Podcasts about scott b

The group's arrival in Austin plunges them straight into deep waters. Patience, Eli, and Silas pursue Professor Grist and his grad student Lambert, attempting to uncover an artifact known as the dream stone. Haunted by nightmares, the posse faces dark forces emerging on the university campus.Content Warnings: Self-Harm, Harm to Children, Body Horror, Substance Abuse, Animal Attacks, Gun Shots (sound fx), Violence, ProfanityKeeper of Arcane Lore: cuppycupCampaign Author: Graeme PatrickExecutive Producer: cuppycupContent Editors: cuppycup, Graeme PatrickDialogue Rough Cut Editor: Rina HaenzeAudio Editor, Sound Designer, Music Supervisor: cuppycupPlayer CharactersRina Haenze as Patience CartwrightChuck Lawrence as Eli MalcolmWes Davis as Silas JacobsenNPC VoicesRita Amparita as Madam Chu, Judy Kline and Isabella PerkinsDelton Engle-Sorrell as Marshal BeanMike Perceval-Maxwell as Father Archeradditional voices by cuppycup“Dead Man Walking” Theme by Cody FryPatreon ShoutoutAnthony D., Drew M., E.M.F.D., Heather M., Matthew C., Not That Nic, Sig-Free and Coy, Tom, Tomboi LaCroix, Dan F., Jeff F., Mario S.New PatronsKatrine, Scott B., Serena, Daniel S. Hosted on Acast. See acast.com/privacy for more information.

Welcome to Episode 83 of Zion's Finest! This one is a bit of a sweaty episode, as Kenny provides an overview of the Top 8 from Adepticon and Sam gives an incredible review of "meta share," meaning how units were represented in progressive stages of the cut from swiss to the final match between Scott B. and Matt B. It's an amazing discussion that you will love.Links for Swiss Day 1, Swiss Day 2, Day 1 Top 16, and Day 2 Top 16.Join the Slack!

Alcoholics Anonymous Discussion Meeting: We are a weekly podcast where we interview Alcoholics Anonymous members on their journey through the program. We discuss recovery, spirituality, and other sober related topics. Details here: https://linktr.ee/tmatmlive.

Réécoutez True House Takeover by Lenny Fontana avec DJ Paul Scott B.O.P du samedi 27 novembre 2024

Do you need a veterans decal for your truck?  Send a message to workhound to get yours today!

Scott Bärlocher aus Würenlos hat gute Chancen bei den Olympischen Spielen in Paris teilzunehmen. Der Schweizer Doppelvierer hat sich qualifiziert und Bärlocher hat das harte teaminterne Auswahlverfahren im Winter geschafft. Weitere Themen:  * Nach dem Tod eines 18-jährigen mit Autismus vor drei Jahren läuft nach wie vor ein Strafverfahren gegen Verantwortliche der Psychiatrischen Dienste Aargau.  * Ein Mann überfällt mit einer Pistole den Volg in Windisch, flüchtet danach aber ohne Beute.  * Die FC Aarau Frauen schaffen, was lange Zeit nicht für möglich gehalten wurde, und qualifizieren sich für die Playoffs der besten acht Teams. * Der FC Baden verliert erwartungsgemäss gegen Tabellenführer Sion mit 0:3.  * Volley Schönenwerd gewinnt das erste Spiel im Playoff-Final 3:1.  * Die Erfolgsgeschichte des Weissstorchs ist Thema eines neuen Buchs des Solothurner Lorenz Heer. Er zeigt auf, wie das Tier seine Lebensweise in den letzten Jahren teilweise komplett geändert hat.

Join us for an engaging conversation with Scott B. Johnson, Chief Strategy Officer at St. Luke's Health Corporation, as he shares insights into his background and perspectives on healthcare in 2024. Scott discusses his excitement and concerns for the future, along with the essential traits required for healthcare leaders to thrive in the coming years.

Join us for an engaging conversation with Scott B. Johnson, Chief Strategy Officer at St. Luke's Health Corporation, as he shares insights into his background and perspectives on healthcare in 2024. Scott discusses his excitement and concerns for the future, along with the essential traits required for healthcare leaders to thrive in the coming years.

A new MP3 sermon from Sandown Free Presbyterian Church is now available on SermonAudio with the following details: Title: Service of Thanksgiving for the Life of Thomas Richard Scott B.E.M. Speaker: Rev. Garth Wilson Broadcaster: Sandown Free Presbyterian Church Event: Funeral Service Date: 2/24/2024 Bible: 2 Timothy 4:6-8 Length: 94 min.

Can someone be too smart or important to get sober in A.A.? My guest, Scott B. had his Ph.D. in neurobiology and an accelerating career in medical research to dispel any notions of being an alcoholic or drug addict. His superior intelligence, unflappable ego, and iron-will would shield him from the realities of a life rapidly falling apart around him. But his journey into the dark regions of substance abuse ultimately brought him to his knees as a ravaged and demoralized subject of King Alcohol and Lady Cocaine. Increasingly frequent use quickened the downward spiral of his life and career. Intelligence and will power alone were not enough to save him. Teetering on the edge of the abyss, a single lifeline, in the form of a crafty intervention by his colleagues and friends, was thrown to him. Clinging onto it as only the hopeless can, he finally let that lifeline pull him into treatment and A.A. After nearly 33 years of sobriety, Scott gratefully reflects on that crucial turning point that grew into a brilliant career, a fulfilling life, and daily service to others. His wonderous story is one that needs to be told. More importantly, it's one that needs to be heard by anyone, anywhere who reaches out for help. If you've enjoyed my AA Recovery Interviews series and my Big Book podcast, have a listen to Lost Stories of the Big Book, 30 Original Stories Missing from the 3rd and 4th Editions of Alcoholics Anonymous. It's an engaging audiobook I narrated to bring these stories to life for AA members who've never seen them. These timeless testimonials were originally cut to make room for newer stories in the 3rd and 4th Editions. But their vitally important messages of hope are as meaningful today as when they were first published. Many listeners will hear these stories for the first time. Lost Stories of the Big Book is available on Audible, Amazon, and iTunes. It's also available as a Kindle book and in Paperback from Amazon if you'd like to read along with the audio. I also invite you to check out my latest audio book, “Alcoholics Anonymous: The Story of How More Than One Hundred Men Have Recovered From Alcoholism”. This is the word-for-word, cover-to-cover reading of the First Edition of the Big Book, published in 1939. It's a comfortable, meaningful, and engaging way to listen to the Big Book anytime, anyplace. Have a free listen at Audible, i-Tunes, or Amazon. [This is an encore of Episode 4, originally released January 6, 2021].  The original episode is available on this podcast by searching for or scrolling down to Episode 4 on your podcast app or by visiting aarecoveryinterviews.com. [Disclaimer: AA Recovery Interviews podcast strictly adheres to AA's 12 Traditions and all General Service Office guidelines for safe-guarding anonymity on-line. I pay all podcast production costs and no one receives financial gain from the show. AA Recovery Interviews and my guests do not speak for or represent AA at-large. This podcast is simply my way of giving back to AA that which has been so freely given to me. -Howard L.]

Scott B sits down with us to chat about his new ska E.P., what it took to make it, his love of ska, and so much more! Find it on Bandcamp here! Follow him on instagram @scott_b_ska_bees Music: Friday Night Wednesday Morning Bernie's Is A Target Now Bullshit Detector

Scott B., Celebrate the Morning, FL by 2 Sober Chicks - Lisa & Julie

We talk journals for specific purposes (aka a good excuse to start another journal) and Ted shares his books and stationery explorations in Charlotte, NC. And listener Scott B. builds on our discussion of refilling Pilot pens. Main Street Books, Davidson, NC BOOKS!Good Postage Elisa GabbertFine Point CommunicationsWrite Notepads Paper Journal Banana

AA member Scott B. shares his story.

Richard Van Camp & Scott B. Henderson on their graphic novel, A Blanket of Butterflies, Luna Li on Fight Night by Miriam Toews and SK Ali on Love From Mecca to Medina, and more.

Scott and Dhammarato talk about the structure of good practice, which does not involve going on retreat or becoming a statue. #sitting #repetition #sukha Buddhist Symbolism https://en.wikipedia.org/wiki/Buddhist_symbolism Sayagyi U Ba Khin https://en.wikipedia.org/wiki/Sayagyi_U_Ba_Khin S. N. Goenka https://en.wikipedia.org/wiki/S._N._Goenka See the video version of this call on YouTube. ►YouTube Video - https://www.youtube.com/watch?v=HEHczILJwgw Weekly Sangha calls, everyone is welcome.  ►The Sangha US - https://join.skype.com/uyYzUwJ3e3TO ►The Sangha UK - https://join.skype.com/w6nFHnra6vdh To meet Dhamma friends, hang out, or volunteer—join our Discord Sangha. Everyone is welcome. ►Discord - https://discord.gg/epphTGY 00:00:00 The actual teachings of the Buddha 00:01:45 Three symbols of early Buddhism; U Ba Khin, sitting meditation, and retreats 00:08:07 The word “meditation” does not appear in any sutta; the Buddha taught ānāpānasati; brahmaviharas  00:11:30 The body should be comfortable; listen to your body; sit upright 00:33:52 Knowingly doing something wholesome over and over again, not endurance 00:38:50 Practice often: six ten minute sittings; two types of sati 00:49:40 Ānāpānasati outside a formal sit; wakey, wakey; intentionally breathing in long… 00:56:00 The breath and the thing you're doing; wake up and make a change: samma sankappa 01:00:39 More frequently rather than longer; developing continuity: congratulate, nourish, nurture 01:02:56 Significant change in ten minutes

This week, Film Comment Co-Deputy Editor Clinton Krute takes a look at the wealth of cinematic delights on offer this fall across repertory calendars, both in person in New York City and online. To guide him through the thicket of newly rediscovered gems, lost classics, and thematic programs, Clint invited three experts—critic and filmmaker Gina Telaroli; Inney Prakash, programmer and founder of the Prismatic Ground festival; and Steve Macfarlane, critic and programer at Spectacle Theater and MoMA—to discuss some of the series from the next few months that they're most excited about. These includes Anthology Film Archives' ongoing Imageless Films series, the upcoming Hugo Fregonese and Beth and Scott B retrospectives at MoMA, the online series Spectral Grounds: Black Experimental Film, and much more. Check the links in the show notes for more information:

Canary Cry News Talk #528 - 08.29.2022 - Recorded Live to Tape! JARED ATHANASIA - Black Rock Basil, Immortal Kushner, Cyborg Children, Ice Watching Harvard: Index of MSM Ownership (Harvard.edu)   HELLO HOOK 7:31 V / 5:10 P Black Rock City comes alive as thousands of revelers rock up in their RVs for week-long Burning Man festival after two-year COVID hiatus (DailyMail)  → Breaking in Iraq   DAY/PERSONAL/EXEC 21:21 V / 19:00 P   FLIPPY UPDATE 29:59 V / 27:38 P Skiing and curling robots shine at World Robot Conference (CGTN)    TRANSHUMAN 35:04 V / 32:43 P Clip: Jared Kushner says we will be first generation to live forever   CYBORG 48:25 V / 46:04 P Schoolgirl, eight, who lost an eye to cancer aged two reveals she's upgraded her blue prosthetic lens to a sparkly pink one - and her friends say she looks 'like a superhero' (DailyMail)    BREAK 1: TREASURE 57:58 V / 55:37 P   CHINA 1:12:12 V / 1:09:51 P Chinas youth jobless rate hits a record high of 19.9% amid Covid pandemic (Biz Insider) CLIMATE CHANGE 1:26:33 V / 1:26:12 P Extreme China heatwave could lead to global chaos and food shortages (NZ Herald)    BREAK 2: TREASURE 2 1:33:40 V / 1:31:19 P   COVID/WACCINE 1:45:06 V / 1:42:45 P The Long Tail of Covid-19 Disinformation (NY Times/Aus) Bravo to the lockdown sceptics smeared and dismissed defending freedom (Telegraph UK)  Mercury Project (Rockefeller Foundation) (Archive) NCD, Non- Communicable Disease next big issue to solve (WEF)   BREAK 3: TALENT 2:36:10 V / 2:33:49 P   ANTARCTICA/BEING WATCHED 2:49:31 V / 2:47:10 P Dahua Technology Develops the First Electronic Security Project in Antarctica (Businesswire)   BREAK 4: TIME 2:56:34 V / 2:54:12 P END   This Episode was Produced By:   EXECUTIVE PRODUCERS Anonymous Doge** MORV** Sir Captain Redbeard Pirate King of the De-Moochers**   Producers Julie S, Kira O, Scott B, Runksmash, Sir Darrin Knight of Hungry Panda, Sir Casey the Shield Knight, Sir Scott Knight of Truth, Gail M   Audio Production Jonathan F Psalm40 Kalub   Visual Art Dame Allie of the Skillet Nation Sir Dove Knight of Rusbeltia   MICROFICTION Runksmash - Agent Smith stalks the dirt street, stepping past naked hippies and cyborgs, she knows her target is ahead, she can smell the toner in the air like bad aftershave. Then she sees him, he's talking to a man in a fake beard, which is crazy in this heat!   CLIP PRODUCER Emsworth, FaeLivrin, Epsilon   TIMESTAPERS Jackie U, Jade Bouncerson, Christine C, Pocojoyo   SOCIAL MEDIA DOERS Dame MissG of the OV and Deep Rivers   LINKS HELP JAM

This episode is also available as a blog post: https://thecitylife.org/2022/08/06/moma-presents-the-films-of-beth-b-and-scott-b/ --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app --- Send in a voice message: https://anchor.fm/citylifeorg/message Support this podcast: https://anchor.fm/citylifeorg/support

We're headed to Jeff's quadrant of the brack to listen to Scott B. take on Asha! How far can Asha make it in this hot seat bracket? Can Scott take down the PTE pro? Are you enjoying the show? www.patreon.com/ptebb Facebook: The Lounge: Fans of Pub Trivia Experience & Boozy Bracketology Twitter: @PubTriviaPod Instagram: Pub Trivia Experience PubTriviaExperience@gmail.com Don't forget – Leave us a 5 Star Rating and write us a review Enjoy The Show! And if you like the Pub Trivia Experience, be sure to check out our sister podcast, Boozy Bracketology!

These two contestants come out swinging! Join us as Scott takes on Katie in this head-to-head Hot Seat Challenge!   Are you enjoying the show? www.patreon.com/ptebb   Facebook: The Lounge: Fans of Pub Trivia Experience & Boozy Bracketology Twitter: @PubTriviaPod Instagram: Pub Trivia Experience PubTriviaExperience@gmail.com Don't forget – Leave us a 5 Star Rating and write us a review Enjoy The Show!

Interview with Scott G. Bruce, editor of THE PENGUIN BOOK OF DRAGONS.Support this podcast at — https://redcircle.com/reading-and-writing-podcast/donationsAdvertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

Gregory and Justin welcome back acclaimed comic book artist Scott B. Henderson to talk about his return to full powers after a pandemic pause. You can find an excellent selection of Scott's work at https://www.portageandmainpress.com/Contributors/H/Henderson-Scott-B Follow the gang on Instagram: https://www.instagram.com/gmbchomichuk/ https://www.instagram.com/chasingartwork/ https://www.instagram.com/scotthendersonart/ GMB Chomichuk's online store https://gmbchomichuk.bigcartel.com Chasing Artwork's online store: https://society6.com/prints/chasingartwork Production: Dan Vadeboncoeur Titles: Jesse Hamel & Nick Smalley --- Send in a voice message: https://anchor.fm/gmb-chomichuk/message

Canary Cry News Talk #446 - 02.14.2022  SATANICON DISORDER LINKTREE: CanaryCry.Party SHOW NOTES: CanaryCryNewsTalk.com CLIP CHANNEL: CanaryCry.Tube  SUPPLY DROP: CanaryCrySupplyDrop.com SUPPORT: CanaryCryRadio.com/Support MEET UPS: CanaryCryMeetUps.com Basil's other podcast: ravel  Gonz' YT: Facelikethesun Resurrection App Made by Canary Cry Producer: Truther Dating App   INTRO Skater boi Rams 23, Bengals 20   FLIPPY Scientists create cyborg fish powered by beating human heart cells (Gizmodo)   SATAN SatanCon in Scottsdale, AZ (12News) Report: lil Mossad   COVID19/I AM WACCINE Bill Gates backed Chinese rapid test company wins US FDA approval (The Star) Follow the Science? (NYT) Clip: Who chief scientist said “vaccine nationalism” caused deaths →Headline: Israeli hospital to be first to test Pfizer Omicron variant (Times of Israel)   TRUCKERS Clip: Trudeau to Truckers, “It's time to go home” Clip: Klaus Schwab, “penetrate cabinets” like Trudeau   Party Pitch///BREAK 1: Executive Producers, Paypal, Patrons///SPEAKPIPE   POLYTICKS CHINA Lecture at Pentagon, a case for Democratic Socialism (Institute for National Strategic Studies)   POLYTICS TRUMP Durham probe reveals Clinton corruption, Democrats want investigation (NY Post) → [Screenshots from Durham documents] → Trump said Clinton should be “put to death” (Independent)   POLYTICKS BIDEN RUSSIA Biden met with Putin, made firm stance (CNN) → Sunday: Biden talks to Zelensky, Ukraine (Kiyvpost) → Headline: The New World Disorder (WSJ Opinion) → Headline: Could Ukraine crisis lead to New World Order impact on Israel? (Jerusalem Post)   BREAK 2: Art, Reviews, Jingles, Meet Ups   WOKE OLYMPICS First Black Olympic Skeleton Athlete [popsugar, NBC, local hudson valley, pic 1, pic 2, pic search]   ANTARCTICA Why Scientists believe Apocalypse will break out on White Continent (The Saxon) ADDITIONAL STORIES: More Covid: Does the Queen have C19? (Telegraph) Fact Check: VAIDS is not a thing (Reuters) → Actual Lancet study (Lancet) What is the mysterious hum heard around the world (Financial Times) More in Japan did not take any time off, even after jab side effects (JP Times) $200 million factory that didn't produce single dose (Telegraph)   More Ukraine: Sullivan reiterates threat to Russia (WSJ)   Other stories: Lenin statue is loneliest statue in Antarctica (Hindustan Times) Report: Most people to spend at least an hour in Metaverse by 2026 (VentureBeat) Bill Gates connection with CCP is troubling (Just The News) 33 crashes in men's giant slalom (NBC) Japan to build first nuclear fusion plant (Kyodo News) PRODUCERS FOR EPISODE 446 Executive Sir Sigrah the Beast**   Supply Drop Nathan A - 33.33    Producers Sir Sammons Knight of the Fishes, puddin22, SpearsDesert, Scott B, HeatherSirRuss, Palmer B, JC, MORV, Sir Casey the Shield Knight, Gail M, Sir Scott Knight of Truth, William F, Demali M, Child of God, DrWhoDunDat, Runksmash, Veronica D, Jackie U   Timestamps: Mondays: Jackie U Wednesdays: Jade Bouncerson Fridays: Christine C   CLIP PRODUCER Emsworth   AUDIO PRODUCTION (Jingles, Iso, Music): Chester W Shiloc Psalm40   ART PRODUCTION (Drawing, Painting, Graphics): Dame Allie of the Skillet Nation Sir Dove Knight of Rusbeltia Jvela   CONTENT PRODUCTION (Microfiction etc.) Runksmash The Sentinel

Dr. Scott B Patten is a professor at the University of Calgary and one of the leading Psychiatric Epidemiologists in the world. Dr. Patten's research focuses on Major Depressive Disorders, and in this episode he talks about how machine learning is influencing his field, how the pandemic has impacted his work, as well as the research around how our mental health has been affected through the pandemic. 

(Reschedule from a few weeks ago) Tonight we are joined by director Scott B. Hanson of the movie BAD CANDY!

Canary Cry News Talk #424 - 12.17.2021  SUNSET RESET WEBSITE/SHOW NOTES: CanaryCryNewsTalk.com LINKTREE: CanaryCry.Party SUPPORT: CanaryCryRadio.com/Support MEET UPS: CanaryCryMeetUps.com ravel Podcast (Basil's other podcast) Facelikethesun Resurrection (Gonz' new YouTube channel) Truther Dating experiment   INTRO →Melania Trump NFT's (CNN) →Adidas NFT into the Metaverse Clip: Cat doing sit ups  Chinese Elon Musk doppelgänger, Deep Fake or Real? (NY Post) Elon Hair picture   FLIPPY Want Humans to Trust Robots? LET THEM DANCE! (Scientific American)   GREAT RESET/CHINA Justin Sun stepping down from Tron, permanent role rep Grenada in WTO (Grenada Now) → Grenada/China belt and road deal (Sept. 2018) → Tron/PRC partnership (Jan. 2021)   COVID19/I AM WACCINE CDC recommends Moderna/Pfizer over J&J shots (CNN) →NY hit hard by Omicron on top of Delta (Bloomberg Opinion) Actress hired to pretend to have C19, “not for propaganda” (Full Fact) →Biden says unwaxxinated will have winter of “Severe illness” (Barron's) Omicron and Delta can have a baby (DailyMail) ShillZilla Twitter Thread   Party Pitch  BREAK 1: Executive Producers, Paypal, Patrons   POLYTICKS NY bans natural gas, starting 2023 (QZ)   NEWSOM SCIENCE Rate of people moving to California precipitates (Yahoo)   PROPAGANDA School district increase security after TikTok videos with bomb threats (abc News)   BREAK 2: Art, Reviews, Jingles, Meet Ups   CYBERPANDEMIC Backdoor gives hackers complete control of federal agency network (ArsTechnica)   NEPHILIM UPDATE Drill Sergeant from Heavenly Hell (DeviantArt)   ADDITIONAL STORIES: Mind controlled robots closer (TechXplore) Deep Fake: Long Island man faces felony charges for deep faking on adult sites (CBS Local) Peloton deletes ad after actor gets me too'd (Variety) Inside wall-streets Gen Z culture war (Insider)   PRODUCERS ep. 424:   Executive Producer Carson D**   Ass. Executive Producer Dame Lynn Lady of the Lakes* HeatherSirRuss* Mark D* MORV* Joe T*   2022 calendar producers 20.22 monthly Ashley B Natalie B Michelle W Maureen K   Producers Gingah M, SpearsDesert, Jackie U, Sir Aaron J Knight of the Cute Little Piggies,Dee, JC, Scott B, Sir Scott Knight of Truth, Sir Sammons Knight of the Fishes, Sir Casey the Shield Knight, Palmer B, DrWhoDunDat, Amanda P, Veronica D, Gail M, Runksmash   CCNT PATREON:  Caleb   TIMESTAMPS: Jade Bouncerson    JINGLES: Runksmash Jagged777   ART: Dame Allie of the Skillet Nation Sir Dove, Knight of Rustbeltia Sir Casey the Shield Knight   MICROFICTION Runksmash - As Kodi does his business Gonz remembers the old days, just analyzing the news. He takes out his phone and texts Basil, “Let's just publish the game's finale as is, and start CCNT again.” He hesitates but clicks send. Their monitor gets an alert.

Welcome to Strongwriters on Songwriting (Inside the Song) with your host, Eric Bjarnason Martin and Scott Bradshaw. Each series of this podcast will center around a different theme with highly accomplished songwriters as they delve of into their songwriting process. On each episode, we will have an opportunity to listen to and explore a few of the featured artists songs. In this first series, Teachers, Mentors and Friends, E. B. has the opportunity to interview his co-host Scott B. He has been a fixture in the Toronto music scene for over three decades, both as a band member and a solo act. His band, Scott B. Sympathy, recorded five critically acclaimed albums, of which the first two have recently been re-released.

This episode of The HolloTalk Podcast is a special one. This is our 50th episode and we truly cannot thank the guests and the supporters of The HolloTalk Podcast enough for helping us get to this point. We also provided a dope episode with our guy Scott B. King. We discuss Scott's brand “Envy Of New York”, their mission, his influences for Envy and where Scott sees the brand moving forward. We again want to thank you all for the love and the support you've all have given The HolloTalk Podcast and we will continue to bring amazing content. Thank You and We Love You All! --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app

There is a new epidemic in America disproportionately affecting minority communities and sweeping the internet. Scott B from Babblin’ & Dabblin’ zooms in to discuss this and much much more. Babblin’ & Dabblin’ is available wherever you get podcasts. Shop shirtcaviar.com and use promo code OGA to save 10% on your purchase.

Co-hosts Lisa Noble and Beth Lyons chat about Indigenous texts that span the K-12 education continuum and ways that educators have integrated these texts into their daily practice. This episode was inspired by A Day to Listen- 12 Hours of Indigenous-led Radio Programming on June 30th. https://downiewenjack.ca/a-day-to-listen/Texts Mentioned In This EpisodeReclaimed by Jared Martineau (Lisa incorrectly called it Unreserved which is a different CBC show with Falen Johnson) A Sitting In St. James by Rita Williams-GarciaI Lost My Talk by Rita Joe, Illustrated by Pauline YoungThe Ecstasy of Rita Joe by George RygaI'm Finding My Talk by Rebecca Thomas, Illustrated by Pauline YoungFirst Nations Child and Family Caring Society- Spirit BearFacing History and OurselvesTruth and Reconciliation Commission of CanadaAuthor Monique Gray SmithWhen We Were Alone by David A RobertsonPowwow by Karen Pheasant-NeganigwaneBirdsong by Julie Flett (and all books by Julie Flett)My Day with Yayah by Nicola Campbell, Illustrated by Julie FlettBoard books series by Neepin AugerAmerican Indians in Children's Literature site by Debbie ReeseNibi Is Water by Joanne RobertsonWe Are Water Protectors by Carole Lindstrom, illustrated by Michaela GoadeMedicine Wheel Education publications- The Circle of Caring and Sharing, The Eagle Feather, Gifts from Raven, Trudy's Healing Stone, The Hoop Dancer's TeachingsBraiding Sweetgrass by Robin Wall KimmererWe Are All Treaty People by Maurice Switzer, illustrated by Charley HerbertBarren Grounds by David A RobertsonTales from Big Spirit series by David A RobertsonA Girl Called Echo by Katherena VermetteSurviving the City by Tasha SpillettSiha Tooskin Knows Series by Charlene Bearhead and Wilson Bearhead | illustrated by Chloe Bluebird MustoochThis Place: 150 Years Retold by Kateri Akiwenzie-Damm, Sonny Assu, Brandon Mitchell, Rachel and Sean Qitsualik-Tinsley, David A. Robertson, Niigaanwewidam James Sinclair, Jen Storm, Richard Van Camp, Katherena Vermette, Chelsea Vowel | illustrated by Tara Audibert, Kyle Charles, GMB Chomichuk, Natasha Donovan, Scott B. Henderson, Ryan Howe, Andrew Lodwick, Jen Storm | colour by Scott A. Ford, Donovan YaciukThe Marrow Thieves by Cherie DimalineThe Break by Katherena VermetteIf I Go Missing by Brianna Jonnie with Nahanni Shingoose, art by NshannacappoSon of a Trickster by Eden RobinsonFive Little Indians by Michelle GoodSeven Fallen Feathers by Tanya TalagaThere There by Tommy Orange#NotYourPrincess- Voices of Native American Women by Edited by Lisa Charleyboy & Mary Beth LeatherdaleGlass Beads by Dawn DumontThe Next Chapter with Shelagh RogersOne Dish, One Mic- podcastTelling Our Twisted Histories- podcastStorykeepers: Let's Talk Indigenous Books- podcastSplit Tooth by Tanya TagaqMoon of the Crusted Snow by Waubgeshig RiceIn This Together: Fifteen Stories of Truth and Reconciliation by Danielle Metcalfe-ChenailIndigenous Writes by Chelsea Vowel21 Things You Didn't Know About the Indian Act by Bob JosephIndigenous Peoples AtlasAnti-racist Educator Reads hosted by Colinda Clyne

Stakeholder Spotlight on their sports, their opinion, their views, their story - Scott B

Neha Nanda, MD (Medical Director of Infection Prevention and Antimicrobial Stewardship, Keck Medicine of USC) is joined by Scott B. Laurie (President and Chief Executive Officer, The Olson Company) and Richard K. Green (Director, USC Lusk Center for Real Estate) to discuss the ongoing recovery efforts from COVID-19, how organizations might manage returning to the office, and when everyday life has a chance of achieving a new normal. Nanda also reviews rules of thumb for mask-wearing as well as what vaccine hesitancy may mean for California's herd immunity.   More: https://lusk.usc.edu/perspectives

It’s our 5th anniversary episode and this time we’re discussing Bad Book Reading Habits! Sticky notes, bookmarks, tagging and tracking, borrowing more library books than we can read, books on display in video calls, reading books out of order, throwing books in the garbage, and more! Plus: Which host is a book goblin? (The answer may surprise you.) You can download the podcast directly, find it on Libsyn, or get it through Apple Podcasts, Stitcher, Google Podcasts, Spotify, or your favourite podcast delivery system. In this episode Anna Ferri | Meghan Whyte | Matthew Murray | RJ Edwards Media We Mentioned If on a Winter's Night a Traveler by Italo Calvino, translated by William Weaver The copy of the book mentioned that had marginalia Wild: From Lost to Found on the Pacific Crest Trail by Cheryl Strayed Acquired Traits by Raissa Berg The Brothers Karamazov by Fyodor Dostoyevsky The Starless Sea by Erin Morgenstern Goodnight Tweetheart by Teresa Medeiros ttyl by Lauren Myracle Links, Articles, and Things Marginalia (Wikipedia) WereBear (Wikipedia) Convergence (Wikipedia) Goblin (Dungeons & Dragons) (Wikipedia) Pathfinder Roleplaying Game (Wikipedia) Sequel Rights: A Review of Locus Reviews Twitterature (Wikipedia) 30 books by Indigenous authors published in the past 5 years Since 2020, we’ve been sharing lists of books by authors of colour for every new genre we read - and with our non-genre episodes, sharing lists for the genres we covered in our early episodes. The early episode we’re creating a booklist for this month is Episode 009: Aboriginal / Indigenous / First Nations. Our booklist for this episode features works by Indigenous authors that have been published since that episode came out in 2016. Fiction Bawaajigan: Stories of Power edited by Nathan Niigan Noodin Adler Indians on Vacation by Thomas King There There by Tommy Orange Black Sun by Rebecca Roanhorse Jonny Appleseed by Joshua Whitehead Non-Fiction A Mind Spread Out on the Ground by Alicia Elliott 21 Things You May Not Know About the Indian Act: Helping Canadians Make Reconciliation with Indigenous Peoples a Reality by Bob Joseph In My Own Moccasins: A Memoir of Resilience by Helen Knott Indigenous Writes: A Guide to First Nations, Métis & Inuit Issues in Canada by Chelsea Vowel From Where I Stand: Rebuilding Indigenous Nations for A Stronger Canada by Jody Wilson-Raybould Young Adult The Marrow Thieves by Cherie Dimaline Fire Song by Adam Garnet Jones Son of a Trickster by Eden Robinson Strangers by David Alexander Robertson Hearts Unbroken by Cynthia Leitich Smith Picture Books Bowwow Powwow : Bagosenjige-niimi'idim by Brenda J. Child, Jonathan Thunder, and Gordon Jourdain You Hold Me Up by Monique Gray Smith and Danielle Daniel Awâsis and the World-Famous Bannock by Dallas Hunt and Amanda Strong We Are Water Protectors by Carole Lindstrom and Michaela Goade Fry Bread: A Native American Family Story by Kevin Noble Maillard and Juana Martinez-Neal Poetry NDN Coping Mechanisms: Notes from the Field by Billy-Ray Belcourt Holy Wild by Gwen Benaway From Turtle Island to Gaza by David Groulx it was never going to be okay by jaye simpson Split Tooth by Tanya Tagaq Comics This Place: 150 Years Retold Dakwäkãda Warriors by Cole Pauls Surviving the City by Tasha Spillett and Natasha Donovan Pemmican Wars by Katherena Vermette and Scott B. Henderson Carpe Fin: A Haida Manga by Michael Nicoll Yahgulanaas Give us feedback! Fill out the form to ask for a recommendation or suggest a genre or title for us to read! Check out our Tumblr, follow us on Twitter or Instagram, join our Facebook Group, or send us an email! Join us again on Tuesday, April 6th we’ll be talking about the genre of Psychological Horror! (With a special guest co-host!) Then on Tuesday, April 20th we’ll be giving an update on non-podcast media we’ve been reading, watching, and otherwise experiencing.

Episode one hundred and sixteen of A History of Rock Music in Five Hundred Songs looks at "Where Did Our Love Go?" by the Supremes, and how the "no-hit Supremes" became the biggest girl group in history. Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have a ten-minute bonus episode available, on "She's Not There" by the Zombies. Tilt Araiza has assisted invaluably by doing a first-pass edit, and will hopefully be doing so from now on. Check out Tilt's irregular podcasts at http://www.podnose.com/jaffa-cakes-for-proust and http://sitcomclub.com/ ----more----   Resources As usual, I've created a Mixcloud streaming playlist with full versions of all the songs in the episode.  For Motown-related information in this and other Motown episodes, I've used the following resources: Where Did Our Love Go? The Rise and Fall of the Motown Sound by Nelson George is an excellent popular history of the various companies that became Motown.  To Be Loved by Berry Gordy is Gordy's own, understandably one-sided, but relatively well-written, autobiography. Women of Motown: An Oral History by Susan Whitall is a collection of interviews with women involved in Motown. I Hear a Symphony: Motown and Crossover R&B by J. Andrew Flory is an academic look at Motown. The Motown Encyclopaedia by Graham Betts is an exhaustive look at the people and records involved in Motown's thirty-year history. How Sweet It Is by Lamont Dozier and Scott B. Bomar is Dozier's autobiography, while Come and Get These Memories by Brian and Eddie Holland and Dave Thompson is the Holland brothers'. And Motown Junkies is an infrequently-updated blog looking at (so far) the first 694 tracks released on Motown singles. Girl Groups by John Clemente contains potted biographies of many groups of the era. The Supremes biography I mention in the podcast is The Supremes by Mark Ribowsky, which seems factually accurate but questionable in its judgments of people. I also used this omnibus edition of Mary Wilson's two volumes of autobiography. This box set contains everything you could want by the Supremes, but is extraordinarily expensive in physical form at the moment, though cheap as MP3s. This is a good budget substitute, though oddly doesn't contain "Stop in the Name of Love". Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript Before I start, this episode contains a brief mention of rape, and the trauma of a victim, and a glancing mention of an eating disorder. The discussion is not particularly explicit, but if you think you might find it upsetting, you might be advised to check the transcript before listening, which as always can be found on the site website, or to skip this episode. Today, we're going to look at the first big hit from the group who would become the most successful female vocal group of the sixties, the group who would become the most important act to come out of Motown, and who would be more successful in chart terms than anyone in the sixties except the Beatles and Elvis.  We're going to look at the record that made Holland, Dozier, and Holland the most important team in Motown, and that made a group that had been regarded as a joke into superstars. We're going to look at "Where Did Our Love Go?" by the group that up until this record was known in Motown as "the no-hit Supremes": [Excerpt: The Supremes, "Where Did Our Love Go?"] The story of the Supremes starts, like almost every Motown act, in Detroit. Specifically, it starts with a group called the Primes, a trio who had grown up in Birmingham, Alabama, and then had moved to Cleveland, before moving in turn to Detroit. The Primes consisted of Eddie Kendricks, Paul Williams, and Kell Osborne, and were gaining popularity around the city. But their act was lacking something, and their manager, Milton Jenkins, was inspired by Ray Charles' backing vocalists, the Raelettes. What if, he thought, his male vocal group had a group of female backing singers, the Primettes? Stories vary about exactly how Jenkins pulled the group members together, including the idea that he literally stopped girls on the streets of the housing projects where the eventual members all lived. But what everyone seems to agree on is that Betty McGlown was dating Paul Williams, so she was an obvious choice. Mary Wilson and Florence Ballard knew each other and were good singers, especially Ballard, and they joined together, with Ballard becoming the new group's leader. And nobody seems to be clear who asked Diana Ross to join, but she was invited in. Ross says she was already singing with the other three around the neighbourhood. Wilson insisted that they didn't know her, and that she was brought in by Jenkins. While Ballard and Wilson were friendly enough, and all of them were from the same small area and so knew each other by sight, this wasn't a group that came together as friends, but people who were put together by a third party. This would make a big difference to them over the years. Ross was probably introduced to the group because she already had a reputation among the people who were playing Detroit's talent shows. For example there's Melvin Franklin, who in the late fifties was singing with The Distants: [Excerpt: The Distants, "Come On"] Franklin was an old friend of Ross' from school, and he would rave about Ross to his friends, so much so that Otis Williams, another member of the Distants (which would soon merge with the Primes to become the Temptations) knew Ross' name long before he ever met her, and later remembered thinking "Jesus, this girl must be something special." So Jenkins would have known about Ross through these connections. Incidentally, before we go any further, I should mention the issue of Diana Ross' name. At this point, she was mostly known by the name on her birth certificate, Diane, and that's how many people who knew her in this period still refer to her when talking about the late fifties and early sixties. However, she says herself that her parents always intended to name her Diana and the person filling in the birth certificate misspelled it, and she's used Diana for many decades now. As a general rule on this podcast I always refer to someone by the name they choose for themselves unless there's a very good reason not to, and so I'm going to be referring to her as Diana throughout -- and later when we talk about the Byrds, I will always refer to Roger McGuinn, and so on. It's difficult to talk about Diana Ross in any sensible way, because she is not a person who has inspired the greatest affection among her colleagues, or among people writing about her. But almost all the negative things said about her have a deep undercurrent of misogyny. One of the biographies I used for researching this episode, for example, in the space of four consecutive sentences in the introduction, compares her face to that of ET, says she looked "emaciated and vacant" (and this is a woman who suffered from anorexia), talks about how inviting her mouth is and her "bedroom eyes", and then talks about how she used her sexuality to get ahead. You will be shocked, I am sure, to hear that this book was written by a male biographer. Oddly, the books I'm using for the upcoming episodes on Manfred Mann and the Beach Boys don't talk of their lead singers in this way... In particular, there is a recurring theme in almost everything written about Ross, which criticises her for having affairs with prominent people at Motown, most notably Berry Gordy, and accuses her of doing this in order to further her own ambitions. That sort of criticism is rooted in misogyny. This is not a podcast that will ever deal in shaming women for their sexuality, and what consenting adults do with each other is their business alone. I would also point out that Ross' affair with Gordy is always portrayed as ethical misconduct on Ross' part, but *if* there was anything unethical about their relationship, the fault in a relationship between a rich, powerful, married man in his thirties and his much younger employee is unlikely to have been due to the latter. That's not to say that Ross is flawless -- far from it, as the narrative will make clear -- but to say that it's very difficult, when relying on reportage either from people with personal grudges against her or from writers who take attitudes like that, to separate the real flaws in the real woman from the monster of the popular imagination. But that's all for later in the story. At this point, Ross was merely one of four girls brought together by Jenkins to form the Primettes - but Jenkins soon realised that this group could be better used as a group in their own right, rather than merely as backing vocalists for the Primes.  At this point, early on, there was no question but that Florence Ballard was the leader of the group. She had the most outspoken personality, and also had the best voice. When Jenkins had asked to hear the girls sing together, all the others had just looked at each other, while she had burst out into Ray Charles' "Night Time is the Right Time": [Excerpt: Ray Charles, "Night Time is the Right Time"] That would become a staple of the girls' early act, along with "The Twist" and "There Goes My Baby". All of the girls would take lead vocals on stage, but Florence was the first among equals. At that time, indeed, Ballard thought that Ross should not be a lead singer at all, but Ross got very angry at this, and kept working at her vocals, trying to get them more commercial and make better use of her more limited voice. Ballard was a natural singer, who sang passionately in a way that apparently blew audiences away with relatively little effort, because she was singing from the heart. Ross, on the other hand, was a calculated performer who was deliberately trying to gain the audience's popularity, and was improving with every show as she learned what worked. The combination worked, at least for a time, though the two never got on even from the start. Of the other members, Mary Wilson was always the peacemaker, someone who was so conflict-averse she would find a way to get Florence and Diana to stop fighting, no matter what. Meanwhile, Betty was the least interested in being in a group -- she was just doing it as a favour for her boyfriend. And finally, there was a fifth member, Marvin Tarplin, who didn't sing but who played guitar, which made them one of the few vocal groups in the city who had their own accompaniment. Fairly quickly, Franklin dropped out of management -- he spent some time in hospital, and after getting out he just never got back in touch with the girls -- and the Primettes took over looking after themselves. There are various stories about them being approached by different people within Motown at different points, but everyone agrees that their first real contact with Motown came through Ross. Ross had, a year or so before the group formed, been friendly with Smokey Robinson, on whom she had a bit of an adolescent crush. Knowing that Robinson was now recording for Motown, she got in touch with him, and he made a suggestion -- her group should audition for him, and if he thought they were good enough, he'd get them an appointment with Berry Gordy. The group sang for Robinson, who wasn't hugely impressed, except with their guitarist. So Robinson made a deal with them -- he'd get the girls an audition for Motown, if he could borrow their guitarist for a tour the Miracles were about to do. They agreed, and Robinson's temporary borrowing of Tarplin lasted fifty years, as Tarplin continued working with Robinson, both in the Miracles and on Robinson's solo records, until 2008, and co-wrote many of Robinson's biggest hits. But Robinson kept his word, and the girls did indeed audition for Berry Gordy, who was encouraging but told them to come back after they had finished school.  But two other producers at Motown, Richard Morris and Robert Bateman, decided they weren't going to wait around. If Berry Gordy didn't want to sign them yet, they'd get the Primettes work with other labels. Morris became their manager, and they started getting session work on early recordings by future soul legends like Wilson Pickett: [Excerpt: Wilson Pickett, "Let Me Be Your Boy"] And Eddie Floyd: [Excerpt: Eddie Floyd, "I am Her Yo-Yo Man"] The group also eventually got to put out their own single. The A-side featured Ross on lead: [Excerpt: The Primettes, "Tears of Sorrow"] While the B-side had Wilson singing lead, but also featured a prominent high part from Ballard: [Excerpt: The Primettes, "Pretty Baby"] Shortly after this, several things happened that would change the group forever. One was that Betty decided to leave the group to get married. She had never been as committed to the group as the other three, and she was quickly replaced with a new singer, Barbara Martin. The other, far more devastating, thing was that Florence Ballard was raped by an acquaintance. This traumatised Ballard deeply, and from this point on she became unable to trust anyone, even her friends. She would suffer for the rest of her life from what would now be diagnosed as post-traumatic stress disorder, and while it's likely that the later problems between her and Ross would have occurred in some form, the way they occurred was undoubtedly affected by the fact of Ballard's untreated mental illness as a result of this trauma. After refusing to speak to anyone at all for a couple of weeks, Ballard managed to get herself well enough to start singing again, and then only a few days later Richard Morris was arrested for a parole violation and found himself in prison.  With all these devastating changes, many groups would have given up. But  the Primettes were ambitious, and they decided that they were going to force their way into Motown, whether Berry Gordy wanted them or not. They took to hanging around Hitsville, acting like they belonged there, and they soon found themselves doing minor bits of work on sessions -- handclaps and backing vocals and so on, as almost everyone who hung around the studio long enough would. Eventually they got lucky. Freddie Gorman, who was the girls' postman in his day job and had not yet written "Please Mr. Postman", had been working on a song with Brian Holland, and the girls happened to be around.  Gorman suggested they try the song out, to see what it sounded like with harmonies, and the result was good enough that Holland and Gorman called in Gordy, who tinkered with the song to get his name on the credits, and then helped produce the session: [Excerpt: The Supremes, "I Want a Guy"] That came out under the name The Supremes, with a Berry Gordy song on the B-side, a knock-off of "Maybe" by the Chantels called "Never Again". How the group got their new name has also been a subject of some dispute, in part because of legal issues later on, as Florence Ballard tried to claim some intellectual property rights in the group name as the one who had chosen it. Everyone involved has a different story about how the name was chosen, but it seems to be the consensus that Ballard did pick the name from a shortlist, with the dispute being over whether that shortlist was of names that the group members had come up with between them, or whether it was created by Janie Bradford, and whether Ballard made a conscious choice of the name or just picked it out of a hat. Whatever the case, the Primettes had now become the Supremes. The problem was that Berry Gordy wasn't really interested in them as a group. Right from the start, he was only interested in Diana Ross as an individual, though at least at first all the members would get to take lead vocals on album tracks -- though the singles would be saved for Diana. With one exception -- after the group's first single flopped, they decided to go in a very different direction for the second single.  For that, Gordy wrote a knock-off of a knock-off. In 1959 the Olympics had had a very minor hit with "Hully Gully": [Excerpt: The Olympics, "Hully Gully"] Which had been remade a few months later by the Marathons as "Peanut Butter": [Excerpt: The Marathons, "Peanut Butter"] Gordy chose to rework this song as "Buttered Popcorn", a song that's just an excuse for extremely weak double entendres, and Florence got to sing lead: [Excerpt: The Supremes, "Buttered Popcorn"] That was no more successful than "I Want a Guy", and that would be the last time Florence Ballard ever got to sing lead on a Supremes single. It would also be the last single the Supremes released as a four-piece. While Barbara Martin had recorded some material with the group that would be released later, she became pregnant and decided to leave the group. Having decided that they clearly couldn't keep a fourth singer around, the other three decided to continue on as a trio. By this time, Motown had signed the Marvelettes, and they'd leapfrogged over the Supremes to become major stars. The Supremes, meanwhile had had two flops in a row, and their third did little better, though "Your Heart Belongs to Me",  written and produced for them by Smokey Robinson, did make number ninety-five in the charts. That was followed by a string of flops that often did, just, make the Hot One Hundred but didn't qualify as hits by any measure -- and many of them were truly terrible. The group got the nickname "the no-hit Supremes" and tended to get the songs that wouldn't pass muster for other groups. Their nadir was probably the B-side "The Man with the Rock & Roll Banjo Band", a song that seems to have been based around Duane Eddy's "Dance With the Guitar Man": [Excerpt: Duane Eddy, "Dance With the Guitar Man"] But instead of the electric guitar, the Supremes' song was about the banjo, an instrument which has many virtues, but which does not really fit into the Motown sound: [Excerpt: The Supremes, "The Man with the Rock and Roll Banjo Band"] This sort of thing continued for two years, with the Supremes now being passed in chart success not only by the Marvelettes but also by the Vandellas, who also signed to Motown after them and had hits before. The "no-hit Supremes" at their best only just scraped the bottom of the Hot One Hundred, no matter who produced them -- Lamont Dozier and Brian Holland, Clarence Paul, Berry Gordy, and Smokey Robinson all had multiple attempts at recording with the group, because of Gordy's belief in Ross' star potential, but nothing happened until they were paired with Holland, Dozier, and Holland, fresh off their success with the Vandellas. The musical side of the Holland/Dozier/Holland team had already worked with the group, but with little success. But once Holland/Dozier/Holland became a bona fide hit-making team, they started giving the Supremes additional backing vocal parts. They're in the vocal stack, for example, on Marvin Gaye's extraordinary "Can I Get a Witness": [Excerpt: Marvin Gaye, "Can I Get a Witness"] The first song that Holland, Dozier, and Holland wrote as a team for the Supremes is very different from the heavy, soulful, records they'd specialised in up until that point. Lamont Dozier has said that when he came up with the idea for "When the Lovelight Starts Shining in His Eyes" he was thinking of Phil Spector and Brian Wilson, although it's unlikely he was actually thinking of Wilson, who at this point in 1963 was still making rather garagey surf-rock records rather than the symphonic pop he would start to specialise in the next year. Which is not to say that Holland, Dozier, and Holland weren't paying attention to Wilson -- after all, they wrote "Surfer Boy" for the Supremes in 1965 -- but Dozier is probably misremembering here. It's entirely plausible, though, that he was thinking of Spector, and the song definitely has a wall of sound feel, albeit filtered through Motown's distinctly funkier, non-Wrecking-Crew, sound, and with more than a little Bo Diddley influence: [Excerpt: The Supremes, "When the Lovelight Starts Shining Through His Eyes"] That also featured additional backing vocals from the Four Tops, another group with whom Holland, Dozier, and Holland were working, and who we'll be hearing more of in future episodes. "When the Lovelight Starts Shining Through His Eyes" went to number twenty-three, the first bona fide hit the Supremes had ever had. So they were set. They even had a surefire smash follow-up. With Holland, Dozier, and Holland they'd recorded *another* Phil Spector knock-off, *before* "Lovelight", a record modelled on "Da Doo Ron Ron", titled "Run Run Run", but they'd held it back so they could release it next -- they decided to release a record that sounded like a medium-sized hit first, to get some momentum and name recognition, so they could then release the big smash hit. But "Run Run Run" only went to number ninety-four. The group were at a low point, and as far as they could tell they were only going to get lower. They'd had their hit and it looked like a fluke. The big one they'd had hopes for had gone nowhere. The story of their next single has been told many ways by many different people. This is a version of the story as best I can put it together, but everything that follows might be false, because as with so much of Motown, everyone has their own agenda. As best I can make out, Holland, Dozier, and Holland were working on tracks for a proposed Marvelettes album and came up with a simple, stomping, song based on a repetitive eight-bar verse, with no bridge, chorus, or middle eight. The Holland brothers disagree about what happened next, and it sounds odd, but Lamont Dozier, Mary Wilson, and Katherine Anderson of the Marvelettes all say the same thing -- while normally Motown artists had no say in what songs they recorded, this time the Marvelettes were played a couple of backing tracks which had been proposed as their next recording, and they chose to dump the eight-bar one, and go instead with "Too Many Fish in the Sea": [Excerpt: The Marvelettes, "Too Many Fish in the Sea"] The way Dozier tells the story, that presented Holland, Dozier, and Holland with a problem. They'd recorded the backing track, and one of the many ways that Motown caused problems for its creative workers was that they would be charged against royalties for studio time. If the track didn't get released, they'd lost all the money. So they turned to the Supremes, and Dozier tried to persuade Mary Wilson that he'd written this great new song, just for them, they'd love it, but by this point they'd already talked to the Marvelettes and been told about this dreadful song they'd managed to get out of doing, and advised to avoid it if they could. But while the Marvelettes were a big, successful group, the Supremes weren't yet, and didn't have any choice. They were going to record the song whether they liked it or not. They didn't like it. Having already been poisoned against the song by the Marvelettes, there were further problems in the studio because one of the production team had originally told Mary Wilson she could sing lead on the song. Everyone seems agreed that Brian Holland insisted on Diana Ross singing it instead, but Eddie Holland remembers that he thought that Wilson should sing and it was Brian and Dozier who insisted on Ross, while Dozier remembers that *he* thought that Wilson should sing, and it was the Holland brothers who insisted on Ross. Somehow, if all these memories are to be believed, Brian Holland outvoted his partners one to two, possibly because Berry Gordy had declared that Ross should be the lead singer on all Supremes singles. Mary was devastated, while Ross was annoyed that she was having to sing what she thought was a terrible song, in a key that was much lower than she was used to. She got more annoyed when Eddie Holland kept coaching her on how he wanted the song sung -- she was playing with the phrasing and Holland insisted she sing it straight. Eventually she started threatening to get Gordy to come down, at which point Eddie told her that she could do that, but then Gordy could just produce the session and they needn't bother hoping for any more Holland/Dozier/Holland songs.  She sang through her lead putting as little emotion as she could into her voice, while glaring daggers at the producers, before storming off as soon as she'd completed the take they wanted, complaining about being given everyone else's leftovers: [Excerpt: The Supremes, “Where Did Our Love Go?”] Holland, Dozier, and Holland then got on with trying to get the other two Supremes to do the backing vocal parts. But the parts Lamont Dozier had come up with were difficult, nobody was in a good mood, and Mary Wilson was still upset that she wasn't going to be singing lead. They couldn't get the vocals down, and eventually, frustrated, Dozier told them to just sing "baby baby" when he pointed, and they went with that. Towards the end of the session, Ross came back in, with Berry Gordy, who she had clearly been complaining to about the song. He asked to hear it, and they played back this recording that nobody was happy with. Gordy, much to Ross' shock, was convinced it was a hit, and said to them "Cheer up, everybody! From now on, you're the big-hit Supremes!": [Excerpt: The Supremes, "Where Did Our Love Go?"] Motown was in a bit of a slump at that point -- several of the label's big stars had had disappointing follow-ups to their hits, and they'd just lost Mary Wells, one of their biggest stars, to another label. Gordy decided that they were going to give "Where Did Our Love Go?" a huge push, and persuaded Dick Clark to put the Supremes on his Caravan of Stars tour. When the record came out in June, they were at the bottom of the bill, opening the show on a bill with more than a dozen other acts, from the Zombies to the Shirelles to Freddie "Boom Boom" Cannon above them. By the end of the tour, their record was at number one in the charts and they had already recorded a follow-up. As "Where Did Our Love Go?" had included the word "baby" sixty-eight times, the production team had decided not to mess with a winning formula: [Excerpt: The Supremes, "Baby Love"] That went to number one by the end of October 1964, making the Supremes the first Motown act to have two number ones. There would be a lot more where that came from. But there was already trouble brewing in the group. Even on the Dick Clark tourbus, there were rumours that Diana Ross wanted a solo career, and there was talk of her forcing Florence Ballard out of the group. We'll look at that, and what happened with the Supremes in the latter part of the sixties in a few months' time.  But I can't end this time without acknowledging the sad death, a month ago today, of Mary Wilson, the only member of the Supremes who stayed with the group from the beginning right through to their split in 1977. For a member of a group who were second only to the Beatles for commercial success in the sixties, she was underrewarded in life, and her death went underreported. She'll be missed.

Episode one hundred and sixteen of A History of Rock Music in Five Hundred Songs looks at “Where Did Our Love Go?” by the Supremes, and how the “no-hit Supremes” became the biggest girl group in history. Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have a ten-minute bonus episode available, on “She’s Not There” by the Zombies. Tilt Araiza has assisted invaluably by doing a first-pass edit, and will hopefully be doing so from now on. Check out Tilt’s irregular podcasts at http://www.podnose.com/jaffa-cakes-for-proust and http://sitcomclub.com/ —-more—-   Resources As usual, I’ve created a Mixcloud streaming playlist with full versions of all the songs in the episode.  For Motown-related information in this and other Motown episodes, I’ve used the following resources: Where Did Our Love Go? The Rise and Fall of the Motown Sound by Nelson George is an excellent popular history of the various companies that became Motown.  To Be Loved by Berry Gordy is Gordy’s own, understandably one-sided, but relatively well-written, autobiography. Women of Motown: An Oral History by Susan Whitall is a collection of interviews with women involved in Motown. I Hear a Symphony: Motown and Crossover R&B by J. Andrew Flory is an academic look at Motown. The Motown Encyclopaedia by Graham Betts is an exhaustive look at the people and records involved in Motown’s thirty-year history. How Sweet It Is by Lamont Dozier and Scott B. Bomar is Dozier’s autobiography, while Come and Get These Memories by Brian and Eddie Holland and Dave Thompson is the Holland brothers’. And Motown Junkies is an infrequently-updated blog looking at (so far) the first 694 tracks released on Motown singles. Girl Groups by John Clemente contains potted biographies of many groups of the era. The Supremes biography I mention in the podcast is The Supremes by Mark Ribowsky, which seems factually accurate but questionable in its judgments of people. I also used this omnibus edition of Mary Wilson’s two volumes of autobiography. This box set contains everything you could want by the Supremes, but is extraordinarily expensive in physical form at the moment, though cheap as MP3s. This is a good budget substitute, though oddly doesn’t contain “Stop in the Name of Love”. Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript Before I start, this episode contains a brief mention of rape, and the trauma of a victim, and a glancing mention of an eating disorder. The discussion is not particularly explicit, but if you think you might find it upsetting, you might be advised to check the transcript before listening, which as always can be found on the site website, or to skip this episode. Today, we’re going to look at the first big hit from the group who would become the most successful female vocal group of the sixties, the group who would become the most important act to come out of Motown, and who would be more successful in chart terms than anyone in the sixties except the Beatles and Elvis.  We’re going to look at the record that made Holland, Dozier, and Holland the most important team in Motown, and that made a group that had been regarded as a joke into superstars. We’re going to look at “Where Did Our Love Go?” by the group that up until this record was known in Motown as “the no-hit Supremes”: [Excerpt: The Supremes, “Where Did Our Love Go?”] The story of the Supremes starts, like almost every Motown act, in Detroit. Specifically, it starts with a group called the Primes, a trio who had grown up in Birmingham, Alabama, and then had moved to Cleveland, before moving in turn to Detroit. The Primes consisted of Eddie Kendricks, Paul Williams, and Kell Osborne, and were gaining popularity around the city. But their act was lacking something, and their manager, Milton Jenkins, was inspired by Ray Charles’ backing vocalists, the Raelettes. What if, he thought, his male vocal group had a group of female backing singers, the Primettes? Stories vary about exactly how Jenkins pulled the group members together, including the idea that he literally stopped girls on the streets of the housing projects where the eventual members all lived. But what everyone seems to agree on is that Betty McGlown was dating Paul Williams, so she was an obvious choice. Mary Wilson and Florence Ballard knew each other and were good singers, especially Ballard, and they joined together, with Ballard becoming the new group’s leader. And nobody seems to be clear who asked Diana Ross to join, but she was invited in. Ross says she was already singing with the other three around the neighbourhood. Wilson insisted that they didn’t know her, and that she was brought in by Jenkins. While Ballard and Wilson were friendly enough, and all of them were from the same small area and so knew each other by sight, this wasn’t a group that came together as friends, but people who were put together by a third party. This would make a big difference to them over the years. Ross was probably introduced to the group because she already had a reputation among the people who were playing Detroit’s talent shows. For example there’s Melvin Franklin, who in the late fifties was singing with The Distants: [Excerpt: The Distants, “Come On”] Franklin was an old friend of Ross’ from school, and he would rave about Ross to his friends, so much so that Otis Williams, another member of the Distants (which would soon merge with the Primes to become the Temptations) knew Ross’ name long before he ever met her, and later remembered thinking “Jesus, this girl must be something special.” So Jenkins would have known about Ross through these connections. Incidentally, before we go any further, I should mention the issue of Diana Ross’ name. At this point, she was mostly known by the name on her birth certificate, Diane, and that’s how many people who knew her in this period still refer to her when talking about the late fifties and early sixties. However, she says herself that her parents always intended to name her Diana and the person filling in the birth certificate misspelled it, and she’s used Diana for many decades now. As a general rule on this podcast I always refer to someone by the name they choose for themselves unless there’s a very good reason not to, and so I’m going to be referring to her as Diana throughout — and later when we talk about the Byrds, I will always refer to Roger McGuinn, and so on. It’s difficult to talk about Diana Ross in any sensible way, because she is not a person who has inspired the greatest affection among her colleagues, or among people writing about her. But almost all the negative things said about her have a deep undercurrent of misogyny. One of the biographies I used for researching this episode, for example, in the space of four consecutive sentences in the introduction, compares her face to that of ET, says she looked “emaciated and vacant” (and this is a woman who suffered from anorexia), talks about how inviting her mouth is and her “bedroom eyes”, and then talks about how she used her sexuality to get ahead. You will be shocked, I am sure, to hear that this book was written by a male biographer. Oddly, the books I’m using for the upcoming episodes on Manfred Mann and the Beach Boys don’t talk of their lead singers in this way… In particular, there is a recurring theme in almost everything written about Ross, which criticises her for having affairs with prominent people at Motown, most notably Berry Gordy, and accuses her of doing this in order to further her own ambitions. That sort of criticism is rooted in misogyny. This is not a podcast that will ever deal in shaming women for their sexuality, and what consenting adults do with each other is their business alone. I would also point out that Ross’ affair with Gordy is always portrayed as ethical misconduct on Ross’ part, but *if* there was anything unethical about their relationship, the fault in a relationship between a rich, powerful, married man in his thirties and his much younger employee is unlikely to have been due to the latter. That’s not to say that Ross is flawless — far from it, as the narrative will make clear — but to say that it’s very difficult, when relying on reportage either from people with personal grudges against her or from writers who take attitudes like that, to separate the real flaws in the real woman from the monster of the popular imagination. But that’s all for later in the story. At this point, Ross was merely one of four girls brought together by Jenkins to form the Primettes – but Jenkins soon realised that this group could be better used as a group in their own right, rather than merely as backing vocalists for the Primes.  At this point, early on, there was no question but that Florence Ballard was the leader of the group. She had the most outspoken personality, and also had the best voice. When Jenkins had asked to hear the girls sing together, all the others had just looked at each other, while she had burst out into Ray Charles’ “Night Time is the Right Time”: [Excerpt: Ray Charles, “Night Time is the Right Time”] That would become a staple of the girls’ early act, along with “The Twist” and “There Goes My Baby”. All of the girls would take lead vocals on stage, but Florence was the first among equals. At that time, indeed, Ballard thought that Ross should not be a lead singer at all, but Ross got very angry at this, and kept working at her vocals, trying to get them more commercial and make better use of her more limited voice. Ballard was a natural singer, who sang passionately in a way that apparently blew audiences away with relatively little effort, because she was singing from the heart. Ross, on the other hand, was a calculated performer who was deliberately trying to gain the audience’s popularity, and was improving with every show as she learned what worked. The combination worked, at least for a time, though the two never got on even from the start. Of the other members, Mary Wilson was always the peacemaker, someone who was so conflict-averse she would find a way to get Florence and Diana to stop fighting, no matter what. Meanwhile, Betty was the least interested in being in a group — she was just doing it as a favour for her boyfriend. And finally, there was a fifth member, Marvin Tarplin, who didn’t sing but who played guitar, which made them one of the few vocal groups in the city who had their own accompaniment. Fairly quickly, Franklin dropped out of management — he spent some time in hospital, and after getting out he just never got back in touch with the girls — and the Primettes took over looking after themselves. There are various stories about them being approached by different people within Motown at different points, but everyone agrees that their first real contact with Motown came through Ross. Ross had, a year or so before the group formed, been friendly with Smokey Robinson, on whom she had a bit of an adolescent crush. Knowing that Robinson was now recording for Motown, she got in touch with him, and he made a suggestion — her group should audition for him, and if he thought they were good enough, he’d get them an appointment with Berry Gordy. The group sang for Robinson, who wasn’t hugely impressed, except with their guitarist. So Robinson made a deal with them — he’d get the girls an audition for Motown, if he could borrow their guitarist for a tour the Miracles were about to do. They agreed, and Robinson’s temporary borrowing of Tarplin lasted fifty years, as Tarplin continued working with Robinson, both in the Miracles and on Robinson’s solo records, until 2008, and co-wrote many of Robinson’s biggest hits. But Robinson kept his word, and the girls did indeed audition for Berry Gordy, who was encouraging but told them to come back after they had finished school.  But two other producers at Motown, Richard Morris and Robert Bateman, decided they weren’t going to wait around. If Berry Gordy didn’t want to sign them yet, they’d get the Primettes work with other labels. Morris became their manager, and they started getting session work on early recordings by future soul legends like Wilson Pickett: [Excerpt: Wilson Pickett, “Let Me Be Your Boy”] And Eddie Floyd: [Excerpt: Eddie Floyd, “I am Her Yo-Yo Man”] The group also eventually got to put out their own single. The A-side featured Ross on lead: [Excerpt: The Primettes, “Tears of Sorrow”] While the B-side had Wilson singing lead, but also featured a prominent high part from Ballard: [Excerpt: The Primettes, “Pretty Baby”] Shortly after this, several things happened that would change the group forever. One was that Betty decided to leave the group to get married. She had never been as committed to the group as the other three, and she was quickly replaced with a new singer, Barbara Martin. The other, far more devastating, thing was that Florence Ballard was raped by an acquaintance. This traumatised Ballard deeply, and from this point on she became unable to trust anyone, even her friends. She would suffer for the rest of her life from what would now be diagnosed as post-traumatic stress disorder, and while it’s likely that the later problems between her and Ross would have occurred in some form, the way they occurred was undoubtedly affected by the fact of Ballard’s untreated mental illness as a result of this trauma. After refusing to speak to anyone at all for a couple of weeks, Ballard managed to get herself well enough to start singing again, and then only a few days later Richard Morris was arrested for a parole violation and found himself in prison.  With all these devastating changes, many groups would have given up. But  the Primettes were ambitious, and they decided that they were going to force their way into Motown, whether Berry Gordy wanted them or not. They took to hanging around Hitsville, acting like they belonged there, and they soon found themselves doing minor bits of work on sessions — handclaps and backing vocals and so on, as almost everyone who hung around the studio long enough would. Eventually they got lucky. Freddie Gorman, who was the girls’ postman in his day job and had not yet written “Please Mr. Postman”, had been working on a song with Brian Holland, and the girls happened to be around.  Gorman suggested they try the song out, to see what it sounded like with harmonies, and the result was good enough that Holland and Gorman called in Gordy, who tinkered with the song to get his name on the credits, and then helped produce the session: [Excerpt: The Supremes, “I Want a Guy”] That came out under the name The Supremes, with a Berry Gordy song on the B-side, a knock-off of “Maybe” by the Chantels called “Never Again”. How the group got their new name has also been a subject of some dispute, in part because of legal issues later on, as Florence Ballard tried to claim some intellectual property rights in the group name as the one who had chosen it. Everyone involved has a different story about how the name was chosen, but it seems to be the consensus that Ballard did pick the name from a shortlist, with the dispute being over whether that shortlist was of names that the group members had come up with between them, or whether it was created by Janie Bradford, and whether Ballard made a conscious choice of the name or just picked it out of a hat. Whatever the case, the Primettes had now become the Supremes. The problem was that Berry Gordy wasn’t really interested in them as a group. Right from the start, he was only interested in Diana Ross as an individual, though at least at first all the members would get to take lead vocals on album tracks — though the singles would be saved for Diana. With one exception — after the group’s first single flopped, they decided to go in a very different direction for the second single.  For that, Gordy wrote a knock-off of a knock-off. In 1959 the Olympics had had a very minor hit with “Hully Gully”: [Excerpt: The Olympics, “Hully Gully”] Which had been remade a few months later by the Marathons as “Peanut Butter”: [Excerpt: The Marathons, “Peanut Butter”] Gordy chose to rework this song as “Buttered Popcorn”, a song that’s just an excuse for extremely weak double entendres, and Florence got to sing lead: [Excerpt: The Supremes, “Buttered Popcorn”] That was no more successful than “I Want a Guy”, and that would be the last time Florence Ballard ever got to sing lead on a Supremes single. It would also be the last single the Supremes released as a four-piece. While Barbara Martin had recorded some material with the group that would be released later, she became pregnant and decided to leave the group. Having decided that they clearly couldn’t keep a fourth singer around, the other three decided to continue on as a trio. By this time, Motown had signed the Marvelettes, and they’d leapfrogged over the Supremes to become major stars. The Supremes, meanwhile had had two flops in a row, and their third did little better, though “Your Heart Belongs to Me”,  written and produced for them by Smokey Robinson, did make number ninety-five in the charts. That was followed by a string of flops that often did, just, make the Hot One Hundred but didn’t qualify as hits by any measure — and many of them were truly terrible. The group got the nickname “the no-hit Supremes” and tended to get the songs that wouldn’t pass muster for other groups. Their nadir was probably the B-side “The Man with the Rock & Roll Banjo Band”, a song that seems to have been based around Duane Eddy’s “Dance With the Guitar Man”: [Excerpt: Duane Eddy, “Dance With the Guitar Man”] But instead of the electric guitar, the Supremes’ song was about the banjo, an instrument which has many virtues, but which does not really fit into the Motown sound: [Excerpt: The Supremes, “The Man with the Rock and Roll Banjo Band”] This sort of thing continued for two years, with the Supremes now being passed in chart success not only by the Marvelettes but also by the Vandellas, who also signed to Motown after them and had hits before. The “no-hit Supremes” at their best only just scraped the bottom of the Hot One Hundred, no matter who produced them — Lamont Dozier and Brian Holland, Clarence Paul, Berry Gordy, and Smokey Robinson all had multiple attempts at recording with the group, because of Gordy’s belief in Ross’ star potential, but nothing happened until they were paired with Holland, Dozier, and Holland, fresh off their success with the Vandellas. The musical side of the Holland/Dozier/Holland team had already worked with the group, but with little success. But once Holland/Dozier/Holland became a bona fide hit-making team, they started giving the Supremes additional backing vocal parts. They’re in the vocal stack, for example, on Marvin Gaye’s extraordinary “Can I Get a Witness”: [Excerpt: Marvin Gaye, “Can I Get a Witness”] The first song that Holland, Dozier, and Holland wrote as a team for the Supremes is very different from the heavy, soulful, records they’d specialised in up until that point. Lamont Dozier has said that when he came up with the idea for “When the Lovelight Starts Shining in His Eyes” he was thinking of Phil Spector and Brian Wilson, although it’s unlikely he was actually thinking of Wilson, who at this point in 1963 was still making rather garagey surf-rock records rather than the symphonic pop he would start to specialise in the next year. Which is not to say that Holland, Dozier, and Holland weren’t paying attention to Wilson — after all, they wrote “Surfer Boy” for the Supremes in 1965 — but Dozier is probably misremembering here. It’s entirely plausible, though, that he was thinking of Spector, and the song definitely has a wall of sound feel, albeit filtered through Motown’s distinctly funkier, non-Wrecking-Crew, sound, and with more than a little Bo Diddley influence: [Excerpt: The Supremes, “When the Lovelight Starts Shining Through His Eyes”] That also featured additional backing vocals from the Four Tops, another group with whom Holland, Dozier, and Holland were working, and who we’ll be hearing more of in future episodes. “When the Lovelight Starts Shining Through His Eyes” went to number twenty-three, the first bona fide hit the Supremes had ever had. So they were set. They even had a surefire smash follow-up. With Holland, Dozier, and Holland they’d recorded *another* Phil Spector knock-off, *before* “Lovelight”, a record modelled on “Da Doo Ron Ron”, titled “Run Run Run”, but they’d held it back so they could release it next — they decided to release a record that sounded like a medium-sized hit first, to get some momentum and name recognition, so they could then release the big smash hit. But “Run Run Run” only went to number ninety-four. The group were at a low point, and as far as they could tell they were only going to get lower. They’d had their hit and it looked like a fluke. The big one they’d had hopes for had gone nowhere. The story of their next single has been told many ways by many different people. This is a version of the story as best I can put it together, but everything that follows might be false, because as with so much of Motown, everyone has their own agenda. As best I can make out, Holland, Dozier, and Holland were working on tracks for a proposed Marvelettes album and came up with a simple, stomping, song based on a repetitive eight-bar verse, with no bridge, chorus, or middle eight. The Holland brothers disagree about what happened next, and it sounds odd, but Lamont Dozier, Mary Wilson, and Katherine Anderson of the Marvelettes all say the same thing — while normally Motown artists had no say in what songs they recorded, this time the Marvelettes were played a couple of backing tracks which had been proposed as their next recording, and they chose to dump the eight-bar one, and go instead with “Too Many Fish in the Sea”: [Excerpt: The Marvelettes, “Too Many Fish in the Sea”] The way Dozier tells the story, that presented Holland, Dozier, and Holland with a problem. They’d recorded the backing track, and one of the many ways that Motown caused problems for its creative workers was that they would be charged against royalties for studio time. If the track didn’t get released, they’d lost all the money. So they turned to the Supremes, and Dozier tried to persuade Mary Wilson that he’d written this great new song, just for them, they’d love it, but by this point they’d already talked to the Marvelettes and been told about this dreadful song they’d managed to get out of doing, and advised to avoid it if they could. But while the Marvelettes were a big, successful group, the Supremes weren’t yet, and didn’t have any choice. They were going to record the song whether they liked it or not. They didn’t like it. Having already been poisoned against the song by the Marvelettes, there were further problems in the studio because one of the production team had originally told Mary Wilson she could sing lead on the song. Everyone seems agreed that Brian Holland insisted on Diana Ross singing it instead, but Eddie Holland remembers that he thought that Wilson should sing and it was Brian and Dozier who insisted on Ross, while Dozier remembers that *he* thought that Wilson should sing, and it was the Holland brothers who insisted on Ross. Somehow, if all these memories are to be believed, Brian Holland outvoted his partners one to two, possibly because Berry Gordy had declared that Ross should be the lead singer on all Supremes singles. Mary was devastated, while Ross was annoyed that she was having to sing what she thought was a terrible song, in a key that was much lower than she was used to. She got more annoyed when Eddie Holland kept coaching her on how he wanted the song sung — she was playing with the phrasing and Holland insisted she sing it straight. Eventually she started threatening to get Gordy to come down, at which point Eddie told her that she could do that, but then Gordy could just produce the session and they needn’t bother hoping for any more Holland/Dozier/Holland songs.  She sang through her lead putting as little emotion as she could into her voice, while glaring daggers at the producers, before storming off as soon as she’d completed the take they wanted, complaining about being given everyone else’s leftovers: [Excerpt: The Supremes, “Where Did Our Love Go?”] Holland, Dozier, and Holland then got on with trying to get the other two Supremes to do the backing vocal parts. But the parts Lamont Dozier had come up with were difficult, nobody was in a good mood, and Mary Wilson was still upset that she wasn’t going to be singing lead. They couldn’t get the vocals down, and eventually, frustrated, Dozier told them to just sing “baby baby” when he pointed, and they went with that. Towards the end of the session, Ross came back in, with Berry Gordy, who she had clearly been complaining to about the song. He asked to hear it, and they played back this recording that nobody was happy with. Gordy, much to Ross’ shock, was convinced it was a hit, and said to them “Cheer up, everybody! From now on, you’re the big-hit Supremes!”: [Excerpt: The Supremes, “Where Did Our Love Go?”] Motown was in a bit of a slump at that point — several of the label’s big stars had had disappointing follow-ups to their hits, and they’d just lost Mary Wells, one of their biggest stars, to another label. Gordy decided that they were going to give “Where Did Our Love Go?” a huge push, and persuaded Dick Clark to put the Supremes on his Caravan of Stars tour. When the record came out in June, they were at the bottom of the bill, opening the show on a bill with more than a dozen other acts, from the Zombies to the Shirelles to Freddie “Boom Boom” Cannon above them. By the end of the tour, their record was at number one in the charts and they had already recorded a follow-up. As “Where Did Our Love Go?” had included the word “baby” sixty-eight times, the production team had decided not to mess with a winning formula: [Excerpt: The Supremes, “Baby Love”] That went to number one by the end of October 1964, making the Supremes the first Motown act to have two number ones. There would be a lot more where that came from. But there was already trouble brewing in the group. Even on the Dick Clark tourbus, there were rumours that Diana Ross wanted a solo career, and there was talk of her forcing Florence Ballard out of the group. We’ll look at that, and what happened with the Supremes in the latter part of the sixties in a few months’ time.  But I can’t end this time without acknowledging the sad death, a month ago today, of Mary Wilson, the only member of the Supremes who stayed with the group from the beginning right through to their split in 1977. For a member of a group who were second only to the Beatles for commercial success in the sixties, she was underrewarded in life, and her death went underreported. She’ll be missed.

Spotlight Guest - Professor Daryl Michael Scott; B.C Mayor compares Gun owners to Holocaust Victims; Is Hamilton Cancelled? & Dog C-Section Gone wrongAs we close out this final day of Black History Month, this episode the Truth, Lies, Shenanigans Crew will be joined by special guest Daryl Michael Scott, a history professor at Howard University and a noted scholar on African American Life and History. Plus, we'll also have our usual round of Hot Topics for your Shenanigans pleasure, including the two Florida men who were arrested after a TikTok video allegedly showed an unlicensed surgery on a dog, and the mystery surrounding the kidnapping of Lady GaGa's dogs. Originally aired live LIVE 2/28/2021 at 4:00 pm ET using @TLSLiveShow on YouTube, Twitter, or Instagram, or at http://TLSLiveShow.com...Want to Support TLS? Donate Today! www.Paypal.me/TLSdonateSupport the show (https://www.paypal.com/donate?hosted_button_id=52QR3YKJZ4PAS)

Hello and welcome to the History of Drugs in Society with me, Eugene Leventhal. This week, I got to speak with the honorable Scott B. Cecil, who is a city council member in Mount Rainier in Maryland. In addition to that, Scott also runs two podcasts of his own - one called Prohibited which explores prohibition in various contexts, and the other is called the Outlaw Report, which is about cannabis policy and news in the DC area Below are links to both of Scott's podcasts and you can follow him on Twitter. https://prohibitedpodcast.com/ https://www.outlawreport.com/  Feel free to reach out to me over email (DrugsHistory@gmail.com) or via Twitter (@DrugsHistory).  Be well!

Can someone be too smart or important to get sober in A.A.? My guest, Scott B. had his Ph.D. in neurobiology and an accelerating career in medical research to dispel any notions of being an alcoholic or drug addict. His superior intelligence, unflappable ego, and iron-will would shield him from the realities of a life rapidly falling apart around him. But his journey into the dark regions of substance abuse ultimately brought him to his knees as a ravaged and demoralized subject of King Alcohol and Lady Cocaine. Increasingly frequent use quickened the downward spiral of his life and career. Intelligence and will power alone were not enough to save him. Teetering on the edge of the abyss, a single lifeline, in the form of a crafty intervention by his colleagues and friends, was thrown to him. Clinging onto it as only the hopeless can, he finally let that lifeline pull him into treatment and A.A. After nearly 33 years of sobriety, Scott gratefully reflects on that crucial turning point that grew into a brilliant career, a fulfilling life, and daily service to others. His wonderous story is one that needs to be told. More importantly, it's one that needs to be heard by anyone, anywhere who reaches out for help. Visit the AA Recovery Interviews website for more information and to contact me, Howard L. To contact Alcoholics Anonymous World Services, visit aa.org. Check out Howard's Big Book Podcast, the complete unabridged audio version of the First and Second Editions of Alcoholics Anonymous. The Big Book Podcast is an engaging word-for-word reading of all 11 chapters and more than 50 original stories most people have never seen. If you've only read the Fourth Edition, these amazing stories will be brand new to you. Subscribe on Apple Podcasts or wherever you get your podcasts. Or listen on https://bigbookpodcast.com [Disclaimer: In accordance with A.A.'s traditions, my anonymous guests and I speak for ourselves only, not for Alcoholics Anonymous at large. We share only our personal experiences with A.A. recovery. We acknowledge that AA's sole concern is the recovery and continued sobriety of those alcoholics who turn to the Fellowship for help. As members of AA, our primary purpose is to stay sober and to help other alcoholics achieve sobriety.]

speaking in 2010

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