted her hands sneaking back. I foresaw ten sets of claw marks in my near future if I wasn't careful.Down came four painful blows with the accompanying highly vocal protests.‘Hands over your head,' I demanded in a harsh, unforgiving tone. ‘Five, four, three; ‘I could see her contemplate trying to scarify me then think better of it. My pain tolerance was an unknowns while she was approaching hers. Up her hands went.‘Good girl,' I leaned forward and cooed into her hair from close above. ‘Cross your wrists and keep them that way.' Again, compliance with an undertone of a mare getting ready to bolt. ‘Raise your legs up on the sofa and cross your ankles. Keep them that way.' At this point she realized she was stuck. There was going to be no quick getaway for her.‘Who is the Lady of the House?' I inquired softly.‘Brandy.'‘Not very convincing, but that will have to do for the moment,' I first caused her to coil from the expected painful spanking, then relax when she realized she'd gained a respite. ‘I know you don't believe me for no reason which truly makes sense to me, but you don't. I'm okay with your current misconceptions about me.'I moved my hand under the elastic of her shorts.‘Hey,' she tried to raise her head up, stilling me with her gaze alone. My hand worked down to the crack of her ass then alternating along the sides instead of continuing 'deeper'. Once more, this was just a false hiatus as, with a few quick twists of my right wrist, I began working her shorts down until I had exposed her bare buttocks to me.Since the verbal and non-verbal roadblocks weren't working, she went for the straight physical denial by clamping her thighs shut. Thighs are stronger than arms, but you'd have had to have been a premier female bodybuilder to keep my questing fingers from between them and stop my progress at this late date; and Jodi May's figure was way too opulent for that's sport's discipline.‘While keeping your ankles crossed, move your knees apart,' I ordered. Finally she launched her all-out rebellion. I could have out-wrestled her three years ago and won without my current hellish advantages. I had Jodi May off the sofa and pinned, face-first, on the floor in ten seconds flat. Five blows to her scrumptious rear rained down. This time the resulting tears were very real.‘Okay; okay,' she sobbed.I made a production of getting off of her, resuming my seat then having her crawl back across my lap. This time she was utterly defeated and scared. Six blows were her 'reward'. The 'reward' was the playfulness of those feather-light touches of those faux-slaps to her abused flesh. ‘Ah, ah, ah; oh; ‘‘Raise up your tush.'Her ‘Why?' was quickly followed by my frown and then her instant compliance. Kisses replaced the palm of my hand as I blew gently and placed faint signs of affection on her posterior. My hand was busy going between her cheeks until my fingertips contacted moist labia-meat.‘Ah; should you? Brandy; back soon?' Jodi May whimpered.‘Who is the Lady of the House?'‘; Brandy?'‘Yes and it is up to Brandy to call me off. I know how long it takes for her to get dressed when she has sex on her mind, so I'm already aware she can intervene whenever she wishes to. This is Brandy's game, Jodi May, not yours, not mine.'I worked two fingers up to the first digit into her labia, feeling she was becoming quite wet. My thumb was tapping her sphincter as well. Jodi May was beginning to really get into it, adding a little push back to my play, when Brandy announced her presence.‘Hey guys. Whatchya doing?'I held Jodi May firm so all my mature victim could do was stay on all fours while I methodically finger fucked her from behind.‘Quick; let me up,' Jodi May urged me quietly, yet without much conviction.‘No.'‘Mamma; Vlad?' Brandy glided down the stairs and fully into view. I had been prepared for more of a fight from Mrs. Carson than she'd put up, which was for damn sure. Jodi May gracefully slid off the sofa, dragging a throw pillow with her and then buried her face in it, more a feeble effort at hiding than any real attempt to break our coupling.I couldn't have been more baffled though I felt compelled to follow to keep my position via-a-via her body.'She's been lonely,' Brandy mouthed to me followed by, ‘Vlad, that's my Mother!''Huh?' from me.'Don't stop', then ‘get off of her right now, Mister!' Fortunately, I figured out which sets of lips to obey; Brandy's silent ones and Jodi May's lower, gooey ones. Her upper ones were beginning to make subdued little moaning noises.‘Oh Mamma, is my Prince being mean to you?' my Lady knelt by her mother's head.‘He spanked me badly,' the older lady mumbled into the pillow.‘Vlad, make it up to her,' Brandy turned to me. Her insistent tone was undermined by her wink.‘I like where I am,' I defied her then mouthed, 'what do I do?'‘None of that backtalk, Mister,' she waggled a finger at me. ‘Get those magic lips to work this instant,' the finger pointed toward her mother's hindquarters.‘And if I don't?' I scoffed. Then, 'I love you.'‘Then that cock of yours is blocked from ALL the ladies this weekend; Oh Vlad who is living Vicariously,' she shot me a sly smile. 'I love you too.'‘Ouch!' I emoted as I recoiled. ‘Princess; that's harsh,' followed by a double eyebrow pump and 'anything for you.'‘Brandy; I (sniff) don't; want (sniffle); him to; oh; ah; oh, stop that Vlad,' Jodi May protested.While Mamma Carson had been voicing her dissent, I had been shuffling down the length of the sofa. Quickly enough I maneuvered myself into a position where I could begin planting kisses on her abused heinie, all the while keeping my fingers gracefully playing in her cunny and across her anal frontiers. I began adding little flicks of my tongue as I'd had something similar done to me once, during my first time with a professional. That one could arouse with just her lips, teeth and tongue in ways I'd never imagined.‘Oh; he shouldn't be doing that,' Jodi May murmured. ‘Make him stop.'During this appeal, I was petting her along her spine until she got the hint I wanted her to bow her back to give me better access to her girly bits.‘No, Mamma. Vlad has to learn his lesson. He can't take you, or any woman; but especially not us Carson women; for granted,' Brandy insisted.'You sure; about this?' I checked.'I want Mamma to stay home, Prince,' she smiled somewhat tearfully. I sensed she'd had words with Mikhail and Taliyah before returning. My youngest triplet must have been deadly insistent about the power of 'my love', which healed her heart, being able to rejuvenate her mother of whatever emotional maledictions had aided her departure from this household, things I was still largely unaware of.Twenty seconds of oral succulence later; 'I don't have a condom'.Brandy had coaxed her mother to turn her head sideways on the pillow, facing Brandy's lap though Jodi May's eyes were closed. Brandy, for her part, was in navy blue butt shorts and a blue sports bra (I figured from Brandy's desire to color coordinate) and a white, sleeve-less t-shirt with blue stripes down the sides.'She's on birth control.''This may get more than a bit weird. (Are you) sure about this?''Come back to me, Vlad.''Always, Princess.'A stellar smile followed my promise to her, then it was 'back to work' (though I hardly thought of my sexual activities in such a manner.)Honestly, Jodi May had a way more developed sense of what she liked and how to get me to go where she wanted to me to go than any other Arkansas woman I'd been with to date. She wasn't all that bashful, or clumsy about it, either. There was a magical grace to her responses which later left me amazed how she led me to her first orgasm without me realizing she was definitely leading our carnal cavorting.Hmm; my mind was recovering; in that I could create more wordy prose while simultaneously working my neck (I was on my stomach behind her by this time, propped up on my elbows), nose, mouth, fingers and tongue. I was still the composer, creating the movement for the orchestra to play, but she was the body of music, filling the auditorium of our love-making with a tantalizing harmonic melody. I couldn't tear myself away.For her part, Jodi May made sure to rub her vaginal fluids over my face from eyebrow ridge to the stubble beneath my chin (hey! I'd hurried to get over here). All I could taste and smell was her womanly aroma; a richer, raw maple syrupy smell combined with scallops; which I quickly came to adore.I got a mouth and two cheeks full when she orgasmed and she got to howl into her pillow while Brandy, now the maestro of this little performance, appeared surprised by her ever-growing, new-found power over the people who had such an emotional impact on her life. Brandy was In Charge!I was lapping away like some overly friendly Saint Bernard the juices which had escaped my gullet as Jodi May coasted down from her post-coitus euphoria. Then Mother began crying to daughter and daughter to Mother.‘I'm so sorry, Baby Boo,' Mamma addressed her offspring. ‘I tore everything apart.'‘You did, Mamma,' Brandy petted her hair, ‘but if you hadn't run off with Mr. Jenks, Senior Deputy Samsonov wouldn't have applied for his job, gotten it and the Samsonov's wouldn't have stayed. I would have been under Darius' thumb; as would have the whole school. You hurt me and Daddy plenty, yet; in the Greater Scheme of Things; it worked out better for me and Daddy with the new friends we've made.'‘That's a beautiful way of looking at my screw-up,' Jodi May's eyes opened in more ways than one way. Brandy was acting in a more self-possessed manner at this moment than she ever had before. Jodi had left a girl subjugated by a villain and come back to a women partnered with a man whom she loved and who loved her. Our strong bond powered everything else.‘You still hurt Daddy and for that you must atone, Mamma,' Brady frowned slightly.‘Atone; ah; like punish me?' Mamma didn't seem all that distressed.‘Yes. We can go back to your present room and cut up all your racy dresses, or you can promise to never leave the house without me, or Pa; or you could let Vlad be so terribly mean to you that you never forget who really cares for you,' Brandy laid out the choices. My girl had it going on!‘Terribly mean,' Jodi May flashed me a famished look, ‘like what he is doing to me right now?'‘Oh yes; just like this plus much, much worse,' Brandy feigned innocence.‘How much worse?' Mrs. Carson hid her smile well.‘Stay right there and find out,' I joined in. I finished rolling her from leaning to one side to over on her back with my kisses falling down on her still micro-trembling thighs.‘One thing though, Mamma,' Brandy grew steely.‘Yes.'‘Daddy doesn't want you around us no more.'‘Let me deal with; ‘‘No,' Brandy put her foot (knee) down. ‘You broke Daddy's heart for the last time with your cheating ways. Hell, I became a cheater too, and I think you are somewhat to blame for that as well; me going behind his back to keep dating Darius.'‘Honey Child, those are adult things,' Mamma tried to both mollify her baby while seduce me with a host of non-verbal clues.‘No, Mamma. Not anymore. I'm 18 now and I think I know what is going on. Daddy won't take you back and back into his bed, never. If you promise me and him you will behave; ‘‘I'm your Mother,' Jodi May grew frosty up top while keeping steamy and inviting below.‘And I am your Daughter and I'm telling you if you try to romance Dad, you can't win. You will cheat again and he'll detonate in a big way. Then he will take you to Divorce Court and destroy us as a family. I don't want that.'Brandy Crystal Carson.Jodi May wasn't overly groomed in the pelvic region, but it wasn't too much to deal with either. It was natural and womanly, very fitting for the untamed, sumptuous tableau of maverick charms she presented to me.‘I'll behave, Brandy Crystal Carson,' Mamma shifted around so could place one hand over her heart. ‘I swear. This time things will be different.'‘Yes. Yes, they will. Mamma, in this instant, you can stop having sex with Vlad and have sex with no other until Daddy decides to take you back to his bed, you can keep whoring around until Daddy gets so ashamed by it, he tosses you out for good, or; ‘‘Or; ?' Jodi May was somewhat less than the authoritative persona she wanted and needed to put forth to be the master/mistress the situation at this point.‘Or, we let you have sex with Vlad; and his two, identical brothers, Mikhail and Alexander, but only them.'I struggled mighty hard to not let the 'Hey now! Don't we (my Brothers and I) get a vote in this?' push the current wolfish cravings for more Jodi May off my face and to alter my demeanor from covetous carnivore to caring boyfriend. I already knew Mikhail's vote would be a 'Hell yeah!', but Alexander? Me? I found myself gradually going serpentine up my current partner's body.‘Vladimir; Vlad, you can't be okay with this?' Jodi May's eyes riveted me. Only the truth would do so I went for the most effective bit of truth.‘Brandy Crystal Carson is my Lady on my arm and my Whore in my bedroom, Jodi May. She has entered the tiny group of people whose opinions I give a damn about, and the only one of the four who isn't blood-related. That is how much I value your daughter's council, advice and personal direction when I need it.'‘So you are just going to let her tell you who you can and can't sleep with; for real; ‘‘Abso-fucking-lutely, Mrs. Carson. That is because it isn't about the fucking; it is about the happiness. I'm happiest when my world collapses down to just Brandy and me.'‘I'm happiest when she smiles at me when I've done a good thing. I'm happiest when she is so hoarse from screaming out her orgasms she can't enunciate clearly, or even move, after one of our ferocious rounds of love-making. In essence: Brandy = my happiness; so yes, I give everything she recommends to me great weight.'‘In this case,' I ran my tongue up between her gently sagging mounds of mountainous breast tissue, ‘she is telling me what will make her happy; having sex with a 'loyal' you; and; not having sex with a disloyal you; makes her happy.' I paused for several seconds to glomb onto her right nipple and playfully suckle upon it. Her legs, already open, allowed her heels to start working over the sides of my calves and the back of my knees.‘I could wake up in the morning and have sex with your daughter, Mrs. Carson. We could chase one another around, frolic and have sex all over whichever domicile we found ourselves in; and if I did it for a hundred years, I would never get bored with Brandy, or want to anything except make her joyous inside and out,' I finished up.Jodi May had three options to believe in:~ I could still be a standard milksop White Boy despite the preponderance of evidence to the contrary,~ The entire political-racial-sexual landscape had turned topsy-turvy in her short (6 month) absence,~ Or I was actually a Big Black Cock Monster in disguise (the third one was Mikhail's spin on things, I swear).I had another issue, rug burn and my desire to avoid it for both of us.‘A Prize like you shouldn't be nailed to Kingdom Come on the floor like some common floozy,' I declared. ‘Here,' I slipped on hand under Jodi May's tailbone, lifting her up and pressing her into me. ‘Wrap your arms around my neck,' I commanded 'my prize'.‘Umm,' she gasped as her body clove to mine. ‘You certainly are; ah; strong.'‘I 'pry free' ladies who Society mistakenly believes have become 'Black-owned' on a regular basis, I wrestle said 'Black' rascals down until they cry out 'I'm an Uncle Tom' and I show those women the powerful lineage of Valhalla hasn't gone from this world quite yet; though not necessarily in that order,' I bullshitted some stuff together.‘Vlad; that's gosh-darn racist; except the last part. That didn't make too much sense, but; I think I liked it,' Mamma Carson salivated over every turn of the phrase. Me being 'racist' definitely wasn't a deal-breaker for her and the Valhalla nonsense glossed over my ancestors confused relationship with those Scandinavians who came a vikinging to the East over a millennia ago.I hefted her up abruptly, spun on one knee and deposited her on her rump on the edge of the sofa cushions.‘Aie!' she squealed in surprise. Off-guard, she posed no resistance as I made my final approach. I aimed my cockhead at her glistening vulva with my left hand while pushing her left leg away while keeping the knee locked. ‘What?'‘How do you want it?' I growled. ‘Hard and brutal, or slow and gentle?'‘How about I show you how I like it?' she purred. It was hard to argue with her kind of counter-proposal. Her right-hand's fingernails trailed down my shoulders, upper arm and the over to my waist to guide me into her designated pace of her penetration.I'll give her this much, until the tenth cycle she held it together better than her daughter. Afterwards, the newness of her vaginal walls undulating around my veined shaft caused her breath to catch and her hands to grab my ass, drawing me in ever deeper.‘Ugh, ugh, ugh, ugh, Yip!' she went off after I accidently pushed passed her cervix.I was certain, just like Brandy with Darius, Mr. Jenks had most likely gone before where I was going now. The 'new' was her cervix massaging my glans and the area right behind the head like a mini-handjob (for me) /pleasurable vibrator-to-the-uterus' entrance (for her). I didn't look like the biggest, or thickest piece of Man-Meat she'd ever encountered so;‘IN-tense, isn't it, Mamma?' Brandy appeared on the sofa beside us. I was still kneeling on the floor, I had mother's legs spread in a wide 'V' and was beginning to pick up our tempo as the interrogation began.‘Hush, Baby (gasp), Mamma is; oh Lord,' she mumbled, ‘I'm; oh; my; Vlad; slow down.'Innocent trust required me to slow down. My nascent woman-sense told me to do the opposite. I slowly pulled back; then hungrily drove home deep. Jodi May grunted as her eyes, once shuttered, sprang wide open. I followed that up with small, rapid repetitions interspersed with gyrating the sensation inward, my pubic bone on her clitoral region. My partner's legs flexed even wider, her head flew back, bow keeping her hair from going wild and her eyes squeezed shut.To add to the stimulation, I latched on to her right breast, suckling the whole areola and nipple into my mouth. Brandy took the left nipple between two fingers and began pinching it and rolling it between them.‘Gurr; ‘ my first thought was 'when did the Carson's get a cat?'‘Gurr; ‘; 'Holy Shit! How did a puma get in here?'And the resulting caterwauling Yowl was the scariest, female Big Cat noise I'd ever heard; and that was Jodi May Memphis Carson having a no-holds-bared Orgasm as her body flushed ruddy, sweat perspired all over, her back painfully bowed and of course, she screamed out to High Heavens like no human I'd ever heard.I lost it. I was shooting off semen deep into her uterus as her cervix was once more grappling with my glans. I had no care in that instant where, or what I was doing. I was a spectator being taken along for the ride though I wasn't hemmed-in in any physical way.‘Holy Shit, Bro!' Mikhail laughed loudly. ‘Delivering from Downtown!' I think he was referencing a long 3-point shot in basketball, but I was too sonically concussed to be sure.‘Take notes,' Taliyah repeated her refrain.Those two had come downstairs after Brandy and, it appeared, had been quietly watching us as events unfolded.‘Brandy, is everything okay?' sounded off Noémie Lucie from the far side hallway, the one which led to the stairs down to the lower level which included the space the other cheerleaders had been sleeping. Oh boy. Explaining this was going to be a peach.Who is here to chaperone whom?(11:30 poolside at the Carson Home.)It made perfect sense Sheriff 'Big Bob' Carson wouldn't trust his home solely to his 'somewhat independent-minded' daughter when she was having thirteen friends over for a Saturday Night party. While Taliyah could show up whenever she wanted since she and Brandy were lifelong Besties, the whole crowd showing up on Friday night was completely unofficial; so he'd asked an adult, or two, to chaperone tonight.No, he hadn't handed that heavy responsibility over to us equally hormonal, 18 year old triplets; as we were considered one of the hazards which needed to be chaperoned against. Nope; if we'd been able to roll all our lives back one whole day and night, we would have seen the Sheriff having dinner with someone who fit the bill of 'perfect chaperone' (a single, adult female with a strong will, of pure moral fiber and a history of legalized violence; Big Bob was fully aware of our current extracurricular circumstances) with the sole exception she wasn't a friend, or even very much of an acquaintance; so he was asking a great deal of them.Thankfully, 'business' was keeping this person in our sleepy burgh of Kingston anyway and this would give her a perfect opportunity to interrogate some of the possible 'third parties' involved with the crime which had befallen poor Darius Pope and his busted-up buddies.Yep, Brandy's Papa had asked the AHP CID (Arkansas Highway Patrol Criminal Investigation Division) Sergeant Louisa Petrakis to 'babysit' his 18 year old daughter and her friends to make sure their partying remained PG-13. That, not some desire to twist up the criminal investigation into the Darius Pope matter, had been the reason he'd 'wined and dined' her Thursday night.She'd only agreed After she'd realized what a corrupt bunch of actors the Kingston PD was and gotten the implication the Sheriff couldn't even trust the majority of his own Deputies. To her this must have smelled like some political civil war a 'brewing; which was an unspoken menace her department was also supposed to combat.When political infighting oozed out into open law enforcement corruption cases, it hurt the State of Arkansas economically by making their home ground look less attractive to external investment and the ever-important tourist dollar. Part of a weekend with access to Big Bob's and the Mayor's daughters suddenly became very attractive to this half-Creole (US Coast Guard Officer on her mother's side) / half-Greek (her father was a Merchant Marine Captain); originally from Louisiana; law officer .She'd come to Arkansas for UA (University of Arkansas) Sociology and Criminal Justice program and stayed to pursue a career in state law enforcement plus a LLM (Master of Law) from her alma mater on the road to joining the Department of Homeland Security working cases involving international law. Yep; ambitious beyond the norm.She chose an electric blue one piece; which was nothing but string from behind; very cheeky and what she claimed was the only suit in her size available on such short notice. I thought my brothers and I should pay homage to the Swimsuit Goddesses, if that was the true, because Sgt. Louisa was truly luscious.Of course, 14 to 1 odds was asking a lot of anyone so Big Bob had wrangled (rather easily) a supporting chaperone, my Mother (‘ah shit' was Mikhail's heartfelt and instantaneous reaction upon seeing her). She wasn't the primary chaperone because, as Big Bob told Ms. Louisa; ‘she's 100% loyal, brave and true, but 100% bat-shit crazy too.' Perfectly succinct and it rhymed.Mom; ugh; wore a red and white skimpy one-piece with a 'required' blue-with-one-white-star-over-each-breast bikini top. Very; umm; patriotic? Mom had a tight, lean-muscled physique. I had no doubt she was the most deceptively lethal human being present; in both age groups; and that included the people who knew she was crazy.Because the AHP Sergeant wasn't part of the Kingston/Davis County shit-storm, Mom felt safe secretly inviting two other women to this shindig. The first came so they could be seen publically feuding (by the cheerleaders) while they actually spent time building up a rapport. Mom was being asked to put aside a truckload of hate she'd been clutching to her bosom for over twenty years toward Dominique Fox Malik's husband, father and brother.For Dominique, she'd been raised on hating the Fonteneau in general and Gayle for 'lying' about the rape Mom had gone through (at the hands of 7 Black young men when she was fifteen) and Theo, her twin, for putting her brother in a coma he was still in all these years later. They'd hated one another by association longer than I'd been alive and now were trying to put their bile 'high on the back shelf' for their children's sake.Sure, Mom was tossing money and political clout Dominique's way, but the offer would never had been made and absolutely never accepted if Taliyah and Mikhail hadn't been so deeply and truly

From 1988-1994, Macaulay was one of the hardest working and highest paid actors in Hollywood. Raking in money and breaking records that compared to his 40-year-old contemporaries made Mack and his father Kit two of the most powerful people in the entertainment industry. Mack didn't care much about this; he wanted to play his game boy and make friends his own age. Kit, on the other hand, used that leverage to make demands, threaten industry professionals, and ensure his idea of what was best for his child's career was the only option. In today's episode we go through the rest of Mack's roles from childhood: Jacob's Ladder, My Girl, The Good Son, The Nutcracker, Getting Even With Dad, The Pagemaster, and Richie Rich. I also cover Macaulay's night hosting Saturday Night Live (which is the stuff of legend), why he was kicked off of the 1994 Oscars, and his soft retirement from the industry at age 14. PATREON Subscribers heard an extended version of this episode completely ad-free! Join our community at Patreon.com/AshleeAndJessicast for bonus content, commentaries, and more! Starts at $5 a month, cancel anytime. FOLLOW THE PODCAST Instagram: @ashleeandjessicast Twitter: @ashleejessicast Send an email at ashleeandjessicast@gmail.com FOLLOW LIA Lia-Russo.com Instagram & Twitter: @capriamoon TikTok: @liarussonyc

Of course the Man of Steel can survive being covered in molten lead but in case you weren't sure they prove it on the latest episode of Superman TAS! Join us as we discuss...Becoming addicted to anime!Lana Lang, Lois Lane, Lex Luthor...Lemon Loaf (our cat!)To love Superman is to love the romance!Wanting Superman to fly to the center of Jupiter just because he can!The X-Men TAS Podcast just opened a SECRET reddit group, join by clicking here! We are also on Twitch sometimes… click here to go to our page and follow and subscribe so you can join in on all the mysterious fun to be had! Also, make sure to subscribe to our podcast via Buzzsprout or iTunes and tell all your friends about it! Follow Willie Simpson on Twitter and Threads and please join our Facebook Group! Last but not least, if you want to support the show, you can Buy Us a Coffee as well! 

Show Notes In this episode of Backstage Bay Area, host Steven Roby chats with two-time Grammy-winning violinist and composer Mads Tolling to explore the art of collaboration and musical reinvention. Mads shares the stories behind his groundbreaking work with celebrated jazz pianist John R. Burr and acclaimed vocalist Kenny Washington, including their reinterpretations of classics like "Blackbird" and "What a Wonderful World." He also teases their upcoming January 26 show at the Piedmont Center for the Arts—a performance not to be missed. Listeners will get an inside look at Mads' career journey, from his days as a young musician in Denmark to his rise as one of jazz's most innovative violinists. He reflects on his unique creative process, the chemistry that fuels his collaborations, and the magic of live performances. With highlights including "My Girl" and an exclusive preview of his 2024 album Masters of Jazz Violin, this episode is a must-hear for jazz lovers and music enthusiasts alike. Guest Information Mads Tolling Website: madstolling.com Instagram: @madstolling Facebook: Mads Tolling Violinist Call-to-Action Don't miss Mads Tolling, John R. Burr, and Kenny Washington live at the Piedmont Center for the Arts on Sunday, January 26. Showtime is 4:00 PM, and doors open at 3:30 PM. Grab your tickets now at Piedmont Center for the Arts Tickets. Subscribe to Backstage Bay Area for more exclusive interviews with top musicians: YouTube: youtube.com/@Backstagebayarea Apple Podcasts: Backstage Bay Area Podcast Playlist "Blackbird" – Mads Tolling & John R. Burr "What a Wonderful World" – Mads Tolling featuring Kenny Washington "My Girl" – Mads Tolling featuring Kenny Washington Episode Takeaways Mads Tolling's Creative Process: Discover how Mads reinterprets classics with his signature style. Behind the Music: Insightful stories about working with Kenny Washington and John R. Burr. Upcoming Projects: Sneak peek into Mads' 2025 album, Masters of Jazz Violin. Live Music Magic: What to expect at their January 26 show at the Piedmont Center for the Arts. Hashtags #MadsTolling #JazzViolin #BackstageBayArea #KennyWashington #JohnRBurr #JazzMusic #LiveMusic #PiedmontConcerts Episode photo by Ron Jones.

This week, we’re introducing you to Goyri, KEXP’s newest DJ and the co-host of El Sonido, KEXP’s modern Latin music show. He delivers a powerful collection of post-punk, dance, and an alt-rock classic from Mexico City. Associate Music Director Alex Ruder closes out the show with an infectious slice of uplifting pure pop. Grito Exclamac!ón - “El Squash” Gloory Hole - “Huir en Vano” Amyl and The Sniffers - “U Should Not Be Doing That” Caifanes - “Aviéntame” Two Blinks, I Love You - “My Girl” Listen to the full songs on KEXP's "In Our Headphones 2024" playlist on Spotify or the “What's In Our Headphones” playlist on YouTube. Listen to El Sonido with Goyri every other Monday from 7-10 PM PT, or on-demand anytime at KEXP.org or the KEXP App. Hosted and produced by: Janice Headley and Isabel KhaliliMixed by: Emily FoxMastered by: Jackson LongEditorial director: Larry Mizell Jr. Our theme music is “好吗 (Hao Ma)” by Chinese American BearSupport the show at: kexp.org/headphonesContact us at headphones@kexp.orgSupport the show: https://www.kexp.org/donateSee omnystudio.com/listener for privacy information.

A superfunky mix to make your workout feel like dancing. Donations, Merchandise, Newsletter, more: https://www.podrunner.com Steve Boyett - Groovelectric: Downloadable Soul https://www.groovelectric.com PLAYLIST 01. Canavezzi - Noros 02. Ruben Baiz - Gone for Love (Stripped Back Rework) 03. Paolo Rea - Unwind 04. CHMI - Vente per Favore 05. Denats - That's My Girl 06. Shalamar - Make That Move (Ecco Extended Mix) 07. Denats - Still Grateful 08. Didi (De) - The Love (Bob Shepherd x Da Clubbmaster Remix) 09. Hotboxx Vampire Sex - My Thing 10. Marco Briguglia - Flash 11. Staring Contest - The Rhyme 12. Dimi Mechero - Close Your Eyes (Extended Mix) 13. Augusto Landucci - 515 == Please support these artists == Podrunner is a registered trademark of Podrunner LLC. Music copyright © or CC the respective artists. All other material ©2006, 2024 by Podrunner LLC. For personal use only. Any unauthorized reproduction, editing, exhibition, sale, rental, exchange, public performance, or broadcast of this audio is prohibited.

It's the annual podcast version of Patrick and Adam Riske's monthly column, in which they watch and discuss two double features programmed in the last year. It's like nutmeg! Download this episode here. Listen to F This Movie! on Apple Podcasts. Also discussed this episode: My Girl (1991), My Girl 2 (1993), Double Holiday (2019), A Real Pain (2024), On Her Majesty's Secret Service (1969), Casa Bonita Mi Amor (2024), The Terminal (2004), The Bachelor (1999), Babygirl (2024), A Complete Unknown (2024), The Primevals (2023)

Send Kevin a Text MessageIn this episode of Don't Kill the Messenger, host Kevin Goetz interviews David Friendly, whose remarkable career transition from journalism to film production led to an Academy Award nomination for Best Picture with Little Miss Sunshine. David worked with industry giants like Ron Howard and Brian Grazer before establishing himself as a successful producer. His producing credits include Courage Under Fire, Dr. Dolittle, Big Momma's House, Laws of Attraction, and the hit USA Network series Queen of the South. In this conversation, Friendly shares candid stories about his career transition, the making of Little Miss Sunshine, lessons learned from his mentors, and his perspective on an ever-changing industry.From Journalism to Hollywood: A Bold Career Change (06:12)David Friendly reflects on his nine-year journalism career at Newsweek and the LA Times, where his coverage of the entertainment industry sparked his desire to make movies.Backdraft and the Imagine Years (13:41)Friendly talks about discovering Backdraft, which became his first major success. This marked the beginning of a successful tenure that included projects like My Girl and Kindergarten Cop.Learning from Hollywood's Best (24:12)Friendly shares how Ron Howard and Brian Grazer's mentorship continues to influence his producing decisions years later, with their voices still guiding him through difficult situations.The Making of Little Miss Sunshine and an Oscar Nomination (32:02)Friendly discusses Little Miss Sunshine, assembling an outstanding ensemble cast including Steve Carell, and the thrill of receiving an Academy Award nomination for Best Picture.The Joy and Anxiety of Test Screenings (41:30)Friendly offers unique insight into a producer's perspective on audience test screenings, describing the intense anxiety of waiting for audience reactions.Producing in a Rapidly Changing Environment (45:24)Friendly emphasizes the importance of adapting to changing markets, as demonstrated by his successful venture into television with Queen of the South.Friendly's guiding philosophy of acceptance and gratitude offers wisdom for navigating a career in an ever-evolving business. Through all its iterations, from journalism to blockbuster films to streaming television, Friendly's career shows that success in Hollywood requires not just talent, but also the ability to learn from mentors, trust one's instincts, and the ability to adapt.If you enjoyed this episode, please leave us a review or connect on social media. We look forward to bringing you more revelations from behind the scenes next time on Don't Kill the Messenger!Host: Kevin GoetzGuest: David FriendlyProducer: Kari CampanoWriters: Kevin Goetz, Darlene Hayman, and Kari CampanoAudio Engineer: Gary Forbes (DG Entertainment)For more information about David Friendly:Wikipedia: https://en.wikipedia.org/wiki/David_T._FriendlyInstagram: https://www.instagram.com/davidtfriendly/IMDB: https://www.imdb.com/name/nm0295560/For more information about Kevin Goetz:Website: www.KevinGoetz360.comAudienceology Book: https://www.simonandschuster.com/books/Audience-ology/Kevin-Goetz/9781982186678Facebook, Twitter, Instagram: @KevinGoetz360Linked In @Kevin Goetz

What better way to get into the true holiday spirit than to be talking to Macaulay Culkin! Of course everyone knows him for his roles in the movie classics like Uncle Buck, The Good Son, My Girl … but best of all, we know him as Kevin McCallister in one of the greatest Christmas movies of all time: Home Alone. Kendra talked with him about hosting a screening of the movie followed by a Q&A at The Chevalier Theatre on Dec 15!

This week on Rap Rankings, Moulz & Mel (shoulder) lean away from all of the noise because they have to investigate Young Dro's claim that he's the Best Thang Smokin'. --------------------------------- Intro (0:00) -- The Rating System, Explained (5:12 - 7:54) -- Best Thang Smokin' Info (27:14) -- Track 1: "They Don't Really Know Bout Dro" (56:07) -- Track 2: "Man In The Trunk" (1:07:09) -- Track 3: "Presidential" (1:14:26) -- Track 4: "Shoulder Lean" (1:56:20) -- Track 5: "U Don't See Me" (2:13:33) -- Track 6: "Rubberband Banks" (2:18:09) -- Track 7: "We Lied" (2:27:49) -- Track 8: "My Girl" (2:31:46) -- Track 9: "100 Yard Dash" (2:39:08) -- Track 10: "Hear Me Cry" (2:41:12) -- Track 11: "Gangsta" (2:48:37) -- Track 12: "High Five" (2:56:24) -- Track 13: "Fresh" (3:05:04) -- Track 14: "What It Is" (3:09:14) -- Track 15: "It Ain't Over" (3:12:08) -- Ranking Best Thang Smokin' (3:23:48) -- Outro (3:25:43)

Today's show sponsored by: Goldco — 10% Instant Match in BONUS SILVER, for qualified JLP Show listeners Learn more at https://JesseLovesGold.com or 855-644-GOLD JLP Mon 11-25-24 Female Monday Hr 1 LATE 11-min. You accepted hell. Matt Gaetz vs Pam Bondi. Last BQ. Woman cries. // Hr 2 Woman "praying," touched: Stop thinking about God. How does JLP know me? // Hr 3 Fired for Jesus name tag? Abusive girlfriend? Calls: Smoking? DEI? // Biblical Question: What's the difference between a Christian and an atheist? TIMESTAMPS (0:00:00) LATE 11-min, HOUR 1 (0:10:27) OK (0:14:37) Accepted Hell. Look at the media. (0:23:45) Matt Gaetz: personal attacks, Hell on Earth! (0:31:30) Be independent: GoldCo (0:35:10) Pam Bondi, AG pick after Matt Gaetz out (0:42:28) BQ: Greater works. Christ overcame time. Presence. (0:47:15) It is finished. Can you get any dumber? Sinner's prayer? (0:51:18) CHRISTINE, AZ, 1st: Stepfather. How honor mother? (0:55:00) NEWS, End Hr1 (1:00:53) HOUR 2 (1:04:33) CHRISTINE: "Praying"? "Caring." Crying, lying. (1:32:01) Punchie TV (1:33:49) CHRISTINE: JLP sings. Father touched. Forgive. (1:40:13) DENNY, Bulgaria: Nice gal thinks JLP knows her! (1:44:02) Supers… BQ… Pray: Ex/kids. Mind is darkness. "My Girl" (1:55:00) NEWS, End Hr2 (2:10:55) HOUR 3 (2:03:49) Fired for "Trust in Jesus" name tag? Target! (2:10:50) "Abusive" girlfriend tried to kill him: Alpha or Beta? (2:18:29) JASON, Buffalo: shouting about the Lord's Prayer (2:22:24) JAY, MI: Smoking friend died, fell away from God, backsliding (2:25:40) DARRELL, NY, 1st: Trump no good; America never great? (2:31:27) Announcements (2:34:06) DARRELL: Pre-Civil Rights. DEI? Qualified? Elon Musk. (2:43:56) Supers… BQ, Wicked Witch (2:50:25) CHRISTINE, NM: Evil in people. Teacher. Forgive. (2:56:40) Closing: Pray. And forgive your mama. ​

Marlene Pardo Pellicer is an experienced paranormal investigator and host, producer and narrator of the popular paranormal talk show, Stories of the Supernatural and the  podcast shows Nightshade Diary, Supernatural StoryTime and writer for Stranger Than Fiction Stories and Eerie News.Marlene is also an author of nine fiction and non-fiction books, which can all be found on Amazon. She is working on her 10th book due out for early 2025. She appeared in S1E1 of Paranormal Survivor  and S1E12 of Haunted Hospitals all which presently air on different streaming channels such as Destination America Netflix, and the Trvl channel.Marlene holds a Master of Science degree in Human Behavior & Health. She is a certified master hypnotist and considers herself a subconscious behaviorist and had a private practice for many years. At one time she worked as an investigator for a state-level agency (that shall remain unnamed).She was born and raised in Miami, and founded Miami Ghost Chronicles in the 1990s. She always worked as a freelance investigator with different research foundations or paranormal investigative groups. She still consults with different groups throughout the United States.Her non-fiction books are: Haunted History of the Old West's Wicked Ladies & The Bad Hombres They Loved, The Lady in the Blue Kimono: Film Noir Murders, Supernatural Safety and Hot Dame on a Cold Slab: Film Noir Murders No. 2, a true crime anthology. Her first fiction book Walker Between the Worlds (Book 1 of the Sibyl Chronicles) a dark, supernatural fantasy was released October 2019. This was followed by three books in the Sibyl Chronicles Universe, Diabolique, The Path to Purgatory (Book 2 of the Sibyl Chronicles) and The Dead Cast No Shadow. She is presently working on the fifth book for the Sibyl Universe which is set to be released during 2025.March 2020 she released I've Come for My Girl and Two Other Dark Tales (Winter Shade Stories Book 1) a young adult horror anthology.All her books are available on Amazon.Become a supporter of this podcast: https://www.spreaker.com/podcast/night-dreams-talk-radio-with-gary-anderson--2788432/support.

My diagnosis could be a death sentence, but you know what? I just keep moving forward every day because I want to give others hope. -Theresa Keresztes There's something about the strength of a woman. Somehow, someway, she persists…overcoming obstacles, finding new paths toward success, and doing good in the world. One of the scariest things we ever encounter in this life is a cancer diagnosis, and over the last few weeks, we've been saluting breast cancer survivors. Theresa Keresztes was just 40 years old when she felt a lump on her breast. The new mom went to the doctor and was told to come back in 6 months. She never did. Years later, a mammogram detected breast cancer. Since then, her cancer has recurred and spread to other parts of her body, but her story does not focus on her breast cancer…it focuses on what she has done for other women with the creation of My Girl's Skin Care, mygirlscream.com. Inspired by a visit to Eastern Europe, where she noticed that women's skin was flawless, this all-natural skincare brand is dedicated to providing chemical-free comfort to cancer patients during chemo, radiation, and when taking post-breast cancer drugs, which can cause debilitating muscle cramps. Cancer centers across the country are catching on, suggesting that their patients use My Girl's Skin Care products. From researching ingredients found in Hungary at local apothecaries (rose hips and rose peddles) to locating manufacturers and developing a distribution plan, Theresa is an entrepreneur on a mission to help women heal. Her new app “Copeful” is Theresa's latest invention, providing a forum that encourages hope and positivity. For a 22-minute tutorial on strength and courage during cancer, just hit that download button. #breastcancer #survivor #entrepreneur #skincare

Tickets are available for in-person attendance and via livestream on The Green Room 42 website. Next month marks the 50th anniversary of The Little Prince, a musical film based on the classic children's story and the final collaboration of Broadway writing duo Alan Jay Lerner and Frederick Loewe. To celebrate this milestone The Green Room 42 presents “Lights, Camera, Lerner and Loewe” on November 5th at 9:30pm. And the special guest of the evening is Steven Warner, who was the child actor in the title role alongside Broadway luminaries like Richard Kiley, Bob Fosse, Donna McKechnie, and Gene Wilder. Two other movie musicals also celebrating anniversaries this fall are Brigadoon, which has enchanted audiences for 70 years with its tale of love and a mystical village, as well as My Fair Lady, the timeless classic reaching its 60th anniversary. And each of these three musicals will be brought to life with some of the finest voices on and off Broadway. This one-night-only concert features Grammy Award nominee Mykal Kilgore (Motown, Hair), Tony Award nominee Jane Summerhays (Me and My Girl, A Chorus Line), Tony Award Honoree Ben Davis (Once Upon a Mattress, La Boheme), E. Clayton Cornelious (Ain't Too Proud), and Ellis Gage (White Rose, James & the Giant Peach). Warner will reprise songs he sang in The Little Prince. Performers from recent Broadway revivals of Lerner & Loewe musicals are among the singers as well, including Rachel Fairbanks (Camelot), Michael Halling (My Fair Lady), and Valerie Torres-Rosario (Camelot). The associate conductor for both Camelot and My Fair Lady, Will Curry, will provide music direction and violin along with Megan Smythe (The Great Gatsby) on piano. Relive the magic of Lerner and Loewe's cinematic masterpieces through an evening of soaring melodies, romance, and nostalgia. The Green Room 42 is located at 570 Tenth Avenue inside YOTEL in New York City. Learn more about your ad choices. Visit megaphone.fm/adchoices

Tickets are available for in-person attendance and via livestream on The Green Room 42 website. Next month marks the 50th anniversary of The Little Prince, a musical film based on the classic children's story and the final collaboration of Broadway writing duo Alan Jay Lerner and Frederick Loewe. To celebrate this milestone The Green Room 42 presents “Lights, Camera, Lerner and Loewe” on November 5th at 9:30pm. And the special guest of the evening is Steven Warner, who was the child actor in the title role alongside Broadway luminaries like Richard Kiley, Bob Fosse, Donna McKechnie, and Gene Wilder. Two other movie musicals also celebrating anniversaries this fall are Brigadoon, which has enchanted audiences for 70 years with its tale of love and a mystical village, as well as My Fair Lady, the timeless classic reaching its 60th anniversary. And each of these three musicals will be brought to life with some of the finest voices on and off Broadway. This one-night-only concert features Grammy Award nominee Mykal Kilgore (Motown, Hair), Tony Award nominee Jane Summerhays (Me and My Girl, A Chorus Line), Tony Award Honoree Ben Davis (Once Upon a Mattress, La Boheme), E. Clayton Cornelious (Ain't Too Proud), and Ellis Gage (White Rose, James & the Giant Peach). Warner will reprise songs he sang in The Little Prince. Performers from recent Broadway revivals of Lerner & Loewe musicals are among the singers as well, including Rachel Fairbanks (Camelot), Michael Halling (My Fair Lady), and Valerie Torres-Rosario (Camelot). The associate conductor for both Camelot and My Fair Lady, Will Curry, will provide music direction and violin along with Megan Smythe (The Great Gatsby) on piano. Relive the magic of Lerner and Loewe's cinematic masterpieces through an evening of soaring melodies, romance, and nostalgia. The Green Room 42 is located at 570 Tenth Avenue inside YOTEL in New York City. Learn more about your ad choices. Visit megaphone.fm/adchoices

When the Entrepreneur picks up a distress signal from Clancy Brown's ship, they stop to help with repairs and he invites them to postpone their vacation again. But when Captain Archer's reputation leads Trip to think they may have been honey-potted, the implications of taking sides in other peoples' wars is something they finally start to consider. Why are new construction hives so much less desirable? What's the problem with a tactical napkin deployment? Is there an advantage to wearing velvet robes in the desert? It's the episode that's just trying to avoid a My Girl situation.P1 Link: www.ewb-dc.org/projects/sierra-leoneSupport the production of The Greatest GenerationGet a thing at podshop.biz!Sign up for our mailing list!Follow The Game of Buttholes: The Will of the Riker - Quantum LeapThe Greatest Generation is produced by Wynde PriddySocial media is managed by Rob Adler and Bill TilleyMusic by Adam Ragusea & Dark MateriaFriends of DeSoto for: Labor | Democracy | JusticeDiscuss the show using the hashtag #GreatestGen and find us on social media:YouTube | Facebook | X | Instagram | TikTok | Mastodon | Bluesky | ThreadsAnd check out these online communities run by FODs: Reddit | USS Hood Discord | Facebook group | Wikia | FriendsOfDeSoto.social

RockerMike and Rob Presents: Charles F. Rosenay and Mark ArnoldNot Just Happy Together: The Turtles From AM Radio to Zappa by Charles F. Rosenay and Mark Arnold is a detailed chronicle of the 1960s pop rock band The Turtles. The 466-page book covers the band's entire history, from their origins as The Crossfires through their mainstream success, including the hit “Happy Together,” and later collaborations with Frank Zappa. The book explores the band's hits like “It Ain't Me Babe,” “She'd Rather Be with Me,” and “Elenore,” as well as their less-known ventures like performing with T. Rex and Bruce Springsteen. It also touches on the legal and business issues they faced with their record label, White Whale.The authors bring a wealth of experience in music history, having written about iconic bands like The Monkees and The Beatles. Through interviews with band members and associates, the book provides fresh insights and behind-the-scenes stories that appeal to both casual listeners and hardcore fans of the band.t's time to get “Happy Together” again!Discover the songs and the history of oneof the most successful pop rock bands ever,The Turtles, who had many, many Top 40 hitsincluding “It Ain't Me Babe,” “Let Me Be,” “YouBaby,” “She'd Rather Be with Me,” “You KnowWhat I Mean,” “She's My Girl,” “Elenore,” “YouShowed Me” and of course, the iconic “HappyTogether!” All of their Golden Hits!Authors Mark Arnold (Long Title: Looking forthe Good Times; Examining The Monkees Songs,One by One and Headquartered: A Timelineof The Monkees Solo Years) and Charles F.Rosenay!!! (The Book of Top 10 Beatles Lists andThe Book of Top 10 Horror Lists) have joinedforces to cover the entire careers of The Turtlesfrom their early days as The Crossfi res, throughtheir hit-fi lled years, into their break-up that ledto most of The Turtles' members joining forceswith Frank Zappa's Mothers of Invention, toMark Volman and Howard Kaylan's years as soloartists under the guise of Flo & Eddie, and eventheir forays into children's records.Arnold and Rosenay!!! have reviewed every song and album, and interviewed many of The Turtles'friends and associates along with most of The Turtles themselves, who have given startling newrevelations that will surprise even the most hardcore fan.Open the doors to the Rock & Roll Hall of Fame and to your library to add this book. This defi nitiveTurtles compendium is as unique as The Turtles themselves.www.NotJustHappyTogether.comGenius Music BooksAn Imprint of Genius Book PublishingPO Box 250380Milwaukee Wisconsin 53225 USAGeniusMusicBooks.comGeniusBookPublishing.comLiverpool Productions LLC & International Tours and Eventso: 203.795.4737 c: 203.641.6505www.LiverpoolTours.com   www.LiverpoolProductions.com Professional & Fun Music Entertainment since 1978  Enjoy our promo video: www.youtube.com/watch?v=40a6bryXtc8 Books Now Available from/by Charles: New! Just Released in Hardcover:Not Just HAPPY TOGETHER: THE TURTLES A-Z (AM Radio to Zappa) www.NotJustHappyTogether.com"Celebrities Actors Athletes Mods & Rockers: THE BOOK OF TOP 10 BEATLES LISTS"Get a signed copy for you or a friend!  www.BookOfTop10BeatlesLists.comAlso available on AMAZON"Monsters Celebrities Actors Athletes & Rock Stars: THE BOOK OF TOP 10 HORROR LISTS"Get a signed copy for you or a friend! www.BookOfTop10HorrorLists.comAlso available on AMAZON"TRUE GHOST STORIES OF CONNECTICUT"Get a signed copy for you or a friend! www.ParanormalConnecticut.comAlso available on AMAZON

(Hour 4) BT and Sal react to Aaron Rodgers segment on the Pat McAfee show, Mets fans are ready for a championship, My Girl

The Mets are playing like a championship team, key Yankees players need to step up tonight, Howie Rose interview, Suzyn Waldman interview, My Girl

Thank goodness the Americans won men's basketball over the French. It's our game, Americans invented it. To lose would be like English Sauvignon Blanc beating out French. Some English wines have beaten out French in blind tests but who says vision-impaired persons are experts on wine?My event is the old man's 90-minute stand-up storytelling with some poems tossed in and my routine had an intelligent dog, a girl challenging a boy to wrestle, Babe Ruth, a funeral, and the audience singing “America,” “In My Life,” and “My Girl.” It kept the crowd's attention pretty well. This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit garrisonkeillor.substack.com/subscribe

 In this latest edition, discover the perfect soundtrack for your step-father step-daughter dance with our curated list of 22 heartfelt songs!    This podcast is for engaged couples who are stressed out with wedding planning and family expectations but want a fun wedding day.   Transform your wedding dance into a tradition that celebrates unique family bonds with these songs & tips to make your special day unforgettable.   Listen now and get inspired for your stress-free wedding planning journey!    Stress-free Wedding Planning Podcast #112: Top 22 Step-father and Step-daughter Wedding Dance Songs Host: Sal & Sam Music: "Sam's Tune" by Rick Anthony   TIMESTAMP 00:00 Introduction to Top 22 Step-father and Step-daughter Wedding Songs 03:00 The Evolution of Wedding Traditions 04:15 Historical Context of the Father-Daughter Dance 05:30 Rob Thomas, "Little Wonders." 06:00 Brad Paisley, "He Didn't Have To Be." 06:30 Bill Withers, "Lean On Me." 07:00 Kelly Clarkson, "Piece by Piece.”  08:00 Elton John, “Can You Feel the [00:08:00] Love Tonight?" 08:15 Winstons, "Color Him Father" 09:00 Wedding Tip Wednesday 11:00 Alternatives for Step-father-Step-daughter AND Father Daughter Wedding Dance 12:00 Cody Johnson, “God Bless The Boy, Cori's Song” 12:30 Luther Vandross, "Dance With My Father" 13:00 Tyler Wood, “Dad” 14:00 Elvie Shane, "My Boy, My Girl version" 15:00 Fleetwood Mac, “Landslide” 16:00 Christine Aguilera, "I Turn To You" 17:00 Zac Brown Band, "I'll Be Your Man" 17:30 Final Thoughts 18:00 Conclusion and Community Engagement 18:30 Podcast Wrap-up and Close   Get your FREE no-obligation report TODAY: "8 QUESTIONS YOU MUST ASK A WEDDING PROFESSIONAL BEFORE BOOKING THEM" http://forms.aweber.com/form/55/756659955.htm Music List Giveaway  https://www.afterhourseventsofne.com/guestcontact *** Join us in the Stress-free Wedding Planning Facebook group https://urlgeni.us/facebook/stress-free-wedding-planning Wedding Tip Wednesday on the Stress-free Wedding Planning Podcast is sponsored by EMERGE Cosmetics – 10% OFF promo code: SF1 https://shopemergecosmetics.com/ Copyright © 2024 Atmosphere Productions LLC All Rights Reserved. Produced By Atmosphere Productions in association with After Hours Events of New England https://atmosphere-productions.com https://www.afterhourseventsofne.com #stressfreeweddingplanning #stressfreeweddingplanningpodcast #ctweddingdj #atmosphereproductions #afterhourseventsofne #cvpevents #clearvisionproductions #theclearvisionagency #dreamwedding #WalkDownTheAisle #WeddingEtiquette #100th #celebrate

Send us a Text Message.Welcome to Guess the Year! This is an interactive, competitive podcast series where you will be able to play along and compete against your fellow listeners. Here is how the scoring works:1 point: get the year correct within 10 years (e.g., you guess 1975 and it is between 1965-1985)4 points: get the year correct within 5 years (e.g., you guess 2004 and it is between 1999-2009)7 points: get the year correct within 2 years (e.g., you guess 1993 and it is between 1991-1995)10 points: get the year dead on!Guesses can be emailed to drandrewmay@gmail.com or texted using the link at the top of the show notes (please leave your name).I will read your scores out before the next episode, along with the scores of your fellow listeners! Please email your guesses to Andrew no later than 12pm EST on the day the next episode posts if you want them read out on the episode (e.g., if an episode releases on Monday, then I need your guesses by 12pm EST on Wednesday; if an episode releases on Friday, then I need your guesses by 12 pm EST on Monday). Note: If you don't get your scores in on time, they will still be added to the overall scores I am keeping. So they will count for the final scores - in other words, you can catch up if you get behind, you just won't have your scores read out on the released episode. All I need is your guesses (e.g., Song 1 - 19xx, Song 2 - 20xx, Song 3 - 19xx, etc.). Please be honest with your guesses! Best of luck!!The answers to today's ten songs can be found below. If you are playing along, don't scroll down until you have made your guesses. .....Have you made your guesses yet? If so, you can scroll down and look at the answers......Okay, answers coming. Don't peek if you haven't made your guesses yet!.....Intro song: My Girl by The Temptations (1964)Song 1: Cotton Eye Joe by Rednex (1994)Song 2: Possibly Maybe by Bjork (1995)Song 3: Kids by MGMT (2007)Song 4: Seaside Shuffle by Terry Dactyl & the Dinosaurs (1971)Song 5: Stupid Cupid by Connie Francis (1959)Song 6: Goin' to See My Baby by The Fatback Band (1972)Song 7: Islands in the Stream by Kenny Rogers & Dolly Parton (1983)Song 8: Beautiful by Eminem (2009)Song 9: Want U Back by Cher Lloyd (2012)Song 10: The Sweetest Taboo by Sade (1985)

There's being a kid. There's being an adult. And then there's that year in between. In this episode Michael & Claire are moving on from the movie death that scarred a generation and looking to both the future and past in a coming-of-age story that'll have you checking your mood ring to see what colour it turns. Why is it boys talk so much, when they have nothing to say? And girls have plenty to say, but no one will listen? Find out in My Girl 2! ***featuring a special guest interview with Emily Marinelli, author of Comfort Sequels: The Psychology of Movie Sequels from the 80s and 90s*** Order your copy of Comfort Sequels: The Psychology of Movie Sequels from the 80s and 90s... Amazon US (release date 20th September 2024): https://a.co/d/aWiCs8O Tucker DS Press (direct from publisher, available now): https://www.tuckerdspress.com/product-page/comfort-sequels Amazon UK (release date 30th September 2024): https://amzn.eu/d/ejfhyHT At time of recording My Girl and My Girl 2 are available to buy or rent from most online platforms, or to buy on DVD

This is a free preview of a paid episode. To hear more, visit andrewsullivan.substack.comStephen Fry is a legendary British actor, comedian, director, writer, and narrator. His TV shows include “A Bit of Fry & Laurie,” “Jeeves and Wooster,” and “Blackadder,” and his films include Wilde, Gosford Park, and Love & Friendship. His Broadway career includes “Me and My Girl” and “Twelfth Night.” He's produced several documentary series, including “Stephen Fry: The Secret Life of the Manic Depressive,” and he's the president of Mind, a mental health charity. He has written 17 books, including three autobiographies, and he narrated all seven of the Harry Potter books. You can find him on Substack at The Fry Corner — subscribe!For two clips of our convo — on the profound pain of bipolar depression, and whether the EU diminishes Englishness — pop over to our YouTube page. Other topics: growing up in Norfolk; his mom's Jewish ancestry in Central Europe; her dad facing anti-Semitism after fighting in WWI and coming to England to train farmers; embracing Englishness; family members lost to the Holocaust; Disraeli; the diversity of Tory PMs; Stephen's wayward youth; wanting to become a priest as a teen; growing up gay in England; the profound influence of Oscar Wilde and his trials; Gore Vidal on puritanism; Cavafy; Auden; E.M. Forster; Orwell; Stephen's bipolarism; the dark lows and manic highs; my mum's lifelong struggle with that illness; dementia; her harrowing final days; transgenerational trauma; Larkin's “This Be the Verse”; theodicy; the shame of mental illness; Gen Z's version of trauma; the way Jesus spoke; St. Francis; the corruption and scandals of the Church; Hitchens; the disruption of Silicon Valley and the GOP; Chesterton's hedge metaphor for conservatism; Burke and Hayek; Oakeshott; coastal elites and populist resentment; the Iraq War and the 2008 financial crisis; Stephen writing jokes for Tony Blair; Brexit and national identity; Boris Johnson; Corbyn and anti-Semitism; Starmer's victory and his emphasis on stability; Labour's new super-majority; and Sunak's graceful concession.Browse the Dishcast archive for an episode you might enjoy (the first 102 are free in their entirety — subscribe to get everything else). Coming up: Lionel Shriver on human limits and resentment, Anne Applebaum on autocrats, Eric Kaufmann on reversing woke extremism, and Bill Wasik and Monica Murphy on animal cruelty. (Van Jones' PR team canceled his planned appearance.) Please send any guest recs, dissents, and other comments to dish@andrewsullivan.com.

For those who haven't heard the announcement I posted , songs from this point on will sometimes be split among multiple episodes, so this is the first part of a two-episode look at the song “I Heard it Through the Grapevine”. This week we take a short look at the song’s writers, Norman Whitfield and Barrett Strong, and the first released version by Gladys Knight and the Pips. In two weeks time we’ll take a longer look at the sixties career of the song’s most famous performer, Marvin Gaye. This episode is quite a light one. That one… won’t be. Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have a half-hour bonus episode, on “Bend Me Shape Me” by Amen Corner. 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 Mixcloud will be up with the next episode. For Motown-related information in this and other Motown episodes, I've used the following resources: Where Did Our Love Go? The Rise and Fall of the Motown Sound by Nelson George is an excellent popular history of the various companies that became Motown. To Be Loved by Berry Gordy is Gordy's own, understandably one-sided, but relatively well-written, autobiography. Women of Motown: An Oral History by Susan Whitall is a collection of interviews with women involved in Motown. I Hear a Symphony: Motown and Crossover R&B by J. Andrew Flory is an academic look at Motown. The Motown Encyclopaedia by Graham Betts is an exhaustive look at the people and records involved in Motown's thirty-year history. Motown: The Golden Years is another Motown encyclopaedia. And Motown Junkies is an infrequently-updated blog looking at (so far) the first 693 tracks released on Motown singles. For information on Marvin Gaye, and his relationship with Norman Whitfield, I relied on Divided Soul: The Life of Marvin Gaye by David Ritz. I’ve also used information on Whitfield in  Ain't Too Proud to Beg: The Troubled Lives and Enduring Soul of the Temptations by Mark Ribowsky, I’ve also referred to interviews with Whitfield and Strong archived at rocksbackpages.com , notably “The Norman Whitfield interview”, John Abbey, Blues & Soul, 1 February 1977 For information about Gladys Knight, I’ve used her autobiography. The best collection of Gladys Knight and the Pips’ music is this 3-CD set, but the best way to hear Motown hits is in the context of other Motown hits. This five-CD box set contains the first five in the Motown Chartbusters series of British compilations. The Pips’ version of “I Heard it Through the Grapevine” is on disc 2, while Marvin Gaye’s is on disc 3, which is famously generally considered one of the best single-disc various artists compilations ever. Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript Before I start, a brief note — this episode contains some brief mentions of miscarriage and drug abuse. The history of modern music would be immeasurably different had it not been for one car breakdown. Norman Whitfield spent the first fifteen years of his life in New York, never leaving the city, until his grandmother died. She’d lived in LA, and that was where the funeral was held, and so the Whitfield family got into a car and drove right across the whole continent — two thousand five hundred miles — to attend the old lady’s funeral. And then after the funeral, they turned round and started to drive home again. But they only got as far as Detroit when the car, understandably, gave up the ghost.  Luckily, like many Black families, they had family in Detroit, and Norman’s aunt was not only willing to put the family up for a while, but her husband was able to give Norman’s father a job in his drug store while he saved up enough money to pay for the car to be fixed. But as it happened, the family liked Detroit, and they never did get around to driving back home to New York. Young Norman in particular took to the city’s nightlife, and soon as well as going to school he was working an evening job at a petrol station — but that was only to supplement the money he made as a pool hustler. Young Norman Whitfield was never going to be the kind of person who took a day job, and so along with his pool he started hanging out with musicians — in particular with Popcorn and the Mohawks, a band led by Popcorn Wylie. [Excerpt: Popcorn and the Mohawks, “Shimmy Gully”] Popcorn and the Mohawks were a band of serious jazz musicians, many of whom, including Wylie himself, went on to be members of the Funk Brothers, the team of session players that played on Motown’s hits — though Wylie would depart Motown fairly early after a falling out with Berry Gordy. They were some of the best musicians in Detroit at the time, and Whitfield would tag along with the group and play tambourine, and sometimes other hand percussion instruments. He wasn’t a serious musician at that point, just hanging out with a bunch of people who were, who were a year or two older than him. But he was learning — one thing that everyone says about Norman Whitfield in his youth is that he was someone who would stand on the periphery of every situation, not getting involved, but soaking in everything that the people around him were doing, and learning from them. And soon, he was playing percussion on sessions. At first, this wasn’t for Motown, but everything in the Detroit music scene connected back to the Gordy family in one way or another. In this case, the label was Thelma Records, which was formed by Berry Gordy’s ex-mother-in-law and named after Gordy’s first wife, who he had recently divorced. Of all the great Motown songwriters and producers, Whitfield’s life is the least-documented, to the extent that the chronology of his early career is very vague and contradictory, and Thelma was such a small label there even seems to be some dispute about when it existed — different sources give different dates, and while Whitfield always said he worked for Thelma records, he might have actually been employed by another label owned by the same people, Ge Ge, which might have operated earlier — but by most accounts Whitfield quickly progressed from session tambourine player to songwriter. According to an article on Whitfield from 1977, the first record of one of his songs was “Alone” by Tommy Storm on Thelma Records, but that record seems not to exist — however, some people on a soul message board, discussing this a few years ago, found an interview with a member of a group called The Fabulous Peps which also featured Storm, saying that their record on Ge Ge Records, “This Love I Have For You”, is a rewrite of that song by Don Davis, Thelma’s head of A&R, though the credit on the label for that is just to Davis and Ron Abner, another member of the group: [Excerpt: The Fabulous Peps, “This Love I Have For You”] So that might, or might not, be the first Norman Whitfield song ever to be released. The other song often credited as Whitfield’s first released song is “Answer Me” by Richard Street and the Distants — Street was another member of the Fabulous Peps, but we’ve encountered him and the Distants before when talking about the Temptations — the Distants were the group that Otis Williams, Melvin Franklin, and Al Bryant had been in before forming the Temptations — and indeed Street would much later rejoin his old bandmates in the Temptations, when Whitfield was producing for them. Unlike the Fabulous Peps track, this one was clearly credited to N. Whitfield, so whatever happened with the Storm track, this is almost certainly Whitfield’s first official credit as a songwriter: [Excerpt: Richard Street and the Distants, “Answer Me”] He was soon writing songs for a lot of small labels — most of which appear to have been recorded by the Thelma team and then licensed out — like “I’ve Gotten Over You” by the Sonnettes: [Excerpt: The Sonnettes, “I’ve Gotten Over You”] That was on KO Records, distributed by Scepter, and was a minor local hit — enough to finally bring Whitfield to the attention of Berry Gordy. According to many sources, Whitfield had been hanging around Hitsville for months trying to get a job with the label, but as he told the story in 1977 “Berry Gordy had sent Mickey Stevenson over to see me about signing with the company as an exclusive in-house writer and producer. The first act I was assigned to was Marvin Gaye and he had just started to become popular.” That’s not quite how the story went. According to everyone else, he was constantly hanging around Hitsville, getting himself into sessions and just watching them, and pestering people to let him get involved. Rather than being employed as a writer and producer, he was actually given a job in Motown’s quality control department for fifteen dollars a week, listening to potential records and seeing which ones he thought were hits, and rating them before they went to the regular department meetings for feedback from the truly important people. But he was also allowed to write songs. His first songwriting credit on a Motown record wasn’t Marvin Gaye, as Whitfield would later tell the story, but was in fact for the far less prestigious Mickey Woods — possibly the single least-known artist of Motown’s early years. Woods was a white teenager, the first white male solo artist signed to Motown, who released two novelty teen-pop singles. Whitfield’s first Motown song was the B-side to Woods’ second single, a knock-off of Sam Cooke’s “Cupid” called “They Call Me Cupid”, co-written with Berry Gordy and Brian Holland: [Excerpt: Mickey Woods, “They Call Me Cupid”] Unsurprisingly that didn’t set the world on fire, and Whitfield didn’t get another Motown label credit for thirteen months (though some of his songs for Thelma may have come out in this period). When he did, it was as co-writer with Mickey Stevenson — and, for the first time, sole producer — of the first single for a new singer, Kim Weston: [Excerpt: Kim Weston, “It Should Have Been Me”] As it turned out, that wasn’t a hit, but the flip-side, “Love Me All The Way”, co-written by Stevenson (who was also Weston’s husband) and Barney Ales, did become a minor hit, making the R&B top thirty. After that, Whitfield was on his way. It was only a month later that he wrote his first song for the Temptations, a B-side, “The Further You Look, The Less You See”: [Excerpt: The Temptations, “The Further You Look, The Less You See”] That was co-written with Smokey Robinson, and as we heard in the episode on “My Girl”, both Robinson and Whitfield vied with each other for the job of Temptations writer and producer. As we also heard in that episode, Robinson got the majority of the group’s singles for the next couple of years, but Whitfield would eventually take over from him. Whitfield’s work with the Temptations is probably his most important work as a writer and producer, and the Temptations story is intertwined deeply with this one, but for the most part I’m going to save discussion of Whitfield’s work with the group until we get to 1972, so bear with me if I seem to skim over that — and if I repeat myself in a couple of years when we get there. Whitfield’s first major success, though, was also the first top ten hit for Marvin Gaye, “Pride and Joy”: [Excerpt: Marvin Gaye, “Pride and Joy”] “Pride and Joy” had actually been written and recorded before the Kim Weston and Temptations tracks, and was intended as album filler — it was written during a session by Whitfield, Gaye, and Mickey Stevenson who was also the producer of the track, and recorded in the same session as it was written, with Martha and the Vandellas on backing vocals. The intended hit from the session, “Hitch-Hike”, we covered in the previous episode on Gaye, but that was successful enough that an album, That Stubborn Kinda Fellow, was released, with “Pride and Joy” on it. A few months later Gaye recut his lead vocal, over the same backing track, and the record was released as a single, reaching number ten on the pop charts and number two R&B: [Excerpt: Marvin Gaye, “Pride and Joy”] Whitfield had other successes as well, often as B-sides. “The Girl’s Alright With Me”, the B-side to Smokey Robinson’s hit for the Temptations “I’ll Be In Trouble”, went to number forty on the R&B chart in its own right: [Excerpt: The Temptations, “The Girl’s Alright With Me”] That was co-written with Eddie Holland, and Holland and Whitfield had a minor songwriting partnership at this time, with Holland writing lyrics and Whitfield the music. Eddie Holland even released a Holland and Whitfield collaboration himself during his brief attempt at a singing career — “I Couldn’t Cry if I Wanted To” was a song they wrote for the Temptations, who recorded it but then left it on the shelf for four years, so Holland put out his own version, again as a B-side: [Excerpt: Eddie Holland, “I Couldn’t Cry if I Wanted To”] Whitfield was very much a B-side kind of songwriter and producer at this point — but this could be to his advantage. In January 1963, around the same time as all these other tracks, he cut a filler track with the “no-hit Supremes”, “He Means the World to Me”, which was left on the shelf until they needed a B-side eighteen months later and pulled it out and released it: [Excerpt: The Supremes, “He Means the World to Me”] But the track that that was a B-side to was “Where Did Our Love Go?”, and at the time you could make a lot of money from writing the B-side to a hit that big. Indeed, at first, Whitfield made more money from “Where Did Our Love Go?” than Holland, Dozier, or Holland, because he got a hundred percent of the songwriters’ share for his side of the record, while they had to split their share three ways. Slowly Whitfield moved from being a B-side writer to being an A-side writer. With Eddie Holland he was given a chance at a Temptations A-side for the first time, with “Girl, (Why You Wanna Make Me Blue)”: [Excerpt: The Temptations, “Girl (Why You Wanna Make Me Blue)”] He also wrote for Jimmy Ruffin, but in 1964 it was with girl groups that Whitfield was doing his best work. With Mickey Stevenson he wrote “Needle in a Haystack” for the Velvettes: [Excerpt: The Velvettes, “Needle in a Haystack”] He wrote their classic followup “He Was Really Sayin' Somethin’” with Stevenson and Eddie Holland, and with Holland he also wrote “Too Many Fish in the Sea” for the Marvelettes: [Excerpt: The Marvelettes, “Too Many Fish In The Sea”] By late 1964, Whitfield wasn’t quite in the first rank of Motown songwriter-producers with Holland-Dozier-Holland and Smokey Robinson, but he was in the upper part of the second tier with Mickey Stevenson and Clarence Paul. And by early 1966, as we saw in the episode on “My Girl”, he had achieved what he’d wanted for four years, and become the Temptations’ primary writer and producer. As I said, we’re going to look at Whitfield’s time working with the Temptations later, but in 1966 and 67 they were the act he was most associated with, and in particular, he collaborated with Eddie Holland on three top ten hits for the group in 1966. But as we discussed in the episode on “I Can’t Help Myself”, Holland’s collaborations with Whitfield eventually caused problems for Holland with his other collaborators, when he won the BMI award for writing the most hit songs, depriving his brother and Lamont Dozier of their share of the award because his outside collaborations put him ahead of them. While Whitfield *could* write songs by himself, and had in the past, he was at his best as a collaborator — as well as his writing partnership with Eddie Holland he’d written with Mickey Stevenson, Marvin Gaye, and Janie Bradford. And so when Holland told him he was no longer able to work together, Whitfield started looking for someone else who could write lyrics for him, and he soon found someone: [Excerpt: Barrett Strong, “Money”] Barrett Strong had, of course, been the very first Motown act to have a major national hit, with “Money”, but as we discussed in the episode on that song he had been unable to have a follow-up hit, and had actually gone back to working on an assembly line for a while. But when you’ve had a hit as big as “Money”, working on an assembly line loses what little lustre it has, and Strong soon took himself off to New York and started hanging around the Brill Building, where he hooked up with Doc Pomus and Mort Shuman, the writers of such hits as “Save the Last Dance for Me”, “Viva Las Vegas”, “Sweets for My Sweet”, and “A Teenager in Love”.  Pomus and Shuman, according to Strong, signed him to a management contract, and they got him signed to Atlantic’s subsidiary Atco, where he recorded one single, “Seven Sins”, written and produced by the team: [Excerpt: Barrett Strong, “Seven Sins”] That was a flop, and Strong was dropped by the label. He bounced around a few cities before ending up in Chicago, where he signed to VeeJay Records and put out one more single as a performer, “Make Up Your Mind”, which also went nowhere: [Excerpt: Barrett Strong, “Make Up Your Mind”] Strong had co-written that, and as his performing career was now definitively over, he decided to move into songwriting as his main job. He co-wrote “Stay in My Corner” for the Dells, which was a top thirty R&B hit for them on VeeJay in 1965 and in a remade version in 1968 became a number one R&B hit and top ten pop hit for them: [Excerpt: The Dells, “Stay in My Corner”] And on his own he wrote another top thirty R&B hit, “This Heart of Mine”, for the Artistics: [Excerpt: The Artistics, “This Heart of Mine”] He wrote several other songs that had some minor success in 1965 and 66, before moving back to Detroit and hooking up again with his old label, this time coming to them as a songwriter with a track record rather than a one-hit wonder singer. As Strong put it “They were doing my style of music then, they were doing something a little different when I left, but they were doing the more soulful, R&B-style stuff, so I thought I had a place there. So I had an idea I thought I could take back and see if they could do something with it.” That idea was the first song he wrote under his new contract, and it was co-written with Norman Whitfield. It’s difficult to know how Whitfield and Strong started writing together, or much about their writing partnership, even though it was one of the most successful songwriting teams of the era, because neither man was interviewed in any great depth, and there’s almost no long-form writing on either of them. What does seem to have been the case is that both men had been aware of each other in the late fifties, when Strong was a budding R&B star and Whitfield merely a teenager hanging round watching the cool kids. The two may even have written together before — in an example of how the chronology for both Whitfield and Strong seems to make no sense, Whitfield had cowritten a song with Marvin Gaye, “Wherever I Lay My Hat, That’s My Home”, in 1962 — when Strong was supposedly away from Motown — and it had been included as an album track on the That Stubborn Kinda Fellow album: [Excerpt: Marvin Gaye, “Wherever I Lay My Hat, That’s My Home”] The writing on that was originally credited just to Whitfield and Gaye on the labels, but it is now credited to Whitfield, Gaye, and Strong, including with BMI. Similarly Gaye’s 1965 album track “Me and My Lonely Room” — recorded in 1963 but held back – was initially credited to Whitfield alone but is now credited to Whitfield and Strong, in a strange inverse of the way “Money” initially had Strong’s credit but it was later removed. But whether this was an administrative decision made later, or whether Strong had been moonlighting for Motown uncredited in 1962 and collaborated with Whitfield, they hadn’t been a formal writing team in the way Whitfield and Holland had been, and both later seemed to date their collaboration proper as starting in 1966 when Strong returned to Motown — and understandably. The two songs they’d written earlier – if indeed they had – had been album filler, but between 1967 when the first of their new collaborations came out and 1972 when they split up, they wrote twenty-three top forty hits together. Theirs seems to have been a purely business relationship — in the few interviews with Strong he talks about Whitfield as someone he was friendly with, but Whitfield’s comments on Strong seem always to be the kind of very careful comments one would make about someone for whom one has a great deal of professional respect, a great deal of personal dislike, but absolutely no wish to air the dirty laundry behind that dislike, or to burn bridges that don’t need burning. Either way, Whitfield was in need of a songwriting partner when Barrett Strong walked into a Motown rehearsal room, and recognised that Strong’s talents were complementary to his. So he told Strong, straight out, “I’ve had quite a few hit records already. If you write with me, I can guarantee you you’ll make at least a hundred thousand dollars a year” — though he went on to emphasise that that wasn’t a guarantee-guarantee, and would depend on Strong putting the work in. Strong agreed, and the first idea he brought in for his new team earned both of them more than that hundred thousand dollars by itself. Strong had been struck by the common phrase “I heard it through the grapevine”, and started singing that line over some Ray Charles style gospel chords. Norman Whitfield knew a hook when he heard one, and quickly started to build a full song around Strong’s line. Initially, by at least some accounts, they wanted to place the song with the Isley Brothers, who had just signed to Motown and had a hit with the Holland-Dozier-Holland song “This Old Heart of Mine”: [Excerpt: The Isley Brothers, “This Old Heart of Mine (Is Weak For You)”] For whatever reason, the Isley Brothers didn’t record the song, or if they did no copy of the recording has ever surfaced, though it does seem perfectly suited to their gospel-inflected style. The Isleys did, though, record another early Whitfield and Strong song, “That’s the Way Love Is”, which came out in 1967 as a flop single, but would later be covered more successfully by Marvin Gaye: [Excerpt: The Isley Brothers, “That’s the Way Love Is”] Instead, the song was first recorded by the Miracles. And here the story becomes somewhat murky. We have a recording by the Miracles, released on an album two years later, but some have suggested that that version isn’t the same recording they made in 1966 when Whitfield and Strong wrote the song originally: [Excerpt: Smokey Robinson and the Miracles, “I Heard it Through the Grapevine”] It certainly sounds to my ears like that is probably the version of the song the group recorded in 66 — it sounds, frankly, like a demo for the later, more famous version. All the main elements are there — notably the main Ray Charles style hook played simultaneously on Hammond organ and electric piano, and the almost skanking rhythm guitar stabs — but Smokey Robinson’s vocal isn’t *quite* passionate enough, the tempo is slightly off, and the drums don’t have the same cavernous rack tom sound that they have in the more famous version. If you weren’t familiar with the eventual hit, it would sound like a classic Motown track, but as it is it’s missing something… [Excerpt: Smokey Robinson and the Miracles, “I Heard it Through the Grapevine”] According to at least some sources, that was presented to the quality control team — the team in which Whitfield had started his career, as a potential single, but they dismissed it. It wasn’t a hit, and Berry Gordy said it was one of the worst songs he’d ever heard. But Whitfield knew the song was a hit, and so he went back into the studio and cut a new backing track: [Excerpt: Marvin Gaye, “I Heard it Through the Grapevine (backing track only)”] (Incidentally, no official release of the instrumental backing track for “I Heard it Through the Grapevine” exists, and I had to put that one together myself by taking the isolated parts someone had uploaded to youtube and synching them back together in editing software, so if there are some microsecond-level discrepancies between the instruments there, that’s on me, not on the Funk Brothers.) That track was originally intended for the Temptations, with whom Whitfield was making a series of hits at the time, but they never recorded it at the time. Whitfield did produce a version for them as an album track a couple of years later though, so we have an idea how they might have taken the song vocally — though by then David Ruffin had been replaced in the group by Dennis Edwards: [Excerpt: The Temptations, “I Heard it Through the Grapevine”] But instead of giving the song to the Temptations, Whitfield kept it back for Marvin Gaye, the singer with whom he’d had his first big breakthrough hit and for whom his two previous collaborations with Strong – if collaborations they were – had been written. Gaye and Whitfield didn’t get on very well — indeed, it seems that Whitfield didn’t get on very well with *anyone* — and Gaye would later complain about the occasions when Whitfield produced his records, saying “Norman and I came within a fraction of an inch of fighting. He thought I was a prick because I wasn't about to be intimidated by him. We clashed. He made me sing in keys much higher than I was used to. He had me reaching for notes that caused my throat veins to bulge.” But Gaye sang the song fantastically, and Whitfield was absolutely certain they had a sure-fire hit: [Excerpt: Marvin Gaye, “I Heard it Through the Grapevine”] But once again the quality control department refused to release the track. Indeed, it was Berry Gordy personally who decided, against the wishes of most of the department by all accounts, that instead of “I Heard it Through the Grapevine” Gaye’s next single should be a Holland-Dozier-Holland track, “Your Unchanging Love”, a soundalike rewrite of their earlier hit for him, “How Sweet It Is”. “Your Unchanging Love” made the top thirty, but was hardly a massive success. Gordy has later claimed that he always liked “Grapevine” but just thought it was a bit too experimental for Gaye’s image at the time, but reports from others who were there say that what Gordy actually said was “it sucks”. So “I Heard it Through the Grapevine” was left on the shelf, and the first fruit of the new Whitfield/Strong team to actually get released was “Gonna Give Her All the Love I’ve Got”, written for Jimmy Ruffin, the brother of Temptations lead singer David, who had had one big hit, “What Becomes of the Brokenhearted” and one medium one, “I’ve Passed This Way Before”, in 1966. Released in 1967, “Gonna Give Her All the Love I’ve Got” became Ruffin’s third and final hit, making number 29: [Excerpt: Jimmy Ruffin, “Gonna Give Her All the Love I’ve Got”] But Whitfield was still certain that “Grapevine” could be a hit. And then in 1967, a few months after he’d shelved Gaye’s version, came the record that changed everything in soul: [Excerpt: Aretha Franklin, “Respect”] Whitfield was astounded by that record, but also became determined he was going to “out-funk Aretha”, and “I Heard it Through the Grapevine” was going to be the way to do it. And he knew someone who thought she could do just that. Gladys Knight never got on well with Aretha Franklin. According to Knight’s autobiography this was one-sided on Franklin’s part, and Knight was always friendly to Franklin, but it’s also notable that she says the same about several other of the great sixties female soul singers (though not all of them by any means), and there seems to be a general pattern among those singers that they felt threatened by each other and that their own position in the industry was precarious, in a way the male singers usually didn’t. But Knight claimed she always *wished* she got on well with Franklin, because the two had such similar lives. They’d both started out singing gospel as child performers before moving on to the chitlin circuit at an early age, though Knight started her singing career even younger than Franklin did. Knight was only four when she started performing solos in church, and by the age of eight she had won the two thousand dollar top prize on Ted Mack’s Amateur Hour by singing Brahms’ “Lullaby” and the Nat “King” Cole hit “Too Young”: [Excerpt: Nat “King” Cole, “Too Young”] That success inspired her, and she soon formed a vocal group with her brother Bubba, sister Brenda and their cousins William and Eleanor Guest. They named themselves the Pips in honour of a cousin whose nickname that was, and started performing at talent contests in Atlanta Chitlin’ Circuit venues. They soon got a regular gig at one of them, the Peacock, despite them all being pre-teens at the time. The Pips also started touring, and came to the attention of Maurice King, the musical director of the Flame nightclub in Detroit, who became a vocal coach for the group. King got the group signed to Brunswick records, where they released their first single, a song King had written called “Whistle My Love”: [Excerpt: The Pips, “Whistle My Love”] According to Knight that came out in 1955, when she was eleven, but most other sources have it coming out in 1958. The group’s first two singles flopped, and Brenda and Eleanor quit the group, being replaced by another cousin, Edward Patten, and an unrelated singer Langston George, leaving Knight as the only girl in the quintet. While the group weren’t successful on records, they were getting a reputation live and toured on package tours with Sam Cooke, Jackie Wilson, and others. Knight also did some solo performances with a jazz band led by her music teacher, and started dating that band’s sax player, Jimmy Newman. The group’s next recording was much more successful. They went into a makeshift studio owned by a local club owner, Fats Hunter, and recorded what they thought was a demo, a version of the Johnny Otis song “Every Beat of My Heart”: [Excerpt: The Pips, “Every Beat of My Heart (HunTom version)”] The first they knew that Hunter had released that on his own small label was when they heard it on the radio. The record was picked up by VeeJay records, and it ended up going to number one on the R&B charts and number six on the pop charts, but they never saw any royalties from it. It brought them to the attention of another small label, Fury Records, which got them to rerecord the song, and that version *also* made the R&B top twenty and got as high as number forty-five on the pop charts: [Excerpt: Gladys Knight and the Pips, “Every Beat of My Heart (Fury version)”] However, just because they had a contract with Fury didn’t mean they actually got any more money, and Knight has talked about the label’s ownership being involved with gangsters. That was the first recording to be released as by “Gladys Knight and the Pips”, rather than just The Pips, and they would release a few more singles on Fury, including a second top twenty pop hit, the Don Covay song “Letter Full of Tears”: [Excerpt: Gladys Knight and the Pips, “Letter Full of Tears”] But Knight had got married to Newman, who was by now the group’s musical director, after she fell pregnant when she was sixteen and he was twenty. However, that first pregnancy tragically ended in miscarriage, and when she became pregnant again she decided to get off the road to reduce the risk. She spent a couple of years at home, having two children, while the other Pips – minus George who left soon after – continued without her to little success. But her marriage was starting to deteriorate under pressure of Newman’s drug use — they wouldn’t officially divorce until 1972, but they were already feeling the pressure, and would split up sooner rather than later — and Knight  returned to the stage, initially as a solo artist or duetting with Jerry Butler, but soon rejoining the Pips, who by this time were based in New York and working with the choreographer Cholly Atkins to improve their stagecraft. For the next few years the Pips drifted from label to label, scoring one more top forty hit in 1964 with Van McCoy’s “Giving Up”, but generally just getting by like so many other acts on the circuit. Eventually the group ended up moving to Detroit, and hooking up with Motown, where mentors like Cholly Atkins and Maurice King were already working. At first they thought they were taking a step up, but they soon found that they were a lower tier Motown act, considered on a par with the Spinners or the Contours rather than the big acts, and according to Knight they got pulled off an early Motown package tour because Diana Ross, with whom like Franklin Knight had something of a rivalry, thought they were too good on stage and were in danger of overshadowing her. Knight says in her autobiography that they “formed a little club of our own with some of the other malcontents” with Martha Reeves, Marvin Gaye, and someone she refers to as “Ivory Joe Hunter” but I presume she means Ivy Jo Hunter (one of the big problems when dealing with R&B musicians of this era is the number of people with similar names. Ivy Jo Hunter, Joe Hunter, and Ivory Joe Hunter were all R&B musicians for whom keyboard was their primary instrument, and both Ivy Jo and just plain Joe worked for Motown at different points, but Ivory Joe never did) Norman Whitfield was also part of that group of “malcontents”, and he was also the producer of the Pips’ first few singles for Motown, and so when he was looking for someone to outdo Aretha, someone with something to prove, he turned to them. He gave the group the demo tape, and they worked out a vocal arrangement for a radically different version of the song, one inspired by “Respect”: [Excerpt: Gladys Knight and the Pips, “I Heard it Through the Grapevine”] The third time was the charm, and quality control finally agreed to release “I Heard it Through the Grapevine” as a single. Gladys Knight always claimed it had no promotion, but Norman Whitfield’s persistence had paid off — the single went to number two on the pop charts (kept off the top by “Daydream Believer”), number one on the R&B charts, and became Motown’s biggest-selling single *ever* up until that point. It also got Knight a Grammy nomination for Best R&B Vocal Performance, Female — though the Grammy committee, at least, didn’t think she’d out-Aretha’d Aretha, as “Respect” won the award. And that, sadly, sort of summed up Gladys Knight and the Pips at Motown — they remained not quite the winners in everything. There’s no shame in being at number two behind a classic single like “Daydream Believer”, and certainly no shame in losing the Grammy to Aretha Franklin at her best, but until they left Motown in 1972 and started their run of hits on Buddah records, Gladys Knight and the Pips would always be in other people’s shadow. That even extended to “I Heard It Through the Grapevine” when, as we’ll hear in part two of this story, Norman Whitfield’s persistence paid off, Marvin Gaye’s version got released as a single, and *that* became the biggest-selling single on Motown ever, outselling the Pips version and making it forever his song, not theirs. And as a final coda to the story of Gladys Knight and the Pips at Motown, while they were touring off the back of “Grapevine’s” success, the Pips ran into someone they vaguely knew from his time as a musician in the fifties, who was promoting a group he was managing made up of his sons. Knight thought they had something, and got in touch with Motown several times trying to get them to sign the group, but she was ignored. After a few attempts, though, Bobby Taylor of another second-tier Motown group, the Vancouvers, also saw them and got in touch with Motown, and this time they got signed. But that story wasn’t good enough for Motown, and so neither Taylor nor Knight got the credit for discovering the group. Instead when Joe Jackson’s sons’ band made their first album, it was titled Diana Ross Presents the Jackson 5. But that, of course, is a story for another time…