Podcasts about my heart belongs

Songs include: Moonlight Serenade by Glenn Miller, My Heart Belongs to Daddy by Mary Martin, Body and Soul by Coleman Hawkins, Deep Purple by Larry Clinton and God Bless America by Kate Smith. 

“RICHARD CARLSON: CLASSIC CINEMA STAR OF THE MONTH” (081) - 3/31/2025 Tall, dark-haired, and handsome, RICHARD CARLSON was always a welcomed addition to any cast. From the beginning, when he was playing preppy college students opposite LANA TURNER, to his reign in the 1950s as the King of Sci-Fi thrillers, Carlson brought believability and authority to each role but also a sense of introspective thoughtfulness. You looked into his deep blue eyes and chiseled face and believed him. Whatever he was selling, we were buying. And while he never became an A-list leading man, he enjoyed a long and steady career and enhanced many a mediocre film with his special appeal. This week, we celebrate RICHARD CARLSON as our Star of the Month.  SHOW NOTES:  Sources: Monsters in the Machine (2016), by Steffen Hantke; Keep Watching the Skies (2009), by Bill Warren; “Richard Carlson: Albert Lea's Other Film & Television Star,” December 24, 2016, by Ed Shannon; “Today's Underrated Actor Spotlight: Richard Carlson,” June 24, 2105, by Bynum, www.thetinseltoentwins.com; “A Tribute To Richard Carlson,' January 9, 2014, www.scififilmfiesta.com; “Richard Carlson, Actor, Dies at 65,” November 27, 1977, New York Times; Wikipedia.com; TCM.com; IMDBPro.com; Movies Mentioned:  Desert Death (1935), starring Raymond Hatton; The Young in Heart (1938), starring Janet Gaynor, Roland Young, Douglas Fairbanks, Jr & Paulette Goddard; The Duke of West Point (1938), starring Louis Hayward & Joan Fontaine; Winter Carnival (1939), starring Ann Sheridan, Richard Carlson, & Robert Mitchum; These Glamour Girls (1939), starring Lana Turner & Lew Ayres; Dancing Co-Ed (1939), starring Lana Turner & Richard Carlson; Beyond Tomorrow (1940), starring Haley Carey & Charles Winning; No, No, Nanette (1940), starring Anna Neagle; The Howards of Virginia (1940), starring Cary Grant & Martha Scott; Back Street (1941), starring Margaret Sullavan & Charles Boyer; The Little Foxes (1941Ol staring Bette Davis & Teresa Wright; The Affairs of Martha (1942), starring Marsha Hunt & Richard Carlson; My Heart Belongs to Daddy (1942), starring Richard Carlson & Martha O'Driscoll; Fly By Night (1942) starring Richard Carlson & Nancy Kelly; Hold That Ghost (1941), starring Bud Abbot & Lou Costello; White Cargo (1942), staring Hedy Lamarr& Walter Pidgeon; Presenting Lily Mars (1943), starring Judy Garland & Van Heflin; The Man From Down Under (1943), starring Charles Laughton & Donna Reed; So Well Remembered (1947), starring John Mills & Martha Scott; Behind Locked Doors (1948), starring Richard Carlson & Lucille Bremer; The Amazing Mr. X (1948), starring Turban Bey, Lynn Bari, & Cathy O'Donnell; King Solomon's Mines (1950), starring Stewart Granger & Deborah Kerr; The Sound of Fury (1950), starring Frank Lovejoy; The Blue Veil (1951), starring Jane Wyman, Charles Laughton, & Joan Blondell; The Magnetic Monster (1953), starring Richard Carlson; It Came from Outer Space (1954), starring Richard Carlson & Barbara Rush; The Maze (1953), starring Richard Carlson & Hillary Brooke; The Creature from The Black Lagoon (1954), starring Richard Carlson & Julie Adams; All I Desire (1953), starring Barbara Stanwyck & Richard Carlson; Riders To the Stars (1954), starring William Lundigan; Appointment with a Shadow (1957), starring George Nadar; The Saga of Hemp Brown (1957), starring Rory Calhoun; Johnny Rocco (1958), starring Richard Evers & Coleen Gray; Tormented (1960), starring Richard Carlson; Kid Rodelo (1966), starring Broderick Crawford & Janet Leigh; Change of Habit (1969), starring Elvis Pressly, Mary Tyler moore, & Richard Carlson; --------------------------------- http://www.airwavemedia.com Please contact sales@advertisecast.com if you would like to advertise on our podcast. Learn more about your ad choices. Visit megaphone.fm/adchoices

EPISODE 56 - “MARJORIE REYNOLDS: CLASSIC CINEMA STAR OF THE MONTH” - 10/07/2024 Most film fanatics agree that after the Paramount Picture's holiday classic “Holiday Inn” (1942), actress MARJORIE REYNOLDS, who gave a star-turn as struggling actress Linda Mason who gets a break singing and dancing in the seasonal nightclub run by BING CROSBY, should have been a big star. However, for reasons not quite clear, she didn't rise into the stratosphere. While she had a very respectable and long career, she just didn't soar to the top, as expected. As our Star of the Month, we will take a look into Marjorie Reynolds' life and career and explore our theories on why “Holiday Inn” did not make her a major star.  SHOW NOTES:  Sources: Christmas In the Movies (2023), by Jeremy Arnold; Whatever Became of…10th Series (1986), by Richard Lamparski; My Heart Belongs (1976), by Mary Martin; Scarlet Fever (1977), by William Pratt (including the collection of Herb Bridges); The Film Lovers Companion (1997), by David Quinlan; Biography of Marjorie Reynolds, July 25, 1942, Paramount Pictures;  “Super Cinderella,” November 1942, by William Lynch value, Silver Screen magazine; “Marjorie's Horse Comes In,” November 7, 1942, by Kyle Crichton, Collier's Magazine; Versatility Pays Off for Marjorie Reynolds,” March 10, 1944, by Hedda Hopper, Los Angeles, Times; “Divorce Plans Discussed by Miss Reynolds,” July 23, 1951, by Hedda Hopper, Los Angeles, Times; “Marjorie Reynolds to Be Wed to Film Editor,” May 16, 1952, Los Angeles, Times; “Marjorie Reynolds Weds Film Editor,” May 18, 1953, The Sedalia Democrat (Missouri); “Marjorie Reynolds: Sixty Years in the Film Business,” April 1984, by Colin Briggs, Hollywood Studio Magazine; “Marjorie Reynolds, 79, Actress, In Classic Films and on Television,” February 16, 1997, The New York Times; TCM.com; IMDBPro.com; IBDB.com; Wikipedia.com; Movies Mentioned:  Holiday Inn (1942), starring Bing Crosby, Fred Astaire, Marjorie Reynolds, & Virginia Dale; Wine, Women, and Song (1933), starring Lilyan Tashman; Murder In Greenwich Village (1937), starring Richard Arlen & Fay Wray; Tex Rides With The Boy Scouts (1937), starring Tex Ritter; The Overland Express (1938), starring Buck Jones; Western Trails (1938), starring Bob Baker; Six Shootin' Sheriff (1938), starring Ken Maynard; Star Spangled Rhythm (1942), starring Bob Hope, Bing Crosby, Dorothy Lamour, Veronica Lake, & Alan Ladd; Dixie (1943), starring Bing Crosby & Dorothy Lamour; Up In Mabel's Room (1944), starring Dennis O'Keefe & Gail Patrick; Ministry of Fear (1944), starring Ray Milland; Three Is A Family (1944), starring Charles Ruggles & Fay Bainter; Bring On The Girls (1945), starring Veronica Lake & Eddie Bracken; Monsieur Beaucaire (1946), starring Bob Hope & Joan Caulfield; The Time Of Their Lives (1946), starring Bud Abbott & Lou Costello; Meet Me On Broadway (1946), starring Fred Brady & Spring Byington; Heaven Only Knows (1947), Bob Cummings & Brian Donlevy; Badmen of Tombstone (1949), starring Barry Sullivan & Broderick Crawford; That Midnight Kiss (1949), starring Mario Lanza & Kathryn Grayson; The Great Jewel Robber (1950), starring David Brian; Home Town Story (1951), starring Jeffry Lynn, Alan Hale Jr, & Marilyn Monroe; Models, Inc (1952), starring Howard Duff & Coleen Gray; His Kind of Woman (1951), starring Robert Mitchum, Jane Russell, & Vincent Price; The Silent Witness (1962), starring Tristram Coffin & George Kennedy; Pearl (1978), starring Angie Dickinson, Dennis Weaver, & Robert Wagner; --------------------------------- http://www.airwavemedia.com Please contact sales@advertisecast.com if you would like to advertise on our podcast. Learn more about your ad choices. Visit megaphone.fm/adchoices

“Gold digger is a term for a person, typically a woman, who engages in a type of transactional relationship for money rather than love.[1] If it turns into marriage, it is a type of marriage of convenience. The gold digger image or trope appears in several popular songs, including "My Heart Belongs to Daddy" (1938), "Diamonds Are a Girl's Best Friend" (1949), "Santa Baby" (1953), "She Got the Goldmine (I Got The Shaft)" (1982), and "Material Girl" (1984). Rap music's use of the "gold digger script" is one of a few prevalent sexual scripts that is directed at young African-American women.[16] For example Kanye West's "Gold Digger" and EPMD's "Gold Digger" both reference a woman marrying for perceived wealth. West's "Gold Digger" brought attention to the gold digger trope into popular culture, especially because of the music video that followed.” -Wikipedia --- Send in a voice message: https://podcasters.spotify.com/pod/show/antonio-myers4/message Support this podcast: https://podcasters.spotify.com/pod/show/antonio-myers4/support

Episode 52: Tom Thomson Remembered: Anniversary Special Given that it is the anniversary this week of Tom Thomson's disappearance and ultimate death 106 years  ago, I thought it would fun to take Algonquin Defining Moments in a slightly different direction. Published two years ago by  Deryck N. Robertson from Paddler Press in Peterborough, Ontario, Canoe Lake Memories is a book of poetry with reflections on Thomson, Canoe Lake and of course fishing and water.  In addition are some great paintings, which I have posted on my www.algonquinparkheritage.com website. So for this episode, it's best to find a relaxing spot in nature along with your favourite libation, assume your mindfulness pose and view the episode as a meditation of sorts.  For each  piece, I'll introduce a bit about the writer so as to provide a bit of context.  I've also included my 3  favorite Tom Thomson songs from Ian Tamblyn including 'Down at Tea Lake Dam' My Heart Belongs to the Northland in Spring' and 'Brush and Paddle'  from his Walking in the  Footsteps  CD.  Also special thanks to Deryck N. Robertson Editor-in-Chief at Paddler Press.  The book Canoe Lake Memories can be found on www.paddlerpress.ca   Enjoy!!!  

On this episode I'm showcasing some of the worst and best dads in horror, just in time for Father's Day. Nothing like a strong role model to look up to unless he's a psychopath, murderous clown or zombie, oh my! Plus some comedic dads and ones who sacrifice their all for the love of their children. Oh an FYI, I made a faux pas on my number two worst dad list and stated the actor's name instead of the character...big whoop, I'm human. Come listen to me give some praise to the horror dads. For this title, My Heart Belongs to Daddy, the artist is Eartha Kitt.

1 - Daddy, Change Your Mind - Edith Wilson - 19242 - Got to Have My Daddy Blues - Ladd's Black Aces – 19223 - Give It Up Daddy Blues - Albinia Jones – 19474 - Daddy, Come Home - Billy Murray - 19135 - Won't You Be a Dear, Dear Daddy to a Itta Bitta Doll Like Me? - Sophie Tucker and her Five Kings of Syncopation – 19186 - I Wish I Had a Daddy in the White House - Kitty Kallen with George Siravo and his Orchestra – 19517 - Daddy – Marilyn Duke with Vaughn Monroe and his Orchestra - 19418 - Go to Work Pretty Daddy - Eunice Davis - 19539 - Lazy Daddy - Wolverine Orchestra – 192410 - Please Daddy Don't Drink No More - Cecil Campbell's Tennessee Ramblers – 194811 - My Son Calls Another Man Daddy - Hank Williams with his Drifting Cowboys – 195012 – My Heart Belongs to Daddy - Bea Wain with Larry Clinton and his Orchestra – 193813 - Oh Daddy - Johnny Dodds and Tiny Parham – 192614 - Daddy, You've Been a Mother to Me - Dick Robertson and his Orchestra - 194215 - Dream Daddy - Frank Bessinger with the Olympia Dance Orchestra – 192416 - Daddy's Wonderful Pal – Henry Burr - 192417 - My Dad's Dinner Pail - Harry McClintock – 192818 – The Forgotten Father – Phil Harris/Alice Faye Show – 1953 (Radio Comedy)19 - The Ghost Wore a Silver Slipper – The Shadow – 1946 (Radio Drama)20 – Think of Me Little Daddy – Jimmie Young with Jimmie Lunceford and his Orchestra – 193921 - Daddy What You Going to Do - Hattie Snow with Syd Valentine and his Patent Leather Kids – 1929

Ep: 112 Jeffrey Round reads from Threads, a poetry collection. In addition, he discusses with Brad Jeffrey's four Bradford Fairfax Murder Mysteries, Murder in P-Town, Death in Key West, Vanished in Vallarta, and Bon Ton Roulet. Plus, they talk about Jeffrey's career as not only an author, but a poet, a playwright, a musician, a stage director - Is there anything Jeffrey Round hasn't done?Podcast Website:   www.queerwritersofcrime.comSign up for the show's Queer Writers of Crime newsletter.Check out Queer Writers of Crime Guest's blog.Help Support This Podcast   buymeacoffee.com/queerwriters   Disclosure: To cover the cost of producing Queer Writers of Crime, some of the links below are affiliate links. This means that, at zero cost to you, Brad will earn an affiliate commission if you click through the link and finalize a purchase.Threads: A Poetry Collection by Jeffrey Round  https://amzn.to/3JxfHbUBradford Fairfax Murder Mysteries by Jeffrey Roundhttps://amzn.to/38Lg3inDan Sharp Mysteries by Jeffrey Roundhttps://amzn.to/3vnxdKAJeffrey's Website: jeffreyround.comJeffrey Round is an award-winning author, filmmaker, and songwriter. His breakout novel, A Cage of Bones, was listed on AfterElton's 50 Best Gay Books. Lake on the Mountain, first of the seven Dan Sharp mysteries, won a Lambda Award in 2013. His short film, My Heart Belongs to Daddy, won prizes for Best Canadian Director and Best Use of Music. In 2021 he took top juried awards for his music video, Don't You Think I Know. His latest book is Threads (2022) from Beautiful Dreamer Press.Brad's Website: bradshreve.comSupport Requeered Tales  re-publishing award-winning, post-Stonewall gay and lesbian fiction — with a focus on mystery, literary and horror/sci-fi genres.requeeredtales.com

http;//www.copperplatemailorder.com                 Copperplate Time 391              Presented by Alan O'Leary 1. Bothy Band:   Green Groves of Erin/Flowers of Red Hill.   After Hours 2. Trian:   The Little Man in Brown Shoes/Ducks in A Row/The Butterfly Reel/Pauline Conneely's.   Trian 2                                  3. Andy Irvine & Paul Brady:         The Plains of Kildare.                   Andy Irvine & Paul Brady 4. Andy Martyn: The Blackthorn Set.              Will We Give It A Go? 5. Ben & Charlie Lennon:      Bonnie Kate/Jenny's Chickens.         Within A Mile of Kilty 2 6. Liam O'Flynn: Humours of Kiltyclogher/Julia Clifford's. The Pipers Call 7.  Joe Burke:  The Broken Pledge/Paddy Lynn's Delight.  Tribute to Michael Coleman  8.  Niamh Parsons:   Clohinne Wind.              Joyful Noise  9.  Duck Baker:   The Swedish Jig.               My Heart Belongs to Jenny 10. John Bowe & Mary Conroy:   The Downfall of Paris. John Bowe & Mary Conroy 11. Bobby Casey: Colonel Fraser/Toss the Feathers.  The Spirit of West Clare 12. Mary McNamara & P Joe Hayes:      McGreevey's Fave/Miss McGuinness/The Sweetheart Reel.    Mary McNamara 13. John Keehan: The Parcel of Land/The Hairy Chested Frog/Kiss Me Kate.                The Humours of Scariff 14. Leonard Barry:       The Foxhunter's Jig/The Besom in Bloom.            New Road 15. Ryan McMullan:           The Streets of New York.      Download 16. Trian:    Westland/King Robert the Bruce.            Trian 2 17. Mick & Aoife O'Brien & Emer Mayock:            Bonny Anne/I'm Over Young  to Marry Yet/The Drummond Lasses.   More Tunes from The Goodman Manuscripts 18. Eileen O'Brien & Lar Gavin:         Shanahan's HP/McElligott's Fancy.              The Fiddler's Choice 19. Christy Moore:    The Bord na Mona Man,     Flying Into Mystery 20.Kevin Burke:   The Millstream/The Geese in the Bog/Devils of Dublin.             Sligo Made 21. Bothy Band:   Green Groves of Erin/Flowers of Red Hill.   After Hours

Episode 141 of A History of Rock Music in Five Hundred Songs looks at “River Deep Mountain High'”, and at the career of Ike and Tina Turner.  Click the full post to read liner notes, links to more information, and a transcript of the episode. Also, this episode was recorded before the sad death of the great Ronnie Spector, whose records are featured a couple of times in this episode, which is partly about her abusive ex-husband. Her life paralleled Tina Turner's quite closely, and if you haven't heard the episode I did about her last year, you can find it at https://500songs.com/podcast/episode-110-be-my-baby-by-the-ronettes/. I wish I'd had the opportunity to fit a tribute into this episode too. Patreon backers also have a ten-minute bonus episode available, on "Wild Thing" by the Troggs. Tilt Araiza has assisted invaluably by doing a first-pass edit, and will hopefully be doing so from now on. Check out Tilt's irregular podcasts at http://www.podnose.com/jaffa-cakes-for-proust and http://sitcomclub.com/ Resources As usual, all the songs excerpted in the podcast can be heard in full at Mixcloud. Always Magic in the Air: The Bomp and Brilliance of the Brill Building Era by Ken Emerson is a good overview of the Brill Building scene, and I referred to it for the material about Jeff Barry and Ellie Greenwich. I've referred to two biographies of Phil Spector in this episode, Phil Spector: Out of His Head by Richard Williams and He's a Rebel by Mark Ribkowsky. Tina Turner has written two autobiographies. I Tina is now out of print but is slightly more interesting, as it contains interview material with other people in her life. My Love Story is the more recent one and covers her whole life up to 2019. Ike Turner's autobiography Takin' Back My Name is a despicable, self-serving, work of self-justification, and I do not recommend anyone buy or read it. But I did use it for quotes in the episode so it goes on the list. Ike Turner: King of Rhythm by John Collis is more even-handed, and contains a useful discography. That Kat Sure Could Play! is a four-CD compilation of Ike Turner's work up to 1957. The TAMI and Big TNT shows are available on a Blu-Ray containing both performances. There are many compilations available with some of the hits Spector produced, but I recommend getting Back to Mono, a four-CD overview of his career containing all the major singles put out by Philles. There are sadly no good compilations of Ike and Tina Turner's career, as they recorded for multiple labels, and would regularly rerecord the hits in new versions for each new label, so any compilation you find will have the actual hit version of one or two tracks, plus a bunch of shoddy remakes. However, the hit version of "River Deep, Mountain High" is on the album of the same name, which is a worthwhile album to get,. Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript Today's episode is unfortunately another one of those which will require a content warning, because we're going to be talking about Ike and Tina Turner. For those of you who don't know, Ike Turner was possibly the most famously abusive spouse in the whole history of music, and it is literally impossible to talk about the duo's career without talking about that abuse. I am going to try not to go into too many of the details -- if nothing else, the details are very readily available for those who want to seek them out, not least in Tina's two autobiographies, so there's no sense in retraumatising people who've experienced domestic abuse by going over them needlessly -- but it would be dishonest to try to tell the story without talking about it at all. This is not going to be an episode *about* Ike Turner's brutal treatment of Tina Turner -- it's an episode about the record, and about music, and about their musical career -- but the environment in which "River Deep, Mountain High" was created was so full of toxic, abusive, destructive men that Ike Turner may only be the third-worst person credited on the record, and so that abuse will come up. If discussion of domestic abuse, gun violence, cocaine addiction, and suicide attempts are likely to cause you problems, you might want to read the transcript rather than listen to the podcast. That said, let's get on with the story. One of the problems I'm hitting at this point of the narrative is that starting with "I Fought the Law" we've hit a run of incredibly intertangled stories  The three most recent episodes, this one, and nine of the next twelve, all really make up one big narrative about what happened when folk-rock and psychedelia hit the Hollywood scene and the Sunset Strip nightclubs started providing the raw material for the entertainment industry to turn into pop culture. We're going to be focusing on a small number of individuals, and that causes problems when trying to tell a linear narrative, because people don't live their lives sequentially -- it's not the case that everything happened to Phil Spector, and *then* everything happened to Cass Elliot, and *then* everything happened to Brian Wilson. All these people were living their lives and interacting and influencing each other, and so sometimes we'll have to mention something that will be dealt with in a future episode. So I'll say here and now that we *will* be doing an episode on the Lovin' Spoonful in two weeks. So when I say now that in late 1965 the Lovin' Spoonful were one of the biggest bands around, and possibly the hottest band in the country, you'll have to take that on trust. But they were, and in late 1965 their hit "Do You Believe in Magic?" had made the top ten: [Excerpt: The Lovin' Spoonful, "Do You Believe in Magic?"] Phil Spector, as always, was trying to stay aware of the latest trends in music, and he was floundering somewhat. Since the Beatles had hit America in 1964, the hits had dried up -- he'd produced a few minor hit records in 1964, but the only hits he'd made in 1965 had been with the Righteous Brothers -- none of his other acts were charting. And then the Righteous Brothers left him, after only a year. In late 1965, he had no hit acts and no prospect of having any. There was only one thing to do -- he needed to start making his own folk-rock records. And the Lovin' Spoonful gave him an idea how to do that. Their records were identifiably coming from the same kind of place as people like the Byrds or the Mamas and the Papas, but they were pop songs, not protest songs -- the Lovin' Spoonful weren't doing Dylan covers or anything intellectual, but joyous pop confections of a kind that anyone could relate to. Spector knew how to make pop records like that. But to do that, he needed a band. Even though he had been annoyed at the way that people had paid more attention to the Righteous Brothers, as white men, than they had to the other vocalists he'd made hit records with (who, as Black women, had been regarded by a sexist and racist public as interchangeable puppets being controlled by a Svengali rather than as artists in their own right), he knew he was going to have to work with a group of white male vocalist-instrumentalists if he wanted to have his own Lovin' Spoonful. And the group he chose was a group from Greenwich Village called MFQ. MFQ had originally named themselves the Modern Folk Quartet, as a parallel to the much better-known Modern Jazz Quartet, and consisted of Cyrus Faryar, Henry Diltz, Jerry Yester, and Chip Douglas, all of whom were multi-instrumentalists who would switch between guitar, banjo, mandolin, and bass depending on the song. They had combined Kingston Trio style clean-cut folk with Four Freshmen style modern harmonies -- Yester, who was a veteran of the New Christy Minstrels, said of the group's vocals that "the only vocals that competed with us back then was Curt Boettcher's group", and  they had been taken under the wing of manager Herb Cohen, who had got them a record deal with Warner Brothers. They recorded two albums of folk songs, the first of which was produced by Jim Dickson, the Byrds' co-manager: [Excerpt: The Modern Folk Quartet, "Sassafras"] But after their second album, they had decided to go along with the trends and switch to folk-rock. They'd started playing with electric instruments, and after a few shows where John Sebastian, the lead singer of the Lovin' Spoonful, had sat in with them on drums, they'd got themselves a full-time drummer, "Fast" Eddie Hoh, and renamed themselves the Modern Folk Quintet, but they always shortened that to just MFQ. Spector was convinced that this group could be another Lovin' Spoonful if they had the right song, and MFQ in turn were eager to become something more than an unsuccessful folk group. Spector had the group rehearsing in his house for weeks at a stretch before taking them into the studio. The song that Spector chose to have the group record was written by a young songwriter he was working with named Harry Nilsson. Nilsson was as yet a complete unknown, who had not written a hit and was still working a day job, but he had a talent for melody, and he also had a unique songwriting sensibility combining humour and heartbreak. For example, he'd written a song that Spector had recorded with the Ronettes, "Here I Sit", which had been inspired by the famous graffito from public toilet walls -- "Here I sit, broken-hearted/Paid a dime and only farted": [Excerpt: The Ronettes, "Here I Sit"] That ability to take taboo bodily functions and turn them into innocent-sounding love lyrics is also at play in the song that Spector chose to have the MFQ record. "This Could be the Night" was written by Nilsson from the perspective of someone who is hoping to lose his virginity -- he feels like he's sitting on dynamite, and he's going to "give her some", but it still sounds innocent enough to get past the radio censors of the mid-sixties: [Excerpt: Harry Nilsson, "This Could Be the Night (demo)"] Spector took that song, and recorded a version of it which found the perfect balance between Spector's own wall of sound and the Lovin' Spoonful's "Good Time Music" sound: [Excerpt: MFQ, "This Could be the Night"] Brian Wilson was, according to many people, in the studio while that was being recorded, and for decades it would remain a favourite song of Wilson's -- he recorded a solo version of it in the 1990s, and when he started touring solo for the first time in 1998 he included the song in his earliest live performances. He also tried to record it with his wife's group, American Spring, in the early 1970s, but was unable to, because while he could remember almost all of the song, he couldn't get hold of the lyrics. And the reason he couldn't get hold of the lyrics is that the record itself went unreleased, because Phil Spector had found a new performer he was focusing on instead. It happened during the filming of the Big TNT Show, a sequel to the TAMI Show, released by American International Pictures, for which "This Could Be the Night" was eventually used as a theme song. The MFQ were actually performers at the Big TNT Show, which Spector was musical director and associate producer of, but their performances were cut out of the finished film, leaving just their record being played over the credits. The Big TNT Show generally gets less respect than the TAMI Show, but it's a rather remarkable document of the American music scene at the very end of 1965, and it's far more diverse than the TAMI show. It opens with, of all people, David McCallum -- the actor who played Ilya Kuryakin on The Man From UNCLE -- conducting a band of session musicians playing an instrumental version of "Satisfaction": [Excerpt: David McCallum, "Satisfaction"] And then, in front of an audience which included Ron and Russel Mael, later of Sparks, and Frank Zappa, who is very clearly visible in audience shots, came performances of every then-current form of popular music. Ray Charles, Petula Clark, Bo Diddley, the Byrds, the Lovin' Spoonful, Roger Miller, the Ronettes, and Donovan all did multiple songs, though the oddest contribution was from Joan Baez, who as well as doing some of her normal folk repertoire also performed "You've Lost That Lovin' Feelin'" with Spector on piano: [Excerpt: Joan Baez and Phil Spector, "You've Lost That Lovin' Feelin'"] But the headline act on the eventual finished film was the least-known act on the bill, a duo who had not had a top forty hit for four years at this point, and who were only on the bill as a last-minute fill-in for an act who dropped out, but who were a sensational live act. So sensational that when Phil Spector saw them, he knew he needed to sign them -- or at least he needed to sign one of them: [Excerpt: Ike and Tina Turner with the Ikettes, "Please, Please, Please"] Because Ike and Tina Turner's performance at the Big TNT Show was, if anything, even more impressive than James Brown's performance on the TAMI Show the previous year. The last we saw of Ike Turner was way back in episode eleven. If you don't remember that, from more than three years ago, at the time Turner was the leader of a small band called the Kings of Rhythm. They'd been told by their friend B.B. King that if you wanted to make a record, the person you go to was Sam Phillips at Memphis Recording Services, and they'd recorded "Rocket '88", often cited as the first ever rock and roll record, under the name of their sax player and vocalist Jackie Brenston: [Excerpt: Jackie Brenston and the Delta Cats, "Rocket '88"] We looked at some of the repercussions from that recording throughout the first year and a half or so of the podcast, but we didn't look any more at the career of Ike Turner himself. While "Rocket '88" was a minor hit, the group hadn't followed it up, and Brenston had left to go solo. For a while Ike wasn't really very successful at all -- though he was still performing around Memphis, and a young man named Elvis Presley was taking notes at some of the shows. But things started to change for Ike when he once again turned up at Sam Phillips' studio -- this time because B.B. King was recording there. At the time, Sun Records had still not started as its own label, and Phillips' studio was being used for records made by all sorts of independent blues labels, including Modern Records, and Joe Bihari was producing a session for B.B. King, who had signed to Modern. The piano player on the session also had a connection to "Rocket '88" -- when Jackie Brenston had quit Ike's band to go solo, he'd put together a new band to tour as the Delta Cats, and Phineas Newborn Jr had ended up playing Turner's piano part on stage, before Brenston's career collapsed and Newborn became King's pianist. But Phineas Newborn was a very technical, dry, jazz pianist -- a wonderful player, but someone who was best suited to playing more cerebral material, as his own recordings as a bandleader from a few years later show: [Excerpt: Phineas Newborn Jr, "Barbados"] Bihari wasn't happy with what Newborn was playing, and the group took a break from recording to get something to eat and try to figure out the problem. While they were busy, Turner went over to the piano and started playing. Bihari said that that was exactly what they wanted, and Turner took over playing the part. In his autobiography, Turner variously remembers the song King was recording there as "You Know I Love You" and "Three O'Clock Blues", neither of which, as far as I can tell, were actually recorded at Phillips' studio, and both of which seem to have been recorded later -- it's difficult to say for sure because there were very few decent records kept of these things at the time. But we do know that Turner played on a lot of King's records in the early fifties, including on "Three O'Clock Blues", King's first big hit: [Excerpt: B.B. King, "Three O'Clock Blues"] For the next while, Turner was on salary at Modern Records, playing piano on sessions, acting as a talent scout, and also apparently writing many of the songs that Modern's artists would record, though those songs were all copyrighted under the name "Taub", a pseudonym for the Bihari brothers, as well as being a de facto arranger and producer for the company. He worked on many records made in and around Memphis, both for Modern Records and for other labels who drew from the same pool of artists and musicians. Records he played on and produced or arranged include several of Bobby "Blue" Bland's early records -- though Turner's claim in his autobiography that he played on Bland's version of "Stormy Monday" appears to be incorrect, as that wasn't recorded until a decade later. He did, though, play on Bland's “Drifting from Town to Town”, a rewrite of Charles Brown's “Driftin' Blues”, on which, as on many sessions run by Turner, the guitarist was Matt “Guitar” Murphy, who later found fame with the Blues Brothers: [Excerpt: Bobby "Blue" Bland with Ike Turner and his Orchestra, "Driftin' Blues"] Though I've also seen the piano part on that credited as being by Johnny Ace – there's often some confusion as to whether Turner or Ace played on a session, as they played with many of the same artists, but that one was later rereleased as by Bobby “Blue” Bland with Ike Turner and his Orchestra, so it's safe to say that Ike's on that one. He also played on several records by Howlin' Wolf, including "How Many More Years", recorded at Sam Phillips' studio: [Excerpt: Howlin' Wolf, "How Many More Years?"] Over the next few years he played with many artists we've covered already in the podcast, like Richard Berry and the Flairs, on whose recordings he played guitar rather than piano: [Excerpt: The Flairs, "Baby Wants"] He also played guitar on records by Elmore James: [Excerpt: Elmore James, "Please Find My Baby"] and played with Little Junior Parker, Little Milton, Johnny Ace, Roscoe Gordon, and many, many more. As well as making blues records, he also made R&B records in the style of Gene and Eunice with his then-wife Bonnie: [Excerpt: Bonnie and Ike Turner, "My Heart Belongs to You"] Bonnie was his fourth wife, all of them bigamous -- or at least, I *think* she was his fourth. I have seen two different lists Turner gave of his wives, both of them made up of entirely different people, though it doesn't help that many of them also went by nicknames. But Turner started getting married when he was fourteen, and as he would often put it "you gave a preacher two dollars, the papers cost three dollars, that was it. In those days Blacks didn't bother with divorces." (One thing you will see a lot with Turner, unfortunately, is his habit of taking his own personal misbehaviours and claiming they were either universal, or at least that they were universal among Black people, or among men. It's certainly true that some people in the Southeastern US had a more lackadaisical attitude towards remarrying without divorce at the time than we might expect, but it was in no way a Black thing specifically -- it was a people-like-Ike-Turner thing -- see for example the very similar behaviour of Jerry Lee Lewis. I'm trying, when I quote him, not to include too many of these generalisations, but I thought it important to include that one early on to show the kind of self-justification to which he was prone throughout his entire life.) It's largely because Bonnie played piano and was singing with his band that Turner switched to playing guitar, but there was another reason – while he disliked the attention he got on stage, he also didn't want a repeat of what had happened with Jackie Brenston, where Brenston as lead vocalist and frontman had claimed credit for what Ike thought of as his own record. Anyone who saw Ike Turner and his Kings of Rhythm was going to know that Ike Turner was the man who was making it all happen, and so he was going to play guitar up front rather than be on the piano in the background. So Turner took guitar lessons from Earl Hooker, one of the great blues guitarists of the period, who had played with Turner's piano inspiration Pinetop Perkins before recording solo tracks like "Sweet Angel": [Excerpt: Earl Hooker, "Sweet Angel"] Turner was always happier in the studio than performing live -- despite his astonishing ego, he was also a rather shy person who didn't like attention -- and he'd been happy working on salary for Modern and freelancing on occasion for other labels like Chess and Duke. But then the Biharis had brought him out to LA, where Modern Records was based, and as Joel Bihari put it "Ike did a great job for us, but he was a country boy. We brought him to L.A., and he just couldn't take city life. He only stayed a month, then left for East St. Louis to form his own band. He told me he was going back there to become a star." For once, Turner's memory of events lined up with what other people said about him. In his autobiography, he described what happened -- "Down in Mississippi, life is slow. Tomorrow, you are going to plough this field. The next day, you going to cut down these trees. You stop and you go on about your business. Next day, you start back on sawing trees or whatever you doing. Here I am in California, and this chick, this receptionist, is saying "Hold on, Mr Bihari, line 2... hold line 3... Hey Joe, Mr Something or other on the phone for you." I thought "What goddamn time does this stop?"" So Turner did head to East St. Louis -- which is a suburb of St. Louis proper, across the Mississippi river from it, and in Illinois rather than Missouri, and at the time a thriving industrial town in its own right, with over eighty thousand people living there. Hardly the laid-back country atmosphere that Turner was talking about, but still also far from LA both geographically and culturally. He put together a new lineup of the Kings of Rhythm, with a returning Jackie Brenston, who were soon recording for pretty much every label that was putting out blues and R&B tracks at that point, releasing records on RPM, Sue, Flair, Federal, and Modern as well as several smaller labels. usually with either Brenston or the group's drummer Billy Gayles singing lead: [Excerpt: Billy Gayles with Ike Turner's Kings of Rhythm, "Just One More Time"] None of these records was a success, but the Kings of Rhythm were becoming the most successful band in East St. Louis. In the mid-fifties the only group that was as popular in the greater St. Louis metro area was the Johnny Johnson trio -- which soon became the Chuck Berry trio, and went on to greater things, while the Kings of Rhythm remained on the club circuit. But Turner was also becoming notorious for his temper -- he got the nickname "Pistol-Whippin' Ike Turner" for the way he would attack people with his gun, He also though was successful enough that he built his own home studio, and that was where he recorded "Boxtop". a calypso song whose middle eight seems to have been nicked from "Why Do Fools Fall In Love?" and whose general feel owes more than a little to "Love is Strange": [Excerpt: Ike Turner, Carlson Oliver, and Little Ann, "Boxtop"] The female vocals on that track were by Turner's new backing vocalist, who at the time went by the stage name "Little Ann". Anna Mae Bullock had started going to see the Kings of Rhythm regularly when she was seventeen, because her sister was dating one of the members of the band, and she had become a fan almost immediately. She later described her first experience seeing the group: "The first time I saw Ike on stage he was at his very best, sharply dressed in a dark suit and tie. Ike wasn't conventionally handsome – actually, he wasn't handsome at all – and he certainly wasn't my type. Remember, I was a schoolgirl, all of seventeen, looking at a man. I was used to high school boys who were clean-cut, athletic, and dressed in denim, so Ike's processed hair, diamond ring, and skinny body – he was all edges and sharp cheekbones – looked old to me, even though he was only twenty-five. I'd never seen anyone that thin! I couldn't help thinking, God, he's ugly." Turner didn't find Bullock attractive either -- one of the few things both have always agreed on in all their public statements about their later relationship was that neither was ever particularly attracted to the other sexually -- and at first this had caused problems for Anna Mae. There was a spot in the show where Turner would invite a girl from the audience up on stage to sing, a different one every night, usually someone he'd decided he wanted to sleep with. Anna Mae desperately wanted to be one of the girls that would get up on stage, but Turner never picked her. But then one day she got her chance. Her sister's boyfriend was teasing her sister, trying to get her to sing in this spot, and passed her the microphone. Her sister didn't want to sing, so Anna Mae grabbed the mic instead, and started singing -- the song she sang was B.B. King's "You Know I Love You", the same song that Turner always remembered as being recorded at Sun studios, and on which Turner had played piano: [Excerpt: B.B. King, "You Know I Love You"] Turner suddenly took notice of Anna Mae. As he would later say, everyone *says* they can sing, but it turned out that Anna Mae could. He took her on as an occasional backing singer, not at first as a full member of the band, but as a sort of apprentice, who he would teach how to use her talents more commercially. Turner always said that during this period, he would get Little Richard to help teach Anna Mae how to sing in a more uncontrolled, exuberant, style like he did, and Richard has backed this up, though Anna Mae never said anything about this. We do know though that Richard was a huge fan of Turner's -- the intro to "Good Golly Miss Molly": [Excerpt: Little Richard, "Good Golly Miss Molly"] was taken almost exactly from the intro to "Rocket '88": [Excerpt: Jackie Brenston and the Delta Cats, "Rocket '88"] and Richard later wrote the introduction to Turner's autobiography. So it's possible -- but both men were inveterate exaggerators, and Anna Mae only joined Ike's band a few months before Richard's conversion and retirement from music, and during a point when he was a massive star, so it seems unlikely. Anna Mae started dating Raymond Hill, a saxophone player in the group, and became pregnant by him -- but then Hill broke his ankle, and used that as an excuse to move back to Clarksdale, Mississippi, to be with his family, abandoning his pregnant teenage girlfriend, and it seems to be around this point that Turner and Anna Mae became romantically and sexually involved. Certainly, one of Ike's girlfriends, Lorraine Taylor, seems to have believed they were involved while Anna Mae was pregnant, and indeed that Turner, rather than Hill, was the father. Taylor threatened Bullock with Turner's gun, before turning it on herself and attempting suicide, though luckily she survived. She gave birth to Turner's son, Ike Junior, a couple of months after Bullock gave birth to her own son, Craig. But even after they got involved, Anna Mae was still mostly just doing odd bits of backing vocals, like on "Boxtop", recorded in 1958, or on 1959's "That's All I Need", released on Sue Records: [Excerpt: Ike Turner's Kings of Rhythm, "That's All I Need"] And it seemed that would be all that Anna Mae Bullock would do, until Ike Turner lent Art Lassiter eighty dollars he didn't want to pay back. Lassiter was a singer who was often backed by his own vocal trio, the Artettes, patterned after Ray Charles' Raelettes. He had performed with Turner's band on a semi-regular basis, since 1955 when he had recorded "As Long as I Have You" with his vocal group the Trojans, backed by "Ike Turner and his Orchestra": [Excerpt: The Trojans, Ike Turner and His Orchestra, "As Long as I Have You"] He'd recorded a few more tracks with Turner since then, both solo and under group names like The Rockers: [Excerpt: The Rockers, "Why Don't You Believe?"] In 1960, Lassiter needed new tyres for his car, and borrowed eighty dollars from Turner in order to get them -- a relatively substantial amount of money for a working musician back then. He told Turner that he would pay him back at a recording session they had booked, where Lassiter was going to record a song Turner had written, "A Fool in Love", with Turner's band and the Artettes. But Lassiter never showed up -- he didn't have the eighty dollars, and Turner found himself sat in a recording studio with a bunch of musicians he was paying for, paying twenty-five dollars an hour for the studio time, and with no singer there to record. At the time, he was still under the impression that Lassiter might eventually show up, if not at that session, then at least at a future one, but until he did, there was nothing he could do and he was getting angry. Bullock suggested that they cut the track without Lassiter. They were using a studio with a multi-track machine -- only two tracks, but that would be enough. They could cut the backing track on one track, and she could record a guide vocal on the other track, since she'd been around when Turner was teaching Lassiter the song. At least that way they wouldn't have wasted all the money. Turner saw the wisdom of the idea -- he said in his autobiography "This was the first time I got hip to two-track stereo" -- and after consulting with the engineer on the session, he decided to go ahead with Bullock's plan. The plan still caused problems, because they were recording the song in a key written for a man, so Bullock had to yell more than sing, causing problems for the engineer, who according to Turner kept saying things like "Goddammit, don't holler in my microphone". But it was only a demo vocal, after all, and they got it cut -- and as Lassiter didn't show up, Turner took Lassiter's backing vocal group as his own new group, renaming the Artettes to the Ikettes, and they became the first of a whole series of lineups of Ikettes who would record with Turner for the rest of his life. The intention was still to get Lassiter to sing lead on the record, but then Turner played an acetate of it at a club night where he was DJing as well as performing, and the kids apparently went wild: [Excerpt: Ike and Tina Turner, "A Fool in Love"] Turner took the demo to Juggy Murray at Sue Records, still with the intention of replacing Anna Mae's vocal with Lassiter's, but Murray insisted that that was the best thing about the record, and that it should be released exactly as it was, that it was a guaranteed hit. Although -- while that's the story that's told all the time about that record by everyone involved in the recording and release, and seems uncontested, there does seem to be one minor problem with the story, which is that the Ikettes sing "you know you love him, you can't understand/Why he treats you like he do when he's such a good man". I'm willing to be proved wrong, of course, but my suspicion is that Ike Turner wasn't such a progressive thinker that he was writing songs about male-male relationships in 1960. It's possible that the Ikettes were recorded on the same track as Tina's guide vocals, but if the intention was to overdub a new lead from Lassiter on an otherwise finished track, it would have made more sense for them to sing their finished backing vocal part. It seems more likely to me that they decided in the studio that the record was going to go out with Anna Mae singing lead, and the idea of Murray insisting is a later exaggeration. One thing that doesn't seem to be an exaggeration, though, is that initially Murray wanted the record to go out as by Ike Turner's Kings of Rhythm featuring Little Ann, but Turner had other ideas. While Murray insisted "the girl is the star", Turner knew what happened when other people were the credited stars on his records. He didn't want another Jackie Brenston, having a hit and immediately leaving Turner right back where he started. If Little Ann was the credited singer, Little Ann would become a star and Ike Turner would have to find a new singer. So he came up with a pseudonym. Turner was a fan of jungle women in film serials and TV, and he thought a wild-woman persona would suit Anna Mae's yelled vocal, and so he named his new star after Sheena, Queen of the Jungle, a female Tarzan knock-off comic character created by Will Eisner and Jerry Iger in the thirties, but who Turner probably knew from a TV series that had been on in 1955 and 56. He gave her his surname, changed "Sheena" slightly to make the new name alliterative and always at least claimed to have registered a trademark on the name he came up with, so if Anna Mae ever left the band he could just get a new singer to use the name. Anna Mae Bullock was now Tina Turner, and the record went out as by "Ike and Tina Turner": [Excerpt: Ike and Tina Turner, "A Fool in Love"] That went to number two on the R&B charts, and hit the top thirty on the pop charts, too. But there were already problems. After Ike had had a second son with Lorraine, he then got Tina pregnant with another of his children, still seeing both women. He had already started behaving abusively towards Tina, and as well as being pregnant, she was suffering from jaundice -- she says in the first of her two autobiographies that she distinctly remembered lying in her hospital bed, hearing "A Fool in Love" on the radio, and thinking "What's love got to do with it?", though as with all such self-mythologising we should take this with a pinch of salt. Turner was in need of money to pay for lawyers -- he had been arrested for financial crimes involving forged cheques -- and Juggy Murray wouldn't give him an advance until he delivered a follow-up to "A Fool in Love", so he insisted that Tina sneak herself out of the hospital and go into the studio, jaundiced and pregnant, to record the follow-up. Then, as soon as the jaundice had cleared up, they went on a four-month tour, with Tina heavily pregnant, to make enough money to pay Ike's legal bills. Turner worked his band relentlessly -- he would accept literally any gig, even tiny clubs with only a hundred people in the audience, reasoning that it was better for the band's image to play  small venues that had to turn people away because they were packed to capacity, than to play large venues that were only half full. While "A Fool in Love" had a substantial white audience, the Ike and Tina Turner Revue was almost the epitome of the chitlin' circuit act, playing exciting, funky, tightly-choreographed shows for almost entirely Black audiences in much the same way as James Brown, and Ike Turner was in control of every aspect of the show. When Tina had to go into hospital to give birth, rather than give up the money from gigging, Ike hired a sex worker who bore a slight resemblance to Tina to be the new onstage "Tina Turner" until the real one was able to perform again. One of the Ikettes told the real Tina, who discharged herself from hospital, travelled to the venue, beat up the fake Tina, and took her place on stage two days after giving birth. The Ike and Tina Turner Revue, with the Kings of Rhythm backing Tina, the Ikettes, and male singer Jimmy Thomas, all of whom had solo spots, were an astonishing live act, but they were only intermittently successful on record. None of the three follow-ups to "A Fool in Love" did better than number eighty-two on the charts, and two of them didn't even make the R&B charts, though "I Idolize You" did make the R&B top five. Their next big hit came courtesy of Mickey and Sylvia. You may remember us talking about Mickey and Sylvia way back in episode forty-nine, from back in 2019, but if you don't, they were one of a series of R&B duet acts, like Gene and Eunice, who came up after the success of Shirley and Lee, and their big hit was "Love is Strange": [Excerpt: Mickey and Sylvia, "Love is Strange"] By 1961, their career had more or less ended, but they'd recorded a song co-written by the great R&B songwriter Rose Marie McCoy, which had gone unreleased: [Excerpt: Mickey and Sylvia, "It's Gonna Work Out Fine"] When that was shelved they remade it as an Ike and Tina Turner record, with Mickey and Sylvia being Ike -- Sylvia took on all the roles that Ike would normally do in the studio, arranging the track and playing lead guitar, as well as joining the Ikettes on backing vocals, while Mickey did the spoken answering vocals that most listeners assumed were Ike, and which Ike would replicate on stage. The result, unsurprisingly, sounded more like a Mickey and Sylvia record than anything Ike and Tina had ever released before, though it's very obviously Tina on lead vocals: [Excerpt: Ike and Tina Turner, "It's Gonna Work Out Fine"] That made the top twenty on the pop charts -- though it would be their last top forty hit for nearly a decade as Ike and Tina Turner. They did though have a couple of other hits as the Ikettes, with Ike Turner putting the girl group's name on the label so he could record for multiple labels. The first of these, "I'm Blue (The Gong Gong Song)" was a song Ike had written which would later go on to become something of an R&B standard. It featured Dolores Johnson on lead vocals, but Tina sang backing vocals and got a rare co-production credit: [Excerpt: The Ikettes, "I'm Blue (The Gong Gong Song)"] The other Ikettes top forty hit was in 1965, with a song written by Steve Venet and Tommy Boyce -- a songwriter we will be hearing more about in three weeks -- and produced by Venet: [Excerpt: The Ikettes, "Peaches 'n' Cream"] Ike wasn't keen on that record at first, but soon came round to it when it hit the charts. The success of that record caused that lineup of Ikettes to split from Ike and Tina -- the Ikettes had become a successful act in their own right, and Dick Clark's Caravan of Stars wanted to book them, but that would have meant they wouldn't be available for Ike and Tina shows. So Ike sent a different group of three girls out on the road with Clark's tour, keeping the original Ikettes back to record and tour with him, and didn't pay them any royalties on their records. They resented being unable to capitalise on their big hit, so they quit. At first they tried to keep the Ikettes name for themselves, and got Tina Turner's sister Alline to manage them, but eventually they changed their name to the Mirettes, and released a few semi-successful records. Ike got another trio of Ikettes to replace them, and carried on with Pat Arnold, Gloria Scott, and Maxine Smith as the new Ikettes,. One Ikette did remain pretty much throughout -- a woman called Ann Thomas, who Ike Turner was sleeping with, and who he would much later marry, but who he always claimed was never allowed to sing with the others, but was just there for her looks. By this point Ike and Tina had married, though Ike had not divorced any of his previous wives (though he paid some of them off when Ike and Tina became big). Ike and Tina's marriage in Tijuana was not remembered by either of them as a particularly happy experience -- Ike would always later insist that it wasn't a legal marriage at all, and in fact that it was the only one of his many, many, marriages that hadn't been, and was just a joke. He was regularly abusing her in the most horrific ways, but at this point the duo still seemed to the public to be perfectly matched. They actually only ended up on the Big TNT Show as a last-minute thing -- another act was sick, though none of my references mention who it was who got sick, just that someone was needed to fill in for them, and as Ike and Tina were now based in LA -- the country boy Ike had finally become a city boy after all -- and would take any job on no notice, they got the gig. Phil Spector was impressed, and he decided that he could revitalise his career by producing a hit for Tina Turner. There was only one thing wrong -- Tina Turner wasn't an act. *Ike* and Tina Turner was an act. And Ike Turner was a control freak, just like Spector was -- the two men had essentially the same personality, and Spector didn't want to work with someone else who would want to be in charge. After some negotiation, they came to an agreement -- Spector could produce a Tina Turner record, but it would be released as an Ike and Tina Turner record. Ike would be paid twenty thousand dollars for his services, and those services would consist of staying well away from the studio and not interfering. Spector was going to go back to the old formulas that had worked for him, and work with the people who had contributed to his past successes, rather than leaving anything to chance. Jack Nitzsche had had a bit of a falling out with him and not worked on some of the singles he'd produced recently, but he was back. And Spector was going to work with Jeff Barry and Ellie Greenwich again. He'd fallen out with Barry and Greenwich when "Chapel of Love" had been a hit for the Dixie Cups rather than for one of Spector's own artists, and he'd been working with Mann and Weill and Goffin and King instead. But he knew that it was Barry and Greenwich who were the ones who had worked best with him, and who understood his musical needs best, so he actually travelled to see them in New York instead of getting them to come to him in LA, as a peace offering and a sign of how much he valued their input. The only problem was that Spector hadn't realised that Barry and Greenwich had actually split up.  They were still working together in the studio, and indeed had just produced a minor hit single for a new act on Bert Berns' label BANG, for which Greenwich had written the horn arrangement: [Excerpt: Neil Diamond, "Solitary Man"] We'll hear more about Neil Diamond, and about Jeff Barry's work with him, in three weeks. But Barry and Greenwich were going through a divorce and weren't writing together any more, and came back together for one last writing session with Spector, at which, apparently, Ellie Greenwich would cry every time they wrote a line about love. The session produced four songs, of which two became singles. Barry produced a version of "I Can Hear Music", written at these sessions, for the Ronettes, who Spector was no longer interested in producing himself: [Excerpt: The Ronettes, "I Can Hear Music"] That only made number ninety-nine on the charts, but the song was later a hit for the Beach Boys and has become recognised as a classic. The other song they wrote in those sessions, though, was the one that Spector wanted to give to Tina Turner. "River Deep, Mountain High" was a true three-way collaboration -- Greenwich came up with the music for the verses, Spector for the choruses, and Barry wrote the lyrics and tweaked the melody slightly. Spector, Barry, and Greenwich spent two weeks in their writing session, mostly spent on "River Deep, Mountain High". Spector later said of the writing "Every time we'd write a love line, Ellie would start to cry. I couldn't figure out what was happening, and then I realised… it was a very uncomfortable situation. We wrote that, and we wrote ‘I Can Hear Music'…. We wrote three or four hit songs on that one writing session. “The whole thing about ‘River Deep' was the way I could feel that strong bass line. That's how it started. And then Jeff came up with the opening line. I wanted a tender song about a chick who loved somebody very much, but a different way of expressing it. So we came up with the rag doll and ‘I'm going to cuddle you like a little puppy'. And the idea was really built for Tina, just like ‘Lovin' Feelin” was built for the Righteous Brothers.” Spector spent weeks recording, remixing, rerecording, and reremixing the backing track, arranged by Nitzsche, creating the most thunderous, overblown, example of the Wall of Sound he had ever created, before getting Tina into the studio. He also spent weeks rehearsing Tina on the song, and according to her most of what he did was "carefully stripping away all traces of Ike from my performance" -- she was belting the song and adding embellishments, the way Ike Turner had always taught her to, and Spector kept insisting that she just sing the melody -- something that she had never had the opportunity to do before, and which she thought was wonderful. It was so different from anything else that she'd recorded that after each session, when Ike would ask her about the song, she would go completely blank -- she couldn't hold this pop song in her head except when she was running through it with Spector. Eventually she did remember it, and when she did Ike was not impressed, though the record became one of the definitive pop records of all time: [Excerpt: Ike and Tina Turner, "River Deep, Mountain High"] Spector was putting everything on the line for this record, which was intended to be his great comeback and masterpiece. That one track cost more than twenty thousand dollars to record -- an absolute fortune at a time when a single would normally be recorded in one or two sessions at most. It also required a lot of work on Tina's part. She later estimated that she had sung the opening line of the song a thousand times before Spector allowed her to move on to the second line, and talked about how she got so hot and sweaty singing the song over and over that she had to take her blouse off in the studio and sing the song in her bra. She later said "I still don't know what he wanted. I still don't know if I pleased him. But I never stopped trying." Spector produced a total of six tracks with Tina, including the other two songs written at those Barry and Greenwich sessions, "I'll Never Need More Than This", which became the second single released off the "River Deep, Mountain High" album, and "Hold On Baby", plus cover versions of Arthur Alexander's "Every Day I Have to Cry Some", Pomus and Shuman's "Save the Last Dance", and "A Love Like Yours (Don't Come Knocking Everyday)" a Holland-Dozier-Holland song which had originally been released as a Martha and the Vandellas B-side. The planned album was to be padded out with six tracks produced by Ike Turner, mostly remakes of the duo's earlier hits, and was planned for release after the single became the hit everyone knew it would. The single hit the Hot One Hundred soon after it was released: [Excerpt: Ike and Tina Turner, "River Deep, Mountain High"] ...and got no higher up the charts than number eighty-eight. The failure of the record basically destroyed Spector, and while he had been an abusive husband before this, now he became much worse, as he essentially retired from music for four years, and became increasingly paranoid and aggressive towards the industry that he thought was not respectful enough of his genius. There have been several different hypotheses as to why "River Deep Mountain High" was not a success. Some have said that it was simply because DJs were fed up of Spector refusing to pay payola, and had been looking for a reason to take him down a peg. Ike Turner thought it was due to racism, saying later “See, what's wrong with America, I think, is that rather than accept something for its value… what it's doing, America mixes race in it. You can't call that record R&B. But because it's Tina… if you had not put Tina's name on there and put ‘Joe Blow', then the Top 40 stations would have accepted it for being a pop record. But Tina Turner… they want to brand her as being an R&B artist. I think the main reason that ‘River Deep' didn't make it here in America was that the R&B stations wouldn't play it because they thought it was pop, and the pop stations wouldn't play it because they thought it was R&B. And it didn't get played at all. The only record I've heard that could come close to that record is a record by the Beach Boys called ‘Good Vibrations'. I think these are the two records that I've heard in my life that I really like, you know?” Meanwhile, Jeff Barry thought it was partly the DJs but also faults in the record caused by Phil Spector's egomania, saying "he has a self-destructive thing going for him, which is part of the reason that the mix on ‘River Deep' is terrible, he buried the lead and he knows he buried the lead and he cannot stop himself from doing that… if you listen to his records in sequence, the lead goes further and further in and to me what he is saying is, ‘It is not the song I wrote with Jeff and Ellie, it is not the song – just listen to those strings. I want more musicians, it's me, listen to that bass sound. …' That, to me, is what hurts in the long run... Also, I do think that the song is not as clear on the record as it should be, mix-wise. I don't want to use the word overproduced, because it isn't, it's just undermixed." There's possibly an element of all three of these factors in play. As we've discussed, 1965 seems to have been the year that the resegregation of American radio began, and the start of the long slow process of redefining genres so that rock and roll, still considered a predominantly Black music at the beginning of the sixties, was by the end of the decade considered an almost entirely white music. And it's also the case that "River Deep, Mountain High" was the most extreme production Spector ever committed to vinyl, and that Spector had made a lot of enemies in the music business. It's also, though, the case  that it was a genuinely great record: [Excerpt: Ike and Tina Turner, "River Deep, Mountain High"] However, in the UK, it was promoted by Decca executive Tony Hall, who was a figure who straddled both sides of the entertainment world -- as part of his work as a music publicist he had been a presenter on Oh Boy!, written a column in Record Mirror, and presented a Radio Luxembourg show. Hall put his not-inconsiderable weight behind promoting the record, and it ended up reaching number two in the UK -- being successful enough that the album was also released over here, though it wouldn't come out in the US for several years. The record also attracted the attention of the Rolling Stones, who invited Ike and Tina to be their support act on a UK tour, which also featured the Yardbirds, and this would be a major change for the duo in all sorts of ways. Firstly, it got them properly in contact with British musicians -- and the Stones would get Ike and Tina as support artists several times over the next few years -- and also made the UK and Europe part of their regular tour itinerary. It also gave the duo their first big white rock audience, and over the next several years they would pivot more and more to performing music aimed at that audience, rather than the chitlin' circuit they'd been playing for previously. Ike was very conscious of wanting to move away from the blues and R&B -- while that was where he'd made his living as a musician, it wasn't music he actually liked, and he would often talk later about how much he respected Keith Richards and Eric Clapton, and how his favourite music was country music. Tina had also never been a fan of blues or R&B, and wanted to perform songs by the white British performers they were meeting. The tour also, though, gave Tina her first real thoughts of escape. She loved the UK and Europe, and started thinking about what life could be like for her not just being Ike Turner's wife and working fifty-one weeks a year at whatever gigs came along. But it also made that escape a little more difficult, because on the tour Tina lost one of her few confidantes in the organisation. Tina had helped Pat Arnold get away from her own abusive partner, and the two had become very close, but Arnold was increasingly uncomfortable being around Ike's abuse of Tina, and couldn't help her friend the way she'd been helped. She decided she needed to get out of a toxic situation, and decided to stay in England, where she'd struck up an affair with Mick Jagger, and where she found that there were many opportunities for her as a Black woman that simply hadn't been there in the US. (This is not to say that Britain doesn't have problems with racism -- it very much does, but those problems are *different* problems than the ones that the US had at that point, and Arnold found Britain's attitude more congenial to her personally). There was also another aspect, which a lot of Black female singers of her generation have mentioned and which probably applies here. Many Black women have said that they were astonished on visiting Britain to be hailed as great singers, when they thought of themselves as merely average. Britain does not have the kind of Black churches which had taught generations of Black American women to sing gospel, and so singers who in the US thought of themselves as merely OK would be far, far, better than any singers in the UK -- the technical standards were just so much lower here. (This is something that was still true at least as late as the mid-eighties. Bob Geldof talks in his autobiography about attending the recording session for "We Are the World" after having previously recorded "Do They Know It's Christmas?" and being astonished at how much more technically skilled the American stars were and how much more seriously they took their craft.) And Arnold wasn't just an adequate singer -- she was and is a genuinely great talent -- and so she quickly found herself in demand in the UK. Jagger got her signed to Immediate Records, a new label that had been started up by the Stones manager Andrew Oldham, and where Jimmy Page was the staff producer. She was given a new name, P.P. Arnold, which was meant to remind people of another American import, P.J. Proby, but which she disliked because the initials spelled "peepee". Her first single on the label, produced by Jagger, did nothing, but her second single, written by a then-unknown songwriter named Cat Stevens, became a big hit: [Excerpt: P.P. Arnold, "The First Cut is the Deepest"] She toured with a backing band, The Nice, and made records as a backing singer with artists like the Small Faces. She also recorded a duet with the unknown singer Rod Stewart, though that wasn't a success: [Excerpt: Rod Stewart and P.P. Arnold, "Come Home Baby"] We'll be hearing more about P.P. Arnold in future episodes, but the upshot of her success was that Tina had even fewer people to support her. The next few years were increasingly difficult for Tina, as Ike turned to cocaine use in a big way, became increasingly violent, and his abuse of her became much more violent. The descriptions of his behaviour in Tina's two volumes of autobiography are utterly harrowing, and I won't go into them in detail, except to say that nobody should have to suffer what she did. Ike's autobiography, on the other hand, has him attempting to defend himself, even while admitting to several of the most heinous allegations, by saying he didn't beat his wife any more than most men did. Now the sad thing is that this may well be true, at least among his peer group. Turner's behaviour was no worse than behaviour from, say, James Brown or Brian Jones or Phil Spector or Jerry Lee Lewis, and it may well be that behaviour like this was common enough among people he knew that Turner's behaviour didn't stand out at all. His abuse has become much better-known, because the person he was attacking happened to become one of the biggest stars in the world, while the women they attacked didn't. But that of course doesn't make what Ike did to Tina any better -- it just makes it infinitely sadder that so many more people suffered that way. In 1968, Tina actually tried to take her own life -- and she was so fearful of Ike that when she overdosed, she timed it so that she thought she would be able to at least get on stage and start the first song before collapsing, knowing that their contract required her to do that for Ike to get paid. As it was, one of the Ikettes noticed the tablets she had taken had made her so out of it she'd drawn a line across her face with her eyebrow pencil. She was hospitalised, and according to both Ike and Tina's reports, she was comatose and her heart actually stopped beating, but then Ike started yelling at her, saying if she wanted to die why didn't she do it by jumping in front of a truck, rather than leaving him with hospital bills, and telling her to go ahead and die if this was how she was going to treat him -- and she was so scared of Ike her heart started up again. (This does not seem medically likely to me, but I wasn't there, and they both were). Of course, Ike frames this as compassion and tough love. I would have different words for it myself. Tina would make several more suicide attempts over the years, but even as Tina's life was falling apart, the duo's professional career was on the up. They started playing more shows in the UK, and they toured the US as support for the Rolling Stones. They also started having hits again, after switching to performing funked-up cover versions of contemporary hits. They had a minor hit with a double-sided single of the Beatles' "Come Together" and the Stones' "Honky-Tonk Women", then a bigger one with a version of Sly and the Family Stone's "I Want to Take You Higher", then had their biggest hit ever with "Proud Mary". It's likely we'll be looking at Creedence Clearwater Revival's original version of that song at some point, but while Ike Turner disliked the original, Tina liked it, and Ike also became convinced of the song's merits by hearing a version by The Checkmates Ltd: [Excerpt: The Checkmates Ltd, "Proud Mary"] That was produced by Phil Spector, who came briefly out of his self-imposed exile from the music business in 1969 to produce a couple of singles for the Checkmates and Ronnie Spector. That version inspired Ike and Tina's recording of the song, which went to number four on the charts and won them a Grammy award in 1971: [Excerpt: Ike and Tina Turner, "Proud Mary"] Ike was also investing the money they were making into their music. He built his own state-of-the-art studio, Bolic Sound, which Tina always claimed was a nod to her maiden name, Bullock, but which he later always said was a coincidence. Several other acts hired the studio, especially people in Frank Zappa's orbit -- Flo and Eddie recorded their first album as a duo there, and Zappa recorded big chunks of Over-Nite Sensation and Apostrophe('), two of his most successful albums, at the studio. Acts hiring Bolic Sound also got Tina and the Ikettes on backing vocals if they wanted them, and so for example Tina is one of the backing vocalists on Zappa's "Cosmik Debris": [Excerpt: Frank Zappa, "Cosmik Debris"] One of the most difficult things she ever had to sing in her life was this passage in Zappa's song "Montana", which took the Ikettes several days' rehearsal to get right. [Excerpt: Frank Zappa and the Mothers of Invention, "Montana"] She was apparently so excited at having got that passage right that she called Ike out of his own session to come in and listen, but Ike was very much unimpressed, and insisted that Tina and the Ikettes not get credit on the records they made with Zappa. Zappa later said “I don't know how she managed to stick with that guy for so long. He treated her terribly and she's a really nice lady. We were recording down there on a Sunday. She wasn't involved with the session, but she came in on Sunday with a whole pot of stew that she brought for everyone working in the studio. Like out of nowhere, here's Tina Turner coming in with a rag on her head bringing a pot of stew. It was really nice.” By this point, Ike was unimpressed by anything other than cocaine and women, who he mostly got to sleep with him by having truly gargantuan amounts of cocaine around. As Ike was descending further into paranoia and abuse, though, Tina was coming into her own. She wrote "Nutbush City Limits" about the town where she grew up, and it reached number 22 on the charts -- higher than any song Ike ever wrote: [Excerpt: Ike and Tina Turner, "Nutbush City Limits"] Of course, Ike would later claim that he wrote the music and let Tina keep all the credit. Tina was also asked by the Who to appear in the film version of their rock opera Tommy, where her performance of "Acid Queen" was one of the highlights: [Excerpt: Tina Turner, "Acid Queen"] And while she was filming that in London, she was invited to guest on a TV show with Ann-Margret, who was a huge fan of Ike and Tina, and duetted with Tina -- but not Ike -- on a medley of her hits: [Excerpt: Tina Turner and Ann-Margret, "Nutbush City Limits/Honky Tonk Woman"] Just as with "River Deep, Mountain High", Tina was wanted for her own talents, independent of Ike. She was starting to see that as well as being an abusive husband, he was also not necessary for her to have a career. She was also starting to find parts of her life that she could have for herself, independent of her husband. She'd been introduced to Buddhist meditation by a friend, and took it up in a big way, much to Ike's disapproval. Things finally came to a head in July 1976, in Dallas, when Ike started beating her up and for the first time she fought back. She pretended to reconcile with him, waited for him to fall asleep, and ran across a busy interstate, almost getting hit by a ten-wheel truck, to get to another hotel she could see in the distance. Luckily, even though she had no money, and she was a Black woman in Dallas, not a city known for its enlightened attitudes in the 1970s, the manager of the Ramada Inn took pity on her and let her stay there for a while until she could get in touch with Buddhist friends. She spent the next few months living off the kindness of strangers, before making arrangements with Rhonda Graam, who had started working for Ike and Tina in 1964 as a fan, but had soon become indispensable to the organisation. Graam sided with Tina, and while still supposedly working for Ike she started putting together appearances for Tina on TV shows like Cher's. Cher was a fan of Tina's work, and was another woman trying to build a career after leaving an abusive husband who had been her musical partner: [Excerpt: Cher and Tina Turner, "Makin' Music is My Business"] Graam became Tina's full-time assistant, as well as her best friend, and remained part of her life until Graam's death a year ago. She also got Tina booked in to club gigs, but for a long time they found it hard to get bookings -- promoters would say she was "only half the act". Ike still wanted the duo to work together professionally, if not be a couple, but Tina absolutely refused, and Ike had gangster friends of his shoot up Graam's car, and Tina heard rumours that he was planning to hire a hit man to come after her. Tina filed for divorce, and gave Ike everything -- all the money the couple had earned together in sixteen years of work, all the property, all the intellectual property -- except for two cars, one of which Ike had given her and one which Sammy Davis Jr. had given her, and the one truly important thing -- the right to use the name "Tina Turner", which Ike had the trademark on. Ike had apparently been planning to hire someone else to perform as "Tina Turner" and carry on as if nothing had changed. Slowly, Tina built her career back up, though it was not without its missteps. She got a new manager, who also managed Olivia Newton-John, and the manager brought in a song he thought was perfect for Tina. She turned it down, and Newton-John recorded it instead: [Excerpt: Olivia Newton-John, "Physical"] But even while she was still playing small clubs, her old fans from the British rock scene were boosting her career. In 1981, after Rod Stewart saw her playing a club gig and singing his song "Hot Legs", he invited her to guest with him and perform the song on Saturday Night Live: [Excerpt: Rod Stewart and Tina Turner, "Hot Legs"] The Rolling Stones invited Tina to be their support act on a US tour, and to sing "Honky Tonk Women" on stage with them, and eventually when David Bowie, who was at the height of his fame at that point, told his record label he was going to see her on a night that EMI wanted to do an event for him, half the record industry showed up to the gig. She had already recorded a remake of the Temptations' "Ball of Confusion" with the British Electric Foundation -- a side project for two of the members of Heaven 17 -- in 1982, for one of their albums: [Excerpt: British Electric Foundation, "Ball of Confusion"] Now they were brought in to produce a new single for her, a remake of Al Green's "Let's Stay Together": [Excerpt: Tina Turner, "Let's Stay Together"] That made the top thirty in the US, and was a moderate hit in many places, making the top ten in the UK. She followed it up with another BEF production, a remake of "Help!" by the Beatles, which appears only to have been released in mainland Europe. But then came the big hit: [Excerpt: Tina Turner, "What's Love Got to Do With It?"] wenty-six years after she started performing with Ike, Tina Turner was suddenly a major star. She had a string of successes throughout the eighties and nineties, with more hit records, film appearances, a successful autobiography, a film based on the autobiography, and record-setting concert appearan

Christian Historical Fiction Talk is listener supported. When you buy things through this site, we may earn an affiliate commission.Behind Love's Wall by Carrie Fancett PagelsThe Grand Hotel Slowly Reveals Her Secrets Walk through Doors to the Past via a new series of historical stories of romance and adventure.Two successful women, a hundred-and-twenty-years apart, build walls to protect their hearts. Modern-day Willa, a successful interior decorator, is chosen to go to Mackinac Island and consult for the Grand Hotel's possible redesign. During work on a room, she discovers a journal detailing the struggles of a young woman, Lily—which reveals dark secrets. The renowned singer wasn't who she pretended to be. As Willa reaches out to Lily's descendant, a charismatic and prominent landscape artist, she lets down her guard. Should she share the journal with him—revealing hidden history—or once again erect a wall as she struggles to redesign both the Grand and her life?Get your copy of Behind Love's Wall.Carrie Fancett Pagels, Ph.D., is the award-winning and bestselling author of over twenty Christian fiction stories, including ECPA and Amazon bestsellers. Her tagline “Overcoming with God” manifests in her positive story lines. Possessed with an overactive imagination, that wasn't “cured” by twenty-five years as a psychologist, she loves bringing complex characters to life. Carrie and her family reside in Virginia's Historic Triangle. A former “Yooper” she enjoys summer trips to the Straits of Mackinac, where many of her stories are set.Carrie's novel, My Heart Belongs on Mackinac Island, won the Maggie Award and was a Romantic Times Book Reviews Top Pick. The Steeplechase was a finalist for the Holt Medallion. Her short story, “The Quilting Contest”, was the Historical Fiction Winner of Family Fiction's “The Story” national contest. Her novella, The Substitute Bride, was a Maggie Award finalist for Romance Novellas. All three of her Christy Lumber Camp books were long list finalists for Family Fiction's Book of the Year and The Fruitcake Challenge was a Selah Award finalist.Visit Carrie Fancett Pagel's website.

Muralist and singer Jon King went from singing to 4000 in his church to having no voice at all. But he found a new one!More Jon KingInstagram: https://www.instagram.com/jonthegingbeardMore Nelsiehttps://www.instagram.com/nelsiewrites​https://www.tiktok.com/@nelsiespencerProduced by Ronnie Whaleyhttps://www.instagram.com/ronniefwhaley/​​​​https://twitter.com/ronniefwhaleyhttps://www.tiktok.com/@ronniefwhaleyLosing It! Merch Storehttps://bit.ly/3teRhg6​​​​Ticket To Write With Nelsie Spencerhttps://bit.ly/3cuZ1Vi​​​​More Losing It!Instagram: https://bit.ly/3vjHtmhFacebook: https://bit.ly/3eDJUdnTikTok: https://www.tiktok.com/@losingitpodOfficial Website:  https://bit.ly/3nNOG96​​​​Audio on Spotify: https://spoti.fi/3odyMF7​​​​Audio on Apple Podcasts: https://apple.co/2M4NYHB​​​​If you'd like to have your Losing It! story read by Nelsie on the next episode, e-mail us at LosingItContact@gmail.comBe on Losing It!: https://bit.ly/3qM4vyR​​​​Advertise on Losing It!: https://bit.ly/3pgga91Our equipmentNelsie's Mic: https://amzn.to/3wp8HrtNelsie's Camera: https://amzn.to/3yiLvwINelsie's Mic Arm: https://amzn.to/3uXNpRoNelsie's Ring Light: https://amzn.to/3uVtyCjRonnie's Mic: https://amzn.to/3eTXOrwRonnie's Camera: https://amzn.to/3yiLvwIRonnie's Mic Arm: https://amzn.to/3uXNpRoRonnie's Ring Light: https://amzn.to/3uVtyCjRonnie's PC Build: https://bit.ly/2SUwjp9ABOUT NELSIEHi! I'm Nelsie Spencer. I'm a writer, performer, writing teacher/mentor/coach. And a podcaster. I have over 30 years of experience as a writer: I produced a playwright (My Heart Belongs to Daddy), an award-winning screenwriter (Valley Inn), and a published novelist (The Playgroup). My writing career began when I wrote myself a role with my best friend Laury Marker. Our play, My Heart Belongs to Daddy,  premiered at Lucille Lortel's White Barn Theatre in Westport, Ct. And had 3 more sold-out and critically acclaimed productions! Along the way, we worked with producer Dash Epstein and director Morton DeCosta (both Tony-Award winners). Since My Heart Belongs to Daddy, I've written stand-up, become a published novelist (The Playgroup) and worked as a radio talk show host with comics Cory Kahaney and Maureen Langan. Nora Ephron called my first screenplay, A Girl's Best Friend, "a brilliant premise and a wonderful screenplay." When she took the script to Sony and they passed on it, she told them, "You're idiots! Read it again!" God bless you, Nora! In 2015 the award-winning indie film, Valley Inn (co-writer with Kim Swink), was released. My time as a radio talk show host, stand-up comic, and actor made podcasting an easy, fun, and inevitable next step. Last year, I created Losing It! with Nelsie Spencer, life lessons from some of my favorite losers. After taking a few decades off from serious acting, I made my way back to the stage last year when I wrote and performed Day of the Dead Daddy, my solo show. It premiered in NYC at The Chain Studio Theatre. This year, I was honored to be invited to perform my show (via Zoom) at The Marsh Theatre's International Solo Show Festival where Day of the Dead Daddy won an Honorable Mention. I plan to bring the show to Edinburgh for their Fringe Festival next summer. Throughout my unorthodox career path I've met and worked with many interesting and influential people such as super-agent Ari Emanuel, feminist icon Gloria Steinem, and Oscar winners Jane Fonda and Mary Tyler Moore. I've been helping other writers find and hone their stories and their voices since 2006. My current mission: To create community, support, and inspiration for the writer.

Pam, founder and director of Edgar's Mission, shares the story of how meeting a pig  named Edgar led her to her life's mission.More Pam AhernInstagram: https://www.instagram.com/edgarsmissionMore Nelsiehttps://www.instagram.com/nelsiewrites​https://www.tiktok.com/@nelsiespencerProduced by Ronnie Whaleyhttps://www.instagram.com/ronniefwhaley/​​​​https://twitter.com/ronniefwhaleyhttps://www.tiktok.com/@ronniefwhaleyLosing It! Merch Storehttps://bit.ly/3teRhg6​​​​Ticket To Write With Nelsie Spencerhttps://bit.ly/3cuZ1Vi​​​​More Losing It!Instagram: https://bit.ly/3vjHtmhFacebook: https://bit.ly/3eDJUdnTikTok: https://www.tiktok.com/@losingitpodOfficial Website:  https://bit.ly/3nNOG96​​​​Audio on Spotify: https://spoti.fi/3odyMF7​​​​Audio on Apple Podcasts: https://apple.co/2M4NYHB​​​​If you'd like to have your Losing It! story read by Nelsie on the next episode, e-mail us at LosingItContact@gmail.comBe on Losing It!: https://bit.ly/3qM4vyR​​​​Advertise on Losing It!: https://bit.ly/3pgga91Our equipmentNelsie's Mic: https://amzn.to/3wp8HrtNelsie's Camera: https://amzn.to/3yiLvwINelsie's Mic Arm: https://amzn.to/3uXNpRoNelsie's Ring Light: https://amzn.to/3uVtyCjRonnie's Mic: https://amzn.to/3eTXOrwRonnie's Camera: https://amzn.to/3yiLvwIRonnie's Mic Arm: https://amzn.to/3uXNpRoRonnie's Ring Light: https://amzn.to/3uVtyCjRonnie's PC Build: https://bit.ly/2SUwjp9ABOUT NELSIEHi! I'm Nelsie Spencer. I'm a writer, performer, writing teacher/mentor/coach. And a podcaster. I have over 30 years of experience as a writer: I produced a playwright (My Heart Belongs to Daddy), an award-winning screenwriter (Valley Inn), and a published novelist (The Playgroup). My writing career began when I wrote myself a role with my best friend Laury Marker. Our play, My Heart Belongs to Daddy,  premiered at Lucille Lortel's White Barn Theatre in Westport, Ct. And had 3 more sold-out and critically acclaimed productions! Along the way, we worked with producer Dash Epstein and director Morton DeCosta (both Tony-Award winners). Since My Heart Belongs to Daddy, I've written stand-up, become a published novelist (The Playgroup) and worked as a radio talk show host with comics Cory Kahaney and Maureen Langan. Nora Ephron called my first screenplay, A Girl's Best Friend, "a brilliant premise and a wonderful screenplay." When she took the script to Sony and they passed on it, she told them, "You're idiots! Read it again!" God bless you, Nora! In 2015 the award-winning indie film, Valley Inn (co-writer with Kim Swink), was released. My time as a radio talk show host, stand-up comic, and actor made podcasting an easy, fun, and inevitable next step. Last year, I created Losing It! with Nelsie Spencer, life lessons from some of my favorite losers. After taking a few decades off from serious acting, I made my way back to the stage last year when I wrote and performed Day of the Dead Daddy, my solo show. It premiered in NYC at The Chain Studio Theatre. This year, I was honored to be invited to perform my show (via Zoom) at The Marsh Theatre's International Solo Show Festival where Day of the Dead Daddy won an Honorable Mention. I plan to bring the show to Edinburgh for their Fringe Festival next summer. Throughout my unorthodox career path I've met and worked with many interesting and influential people such as super-agent Ari Emanuel, feminist icon Gloria Steinem, and Oscar winners Jane Fonda and Mary Tyler Moore. I've been helping other writers find and hone their stories and their voices since 2006. My current mission: To create community, support, and inspiration for the writer.

LCSW Nicole from the podcast and website Cure for Chronic Pain tells the story of her sons stomach aches and how she miraculously cured them.More Nicole SachsInstagram: https://www.instagram.com/nicolesachslcswMore Nelsiehttps://www.instagram.com/nelsiewrites​https://www.tiktok.com/@nelsiespencerProduced by Ronnie Whaleyhttps://www.instagram.com/ronniefwhaley/​​​​https://twitter.com/ronniefwhaleyhttps://www.tiktok.com/@ronniefwhaleyLosing It! Merch Storehttps://bit.ly/3teRhg6​​​​Ticket To Write With Nelsie Spencerhttps://bit.ly/3cuZ1Vi​​​​More Losing It!Instagram: https://bit.ly/3vjHtmhFacebook: https://bit.ly/3eDJUdnTikTok: https://www.tiktok.com/@losingitpodOfficial Website:  https://bit.ly/3nNOG96​​​​Audio on Spotify: https://spoti.fi/3odyMF7​​​​Audio on Apple Podcasts: https://apple.co/2M4NYHB​​​​If you'd like to have your Losing It! story read by Nelsie on the next episode, e-mail us at LosingItContact@gmail.comBe on Losing It!: https://bit.ly/3qM4vyR​​​​Advertise on Losing It!: https://bit.ly/3pgga91Our equipmentNelsie's Mic: https://amzn.to/3wp8HrtNelsie's Camera: https://amzn.to/3yiLvwINelsie's Mic Arm: https://amzn.to/3uXNpRoNelsie's Ring Light: https://amzn.to/3uVtyCjRonnie's Mic: https://amzn.to/3eTXOrwRonnie's Camera: https://amzn.to/3yiLvwIRonnie's Mic Arm: https://amzn.to/3uXNpRoRonnie's Ring Light: https://amzn.to/3uVtyCjRonnie's PC Build: https://bit.ly/2SUwjp9ABOUT NELSIEHi! I'm Nelsie Spencer. I'm a writer, performer, writing teacher/mentor/coach. And a podcaster. I have over 30 years of experience as a writer: I produced a playwright (My Heart Belongs to Daddy), an award-winning screenwriter (Valley Inn), and a published novelist (The Playgroup). My writing career began when I wrote myself a role with my best friend Laury Marker. Our play, My Heart Belongs to Daddy,  premiered at Lucille Lortel's White Barn Theatre in Westport, Ct. And had 3 more sold-out and critically acclaimed productions! Along the way, we worked with producer Dash Epstein and director Morton DeCosta (both Tony-Award winners). Since My Heart Belongs to Daddy, I've written stand-up, become a published novelist (The Playgroup) and worked as a radio talk show host with comics Cory Kahaney and Maureen Langan. Nora Ephron called my first screenplay, A Girl's Best Friend, "a brilliant premise and a wonderful screenplay." When she took the script to Sony and they passed on it, she told them, "You're idiots! Read it again!" God bless you, Nora! In 2015 the award-winning indie film, Valley Inn (co-writer with Kim Swink), was released. My time as a radio talk show host, stand-up comic, and actor made podcasting an easy, fun, and inevitable next step. Last year, I created Losing It! with Nelsie Spencer, life lessons from some of my favorite losers. After taking a few decades off from serious acting, I made my way back to the stage last year when I wrote and performed Day of the Dead Daddy, my solo show. It premiered in NYC at The Chain Studio Theatre. This year, I was honored to be invited to perform my show (via Zoom) at The Marsh Theatre's International Solo Show Festival where Day of the Dead Daddy won an Honorable Mention. I plan to bring the show to Edinburgh for their Fringe Festival next summer. Throughout my unorthodox career path I've met and worked with many interesting and influential people such as super-agent Ari Emanuel, feminist icon Gloria Steinem, and Oscar winners Jane Fonda and Mary Tyler Moore. I've been helping other writers find and hone their stories and their voices since 2006. My current mission: To create community, support, and inspiration for the writer.

The incredibly funny and badass Jesseca tells a Losing It story that happened in her 20s, heartbreaking and yet she survived it with the help of therapy and support from others. Trigger warning: suicide. More Jesseca Reddell Instagram: https://www.instagram.com/queen0ftheheathens/ More Nelsie https://www.instagram.com/nelsiewrites https://www.tiktok.com/@nelsiespencer Produced by Ronnie Whaley https://www.instagram.com/ronniefwhaley/ https://twitter.com/ronniefwhaley https://www.tiktok.com/@ronniefwhaley Losing It! Merch Store https://bit.ly/3teRhg6 Ticket To Write With Nelsie Spencer https://bit.ly/3cuZ1Vi More Losing It! Instagram: https://bit.ly/3vjHtmh Facebook: https://bit.ly/3eDJUdn TikTok: https://www.tiktok.com/@losingitpod Official Website: https://bit.ly/3nNOG96 Audio on Spotify: https://spoti.fi/3odyMF7 Audio on Apple Podcasts: https://apple.co/2M4NYHB If you'd like to have your Losing It! story read by Nelsie on the next episode, e-mail us at LosingItContact@gmail.com Be on Losing It!: https://bit.ly/3qM4vyR Advertise on Losing It!: https://bit.ly/3pgga91 Our equipment Nelsie's Mic: https://amzn.to/3wp8Hrt Nelsie's Camera: https://amzn.to/3yiLvwI Nelsie's Mic Arm: https://amzn.to/3uXNpRo Nelsie's Ring Light: https://amzn.to/3uVtyCj Ronnie's Mic: https://amzn.to/3eTXOrw Ronnie's Camera: https://amzn.to/3yiLvwI Ronnie's Mic Arm: https://amzn.to/3uXNpRo Ronnie's Ring Light: https://amzn.to/3uVtyCj Ronnie's PC Build: https://bit.ly/2SUwjp9 ABOUT NELSIE Hi! I'm Nelsie Spencer. I'm a writer, performer, writing teacher/mentor/coach. And a podcaster. I have over 30 years of experience as a writer: I produced a playwright (My Heart Belongs to Daddy), an award-winning screenwriter (Valley Inn), and a published novelist (The Playgroup). My writing career began when I wrote myself a role with my best friend Laury Marker. Our play, My Heart Belongs to Daddy, premiered at Lucille Lortel's White Barn Theatre in Westport, Ct. And had 3 more sold-out and critically acclaimed productions! Along the way, we worked with producer Dash Epstein and director Morton DeCosta (both Tony-Award winners). Since My Heart Belongs to Daddy, I've written stand-up, become a published novelist (The Playgroup) and worked as a radio talk show host with comics Cory Kahaney and Maureen Langan. Nora Ephron called my first screenplay, A Girl's Best Friend, "a brilliant premise and a wonderful screenplay." When she took the script to Sony and they passed on it, she told them, "You're idiots! Read it again!" God bless you, Nora! In 2015 the award-winning indie film, Valley Inn (co-writer with Kim Swink), was released. My time as a radio talk show host, stand-up comic, and actor made podcasting an easy, fun, and inevitable next step. Last year, I created Losing It! with Nelsie Spencer, life lessons from some of my favorite losers. After taking a few decades off from serious acting, I made my way back to the stage last year when I wrote and performed Day of the Dead Daddy, my solo show. It premiered in NYC at The Chain Studio Theatre. This year, I was honored to be invited to perform my show (via Zoom) at The Marsh Theatre's International Solo Show Festival where Day of the Dead Daddy won an Honorable Mention. I plan to bring the show to Edinburgh for their Fringe Festival next summer. Throughout my unorthodox career path I've met and worked with many interesting and influential people such as super-agent Ari Emanuel, feminist icon Gloria Steinem, and Oscar winners Jane Fonda and Mary Tyler Moore. I've been helping other writers find and hone their stories and their voices since 2006. My current mission: To create community, support, and inspiration for the writer.

After Naude got some devastating news about his daughter's health he tells the story of how he and his life profoundly changed. Spoiler alert! His daughter is fine! More Naude Dreyer Instagram: https://www.instagram.com/namib_naude/?hl=en More Nelsie https://www.instagram.com/nelsiewrites​ https://www.tiktok.com/@nelsiespencer Produced by Ronnie Whaley https://www.instagram.com/ronniefwhaley/​​​​ https://twitter.com/ronniefwhaley https://www.tiktok.com/@ronniefwhaley Losing It! Merch Store https://bit.ly/3teRhg6​​​​ Ticket To Write With Nelsie Spencer https://bit.ly/3cuZ1Vi​​​​ More Losing It! Instagram: https://bit.ly/3vjHtmh Facebook: https://bit.ly/3eDJUdn TikTok: https://www.tiktok.com/@losingitpod Official Website: https://bit.ly/3nNOG96​​​​ Audio on Spotify: https://spoti.fi/3odyMF7​​​​ Audio on Apple Podcasts: https://apple.co/2M4NYHB​​​​ If you'd like to have your Losing It! story read by Nelsie on the next episode, e-mail us at LosingItContact@gmail.com Be on Losing It!: https://bit.ly/3qM4vyR​​​​ Advertise on Losing It!: https://bit.ly/3pgga91 Our equipment Nelsie's Mic: https://amzn.to/3wp8Hrt Nelsie's Camera: https://amzn.to/3yiLvwI Nelsie's Mic Arm: https://amzn.to/3uXNpRo Nelsie's Ring Light: https://amzn.to/3uVtyCj Ronnie's Mic: https://amzn.to/3eTXOrw Ronnie's Camera: https://amzn.to/3yiLvwI Ronnie's Mic Arm: https://amzn.to/3uXNpRo Ronnie's Ring Light: https://amzn.to/3uVtyCj Ronnie's PC Build: https://bit.ly/2SUwjp9 ABOUT NELSIE Hi! I'm Nelsie Spencer. I'm a writer, performer, writing teacher/mentor/coach. And a podcaster. I have over 30 years of experience as a writer: I produced a playwright (My Heart Belongs to Daddy), an award-winning screenwriter (Valley Inn), and a published novelist (The Playgroup). My writing career began when I wrote myself a role with my best friend Laury Marker. Our play, My Heart Belongs to Daddy, premiered at Lucille Lortel's White Barn Theatre in Westport, Ct. And had 3 more sold-out and critically acclaimed productions! Along the way, we worked with producer Dash Epstein and director Morton DeCosta (both Tony-Award winners). Since My Heart Belongs to Daddy, I've written stand-up, become a published novelist (The Playgroup) and worked as a radio talk show host with comics Cory Kahaney and Maureen Langan. Nora Ephron called my first screenplay, A Girl's Best Friend, "a brilliant premise and a wonderful screenplay." When she took the script to Sony and they passed on it, she told them, "You're idiots! Read it again!" God bless you, Nora! In 2015 the award-winning indie film, Valley Inn (co-writer with Kim Swink), was released. My time as a radio talk show host, stand-up comic, and actor made podcasting an easy, fun, and inevitable next step. Last year, I created Losing It! with Nelsie Spencer, life lessons from some of my favorite losers. After taking a few decades off from serious acting, I made my way back to the stage last year when I wrote and performed Day of the Dead Daddy, my solo show. It premiered in NYC at The Chain Studio Theatre. This year, I was honored to be invited to perform my show (via Zoom) at The Marsh Theatre's International Solo Show Festival where Day of the Dead Daddy won an Honorable Mention. I plan to bring the show to Edinburgh for their Fringe Festival next summer. Throughout my unorthodox career path I've met and worked with many interesting and influential people such as super-agent Ari Emanuel, feminist icon Gloria Steinem, and Oscar winners Jane Fonda and Mary Tyler Moore. I've been helping other writers find and hone their stories and their voices since 2006. My current mission: To create community, support, and inspiration for the writer.

After flying across the country to LA the everything shut down, thank you Covid! Racquel found herself with a looney/ con-woman boss in a crazy job trying to figure out how to survive in this new world. More Raquelle Garcete Instagram: https://www.instagram.com/_rg1990_/?hl=en More Nelsie https://www.instagram.com/nelsiewrites​ https://www.tiktok.com/@nelsiespencer Produced by Ronnie Whaley https://www.instagram.com/ronniefwhaley/​​​​ https://twitter.com/ronniefwhaley https://www.tiktok.com/@ronniefwhaley Losing It! Merch Store https://bit.ly/3teRhg6​​​​ Ticket To Write With Nelsie Spencer https://bit.ly/3cuZ1Vi​​​​ More Losing It! Instagram: https://bit.ly/3vjHtmh Facebook: https://bit.ly/3eDJUdn TikTok: https://www.tiktok.com/@losingitpod Official Website: https://bit.ly/3nNOG96​​​​ Audio on Spotify: https://spoti.fi/3odyMF7​​​​ Audio on Apple Podcasts: https://apple.co/2M4NYHB​​​​ If you'd like to have your Losing It! story read by Nelsie on the next episode, e-mail us at LosingItContact@gmail.com Be on Losing It!: https://bit.ly/3qM4vyR​​​​ Advertise on Losing It!: https://bit.ly/3pgga91 Our equipment Nelsie's Mic: https://amzn.to/3wp8Hrt Nelsie's Camera: https://amzn.to/3yiLvwI Nelsie's Mic Arm: https://amzn.to/3uXNpRo Nelsie's Ring Light: https://amzn.to/3uVtyCj Ronnie's Mic: https://amzn.to/3eTXOrw Ronnie's Camera: https://amzn.to/3yiLvwI Ronnie's Mic Arm: https://amzn.to/3uXNpRo Ronnie's Ring Light: https://amzn.to/3uVtyCj Ronnie's PC Build: https://bit.ly/2SUwjp9 ABOUT NELSIE Hi! I'm Nelsie Spencer. I'm a writer, performer, writing teacher/mentor/coach. And a podcaster. I have over 30 years of experience as a writer: I produced a playwright (My Heart Belongs to Daddy), an award-winning screenwriter (Valley Inn), and a published novelist (The Playgroup). My writing career began when I wrote myself a role with my best friend Laury Marker. Our play, My Heart Belongs to Daddy, premiered at Lucille Lortel's White Barn Theatre in Westport, Ct. And had 3 more sold-out and critically acclaimed productions! Along the way, we worked with producer Dash Epstein and director Morton DeCosta (both Tony-Award winners). Since My Heart Belongs to Daddy, I've written stand-up, become a published novelist (The Playgroup) and worked as a radio talk show host with comics Cory Kahaney and Maureen Langan. Nora Ephron called my first screenplay, A Girl's Best Friend, "a brilliant premise and a wonderful screenplay." When she took the script to Sony and they passed on it, she told them, "You're idiots! Read it again!" God bless you, Nora! In 2015 the award-winning indie film, Valley Inn (co-writer with Kim Swink), was released. My time as a radio talk show host, stand-up comic, and actor made podcasting an easy, fun, and inevitable next step. Last year, I created Losing It! with Nelsie Spencer, life lessons from some of my favorite losers. After taking a few decades off from serious acting, I made my way back to the stage last year when I wrote and performed Day of the Dead Daddy, my solo show. It premiered in NYC at The Chain Studio Theatre. This year, I was honored to be invited to perform my show (via Zoom) at The Marsh Theatre's International Solo Show Festival where Day of the Dead Daddy won an Honorable Mention. I plan to bring the show to Edinburgh for their Fringe Festival next summer. Throughout my unorthodox career path I've met and worked with many interesting and influential people such as super-agent Ari Emanuel, feminist icon Gloria Steinem, and Oscar winners Jane Fonda and Mary Tyler Moore. I've been helping other writers find and hone their stories and their voices since 2006. My current mission: To create community, support, and inspiration for the writer.

Standup comic Aubree Sweeney talks about how she got into stand-up, touring the US in her RV, her love of dogs and how she got rid of a major phobia. More Aubree Sweeney Instagram: https://www.instagram.com/aubree_sweeney/?hl=en More Nelsie https://www.instagram.com/nelsiewrites​ https://www.tiktok.com/@nelsiespencer Produced by Ronnie Whaley https://www.instagram.com/ronniefwhaley/​​​​ https://twitter.com/ronniefwhaley https://www.tiktok.com/@ronniefwhaley Losing It! Merch Store https://bit.ly/3teRhg6​​​​ Ticket To Write With Nelsie Spencer https://bit.ly/3cuZ1Vi​​​​ More Losing It! Instagram: https://bit.ly/3vjHtmh Facebook: https://bit.ly/3eDJUdn TikTok: https://www.tiktok.com/@losingitpod Official Website: https://bit.ly/3nNOG96​​​​ Audio on Spotify: https://spoti.fi/3odyMF7​​​​ Audio on Apple Podcasts: https://apple.co/2M4NYHB​​​​ If you'd like to have your Losing It! story read by Nelsie on the next episode, e-mail us at LosingItContact@gmail.com Be on Losing It!: https://bit.ly/3qM4vyR​​​​ Advertise on Losing It!: https://bit.ly/3pgga91 Our equipment Nelsie's Mic: https://amzn.to/3wp8Hrt Nelsie's Camera: https://amzn.to/3yiLvwI Nelsie's Mic Arm: https://amzn.to/3uXNpRo Nelsie's Ring Light: https://amzn.to/3uVtyCj Ronnie's Mic: https://amzn.to/3eTXOrw Ronnie's Camera: https://amzn.to/3yiLvwI Ronnie's Mic Arm: https://amzn.to/3uXNpRo Ronnie's Ring Light: https://amzn.to/3uVtyCj Ronnie's PC Build: https://bit.ly/2SUwjp9 ABOUT NELSIE Hi! I'm Nelsie Spencer. I'm a writer, performer, writing teacher/mentor/coach. And a podcaster. I have over 30 years of experience as a writer: I produced a playwright (My Heart Belongs to Daddy), an award-winning screenwriter (Valley Inn), and a published novelist (The Playgroup). My writing career began when I wrote myself a role with my best friend Laury Marker. Our play, My Heart Belongs to Daddy, premiered at Lucille Lortel's White Barn Theatre in Westport, Ct. And had 3 more sold-out and critically acclaimed productions! Along the way, we worked with producer Dash Epstein and director Morton DeCosta (both Tony-Award winners). Since My Heart Belongs to Daddy, I've written stand-up, become a published novelist (The Playgroup) and worked as a radio talk show host with comics Cory Kahaney and Maureen Langan. Nora Ephron called my first screenplay, A Girl's Best Friend, "a brilliant premise and a wonderful screenplay." When she took the script to Sony and they passed on it, she told them, "You're idiots! Read it again!" God bless you, Nora! In 2015 the award-winning indie film, Valley Inn (co-writer with Kim Swink), was released. My time as a radio talk show host, stand-up comic, and actor made podcasting an easy, fun, and inevitable next step. Last year, I created Losing It! with Nelsie Spencer, life lessons from some of my favorite losers. After taking a few decades off from serious acting, I made my way back to the stage last year when I wrote and performed Day of the Dead Daddy, my solo show. It premiered in NYC at The Chain Studio Theatre. This year, I was honored to be invited to perform my show (via Zoom) at The Marsh Theatre's International Solo Show Festival where Day of the Dead Daddy won an Honorable Mention. I plan to bring the show to Edinburgh for their Fringe Festival next summer. Throughout my unorthodox career path I've met and worked with many interesting and influential people such as super-agent Ari Emanuel, feminist icon Gloria Steinem, and Oscar winners Jane Fonda and Mary Tyler Moore. I've been helping other writers find and hone their stories and their voices since 2006. My current mission: To create community, support, and inspiration for the writer.

Paul leaves his life as a Realtor in Arizona to pursue his dreams of fame and fortune in LA. More Paul Green Instagram: https://www.instagram.com/paulgreencomedy/ More Nelsie https://www.instagram.com/nelsiewrites​ https://www.tiktok.com/@nelsiespencer Produced by Ronnie Whaley https://www.instagram.com/ronniefwhaley/​​​​ https://twitter.com/ronniefwhaley https://www.tiktok.com/@ronniefwhaley Losing It! Merch Store https://bit.ly/3teRhg6​​​​ Ticket To Write With Nelsie Spencer https://bit.ly/3cuZ1Vi​​​​ More Losing It! Instagram: https://bit.ly/3vjHtmh Facebook: https://bit.ly/3eDJUdn TikTok: https://www.tiktok.com/@losingitpod Official Website: https://bit.ly/3nNOG96​​​​ Audio on Spotify: https://spoti.fi/3odyMF7​​​​ Audio on Apple Podcasts: https://apple.co/2M4NYHB​​​​ If you'd like to have your Losing It! story read by Nelsie on the next episode, e-mail us at LosingItContact@gmail.com Be on Losing It!: https://bit.ly/3qM4vyR​​​​ Advertise on Losing It!: https://bit.ly/3pgga91 Our equipment Nelsie's Mic: https://amzn.to/3wp8Hrt Nelsie's Camera: https://amzn.to/3yiLvwI Nelsie's Mic Arm: https://amzn.to/3uXNpRo Nelsie's Ring Light: https://amzn.to/3uVtyCj Ronnie's Mic: https://amzn.to/3eTXOrw Ronnie's Camera: https://amzn.to/3yiLvwI Ronnie's Mic Arm: https://amzn.to/3uXNpRo Ronnie's Ring Light: https://amzn.to/3uVtyCj Ronnie's PC Build: https://bit.ly/2SUwjp9 ABOUT NELSIE Hi! I'm Nelsie Spencer. I'm a writer, performer, writing teacher/mentor/coach. And a podcaster. I have over 30 years of experience as a writer: I produced a playwright (My Heart Belongs to Daddy), an award-winning screenwriter (Valley Inn), and a published novelist (The Playgroup). My writing career began when I wrote myself a role with my best friend Laury Marker. Our play, My Heart Belongs to Daddy, premiered at Lucille Lortel's White Barn Theatre in Westport, Ct. And had 3 more sold-out and critically acclaimed productions! Along the way, we worked with producer Dash Epstein and director Morton DeCosta (both Tony-Award winners). Since My Heart Belongs to Daddy, I've written stand-up, become a published novelist (The Playgroup) and worked as a radio talk show host with comics Cory Kahaney and Maureen Langan. Nora Ephron called my first screenplay, A Girl's Best Friend, "a brilliant premise and a wonderful screenplay." When she took the script to Sony and they passed on it, she told them, "You're idiots! Read it again!" God bless you, Nora! In 2015 the award-winning indie film, Valley Inn (co-writer with Kim Swink), was released. My time as a radio talk show host, stand-up comic, and actor made podcasting an easy, fun, and inevitable next step. Last year, I created Losing It! with Nelsie Spencer, life lessons from some of my favorite losers. After taking a few decades off from serious acting, I made my way back to the stage last year when I wrote and performed Day of the Dead Daddy, my solo show. It premiered in NYC at The Chain Studio Theatre. This year, I was honored to be invited to perform my show (via Zoom) at The Marsh Theatre's International Solo Show Festival where Day of the Dead Daddy won an Honorable Mention. I plan to bring the show to Edinburgh for their Fringe Festival next summer. Throughout my unorthodox career path I've met and worked with many interesting and influential people such as super-agent Ari Emanuel, feminist icon Gloria Steinem, and Oscar winners Jane Fonda and Mary Tyler Moore. I've been helping other writers find and hone their stories and their voices since 2006. My current mission: To create community, support, and inspiration for the writer.

Thanks to Brazilian Butt Lift - Alison Donnelly was actually in the DVDs and the info-mercials - and she changed her body and her view of herself! More Alison Donnelly Instagram: https://www.instagram.com/formerlyfatmom/?hl=en More Nelsie https://www.instagram.com/nelsiewrites​ https://www.tiktok.com/@nelsiespencer Produced by Ronnie Whaley https://www.instagram.com/ronniefwhaley/​​​​ https://twitter.com/ronniefwhaley https://www.tiktok.com/@ronniefwhaley Losing It! Merch Store https://bit.ly/3teRhg6​​​​ Ticket To Write With Nelsie Spencer https://bit.ly/3cuZ1Vi​​​​ More Losing It! Instagram: https://bit.ly/3vjHtmh Facebook: https://bit.ly/3eDJUdn TikTok: https://www.tiktok.com/@losingitpod Official Website: https://bit.ly/3nNOG96​​​​ Audio on Spotify: https://spoti.fi/3odyMF7​​​​ Audio on Apple Podcasts: https://apple.co/2M4NYHB​​​​ If you'd like to have your Losing It! story read by Nelsie on the next episode, e-mail us at LosingItContact@gmail.com Be on Losing It!: https://bit.ly/3qM4vyR​​​​ Advertise on Losing It!: https://bit.ly/3pgga91 Our equipment Nelsie's Mic: https://amzn.to/3wp8Hrt Nelsie's Camera: https://amzn.to/3yiLvwI Nelsie's Mic Arm: https://amzn.to/3uXNpRo Nelsie's Ring Light: https://amzn.to/3uVtyCj Ronnie's Mic: https://amzn.to/3eTXOrw Ronnie's Camera: https://amzn.to/3yiLvwI Ronnie's Mic Arm: https://amzn.to/3uXNpRo Ronnie's Ring Light: https://amzn.to/3uVtyCj Ronnie's PC Build: https://bit.ly/2SUwjp9 ABOUT NELSIE Hi! I'm Nelsie Spencer. I'm a writer, performer, writing teacher/mentor/coach. And a podcaster. I have over 30 years of experience as a writer: I produced a playwright (My Heart Belongs to Daddy), an award-winning screenwriter (Valley Inn), and a published novelist (The Playgroup). My writing career began when I wrote myself a role with my best friend Laury Marker. Our play, My Heart Belongs to Daddy, premiered at Lucille Lortel's White Barn Theatre in Westport, Ct. And had 3 more sold-out and critically acclaimed productions! Along the way, we worked with producer Dash Epstein and director Morton DeCosta (both Tony-Award winners). Since My Heart Belongs to Daddy, I've written stand-up, become a published novelist (The Playgroup) and worked as a radio talk show host with comics Cory Kahaney and Maureen Langan. Nora Ephron called my first screenplay, A Girl's Best Friend, "a brilliant premise and a wonderful screenplay." When she took the script to Sony and they passed on it, she told them, "You're idiots! Read it again!" God bless you, Nora! In 2015 the award-winning indie film, Valley Inn (co-writer with Kim Swink), was released. My time as a radio talk show host, stand-up comic, and actor made podcasting an easy, fun, and inevitable next step. Last year, I created Losing It! with Nelsie Spencer, life lessons from some of my favorite losers. After taking a few decades off from serious acting, I made my way back to the stage last year when I wrote and performed Day of the Dead Daddy, my solo show. It premiered in NYC at The Chain Studio Theatre. This year, I was honored to be invited to perform my show (via Zoom) at The Marsh Theatre's International Solo Show Festival where Day of the Dead Daddy won an Honorable Mention. I plan to bring the show to Edinburgh for their Fringe Festival next summer. Throughout my unorthodox career path I've met and worked with many interesting and influential people such as super-agent Ari Emanuel, feminist icon Gloria Steinem, and Oscar winners Jane Fonda and Mary Tyler Moore. I've been helping other writers find and hone their stories and their voices since 2006. My current mission: To create community, support, and inspiration for the writer.

Kris talks about stand-up, creativity, and asks the question: what is truly original? More Kris Rubio Instagram: https://www.instagram.com/krisrubioartist/?hl=en More Nelsie https://www.instagram.com/nelsiewrites​ https://www.tiktok.com/@nelsiespencer Produced by Ronnie Whaley https://www.instagram.com/ronniefwhaley/​​​​ https://twitter.com/ronniefwhaley https://www.tiktok.com/@ronniefwhaley Losing It! Merch Store https://bit.ly/3teRhg6​​​​ Ticket To Write With Nelsie Spencer https://bit.ly/3cuZ1Vi​​​​ More Losing It! Instagram: https://bit.ly/3vjHtmh Facebook: https://bit.ly/3eDJUdn TikTok: https://www.tiktok.com/@losingitpod Official Website: https://bit.ly/3nNOG96​​​​ Audio on Spotify: https://spoti.fi/3odyMF7​​​​ Audio on Apple Podcasts: https://apple.co/2M4NYHB​​​​ If you'd like to have your Losing It! story read by Nelsie on the next episode, e-mail us at LosingItContact@gmail.com Be on Losing It!: https://bit.ly/3qM4vyR​​​​ Advertise on Losing It!: https://bit.ly/3pgga91 Our equipment Nelsie's Mic: https://amzn.to/3wp8Hrt Nelsie's Camera: https://amzn.to/3yiLvwI Nelsie's Mic Arm: https://amzn.to/3uXNpRo Nelsie's Ring Light: https://amzn.to/3uVtyCj Ronnie's Mic: https://amzn.to/3eTXOrw Ronnie's Camera: https://amzn.to/3yiLvwI Ronnie's Mic Arm: https://amzn.to/3uXNpRo Ronnie's Ring Light: https://amzn.to/3uVtyCj Ronnie's PC Build: https://bit.ly/2SUwjp9 ABOUT NELSIE Hi! I'm Nelsie Spencer. I'm a writer, performer, writing teacher/mentor/coach. And a podcaster. I have over 30 years of experience as a writer: I produced a playwright (My Heart Belongs to Daddy), an award-winning screenwriter (Valley Inn), and a published novelist (The Playgroup). My writing career began when I wrote myself a role with my best friend Laury Marker. Our play, My Heart Belongs to Daddy, premiered at Lucille Lortel's White Barn Theatre in Westport, Ct. And had 3 more sold-out and critically acclaimed productions! Along the way, we worked with producer Dash Epstein and director Morton DeCosta (both Tony-Award winners). Since My Heart Belongs to Daddy, I've written stand-up, become a published novelist (The Playgroup) and worked as a radio talk show host with comics Cory Kahaney and Maureen Langan. Nora Ephron called my first screenplay, A Girl's Best Friend, "a brilliant premise and a wonderful screenplay." When she took the script to Sony and they passed on it, she told them, "You're idiots! Read it again!" God bless you, Nora! In 2015 the award-winning indie film, Valley Inn (co-writer with Kim Swink), was released. My time as a radio talk show host, stand-up comic, and actor made podcasting an easy, fun, and inevitable next step. Last year, I created Losing It! with Nelsie Spencer, life lessons from some of my favorite losers. After taking a few decades off from serious acting, I made my way back to the stage last year when I wrote and performed Day of the Dead Daddy, my solo show. It premiered in NYC at The Chain Studio Theatre. This year, I was honored to be invited to perform my show (via Zoom) at The Marsh Theatre's International Solo Show Festival where Day of the Dead Daddy won an Honorable Mention. I plan to bring the show to Edinburgh for their Fringe Festival next summer. Throughout my unorthodox career path I've met and worked with many interesting and influential people such as super-agent Ari Emanuel, feminist icon Gloria Steinem, and Oscar winners Jane Fonda and Mary Tyler Moore. I've been helping other writers find and hone their stories and their voices since 2006. My current mission: To create community, support, and inspiration for the writer.Description coming soon

Jackie talks about her 37 years in Stand-Up, online dating and how losing her mom shaped who she is and how she even ended up a happy person. More Jackie Kashian Instagram: https://www.instagram.com/jackiekashian/?hl=en More Nelsie https://www.instagram.com/nelsiewrites​ https://www.tiktok.com/@nelsiespencer Produced by Ronnie Whaley https://www.instagram.com/ronniefwhaley/​​​​ https://twitter.com/ronniefwhaley https://www.tiktok.com/@ronniefwhaley Losing It! Merch Store https://bit.ly/3teRhg6​​​​ Ticket To Write With Nelsie Spencer https://bit.ly/3cuZ1Vi​​​​ More Losing It! Instagram: https://bit.ly/3vjHtmh Facebook: https://bit.ly/3eDJUdn TikTok: https://www.tiktok.com/@losingitpod Official Website: https://bit.ly/3nNOG96​​​​ Audio on Spotify: https://spoti.fi/3odyMF7​​​​ Audio on Apple Podcasts: https://apple.co/2M4NYHB​​​​ If you'd like to have your Losing It! story read by Nelsie on the next episode, e-mail us at LosingItContact@gmail.com Be on Losing It!: https://bit.ly/3qM4vyR​​​​ Advertise on Losing It!: https://bit.ly/3pgga91 Our equipment Nelsie's Mic: https://amzn.to/3wp8Hrt Nelsie's Camera: https://amzn.to/3yiLvwI Nelsie's Mic Arm: https://amzn.to/3uXNpRo Nelsie's Ring Light: https://amzn.to/3uVtyCj Ronnie's Mic: https://amzn.to/3eTXOrw Ronnie's Camera: https://amzn.to/3yiLvwI Ronnie's Mic Arm: https://amzn.to/3uXNpRo Ronnie's Ring Light: https://amzn.to/3uVtyCj Ronnie's PC Build: https://bit.ly/2SUwjp9 ABOUT NELSIE Hi! I'm Nelsie Spencer. I'm a writer, performer, writing teacher/mentor/coach. And a podcaster. I have over 30 years of experience as a writer: I produced a playwright (My Heart Belongs to Daddy), an award-winning screenwriter (Valley Inn), and a published novelist (The Playgroup). My writing career began when I wrote myself a role with my best friend Laury Marker. Our play, My Heart Belongs to Daddy, premiered at Lucille Lortel's White Barn Theatre in Westport, Ct. And had 3 more sold-out and critically acclaimed productions! Along the way, we worked with producer Dash Epstein and director Morton DeCosta (both Tony-Award winners). Since My Heart Belongs to Daddy, I've written stand-up, become a published novelist (The Playgroup) and worked as a radio talk show host with comics Cory Kahaney and Maureen Langan. Nora Ephron called my first screenplay, A Girl's Best Friend, "a brilliant premise and a wonderful screenplay." When she took the script to Sony and they passed on it, she told them, "You're idiots! Read it again!" God bless you, Nora! In 2015 the award-winning indie film, Valley Inn (co-writer with Kim Swink), was released. My time as a radio talk show host, stand-up comic, and actor made podcasting an easy, fun, and inevitable next step. Last year, I created Losing It! with Nelsie Spencer, life lessons from some of my favorite losers. After taking a few decades off from serious acting, I made my way back to the stage last year when I wrote and performed Day of the Dead Daddy, my solo show. It premiered in NYC at The Chain Studio Theatre. This year, I was honored to be invited to perform my show (via Zoom) at The Marsh Theatre's International Solo Show Festival where Day of the Dead Daddy won an Honorable Mention. I plan to bring the show to Edinburgh for their Fringe Festival next summer. Throughout my unorthodox career path I've met and worked with many interesting and influential people such as super-agent Ari Emanuel, feminist icon Gloria Steinem, and Oscar winners Jane Fonda and Mary Tyler Moore. I've been helping other writers find and hone their stories and their voices since 2006. My current mission: To create community, support, and inspiration for the writer.

After extensive research Sarah got the J&J “one and done” vax and found herself facing a major health crisis. What she learned and how she's certain she's “gonna get her groove back”. More Sarah Folmer TikTok: https://www.tiktok.com/@barnesy911?lang=en More Nelsie https://www.instagram.com/nelsiewrites​ https://www.tiktok.com/@nelsiespencer Produced by Ronnie Whaley https://www.instagram.com/ronniefwhaley/​​​​ https://twitter.com/ronniefwhaley https://www.tiktok.com/@ronniefwhaley Losing It! Merch Store https://bit.ly/3teRhg6​​​​ Ticket To Write With Nelsie Spencer https://bit.ly/3cuZ1Vi​​​​ More Losing It! Instagram: https://bit.ly/3vjHtmh Facebook: https://bit.ly/3eDJUdn TikTok: https://www.tiktok.com/@losingitpod Official Website: https://bit.ly/3nNOG96​​​​ Audio on Spotify: https://spoti.fi/3odyMF7​​​​ Audio on Apple Podcasts: https://apple.co/2M4NYHB​​​​ If you'd like to have your Losing It! story read by Nelsie on the next episode, e-mail us at LosingItContact@gmail.com Be on Losing It!: https://bit.ly/3qM4vyR​​​​ Advertise on Losing It!: https://bit.ly/3pgga91 Our equipment Nelsie's Mic: https://amzn.to/3wp8Hrt Nelsie's Camera: https://amzn.to/3yiLvwI Nelsie's Mic Arm: https://amzn.to/3uXNpRo Nelsie's Ring Light: https://amzn.to/3uVtyCj Ronnie's Mic: https://amzn.to/3eTXOrw Ronnie's Camera: https://amzn.to/3yiLvwI Ronnie's Mic Arm: https://amzn.to/3uXNpRo Ronnie's Ring Light: https://amzn.to/3uVtyCj Ronnie's PC Build: https://bit.ly/2SUwjp9 ABOUT NELSIE Hi! I'm Nelsie Spencer. I'm a writer, performer, writing teacher/mentor/coach. And a podcaster. I have over 30 years of experience as a writer: I produced a playwright (My Heart Belongs to Daddy), an award-winning screenwriter (Valley Inn), and a published novelist (The Playgroup). My writing career began when I wrote myself a role with my best friend Laury Marker. Our play, My Heart Belongs to Daddy, premiered at Lucille Lortel's White Barn Theatre in Westport, Ct. And had 3 more sold-out and critically acclaimed productions! Along the way, we worked with producer Dash Epstein and director Morton DeCosta (both Tony-Award winners). Since My Heart Belongs to Daddy, I've written stand-up, become a published novelist (The Playgroup) and worked as a radio talk show host with comics Cory Kahaney and Maureen Langan. Nora Ephron called my first screenplay, A Girl's Best Friend, "a brilliant premise and a wonderful screenplay." When she took the script to Sony and they passed on it, she told them, "You're idiots! Read it again!" God bless you, Nora! In 2015 the award-winning indie film, Valley Inn (co-writer with Kim Swink), was released. My time as a radio talk show host, stand-up comic, and actor made podcasting an easy, fun, and inevitable next step. Last year, I created Losing It! with Nelsie Spencer, life lessons from some of my favorite losers. After taking a few decades off from serious acting, I made my way back to the stage last year when I wrote and performed Day of the Dead Daddy, my solo show. It premiered in NYC at The Chain Studio Theatre. This year, I was honored to be invited to perform my show (via Zoom) at The Marsh Theatre's International Solo Show Festival where Day of the Dead Daddy won an Honorable Mention. I plan to bring the show to Edinburgh for their Fringe Festival next summer. Throughout my unorthodox career path I've met and worked with many interesting and influential people such as super-agent Ari Emanuel, feminist icon Gloria Steinem, and Oscar winners Jane Fonda and Mary Tyler Moore. I've been helping other writers find and hone their stories and their voices since 2006. My current mission: To create community, support, and inspiration for the writer.

Jeffey talks about shame, the decision to keep going and how a spiritual book shop in his hometown saved his life. More Jeffrey Marsh Instagram: https://www.instagram.com/thejeffreymarsh/ More Nelsie https://www.instagram.com/nelsiewrites​ https://www.tiktok.com/@nelsiespencer Produced by Ronnie Whaley https://www.instagram.com/ronniefwhaley/​​​​ https://twitter.com/ronniefwhaley https://www.tiktok.com/@ronniefwhaley Losing It! Merch Store https://bit.ly/3teRhg6​​​​ Ticket To Write With Nelsie Spencer https://bit.ly/3cuZ1Vi​​​​ More Losing It! Instagram: https://bit.ly/3vjHtmh Facebook: https://bit.ly/3eDJUdn TikTok: https://www.tiktok.com/@losingitpod Official Website: https://bit.ly/3nNOG96​​​​ Audio on Spotify: https://spoti.fi/3odyMF7​​​​ Audio on Apple Podcasts: https://apple.co/2M4NYHB​​​​ If you'd like to have your Losing It! story read by Nelsie on the next episode, e-mail us at LosingItContact@gmail.com Be on Losing It!: https://bit.ly/3qM4vyR​​​​ Advertise on Losing It!: https://bit.ly/3pgga91 Our equipment Nelsie's Mic: https://amzn.to/3wp8Hrt Nelsie's Camera: https://amzn.to/3yiLvwI Nelsie's Mic Arm: https://amzn.to/3uXNpRo Nelsie's Ring Light: https://amzn.to/3uVtyCj Ronnie's Mic: https://amzn.to/3eTXOrw Ronnie's Camera: https://amzn.to/3yiLvwI Ronnie's Mic Arm: https://amzn.to/3uXNpRo Ronnie's Ring Light: https://amzn.to/3uVtyCj Ronnie's PC Build: https://bit.ly/2SUwjp9 ABOUT NELSIE Hi! I'm Nelsie Spencer. I'm a writer, performer, writing teacher/mentor/coach. And a podcaster. I have over 30 years of experience as a writer: I produced a playwright (My Heart Belongs to Daddy), an award-winning screenwriter (Valley Inn), and a published novelist (The Playgroup). My writing career began when I wrote myself a role with my best friend Laury Marker. Our play, My Heart Belongs to Daddy, premiered at Lucille Lortel's White Barn Theatre in Westport, Ct. And had 3 more sold-out and critically acclaimed productions! Along the way, we worked with producer Dash Epstein and director Morton DeCosta (both Tony-Award winners). Since My Heart Belongs to Daddy, I've written stand-up, become a published novelist (The Playgroup) and worked as a radio talk show host with comics Cory Kahaney and Maureen Langan. Nora Ephron called my first screenplay, A Girl's Best Friend, "a brilliant premise and a wonderful screenplay." When she took the script to Sony and they passed on it, it, she told them, "You're idiots! Read it again!" God bless you, Nora! In 2015 the award-winning indie film, Valley Inn (co-writer with Kim Swink), was released. My time as a radio talk show host, stand-up comic, and actor made podcasting an easy, fun, and inevitable next step. Last year, I created Losing It! with Nelsie Spencer, life lessons from some of my favorite losers. After taking a few decades off from serious acting, I made my way back to the stage last year when I wrote and performed Day of the Dead Daddy, my solo show. It premiered in NYC at The Chain Studio Theatre. This year, I was honored to be invited to perform my show (via Zoom) at The Marsh Theatre's International Solo Show Festival where Day of the Dead Daddy won an Honorable Mention. I plan to bring the show to Edinburgh for their Fringe Festival next summer. Throughout my unorthodox career path I've met and worked with many interesting and influential people such as super-agent Ari Emanuel, feminist icon Gloria Steinem, and Oscar winners Jane Fonda and Mary Tyler Moore.I've been helping other writers find and hone their stories and their voices since 2006. My current mission: to create community, support, and inspiration for the writer.

                                     Copperplate Time 366                                 Presented by Alan O'Leary                              www.copperplatemailorder.com 1. Bothy Band:   Green Groves. After Hours 2. Annette Owens/Brenda McCann & Brian McGrath:       The Maid in the Cherry Tree/Sir Edward Gunn's Reel.             Fly by Night                            3. Mick O'Brien & Caoimhin O'Raghallaigh        The Lass of Carracastle/Morning Dew/Geese in the Bog.                     Deadly Buzz   4. Richard Thompson:     Beeswing.    Mirror Blue 5. Liz & Yvonne Kane: The Beeswing HP//In Memory of Coleman.          Live From Katherine Cornell Theatre 6. Benny McCarty:     Cuccucandy/James Kelly's.    Press & Draw 7. Charlie Lennon:                Sailing Into Loughrea/Mountain Dew.     Turning the Tune8. Nell Ni Chronin:    Na Tairoiri.    The Millhouse Measure 9 Tommy Guihan:  The Bell Harbour/The Piper's Despair/Boys of Dublin  The Torn Jacket 10. Brendan McGlinchey:                McGlinchey's/The Acrobat.   Music of a Champion 11. Tommy Sands: Every County on the Island.  Fair Play to You All 12. Duck Baker:   The Joy of My Life/Shores of Lough Gowna.              My Heart Belongs to Jenny 13. John Carty:    Farewel to Gurteen/Kitty's Rambles.                 At It Again                                      14. Urnua: Sporting Galway/The White Plains/               Thredneedle Reel.   Urnua 15. Raw Bar Collective:             Chaffpool Post/Gan Ainm.     Millhouse Measure 16. Tony Reidy:    Like A Wild Thing.  The Coldest Day in Winter 17. Tim O'Brien: Pushing On Buttons.  He Walked On   18. Colum Sands:    Too Loud   Look Where I've Ended Up Now 19. Roger Wilson:    Indian Tea   Wood, Wilson & Carthy 20. Danu:   The Poor Man's Fortune/The Long Strand/Gan Ainm                                       10,000 Miles                                    21. Bothy Band:  Green Groves/Flowers of Red Hill.    After Hours  

EP265 - News and Listener Questions Amazon News Amazon acquisition of MGM DC attorney general sues Amazon on antitrust grounds Amazon limited FBA access Amazon addressing review fraud Amazon Prime Day likely June 21 and 22 Other News Perch (from Episode 252) raises $775M Walmart testing a new livestream format Fedex struggling with late deliveries and adding higher surchages Retail Q1 Earnings Ulta – US Comps up 65.9% (up 7% from 2YA) Costco – US Comps up 18.2%, e-commerce up 41.2% Dollar General – US Comps down 4.6%; (up 17.1% from 2YA) Best Buy – US Comps up 37.9%, e-commerce up 7.6% (online revenue was 33.2% versus 42.2% last year) Burlington – Comps up 20% (shutdown e-commerce Q1 2020) Gap – Comps up 28% (up 13% vs 2YA). Digital up 82% vs 2 YA.  Digital now 40% of total sales. Episode 265 of the Jason & Scot show was recorded on Thursday May 27, 2021. Join your hosts Jason "Retailgeek" Goldberg, Chief Commerce Strategy Officer at Publicis, and Scot Wingo, CEO of GetSpiffy and Co-Founder of ChannelAdvisor as they discuss the latest news and trends in the world of e-commerce and digital shopper marketing. Transcript Jason: [0:24] Welcome to the Jason and Scot show this is episode 265 being recorded on Thursday May 27th 2021 I’m your host Jason retailgeek Goldberg and as usual I’m here with your co-host Scot Wingo. Scot: [0:41] Hey Jason and welcome back Jason Scott show listeners, Jason before we jump into some juicy news and we got a couple listener questions I wanted to send a big congrats to Chris Bell if that name is familiar to listeners he is the CEO of perch one of those quote unquote F be a Amazon Seller roll up companies and he was here on a pisode 252. Jason: [1:07] Yeah I heard him he did a small raise this week did you you get the details of that at all. Scot: [1:15] I did and you know in the The Venture Capital World which I am. I guess involved in to some degree you have your seed round and you’re a around and your B and your C so they just did there are around and what’s kind of special about it is usually you’ll do something like you know maybe couple hundred thousand to a cup small millions in a seed round and Silicon Valley they the seeds are pretty large the you’ll do an AR around maybe five to ten million and a be around 20 to 30 or 40 Etc they are around they did 775 million so so it’s they proclaimed their the fastest company to achieve profitable unicorn status unicorn says means you have a billion-dollar valuation and then they said they have been profitable since Inception which is interesting because, if you. [2:14] Keep it so that then what that means is they’re probably just going out and using all this Capital to acquire profitable companies and therefore as an entity from an ebitda perspective there there there’s an accounting trick where they’re profitable but the the the Goodwill of those Acquisitions is kind of below the line then it’s the largest series a Ever Raised by a consumer goods company by a factor of over four so I think the previous record was something like a hundred hundred and twenty-five so yeah that is a crazy rays and you know I think we’ve previously talked about I think it’s 3 billion in the US and five globally raised for these types of companies and and this obviously text about another billion on there and then I think a song article that this cause other people to reload their War chest as well so it’s it’s a very active segment and it’s exciting to see / qu as a friend of the show really really start to scale up. Jason: [3:13] Yeah yeah I had two immediate thoughts number one clearly it’s an advantage to get on the Jason and Scot show before doing your raised because it seems like there’s about a four x multiple you get just for being on the show. And no. Scot: [3:28] Yeah that was in the footnotes of the press release. Jason: [3:30] Yeah and number two it’s going to be ugly when they show up on Shark Tank and try to do an up round because mr. wonderful is going to cream them on this valuation. Scot: [3:40] Mr. wonderful is going to just like tap out in the first five seconds he’s the bottom feeder he’s not going to like like this one. Jason: [3:49] Yeah they’re only going to get a royalty deal from him. Scot: [3:52] Small loan that they pay back in 5 minutes. With thirty percent interest compounded every every 3 seconds, okay so this week we have some listener questions as I mentioned before we get to that there was some pretty big. Jason: [4:17] News your margin is there opportunity. Scot: [4:24] Yeah I like to say it wouldn’t be a Jason Scott show if we didn’t talk a little bit about Amazon and they made a really big play this week they announced that they are going they’ve entered a negotiation or a see an agreement to by MGM for 8.45 billion I have a theory here that Jeff wants to own the James Bond franchise so he can put himself in there I think he fancies himself in his current situation of a single Bachelor that’s gotten pretty buff as maybe the next James Bond but maybe that’s off a little bit what did you think about this when Jason. Jason: [5:06] Yeah well a couple of That’s So a whether Jeff realize it is it or not he could only is the bond villain in this scenario. Scot: [5:14] It’s got a Lex Luthor vibes. Jason: [5:17] Yeah the crazy bald super buff guy that owns his own rocket ship and then buys the company James Bond works for like I think that’s the theme for like a James Bond movies. Scot: [5:29] Yeah and finally had a cat that he maybe he does who knows maybe has a cat that he sits there and pets while he’s planning his next moose. Jason: [5:37] Yeah I don’t know you know people have been asking me about this in the. To me the acquisition makes perfect sense it’s not even very surprising and pretty consistent with a lot of other tactics we’ve seen. Amazon follow I like the open question is whether that’s a good valuation for him GM or not but. [5:59] Yo big picture Amazon is this platform and and we’re all familiar with the flywheel but in essence. The more reasons Amazon has for people that join Prime the more money they make on this whole ecosystem of services around Prime and it’s. It’s one of their biggest competitive advantages versus other. Content Publishers that are contents indicators that might have been interested in him GM is. Amazon can sell James Bond merchandise on Amazon they can make Amazon TV shows for Amazon Prime those Amazon, those people that join Amazon Prime in order to see the new James Bond movie will spend more money on the third-party Marketplace and will be open to more ads from, the Amazon ad Network and all all of these Services sort of. Lean into each other and so it means a Matata Amazon’s better able to monetize an eyeball than almost anyone else so then buying em Jim for. P point for doesn’t even seem that surprising I think they’ve they’re spending over a billion to make the Lord of the Rings. Series alone so like it. Scot: [7:17] Just a license it I think I think there’s just a license. Jason: [7:20] Oh my god well yeah so. Scot: [7:22] Yeah there’s hundreds of millions of dollars in the licensing of the Tolkien estate. Jason: [7:26] Yeah so and I mean the NFL was a billion dollars a year for 15 years or something so so this seems I get totally fits there are people that are saying that in gym that this is too high evaluation and that Amazon may have like had to reach. But I guess time will tell on that. Scot: [7:50] A couple fun facts so this is their second biggest acquisition, the only one bigger than this one was Whole Foods 13.7 billion in this one’s about 8.45 and it’s important to note that in today’s environment what you do is you you kind of you get everything all your eyes dotted and your t’s crossed you you filed to do that position and then you have to go through this process where you work with the government to see if they’re going to let it happen or not there’s what’s its I know it’s called H hart-scott-rodino hurts Scott Regina something like that H RH s g human do better idea, but there’s this one approval that you get there but then also increasingly you know Amazon’s under the antitrust microscope and there is a lot of senators tweeting their dislike of this deal, and I’ll turn to you for that before we do it is interesting in the media segment you’ve got Netflix as kind of the king disruptor and they’re causing a lot of a lot of different things to happen one of the big ones was AT&T who thought it would be clever to buy a bunch of content to put through their pipes in the form of Time Warner they are shedding Time Warner and what’s called Warner media and that’s going to be married with Discovery to create a try to have a mass of. [9:14] New and Library content to kind of go up against peacock Disney plus the 80 different new streaming services were all thinking about you know should we subscribe to those or not so it’s definitely kind of a little bit of a musical chairs thing and it makes a ton of sense for Amazon to really build a war chest and I think they’re buying it mostly for the catalog and then when you get that IP you could come out with you know all kinds of. James Bond merch there’s a lot of really good IP inside of that catalog so I think that’s what’s driving driving a lot of it. Jason: [9:50] Yeah no for sure there is a fun or more silly theory about the acquisition, MGM owns a bunch of movies that are in this catalog but they have even more rights to TV series and one of the TV series in that portfolio is a show you may be familiar with called The Apprentice. And so there are people that are like did Jeff Bezos just by MGM so that he could like release all the the unaired you know behind the scene footage from The Apprentice to embarrass anyone that might have been on that show. Scot: [10:29] Yeah could be. Jason: [10:30] I doubt it but yeah. Scot: [10:31] We’ll see I doubt it that’s a big that’s a big price to pay to bearson ex-president. Jason: [10:36] I mean yeah it is funny to think about but yeah. Yeah so yeah it’s going to be interesting. Famous Last Words I’ll probably be dead wrong I doubt so anytime you do a merger or an acquisition of this size like you do have to get regulatory approval, I kind of don’t think this is gonna be that tough because Amazon doesn’t have a lot of. [11:09] Like meaningful Network content versus HBO or Disney or Netflix at the moment like which is how this would have to be looked at so we’ll have to see but I think the, the claws you referring to is the hart-scott-rodino which is a law yeah so so. Like remember most antitrust law in the United States is like a hundred years old so it’s super relevant to today’s business circumstances and I say that entirely sarcastically, um but this. [11:42] In 1960 76 we passed this like minor update to The Clayton Act which is one of the big antitrust laws and it was this hart-scott-rodino improved antitrust improvements Act, in one of the things that it did is it used to be that if, even acquisition was going to trigger some antitrust concerns the government had to notice it and had to sue you and they made it. From sort of a opt-in to an opt-out kind of situation where if you do an acquisition over a certain size. You have to proactively get the government’s approval before the merger can go through and so now all these big Acquisitions have to be proactively. Approved and and this one will have to go through that process as well a minor fun fact there. All companies have to comply with antitrust law whether the deal is big enough to trigger the the HSR or not it just did your, over that size you have to do it proactively, and so there’s been one antitrust action against a company that was too small for this act and it was in the e-commerce space it was bizarre Voice versus the Department of Justice when. Bizarre voice pot power abuse. Scot: [13:00] Yeah they didn’t file for it and then the government flipped out and said you didn’t do it and then they said we didn’t have to and then the government said you did undo undo that. Jason: [13:08] Was so I don’t even yeah I don’t even think they said you you you had to proactively file but they said it’s still an antitrust violation and we’re going to prove it in the government won in court and broke them up. Scot: [13:22] Yep boom and you are an expert witness. Jason: [13:25] I was an expert witness in the case and then and I lost because I represent a bizarre voice and then fun fact, so power reviews got split backup and power views later hired my wife to run their marketing so losing that case got my wife a job. Scot: [13:42] Boom there you go what goes around Good Karma you put dark Good Karma into the road. Jason: [13:46] It’s a small world and I wouldn’t want to paint it exactly. Scot: [13:51] Cool also in the category of antitrust the the DC attorney general is going after Amazon and what’s interesting is you know the. Can’t put a quote here he’s alleging that not only are the fees they Amazon charges sellers responsible for higher prices across the web then we can talk about that that kind of ties to price parity which Jason Del Rey spent a lot of time on and is Amazon podcast series but also Amazon Rewards sellers who use FBA to the detriment of sellers who don’t but have lower prices and you know fact check, true on how the algorithm works I’m not sure you know I think what Amazon would say on that second part we can talk about price parity next is it’s a better customer experience to get your products fast and free and that that ties into it as well as the, consideration not just the price so yeah so it’s gonna be interesting to see how that one comes out because I think Amazon has a good good position there if you can’t think about the overall customer experience but the other one is a little trickier which is the price parity in your kind of a more of an expert on that one if you want to run through that one. Jason: [15:14] Yeah well so and it’s interesting to so that the AG actually filed the suit so there’s a real lawsuit that Amazon is going to have to respond to and that, that triggers Discovery and all kinds of other things that make all this antitrust talk a lot more real and so sort of two things there’s the outcome of this exact lawsuit and whether Amazon. Can defend itself and win whether loses and has to take some some. Remedy or whether they somehow settle right which often happens in these cases so that’s the outcome of this suit which we’ll talk about in just a second but there’s a bigger implication. Um even the process of Defending themselves or settling this suit they. Can like get some stuff on the record that then helps trigger other antitrust actions so there’s a that’s a. Kind of a real risk here so the the specific thing that I think the DC eiji is alleging that somewhat problematic for Amazon is. Amazon has used to have a price parity Clause with a lot of their vendors and so essentially it said you’re not allowed to sell your product. Cheaper somewhere else than you sell it on Amazon. [16:44] And I think Amazon would say that they stop doing that process in like 2019 but the, the Attorney General a can sue them for behavior before 2019 so that that alone doesn’t save you, and then I think that the Attorney General also alleged that while they may have discontinued that process in 2019. They’re still enforcing other Clauses that essentially. Have the same outcome so so that the hypothesis here is if you’re selling and I think this would apply to both first party and third party but and I don’t know I give if the Attorney General had a specific. Um example in in their suit like like the whole text of the suit isn’t available yet but. So we’ll assume it’s third party for a second I’m selling some widget on Amazon I promise Amazon I won’t sell that same widget cheaper on Walmart. And so what the Attorney General is arguing is hey Walmart’s bigger than you like Walmart might have been able to negotiate a lower price which would be good for consumers we’re not for the fact that you artificially. Stop that vendor from offering Walmart a lower price and that that is. [18:07] A violation of the Sherman Act and so like you’re you’re guilty of antitrust for doing that so that’s the. The argument Amazon’s far from the only big player out there with price parity policies not that that defends you from a lawsuit but so that’s going to be. Interesting to see how that all plays out there some really smart antitrust people that have pointed to that as one of Amazon’s biggest vulnerabilities. The I don’t know like. [18:38] The it’s unlikely that that alone caught would if Amazon were to lose that case entirely that it would force Amazon to break up. It would probably force them to pay some fine and promise not to. Do that that business practice anymore and maybe you know they would have to agree to some kind of. You know more careful monitoring than they would otherwise like so. We’ll see how that all plays out but the reason this case is super interesting to me is there’s two things you have to worry about an anti trust you it’s anti doing anti-competitive things is not illegal. Um it’s illegal to be a monopoly and then use that Monopoly to do these anti-competitive things so the Amazon enforcing the price parity thing is only, a problem if Amazon meets the strict antitrust definition of a monopoly and. It sounds like that should be pretty pretty easy to know there are over fifty percent of something you’re a monopoly but the problem is. The of something which is what we call the relevant market right so if you’re the the DC attorney general what what they said in their announcement was that the relevant Market is e-commerce. [20:00] So they’re going to say Amazon’s more is a majority of e-commerce which a is probably not true. Um by most people’s counts there in the like 30 to 40 percent of. Of us e-commerce sales so they’re not even majority of all e-commerce and by the way those numbers wildly undercount certain flavors of e-commerce that like are you know people like to discount but our e-commerce right so. People like to take out ticket sales or events sales. People like to take out restaurant sales and you know over 50 percent of all restaurant sales in the last year were e-commerce thanks to Door – and there’s huge e-commerce categories like. Pornography that nobody puts in their numbers right so so if you’re Amazon you’re going to argue that you’re not a monopoly, um and that you’re not over 50% of e-commerce and then they’re also going to say even if we were over 50 percent of e-commerce eCommerce isn’t a relevant Market because the definition of a relevant Market is. The consumers can’t. Um are stuck in a market and don’t have another alternative and so they actually use this test called the snip test which is means like. [21:16] Could someone make a small but significant price increase, and you know would customers be forced to pay that because they didn’t have some alternative place to go and Amazon’s going to say e-commerce is not a relevant Market doesn’t pass the snip test because if we raised our prices people would just drive to Walmart and buy stuff at the store, and so the market is is retail right so that that’s going to be a huge fight that’s going to you know people are gonna spend millions of dollars on both sides fighting, but the reason that’s going to be interesting is is in the process of litigating this case if a relevant Market gets defined of effective a judge rules that something’s relevant Market. Then suddenly that’s going to open up all kinds of other. Other doors to either Amazon being potentially vulnerable or not being vulnerable to further antitrust actions so. It’s the first step in a long process but it’s going to be fun to watch as a non-financial Observer. Scot: [22:16] Yeah and I’ve been following the Apple epic case and a lot of interesting things come out of the due diligence where you know the CEO of Epic could emailed Tim Cook and Tim Cook’s answer was who is this guy. For service this string itself where the he was kind of his kind of arguing this the the Epic I was arguing with Tim Cook of why they the store is really long intricate email and as if he intended like known each other and they’d met several times Tim’s like it’s those like his internal answer to the whole thing as class, but the guy like six hours and you know five million dollars of lawyer fees to write that email looks like. [23:10] Yeah yes no one wants all their emails out in the public but that’s what’s interesting about these things whoa. Jason: [23:17] Oh my gosh yeah it’ll be a great jobs program for lawyers for the next 10 years. Scot: [23:22] Yeah my favorite Amazon news this week is that the sum of the press has leaked the Amazon Prime day and it’s going to be June 21 and 22 or at least that’s the rumor it hasn’t been been. Officially announced by Amazon but looks like we got a latest June Prime Day this year so that’s exciting I am actually low on some charging cords and some other things so I’m looking forward to stocking up on some, some some accessories. Jason: [23:51] I don’t think my wife will allow a single more additional cord to come into our home so I that could be problematic for me, always excited for Prime day like again Amazon hasn’t confirmed this but it certainly fits everything we know, so what has been interesting this is always a challenge out Amazon always wants to keep it kind of secret and Under Wraps, it’s such a big deal and Amazon wants to encourage everyone to lean into it that like all the third party merchants. I need time to prepare for Prime day so it’s always kind of a this tricky Balancing Act of Amazon not telling us when it is but wanting everyone to be ready for it. [24:34] And what has already happened since since has been pretty obvious that Prime day is going to be in late June some time is that Merchants are starting to panic because. A common phenomenon right now is Merchants are getting their their FBA quotas cut by Amazon and what that means is, last quarter you were selling red widgets on Amazon via FBA and Amazon allowed you to put 35,000 units in the FBA system and and, there now you’re getting a letter saying you’re only allowed to have 20,000 units or 10,000 units or in some cases no more units and so all of these, these Merchants are getting their their allocation in the FBA warehouses cut, and that’s a huge bummer leading up to Prime day because it just means you’re not going to be able to sell as much. Scot: [25:30] Yeah and looking at Prime day over time. Amazon selling more and more of their stuff right so it’s the things that get the biggest discounts are the echo this the Kendall dad and and increasingly as they it’s almost become an Amazon Gadget day for Amazon’s owned Brands as you like to say so ring is in there and now they’ve got zero and so that that seems to be the bulk of what’s going on and I imagine Amazon needs more room for that stuff and that’s kind of why there. Clearing the floor for their own Goods to be sold on Prime day. Jason: [26:09] Yeah I mean it’s I feel like. It’s the flywheel in action like all these good things are happening for Amazon and then of course the pandemic you know dramatically accelerated people’s use of e-commerce which means that everyone wants more inventory and e-commerce warehouses which also means more sellers want to come to Amazon right and now we have all these International sellers coming to Amazon as a good way to access the US market and so if you’re an existing seller, you’re competing for FB a space with way more other sellers than you ever were before and other products than you ever were before and while amazonite is scaling their fulfillment capacity at you know frankly a mind-boggling rate like I feel like demand is even faster and so I think Amazon’s having to make some hard decisions about, how much room they give everyone and it it doesn’t feel good if you’re one of the towers that feel like you could make more money if you had more room. Scot: [27:09] Okay so then the other one that’s been in the news and kind of a lot of chatter on quote Amazon Twitter is Amazon has really been cracking down on a bunch of these Chinese sellers that have had questionable review policies so there’s a lot of folks you’ll see a lot of US based sellers make accusations about Chinese sellers that there either buying reviews or you know doing some this gray hat black hat kind of review stuff and there seemed to be a pretty big cleansing if you will of a lot of this going on I saw the New York Times had an article calling it The Great Purge so a lot of the US base sellers we’re kind of celebrating the CID kind of finally seen the light of day and come home to roost did you dig into that one. Jason: [28:00] A little bit there’s a couple interesting things so Amazon kicked a couple of and we don’t know if it’s permanent or not but like delisted a couple of very significant Sellers from the platform and so one that’s very familiar in my drawers is called aqui a UK ey I think, which is kind of a similar company to Anchor with a lot of like interesting charger Technologies and cables and things. [28:30] And so they’ve been a very popular seller on Amazon for him primarily use the Amazon platform for a while and Amazon took them off right and and whether it’s true or not Amazon’s kind of spinning it as. Hey we’re. We take all of the credibility of the of the ratings and review system super seriously and anyone that violates it no matter how big are significant to us is going in the Penalty Box and so we proactively took this action, and a lot of other people are saying. Yeah don’t really buy it you know the Attorney General of several States like uncovered some of this in the various behavior and only after they like brought it to Amazon’s attention and insisted Amazon take action. Um did Amazon Deal s these guys so there’s some. Dispute over over the sequence of events and then you know there that New York Times article highlighted a lot of kind of. Accusations of. They’re being kind of a to class system that if you’re a really big seller on Amazon with significant volume that you get the benefit of the doubt from all these review things and they only take action if there’s. You know a huge violation versus if you’re a smaller cell or in your just accused of some bad behavior you get put in the Penalty Box and you have to kind of fight your way out. [29:54] Don’t don’t know what the truth is but certainly is interesting and it certainly. Um got a lot of traction in the new cycle last. [30:07] There were a couple of other news items and some earnings from this week that we want to cover really quickly we’re recording this on Thursday night the 27th as I mentioned in the opening, and earlier tonight Walmart launched a surprise event they had what they call Walmart shop along, I’ll call it a live stream Commerce event that they hosted on Walmart.com. So we’ve covered in the past a couple of interesting social media things Walmart’s done where they partnered with Tick Tock to do some, some live streaming video Commerce but this time instead of doing it on Tik-Tok they did it on Walmart.com so they launched a new URL, Walmart shop live.com, and this first event featured this woman and Marie Ray Drummond who’s more commonly known as The Pioneer Woman and Scot will be super familiar with Hershey’s, like the number 22 on Forbes list of top influencers and so she’s like kind of a part cook part, you know apparel part home decor, influencer and so she has a bunch of exclusive products that are sold through Walmart and they did a live stream event and sold a bunch of products live off of the video feed tonight. Did you get anything. Scot: [31:34] I actually do hook know who this is I am not a fan, My Heart Belongs only to the Kardashian’s those are the only influencers I pay attention to so I don’t I stop at number one and two on the list and I don’t go down to the 22s, but yeah it is it so having you know I know you’re big on live streaming, how does it compare to what some of the Chinese folks are doing is it is it kind of in that genre where you know you can buy light right from the stream and it’s got like a little bit of a QVC feel but kind of a different energy like. What’s it look like. Jason: [32:11] The so so the most popular live streaming in China is our very bite-size nuggets so a it’s not so much, this the the retail platform is doing a live stream like it’s not Ali Baba’s livestream it’s, it’s thousands of third-party sellers that are each doing their own live streams and each live stream in China you know they tend to be these like two minute long segments about a particular product right so so think of them as kind of commercial sized livestreams. The QVC and HSN historically do these like 30-minute programs where they have one personality, in a particular genre selling a bunch of products over half an hour and so the Walmart livestream felt a lot more like a traditional, Q VC style program I want to say, tonight’s program was like 45 minutes long and it was just Ray and her two daughters. [33:10] Talking about a wide variety of merchandise all from her that was for sale for 45 minutes but the. There was very like seamless Commerce integration with the video so. If you watched it on a browser like there’s a big window that has the video and she’s wearing all these items and demoing them it’s a three column interface on the left hand side was a chat box so there’s a, like why live commentary from from Shoppers and they can interact with her and she very obviously could see all other comments because. She responded to a lot of the comments in real time and then the third column had like product tiles for everything she was talking about so, when she was talking about a dress she’s wearing the dress but there’s a product I’ll for the dress on this right-hand column and you could click on it and immediately add it to your cart and checkout of you wanted. And you could scroll back to see any of the previous tile so it is. It seemed like the Commerce interface and the chat was all pretty well done I don’t know what American consumers are going to want in terms of live streaming but this. This did feel a lot more like the pretty traditional American version of a. [34:26] Of a TV show infomercial than these kind of bite-sized. Um Commerce experiences that are that are really taking off on taobao live for example which is like a platform for all these individual sellers selling stuff. Scot: [34:42] You think they built their own platform for this for others is there like a vendor out there that’s licensing always these retailers this kind of stuff. Jason: [34:50] A little of both so a there was some complaint about some technical problems so it sounded like and I think Walmart even, like a Walmart moderator even said a couple times hey some of you on mobile are having a problem we’re working on it and. It seemed like it wasn’t not everyone had a problem that it seemed like some people did it definitely seemed like. A completely white labeled platform for Walmart a bunch of us kind of dug underneath the. The covers and there’s a popular content management system out there for sort of codeless web development called webflow, and it appears that this site was built on webflow, which is interesting to me for a couple of reasons and sorry there’s a another vendor that specializes in actual video streams, and they’re called be live and there and so it looks like they were using web flow as the. The the rapper for all this and they were streaming the video through be wife. [35:56] Number one these are very popular tools that I’d recommend generally to someone that needed to build something quick and prototype something but they’re not necessarily. The scalable robust Enterprise tools that you would expect. Walmart to be using if they thought they were going to be putting 10 billion dollars of Revenue through it and so. That’s fine to me that says that this is kind of a pilot for them or a minimum viable product and that. They built something to test the experience instead of something that would. Scale to the ultimate size it could it could achieve for Walmart so that was interesting but fun fact web flow is hosted exclusively on Amazon ec2 so, I don’t I don’t know this for a fact maybe Walmart was able to negotiate some special hosting Arrangement but the likelihood is, that this the this thing was actually running on Amazon. Scot: [36:53] You picture someone at Amazon with the cause of mobile problem button ready to go. Jason: [37:00] Yeah yeah exactly don’t ya don’t don’t know about that either but I am pretty confident if this became something that that was going to be a recurring thing at Walmart that it would probably be a not hosted on an on Amazon solution. And they are pretty robust it chops at the show at this point so I don’t know to me I actually take that as a positive sign that maybe there, they’re doing fast agile stuff and not trying to perfectly engineer everything in order to just test whether users are going to like something or not. Scot: [37:33] Yeah I love it I love when big companies do MVPs and kind of do the spirit of the MVP where yeah just put something together pretty quick and put it out there and get some feedback and then iterate so it would be cool to see how that goes. Jason: [37:45] Yeah and that doesn’t that feels like the spirit of Walmart lately they’ve done the these Tick-Tock Pilots now they’re doing a pilot on their own platform so yeah props like and. [37:57] We’ll be interested to hear what results they share with us. Um a couple of other random things the we’re going to jump into some more earnings because there were a bunch of retail earnings calls this week and, spoiler where they’re all across the board like for companies that did, really well in the pandemic like they’re their comps this quarter a little soft because they’re starting to comp against how well they did in the pandemic, and if their company that like you know traditionally wasn’t graded e-commerce then their e-commerce exploded last year which meant their e-commerce comps this year aren’t as good so, so they’re kind of all across the board and as a result of all these earnings you’re starting to see all these articles being written about how. Oh man you know the luster is wearing off of e-commerce and people are going back to stores and we’re starting to see store comps go up and and the rate of e-commerce growth slowed down, and I find those articles a little annoying because they’re mostly written by people that don’t seem to understand like, the difference between a a sales rate and a. Change in sales rate right so they’re you know they’re they’re interpreting like hey retail sales went from up 4% to up 6% and e-commerce slow down from up a hundred percent to up 50%. [39:22] Um therefore, customers are stop stopping e-commerce and going in the stores and there’s like no way more people bought something online for the first time last quarter than ever before right like gets they’re just not under fundamental it’s a fundamental misunderstanding of rates of change and one of the things I still like to remind people and inconvenient. [39:46] Truth about the whole pandemic and Retail as well in United States things are trending in the right direction they feel good, Pete things are opening up with gas masks retailers are rebounding all these good things are happening, , most of the data on store traffic is still that that there are way less people in the store today than we’re in the store two years ago, so Nationwide according to Shopper track we are still have 20% less traffic than we did in 2019, and that’s been kind of consistently true for the last twenty four weeks so and by the way that makes the US, more recovered than most countries like a lot of places in Europe like traffic is still down fifty percent from two years ago so it is still true a lot less people are walking in the stores, and a lot more people are buying stuff online than ever before so, you know interpret all these numbers listen to all these numbers but don’t don’t you know overreact to these these articles that are saying like e-commerce has kind of. Tailing. Scot: [40:57] Yeah and you were you called it you predicted a lot of folks are going to talk about the two year ago metric and it looks like it’s starting to come to fruition. Jason: [41:04] Oh my God yeah the the if I had a dollar for every time someone said Roaring 20s or two years ago in an earnings call I would I would have raised almost as much money as perch. So let’s jump into those those earnings real real quickly a wide variety of retailers so the first one I saw and most of these are from today so like our podcast is nothing if not Timely, Alta which is one of the two big specialty Beauty companies reported, and this is a perfect example so they’re their comps for stores in the United States were up 65.9% from this quarter a year ago. So that’s you know. A year ago the quarter would have been partly impacted by covid but so being up 65% is is a big number that, but what that probably just means is that they took a huge hit a year ago, and have you if you look at Ulta has comps from two years ago their up seven their sales are up 7% from where they were this quarter two years ago so so they’re up. Um they probably you know like give if 7% over two years is like you know. [42:22] Modest growth it’s but it’s not astronomical growth so so that was Ulta then Costco us comp and by the way Ultra does not break out there e-commerce separately, Costco us comps were up 18.2%, so that’s healthy but again Costco problem never had to close for the pandemic and Costco is probably a net winner in the, um pandemic visits and so when they’re up 18% that’s pretty impressive and then their e-commerce was way up which is. Kind of against most of the trends because last a year ago was such a good quarter for e-commerce that most companies aren’t comping that well against, against the last year’s e-commerce numbers but Costco’s was up 41% did that surprise you at all Scott. Scot: [43:13] It does because Costco yeah they’ve definitely super embraced e-commerce it must be it must be I’m gonna guess it’s instacart is it like some delivery thing that. Jason: [43:26] Is partly instacart so it’s complicated so Costco have like shelf-stable products which they do sell via their own e-commerce on have for a while, but for your point they don’t do it enthusiastically and a lot of Costco execs still like have Fame uh as much as recently as a year ago we’re saying why would we ever encourage anyone not to walk in a store. And then the perishables you couldn’t get via e-commerce at all and Costco partnered with instacart so now you can get some of the Frozen and perishables. E-commerce and so you’re exactly right like when someone has a big e-commerce quarter right now what I say is that they left money on the table a year ago and because Costco. [44:10] Is a hugely successful retailer in spite of not leaning into digital they you know we’re not prepared for the spike in demand for e-commerce they didn’t have a good fresh and frozen solution for e-commerce which is a big chunk of their sales, so flip side Dollar General comps are down 4.6 percent in this is a perfect example of a company that like. Did pretty well in the pandemic which is interesting because you know, they both had something going for them and something going against them like people were worried about their finances in the pandemic and so that certainly worked in favor of Dollar General, but they were not considered essential goods and so had to close a lot of stores so being down four percent versus last year, is interesting now I will say. People all have slightly different definitions like most when I’m saying comps that’s comparable store sales and so. We take out of that stores that opened and closed but it is possible that Dollar General is only comping open stores against open stores. [45:27] I don’t know but kind of put this in a an overall perspective their comps versus two years ago are up 17% so generally. Going in a good direction. [45:41] And so then Best Buy which I was most interested in Best Buys in a really interesting category there’s a lot of evidence that. Like some parts of electronics killed it in the pandemic everyone needed a laptop. The that a lot of electronics products didn’t do that well in the pandemic and so it’s kind of like a mixed bag and then the overall Electronics category actually didn’t do phenomenally well and yet Best Buy reported good numbers every quarter, and they did again so their comps were up 38% 37.9% which is very strong the. Then e-commerce like was very modest up only seven percent and that’s reflective of them having a monster e-commerce growth. [46:27] During during the pandemic that they’re now lapping and so that the interesting number to me at Best Buy is, for this last quarter 33 percent of all their sales were online so almost a third of their sales were online and that’s down a little bit at the peak of the pandemic last year when a bunch of stores were forced to close because they were non-essential, forty-two percent of Best Buy sales where online so there was a. The overall consumer electronics category a lot of people are reporting that it’s fifty percent online which is mostly thanks to Amazon, so it’s empty you know best by being at 40 last year you could have imagined that they would just build on that but it does appear that as people are going back to the stores. The next earnings is a cautionary tale for me is that Burlington Coat Factory said they had good comps this quarter of their come swept 20% in general apparel company comps this quarter our monster because. Apparel like nobody bought any apparel a year ago, um and so 20% I would actually argue doesn’t feel that big and then I can’t give you an e-commerce number because Burlington Coat Factory turned off their website a month before the panda. [47:48] Yeah which is at the time I felt like a bad decision but then in hindsight it looks like a really bad decision and then insult to injury, um profitability was down on their 20 percent comp and you go we’ll gosh Jason why we’re was profitability down oh well they had a bunch of expenses related to closing their website. Scot: [48:07] That’s nice. Jason: [48:10] Can’t be fun to mention in the in the shareholder meeting and then the last earnings which. I think was also today is the gap and they’re much more typical of what what I’m seeing in apparel companies their overall comps were up 20%, um and they’re they’re digital was up 82 percent which that is impressive that’s. You know we are seeing the the rate of growth of most e-commerce dip Gap was are really a good e-commerce operator with significant e-commerce sales so for them to be up 82 percent, that to me says that a bunch of people like are are the the e-commerce habit for closes. And to kind of put this in perspective in this quarter when people were welcome to walk into a Gap Store e-commerce still representing 40 percent of Gap sales so so you know they’re they’re almost a digital first retailer this. Scot: [49:09] Sidebar did I see some news out it was kind of a head scratcher and it kind of was watching seen between the background and I just kind of heard it in passing that the Gap is going to be selling in Walmart. Jason: [49:20] Yeah so that is interesting not. Scot: [49:24] How does that work does it like a micro store thing. Jason: [49:26] Not exactly so Walmart launched a New Home Goods line that is a gap partnership Gap designed. Um and so you can think of this like in the past like Gap has had home good or I’m sorry Walmart is had home goods from Drew Barrymore and so you know they’ve hired influencers that have a good reputation so this time they hired the gap. To design these products and I’m not certain of this but. I don’t think that these products are going to be for sale in the Gap I think they might exclusively be at Walmart so this, Gap kind of acting like a brand as opposed to a retailer and making an exclusive product line for Walmart right and you know we’ve seen a lot of Brands successfully do that with Target. And surprise and Delight Target guest by you know having a product that traditionally you wouldn’t expect to see in Target in Target and in that feels a little bit like what this play is, and Scott you and I have a good friend who used to run home goods for Walmart and is now at the Gap so. It wouldn’t surprise me if she had a hand in this particular program. Scot: [50:42] Causation or correlation we don’t know what to see if she’ll come on the shown give us all the details. Jason: [50:47] That’s a great idea yeah so that was a lot of news for what we thought was going to be a slow news week. Scot: [50:56] Yeah yeah thanks for covering the tail end of those results I think that ties in nicely with what we covered last time but let’s jump into listener questions. Jason: [51:12] Question question question question their. Scot: [51:17] Our first listener question comes from one of the longtime friends of the show Michelle Grant at the small software company called Salesforce or something like that and her question was what has been the impact of apples IDF a update and I’m going to sneak my answer in here Jason because I know you’re more of a guru on this I think it’s a little too early to call because this is just pretty brand-new and I think the most interesting. Shareholder call is going to be Facebook’s Q2 results and I’m kind of, on pins and needles to see see what they say about it because I think I think that and Shopify could be the two places where we if there’s gonna be an impact, that we kind of hear about it and get some information about it so so those are two that I’m keeping an eye on I did see, Revolution clothing Revolution apparel they they kind of signaled in their q1 that guidance for Q2 that, they felt like there could be some softness in the way the way they announced it they already had some data that showed it was having an impact so those are the those are kind of my brief thoughts where you seeing out there and in retailgeek land. Jason: [52:34] Yeah I would say like Top Line is you’re exactly right too early to tell it is the the IDF a changes are making their way into a lot of. [52:45] Earnings, like Q and A sessions at this point but like it doesn’t seem like they’re most retailers are claiming they have data that they’re being impacted their just like management teams are speculating that it is having an impact. Um pretty quickly after the the new update kicked in there was a lot of Buzz going around about these really low opt-in rates right so again, in all the world everyone had a unique number on their mobile phone and and so advertisers could use that number to see what apps you installed on your phone, in the new world you have to agree to let each app see your license plate if you will, and so there’s this requester that pops up and you have to say yes they can have this data or no they can’t have this data so that’s the opt-in rate are the people that said yes and there are all these articles coming out that like. A tiny fraction of users are opting in that like opt-in rates are like four percent for example was a common. Stat that came out and there are you know these, these third-party companies that track app installs and that and a lot of these numbers were coming from them and so a couple of things to know those app companies don’t actually have any way to know what the. [54:09] Rate is like this is people like running surveys and asking consumers if they accepted the opt-ins or not, um which customers can’t reliably answer and might not accurately answer so don’t put a lot of stock in those numbers and then as as things have progressed a few more weeks, the numbers are now varying wildly like one company will say 4% and another company will say 38 percent. And one thing that’s emerging is something that seems really simple like calculating an opt-in rate it turns out all these companies have found ways to too. Mess with the numbers so we can’t even agree on what an opt-in rate is right so a lot of. You know again in theory you have to opt into every app so so Scott like if you opted into three of the apps and out of seven of the apps. In theory each app should have a different opt-in rate right and then you know that the average should be across all 10, but a lot of these companies are reporting like if you opted out of anything you’re an opt-out and so that you know caused an artificially low number that you know fit in narrative that a lot of people wanted to. I think the real thing is we don’t. Scot: [55:24] Doesn’t it at the OS level don’t I tell isn’t there setting. Jason: [55:28] There is also a setting that’s a global setting at the OS level that a requester did not pop up asking you to make a global preference. So you would have to proactively go find that setting some people are finding it and again how should you count them in these numbers, another thing that came up and I tweeted some examples of this is. Different companies did a dip a better or worse job coding the the opt-in request, and so you know Apple use some some pretty inflammatory language and their requester but then each app gets an opportunity to explain why it’s to a consumers benefit. To opt-in right and so you kind of got to make your case. And at least for me on Facebook the way Facebook coded there a. They made a case for why I should want to give them that data, um but the way they coded the app the the Apple window with the inflammatory language popped up on top of their tests and it was modal I had to answer before I could get it out of the way so I could never see Facebook’s. Which is wild if you think about it that they that you know a kept company with as much at stake as Facebook wouldn’t have a perfect you know best case execution is somewhat surprising. Scot: [56:52] I feel like behind the scenes there’s this measures countermeasures counter counter measures going on between the companies. Jason: [56:59] Yeah all of these things are interesting what you know the most tangible thing is there definitely are some advertisers that are saying like it feels like CPAs are going up so that the. The cost to regen audience is going up now is that like because of other market conditions or is that because some of these ads are less effective because or you know harder to measure because of the idea of a changes again. Too early to tell you know definitely companies that aren’t performing well are mentioning that as one of the factors that might be negatively influencing them. It might by the way also show up later in the Epic case right so. We’ll have to like yeah so that could be a place where we get better visibility in the some of this data if it comes up. Scot: [57:48] Awesome so Michelle stay tuned we this is kind of both of our favorite topic right now so we’re going to keep our ear to the ground and keep reporting on this, [58:00] okay our second question comes from Sean mcginnes and he asked when will supply chains return to normal lead times what’s causing the issues were experiencing today, yeah so you want me to take her for a shot at this one or do you. Jason: [58:14] Yeah yeah hit me Scott. Scot: [58:16] All right so so to foundational things here so we you know. Most of the products that we would talk about in e-commerce world have a supply chain of their manufactured usually not in the United States so usually in China Taiwan maybe India Singapore usually it’s coming out of Asia so that’s part of the supply chain then it frequently to be economical has to get your on a boat, and then it has to get offloaded at a port and then transported somewhere at least once usually two or three times until it makes it into fulfillment centers or retail stores where it’s sold. [58:59] So then so that’s the foundation number one is how the kind of links in the chain then number two is let’s think about some of the disruptions we’ve had number one covid know to we’ve had the Suez Canal number 3 we’ve got a really weird unemployment situation in the United States right now where it is it is near impossible to hire people and we can talk about the root cause of that I don’t know where you come out on that one Jason but we’re you know I’m pretty squarely in the camp that it’s this unemployment insurance stuff is made it very hard to hire, folks especially you know kind of at that hourly labor level but that that is a factor so if we kind of think about that you know so covid hit and a lot of these factories shut down and then they back up and then the demand coming into them whipsawed because we’re their biggest the United States is the biggest consumer that stuff and you know imagine you were making I don’t know apparel and then you probably wound down the Factory and then suddenly you know I think a lot of people are surprised by how fast things have come back and how fast the vaccines came out and now this now that factory is having spent so that that’s part of the. [1:00:17] Problem in that part of the chain and then the canal caused it to be very a backup of boats coming over the slow boats from China and you know there have been very long lines also at the ports because there’s so much coming in and this huge surge of demand that that it’s hard to unload those things because it’s hard to find dockworkers now and it’s hard to find truck drivers and it’s hard to find warehouse workers and it’s hard to find you know people at FedEx to hire and it’s so so you know I think I think it’s probably not going to clear up until in September is one of these unemployment benefits run out there are some, things on the books to look to the extend that that I’m crossing my fingers don’t happen so I could see this you know being a all the way through October problem and that’s it there’s no more shocks to the system so we’ll have to see there there’s been so many shocks to the system that it feels like there could be more coming, what do you think Jason. Jason: [1:01:25] Yeah no I generally so I would agree with all of that I’ll confess early on when people are talking about, the unemployment benefits impacting labor I was a little skeptical but I feel like the evidence is pretty clear at this point that it is and especially. You can compare some states that have more generous unemployment benefits than others and the the ability to attract low-wage labor in the states with more generous benefits as harder. [1:01:54] And then a bunch of retailers open up and get busier and retailers are fighting tooth and nail right now to hire hourly employees and having the Rays there, their wages and all those sorts of things so I think that those are all those factors are true the the labor shortage is definitely true odds of retailers are feeling it I would add just to other things, aside from. The ability to deliver inventory like obviously most brands and retailers were conservative in the inventory they ordered a year ago not knowing like that vaccines would work. And where we’d be in the pandemic and so they you know there is the inventory is low right now partly because. Everyone was conservative in what they ordered and so a byproduct of that is. People are having a discount less than they usually do and they’re actually making slightly more profit on their sales than they usually do, because the discount rates are lower but I do suspect that people are kind of you know trying to Goose those orders now and and you know we’ll probably see him and Charlie levels get get higher as we get closer to Holiday. And then one other long-term impact on this whole supply chain is the fact that. [1:03:12] A bigger percentage of total sales is happening through e-commerce is we talked about via ship again another things on the show. The demand for shipping Parcels was Far doubt exceeding the capacity to ship parcels and that’s happening even more now right so. You know I think there’s some data this year that. That FedEx is in particular like you know having degraded delivery times because and they just announced some additional surge pricing so, you know they have a certain amount of parcels they can deliver and they want to maximize the profit for each of those Parcels so I think that problem. Is going to be a longer term problem that’s going to be with us all through holiday that as a you know a higher percentage of all sales happen in e-commerce we’ve got to figure out the ability to fulfill all of those packages. Scot: [1:04:07] Yeah it was interesting because I was talking to someone that all say is in the logistics kind of you know category that has a lot of these type of hourly drivers and they said Amazon came in and got really aggressive and offered him all $18 an hour and basically sucked up all the drivers and kind of this Raleigh-Durham area where I am so that was, yeah that’s interesting this is this kind of like land war going on this last mile area that’s part of that supply chain that that I’m sure the FedEx is in the UPS’s the world are starting to feel and Amazon seems to be super aggressive it’s kind of counterintuitive because you also hear all these stories about how badly the drivers are treat being treated but, you know what what what I found is that that hourly type worker they’re not super loyal very coin operated which I have a lot of respect for and Amazon is offering more coins and it may not be you know you don’t get as much breaks or anything like that but the hourly rate is really good and they are soaking up a lot of those those kinds of last mile delivery people so it could also be the case that that it’s not evenly distributed supply chain problems that may be Amazon’s in a bit of a better position. Jason: [1:05:26] Yeah no for sure and Scott that’s going to be a good place to leave it because it’s happened again we have blown through a perfectly good hour of our listeners time so as always if you enjoyed the show we sure would appreciate that five star review on iTunes. Scot: [1:05:43] Thanks everybody and. Jason: [1:05:45] Until next time happy Commercing.

This week Geoff plays music from the early years of Ella's recording career, including "Undecided," a song that Ella performed on radio many times throughout the 1940s. Play list for this show includes: You'll Have to Swing It (Mr. Paganini) 78 rpm release version, Bei Mir Bist Du Schoen, A-Tisket A-Tasket, Wacky Dust, Undecided, My Heart Belongs to Daddy, Don't Worry 'Bout Me, Stairway to the Stars, The Starlit Hour, Taking A Chance on Love, I Got It Bad and That Ain't Good, Cow Cow Boogie, Into Each Life Some Rain Must Fall, It's Only a Paper Moon Learn more about your ad choices. Visit megaphone.fm/adchoices

This week: A few of Ella's many collaborations with the legendary Cole Porter. Play list for this show includes: Too Darn Hot, Dream Dancing, It's Alright with Me, Miss Otis Regrets, Let's Do It, Down in the Depths, My Heart Belongs to Daddy, Just One of Those Things, Every Time We Say Goodbye Learn more about your ad choices. Visit megaphone.fm/adchoices

This week Geoff plays music from the early years of Ella's recording career. Tracks this segment include "Taking a Chance on Love," one of Ella's first recordings as a solo artist for Decca, and "Into Each Life Some Rain Must Fall," which Ella performed with The Ink Spots. Play list for this show includes: You'll Have to Swing It (Mr. Paganini) 78 rpm release version, Bei Mir Bist Du Schoen, A-Tisket A-Tasket, Wacky Dust, Undecided, My Heart Belongs to Daddy, Don't Worry 'Bout Me, Stairway to the Stars, The Starlit Hour, Taking A Chance on Love, I Got It Bad and That Ain't Good, Cow Cow Boogie, Into Each Life Some Rain Must Fall, It's Only a Paper Moon Learn more about your ad choices. Visit megaphone.fm/adchoices

This week: A few of Ella's many collaborations with the legendary Cole Porter, and why Porter was so important to Ella's career. Play list for this show includes: Too Darn Hot, Dream Dancing, It's Alright with Me, Miss Otis Regrets, Let's Do It, Down in the Depths, My Heart Belongs to Daddy, Just One of Those Things, Every Time We Say Goodbye Learn more about your ad choices. Visit megaphone.fm/adchoices

This week Geoff plays music from the early years of Ella's recording career, including Ella's original recording of "Mr. Paganini" from 1936 and her original recording of "A Tisket, A Tasket." Play list for this show includes: You'll Have to Swing It (Mr. Paganini) 78 rpm release version, Bei Mir Bist Du Schoen, A-Tisket A-Tasket, Wacky Dust, Undecided, My Heart Belongs to Daddy, Don't Worry 'Bout Me, Stairway to the Stars, The Starlit Hour, Taking A Chance on Love, I Got It Bad and That Ain't Good, Cow Cow Boogie, Into Each Life Some Rain Must Fall, It's Only a Paper Moon Learn more about your ad choices. Visit megaphone.fm/adchoices

This week: A few of Ella's many collaborations with the legendary Cole Porter. Play list for this show includes: Too Darn Hot, Dream Dancing, It's Alright with Me, Miss Otis Regrets, Let's Do It, Down in the Depths, My Heart Belongs to Daddy, Just One of Those Things, Every Time We Say Goodbye Learn more about your ad choices. Visit megaphone.fm/adchoices

It's our last 2021 World Figure Skating Championships recap episode! (Well, we will be uploading a Gala/World Team Trophy/Olympics spots discussion soon, but besides that). In this recap of the Ice Dance event, we absolutely screamed for Piper Gilles and Paul Poirier's bronze medal and waved a 20ft Canadian flag in our minds, not unlike Keegan Messing in the audience. We also cried a river over some highly sus judging scores and talked (some more, again) about Greatest Showman programs. And of course a shoutout to not having to listen to “My Heart Belongs to Daddy” again! Always a relief.Timestamps:(00:00) - Intro & Event Overview(02:08) - Misato Komatsubara & Tim Koleto(06:05) - Holly Harris & Jason Chan(06:22) - Allison Reed & Saulius Ambrulevičius(09:39) - Marjorie Lajoie & Zach Lagha(16:00) - Wang Shiyue & Liu Xinyu(20:49) - Sara Hurtado & Kirill Khaliavin(24:39) - Tiffany Zahorski & Jonathan Guerriero(28:57) - Kaitlin Hawayek & Jean-Luc Baker(33:01) - Laurence Fournier-Beaudry & Nikolaj Sørensen(35:15) - Lilah Fear & Lewis Gibson(40:14) - Charlene Guignard & Marco Fabbri(46:14) - Alexandra Stepanova & Ivan Bukin(52:15) - Madison Chock & Evan Bates(56:40) - Piper Gilles & Paul Poirier(1:01:58) - Madison Hubbell & Zach Donohue(1:05:06) - Victoria Sinitsina & Nikita Katsalapov(1:12:36) - Kiss & Cry: book recommendation(1:14:42) - Outro------------------------------------------------Follow our figure skating podcast on:Instagram: https://www.instagram.com/lutzgetdownpod/   Twitter: https://twitter.com/lutzgetdownpod And to work with us please contact lutzgetdownpod@gmail.com Logo design by @dezisartvibes on Instagramxx Joce & Clauds

                Copperplate Time 337                                                                                                    presented by Alan O'Leary                                www.copperplatemailorder.com   1. Bothy Band:   Green Groves/Flowers of Red Hill. 1975 2. Noel Hill & Tony Linnane: Humours of Ballyconnell/    Drunken Landlady/Maudabawn Chapel. Noel Hill & Tony Linnane 3. Hayes/Canny/O’Loughlin/Lafferty:                  Humours of Cstlefinn/Glen of Aherlow.  SHA760014. Luke Kelly:  The Night Visiting Song.   The Collection 5. Duck Baker: Banish Misfortune.  My Heart Belongs to Jenny 6. Marion McCarthy:  Tom Ennis/Old Tipperary. The Family Album7. James & John Carthy :   Lad O’Beirne’s/The Kiltycreen/                     Snow on the Hill,   The Wavy Bow Collection 8. Dan Brouder:   Little Joey’s/Finbarr’s Farewell/              Blossom of Ballisland.     The Lark’s Air                           9. Norah Rendell:    Lovely Susan.     Spinning Yarns 10. Urnua:   The Ballybrit Dip/Up & Over.   Urnua 11. Paddy Kiloran:  The Old Dudgeen/Road to Lurgan.                                Compilation 12. Catherine McEvoy:    The Hunter’s Purse/Sweeney’s Dream.                       The Home Ruler 13. Peter McAlinden:    Piper Thru the Meadow Straying.                               Happy to Meet 14. Ralph McTell:   From Clare to Here.    Right Side Up15. Bobby & Sean Casey:                Farewell to Miltown/Star of Munster.   Spirit of West Clare 16. Mick O’Brien:  Humours of Lisheen/Tom Billy’s Fancy/Humours of Kilkenny.       May Morning Dew 17. Eilis Kennedy:   Ciumheas Carraig Aonoir    So Ends This Day 18. Terry Clarke:   Dylan Thomas in N ew York.   Walk Like A Man 19. Wes McGhee:   Monterey.   Borders 20. Gerry Rafferty:   North & South.   North & South 21. Bothy Band:   Green Groves/Flowers of Red Hill. 1975

The Hit Parade Jukebox series highlights the music from the days when the jukebox dominated our after-school social activities. And the songs we played with our nickels, dimes, and quarters determined the “hits” of the day. **** Comments: dannymemorylane@gmail.com **** This episode features: 1) Love and Marriage by Frank Sinatra 2) Destination Moon by The Ames Brothers 3) No More by The McGuire Sisters 4) My Kind of Girl by Matt Monro 5) Goody Goody by Gale Storm 6) Dungaree Doll by Eddie Fisher 7) Put 'Em In A Box, Tie 'Em With A Ribbon by Doris Day (and the Page Cavanaugh Trio) 8) You Were Only Fooling (While I Was Falling In Love) by Vic Damone 9) I'm Sitting On the Top of the World by Les Paul & Mary Ford 10) Heart And Soul by Sue Raney (w/ Nelson Riddle Orch.) 11) That Old Black Magic by Louis Prima & Keely Smith 12) The Bunny Hop by Ray Anthony & His Orchestra (w/ Tommy Mercer & Marcie Miller) 13) My Heart Belongs to Daddy by Marilyn Monroe 14) Night And Day by Mel Tormé 15) Nice Work If You Can Get It by The Andrews Sisters 16) Just Walking In The Rain by Johnnie Ray 17) Humpty Dumpty Heart by LaVern Baker 18) Sentimental Journey by The Merry Macs 19) Top Hat, White Tie & Tails by Ella Fitzgerald (w/ Paul Weston's Orch.) 20) Tina Marie by Perry Como 21) Stairway To The Stars by Dinah Washington 22) Teach Me Tonight by Sammy Davis Jr. & Count Basie

These two incredibly talented women bonded over their love and their difficult childhoods. As friends, they worked together to upturn discriminatory business practices at LA's hottest night club and other venues around the country.Links:Marilyn and Ella sing "My Heart Belongs to Daddy":https://www.youtube.com/watch?v=FUyoSUjMMrUElla and Marilyn sing "Lazy":https://www.youtube.com/watch?v=BZLdf40Yvx4References:https://www.biography.com/news/marilyn-monroe-ella-fitzgerald-friendshiphttps://starsandletters.blogspot.com/2018/05/marilyn-ella-truth-behind-ellas-booking.htmlMy Favorite Friendship is a #truefriendship podcast where hosts Brian Wohl and Marc Muszynski share real stories of the most famous friendships of all time.FOLLOW US:Brian Wohl:Twitter: http://twitter.com/brianwohlInstagram: http://instagram.com/brianwohlFacebook: http://facebook.com/brianwohlMarc Muszynski:Twitter: http://twitter.com/marcmuszynskiInstagram: http://instagram.com/marcmuszynskiFacebook: http://facebook.com/marcmuszynskiMy Favorite Friendship:Facebook: http://facebook.com/myfavoritefriendshipInstagram: http://instagram.com/myfavoritefriendshipTwitter: http://twitter.com/myfavfriendship

Cinema!!! This week we pit the silver screen classic "The Godfather" against "The Addams Family". Two movies that explore death, life, family, marriage, and colorful characters that surround the leading figures in each. We delve into pressing questions in front of our Instagram LIVE audience such as: How long does a bruise from a slap from a cop last? Is the murder of a Mafia Don's son a big deal? Why were women's boobs so pointy back in the day? Listen as we compare and contrast these films! All this, plus our song of the week: "My Heart Belongs to Daddy" by Ella Fitzgerald.

In de muziekgeschiedenisboeken zie je er weinig van terug, maar de Amerikaanse popmuziek is blijvend veranderd door de muziekstijl van Joodse immigranten. Dan hebben we het over diverse hits als Bei Mir Bist Du Schön, Blue Skies, "Donna Donna, I Love You Much Too Much, My Heart Belongs to Daddy en "Summertime. Dat betoogt Niels Falch in zijn proefschrift, waarmee hij vandaag promoveerde aan de Rijksuniversiteit Groningen. In die nummers zie je traditionele elementen als de sjofar (een ramshoorn) en een vrolijke mineur.

Canciones como "Night and Day","Love for sale" o "Beguin the Beguine" paseando su romántica belleza, intemporal encanto. Su autor, un americano afincado en Paris, refinado, culto y con enorme talento para la melodía."I Get a Kick out of You", "My Heart Belongs to Daddy" o "One of those things" hoy para un mundo tan injusto, cruel y mendaz, por lo menos, como el que las vio nacer. Ella Fitzgerald, Fred Astaire, Ferry o Krall entre los innumerables intérpretes de este europeizado americano que encarnó el glamour de su tiempo."Incorrecto", para algunos ("Love for Sale"), demasiado "gay friendly" para otros, cursi, incluso, por las barreras del lenguaje, entregó dosis importantes de felicidad a un público depauperado en su mayoría."Veinte Canciones de Amor y una desesperada" y no es Neruda. Con Vds, Cole Albert Porter (1891-1964). Escuchar audio

durée : 00:58:38 - "My Heart Belongs to Daddy" (Cole Porter) (1938) - par : Laurent Valero - “I've done lots of work at dinner, sitting between two bores. I can feign listening beautifully. I can work anywhere” Cole Porter — Interprété par Mary Martin pour la comédie musicale "Leave It to Me !" Marilyn Monroe est célèbre dans le film "Le Milliardaire-Let's Make Love" (1960) de George Cukor - réalisé par : Antoine Courtin

durée : 00:58:38 - "My Heart Belongs to Daddy" (Cole Porter) (1938) - par : Laurent Valero - “I've done lots of work at dinner, sitting between two bores. I can feign listening beautifully. I can work anywhere” Cole Porter — Interprété par Mary Martin pour la comédie musicale "Leave It to Me !" Marilyn Monroe est célèbre dans le film "Le Milliardaire-Let's Make Love" (1960) de George Cukor - réalisé par : Antoine Courtin

For years, Petaluma’s Cinnabar Theater has closed out the year with a musical cabaret show. Past years’ productions have celebrated the work of musical artists from Edith Piaf to Mahalia Jackson to Frank Sinatra. This year, the work of classic American tunesmith Cole Porter takes center stage via Love, Linda, a look at Porter through the eyes of his wife, Ms. Linda Lee. Veteran cabaret performer Maureen McVerry plays Mrs. Cole Porter and yes, there was a Mrs. Cole Porter. More than a marriage of convenience, the Porters had a genuine affection for each other, despite Porter leading an active homosexual life. Notwithstanding the challenges that presented to the relationship, they remained married until Lee’s death in 1954. The show is set in the Porter’s elegant Parisian apartment where Linda reminisces about her life before Porter, how they met, their life together in Paris, their adventures in Hollywood, and their settling in an apartment at the Waldorf Astoria hotel in New York. Interspersed between the memories are, of course, the songs. The tale of their time in Paris is matched with “I Love Paris”, their time in Hollywood with “Night and Day” (also the title of the highly fictionalized film biography where the diminutive Porter was portrayed by the 6’4” Cary Grant). Her complex relationship with Porter is represented by “My Heart Belongs to Daddy” and “Wunderbar”. Ms. McVerry’s vocals are accompanied by a terrific on-stage three-piece combo of piano (played by Chris Alexander for the opening performance, musical director Cesar Cancino handles it for the rest of the run), bass by Steven Hoffman, and drums by John Shebalin. McVerry does not possess a particularly rich voice, which led the musical accompaniment to regularly overwhelm her vocals. We hear Porter’s beautiful compositions, but his often amusing, often passionate lyrics are frequently lost. Cinnabar should really consider miking their musicals. Director Clark Sterling keeps things moving at a brisk pace and brings the show in at 85 minutes, including an intermission. Scenic designer Wayne Hovey brings an expansive apartment feel to the Cinnabar space, though I wish the projections used throughout the show had been worked more into the set rather than displayed over it. Love, Linda is an affectionate look back at one of America’s greatest musical talents. My affection for it would be amplified if the vocals were. 'Love, Linda' runs through January 13th at Cinnabar Theater in Petaluma. Friday and Saturday evening performances are at 8pm; the Sunday matinee is at 2pm. There’s a New Year’s Eve party and performance at 9pm on December 31st. For more information, go to cinnabartheater.org.

Tea for One/孤品兆赫-201, 爵士/The Preacher 微博，微信订阅号：【孤品兆赫】豆瓣小站：https://site.douban.com/138652/ 豆瓣小组：www.douban.com/group/457663/ 本期继续一期爵士专题，欢迎收听。Tracklist 1. < All of Me > -- Johnny Hartman, 1956 2. < Tenderly > -- Johnny Hartman, 1956 3. < Tenderly > -- Johnny Mathis , 1959 4. < I Wish You Love > -- Johnny Mathis, 1967 5. < I Wish You Love > -- Chet Baker, 1964 6. < My Heart Belongs to Daddy > -- Gerry Mulligan & Chet Baker, 19577. < The Preacher > -- Gerry Mulligan, 1957

Tea for One/孤品兆赫-201, 爵士/The Preacher 微博，微信订阅号：【孤品兆赫】豆瓣小站：https://site.douban.com/138652/ 豆瓣小组：www.douban.com/group/457663/ 本期继续一期爵士专题，欢迎收听。Tracklist 1. < All of Me > -- Johnny Hartman, 1956 2. < Tenderly > -- Johnny Hartman, 1956 3. < Tenderly > -- Johnny Mathis , 1959 4. < I Wish You Love > -- Johnny Mathis, 1967 5. < I Wish You Love > -- Chet Baker, 1964 6. < My Heart Belongs to Daddy > -- Gerry Mulligan & Chet Baker, 19577. < The Preacher > -- Gerry Mulligan, 1957

June 9, 1940 - The songs "My Heart Belongs to Daddy" and "Playmate" are referenced. There are also plans for the movie "Love Thy Neighbor" with comedian Fred Allen. But, with this being the the 2nd last episode of the season, most of the show is Jack discussing his plans for vacation. Spring of 1940 was also toward the beginning of WWII.

President Obama declared March to be Irish American Heritage Month. Of course for me, March is the month of all the Celts as we gather to celebrate the musical and culture of the Celtic nations running all the way up to St. Patrick's Day. I have a ton of great episodes planned for the next few weeks starting today with an extra-long St Patrick's Day special featuring the indie Celtic music of Friday Frolics, Wicked Tinkers, Fiddlinda: Linda Relph, Michael Black, Anne Roos, Michael DeAngelis, Vicki Swan & Jonny Dyer, Slipjig, Merry Wives of Windsor, Sons of Malarkey, Ginger Ackley, Aisling, Barleyjuice, Hanz Araki, Jed Marum with Hugh Morrison and Mason Brown,  Jameson's Revenge, Sgian Dubh, Ed Miller, Fromseier Rose, Skelpin, Searson, Ren. If you enjoy this podcast, then please rate the show on iTunes or your favorite podcatcher. Then subscribe to our Celtic Music Magazine. This is our free newsletter and your guide to the latest Celtic music and podcast news. Subscribe today to download 34 Celtic MP3s for free. Remember to support the artists who support this podcast: buy their CDs, download their MP3s, see their shows, and drop them an email to let them know you heard them on the Irish and Celtic Music Podcast. And remember to Vote in the Celtic Top 20. Vote once for each episode and you can help me create next year's Best Celtic music of 2016 episode.   Today's show is brought to you by Celtic Invasion Vacations Every year, I take a small group of Celtic music fans to exotic locations around the world. We don’t travel in big tour buses and see everything. Instead, we stay in one area. We get to Know the region through its culture, history, and legends. Plus, I bring you some great Celtic music by me and other Celtic artists. Subscribe to the mailing list to join the invasion at celticinvasion.com   Notes: * Each week, 139 people pledge $1 or more per episode to help pay for the production of the podcast. Whenever we hit a Milestone. You get an extra long episode of Celtic music. We just hit our next Milestone which means you're gonna get a 2-hour Celtic music special highlighting the indie Celtic music of Canada right after St. Patrick's Day. You can Become a Patrons of the Podcast. Special thanks to our newest Patrons: Jeremy WhiskeySongs * St Patrick's Day Internet Music Festival. The festival begins with lots of great indie Celtic bands performing. Come watch. It's Free! * Giant’s Causeway Legend & Fact on a Celtic Invasion Vacation * 18 Funny Irish Drinking Songs for St. Patrick's Day * 12 Irish Songs for Kids for St. Patrick's Day * Why yes, we do have t-shirts. The 2016 Irish & Celtic Music Podcast t-shirts are now available in our Celtic Music Store. Follow the link in the shownotes, or better yet, follow the link in the Celtic Music Magazine to save 10%. And if you already have a shirt. Take a picture and send it in. * If you're in a Celtic band, please contact me ASAP to join this year's St Patrick's Day Internet Music Festival. All you need to do is submit a live performance video on YouTube and be willing to promote the event. Visit the website for details. * I WANT YOUR FEEDBACK: Call 678-CELT-POD to leave a voicemail message. That's 678-235-8763. What are you doing today while listening to the podcast? You can email a written comment to music@celticmusicpodcast.com along with a picture of what you're doing while listening to this podcast or from one of your trips to one of the Celtic nations.     This Week in Celtic Music 0:26 "Return to Gallifrey" by Friday Frolics from Factor 3 6:50 "Farewell to Nova Scotia" by Wicked Tinkers from Hammered 9:33 "Goodbye to Ocean Boulevard" by Fiddlinda: Linda Relph from There & Then - Here & Now 12:57 "Billy O'Shea" by Michael Black from Michael Black 16:13 "The Fairy Child & The Fairy Queen" by Anne Roos from A Light in the Forest 20:52 "Lost in Cork" by Michael DeAngelis from Son of a Dunigan 26:24 CELTIC MUSIC NEWS 26:54 "Lord Ullins Daughter" by Vicki Swan & Jonny Dyer from Gleowien 31:47 "Hardiman The Fiddler / The Whinney Hills Of Lietrim / Barney Brallaghan" by Slipjig from So Far... 35:30 "Babylon Is Fallen" by Merry Wives of Windsor from Bottoms Up 37:31 "Tripping Father" by Sons of Malarkey from Presenting... 40:54 "Green the Hills" by Ginger Ackley from Elf King's Horn 43:21 "A Walk In The Park - Drakensberg Storm - All Roads Lead To Underberg" by Aisling from The Pilgrim's Road 47:56 "St Patrick's Day" by Barleyjuice from This Is Why We Can't Have Nice Things 50:48 "A Kiss in the Morning Early" by Hanz Araki from Wind and Rain 54:35 "Broom of the Cowdenknowes" by Jed Marum with Hugh Morrison and Mason Brown from Sands of Aberdeen 58:25 "The Golden Shower" by Jameson's Revenge from While Yer Up 1:01:10 "Pills of White Mercury" by Sgian Dubh from Frightening All the Dogs 1:04:51 CELTIC FEEDBACK 1:06:43 "Room for Us All in the Dance" by Ed Miller from Edinburgh Rambler 1:11:32 "Blantyre Explosion" by Fromseier Rose from Contradiction 1:14:43 "Rua/Rojo" by Skelpin from Rua Rojo 1:18:50 "Another Mile" by Searson from Live 1:23:40 "My Heart Belongs to Ireland" by Ren from Single The Irish & Celtic Music Podcast was produced by Marc Gunn, The Celtfather. To subscribe, go to iTunes or to our website where you can become a Patron of the Podcast for as little as $1 per episode. You can post feedback in the shownotes at celticmusicpodcast.com.

A special tribute and salute to the Greatest Generation and the music of their era. In addition to the featured music, the story of the Stage Door Canteens is woven between the songs. Much of the music was used as the soundtracks of the Stage Door Canteen (1943) and The Hollywood Canteen (1944) movies. The songs included in this special episode are: (1) Bugle Call Rag by Benny Goodman & His Band (2) Keep' Em Flying by Gene Krupa & His Orchestra (w/ Johhny Desmond, vocal) (3) Boogie Woogie Bugle Boy by The Andrews Sisters (w/ Vic Shoen & His Orchestra) (4) Daddy by Sammy Kaye & His Orchestra [vocals by The Kaye Choir] (5) Praise The Lord And Pass The Ammunition by Kay Kyser & His Orchestra (6) Kiss the Boys Goodbye by Tommy Dorsey & His Orchestra (w/ Connie Haines, vocal) (7) I've Heard That Song Before by Harry James & His Orchestra (Helen Forrest, vocal) (8) Three Little Sisters by The Andrews Sisters (9) Dance With A Dolly (With A Hole In Her Stocking) by Russ Morgan & His Orchestra (w/ Al Jennings, vocal) (10) Deep In The Heart Of Texas by Bing Crosby (w/ Woody Herman's Band) (11) Chattanooga Choo Choo by Glenn Miller & His Orchestra (w/ Tex Beneke, Paula Kelly & The Modernaires) (12) My Heart Belongs to Daddy by Count Basie (w/ Ethel Waters, vocal) (13) Rum And Coca-Cola by The Andrews Sisters (w/ Vic Shoen & His Orchestra) (14) We'll Meet Again by Benny Goodman and His Orchestra (w/ Peggy Lee) (15) Oh! What It Seemed To Be by Frankie Carle & His Orchestra (w/ Marjorie Hughes, vocal) (16) When The Lights Go On Again (All Over The World) by Vaughn Monroe and His Orchestra (17) Hollywood Canteen by The Andrews Sisters (18) Sweet Dreams, Sweetheart by Jimmy Dorsey & His Orchestra (w/ Sally Sweetland, vocal) (19) It's Been A Long, Long Time by Harry James & His Orchestra (Kitty Kallen, vocal) (20) I Left My Heart At The Stage Door Canteen by Sammy Kaye & His Orchestra (Don Cornell, vocal) (21) V-Hop (V for Victory Hop) by Jerry Gray Orchestra

最初的願望小曲 作者：洛爾迦 翻譯：戴望舒 在鮮綠的清晨， 我願意做一顆心。 一顆心。 在成熟的夜晚， 我願意做一只黃鶯。 一只黃鶯。 （靈魂啊， 披上橙子的顏色。 靈魂啊， 披上愛情的顏色。） 在活潑的清晨， 我願意做我。 一顆心。 在沈寂的夜晚， 我願意做我的聲音。 一只黃鶯。 靈魂啊， 披上橙子的顏色吧！ 靈魂啊， 披上愛情的顏色吧！ 一首歌 My Heart Belongs to Only You / Bobby Vinton 歡迎關注公眾帳號：逸事 WeChat ID: escapeintolife

Song writer, Cole Porter's work from the 1930s.  Songs include: My Heart Belongs to Daddy, You're the Top, Night and Day, Anything Goes, At Long Last Love, Begin The Beguine, Miss Otis Regrets and Don't Fence Me In. Performers include: Billie Holiday, Frank Sinatra, Ethyl Merman, Richard Himbler, Bing Crosby, Mary Martin and Bea Wain.

Tea for One/孤品兆赫-16, Chet Baker-1, My Funny Valentine微信订阅号：【孤品兆赫】微博（新浪/腾讯）：【孤品兆赫】本期开一期Chet Baker的系列，欢迎收听。 TRACKLIST 1. < Time after Time > -- Chet Baker, 1954 2. < Lullabys of Leaves > -- Gerry Mulligan/Chet Baker, 1952 3. < My Heart Belongs to Daddy > -- Gerry Mulligan/Chet Baker, 1957 4. < My Heart Belongs to Daddy > -- Marilyn Monroe, 1960 5. < My Funny Valentine > -- Chet Baker, 1954 6. < There is a Small Hotel > -- Chet Baker, 1955 7. < There is a Small Hotel > -- Chet Baker, 1988 8. < Travellin' Light > -- Chet Baker, 1964 9. < Taste of Honey > -- Chet Baker, 1964 10. < Taste of Honey > -- Paul Desmond/Jim Hall, 1964

A tribute to musicians born in 1913, including: Mary Martin, Grandpa Jones, Morton Gould, Charley Barnet, Danny Kaye and Rise Stevens. Songs inclue: My Heart Belongs  to Daddy, Mountain Dew, Simple Symphony, Cherokee and I've Got a Lovely Bunch of Coconuts.

The most complete Rotcast to date. This show contains a Juicy Truth, a Dead Air and a C&V (Chapter and Verse) movie quiz. We talk about my serial dad and other vinostalgic topics. To leave a message for Rotwang call the 206 Rot-line number listed on the website: www.rotcast.com or Skype the show at "callrotcast". Shy people can write us at: mail@rotcast.com. The Juicy Truth music bed is Samba D Blue by Mulgrew Miller All shows use the musical bed “Haunted” by Kim Schutterle The wine was Cono Sur Pinot Noir, 2008 from Chile. See more links on the Juicy Truth page at www.rotcast.com. In the overture we heard pieces of A Song For My Father by Joe Coughlin (Simple Pleasures album), Cats in the Cradle the karaoke, My Heart Belongs to Daddy by Marilyn Monroe, My Heart Belongs to Daddy by Charlie Parker, Daddy O by Louis Jordan and his Tympany Five, Grandfather's Clock by Dick Hyman & John Sheridan. Next episode will be All New Crime Favorites. Thanks for listening--Rotwang

Selected Duets for Flute, Page 43 Number 1, Andante grazioso, performed by David Summer. The tempo marking "Andante grazioso" translates to "at a walking pace but gracefully". I interpret this to mean, "with a flowing style. Smooth, but keep it moving". Also, notice the "dolce" expression marking, again meaning "sweetly". This duet begins in the key of a minor, then goes to A major and back to a minor on the Da Capo. We've seen this parallel minor key relationship in previous duets, and it's used quite often in baroque, classical and romantic music. The same key relationship is also used in some popular music. It's used in popular show tunes such as "I Love Paris" and "My Heart Belongs to Daddy". The composer of this duet, Benoit Tranquil Berbiguier, studied at the Paris conservatory in the early 1800s. He's probably best known now to flutists for his "Eighteen Exercises or Etudes". The complete version of the duets excerpted here are available in Berbiguier's "Six Duets, Op. 59". The metronome setting for this performance is dotted quarter note = 56.

Wintley Phipps sings "My Heart Belongs to You", "My Tribute" and "Amazing Grace