Podcasts about one monkey don

90-year-old blues legend Bobby Rush joins us for a wide-ranging and revealing conversation about songwriting, music, life, and so much more!PART ONE:Scott and Paul chat about Scott's experiences at the Grammy awards, including running into Ted Danson, Jason Isbell, Verdine White, and others. Plus seeing the Killer Mike drama go down and getting soaked in the biggest storm in recent Los Angeles memory! PART TWO:Our in-person an in-depth conversation with living legend Bobby RushABOUT BOBBY RUSH: One of the last of the golden era blues artists, 90-year-old Bobby Rush has been preforming professionally since the 1940s. After a stint traveling with the Rabbit's Foot Minstrels as a teenager, he toured the juke joints of Louisiana, Arkansas, and Mississippi before settling in Chicago in the 1950s. Starting in 1964, he released a string of singles on seven different record labels before releasing his first album, Rush Hour, in 1979. Bobby has since amassed an impressive body of recorded work that covers funk, soul, blues, and other influences. Penning much of his own material, his standards include “Chicken Heads,” “Bow Legged Woman,” “I Wanna Do the Do,” “Sue,” “One Monkey Don't Stop No Show,” “Big Fat Woman,” “Night Fishin',” and “Down in Mississippi.” At the age of 83, he won his first Grammy award. Bobby is now a three-time Grammy winner (with seven nominations), is in the Blues Hall of Fame, and has won 16 Blues Music Awards. Rolling Stone magazine dubbed the charismatic entertainer ”the King of the Chitllin' Circuit.” Also known as “the Funkiest Man Alive,” Bobby Rush shows no signs of slowing down. His most recent album is 2023's Grammy-winning All My Love For You. Tags: Grammy nominee, Grammy winner, Blues Hall of Fame 

Episode 664 of On Screen & Beyond has as our guest Soul Music Hall of Famer Shelly Clark , co-founder of the R & B group The Honey Cone! The gave us the number one hits "Want Ads" and "Stick Up", along with the top 40 hit "One Monkey Don't Stop No Show" and other hits! Shelly has been back on tour and she talks about other projects she has worked on over the years! --- Send in a voice message: https://podcasters.spotify.com/pod/show/on-screen-and-beyond/message

Actress Shakirah Stephens joins the show to discuss her journey to becoming the talented performing artist that she is today. Some of her noteworthy performances include playing “Dussie Mae” in The Pittsburgh Playwrights Theater Company's production of “Ma Rainey's Black Bottom” in 2018. In addition, Shakirah portrayed the featured role of “Beverly Harrison” in New Horizon Theater's production of “One Monkey Don't Stop No Show” in 2022. Toward the end of the episode, Shakirah and I trade stories about our time working as background actors in Netflix's original film “Ma Rainey's Black Bottom: A Legacy Brought To Screen” based on Pittsburgh native August Wilson's play “Ma Rainey's Black Bottom.” Enjoy the show!

Howdy BasementeersWe have a forgotten soul group of 3 lovely ladies who could sing there hearts out called: The Honeycone.They were on record from roughly 1969 to the 1974 or so.They had a hit or 2 but you get a chance to hear more of there songs. So hear we go.Intro: Ooh Baby, Baby1. Stick Up2. Woman Can't Live By Bread Alone3. Sunday Morning People4. What Made Me Come To You5. Innocent Till Proven Guilty6. One Monkey Don't Stop No Show7. We Belong Together8. Take Me With You9. Sitting On A Time Bomb10. All The Kings Horses11. When Will It End12. Girls It Ain't Easy13. Who's Loving You14. Want Adds15. While Your Out For Sugar16. I Lost My Rainbow17. The Day I Found Myself 18. The Feelings GoneOutro: One Monkey (inst.)

This is one's ecclesiology, one's doctrine of the Church, after a lifetime's involvement with it and 47 years' ordained ministry within it. For what it's worth, I think I've "got it now" ("One Monkey Don't Stop No Show", The Animals, 1966). Where I think it might help, dear Listener, is in the area of reactivity and also in the area of inclusivity. To wit, if you are on 'The Canterbury Trail', say, as a former evangelical or former Baptist, you won't reach a final or satisfying destination until you reduce the reactivity to near nil. Most seekers after the right church are in reaction to where they started. That is quite normal, but it still won't get you to God in His Church. Your (fluid) "destination/s" will almost always be one-sided or partial. You won't stay there, in other words. Somehow, your initial reactivity has got to decelerate. Secondly, in my own case the Church of England Evangelicals (and charismatics) answered the question of "Church" because they were Scriptural, orthodox, and brave but at the same time tolerant of the other wings of the Church. (It's the 'left' wing, today, that is less tolerant in the main; and their distaste has probably got to decrease in order for the Church to be comprehensive again.) As I say in the cast, in an anecdote from Blackburn Cathedral that still makes me laugh after almost 48 years, the English Evangelicals learned how to "embed" and not stick out, yet still be true to the Gospel call. To watch them in action was a gift that even now is still giving -- to Mary and me, at least. So "Here 't'is" (Bo Diddley): an ecclesiology drained -- ideally -- of reactivity and thriving "between the sheets". Try it (if you can find it). You'll like it.

Frank Turner & Jon Snodgrass "Happy New Year"The Hold Steady "Stuck Between Stations"The Mountain Goats "This Year"Little Richard "Lucille"Gillian Welch & David Rawlings "Señor"Johnny Cash "I See a Darkness"Neil Young "Only Love Can Break Your Heart"Wanda Jackson "Let's Have a Party"Dave Bartholomew "That's How You Got Killed Before"Langhorne Slim & The Law "Past Lives"Two Cow Garage "Let the Boys Be Girls"Precious Bryant "Don't Mess Up a Good Thing"Charles Sheffield "It´s Your Voodoo Working"Drive-By Truckers "Aftermath USA"THE BLACK CROWES "Under a Mountain"James Brown "Give It Up Turn It Loose"The Allman Brothers Band "Whipping Post"The B-52's "Love Shack"Big Star "When My Baby's Beside Me"Deee-Lite "Groove Is In The Heart"Pretenders "Brass In Pocket"Fiona Apple "Paper Bag"Blue Lu Barker "Trombone Man Blues"Bob Dylan "With God On Our Side"Lucero "Coming Home"South Memphis String Band "Wildwood Boys"Shotgun Jazz Band "I Believe I Can Make It By Myself"Otis Redding "Fa Fa Fa Fa Fa(Sad Song)"John Moreland "Avalon"Aretha Franklin "Do Right Woman Do Right Man"Power Struggle "Falling from the Sky"The Black Keys "Sinister Kid"Professor Longhair & His Blues Scholars "Tipitina"Lightnin' Hopkins "Happy New Year"Lucero "Hold Me Close"Hank Williams "At the First Fall of Snow"Drag the River "Here's to the Losers"Chris Knight "Little Victories"James McMurtry "What's the Matter"Howlin' Wolf "Hidden Charms"Nina Simone "Nobody Knows You When You're Down and Out"Waxahatchee "Witches"Bobby Charles "Save Me Jesus"Big Maybelle "One Monkey Don't Stop No Show"

*Irene reid the Queen of the party Durante los años 60, grabó dos álbumes de grandes bandas para Verve Records, Room for One More en 1965 y It's Too Late in 1966. Su trabajo más visible en los años posteriores a Basie fue en Broadway, donde se unió al elenco de El mago. A finales de los años 80, ella estaba saliendo de un período de atención y actuó en una transmisión remota desde el Citicorp Center en Manhattan para la estación de jazz de Newark, WBGO-FM. Este fue el comienzo de su renacimiento profesional, que disfrutó a finales de los 90 con el sello Savant Records con sede en Manhattan. Million Dollar Secret Reid falleció el 4 de enero de 2008, pero cualquiera de sus seis álbumes para Savant Records demuestra cuán ingeniosamente mezcló blues y jazz en sus shows en vivo y en el disco. Incluyen Million Dollar Secret (1997), I Ain't Doin 'Too Bad (1999), Movin' Out (1999), Uptown Lowdown (2000), One Monkey Don't Stop No Show (2002) y Gracias a ti (2004) En Savant, grabó con dos organistas / productores de Hammond B-3 muy hábiles, Bobby Forrester, que a menudo actuaba con la cantante Ruth Brown y Charles "The Mighty Burner" Earland .*

Irene reid the Queen of the partyDurante los años 60, grabó dos álbumes de grandes bandas para Verve Records, Room for One More en 1965 y It's Too Late in 1966. Su trabajo más visible en los años posteriores a Basie fue en Broadway, donde se unió al elenco de El mago. A finales de los años 80, ella estaba saliendo de un período de atención y actuó en una transmisión remota desde el Citicorp Center en Manhattan para la estación de jazz de Newark, WBGO-FM. Este fue el comienzo de su renacimiento profesional, que disfrutó a finales de los 90 con el sello Savant Records con sede en Manhattan.Million Dollar SecretReid falleció el 4 de enero de 2008, pero cualquiera de sus seis álbumes para Savant Records demuestra cuán ingeniosamente mezcló blues y jazz en sus shows en vivo y en el disco. Incluyen Million Dollar Secret (1997), I Ain't Doin 'Too Bad (1999), Movin' Out (1999), Uptown Lowdown (2000), One Monkey Don't Stop No Show (2002) y Gracias a ti (2004) En Savant, grabó con dos organistas / productores de Hammond B-3 muy hábiles, Bobby Forrester, que a menudo actuaba con la cantante Ruth Brown y Charles "The Mighty Burner" Earland .

*Irene reid the Queen of the party Durante los años 60, grabó dos álbumes de grandes bandas para Verve Records, Room for One More en 1965 y It's Too Late in 1966. Su trabajo más visible en los años posteriores a Basie fue en Broadway, donde se unió al elenco de El mago. A finales de los años 80, ella estaba saliendo de un período de atención y actuó en una transmisión remota desde el Citicorp Center en Manhattan para la estación de jazz de Newark, WBGO-FM. Este fue el comienzo de su renacimiento profesional, que disfrutó a finales de los 90 con el sello Savant Records con sede en Manhattan. Million Dollar Secret Reid falleció el 4 de enero de 2008, pero cualquiera de sus seis álbumes para Savant Records demuestra cuán ingeniosamente mezcló blues y jazz en sus shows en vivo y en el disco. Incluyen Million Dollar Secret (1997), I Ain't Doin 'Too Bad (1999), Movin' Out (1999), Uptown Lowdown (2000), One Monkey Don't Stop No Show (2002) y Gracias a ti (2004) En Savant, grabó con dos organistas / productores de Hammond B-3 muy hábiles, Bobby Forrester, que a menudo actuaba con la cantante Ruth Brown y Charles "The Mighty Burner" Earland .*

*Irene reid the Queen of the party Durante los años 60, grabó dos álbumes de grandes bandas para Verve Records, Room for One More en 1965 y It's Too Late in 1966. Su trabajo más visible en los años posteriores a Basie fue en Broadway, donde se unió al elenco de El mago. A finales de los años 80, ella estaba saliendo de un período de atención y actuó en una transmisión remota desde el Citicorp Center en Manhattan para la estación de jazz de Newark, WBGO-FM. Este fue el comienzo de su renacimiento profesional, que disfrutó a finales de los 90 con el sello Savant Records con sede en Manhattan. Million Dollar Secret Reid falleció el 4 de enero de 2008, pero cualquiera de sus seis álbumes para Savant Records demuestra cuán ingeniosamente mezcló blues y jazz en sus shows en vivo y en el disco. Incluyen Million Dollar Secret (1997), I Ain't Doin 'Too Bad (1999), Movin' Out (1999), Uptown Lowdown (2000), One Monkey Don't Stop No Show (2002) y Gracias a ti (2004) En Savant, grabó con dos organistas / productores de Hammond B-3 muy hábiles, Bobby Forrester, que a menudo actuaba con la cantante Ruth Brown y Charles "The Mighty Burner" Earland .*

In 2010 Dawn Walton founded Eclipse Theatre Company, the UK’s foremost black-led national production company. Recent touring productions include One Monkey Don’t Stop No Show, Sizwe Banzi is Dead and A Raisin in the Sun. Last year, Eclipse announced the first UK tour to come out of Revolution Mix, its ground-breaking movement placing the black narrative at the heart of British Theatre. Testament’s Black Men Walking has received critical acclaim around the country and now runs at the Royal Court in London until 7 April.

As Yet Unnamed London Theatre Podcast 03-Feb-2013 With T R P Watson  -Gareth James - Nick from Partially Obstructed View - Webcowgirl  - Plays Discussed Di and Viv and Rose - Hampstead Theatre [00:11]One Monkey Don’t Stop No Show - Tricycle Theatre [06:00]Port - Lyttelton Theatre [16:13] Reviews Old-Times - Harold Pinter TheatreQuartermaine’s Terms - Wyndhams TheatrePort - Lyttelton TheatreMare Rider - Arcola TheatreGruesome Playground Injuries - Gate Theatre

This episode leaps right out of the gate with a scorching introductory number, courtesy of Honeycone (no idea), called “One Monkey Don’t Stop No Show.” it also features disco-ish versions of classic rock tunes (Floyd, Zep, T. Rex & T. … Continue reading →

The Stanford University study titled “Reduced Disability and Mortality among aging runners” was published in the August 11th, 2008 issue of the journal Archives of Internal Medicine.  At the time that the study was conducted: the assumption was that vigorous exercise would cause older people more harm than good.  The expectation was that running would lead to an excess in orthopedic injuries and lead to earlier disability with runners over 50. But the researches found that regular exercise would extend high-quality, disability free life.  Frequent running would compress the period at the end of life when people couldn’t do things on their own.  This is an idea that has been given the name “compression of morbidity”.  In this episode of Phedippidations, I’ll talk about both the clinical details of this study AND the significance of it’s findings, leading to the obvious conclusion that Life is Short, but it Should be Long Enough!   Show Links: http://www.runningthenarrowpath.blogspot.com http://planettinkoff.com http://worldwidefestivalofraces.com http://www.iamplify.com/store/product_details/Rabbi-Shmuley-Boteach/Afterlife-Debate-With-Christopher-Hitchens/product_id/8621 www.audiblepodcast.com/phedi The song “One Monkey Don’t Stop the Show” by Brick Daniels http://brickdaniels.com