Podcasts about no mountain high enough

Passing the thermometer of conversation over the rock and roll news to see where the mercury rises, which this week includes … … the new Barbra Streisand duets album. Duets are ‘playlets', small intense dramas that depend on human interaction, but so many are recorded separately (including, tragically, Ain't No Mountain High Enough by Marvin Gaye and Tammi Terrell). … but … duets you HAVE to hear! eg Cash & Carter, Otis Redding & Carla Thomas, Ray Charles & Betty Carter, Siouxsie & Morrissey, Nick Cave & Kylie, Peter Gabriel & Kate Bush. … the extraordinary story of the rebirth and Indian Summer of Mississippi John Hurt after 40 years of invisibility.   … blues lyrics that now seem unimaginable. … Frank Zappa as a drug dealer? Miles Davis as a pimp? Cyndi Lauper as a trophy wife? Real or made-up Miami Vice rock star cameos.  … great opening lines – “We got married in a fever …!” … how you always learn something you never knew about someone from their obituary - like Mike Peters' involvement in the highest altitude concert ever performed (on Everest with Glenn Tilbrook and Slim Jim Phantom). … where people listen to the Word In Your Ear “poddy” – eg in the bath, in court, at wedding receptions, by the Allman Brothers' graveside. Plus birthday guest John Montagna on rock stars who should be in a TV series.Help us to keep the conversation going by joining our Patreon community: https://www.patreon.com/wordinyourear Get bonus content on Patreon Hosted on Acast. See acast.com/privacy for more information.

Passing the thermometer of conversation over the rock and roll news to see where the mercury rises, which this week includes … … the new Barbra Streisand duets album. Duets are ‘playlets', small intense dramas that depend on human interaction, but so many are recorded separately (including, tragically, Ain't No Mountain High Enough by Marvin Gaye and Tammi Terrell). … but … duets you HAVE to hear! eg Cash & Carter, Otis Redding & Carla Thomas, Ray Charles & Betty Carter, Siouxsie & Morrissey, Nick Cave & Kylie, Peter Gabriel & Kate Bush. … the extraordinary story of the rebirth and Indian Summer of Mississippi John Hurt after 40 years of invisibility.   … blues lyrics that now seem unimaginable. … Frank Zappa as a drug dealer? Miles Davis as a pimp? Cyndi Lauper as a trophy wife? Real or made-up Miami Vice rock star cameos.  … great opening lines – “We got married in a fever …!” … how you always learn something you never knew about someone from their obituary - like Mike Peters' involvement in the highest altitude concert ever performed (on Everest with Glenn Tilbrook and Slim Jim Phantom). … where people listen to the Word In Your Ear “poddy” – eg in the bath, in court, at wedding receptions, by the Allman Brothers' graveside. Plus birthday guest John Montagna on rock stars who should be in a TV series.Help us to keep the conversation going by joining our Patreon community: https://www.patreon.com/wordinyourear Get bonus content on Patreon Hosted on Acast. See acast.com/privacy for more information.

Passing the thermometer of conversation over the rock and roll news to see where the mercury rises, which this week includes … … the new Barbra Streisand duets album. Duets are ‘playlets', small intense dramas that depend on human interaction, but so many are recorded separately (including, tragically, Ain't No Mountain High Enough by Marvin Gaye and Tammi Terrell). … but … duets you HAVE to hear! eg Cash & Carter, Otis Redding & Carla Thomas, Ray Charles & Betty Carter, Siouxsie & Morrissey, Nick Cave & Kylie, Peter Gabriel & Kate Bush. … the extraordinary story of the rebirth and Indian Summer of Mississippi John Hurt after 40 years of invisibility.   … blues lyrics that now seem unimaginable. … Frank Zappa as a drug dealer? Miles Davis as a pimp? Cyndi Lauper as a trophy wife? Real or made-up Miami Vice rock star cameos.  … great opening lines – “We got married in a fever …!” … how you always learn something you never knew about someone from their obituary - like Mike Peters' involvement in the highest altitude concert ever performed (on Everest with Glenn Tilbrook and Slim Jim Phantom). … where people listen to the Word In Your Ear “poddy” – eg in the bath, in court, at wedding receptions, by the Allman Brothers' graveside. Plus birthday guest John Montagna on rock stars who should be in a TV series.Help us to keep the conversation going by joining our Patreon community: https://www.patreon.com/wordinyourear Hosted on Acast. See acast.com/privacy for more information.

An interview with Stephanie Mills. She talks about her 2025 release of the classic "Ain't No Mountain High Enough," deciding to record new music, the upcoming "The Queens" tour with Chaka Khan, Gladys Knight, and Patti LaBelle, plus more.See omnystudio.com/listener for privacy information.

Plongez dans l'univers poignant de la musique soul avec cet hommage émouvant à Marvin Gaye et Tammy Terrell, deux icônes intemporelles de la Motown.Dans ce récit passionné, Pat Angeli dévoile les coulisses de l'un des plus grands duos de la soul : "Ain't No Mountain High Enough". Cette chanson légendaire, entrée dans l'histoire de la musique, cache des anecdotes fascinantes et une histoire humaine marquante.

durée : 00:05:18 - C'est une chanson - par : Frédéric Pommier - Elle est actuellement en tournée avec son spectacle "Parades", qu'elle jouera début avril à Avignon et à Marseille. Au micro de Frédéric Pommier, l'humoriste Diane Segard évoque "Ain't No Mountain High Enough" par Diana Ross, chanson qu'elle a découverte dans le film "Le Journal de Bridget Jones".

“She knew who she was at a young age. She was able to pick herself up, dust herself off, and literally keep going no matter what cards were dealt to her.” - Ludie Montgomery, about her big sister Tammi TerrellShe was alive for just 24 years, but Tammi's voice is immortal in pop music history. Her songs with Marvin Gaye have been sampled by Amy Winehouse, Janet Jackson, LL Cool J, Method Man and Mary J. Blige, and The Notorious B.I.G. When her fans are the greats, you know she was great herself! Tammi's irrepressible spirit inspires us all to live life boldly, love openly, and shine brightly. There is no mountain high enough and no river wide enough to hold you back. “Tammi Terrell: Sweetheart of Motown” is available wherever you stream your podcasts

STRONG SIDE! LEFT SIDE! Visit https://huel.com/rejects to get 15% off your order Download the PrizePicks today & use code REJECTS to get $50 instantly when you play $5! Come see us at MULTICON!! https://www.multihouse.io/multicon Remember The Titans Full Reaction Watch Along: https://www.patreon.com/thereelrejects Follow Us On Socials:  Instagram: https://www.instagram.com/reelrejects/  Tik-Tok: https://www.tiktok.com/@thereelrejects?lang=en Twitter: https://x.com/thereelrejects Facebook: https://www.facebook.com/TheReelRejects/ Greg Alba and Aaron Alexander dive into one of the most iconic sports dramas of all time, Remember the Titans. Directed by Boaz Yakin, this powerful film stars Denzel Washington (Training Day, Glory) as Coach Herman Boone, who leads a newly integrated high school football team in 1971 Virginia. Joining him are Will Patton (Armageddon) as Coach Bill Yoast, Wood Harris (The Wire) as Julius Campbell, Ryan Hurst (Sons of Anarchy) as Gerry Bertier, Donald Faison (Scrubs) as Petey Jones, Ryan Gosling (Barbie & La La Land) and Hayden Panettiere (Heroes) as Sheryl Yoast. Greg and Aaron react to the film's most memorable and emotional scenes, including the "Strong Side, Left Side" moment, the inspirational locker room speech, and the heart-wrenching hospital scene. They also discuss the film's timeless themes of unity, overcoming prejudice, and teamwork. Whether you're reliving this classic or experiencing it for the first time, this reaction is full of insight, laughs, and heartfelt moments. The movie also features an incredible soundtrack with hits like Ain't No Mountain High Enough by Marvin Gaye and Tammi Terrell, Spirit in the Sky by Norman Greenbaum, Na Na Hey Hey Kiss Him Goodbye by Steam, Peace Train by Cat Stevens, Up Around the Bend by Creedence Clearwater Revival, and more. Follow Aaron On Instagram: https://www.instagram.com/therealaaronalexander/?hl=en Support The Channel By Getting Some REEL REJECTS Apparel! https://www.rejectnationshop.com/ Music Used In Manscaped Ad:  Hat the Jazz by Twin Musicom is licensed under a Creative Commons Attribution 4.0 license. https://creativecommons.org/licenses/by/4.0/ POWERED BY @GFUEL Visit https://gfuel.ly/3wD5Ygo and use code REJECTNATION for 20% off select tubs!! Head Editor: https://www.instagram.com/praperhq/?hl=en Co-Editor: Greg Alba Co-Editor: John Humphrey Music In Video: Airport Lounge - Disco Ultralounge by Kevin MacLeod is licensed under a Creative Commons Attribution 4.0 license. https://creativecommons.org/licenses/by/4.0/ Ask Us A QUESTION On CAMEO: https://www.cameo.com/thereelrejects Follow TheReelRejects On FACEBOOK, TWITTER, & INSTAGRAM:  FB:  https://www.facebook.com/TheReelRejects/ INSTAGRAM:  https://www.instagram.com/reelrejects/ TWITTER:  https://twitter.com/thereelrejects Follow GREG ON INSTAGRAM & TWITTER: INSTAGRAM:  https://www.instagram.com/thegregalba/ TWITTER:  https://twitter.com/thegregalba Learn more about your ad choices. Visit megaphone.fm/adchoices

Quatre mois après avoir été contraint d'abandonner la tournée d'adieu d'Aerosmith en raison d'une blessure au larynx, Steven Tyler a fait son retour sur scène. L'auteure compositrice, Joan Baez, s'est exprimée sur la prestation de l'actrice Monica Barbao qui incarne son rôle dans le biopic sur Bob Dylan avec Timothée Chalamet, ‘'Un Parfait Inconnu''. Pour les groupes de rock des années soixante, le cap du milliard de stream est un palier difficile à franchir mais pas impossible, la surprise de ce top revient sûrement à la première place où l'on retrouve "Fortunate Son" de Creedence Clearwater Revival. Mots-Clés : chanteur, planches, arrêt, doute, performance, show, More Than Words, Extreme, Toys in the Attic, Dream On, Sweet Emotion, Walk This Way, Heartbreaker, recettes, charité, Janie's Fund, femmes, victimes, abus, négligence, violence, incendies, Los Angeles, pompiers, invités, soutien, remerciement, fan, film, doué, gestuelle, Stones, Beatles par exemple, discographie, club, select, Paint it Black, Rolling Stones, Here Comes the Sun, score, milliard, Marvin Gaye, hymne, Ain't No Mountain High Enough. --- Classic 21 vous informe des dernières actualités du rock, en Belgique et partout ailleurs. Le Journal du Rock, en direct chaque jour à 7h30 et 18h30 sur votre radio rock'n'pop. Merci pour votre écoute Plus de contenus de Classic 21 sur www.rtbf.be/classic21 Ecoutez-nous en live ici: https://www.rtbf.be/radio/liveradio/classic21 ou sur l'app Radioplayer BelgiqueRetrouvez l'ensemble des contenus de la RTBF sur notre plateforme Auvio.be Et si vous avez apprécié ce podcast, n'hésitez pas à nous donner des étoiles ou des commentaires, cela nous aide à le faire connaître plus largement. Découvrez nos autres podcasts : Le journal du Rock : https://audmns.com/VCRYfsPComic Street (BD) https://audmns.com/oIcpwibLa chronique économique : https://audmns.com/NXWNCrAHey Teacher : https://audmns.com/CIeSInQHistoires sombres du rock : https://audmns.com/ebcGgvkCollection 21 : https://audmns.com/AUdgDqHMystères et Rock'n Roll : https://audmns.com/pCrZihuLa mauvaise oreille de Freddy Tougaux : https://audmns.com/PlXQOEJRock&Sciences : https://audmns.com/lQLdKWRCook as You Are: https://audmns.com/MrmqALPNobody Knows : https://audmns.com/pnuJUlDPlein Ecran : https://audmns.com/gEmXiKzRadio Caroline : https://audmns.com/WccemSkAinsi que nos séries :Rock Icons : https://audmns.com/pcmKXZHRock'n Roll Heroes: https://audmns.com/bXtHJucFever (Erotique) : https://audmns.com/MEWEOLpEt découvrez nos animateurs dans cette série Close to You : https://audmns.com/QfFankx

1. I Still Believe (Monki Extended Mix) 2. Thank You (Jax Jones Extended Mix) 3. No One Gets The Prize (Almighty Anthem Mix) 4. Until We Meet Again (Love to Infinity Remix) 5. If The World Just Danced (Eric Kupper Extended Mix) 6. Love Child (Club Class Mix) 7. Ain't No Mountain High Enough (12” Essential Mix) 8. I'm Coming Out (12” Athem Mix) 9. You Keep Me Hangin' On (Original US Mix) 10. Love Hangover (Almighty Club Mix) 11. Upside Down (Almighty Anthem 12” Mix) 12. Reach Out And Touch (Somebody's Hand) (12” Definitive Mix) 13. Touch Me In The Morning (12” Almighty Mix) 14. The Boss (Essential Club Mix) 15. Lovin', Livin' And Givin' (2 Beat Definitive Mix)

Belize-born British composer Errollyn Wallen, recently announced as Master of the King's Music, and composer and silent film music specialist Neil Brand, join Anna Phoebe and Jeffrey Boakye to round off the current series.From the first winner of the Eurovision Song contest to a Marvin Gaye masterpiece, via warring brothers, Add to Playlist wraps up before returning for a new series in November.Producer: Jerome Weatherald Presented with musical direction by Jeffrey Boakye and Anna PhoebeThe five tracks in this week's playlist:Refrain by Lys Assia The Honeysuckle and the Bee by Stanley Holloway Champagne Supernova by Oasis Sunny Afternoon by The Kinks Ain't No Mountain High Enough by Marvin Gaye & Tammi Terrell Other music in this episode:1st Movement of Concerto Grosso by Errollyn Wallen Trenulețul (Eurovision 2022) by Zdob și Zdub All in Your Head by New Jack & Lys Assia Flight of the Bumblebee by Nikolai Rimsky-Korsakov Disco Inferno by The Trammps

The guys review the last of the positive and negative takeaways submitted by fans following the Packers 30-14 win over the Titans. Also, Wilde and Tausch Trivia recapping the sports weekend. And Whoa Nelly! featuring Tausch's bold claim that he'd like for Wisconsin to find out how to have a mountain range?

Send us a textGROW  Greatness Reached over Oppression through Wisdom I shall GROW With You until God calls me homeI have been sent and I shall fulfill my Divine Purpose; GROW and Lift the World also       

PlayLIST: Pacific St Blues & AmericanaSeptember 8, 2024Contact UsPLAY the music trivia game, What's the Common Thread1. Marcus King / Bipolar Love 2. Gregg Allman / Please Call Home 3. Matt Cox / Around the Bend 4. Ben Harper / Brown Eyed Blues 5. Tedeschi Trucks Band / Hear My Dear6. Joanne Shaw Taylor / Just No Getting Over You 7. Tab Benoit / Watching the Gator's Roll In 8. Betty LaVette / Person to Person9. Stevie Ray Vaughan / Honey Bee 10. Eli Paperboy Reed /  I'm Gonna Break Every Heart I Can 11. Solomon Burke / Stupidity 12. Mike Farris / Snap Your Fingers 13. Evan Nicole Smith / Burn14. Los Lonely Boys / I Wish You Would 15. Santana / Samba Pa Ti (Abraxas) 16. Mavis Staple / Turn Me Around 17. Vanilla Fudge / You Keep Me Hanging On 18. J Geils Band / Where Did Our Love Go?19. Jonell Moser / Stop in the Name of Love20. Chaka Khan & Montell Jordan / Ain't No Mountain High Enough

Aug. 26 marks the birthday of the legendary Valerie Simpson, a celebrated icon in the music industry whose contributions have left a mark on the world of soul, R&B, and pop. As one-half of the iconic duo Ashford & Simpson, she and her late partner Nick Ashford crafted some of the most memorable and timeless hits of the Motown era and beyond. Their songwriting partnership gave rise to classics such as "Ain't No Mountain High Enough," "You're All I Need to Get By," and "Reach Out and Touch (Somebody's Hand)," which became anthems of love, empowerment, and resilience. Valerie Simpson also distinguished herself as a gifted vocalist and performer, bringing soul and authenticity to each performance. Beyond her contributions as a performer and songwriter, she has been a trailblazer for women in the music industry, influencing generations of artists with her talent, creativity, and perseverance.  Learn more about your ad choices. Visit megaphone.fm/adchoices

Where am I? Where is God? Why am I here? We find honest emotions, thoughts, and prayers from the authors of the Psalms. In Psalms 42 and 43, the practice of lament takes center stage. Listen as Pastor Brent explores the importance of lament and grief in our walks with Jesus.

Je suis Jessica Troisfontaine et vous écoutez le podcast Ressentir. Une fois par mois, je vous propose un épisode spécial sous forme de compilation musicale des titres qui m'ont été soumis par mes invité.es à la fin de nos conversations. Laissez-vous entraîner sur cette piste qui fera, je l'espère, danser vos émotions. Par ordre d'apparition : - Chloé Bouscatel : I'm Alive, Céline Dion - Michèle Evrard : Ain't No Mountain High Enough, Marvin Gaye et Tammi Terrell - Marion Graux : Lettre à M, Clara Ysé - Marie Robert : Leolam, Avishai Cohen

01. Darius Syrossian x Eve - Satisfaction (Extended Mix) 02. Curtis Mayfield - Move On Up (Mark Knight Remix) 03. StoneBridge x Sonny Fodera feat. Alex Mills - Ain't No Mountain High Enough x Always Gonna Be 04. Filip Grönlund - Perplexing (Extended Mix) 05. B.A.N.G! - Back and Forth (Extended Mix) 06. Mauro Venti - Give Some Luv (Extended Mix) 07. Griff - Cycles 08. Lee Walker - Out Of The Darkness (Extended Mix) 09. DJ S.K.T, James Haskall - Naughty Girl (Extended Mix) 10. Surf Mesa - It's You (C'est Toi) (Extended Mix) 11. Shermanology - My World (Extended Mix) 12. Swedish House Mafia feat. Nikki and the Dove - Lioness (Original Mix) 13. Joey Dale - Blinded By Your Light (Extended Mix) 14. Swanky Tunes - Hold On Me 15. Justin Jay x coldsweat feat. DJ Deeon - Back To The Groove

Swamp rock afficianados, this is your podcast!Despite forming in California, Creedence Clearwater Revival was known for their Louisiana sound often described as "swamp rock" or later as roots rock.  They tended towards an earlier rock sound during a time when much of their fellow performers were moving in a more psychedelic direction.  But CCR (as the band was known, or Creedence) would find prolific success in the time from 1969 to 1971 when they would produce 14 consecutive top 10 singles and five consecutive top 10 albums.The band featuring front man and multi instrumentalist John Fogerty, brother Tom Fogerty on rhythm guitar and backing vocals, Stu Cook on bass, and Doug Clifford on percussion got their start as a band playing rock standards and instrumentals in 1959 under the name "The Blue Velvets."  They changed their name to "the Golliwogs" in 1964, then became CCR in 1967.  The name Creedence Clearwater Revival comes from three sources - John Fogerty's friend Credence Newball, a beer commercial touting "clear water," and the word "revival" depicting the members' re-commitment to the band.Cosmo's Factory is the band's fifth studio album takes its title from the warehouse in Berkeley where the band practiced in early days.  Doug "Cosmo" Clifford called it "The Factory" because they practiced there almost daily.  This album went to number 1 on the Billboard 200 charts and remained there for nine weeks.  It is one of those albums that appears to be a "greatest hits" album rather than a studio release because of the number of very familiar songs originating on it.The group would be prolific, but short-lived.  Tom Fogerty left the group at the end of 1971 and the rest had an acrimonious falling out shortly thereafter.  But for a few years, CCR produced a gigantic body of work, despite never having a number 1 hit.Wayne takes us through this classic album of swamp rock for this week's podcast. Who'll Stop the RainOften considered a Viet Nam protest song, the inspiration for this track is actually Woodstock, where multitudes of music fans congregated in the rain to hear the music of the age.  It was released as a double A single along with "Travelin' Band," and went to number 2 on the American charts.Run Through the JungleAnother song mistakenly considered to be a Viet Nam protest (and often used that way in films), Fogerty wrote this about the proliferation of guns in the United States, comparing city streets to a jungle.  This was another double A single release, paired with "Up Around the Bend."  It has appeared in multiple films including "Air America," "Rudy," and "Tropic Thunder."Up Around the BendThis track is a more straightforward invitation to a gathering that is, as you might guess, up around the bend.  It went to number 4 on the Billboard Hot 100 charts and number 3 on the UK singles charts.  John Fogerty wrote this song, as he did most of the original CCR tracks.Travelin' BandThis song draws its inspiration from 1950's rock songs, particularly paying homage to the style of Little Richard.  The lyrics talk about a band on the road.  It's reference to "737 coming out of the sky" - a new passenger plane at the time the song was written - put the song on a list of inappropriate tracks in a post-9/11 memo by Clear Channel. ENTERTAINMENT TRACK:Main theme from the television series “Dark Shadows”A feature length horro film entitled "House of Dark Shadows" was released in 1970 based on the vampire soap opera.  STAFF PICKS:Tears of a Clown by Smokey Robinson & the MiraclesLynch's staff pick has upbeat music that belies the sad lyrics depicting a man who has to put on a happy front despite facing the loss of his love.  The track was originally recorded in 1966, but not released until 1970.  It topped both the UK charts and the US Billboard Hot 100.  Long Long Time by Linda RonstadtRob's staff pick may not be a rock song in the traditional sense, but it shows off the vocal capabilities of one of the leading female rock figures prior to her breakthrough as a soloist.  The song about a woman's undying love for a guy who will never be hers went to number 25 on the Billboard Hot 100.Ain't No Mountain High Enough by Diana RossBruce features a song written by Ashford and Simpson in 1966, and originally a hit for Marvin Gaye and Tammi Terrell who took it to number 19 on the Billboard Hot 100 in 1967.  Diana Ross released this as a solo song with a reworked sound incorporating gospel elements with strings and horns.  It went to number 1 making it Ross's first number 1 solo hit.Vehicle by The Ides of MarchWayne presents a one-hit wonder out of Chicago with a funky sound and a great horns section.  The vocalist and guitarist for The Ides of March would later become a founding member of Survivor.  General Motors used this song extensively in national advertising, and it will tend to get you driving faster! NOVELTY TRACK:Chicken Strut by the MetersThis novelty song inspired a short-lived dance, and wraps up this week's podcast. Thanks for listening to “What the Riff?!?” NOTE: To adjust the loudness of the music or voices, you may adjust the balance on your device. VOICES are stronger in the LEFT channel, and MUSIC is stronger on the RIGHT channel.Please follow us on Facebook https://www.facebook.com/whattheriffpodcast/, and message or email us with what you'd like to hear, what you think of the show, and any rock-worthy memes we can share.Of course we'd love for you to rate the show in your podcast platform!**NOTE: What the Riff?!? does not own the rights to any of these songs and we neither sell, nor profit from them. We share them so you can learn about them and purchase them for your own collections.

Frank starts the third hour with commendations for the week. He moves on to talk about tacos being called sandwiches by an Indiana judge, the life of crime boss Whitey Bulger and much more. Learn more about your ad choices. Visit megaphone.fm/adchoices

Beginning our show is George Kennedy III – is a co-founder of Cartender.com, and the Vice President of the New England Motor Press Association. He contributes to U.S. News & World Report, CarGurus, Forbes Wheels, and here on The Drive.... The post Ain’t No Mountain High Enough for the 2024 Jeep Wrangler 4xe | #570 appeared first on THE DRIVE with Alan Taylor.

Born on March 26, 1944, Diana Ross is a legendary singer and actress. She got her start in the 1960s with her involvement in The Supremes. She contributed to the group's immense success before embarking on a solo career in the 1970s, producing hits like "Reach Out and Touch (Somebody's Hand)" and "Ain't No Mountain High Enough." Ross expanded into acting, notably starring in films such as "Lady Sings the Blues," earning an Academy Award nomination, along with roles in "Mahogany" and "The Wiz." In 1993, she was recognized by the Guinness Book of World Records as the most successful female music artist in history, having sold over 100 million records worldwide. Honored for her contributions, she was inducted into the Rock and Roll Hall of Fame in 1988 as a member of The Supremes alongside Florence Ballard and Mary Wilson. Learn more about your ad choices. Visit megaphone.fm/adchoices

Get ready for a spectacular hour with the Eurovision Showcase on Forest FM!   Join your host, Ciaran Urry-Tuttiett, for an unforgettable hour of music, starting at 5pm GMT (6pm CET) TODAY! Tune in locally on 92.3 or 98.9 FM across East Dorset, West Hampshire, and The New Forest, UK. Or, be part of our global audience by listening online from anywhere in the world! Just say, "Play Forest FM" to your smart speaker and you're in!   Today's lineup is nothing short of spectacular, featuring the brand new single "Ain't No Mountain High Enough" by Cascada, Germany's electrifying entrant from 2013. We'll also take you back to 1986 with the classic "L'amour De Ma Vie" by Sherisse Laurence, representing Luxembourg.   And, get ready for some national finals flair with entries from Iceland's Söngvakeppnin, Sigga Ózk, and Croatia's Dora, the group Pavel. It's a musical journey you won't want to miss!   For more details about the show, visit us at www.escshowcase.com.   Don't forget to mark your calendars and set your alarms. This is your gateway to the heart of Eurovision, brought to you by Forest FM. See you there!   #EurovisionShowcase #ForestFM #Eurovision #MusicLovers #RadioShow #CiaranUrryTuttiett #Cascada #EurovisionClassics #NationalFinals #TuneIn

Pastor Joe shared from Isaiah 66:18-24 on the theme of finding our purpose together.

Pastor Joe shared from Isaiah 66:18-24 on the theme of finding our purpose together.

Peut-on créer une entreprise "traditionnelle" en solo ? (et pas seulement un business digital ?). Mon invitée va te prouver que c'est possible puisqu'elle vit de son entreprise industrielle sans usine, sans commerciaux, et sans magasin !Cette semaine je reçois Laura Chetail qui a créé Koko Kombucha toute seule, avec tous les codes du solopreneuriat. Et tout ça sans finir en burn-out et en vivant sa best life sur un spot de surf (tu la sens, la jalousie ?

This episode puts Michael to the test on his SOUNDTRACK knowledge and asks, "Is this the greatest feel-good track of all time?". Clay piensa que si. --- Send in a voice message: https://podcasters.spotify.com/pod/show/igotasong/message

Dean takes us behind the scenes of his mountain-climbing summer before he tied the knot! He's hanging out with his friend Hannah who joined him on many of the climbs and has plenty of tips and tricks to share for anyone looking to reach the top! Plus, Hannah has some words of wisdom for any other female climbers!See omnystudio.com/listener for privacy information.

Welcome back, heathens and skeptics, to another irreverent jaunt through the Bible's funhouse mirror! We're about to shred some sacred scrolls with our usual blend of sarcasm and scholarly disdain.We start off our blasphemous bash with a biblical take on Marvin Gaye's "Ain't No Mountain High Enough," because apparently, God's into karaoke with geological features. That's right, folks, in this episode, we discuss the almighty's pastime of weighing mountains, as though the creator of the universe has nothing better to do than play cosmic scales. And valleys? Don't get us started on the whole "negative space" thing. But hey, at least Ohio's political landscape got a bit higher, and we all know how desperately that state needs it.Our conversation takes a turn to the artisans and their shaky idols – literally. It seems even ancient false gods needed a good nailing down to prevent divine slapstick. Meanwhile, God's busy making deserts bloom and quenching the thirsty, because nothing says "omnipotent" like a little impromptu terraforming.We cap off the heresy with a debate on how certain we can be about interpretations of holy texts. Spoiler: not very. But don't worry, we keep it snappy because we'd rather not bore you to resurrection.If you're craving a combo of philosophical pondering and irreverent banter, with a dash of pop culture and the occasional personal jab, then you've stumbled into the right den of iniquity. Tune in, turn on, and drop out of the divine delusion with us. It's gonna be a hell of a ride through Isaiah 41!Join us on DISCORD: https://discord.gg/8RwwMrb5zKSkip the ads by joining Acast+ https://plus.acast.com/s/6331d364470c7900137bb57dThank you for stopping by Sacrilegious Discourse - Bible Study for Atheists!Check out these links for more information about our podcast and merchandise:Our Homepage: https://sacrilegiousdiscourse.com/Help support us by subscribing on Patreon: https://www.patreon.com/sacrilegiousdiscourse Join Acast+ to enjoy our podcast adfree! https://plus.acast.com/s/sacrilegiousiscourse. Hosted on Acast. See acast.com/privacy for more information.

For 16 years Maya Gurung and Surendra Pandey could not get married, but now they have the most important piece of paper in Nepal.

In a new location , the Ball Hog Beats Podcast returns after a month long hiatus. For this week's of Sample Sunday, Ball Hog Beats hits the ground running , starting 2 new beats sampling , "Ain't No Mountain High Enough" by Diana Ross , and "Love and Happiness" by Al Green , using pitch down techniques for both. --- Send in a voice message: https://podcasters.spotify.com/pod/show/ballhogbeats/message Support this podcast: https://podcasters.spotify.com/pod/show/ballhogbeats/support

Firstly, we're diving into the world of music, romance, and unforgettable moments as we explore the Top Wedding Songs.   This podcast is for engaged couples who are stressed out with wedding planning and family expectations but want a fun wedding day.   We'll explain our suggestions for the Grand Entrance, First Dance, Father and Daughter Dance, Mother and Daughter Dance, Mother and Son Dance, and cake-cutting songs.   Get ready to discover the melodies that will make your wedding a musical masterpiece.    The Stress-free Wedding Planning Podcast #68: The Top Wedding Songs from the First Dance to The Cake Cutting Host: Sal & Sam Music: "Sam's Tune" by Rick Anthony   TIMESTAMPS  0:00:00 Introduction: The Top Wedding Songs from the First Dance to The Cake Cutting 0:03:35 Discussion about Grand Introductions songs 0:04:30 Songs: Ain't No Mountain High Enough, Walking On Sunshine and Beautiful Day 0:05:00 Songs: On Top Of The World and Believe in a Thing Called Love 0:05:30 Songs: I Got A Feeling and Don't Stop the Party 0:06:00 Songs: All I Do Is Win and Walk It Out 0:06:30 Songs: Love Story, Wagon Wheel and Here for the Party 0:07:30 Discussion about First Dance songs 0:07:45 Songs: Unchained Melody, Amazed and Your Song 0:08:15 Discussion about the song Can't Help Falling in Love 0:09:00 Songs: Best Friend, Marry Me, and To Make You Feel My Love 0:09:30 Discussion about The Cake Cutting and the Farmer In The Dell 0:10:00 Discussion about the Farmer In The Dell song 0:11:00 Songs: Sugar Pie Honey Bunch, How Sweet It Is and Pour Some Sugar On Me 0:12:30 Wedding tip Wednesday 0:16:00 Discussion about the father-daughter, mother-son, and mother-daughter songs 0:17:00 Discussion about Mother Son Dances Song by Toni Becker called Dance With My Baby  0:18:00 Songs: I Loved Her First, Tupoelo Honey, and Have I Told You Lately, 0:19:00 Songs: Butterfly Kisses and Landslide 0:20:00 Discussion about mother-daughter dance 0:20:30 Songs: I'll Be There, 0:21:00 Songs: My Daughter's Eyes  0:21:30 Song: Mother 0:22:00 Discussion using alternatives to well known versions and the option to not do these dances at all. 0:24:00 Close   Get your FREE no-obligation report TODAY: "8 QUESTIONS YOU MUST ASK A WEDDING PROFESSIONAL BEFORE BOOKING THEM" http://forms.aweber.com/form/55/756659955.htm Music List Giveaway  https://www.afterhourseventsofne.com/guestcontact *** Join us in the Stress-free Wedding Planning Facebook group https://urlgeni.us/facebook/stress-free-wedding-planning Sponsored in part by Clear Vision Productions and the Wedding Styles of CT Wedding Shows.   https://www.weddingstylesofct.com/   https://www.theclearvisionagency.com/ Wedding Tip Wednesday on the Stress-free Wedding Planning Podcast is sponsored by EMERGE Cosmetics – 10% OFF promo code: SF1 https://shopemergecosmetics.com/ Copyright © 2023 Atmosphere Productions LLC All Rights Reserved. Produced By Atmosphere Productions in association with After Hours Events of New England https://atmosphere-productions.com https://www.afterhourseventsofne.com #stressfreeweddingplanning #stressfreeweddingplanningpodcast #ctweddingdj #atmosphereproductions #afterhourseventsofne #cvpevents #clearvisionproductions #theclearvisionagency #dreamwedding #WalkDownTheAisle

Early experiences often shape our entire lives. The inspiring story of our guest - Jennifer Openshaw - shows what's possible to achieve when you choose to own your destiny. Being a child of divorce and watching her mother struggle as a single mom to make ends meet shaped Jennifer's entire career journey. Her first “real” job was working as a maid in a motel while her mother worked two full-time jobs as a waitress to support the family. At an early age, she decided to make it on her own and to make a big impact. Now as CEO of Girls With Impact, the nation's leading business education program for young women, she empowers women all around the world with the business and tech skills to become future leaders. Jennifer's story illustrates the power of vision, determination and tenacity in your pursuits. She achieved her ambitions by looking at how other people got to where they are and always surrounding herself with a community of next level peers. She has broken barriers and paved the way for others to follow.  Visit gobeyondbarriers.com, where you will find show notes and links to all the resources in this episode, including the best way to get in touch with Jennifer. Highlights: [02:18] What shaped Jennifer's young life [04:19] Jennifer's young career choices [08:05] Pursuing passions or pursuing money [14:44] Looking for opportunities [15:57] Dealing with fear of rejection or failure [18:17] Lessons learned as an entrepreneur [24:09] Gen Z in the workforce and the benefit of failing [27:36] Ready for the “what if” [30:05] Women when it comes to finances [32:14] About Girls With Impact [34:56] Taking her mission to the next level [43:57] Companies attracting entrepreneurs and Gen Z [49:21] Lightning round questions Quotes: “Sometimes the way to move up is to move out.” – Jennifer Openshaw “I'm a believer in not taking a leap until you know what you're leaping to.” – Jennifer Openshaw “It shows people something when you're willing to raise your hand.” – Jennifer Openshaw Lightning Round Questions: What book has greatly influenced you? - “The Prophet” by Kahlil Gibran What is your favorite inspiring quote or saying? - "If there's a will there's a way.” And “The answer will reveal itself.” What is one word or moniker you would use to describe yourself? - What leapfrog move can take you to where you want to go? What is one change you've implemented that made your life better? - Being grateful every day. What power song would you want playing as you walk out onto a stage? - “Ain't No Mountain High Enough” by Diana Ross. About Jennifer Openshaw: Jennifer Openshaw – called “one of the most outspoken proponents for empowering women to control their financial lives” by CBS MarketWatch – is CEO of Girls With Impact, the nation's leading business education program for young women. Her expertise and national reputation as a financial innovator have made her a valuable ally in the media – from “Oprah,” “Dr. Phil” and “Today” to CNN, Fox and CNBC. At the age of 14, Jennifer took on her first “real” job as a maid in a motel while her mother worked two full-time jobs as a waitress to support the family. In 2000, Jennifer was named one of the Internet's 25 Rising Stars as a result of her work as CEO and founder of Women's Financial Network, a company created as a result of her experience in the industry and as the “Money Expert” for KCBS-TV. The company was acquired by Wall Street legend Muriel Siebert (NYSE: SIEB). Jen's financial industry experience includes senior roles at Bank of America, leading pension advisor Wilshire Associates, and BankOne (now JP Morgan Chase). She also headed the 60-year-old Financial Women's Association and, most recently, was Partner and Chief Marketing Officer at global consulting firm Mercer, where she led the When Women Thrive research platform. She started her career in the California State Treasurer's Office. Drawing from her experience in Silicon Valley, Wall Street and Main Street in tech, education, and the financial industry, Jennifer has been a fixture in the media. Her roles have included “Money Expert” for KCBS-TV, host of ABC Radio's Winning Advice, and columnist for Dow Jones' MarketWatch. She's the author of three books: The Socially Savvy Advisor (2015); The Millionaire Zone (Hyperion), based on research about the social networking strategies of the wealthy; and What's Your Net Worth? (Perseus), turned into a Public Television Show. Jennifer has been an advisor to Fortune 500 firms, including Microsoft, where she also served as national spokesperson. She writes regularly for Dow Jones, USA Today and as a LinkedIn Influencer. Jennifer holds an MBA in finance and BA from UCLA. She is a member of the New York Economic Club and was appointed by the California Governor to the Commission on California Government Efficiency. Links: Website: https://www.girlswithimpact.org/ LinkedIn URL: https://www.linkedin.com/in/jenopenshaw/ LinkedIn URL: https://www.linkedin.com/company/girlswithimpact/ Instagram: https://www.instagram.com/girlswithimpact/ Twitter: https://twitter.com/jopenshaw Twitter: https://twitter.com/GirlsWithImpact

Ain't no mountain high enough! In this episode of Play Hard & Love Big Radio Nick Clark & Katie Clark discuss the importance of staying active while on vacation or traveling for work. Not only will it help you make the transition back into your routine once home with more ease but you just NEVER know what you might discover when you're out and about exploring your destination. Want to take a vacation that is GUARANTEED to be full of ADVENTURE? Check out our TETON VALLEY YOGA, HIKING & SUP RETREAT scheduled for August 2024! --- Send in a voice message: https://podcasters.spotify.com/pod/show/playhardlovebig/message

O-o-h child, in the summertime in the ‘70s, it was a groovy situation.  Maybe you were just a solitary man hitchin' a ride because you missed that big yellow taxi trying to escape the summertime blues. Well hi-de-ho, are you ready? Don't spill that wine because this week we just can't help believing that the Billboard Top 40 from the week ending August 15, 1970 will be a good one. We are ready to tell it all brother. Link to a listing of the songs in this week's episode:  https://top40weekly.com/1970-all-charts/#US_Top_40_Singles_Week_Ending_15th_August_1970 Data Sources: Billboard Magazine, where the charts came from and on what the countdown was based. Websites: allmusic.com, songfacts.com,  wikipedia.com (because Mark's lazy) Books: “Ranking the 70's” by Dann Isbell, and Bill Carroll “American Top 40 With Casey Kasem (The 1970's)" by Pete Battistini. Rejected Episode Titles: Hitchin' a Ride in a Big Yellow Taxi Ain't No Mountain High Enough for a Solitary Man Spill the Wine in the Summertime Big Yellow Patches Hand Me Down Pants Full of Patches Some points of interest we talked about in this episode: The Catskill Game Farm TV ad: https://www.youtube.com/watch?v=DvJXekIrPvs

What's keeping you away from you living your best life? Your dream? Whether it be that job, relationship, releasing a few extra pounds or you simply becoming your best self? What' stopping you from acquiring it? They say you have to want your dream as bad as you want to breathe. So then the real question becomes, "how bad do you want it?" Take not from the legendary track "Ain't No Mountain High Enough" by Marvin Gaye and Tammi Terrell and declare to your dreams, "ain't no mountain high enough, ain't no valley low enough, ain't no river wide enough to keep me from getting to you!" Remember, your location is not your destination. Get out there and get it!See omnystudio.com/listener for privacy information.

Matt and Samer a mix of great love songs to use on your wedding mix.Spotify:https://open.spotify.com/playlist/1CiIgY2i5jDepAIb21JHSd?si=02f88732f70f4847Apple Music:https://music.apple.com/us/playlist/wedding-love-songs-mix/pl.u-aZb0N55F1DZBq4vCrazy In Love (feat. Jay-Z) by BeyonceThis Will Be (An Everlasting Love) by Natalie ColeAin't No Mountain High Enough by Marvin Gaye, Tammi TerrelSo Damn Lucky by Dave MatthewsMarry You by Bruno MarsGod Only Knows by The Beach BoysI'm Yours by Jason MrazOverjoyed by Stevie WonderUnchained Melody by The Righteous BrothersCan't Help Falling in Love by Elvis PresleyUnforgettable by Natalie Cole, Nat King ColeYou're All I Need To Get By by Marvin Gaye, Tammi Terrell Support the showVisit us at https://www.superawesomemix.com to learn more about our app, our merchandise, our cards, and more!

We can't tell the story of hip-hop without mentioning Diddy and the record label he started. Bad Boy took off in 1993 after Puff was fired from Uptown Records. He brought TheNotorious B.I.G. with him from Uptown Record, and signed a 50-50 deal with Clive Davis's Arista Records, and it was off to the races.Bad Boy survived the tragic fallout of the East Coast vs. West Coast rivalry, and reached even bigger heights after Biggie's death. Puff began to rise as a solo artist, but did the rest of the artists suffer as a result?Friend of the pod, Zack O'Malley Greenburg, joins me on this episode to cover 30 years of Bad Boy Entertainment. Here's what we hit on:0:35 Sean Combs come-up story5:16 Diddy breaks in with Uptown Records8:22 Starting Bad Boy Records14:11 What sets Diddy apart21:04 How Diddy controlled the narrative23:58 Bad Boy's formula for success 29:00 East Coast vs. West Coast rivalry30:39 Bad Boy's historic 1997-98 run45:42 Bad Boy curse?48:44 Diddy's reputation compared to Cash Money54:50 Best signing? 55:19 Best business move?57:19 Best dark horse move?1:00:19 Missed opportunity?1:08:52 Possibility of biopic?Listen: Apple Podcasts | Spotify | SoundCloud | Stitcher | Overcast | Amazon | Google Podcasts | Pocket Casts | RSSHost: Dan Runcie, @RuncieDan, trapital.coGuests: Zack O'Malley Greenburg, @zogblogThis episode is sponsored by DICE. Learn more about why artists, venues, and promoters love to partner with DICE for their ticketing needs. Visit dice.fmEnjoy this podcast? Rate and review the podcast here! ratethispodcast.com/trapitalTrapital is home for the business of music, media and culture. Learn more by reading Trapital's free memo.TRANSCRIPT[00:00:00] Zack Greenburg: Diddy's ability to sort of walk the line and step back, you know, I think that's what ultimately kept Bad Boy in the position that, you know, that stayed and kept him in the position that he continued to be in.[00:00:09] Dan Runcie Outro Audio: Hey, welcome to the Trapital Podcast. I'm your host and the founder of Trapital, Dan Runcie. This podcast is your place to gain insights from the executives in music, media, entertainment, and more who are taking hip hop culture to the next level.[00:00:35] Dan Runcie Guest Intro: Today's episode is another case study style breakdown, and this time we chose to dive deep on the one, the only Bad Boy Entertainment when it comes to branding and when it comes to marketing. I don't know if there's another record label that has as identifiable as a sound of vibe as bad Boy, you knew what that vibe was.Puff said it himself, they take hits from the eighties, but do it sound so crazy? And that was the formula, and it worked time and time again. What Puff did was smart, it was a modern approach to how Berry Gordy approached the record business with Motown. But then he put his own spin on it, interning with Andre Harrell at Uptown Records, learning from him and then putting his own spin on it even more, making it relevant for the 90s and truly becoming the icon that was synonymous with shiny suits with that Bad Boy flavor.And so much of the success of one of the best MCs ever, the Notorious BIG, some of the most iconic R&B groups at the time, and singers such as Faith Evans, 112 and many more. And plenty of artists that unfortunately also had plenty of challenges and issues when it came to payment, drama, legal disputes and more.And we dive into all of that. I'm joined again by Zack O'Malley Greenburg. He wrote a book called Three Kings, where he dived deep into Diddy, as well as Dr. Dre and Jay-Z in this book, so he's well-versed and shared a bunch of great stories in this one. So let's dive in, really excited for this one. Hope you enjoy it.[00:02:06] Dan Runcie: We are back to talk about the wondrous world that Sean Combs built himself Bad Boy entertainment and joined by the one and only Zach Greenburg. Welcome back[00:02:15] Zack Greenburg: Oh, thanks for having me, Dan.[00:02:17] Dan Runcie: Bad Boy is so fascinating because Puff is someone who has in many ways been this larger than life character even before people knew him externally as that.And he has really stayed true with that throughout his time in hip hop and even before then. And most people know the origin story starting back in his days at Howard. But I think based on the research you've done, I know you have some backstory with some of the lessons and some of the things he did even before that.So walk us back. Who was puff in the early days before the world? Got to know him.[00:02:52] Zack Greenburg: Yeah, I mean, you know, I think the funny part is that, that puffy was always puffy and, you know, it just took a while for a little while for the world to kind of figure it out. But you know, there are these kind of consistent themes when you go back through his youth and you, kind of get a sense of who he was.And, you know, I remember writing my book Three Kings, you know, Diddy being one of these kings, talking to people who grew up around him. He really was that same guy from the very beginning. So even when he was a kid, you know, he spent his very earliest years in Harlem, but then moved to Mount Vernon, kind of a suburban neighborhood.you know, just north of the city limits. And you know, he had not just one paper route, he had multiple paper routes and on every, you know, every route. He had this philosophy of like, he wasn't just gonna take the paper and fling it into the family's yard. He was gonna get up and he was gonna go, you know, open the screen door and put the paper in between the screen door and the main door so that people didn't have to go up and do so like he was, you know, that dedicated, that hardworking from the very beginning. you know, I think another story I learned from his youth, Puffy was like, there was some, Some debate, you know, some kid had a pool party and, Puffy wasn't invited. there may have been some racism at play, we don't know. But anyway, Puffy's solution was to convince his mom to build a pool in their backyard and then start his own pool parties and, you know, I mean, it's like the most puffy move ever, right? So he just ended up finding, you know, wealthier and wealthier backers to build the proverbial pool as the years went on.[00:04:23] Dan Runcie: That is the perfect story to encapsulate him because I feel like I could imagine other people having white parties. He doesn't get invited to the white party, so he's like, all right, bet I'm gonna go start my own white party. And now it's this annual thing, however many years running.[00:04:37] Zack Greenburg: Exactly. I mean, and you know, you know, as you kind of trace his evolution, you know, in between it was the same thing. So, you know, we all know the Howard Days, he was taking the Amtrak up, sometimes hiding in the bathroom, so they didn't have to pay for the tickets. He didn't have any money but, you know, he would go up back up to New York on the weekends, he would plan these parties.He started to build a name for himself. and it was exactly that, you know, so from the pool parties, in Mount Vernon to the parties that he was throwing, you know, his colleges to the White party, you get that through line of Puffy that, you know, kind of continues all the way through, through the Ciroc era, you know, I think, which really makes this sort of art celebration, ethos, you know, all the more credible, right.[00:05:16] Dan Runcie: Right, and you mentioning him taking Amtrak. Of course, that's him going from DC to New York to go to Uptown Records where he pushes and fights to get his unpaid internship. Working with Andre Harrell, who was on the Ascension himself. He had started that record label in the mid to late eighties. He then sees the rise.He's early on, new Jack Swing has so many of the early folks making that sound there. And then Puff comes in, he sees a opportunity to elevate and position that brand because the whole thing that Uptown was about, they were trying to push Ghetto Fabulous. They wanted to show that there was a opportunity for people who grew up with nothing to feel like they had that release.And Andre Harrell, he since passed away a few years ago, but he spoken about this a few times and you can see how Puff at the time adapted a lot of that. He worked with Jodeci. He was so integral with how he styled them and making sure they had the right jackets. And at the time, Jodeci was very much seen as this alternative to Boys to Men, Boys to Men was a bit more buttoned up.They made music that was G-rated that you could play everywhere. And Jodeci definitely leaned into the sex appeal, which is something that we saw continue play through with. Bad Boy records of Bad Boy Entertainment in the future. He did similar with Mary J. Blige, taking her from just being a R&B singer to giving her more of a hip hop Ben, and doing a bit more of that crossover vibe, which is something that we saw again with Bad Boy too.And as Puff continued to show his influence, things started to clash because the intern then becomes VP of A and R, and that VP in A and R starts to butt heads and really challenge Andre Harrell on a number of things.[00:07:06] Zack Greenburg: Yeah. And, you know, I think, you know, like you said, Puff really had an idea of what Uptown could be that was, you know, a little bit different from Andre. But it really worked, right? It was the idea that it was, it had a little bit more of an edge to it. you know, like Jodeci had a little more edge than boys to men.you know, that every artist that was gonna be out on Bad Boy would have like, you know, would have that level of class, but also would have kind of like, you know, kind of like a street smart edge. And so, right, it was like the Tims and the backwards hat, but, you know, maybe you had like a nice jacket.It was that kind of mix. And it was very much like in line with Puffy himself. and I think, you know, it's a theme that you kind of started to see. as kind of, he moved on, you know, whether it was Bad Boy or Roc or whatever it was, the thing was synonymous with Puffy. Puffy was synonymous with the thing. But as he began to later on build these assets, you know, he could sell the businesses in a way that he couldn't sort of sell his own image and likeness necessarily. So, that started with, Uptown for sure, it was Andre's thing, but it started to feel like it was Puffy's thing.And I think there was some thought that, you know, that there sort of couldn't be two kings in the castle. And Andre eventually pushed him out and, you know, that kind of left it, the Diddy, you know, in his early twenties kind of figuring out like, Hey, you know, what am I gonna do next? How am I gonna really start my own thing here?[00:08:22] Dan Runcie: And I have this quote from Andre. This was from a documentary a few years later. He says, when Puff got fired, he was on payroll and his artists were on payroll. He's still recording his artists, but he was able to find the best deal, so we never fired him to hurt him. But he fired him to basically make him rich.I will say that quote is much nicer than certain things that Andre said immediately after that firing, especially in the 90s. But it was cool to see the two of them find opportunities to continue to work together after that. But I think the key thing from his time in Uptown is that he was able to find and work with art is that eventually he started working with on Bad Boy.That's when he first works and discovers Big. That's when he first works and really begins to hone in on that sound. And then he officially launched Bad Boy in 1991, but it really wasn't until 1993. He starts working with Big, he starts working with Craig Mack and then it all leads up to this deal that he ends up signing with Arista records to officially do this joint venture with Arista.Arista, of course, was run by Clive Owen, legendary music executive, and they do their 50 50 split. And as the story goes, Clive was on the fence. At first he wanted to hear more, but then Puff Plays flavor in your ear. Craig Max first single, and he was like, all right, I need to be part of this, whatever it is.So that was the song that took things off and made it happen.[00:09:50] Zack Greenburg: Yeah, I mean, Clive Davis, of course, you know, legendary, record men, you know, discovered Janice Joplin, Whitney Houston, Puffy, like you could say, he discovered all these people. they were, they were kind of there already, and, I sort of suspect they would've had their success even if it were not for Clive Davis.But, you know, that, we could debate that. But, know, Clive Davis certainly had an eye for talent, one way or the other. So, I mean, I think what's really fascinating too is, you know, you got think where Puffy was at that point in his life before he got that deal. He was shopping Bad Boy around right?To a bunch of different labels and it says so much about him and his whole ethos, the way he approached it, and this was another anecdote that I found in my reporting, by one of the founders of The Fader who happened to work at EMI at the time. He was in the room when Puffy brought the Bad Boy deal, to the folks at e Emmi and, you know, so like, just to refresh, here's Puff early twenties, just been fired.Just had his first kid, I think. And also, you know, he'd been a part of, this charity basketball tournament at City College where a bunch of people got, crushed in a stampede. He was ultimately found, you know, not guilty of any kind of criminal charges or anything, but his name was all over the papers.Like there's a lot of negative press around him. He was kind of, you know, almost radioactive at this point, or at least one might have thought that turned out he wasn't. But, so anyway, he goes into this meeting with e Emmi and, you know, Their big thing was, Vanilla Ice. And he sort of goes into this meeting and he's like, that dude's corny.Like, I have no interest in anything having to do with Vanilla Ice. Let me tell you how to run your business. And, you know, so he proceeds to like, give them this vision. And then at the end of it, I mean, and I'll read the quote cause it's just so good. he says, when you guys get in a room with all them suits and you're gonna decide what you're gonna pay Puff, just when you get to a number that you think is gonna make Puff happy, I love how he was referring to himself the third person, right?He says, get crazy on top of that. And then when you're there, I want whipped cream and a cherry on top. and this is the best part, he goes, I don't even want to think about the money. That shouldn't even be an issue. Don't be coming at me with no n-word money. Goodbye. And like that was vintage puff.Like that was billionaire Puffy. Before he was billionaire, before he even had. Like before we had a company. So, you know, I think there's just such a great lesson in there, which is kind of like, you know, the sort of, if you can pull off the, fake it till you make it, if you can have that kind of swagger. And to be fair, not available to everybody and like, you know, don't try this at home, kind of if you don't have it.But man, if you can pull that off, if you have that kind of confidence in yourself, you can accomplish some pretty incredible things. He didn't even, you know, end up going with EMI but I think he made a similar pitch at Arista and, you know, and that ultimately got him the deal, that created Bad Boy and, you know, that was really the engine for so much of, what he ended up achieving as the years went on.[00:12:46] Dan Runcie: That story is one of the reasons why he has lived on to become meed and in many ways become a bit of a gift himself. Whether you look at the Chappelle Show skit where, Dave Chappelle is making fun of making the band, and he has that whole sketch about, I want you to get me some Cambodian milk from a goat, or whatever it is.And it's something that sounds completely absurd, but one, it sounded like a lot of the shit that he would say in that MTV show make in the band. And it sounds exactly like that quote that you just shared from that story. The difference is he did this, whether it was for pure entertainment on a show like making the band or when there was really things at stake, like he was at this point when there wasn't a deal in place, he was recently fired.But regardless of whether he's up or down, trying to get it still the same guy.[00:13:39] Zack Greenburg: Absolutely. You know, and I think it just kind of goes to the point like, did he creates brands. He is the brand. He imbued the brand with his essence. And then the brand becomes that much more valuable, whether it's a brand that he can sell, you know, for some huge gain, or whether it's a brand that is compensating him, you know, handsomely for his association or in some cases both. That's kind of the formula and, you know, not everybody can pull it off because not everybody has a brand that is that clear.[00:14:11] Dan Runcie: And let's dig into this because I think this is one of the things that does set him apart. Denny used to be a club promoter as well. And this is a persona that we've seen oftentimes in music where the club promoter or the party promoter works their way up to then become the executive. You see it now with Scooter Braun, someone who's a billionaire now, or close to it in his own right.And he was a party promoter in Atlanta. You saw with Desiree Perez who now runs Roc Nation. She was a party and a club promoter before as well. And you've seen it plenty of times before and I think there's a few things there. There's a hustle and a relentlessness that you need to have to make that work.You need to create momentum around some of that isn't there. You need to understand and be tapped into what people want to hear and what people wanna do and how people wanna feel entertained and how they wanna leave from something feeling like, damn, I had a good time. We need to go do that again. And that is a lifestyle and what Puff did was aligned himself by building businesses that allowed him to do that. Some of those businesses worked better than others, but I think that is the key through line there. On the flip side, I do think that some of these operators and business leaders can often struggle with the bigger picture because there's so many more elements to building companies outside of the marketing brand promotion and those things, and I think we can get into some of that here because I think we saw some of those dynamics play out with Bad Boy as well.[00:15:39] Zack Greenburg: Yeah, for sure. And you know, I mean, I think one of the things about Bad Boy is it wasn't like this was the first record label to develop an ethos and kind of build a lifestyle around it. And, almost like, assembly line, right? I mean, Puffy was doing that himself at Uptown before he just took that same idea and, Pufified it even more.But, you know, I would kind of almost liken it to Motown. I mean, if you look at, Berry Gordy's role, I mean, you see Berry Gordy, credited as a producer on so many, of those songs and, you know, he wasn't like the only person in the room, producing right? he was putting together the right songwriters, the right musicians, everybody to be in the same place. And he was tying it all together with this kind of Motown ethos. And when, you know, when you had a Motown record coming out, you knew what it was. And I think that's why people in the old days used to be fan people would be fans of like, specific labels, right? They're like, I like the stuff that this label puts out, you know, I trust them. It's almost like, you know, I don't know, you know, Coachella sells out, even before the artists are announced because you know what you're gonna get if you like Coachella and you just trust that that's what's gonna happen. That's what it was like, Motown, that's what it's like with Bad Boy.So I think Diddy really followed that model that he was going to be the person, you know, sort of putting things together, you know, maybe he was going to, do a guest verse here and there. Maybe he was gonna be more involved in the production of this play of this song or another song. but it was really more in the vision and the ethos of the brand, the Bad Boy brand, what that looked like, what success looked like, you know, the Diddy version of success looked like maybe a little different from the Uptown Andre Herrell version. And, you know, it was like, like a little more swagger, like, you know, like a little more edge to it. And he was really able to kind of like, make that tangible. So, you know, I would keep going back to that as like something that sets him apart, you know, following the footsteps of the likes of Berry Gordy and[00:17:34] Dan Runcie: The Motown example is good because they also were able to maximize the most from the broader roster they had from the hits that they had Berry Gordy, of course, was famous for one artist on his record, has a huge deal. Okay, we're gonna get another artist on that record on that label to then do it again.You saw that with Aint' No Mountain High Enough. Marvin Gaye has his version that goes through the roof. Okay, let's get Diana Ross to do her own version, her own spin on it. That becomes a song in its own right. And you saw, did he do this to some extent with remixes? How one artist had the remix that worked out well.Okay, or one artist had the original song that worked out well, okay, let's get the remix now. Let's get the whole Bad Boy crew on this remix to go do their own verse and do this thing. They did that time and time again, and then in the early two thousands he had that album. We invented the remix, and there's plenty of debate on whether or not they actually did invent the remix, but that remix that they did of Flava in Ya Ear with, Craig Mack, and they had Biggie on that one as well. That is one of the more classic iconic remixes that people do go back to. And I think the other way that they're , similar too is some of the disputes that artists have had about pavements and things like that, which we can get into eventually.But that's always been the model. I think there in many ways, you're right, it's more like Motown than it is like uptown.[00:18:58] Zack Greenburg: for sure. And you know, on the Biggie point, I mean, people forget sometimes, but Biggie was originally signed to Uptown and Puffy had to go and get him back, and I think they were able to negotiate his release or his transfer of his deal from Uptown to Bad Boy for something like half a million dollars, which, you know, turned out to be, a pretty good deal all the way around.So, you know, he knew that sometimes he would have to shell out and, you know, he did from time to time. That certainly didn't stop there from being disputes, as time went on. But, you know, I think one of the other fascinating things is sort of this interplay, you know, he really walked this line, of sort of like, you know, the corner in the corner office, right?you know, the boardroom, and the street, and, he played up this sort of like lineage that he had of the Harlem gangster world like his dad, Melvin was an associate of Frank Lucas from, you know, the subject of American gangster. And you know, like his dad was known in Harlem. I think they called him, pretty Melvin.Like he was very flashy, you know, he always had the best suits and, you know, and all that kind of thing. But, you know, he definitely came from that sort of like grand gangster era. you know, Frank Lucas and Nick Barnes and all those guys. I mean, that was sort of Puffs lineage.And he definitely played up and he certainly played up, you know, sort of different sort of, street edge, you know, when things got heated in the Bad Boy Death Row situation. But at the same time, he never really wanted to go too deep into it.And I talked to somebody who sort of grew up around him, and he called him Jimmy Clean Hands, you know, because he didn't really want to get like, like he used the association. When it was sort of convenient, but also he didn't want to get too deeply associated, with that side of things.So, to me it's, a really fascinating tightrope walk, how he pulled it off. And, if he'd gone further, toward that side of things, I don't think that would've ended well for him. And if he hadn't gone quite as far as he might not have had, you know, a certain credibility or an edge that, you know, that contributed to so much of the success of Bad Boy, especially in those days.[00:21:04] Dan Runcie: And he did it at a time in the 90s when it was easier for hip hop stars to be able to control the narrative and push what they wanna push and not have other things cover or not have other things be uncovered, or all these internet rabbit holes. I could imagine him trying to do this 10, 15 years later, and it could be a situation like Rick Ross where all of a sudden there's photos of you as a correctional officer popping up on the internet and people are like, bro, what the hell's going on here?I thought every day you were hustling. I could have seen something like that happening the same way that Diddy, but by the time that plenty of people have had those debates about, oh, well, you know, Diddy was actually a kid that grew up in the suburbs and went to college and X, Y, Z, and there's plenty of ways that you could flip that story, but by the time that even became a discussion point, at least in circles where I heard him growing up, he was already an established star.So there was really nothing else that you could do at that point.[00:21:58] Zack Greenburg: yeah. And I guess he could walk that line because he really did kind of embody both, right? Like he was the son of a, you know, a Harlem gangster. he was born in Harlem. His dad was killed, you know, on I think Central Park West and 108th Street or something, you know, in a dispute a case of I think mistaken identity.I mean, so there were real, you know, tough things that, he was born into. And at the same time, he was also, you know, like the college dropout. Like you know, he went to school, he did his thing like, you know, you could say he was like a proto backpack rapper in some ways, like if you wanted to spin it that way.And he kind of embodied both of these worlds, but I think that really, if he hadn't actually lived both those lives, it would've been harder to sort of embody them simultaneously as he did.[00:22:47] Dan Runcie: And even in him, in his own right, there were many incidents that he had that people felt could have supported this narrative that he wanted to, for better or worse, whether it was the 1990 Club nightclub, the 1999 nightclub shooting after the Nas Hate Me Now Music video, him and his team going into Steve Stout's office and then, you know, assaulting him.And then everything that came up after that, or even as recently as within the past 10 years, the incident at UCLA with the coach yelling at his son. There's been plenty of things that have came up that show, you know, that the relentless, the temperament that could often work against his advantage as well.[00:23:26] Zack Greenburg: Yeah. I mean, you know, didn't he bash Steve Stout over the head with a champagne bottle or something? I mean, you know, but what's that line? We back friends like Puffy and Steve Stout, you know, like it, 50 cent had that line. I think he has a remarkable ability to, you know, to end up being sort of friendly with, people who he had these disputes with in the past.So, you know, whether, Steve Stout or, Shine or whoever, like, he finds, various ways to, sort of bridge divides in the end. I don't know how it turned out with the coach from, was it UCLA, or USC. But I suspect that's fine too. but yeah, he does find a way of patching things up.[00:23:59] Dan Runcie: No, he definitely has and we could talk a little bit more about some of the disputes that came with some of the artists, but I do wanna talk a bit about the business of Bad Boy itself and how it went about things. And one of the things that we saw from successful record labels, of course, Zach and I have done past conversations on Cash money, and Roc-A-Fella, and they'll always find innovative ways to work within their constraints or find ways to make things work even when you don't have all of the resources in the world.And one of the things that Bad Boy did was they really leaned into sampling and sampling hits from the eighties and making them the most successful things they could be. What's that line from that May song Making, taking hits from the eighties make 'em soundso Make it sound so crazy. Yeah.so they have their in-house production as well with hit men who then do most of the production, and they give you that Bad Boy sound that you can identify when you hear it immediately on a song, whether it's a total song or it's a one 12 song.And they were able to do that and that formula worked so well because you had this generation that grew up listening to those songs because their parents heard all those songs as well. These are black music classics and then they were able to repurpose them and because of the time and things weren't quite as oversaturated, it sounded quite authentic in a way where I think even some samples now can feel almost a bit forced because you can be like, okay, they're really trying to work that artist.And who knows? I might be also looking at this now, someone in my thirties as opposed to in the 90s, looking at it as someone that's growing up experiencing this. But still, I do think that there was a bit of like a authenticity and a vibe that they were able to create with each of those sample tracks.And plenty people tried to do it. Of course they didn't invent it. I know that Death Row and NWA, Dr. Dre had done it successfully before Diddy, but Diddy and Bad Boy were definitely able to put their own unique spin on making that as effective as it was.[00:25:57] Zack Greenburg: Yeah, definitely. I think, you know, I mean, I think to your point, but it, like it really opened up this sort of aspect of mainstream hip hop when, you know, maybe there were some radio stations that weren't gonna play some of these songs, but, you know, like a puffy song or a biggie song ordinarily, but, you know, if you have like, Oh, that's David Bowie in the background.Like I'm familiar with this. then, you might be sort of like more inclined to put it on the radio if you were a certain kind of dj, which then might reach a certain kind of listener who didn't, you know, ordinarily listen in hip hop and, you know, and you kind of have this, kind of snowball effect.you know, sure.[00:26:32] Dan Runcie: And then from a personal perspective, I'll be the first to admit the amount of songs that I had heard the first time as Bad Boy Version. And then growing up, you then later hear the original one that they sampled from the eighties or seventies, whatever Disco tracker, soul Tracker was, and you're like, oh, that's what that song was from.It's happened endless times and it continues to still happen.[00:26:54] Zack Greenburg: Yeah. I must confess, I heard I'll be missing you before, I heard I'll be watching you, so, yeah, yeah, yeah, yeah. you know, so yeah, and I think a lot of that narrative around the sort of peak Bad Boy sampling era, you know, I think it gets unfairly criticized as sort of being uncreative and like, you know, essentially just being cover and, not adding much to it.But, I disagree entirely, and I think that in addition to creating a different song with a different vibe and everything, you know, th those songs did introduce a whole generation of people, to eighties music that, you know, they may not have been alive to have heard, you know, from, you know, let's say I was born 85, some of these songs came out before I was born.So, yeah, I think that does get missed sometimes.[00:27:35] Dan Runcie: Yeah, and I'm in the same boat. I knew Juicy before. I knew the original Juicy Fruit. I knew Mase Bad Boy before I knew Hollywood Swinging, and I could go on and on with all the songs that they were able to help in introduce and connect the dots there. Another thing that I think Bad Boy did at this time that was a continuation of Uptown was how intentional and borderline maniacal Puff was about continuing that image.So, they had the Can't Stop Boat Stop documentary that came out a couple years ago. And the artist from one 12, which was the main male R&B group that Puff had signed to the record label at the time, they said that they were styled, dressed and personified to be an image of Puff themselves, to essentially be Puff as R&B singers, which was really interesting.And then on the more controversial side, which I don't think would ever fly in the same way today, Faith Evans, who was married to Biggie at the time, she was sent by Puff to go to tanning salons cuz she a light-skinned black woman. They sent her to tanning salons so that her skin can be darker because he wanted to be able to sell her as a certain image that would never fly again the same way today.But that's how Puff was. He was so maniacal, even things down to the nail color and things like that for women. He wanted to make sure that people looked a certain way.[00:29:01] Zack Greenburg: Yeah, and I think what's, you know, especially interesting when you, kind of zoom back on the 90s and that, that era of Bad Boys, you know, given the level of control he had over, you know, that level of detail, you know, the whole east coast, west coast thing, the whole Bad Boy Death Row thing obviously got way out of control.and, you know, culminating in, the desert of big and pop and you know, obviously we don't know exactly who was behind each of those things, but it's, you know, still kind of debate to this day. But, the fact is that, you know, got kind of wrapped up in this kind of, know, sort of thing, like the fact that Puffy could bring Bad Boy back from that, and kind of like continue to have the same brand, you know, after everything that went down, you know, I think is another testament to like the identity of the brand, right? I mean, you know, cuz I remember in that period of time hip hop was really under fire from, you know, so, you know, like the Tipper Gores of the world and the parental advisories and all that, and there was this narrative of like, oh, this music is dangerous.And there was a whole period of time, you know, after everything that went down, in the mid to late 90s, like there were questions like, is hip hop? You know, really a viable commercial genre? Are brands really gonna want to be attached to this? you know, because of the violence that happened, you know, really publicly there.And I think, you know, whether you love him or hate him, like, I think he deserves some credit for pulling things back from the brink. you know, regardless of whatever role he played in getting them, to the brink, but he really did kind of pull things back from the brink and show that hip hop could be this, you know, commercial force.you know, that would be like a mainstream success sort of thing. And really pretty quickly, after all this went down,[00:30:39] Dan Runcie: If you go back to winter 96, the height of this beef, you have that infamous vibe cover with Tupac, Dr. Dre Snoop, and Suge Knight. They're there, the Beef and Bad Boy and, Biggie as well. Were on respective vibe covers as well. If you asked people, okay, five, 10 years from now, which of these two record labels will be in the stronger position, you probably would've put your money on Death Row.To be frank, they had the better artists just from like a roster perspective. With those four, the leadership seemed in many ways quite as strong and there were similarities there as well. You had these two relentless, large and life figures. Granted, Suge and Puff are very different in a lot of ways, but that's where you would've taken things.But then two years later, it's a completely different story. Death Row is imploding and bad Boy had the biggest year that any record label has ever had. If you look back at that 1997 to 1998 stretch, and this is after the death of the biggest rapper as well, they end up releasing Biggie's second album, Life After Death, ironically, 16 days after he passed away.And then Puff himself becomes this larger than life icon. He releases his own album, Puffy, P uff Daddy, the Family, No Way Out. And they continue to go on this run. And in many ways, as other heads and other figures in hip hop have faded and necessarily taken their own path, he continued to stay on that.It really is a remarkable journey when you look at each of those steps in it, because I probably would've put my money on Death Row if I didn't know better.[00:32:21] Zack Greenburg: Yeah, Yeah, I mean, it sure felt that way, right? I mean, but if you kinda, if you compare the leadership, if you compare Puffy to Suge, you know, I think that so much of, you know, the back and forth between Bad Boy and Death Row, you know, it was a case of like, these guys were playing a role, right?I mean, they were, it is funny in some of my reporting, people say like, both Puffy and Suge, especially Suge, were sort of, it was like they were acting in their own bad gangster movie. And I think the main difference was, you know, Suge really came to believe it and live it in a way, that Diddy, didn't quite do it you know, as we were saying before, Diddy kind of walked that line.but Suge just kind of got deeper and deeper into it, and that was kind of who he was, you know, all the time. So, you know, that there's not really like, kind of like a way to, back out, you know, to kind of come up for air when you, when you've kind of like gotten that deep into it like Suge did. I think that was the main difference, you know? I mean, I think he became just completely, you know, is like possessed by this image that he created for himself. And he started to live it, you know, all the time and Diddy's ability to sort of walk the line and step back, you know, I think that's what ultimately kept Bad Boy in the position that, you know, that stayed and kept him in the position that he continued to be in.in[00:33:42] Dan Runcie: And everything that went down to that 1995 Source Awards is a perfect example about how they dealt with this whole thing. Suge and Death Row, famously win Best soundtrack for Above the Rim. He goes up, accepts the award, and he makes the infamous line. If you wanna sign with the label, you don't wanna have your executive producer all on the record, all on the video dancing come to Death Row, and then you see.Puff is there just looking, not saying anything, but everyone knows who he's talking about. But then later on the night Puff goes and is on the mic, he doesn't go necessarily take a shot back at Suge, but he just makes some type of more global statement, Hey, we're all in this together. I forget Puff's exact quote, but that's a perfect example of this, right?Of knowing that line cuz as we know, puff had a temper. Puff wasn't afraid to throw down in the moments, right? But he knew that in that stage, in that setting, especially even on his home turf, this was all the West Coast guys coming there because, you know, there was that famous scene of Snoop Dogg standing up being like, East Coast ain't got no love for Dr. Dre and Snoop.That's my horrible Snoop dog voice there. But Puff was cool, calm, collected during all of that, and as you put it, the difference behind the difference between the two of them is more than puff deciding to be all the video and should not be in, the video. The same way it was everything that you explained it more.And that is one of the biggest reasons, I think for that difference. And what helped Bad Boys essentially be even stronger, unfortunately. So after Big's death,[00:35:21] Zack Greenburg: yeah, totally. And you know, I think with Puff, he ultimately. He had that calm, cool, collected side to him that came out, you know, I think at, helpful points, but he was ultimately about, you know, protecting the bag, right? Like Diddy is a business, he is the business. And he, knows that he has to kind of keep that in mind.And I think, you know, Suge on the other hand just kind of like got too deep in his own narrative and couldn't kind of like poke his head up over the clouds and see the view from, you know, 35,000 feet or whatever. So, I think Diddy's business sense, you know, I think ultimately helped keep him, keep him, you know, just above the fray.So, still super remarkable when you look at it. He threw that first white party in 1998. That was really, that was what, like a year, a year after Biggie was killed. And, you know, just to give you an idea of the kind of stuff that was going down. I mean, he bought this house in East Hampton, and he decided that he was gonna throw the most exclusive party people just to give the background.I did some reporting on this too, but like, it apparently if you got invited to the white party and Puffy's White party, you could not get in If you wore like a cream suit, they'd throw you out. If you had, like a blue stripe on your white shirt, they would throw you out.So you had like grown men running home to get like an all white proper shirt to go to these parties. And you know, like pretty quickly you had Martha Stewart and Howard Stern and Donna Koran and like, Donald Trump used to go to these parties, you know, with his daughter everything. So, it was kind of like a who's who of like a certain type of celebrity in the late 90s.And to go from, you know, from the depths of the East coast, West coast thing to that, in like a year. I think it just shows how Puffy's able to kind of flip things around and that's what he was able to do with Bad Boy. He pivoted the whole narrative and suddenly it was about Puff Daddy, the family.It was about, you know, Godzilla soundtrack and, you know, doing the thing with an orchestra and Jimmy Page and whatever. And, you know, singing, he's able to like recreate himself and also these brands like Bad Boy that's created in his image. you know, like in a remarkably quick timeframe, I think.[00:37:38] Dan Runcie: And to share some numbers on this era. This is peak Bad Boy. I would say this whole 97 to 1999 stretch. 1999, they sold 130 million worth of records. And for some context there, that was more than Madonna's Maverick label had that year. And this was, or Madonna, during that whole Ray of Light era, if I'm remembering the timeline, and Beautiful Stranger, if I remember the timeline correctly and more than Def Jam had at its peak that year, and this was, we did the Def Jam pod recently.This was around the same time that Lyor was trying to get X and Jay-Z to release those albums in the same year, and Bad Boy was still doing its thing then they're Puff Daddy and the Family Tour. They went on their own arena tour, they made 15 million that year, and Puff was starting to extend himself in the same way that we saw other moguls do the same.We talked in the Roc-A-Fella episode about, this was the time that Dame Dash had started to have different partnerships in film and district and sports and things like that. We saw Master P as well in the late 90s get his hand involved with a number of things. And one of the things that stuck out from this era is that Sean, is that, did he actually made a partnership with Johnny Cochran at the time, who was his attorney during all of the drama that he had in the late 90s after that nightclub shooting. And they started a management business that was gonna be focused on NBA players. And this just gives you an idea of all of the things that he was interested at the time.So it really is remarkable. And a lot of it came because Diddy himself was putting himself out there. He became the brand, it was him putting it on, and he really became the most successful artist on this label. But around this time, if you start talking to some of the other artists on the label, they start to get a bit frustrated because they feel it's no longer about their development.It is now about Puff building and doing everything for himself.[00:39:36] Zack Greenburg: Yeah, and I think that's when you know, he really starts to have all these brand extensions and, you know, you can see there's actually, I think the first Forbes cover on a hip hop artist was Puffy in 1999. And, it was a celebrity issue. And they had, Puffy and Jerry Seinfeld on the cover together, which always cracks me up.But, you know, Seinfeld's wearing this suit and Puffy's got this like Sean John denim t-shirt on. you know, just like a walking advertisement on the front of this magazine, which is just brilliant. And, you know, so he is got that going. He's like opening restaurants, you know, and like really kind of like realizing that, he could be not only the sort of the straw that stirs the drink and like the producer and whoever behind the scenes, but also the, you know, the main artist.And you know, I can imagine that being another artist on Bad Boy at this point, could start to get a little frustrating.[00:40:28] Dan Runcie: Right. And I think he had a quote around the time he wanted to be David Geffen. He wanted to be bigger than David Geffen. And of course this was Pete Geffen making moves with Dreamworks and everything else. Still being, in many ways, music's prominent mogul. That was due his thing there. And this was around the same time that we have another quote from, Andre Harrell.And I remember if you mentioned earlier, or if I mentioned earlier, there were some other quotes at the time that were less favorable than Diddy, than the ones that Harrell ended up having later. This was one of them. He said, and this was in a New York Times 1999 interview. He, Puff, gotta separate the young man thing from the business thing.If there's an incident where the situation is going in a way that he feels slighted or disrespected, the only way for him to handle it is as if he was a 45 year old IBM, CEO, which is a very interesting way. But he's essentially saying, Hey, you gotta change your act based on where you're going and where things are.And this is, that trending the line that we're talking about that I think that Diddy was eventually able to get to. But there was still some question marks about that and the trajectory in 1999. But to some extent, I think that kind of played to as factor. There was something about, especially some of those celebrities you mentioned, these are some more buttoned up, you know, white celebrities that never really did much on a, anything that was risky.So someone that has the image of Puff at that time, it's like, Ooh, I'm doing this risky thing. It's almost like the person in high school that wants to date the Bad Boy literally called his label bad voice. So they're leading into that whole persona, and I think it worked a bit to his advantage there as well.[00:42:07] Zack Greenburg: Yeah, totally. And you know, another thing people talk about, you know, I think that this time, and a lot of times I think there's a lot of jealousy going around and, you know, Puffy does this, puffy does that. But, know, one of the things that I, that I've always heard is that, Like, yeah, he's the last one at the club and you know, he's always out and, doing whatever, but he's also the, first one in, like, he outworks everybody and you know, he's somehow manages on, you know, like a couple hours of sleep at night or something.I mean, this is another thing you sometimes hear about fantastically successful people. I hear about this, about like Richard Branson and other people too, that they just can operate on four hours of sleep or something like that. And man, you know, I mean, if you think about it, if you have that much confidence and you're that brilliant, and then also you get an extra four hours a day, you know, you get another, was it, 28 hours a week, you get like an extra day every week basically to just like do shit.that's pretty hard to, contend with. I mean, like an extra day, like two extra waking days, to get things done. I mean, that, that's a pretty big advantage.[00:43:13] Dan Runcie: That was a whole 90s mentality from, overall, from people that were successful. Now that I'm thinking about it, cuz of course Richard Branson, that the 90s was a transformational decade for him. You are Bill Clinton, especially when he was president, talk about getting four or five hours of sleep at night, still being able to operate and do his thing.Even folks like Madeline Albright, who worked for him and in his cabinet were doing the same thing. And even someone like Kobe Bryant, there's that memorable. A piece of the Redeem Team documentary that came out on Netflix last year, where the younger guys at the time, LeBron, Bosh, Wade, were all going out to the club.Were all gonna go out for the night because that Olympics was in Beijing and they're coming back from the club and Kobe's on his way to the gym in the morning. And then Kobe spoke about this himself as well. He is like, no, I'm gonna do another practice to wake up earlier than everyone else. So you think about how this compounds over time, and that's what you're saying about how that essentially gives you two, three extra days a week.You do that time and time again, and just how much better you get. Granted the fact that those people can still do that while not requiring that much sleep. I know. I mean, I couldn't do that myself. I need those hours of sleep, but I commend those people that can.[00:44:25] Zack Greenburg: Yeah. I mean, and who knows, you know, from a health perspective, how it affects you, you know, sort of like later in life and whatever. And, you know, do you lose more years of your life on the tail end because you didn't sleep more earlier? I mean, I guess we'll never really know, and it's hard to kind of pull out the factors and really test that. But in any case, you know, it does give a decided advantage, at least in the, present tense. And, he really kind of like worked with that. but you know, I mean, and then just when you thought that he was kind of out of the woods, with the specter of violence, you know, again, 1999, there's the whole thing in the club, a gun goes off, you know, there's this whole like, situation, Diddy and Shine are in the club. There's this dispute, whatever, and you know, who knows what really happened, but at the end of it, Shine went off to go to jail. And, you know, and Diddy ended up, you know, without really any kind of anything other than like, a little bit of reputational hit.So, I think that, you know, he continued to walk that line, right? And there were just these instances kept popping up. But once again, he always managed to sort of, you know, avoid any really serious repercussions and then, you know, go on to some even bigger and better commercial thing, shortly thereafter, you know, which he did eventually with Ciroc and, what have you.But, you know, it didn't really seem to hurt anything with Bad Boy. Although I think around that time, you know, his career as a solo artist started faltering a little bit to be sure[00:45:42] Dan Runcie: And I think this is a good time to talk about the proverbial Bad Boy curse that's been discussed. There are a number of artists that have had their issues with Bad Boys, specifically with Diddy in terms of whether they feel like they were fairly compensated for things. And it's artists like Faith Evans 112, Mark Curry, and the Locks as well as most recently as a couple years ago, Mase famously people that have publicly claimed to try to get what's theirs called out Diddy for not doing certain things.And then on the flip side, you have people that surrounded themselves with Diddy, and Diddy was the one that came out, scott free, and they were the ones that ended up in challenges and some of that Diddy benefited from by associating himself with them, but they didn't necessarily work outta that same way.You of course mentioned Shine, who, his career never really took off after he had that brief moment where that Bad Boy song came out. I think that was in 2000. They had sampled that, the Barrington Levee reggae song and then had him on that. But you had a few instances like that. I look back on one of my favorite songs from The Bad Boy era.let's Get It with G. Dep and Black Rob. And the sad part about that song is that you have G. Dep, the first person that was. Or essentially his lead single, he's saying that he's saying, or he did special delivery as well. G. Dep eventually ended up being locked up for a murder that he had done in the 90s, but then it had some run-ins after that Black Rob unfortunately passed away a few years ago, and I don't think was ever really able to capture that momentum after Whoa. And a few of the other songs he had with Bad Boy had come out. And then of course you had Diddy who, you know, is still thriving doing his thing.And I think that's true as well. You look at an artist like Lone who l kind of had his moment where they were trying to make lone really be a thing, especially with the, I need a girl, part one and part two, but then Loon as well, ends up getting locked up. I think there was a heroin charge or something like that.So all of these folks that were around Diddy in some way ended up having their challenges. Not all of them, but some of them.[00:47:50] Zack Greenburg: For sure. And I think, you know, probably around this time, you know, the sort of like the turn of the millennium was, you know, the moment, when did he kind of realize that he had to, he did have to start figuring out his next step. And if it wasn't gonna be him, as an artist, you know, and it wasn't gonna be somebody else on his roster, it was gonna have to be something else. And so I think this is sort of like when you think about the Bad Boy era, you know, I don't know, I think about it as sort of like early 90s to late to, you know, to really the end of the decade. And although, you know, of course it went on and it continues to stay at different, you know, sort of capacities.It's like that was sort of the prime era. And, I think once the fortunes of the label became too closely intertwined with Diddy's as a solo artist, then when he stopped being such a big deal as a solo artist, the prospects of the of Bad Boy itself were a little bit more limited.[00:48:45] Dan Runcie: Agreed. Question for you. Do you think that, well, lemme take a step back. In the Cash Money episode that we talked about not just the disputes people have had with Birdman and Slim over the years, over disputes, but also the notorious reputation that they've built up. Do you feel like the reputation with Puff is similar in that way?And if it's different, why do you think so?[00:49:09] Zack Greenburg: So you mean Puff like the Cash Money sort of similarly having trouble paying people?[00:49:13] Dan Runcie: Yeah, Yeah, and whether that reputation has stuck with Puff the same way that it's clearly stuck with Bert and Slim.[00:49:21] Zack Greenburg: I think they both have, you know, or rather the three of them, I think it does follow them around, but in different ways. I mean, I think, I think with cash money, there's some element of it that's like, well, you know, I think their response to a lot of it is this stuff began when, you know, the things weren't properly papered up and, you know, nobody really knew how these things worked and blah, blah, blah.And you know, you can sort of agree with that or not, right? Or maybe you could say it is to some extent your responsibility to make sure things are paid up, you know, once you become that successful. but, you know, I think that Puff was sort of like, you know, Bad Boy was, done through Clive through real estate.It was done through a major label, sort of from the beginning. And, you know, I think you could argue actually that that's why Cash Money was ultimately worth more, like, was like a bigger source of the Williams Brothers wealth than Bad Boy ever was, for Diddy. And he had to go, you know, do these other things. But you know, like it wasn't as though there were no lawyers involved. It wasn't as though there wasn't some big record label apparatus. There absolutely was. And you know, so I, think that excuse sort of like, doesn't fly quite as much. it's probably not leveled quite as much with him either, but, you know, but it's definitely there and, it's sort of like, it's hard to look past it in some regards.[00:50:41] Dan Runcie: Yeah. I think that one of the reasons why I think the public image of it is different is because of the businesses that the two are involved in. Bird man's a music man almost in the same way that Clive Davis is a music man. That's what we know him as even in the conversation you had shared last time where you were doing this extensive feature profile with them on Forbes and you were gonna have another follow-up conversation with him that night, and he's like, no, no.Bird Man's still in the studio. He's doing his thing like that's what he wants to do versus Puff has his interest in all these other areas, beverages, spirits, sports, entertainment, now with Revolt or Sean John, or whatever it is. So there's so many more things we know him as, or he's running the New York City marathon, he's trying to launch this thing, and all of those things can broaden your image of him.So if you hear a complaint about the one particular aspect of this business, that's one area of what he's doing, as opposed to us knowing Bird and Slim as. The owners of this record label, and now there's a dispute with the one thing that we know them for.[00:51:49] Zack Greenburg: Yeah. Okay. I see what you mean. So it's sort of like, in a way it's less central like the music is less central to his identity, therefore we hear less about the disputes because we just hear less about the music side overall.[00:52:01] Dan Runcie: Right.[00:52:02] Zack Greenburg: Yeah, that makes a lot of sense. I mean, and then, when you look at what happened to Bad Boy, you know, even just from a corporate perspective, it was a 2005, he sold 50% of it to Warner for 30 million bucks, something like that.So, obviously that, means, you know, by those numbers it was worth 60 million. At the time there was probably just the recorded music side and there was publishing as well, which is separate. I think you did some other publishing deals too, but you know, that number in 2005, I mean, I'm sure that's lower than.Cash money was valued at in 2005. But, you know, he just kind of made the decision to pull some money off the table, right? And I think that says some, something about his priorities too, that he wasn't that focused on the music side of things. So, you know, like, let's make this deal and then move on, to the next thing.And I think a couple years after that was when he launched Ciroc or, you know, came on with Ciroc and launched his Ciroc campaign presence, whatever you wanna call it. you know, partnership thing. So, I think ultimately for Bad Boy, you know, I think it had a peak that was as high as really, you know, any label, in hip hop did.But its fortunes became so wrapped up with Puffy that once, once he moved away from music, it's like, how are you ever really gonna come back from that?[00:53:15] Dan Runcie: Right. It really wasn't a business it was a business, but almost in the same way that a lot of people that are creators now and trying to do things, there's this ongoing discussion or debate they have about whether are you trying to build a business with a roster around you, or is this more so a soul entity?And I think Bad Boy definitely saw both of those things, but you normally seen in the flip side where you start with the lead person being known as the thing, and then they add the roster around them. But Bad Boy was kind of the opposite, where you had this roster and then it becomes the lead person becoming more known for the thing.[00:53:48] Zack Greenburg: And I think it moved away from that assembly line idea, you know, the Motown thing, the Coachella thing, whatever, you know, you're gonna, buy the tickets for, you know, who's there. It just became all about Puff and, you know, I think in a way he realized it was more lucrative that way, right? N o matter how involved he was in however many different pro projects as sort of the, the Berry Gordy, he could make more, you know, for himself being Puff. And in a way, when you look at Ciroc, it's like, you know, it's the same thing, right? Like he's selling the Art of celebration. He's selling his brand of success. He just doesn't have to sign other artists to it, you know? So I see has Ciroc Boys, you know, that's, I mean, it is almost like a record label to some extent, you know, if you like an extension of, Bad Boy. If you think about, you know, the different artists who are kind of like involved on some level, you know, over the years with that brand, it just, you don't have to get involved in like publishing and, you know, licensing and mechanical royalties and all of that fun stuff.[00:54:50] Dan Runcie: Right. And I think with that it's a good chance to talk about some of these categories we have here. So what do you think is the best signing that Bad Boy did?[00:54:59] Zack Greenburg: I think a hundred percent, you gotta go with Biggie, no doubt. I mean, you know, if you're calling the signing $500,000 to get him over from uptown, you know, plus whatever they ended up paying him. I mean, you think about the success of Life after Death and all the other albums and, you know, the albums that, were sort of in the hopper after he died.I mean, I think hard to top that.[00:55:19] Dan Runcie: Agreed. Yeah, No debates there. That was the same one. What do you think is the best business move to come from Bad Boy?[00:55:26] Zack Greenburg: I would, I would argue that, I would argue Sean John because, you know, in creating the Bad Boy image, that was, you know, really bankrolled like all those videos, obviously Bankrolled by Arista, bankrolled by, you know, the, parent company, you know, Puffy created this aura around himself, which was very fashion oriented.And then he was able to parlay that into creating, you know, an actual fashion brand that he owned, or at least, you know, partially owned and himself, which then generated hundreds of billions of dollars. And then he sold and got, you know, whatever it was, a hundred million dollars and he bought it back.but anyway, he did really well for himself. I think with the help of this shine that was kind of like given or enabled at least, by a Bad Boy.[00:56:13] Dan Runcie: Yeah, I think that's a good one. The other thing that I wanna give some love to, that we haven't talked about much yet, but was the Bad Boy Street team and how they went about promoting and pushing their records all over the major cities. A lot of people may think that Bad Boy invented to the street team.I think I still do give loud of records credit for that, but Bad Boy did take things to another level, and this goes back to Puff and his strength as a promoter. This is what Club promoters do. This is how you push and get the word out there. So he's able to replicate himself. He's able to empower the people to feel like they're part of Bad Boy himself and making sure that they're styled in the same way, to be able to help sell that same image that Puff wants to sell himself.And you saw him replicate this as well with Ciroc Boys and things like that. And shout out to Sean Perez, who worked with Puff at Bad Boy and on Ciroc on this same strategy.[00:57:07] Zack Greenburg: Yeah. Although, you know, it was a great one, and a great strategy, but it didn't always work. What's the line? I felt like Bad Boys Street team, I couldn't work. the locks.True.[00:57:19] Dan Runcie: Yeah. Usually worked. But yeah, they just needed to see the vision as they said. what's the best dark horse move? You have a good one for this.[00:57:27] Zack Greenburg: Yeah. Yeah, yeah. Okay. maybe a little controversial. I don't know. I'm gonna go shine. Because if Paul hadn't signed Shine, I mean, I don't know, you know, I'm not a lawyer or anything, but, all I know is that something went down in that

Two words: no excuses. While serving in Afghanistan, U.S. Marine Sergeant Kirstie Ennis was severely injured in a helicopter crash, resulting in the amputation of her left leg. Amid a grueling recovery process, Kirstie accepted her fate and kept going no matter what. She joins Liz on the podcast to discuss how she struggled mentally to overcome this horrific hardship, eventually turned her life around, and even scaled the tallest mountain in the world, Mount Everest. Follow Liz on Twitter: @LizClaman Learn more about your ad choices. Visit megaphone.fm/adchoices

Remember the Titans: A Triumph of Unity, Resilience, and the Power of SportsA true story that may not be as true as it appears to be but is still a cracking sports movie and social commentary!"Remember the Titans" is a powerful sports drama directed by Boaz Yakin that tells the inspiring true story of a high school football team's journey toward racial integration in the early 1970s. With stellar performances, a heartfelt script, and masterful direction, the film leaves an indelible mark on viewers, showcasing the immense power of unity and resilience in the face of adversity.Set in Alexandria, Virginia, in 1971, the story follows the newly appointed African-American head coach, Herman Boone (Denzel Washington), as he faces the monumental task of leading the T.C. Williams High School Titans, a racially diverse team, through the process of integration. As tensions rise within the team and the community, Coach Boone and his assistant coach, Bill Yoast (Will Patton), strive to unite the players, challenging them to overcome their differences and work together to achieve greatness on and off the field.At its core, "Remember the Titans" explores themes of racial discrimination, equality, leadership, friendship, and perseverance. The film examines the destructive impact of prejudice and highlights the transformative power of empathy, understanding, and teamwork. It reminds us that change begins when individuals rise above their differences and unite in pursuit of a common goal.Denzel Washington's portrayal of Coach Herman Boone is nothing short of exceptional. With his commanding presence and unwavering determination, Washington captivates the audience, embodying the strength and resilience required to navigate through the tumultuous times. Will Patton delivers a nuanced performance as Coach Yoast, portraying a man torn between loyalty and the pursuit of justice.The supporting cast, including the young actors portraying the Titans football team, delivers standout performances. Each character represents a unique perspective and experience, and their emotional journeys are portrayed with authenticity and depth. From the charismatic team captain, Julius Campbell (Wood Harris), to the spirited and courageous quarterback, Ronnie "Sunshine" Bass (Kip Pardue), every actor brings their character to life, allowing the audience to connect with them on a personal level.Boaz Yakin's direction is both sensitive and evocative, capturing the essence of the era while weaving together a powerful narrative. His ability to balance the emotional intensity of the story with moments of humor and levity is commendable. Yakin skillfully guides the audience through the intricacies of the racial tensions, highlighting the transformative impact of the football team's unity on the broader community."Remember the Titans" expertly blends the personal stories of the players and their struggle for acceptance with the larger societal context of racial integration. The screenplay, written by Gregory Allen Howard, is a testament to the power of storytelling. It weaves together moments of triumph, heartache, and self-discovery, taking viewers on an emotional rollercoaster ride.The film's cinematography beautifully captures the essence of Alexandria, with its sweeping shots of the town and intimate close-ups of the characters. The football sequences are particularly well-executed, immersing the audience in the intensity and physicality of the sport. The use of slow-motion and dynamic camera angles enhances the dramatic impact of the games, making them exhilarating to watch.The film's soundtrack, featuring a mix of Motown classics and powerful anthems, perfectly complements the emotional beats of the story. From Marvin Gaye's "Ain't No Mountain High Enough" to The Temptations' "Ain't Too Proud to Beg," the music enhances the film's emotional resonance, immersing the audience in the era and further heightening the emotional impact of key moments. Since its release in 2000, "Remember the Titans" has achieved iconic status, resonating with audiences around the world. Its powerful message of unity and racial harmony remains as relevant as ever. The film serves as a reminder of the progress made in the fight against discrimination while highlighting the work that still needs to be done."Remember the Titans" not only entertains but also educates, offering valuable lessons about empathy, compassion, and the importance of embracing diversity. It continues to inspire discussions about race relations, leadership, and the transformative power of sports"Remember the Titans" is a timeless classic that stands as a testament to the triumph of unity, resilience, and the power of sports. With its exceptional performances, heartfelt storytelling, and powerful themes, the film leaves a lasting impression on its audience. It serves as a reminder that when individuals come together, they have the capacity to overcome adversity and create a better, more inclusive world. "Remember the Titans" is a must-watch for anyone seeking a deeply moving and inspiring cinematic experience.Please follow the Podcast and join our community at https://linktr.ee/borntowatchpodcast If you are looking to start a podcast and want a host or get guests to pipe in remotely, look no further than Riverside.fmClick the link below https://riverside.fm/?utm_campaign=campaign_1&utm_medium=affiliate&utm_source=rewardful&via=matthew

Welcome to the 19th episode of "First Comes Love Then Comes Marriage" podcast! In this captivating installment, join our hosts Lindsey and Aaron Jackson as they sit down with the renowned New York Times best-selling author, Eve Rodsky. Prepare for an enlightening conversation as they delve into Eve's groundbreaking book, "Fair Play." Consider this episode a level 101 class on finding the elusive balance in both self and partnership without shouldering an overwhelming mental and physical load. Eve Rodsky's expertise and insightful strategies will empower you to navigate the complexities of modern relationships with grace and fairness. Discover practical solutions and valuable insights as Lindsey, Aaron, and Eve explore the key principles outlined in "Fair Play." Learn how to redefine traditional gender roles, delegate household tasks, and establish clear communication channels within your partnership. This episode is a game-changer for those seeking a more equitable and harmonious relationship dynamic. Whether you're single, dating, or already in a long-term partnership, the lessons shared in this conversation will resonate deeply and inspire positive change. Don't miss this opportunity to gain valuable knowledge from a best-selling author and relationship expert. Subscribe to our channel and hit the notification bell to be the first to watch this transformative episode of "First Comes Love Then Comes Marriage" podcast. Engage with us in the comments section, sharing your thoughts, questions, and personal experiences related to finding balance and fairness in relationships. Let's create a supportive community where we can learn from one another. Share this episode with your friends, family, and anyone who could benefit from Eve Rodsky's invaluable insights. Together, let's embrace the journey towards a more equitable and fulfilling partnership. Tune in and embark on a transformative experience as Lindsey, Aaron, and Eve Rodsky guide you towards finding balance in self and partnership on "First Comes Love Then Comes Marriage" podcast! --- Send in a voice message: https://podcasters.spotify.com/pod/show/firstcomelovetcm/message

God is always reaching out to us, and he won't let anything stand in his way, not enemies, not life's circumstances, not even our own sin!   Tags: Ezra, Grace/The Cross

When were you last exhausted? You were just so tired, you couldn't go on. Ed has an epic aquatic story that will blow your mind, and Jam explains why he doesn't like water. And get ready to shout “Ego Eimi!” It'll make sense at the time. This is the Fifth Sign of the Secret King from John 6:16-20   Sketch by James Cary, performed by Nat and Rob HolmanSong: There is No Mountain High Enough from Dumbrocks QuestionsU5s What did Jesus do in this story?5-7s Why were the disciples worried?8s-11s Can you think of a situation in the next week when you might need to pray to Jesus for help to get through?Over 11s Why do you think Jesus lets us get into those really hard or scary situations? the '4 Kids' podcast is back and we're looking at the 4 signs of Johns Gospel! What are they? Listen to find out more!Search for the Kids podcast on our channel under season 1!Support the show

Gabby Logan presents a range of popular BBC sports programmes and hosts high-profile sporting events including the Olympics, Premiership football and the World Cup. Gabby was born in Leeds and her father Terry Yorath is a former footballer and manager who played for Leeds United and for the Welsh national team. As a young girl she was a rhythmic gymnast and represented Wales in the Commonwealth Games in 1990. She retired from the sport the following year after struggling with severe back pain. In 1996 she joined Sky Sports as a presenter, moving to ITV two years later where she became one of the first female sports anchors to break into terrestrial television and the first woman to host the channel's football coverage. Gabby joined the BBC in 2007 where she has presented Final Score, Inside Sport and Match of the Day. She also co-presents the BBC Sports Personality of the Year awards show. In 2021 Gabby was awarded an MBE for services to sports broadcasting and the promotion of women in sport. Gabby is married to the former rugby union player Kenny Logan and they have two children. DISC ONE: Abide With Me by Emeli Sandé DISC TWO: Ain't No Mountain High Enough by Marvin Gaye and Tammi Terrell DISC THREE: Summertime by Ella Fitzgerald and Louis Armstrong DISC FOUR: Going Home: Theme Of The Local Hero (Live at Hammersmith Odeon, 1983) by Dire Straits DISC FIVE: Daniel by Elton John DISC SIX: Belter by Gerry Cinnamon DISC SEVEN: As by George Michael & Mary J. Blige DISC EIGHT: You Got the Love by The Source, featuring Candi Staton BOOK CHOICE: Every Ruddy Word by Alan Partridge LUXURY ITEM: A piano CASTAWAY'S FAVOURITE: You Got the Love by The Source, featuring Candi Staton Presenter Lauren Laverne Producer Paula McGinley

Gizelle and Robyn discuss their shady kids, Rihanna's latest song, Erika Liles, wilderness adventures, cats named “Gizelle”, Deion Sanders, listener letters and more!  +Tickets for Reasonably Shady Live (Nov 26th @ City Winery in NYC):  https://donyc.com/events/2022/11/26/reasonably-shady-live-tickets +Reserve a spot for the RS Live Digital Experience: https://www.moment.co/reasonablyshady -Watch Deion's 60 Minutes interview: https://youtu.be/Jz1YfvAw5Ow  +Patreon: https://www.patreon.com/ReasonablyShady  +Get in touch with the show: whatsup (at) reasonablyshady (dot) com  || Keep up with us on IG: ReasonablyShady  || Follow Robyn: robyndixon10  || Follow Gizelle: gizellebryant || See omnystudio.com/listener for privacy information.