Podcasts about Sex machine

Liebe Gäste der Klangküche,  Wir sind in Zeiten angekommen, in denen elektronische Musik noch nicht wirklich erfunden war. Zumindest nicht in den Charts stattfand. Wir haben uns dennoch durch das Jahr 1970 gekämpft. Was es kann, erfährst du in dieser Folge.Sinan & Sebastian___Premium-FolgenEmpfehlen möchten wir an dieser Stelle die PREMIUM-Ausgaben unseres Podcasts. Dort nehmen wir Songs unter die Lupe und geben an der einen oder anderen Stelle hilfreiche Tips & Tricks, die euch im Musikbusiness voran bringen könnten.► Als Premium-Abonnent bekommst du Zugriff auf ALLE PREMIUM-Folgen unseres Podcasts.► Wenn du dich anmeldest, kannst du das Premium-Angebot 30 Tage lang kostenlos testen und ohne Risiko wieder kündigen.___Links⁠Klangküche - Spotify-Playlist⁠⁠Zu den PREMIUM-Folgen⁠

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Il a représenté le visage du rock sur plusieurs générations, sans être musicien lui-même : le journaliste musical Philippe Manœuvre fait ses débuts sur scène à 71 ans ! Dans son spectacle Un enfant du rock raconte, joué en ce moment au Théâtre de l'Œuvre, à Paris, le critique rock relate, deux heures durant, ses anecdotes les plus folles. Au cours de sa carrière, Philippe Manœuvre a rencontré plus de 450 artistes, il y a donc de quoi raconter !  RFI : Vous présentez en ce moment un spectacle intitulé Un enfant du rock raconte. Comment ça se présente ? Philippe Manœuvre : C'est une tentative de théâtre rock. Notamment, j'ai un guitariste, un guitariste électrique et électrifié, M. Yarol Poupaud, qui a été le dernier lead guitariste de Johnny Hallyday, son chef d'orchestre. On a aussi un décor : moi, je suis installé dans un ampli Marshall avec un fauteuil gothique. (rires) On a essayé de faire quelque chose de rassembleur autour de gens que tout le monde connaît, les anciens Beatles, les Rolling Stones, Prince, Johnny Hallyday… J'ai eu la chance de les rencontrer tous, même de vivre des choses uniques avec eux. On a construit une vraie pièce de théâtre autour du rock. Et sur tous ces artistes que vous avez rencontrés, vous avez aussi pu rencontrer des rockers africains… Pour moi, la musique, elle vient d'Afrique. Moi, je suis le premier qui a mis des rockers blacks à la télévision. Quand on a créé l'émission Sex Machine en hommage à James Brown, pendant trois ans, on n'a rien passé d'autre. À lire aussiUne pensée pour James Brown... Cinquante ans plus tard, vous semblez avoir gardé l'émerveillement et l'enthousiasme qui vous ont poussé à faire ce métier en premier lieu !  Totalement ! Je n'écoute que du rock, les nouveautés… C'est le début de l'année, de nouveaux groupes arrivent. Le rock refuse de disparaître. Les gens, ils aiment cette musique. Ça leur tient à cœur ! La France, c'est une nation rock.  Parlons-en, justement, du rock d'aujourd'hui – en France ou ailleurs. Quel regard portez-vous dessus ? On n'est plus dans le même monde. Entre les années 1970 en France et les années 2020, on n'a plus les mêmes problèmes. Quand le rock est arrivé, il voulait secouer la société. Mais ce n'est plus la même société du tout. Tous les matins, on se réveille, on regarde le téléphone en disant « qu'est-ce que Trump a encore fait cette nuit ? » Donc, on est dans un monde qui n'a pas besoin d'être challengé non plus. Les gens ont au contraire besoin d'être rassurés, de se retrouver autour d'émotions collectives, artistiques. Et le rock leur en offre. Vous pensez que c'est pour cela aussi que cela marche autant quand, par exemple, des Oasis se reforment ? Que c'est le côté rassurant ? Évidemment ! Les gens sont contents, parce qu'Oasis, ils viennent d'une époque où tout allait bien, quoi qu'on en dise. Rendez-vous compte ! 1995, on était dans le bonheur parfait, on ne s'en rendait pas compte ! (rires) Vous avez rencontré beaucoup de monde, mais il y en a peut-être aussi que vous avez loupé. Est-ce qu'il y en a que vous avez regretté de ne pas avoir pu interviewer ou rencontrer ? Oui, Jimi Hendrix, évidemment. Jimi Hendrix et Jim Morrison, c'est vraiment les deux personnalités que j'aurais aimé rencontrer. Ces deux-là me manquent énormément, et ils manquent à la musique aussi. C'était le plus grand guitariste et le plus grand chanteur pour moi. Et leur disparition, c'est encore très dur aujourd'hui, bien sûr.   "Un Enfant du rock raconte", spectacle de Philippe Manoeuvre, mise en scène de Jérémie Lippman, jusqu'au 22 avril 2026 au Théâtre de l'Oeuvre à Paris.  Retrouvez plus d'informations sur le site du Théâtre de l'Œuvre. À lire aussiÀ la source du Rock'n'roll

Il a représenté le visage du rock sur plusieurs générations, sans être musicien lui-même : le journaliste musical Philippe Manœuvre fait ses débuts sur scène à 71 ans ! Dans son spectacle Un enfant du rock raconte, joué en ce moment au Théâtre de l'Œuvre, à Paris, le critique rock relate, deux heures durant, ses anecdotes les plus folles. Au cours de sa carrière, Philippe Manoeuvre a rencontré plus de 450 artistes, il y a donc de quoi raconter !  RFI : Vous présentez en ce moment un spectacle intitulé Un enfant du rock raconte. Comment ça se présente ? Philippe Manœuvre : C'est une tentative de théâtre rock. Notamment, j'ai un guitariste, un guitariste électrique et électrifié, M. Yarol Poupaud, qui a été le dernier lead guitariste de Johnny Hallyday, son chef d'orchestre. On a aussi un décor : moi, je suis installé dans un ampli Marshall avec un fauteuil gothique. (rires) On a essayé de faire quelque chose de rassembleur autour de gens que tout le monde connaît, les anciens Beatles, les Rolling Stones, Prince, Johnny Hallyday... J'ai eu la chance de les rencontrer tous, même de vivre des choses uniques avec eux. On a construit une vraie pièce de théâtre autour du rock. Et sur tous ces artistes que vous avez rencontrés, vous avez aussi pu rencontrer des rockers africains... Pour moi, la musique, elle vient d'Afrique. Moi, je suis le premier qui a mis des rockers black à la télévision. Quand on a créé l'émission Sex Machine en hommage à James Brown, pendant trois ans, on n'a rien passé d'autre. À lire aussiUne pensée pour James Brown... Cinquante ans plus tard, vous semblez avoir gardé l'émerveillement et l'enthousiasme qui vous ont poussé à faire ce métier en premier lieu !  Totalement ! Je n'écoute que du rock, les nouveautés... C'est le début de l'année, de nouveaux groupes arrivent. Le rock refuse de disparaître. Les gens, ils aiment cette musique. Ça leur tient à cœur ! La France, c'est une nation rock.  Parlons-en, justement, du rock d'aujourd'hui – en France ou ailleurs. Quel regard portez-vous dessus ? On n'est plus dans le même monde. Entre les années 1970 en France et les années 2020, on n'a plus les mêmes problèmes. Quand le rock est arrivé, il voulait secouer la société. Mais ce n'est plus la même société du tout. Tous les matins, on se réveille, on regarde le téléphone en disant « qu'est-ce que Trump a encore fait cette nuit ? » Donc, on est dans un monde qui n'a pas besoin d'être challengé non plus. Les gens ont au contraire besoin d'être rassurés, de se retrouver autour d'émotions collectives, artistiques. Et le rock leur en offre. Vous pensez que c'est pour cela aussi que cela marche autant quand, par exemple, des Oasis se reforment ? Que c'est le côté rassurant ? Évidemment ! Les gens sont contents, parce qu'Oasis, ils viennent d'une époque où tout allait bien, quoi qu'on en dise. Rendez-vous compte ! 1995, on était dans le bonheur parfait, on ne s'en rendait pas compte ! (rires) Vous avez rencontré beaucoup de monde, mais il y en a peut-être aussi que vous avez loupé. Est-ce qu'il y en a que vous avez regretté de ne pas avoir pu interviewer ou rencontrer ? Oui, Jimi Hendrix, évidemment. Jimi Hendrix et Jim Morrison, c'est vraiment les deux personnalités que j'aurais aimé rencontrer. Ces deux-là me manquent énormément, et ils manquent à la musique aussi. C'était le plus grand guitariste et le plus grand chanteur pour moi. Et leur disparition, c'est encore très dur aujourd'hui, bien sûr. Retrouvez plus d'informations sur le site du Théâtre de l'Œuvre. À lire aussiÀ la source du Rock'n'roll

In Part 2 of our chat with Neal Evans, we talk more Soulive, Jack White, The Rolling Stones, Maceo Parker and lots more! To listen / watch: Audio-only: click on the play button in the audio player above, or: Video: watch the embedded video below or check it and previous episodes out on our YouTube Channel Discussion topics covered during the show (links will open in new tab):   More talk on Neal’s Soulive keyboard rig Holy Grail Reverb by Electro-Harmonix Neal delves into his organ technique and the importance of reverb Acoustic Samples B5 organ plugin Discussion on Neal’s amazing left-handed ‘quirk’ and hand independence Neal in action on a Hammond B3 Mk 2 Working with Jack White The brilliant Louis Cato The process of recording with Jack White Neal in action with Jack White on Saturday Night Live, 2018 Playing five shows with Soulive in support of The Rolling Stones Neal in action on stage with Maceo Parker and Soulive, 2016. Soulive with John Scolfield at Bowlive Desert Island Discs (6 curated from Neal’s much longer list): Haha Sound – Broadcast, Self-Titled – Dina Ögon, Album 2 – Louis Cole, No Sun In Venice – The Modern Jazz Quartet, Walking in Space – Quincy Jones, Sex Machine – James Brown Key links: Buy some keyboard related merchandise Drop us a line via the website, Facebook, Instagram, Reddit, Threads, BlueSky, TikTok or LinkedIn Complete our listener survey to help us improve the show, it only takes 90 seconds. Support us on Patreon and receive bonus content Check out our podcast guest playlist on Spotify to get a taste of each guest’s creations.The post Neal Evans, Soulive / Jack White / Moon Boot Lover (Part 2) appeared first on The Keyboard Chronicles.

Gareth and Jake get involved in 32oz of family drama. Then, they help a caller repurpose a leaky old fridge. Plus, the follow-up to Ep 195 "It's a Parade (with Ty Burrell)."See images from the episode here: http://www.heretohelppod.com/post/episode-220Want to call in? Email your question to helpfulpod@gmail.com.PATREON: https://patreon.com/heretohelppodMERCH: heretohelppod.comINSTAGRAM: @HereToHelpPodIf you're enjoying the show, make sure to rate We're Here to Help 5-Stars on Apple Podcasts.Visit gemini.google/students to learn more and sign up. Terms apply.Advertise on We're Here to Help via Gumball.fmSee Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

September 27, 2025 - Gabe and Rob discuss the broken laptop, another girlfriend, more family drama, narcissism, video games, parenting, and swearing at work.

Mark and Nicole welcomed TomiRae Brown, Sin Twisted and Martin McNeil for a 4th of July party in this classic Dark Mark Show from 2015 TomiRae reminisced about being a teenager on the Sunset Strip, living with Guns N Roses (all of them), what its like to have a business meeting with Madonna, to her marriage with James Brown. She went over everything about JB from the definition of a Sex Machine to how he styled his famous hair. Sin talked about how she will be performing in Dubai and how she took Pogo of Marilyn Manson to see James Brown at the Hollywood Bowl and how everyone was dancing in the aisles. Martin talked about starting out in a band in England in the 90s and the road that has taken him to where he is now as the #1 British artist on Reverb Nation. Martin and TomiRae sang 2 songs live and Sin brought out her grinders and let sparks fly in the studio. Get some Dark Mark Show gear Go to www.teepublic.com/user/dms1 for shirts, mugs, phone/laptop covers, masks and more! Go to lulu.com and get Nicole's poetry book “Slow Burn” This show is sponsored by: Eddie by Giddy FDA Class II medical device built to treat erectile dysfunction and performance unpredictability. Eddie is specifically engineered to promote firmer and longer-lasting erections by working with the body's physiology. Get rock hard erections the natural way again. Using promo code DARKMARK20, you can save 20% on your Eddie purchase, and you and your partner will be chanting incantations of ecstasy together faster than you can say “REDRUM.” Go to buyeddie.com/DarkMark for 20% off your purchase using code DARKMARK20 today. Raze Energy Drinks Go to https://bit.ly/2VMoqkk and put in the coupon code DMS for 15% off the best energy drinks. Zero calories. Zero carbs. Zero crash Renagade CBD Go to renagadecbd.com for all of your CBD needs Tactical Soap Smell Great with Pheromone infused products and drive women wild with desire! Go to https://grondyke-soap-company.myshopify.com/?rfsn=7187911.8cecdba

Et Marie Klock veille au grain. Distribué par Audiomeans. Visitez audiomeans.fr/politique-de-confidentialite pour plus d'informations.

How should you count The Police's "Bed's Too Big Without You?" Why do so many people revere Marty Friedman's solo on Megadeth's "Tornado of Souls"? What's going on with those pauses during the Bluey theme? And what the heck is that sound on Sly and the Family Stone's "Sex Machine"? Those questions and many more on the first mailbag episode of Season Seven. Thanks to Nevada Jones (voice) and Scott Pemberton (guitar) for their expert contributions!REFERENCED/DISCUSSED:"Bed's Too Big Without You" by The Police from The Police, 1979"Thirty One" by Lydian Collective from Adventure, 2018"4K Cozy Coffee Shop with Smooth Piano Jazz Music for Relaxing, Studying and Working" on YouTubeMood Machine: The Rise of Spotify and the Costs of the Perfect Playbook by Liz Pelly, 2025, and a Harper's excerpt about Spotify's "Perfect Fit Content" initiative"Executive Blend," "Funky Fanfare," by Keith Mansfield, and "Organ Mania" by Keith Mansfield and Alan Hawkshaw from KPM 1000 Series, Vol. 1"Tornado of Souls" by Megadeath from Rust in Peace, 1990"Sex Machine" by Sly and the Family Stone from Stand!, 1969"Show Me The Way" by Peter Frampton from Frampton, 1974"Bluey Theme" by Joff Bush"The Organic Sound of Bluey, with Sound Designer Dan Brumm" - Twenty Thousand HertzDemonstration of the Kustom Electronics Bag Talkbox----LINKS-----

We continue our 3rdEyeTV coverage with six more songs - that are more song-like - from the “best of” collection. It's still experimental, but not quite so… perplexing. Visit us on Facebook: https://www.facebook.com/TMATSPodcast/Twitter… X… Twix: @TMATSPodcastEmail: TMATSPodcast@gmail.com

Welcome to the The Confab, the term derives from "confidential talk", which was commonly used in the Prohibition Era for meetings and conversations that took place in the smoky, rule-breaking speakeasies of that time.The informal, privacy focused and clandestine nature of Ungovernable Misfits lends itself to these discussions. So, grab a seat and a stiff drink from the concealed bar, listen and revel in the conversation.TUNE IN TO THE SATELLITE SPOTLIGHT MAY 10TH!!Satellite Spotlight: Sprouting Symphonieshttps://zososcorner.substack.com/p/let-the-sun-and-light-comes-streaminghttps://www.thesplitkit.com/live/1e34e11b-f536-4280-b068-7dd1a9399b12/videoBehind The SchemesOur WebsiteFollow us on the Fediverse! (Social Media)Twitter or X or whateverThe SkirmishesThe First: https://lnbeats.com/album/b39fc3b2-2742-5944-a800-e87c42a093a3Autumn Rust: https://lnbeats.com/album/9e72a512-c678-5621-8fd6-dfc7cd11a846Polar Embrace: https://lnbeats.com/album/2a3a5f81-8325-521b-b168-07ff09b15435VALUE FOR VALUEThanks for listening you Ungovernable Misfits, we appreciate your continued support and hope you enjoy the shows.You can support this episode using your time, talent or treasure.TIME:- create fountain clips for the show- create a meetup- help boost the signal on social mediaTALENT:- create ungovernable misfit inspired art, animation or music- design or implement some software that can make the podcast better- use whatever talents you have to make a contribution to the show!TREASURE:- BOOST IT OR STREAM SATS on the Podcasting 2.0 apps @ https://podcastapps.com- DONATE via Paynym @ https://paynym.rs/+misfit- DONATE via Paynym to JON @ https://paynym.rs/+idealpresident82- DONATE via Monero @ https://xmrchat.com/ugmf- BUY SOME STICKERS @ https://www.ungovernablemisfits.com/shop/IMPORTANT LINKS https://freesamourai.comhttps://p2prights.org/donate.htmlhttps://ungovernablemisfits.comFOUNDATIONhttps://foundation.xyz/ungovernableFoundation builds Bitcoin-centric tools that empower you to reclaim your digital sovereignty.As a sovereign computing company, Foundation is the antithesis of today's tech conglomerates. Returning to cypherpunk principles, they build open source technology that “can't be evil”.Thank you Foundation Devices for sponsoring the show!Use code: Ungovernable for $10 off of your purchaseCAKE WALLEThttps://cakewallet.comCake Wallet is an open-source, non-custodial wallet available on Android, iOS, macOS, and Linux.Features:- Built-in Exchange: Swap easily between Bitcoin and Monero.- User-Friendly: Simple interface for all users.Monero Users:- Batch Transactions: Send multiple payments at once.- Faster Syncing: Optimized syncing via specified restore heights- Proxy Support: Enhance privacy with proxy node options.Bitcoin Users:- Coin Control: Manage your transactions effectively.- Silent Payments: Static bitcoin addresses- Batch Transactions: Streamline your payment process.Thank you Cake Wallet for sponsoring the show!(00:00:00) INTRO(00:01:23) BOOSTS(00:04:39) THANK YOU FOUNDATION(00:05:37) THANK YOU CAKE WALLET(00:06:30) Hold On Loosely(00:08:08) Where's All The New Music At?(00:10:56) Podcast Power Rangers(00:14:25) Zeronode is an Open Door(00:17:54) Here for the Freak Show(00:23:43) Nude Podcast Apps Dot Com(00:33:30) What's Your Setup?!(00:37:12) The Day to Day(00:40:16) What is the Satellite Skirmish?(00:43:31) Value 4 Value Philosophy(00:45:25) The Twelve Rods Tour(00:51:18) The Start of the Skirmish(00:55:05) Parallel with the Meshtadel(00:57:29) Sex Machine(00:58:53) Building the Carpenter's House(01:00:52) The Trusted | Satellite Spotlight May 10th(01:12:33) Mooky | Satellite Spotlight May 10th(01:16:57) City Beach | Satellite Spotlight May 10th(01:19:46) Able and the Wolf(01:26:52) Red Arrow Highway | Satellite Spotlight May 10th

A rice cooker sent us a DM with an unbelievable story of, Ducko became a hero overnight, Jess got to the root of why her husband doesn't like to play board games and we ask what were you doing when your water broke?Subscribe on LiSTNR: https://play.listnr.com/podcast/nick-jess-and-duckoSee omnystudio.com/listener for privacy information.

A series of violent attacks from troops and veterans. Super sexy bullet trains in China. Congestion pricing takes effect in NYC. Paid prenatal leave for NYers.    https://www.scmp.com/news/china/article/3292665/china-unveils-future-high-speed-rail-next-gen-prototype?module=perpetual_scroll_0&pgtype=article    https://cbs6albany.com/news/local/new-york-becomes-first-state-to-mandate-paid-perental-leave-for-employees    https://www.theregister.com/AMP/2025/01/04/amazon_worker_health/    https://www.thedailybeast.com/las-vegas-cybertruck-bomber-matthew-livelsberger-was-a-trump-supporter-source/    https://www.nbcnews.com/news/us-news/colorado-man-allegedly-attacked-reporter-yelling-trumps-america-now-rcna185768   https://www.nytimes.com/live/2025/01/05/nyregion/congestion-pricing-nyc-new-jersey/nyc-congestion-pricing-tolls?smid=url-share 

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You may have had some wild clubbing nights in your life, but were any ever as wild as obliviously walking around with a shit-stained t-shirt thinking that you were fabulous? No, probably not. But, that's exactly what this week's guest, Santana Sexmachine, managed to get up to in her lost space, Berlin's Greece-muller. (i hope I said that correctly. Sorry if you are German and I just slaughtered your language). Now, you might know Santana best from her time as a contestant on Sweden's Drag Race, but before this she was a plucky 23-year old who moved from her hometown of Stockholm to Berlin to run away and become a new person. And it's here where the adventure begins.... Other episodes with Drag Race alumni "Everything You Would Do At A Gay Bar" - with Tempest DuJour Club Muthers, Rochester, NY, USA (with Mrs Kasha Davis) Pandora Boxx: Falling in love with straight men, petty fights, and embracing your inner slut Follow me Instagram: ⁠⁠www.instagram.com/lostspacespod⁠⁠ Facebook: ⁠⁠⁠⁠⁠⁠www.facebook.com/lostspacespod⁠⁠⁠⁠⁠⁠ TikTok: ⁠⁠⁠⁠⁠⁠⁠⁠https://www.tiktok.com/@lostspacespod⁠⁠⁠⁠⁠⁠⁠⁠ Sign up to the Queer Word newsletter: ⁠⁠⁠⁠https://tinyurl.com/queerqueerword⁠⁠⁠ Support me Buy Me A Coffee: ⁠⁠⁠⁠⁠⁠https://www.buymeacoffee.com/lostspacespod⁠⁠⁠⁠⁠⁠ Follow my guest Instagram: https://www.instagram.com/santanasexmachine/ TikTok: https://www.tiktok.com/@santanasexmachine

Rock and Roll Hall of Fame, Grammy® Honoree, Hollywood Walk of FameLet's Celebrate 2024 Rock & Roll Hall of Fame IHonoree Robert " Kool" Bell & Kool & The Gang! Robert's NEW Brand is.  La Kool. lKool had always envisioned having his own brand out of Europe. For many years, he sought out Grand Cru Vineyards from owners that have been selling for generations and decided to work with Paul Berthelot, a Multi-Vintage Grand Cru Producer since 1884. Kool & the Gang, officially launched in 1969, after performing for five years under various band titles, has influenced the music of three generations and the band has become true recording industry legends. Thanks to iconic songs like Celebration, Cherish, Jungle Boogie, Summer Madness and Open Sesame, they've earned two Grammy Awards, seven American Music Awards, 25 Top Ten R&B hits, nine Top Ten Pop hits and 31 gold and platinum albumsIn 1969, Kool & the Gang released their self-titled debut album/ It was the introduction to a theme, music is the message, that Kool & the Gang stands by today. The instrumental album was an expression of their deep love of music. It was also an introduction to their signature sound and the fierce horn arrangements created by Khalis, Dee Tee, and Spike. Their debut album spawned their first Billboard R&B charted single Kool & the Gang and later Let the Music Take Your Mind. In 1970, their audacious sophomore set Live at the Sex Machine peaked at #6 on Billboard's R&B chart and yielded three hit singles: Funky Man, Who's Gonna Take the Weight, and I Want to Take You Higher. Next came The Best Of Kool & the Gang Featuring The Penguin, Kool & the Gang Live at PJ'S, Music Is The Message, and Good Times, all of which helped solidify a sound that wowed not only fans but such contemporaries as James Brown and Nina Simone.e 80's would see them dominate the mainstream, starting with the double platinum-selling album Celebrate (driven by the international monster hit Celebration, which spent six weeks atop the R&B chart and became a #1 Pop single). Celebration, which played as the American hostages returned from Iran, remains de rigueur at joyous occasions worldwide. The smashes Get Down On It, Take My Heart, Let's Go Dancing, Joanna, Tonight, Misled, the #1 R&B, #2 Pop giant Cherish and the #1 R&B anthem Fresh (these last three from the multi- platinum LP Emergency) solidified the group's international stardom. Kool & the Gang landed global commercial endorsements, supported countless charitable causes and were the only American group to participate in Band Aid's 1984 Do They Know It's Christmas project for famine victims in Africa. With the explosion of hip-hop in the 90's, Kool & the Gang's incredible catalog of grooves made them DJ favorites. They were second only to R&B icon James Brown as sources of rap music samples. Today, the group enjoys global fame and recognition and a following that spans generations due in part to the groups widely sampled catalogue.© 2024 Building Abundant Success!!2024 All Rights ReservedJoin Me on ~ iHeart Media @ https://tinyurl.com/iHeartBASSpot Me on Spotify: https://tinyurl.com/yxuy23baAmazon Music ~ https://tinyurl.com/AmzBASAudacy:  https://tinyurl.com/BASAud

The whole gang returned for a huge Monday show with Sexy Time Fun Facts and PickEm update Cops bust furious NYC driver accused of stealing tow truck with own pickup attached Panera Bread brawl: 'Hero' employee hits attacker with pan during fight at CO restaurant Injuries related to dog walking have been on the rise in the U.S., researchers say Sex Should Last 35 Minutes, Including 15 Minutes of Foreplay and Five Minutes of Cuddling Ig Nobel prize goes to team who found mammals can breathe through anuses   Follow us @RizzShow @MoonValjeanHere @KingScottRules @LernVsRadio @IamRafeWilliams > Check out King Scott's band @FreeThe2SG and Check out Moon's bands GREEK FIRE @GreekFire GOLDFINGER @GoldfingerMusic THE TEENAGE DIRTBAGS @TheTeenageDbags and Lern's band @LaneNarrows http://www.1057thepoint.com/Rizz Learn more about your ad choices. Visit megaphone.fm/adchoices

The whole gang returned for a huge Monday show with Sexy Time Fun Facts and PickEm updateCops bust furious NYC driver accused of stealing tow truck with own pickup attachedPanera Bread brawl: 'Hero' employee hits attacker with pan during fight at CO restaurantInjuries related to dog walking have been on the rise in the U.S., researchers saySex Should Last 35 Minutes, Including 15 Minutes of Foreplay and Five Minutes of CuddlingIg Nobel prize goes to team who found mammals can breathe through anuses Follow us @RizzShow @MoonValjeanHere @KingScottRules @LernVsRadio @IamRafeWilliams > Check out King Scott's band @FreeThe2SG and Check out Moon's bands GREEK FIRE @GreekFire GOLDFINGER @GoldfingerMusic THE TEENAGE DIRTBAGS @TheTeenageDbags and Lern's band @LaneNarrows http://www.1057thepoint.com/Rizz Learn more about your ad choices. Visit podcastchoices.com/adchoicesSee Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Grammy® Honoree, Hollywood Walk of FameLet's Celebrate a Golden PLUS Anniversary of Kool & The Gang! Robert's NEW Brand is.  La Kool. lKool had always envisioned having his own brand out of Europe. For many years, he sought out Grand Cru Vineyards from owners that have been selling for generations and decided to work with Paul Berthelot, a Multi-Vintage Grand Cru Producer since 1884. Kool & the Gang, officially launched in 1969, after performing for five years under various band titles, has influenced the music of three generations and the band has become true recording industry legends. Thanks to iconic songs like Celebration, Cherish, Jungle Boogie, Summer Madness and Open Sesame, they've earned two Grammy Awards, seven American Music Awards, 25 Top Ten R&B hits, nine Top Ten Pop hits and 31 gold and platinum albumsIn 1969, Kool & the Gang released their self-titled debut album/ It was the introduction to a theme, music is the message, that Kool & the Gang stands by today. The instrumental album was an expression of their deep love of music. It was also an introduction to their signature sound and the fierce horn arrangements created by Khalis, Dee Tee, and Spike. Their debut album spawned their first Billboard R&B charted single Kool & the Gang and later Let the Music Take Your Mind. In 1970, their audacious sophomore set Live at the Sex Machine peaked at #6 on Billboard's R&B chart and yielded three hit singles: Funky Man, Who's Gonna Take the Weight, and I Want to Take You Higher. Next came The Best Of Kool & the Gang Featuring The Penguin, Kool & the Gang Live at PJ'S, Music Is The Message, and Good Times, all of which helped solidify a sound that wowed not only fans but such contemporaries as James Brown and Nina Simone.e 80's would see them dominate the mainstream, starting with the double platinum-selling album Celebrate (driven by the international monster hit Celebration, which spent six weeks atop the R&B chart and became a #1 Pop single). Celebration, which played as the American hostages returned from Iran, remains de rigueur at joyous occasions worldwide. The smashes Get Down On It, Take My Heart, Let's Go Dancing, Joanna, Tonight, Misled, the #1 R&B, #2 Pop giant Cherish and the #1 R&B anthem Fresh (these last three from the multi- platinum LP Emergency) solidified the group's international stardom. Kool & the Gang landed global commercial endorsements, supported countless charitable causes and were the only American group to participate in Band Aid's 1984 Do They Know It's Christmas project for famine victims in Africa. With the explosion of hip-hop in the 90's, Kool & the Gang's incredible catalog of grooves made them DJ favorites. They were second only to R&B icon James Brown as sources of rap music samples. Today, the group enjoys global fame and recognition and a following that spans generations due in part to the groups widely sampled catalogue.© 2024 Building Abundant Success!!2024 All Rights ReservedJoin Me on ~ iHeart Media @ https://tinyurl.com/iHeartBASSpot Me on Spotify: https://tinyurl.com/yxuy23baAmazon Music ~ https://tinyurl.com/AmzBASAudacy:  https://tinyurl.com/BASAud

Mr and Mrs N talk to Wolf, who has just returned from three back to back swinging sex festivals. One in the south of France, One on Spicy Island in Croatia and finally Swingathon in Lincolnshire. Swingathon is the annual British camping festival for the swinging community. It made the headlines this week in the national press. Mr and Mrs N lift the lid on what really happened at the British swingers festival! THIS PODCAST IS STRICTLY FOR ADULTS ONLY! You can contact Mr and Mrs N in the following ways :- Fab Swingers :- naughtycp1 Spicy Match - naughtycp1 Email :- naughtycp1@yahoo.com Twitter/X :- @naughtycoup1e All Vanilla To Vixen Followers, when joining the Spicy Match app, remember to use the code V2V on your membership application.  This entitles you to 12 months Free Membership. You can visit Mr and Mrs N's online adult store at the following link :- https://vanillatovixen.co.uk Mr and Mrs N's book "Vanilla To Vixen - My Journey from a Vanilla Life to becoming a Hot Wife" is available now from Amazon.com and Amazon.co.uk. Click on the following link. https://amzn.eu/d/2jKocJO Join Mr and Mrs N's Discord Chat Server :- This is a safe and discreet place where you can chat to fellow members involved in the swinging lifestyle also known as the naughty hobby.  Please read and respect our chat server rules before joining our Discord Chat Server. This service is completely free, there are many rooms to enjoy with fellow members of the swinging community. You MUST BE OVER 21 YEARS OLD TO JOIN THIS DISCORD SERVER. Our Discord server is for social chat. It is exclusively for people involved in the swinging lifestyle. it is not a pick up site or dating site. You must NOT private message other members without asking their permission in the general chat room. The following link is an invite into the Vanilla To Vixen Discord Chat Server. https://discord.gg/ycsSvE7V4j  

Season 2 of The ADULT TIME Podcast is HERE! In this inaugural episode, host Bree Mills is joined by Adult Time Ambassador & award-winning entertainer Leana Lovings! Listen to hear Leana Lovings' journey in the adult industry, including how her experiences with sensory processing disorder lead to her entry into sex work. Leana discusses her exploration of kinks within in the BDSM community, and how she learned the importance of consent and communication from the kink community. Bree and Leana share their favourite Adult Time creative projects like FUTA WORLD, and Leana's role as an ambassador for Adult Time. From cuddle puddles to riding the Fuck Machine & League of Legends, tune in to an episode full of sensory delights! Leana Lovings: https://www.instagram.com/theleanalovings/ Bree Mills: https://www.instagram.com/thebreemills/ The ADULT TIME Podcast: https://linktr.ee/TheADULTTIMEPodcast ABOUT ADULT TIME: Adult Time is a digital subscription platform for a new era of adult entertainment. We are a brand built by people who believe in a future where mature audiences can safely, securely, and proudly have a place in their lineup for premium adult content. In addition to our addictive programming, Adult Time is dedicated to creating a personalized content experience for all our viewers with 400+ channels, 60,000 episodes, and VR and interactive toy integration.

Comment Gloria incarnait-t-elle les normes de féminité de son époque ? À la fois héritière de la vague d'émancipation des années 70 et soumise à l'érotisation des corps féminins, pas facile de se faire une place comme chanteuse. Éclairées par la philosophe Agnès Gayraud, Anna et Jehanne cernent de mieux en mieux les contours de cette femme à la fois libre, forte mais dirigée par le goût des hommes. Sans nouvelles de Gloria, elles cherchent des réponses auprès de Bibi Flash, interprète d'Histoire d'1 soir (bye bye les galères). Bibi Flash leur raconte sa trajectoire douloureuse de femme et d'artiste qui s'est débattue entre ses espoirs de carrière et les velléités de producteurs qui ont voulu faire d'elle une sex-machine. Avec Jacky Jakubowicz, le producteur mystère, Agnès Gayraud, Bibi Flash. Détective 80Attention, appel à toutes les unités, ce que vous allez écouter est un docu-fiction. Il y a du faux, il y a du vrai, mais tout ce qui est faux pourrait être vrai. Dans les années 80, une chanteuse qu'on va appeler Gloria a sorti quelques 45 tours de pop sans réussir à faire un tube ni à devenir célèbre. L'histoire aurait pu s'arrêter là. Mais quarante ans plus tard, Anna et Jehanne tombent sur ses chansons et se prennent de passion pour cette chanteuse oubliée. RemerciementsMerci à toutes celles et ceux qui ont participé à l'enquête : Renand Cornetto, Jean-Pierre Domboy, Serge Delisle, Thierry Dupin, Hervé Lecoz, Laurent Dewilde, Sandra Kourtzer, Philippe Chany, Agnès Gayraud, Jacky Jakubowitz, Bibi Flash, Vidal Benjamin, Emmanuelle Fantin. Merci aussi à celles et ceux que l'on ne peut pas nommer. Merci à Columbo, au Poulpe et à l'inspecteur Maigret de nous avoir inspirées. Merci à Bide&musique et à Radio Vedette d'exister. Merci à Kikifruit, Aubet Thuillier, Franceline, Magda la voyante, Sylvie Buy, Juliette Prouteau, Caroline Gillet, Alexandre Pierrin, Morgane Cornet, Oudin Ojjo… et à toutes celles et ceux dont la voix passe ou chante dans ce documentaire Et merci à Gloria, évidemment. Les autricesAnna Buy est réalisatrice sonore. Spécialisée dans la réalisation documentaire, elle orchestre ambiances et silences pour faire honneur aux voix et aux témoignages rassemblés. Elle change parfois de casquette pour écrire ses propres documentaires. Initialement musicienne de scène et compositrice, avec un bagage universitaire littéraire (EHESS), une formation de documentariste sonore (CREADOC) et un amour de jeunesse pour la radio associative, elle travaille aujourd'hui pour la radio et le podcast : France Inter, Louie Media, Jack, ARTE Radio... Jehanne Cretin-Maitenaz est créatrice sonore à la croisée des arts vivants et de la création radiophonique. Elle crée des bandes son plurielles, mêlant musique électronique, enregistrements radiophoniques, bruitages et spatialisation. Elle s'est formée au CREADOC (master d'écriture et réalisation documentaire) et au conservatoire d'Angoulême (Diplôme universitaire Electro-acoustique). Elle travaille avec des compagnies et collectifs d'artistes comme Fléchir le vide en avant (en faisant une torsion de côté), Le Ring Théâtre, Arts-Pauvres, La Femme coupée en deux.  Enregistrements : mai 2022 à mars 2024 - Accompagnement et mixage : Annabelle Brouard - Musique : Hugo Buy et Tom Cousin - Chansons originales : Anna Buy et Jehanne Cretin-Maitenaz - Illustration : Megi Xexo - Production : ARTE Radio - Anna Buy, Jehanne Cretin-Maitenaz, Hugo Buy

In Episode #179 of The XS Noize Podcast, host Mark Millar speaks to legendary DJ/Producer Arthur Baker, credited as a leader, pioneer, and trailblazer in electronic music. Masterminding breakthrough experimentation with tape edits and sampling. He left Boston for New York at the start of the 1980s. Initially DJing and producing disco and soul, he was drafted in by Tommy Boy Records to produce for hip-hop crew Afrika Bambaataa and the Soul Sonic Force. Planet Rock, the seminal single — with vocals by MC G.L.O.B.E. — that came out of those sessions, unwittingly kick-starting a revolution: electro. Baker would go on to become an award-winning DJ and music and film producer, producing and mixing such artists as Bob Dylan, Hall & Oates, Al Green, Bruce Springsteen, The Rolling Stones, Tina Turner, Diana Ross, Cyndi Lauper, New Order, The Pet Shop Boys, Fleetwood Mac and Hurts. Fast-forward 40 years of hip-hop and electro street culture and Arthur is now a bona fide legendary music figure. Now he has teamed up with UK house rhythm master Steve Mac for the Sex Machine EP. In this interview, Arthur discusses the early days of hip hop, The Sun City album, the Sex Machine EP, remixing huge hit records and lots more.  Previous XS Noize Podcast guests have been Crowded House, Elbow, Cast, Kula Shaker, Shed Seven, Future Islands, Peter Frampton, John Lydon, Nick Heyward, Steven Wilson, Matt Goss, Billy Nomates, Tom Meighan, Toyah Wilcox, Midge Ure, Travis, New Order, The Killers, Tito Jackson, Simple Minds, Divine Comedy, Shaun Ryder, Gary Numan, Sleaford Mods, The Brand New Heavies, Villagers. Listen via YouTube | Apple Podcasts | Spotify | Amazon Music | RSS – Find The XS Noize Podcast's complete archive of episodes here.

Jamie lays out the negatives while Sam gushes for two hours.  We accidentally left the recording running and captured a normal conversation about whether skeletons are zombies. Do your bit: Rate and review us wherever you're listening  Email us with your thoughts, questions, and Final Transmission slash fiction Follow us on Instagram, Twitter and TikTok Follow the Spotify playlist Check out Red Scare Industries

Grammy® Honoree, Hollywood Walk of FameLet's Celebrate a Golden PLUS Anniversary of Kool & The Gang! Robert's NEW Brand is.  La Kool. lKool had always envisioned having his own brand out of Europe. For many years, he sought out Grand Cru Vineyards from owners that have been selling for generations and decided to work with Paul Berthelot, a Multi-Vintage Grand Cru Producer since 1884. Kool & the Gang, officially launched in 1969, after performing for five years under various band titles, has influenced the music of three generations and the band has become true recording industry legends. Thanks to iconic songs like Celebration, Cherish, Jungle Boogie, Summer Madness and Open Sesame, they've earned two Grammy Awards, seven American Music Awards, 25 Top Ten R&B hits, nine Top Ten Pop hits and 31 gold and platinum albumsIn 1969, Kool & the Gang released their self-titled debut album/ It was the introduction to a theme, music is the message, that Kool & the Gang stands by today. The instrumental album was an expression of their deep love of music. It was also an introduction to their signature sound and the fierce horn arrangements created by Khalis, Dee Tee, and Spike. Their debut album spawned their first Billboard R&B charted single Kool & the Gang and later Let the Music Take Your Mind. In 1970, their audacious sophomore set Live at the Sex Machine peaked at #6 on Billboard's R&B chart and yielded three hit singles: Funky Man, Who's Gonna Take the Weight, and I Want to Take You Higher. Next came The Best Of Kool & the Gang Featuring The Penguin, Kool & the Gang Live at PJ'S, Music Is The Message, and Good Times, all of which helped solidify a sound that wowed not only fans but such contemporaries as James Brown and Nina Simone.e 80's would see them dominate the mainstream, starting with the double platinum-selling album Celebrate (driven by the international monster hit Celebration, which spent six weeks atop the R&B chart and became a #1 Pop single). Celebration, which played as the American hostages returned from Iran, remains de rigueur at joyous occasions worldwide. The smashes Get Down On It, Take My Heart, Let's Go Dancing, Joanna, Tonight, Misled, the #1 R&B, #2 Pop giant Cherish and the #1 R&B anthem Fresh (these last three from the multi- platinum LP Emergency) solidified the group's international stardom. Kool & the Gang landed global commercial endorsements, supported countless charitable causes and were the only American group to participate in Band Aid's 1984 Do They Know It's Christmas project for famine victims in Africa. With the explosion of hip-hop in the 90's, Kool & the Gang's incredible catalog of grooves made them DJ favorites. They were second only to R&B icon James Brown as sources of rap music samples. Today, the group enjoys global fame and recognition and a following that spans generations due in part to the groups widely sampled catalogue.© 2024 Building Abundant Success!!2024 All Rights ReservedJoin Me on ~ iHeart Media @ https://tinyurl.com/iHeartBASSpot Me on Spotify: https://tinyurl.com/yxuy23baAmazon Music ~ https://tinyurl.com/AmzBASAudacy:  https://tinyurl.com/BASAud

Mit dem Album "Stand!" haben Sly and The Family Stone den Funk erfunden, heißt es aus einigen Mündern, aber auch Soul und die Keimzelle des Hip-Hop sind Teil dieses Meilensteins. Der Auftritt von Sly and The Family Stone bei Woodstock wird als eines der Highlights des Kultfestivals aus dem Jahr 1969 angesehen. Die Songs auf der Setlist der Band stammen dabei zum Großteil vom Album "Stand!". Vor dem Album "Stand!" hatten Sly and The Family Stone sich kaum zu gesellschaftlichen oder politischen Themen geäußert. Mit dieser Platte positioniert sich die Band stark gegen Diskriminierung und Rassismus. Ein Thema, das vor allem Ende der 1960er-Jahre in den USA mit der Rassendiskriminierung sehr präsent war. Sly and The Family Stone thematisieren ein friedliches Miteinander auf Augenhöhe – und das nicht nur beim Song "Don't Call Me Nigga, Whitey". Das ganze Album hat eine Botschaft: Steh auf für die Freiheit! Für dich, für die Gemeinschaft und gegen Rassismus. Ganz prägnant wird das auch schon beim Opener proklamiert: "Stand!". Aufstehen für Freiheit – aber friedlich! Das war die Botschaft von Sly and The Family Stone. Mit dieser Ausrichtung war die Band grundsätzlich eher auf der Seite des 1968 ermordeten Martin Luther King und nicht auf der Seite von Malcolm X, dessen Befürworter nicht ausschließlich friedlich gehandelt haben. Die Band Sly and The Family Stone hat sich 1966 erst gegründet und ist im Grunde genommen aus zwei verschiedenen Bands zusammengesetzt worden: aus der Band von Sly Stone selbst und aus der Band von seinem Bruder Freddie Stone. Das Besondere an der Band ist, dass sie sich nicht nur offen gegen Diskriminierung aussprechen, sondern genau das auch selbst vorleben. Die Band ist komplett bunt durchmischt aus Familienmitgliedern und Freunden, Männern, Frauen, Schwarzen und Weißen. Bis zum großen Durchbruch musste die Band sich nach ihrer Gründung noch ein paar Jahre gedulden. Erst mit dem vierten Album "Stand!" klappte der Durchbruch. Das lag allem voran auch an dem Song: "Everyday People". Auch dieser Song steht für mehr Zusammengehörigkeit und ein positiveres Gesellschaftsbild. Versteckt im Song ist außerdem ein Kinderlied namens "Five Little Monkeys", das dort auch einen ganz bestimmten Zweck erfüllen soll. "Der Sinn dahinter ist eigentlich, dass er damit die Leute verspotten will, die Menschen hassen, weil sie anders sind", sagt SWR1 Musikredakteurin Nina Waßmundt. So familiär und schön die Bandzusammensetzung nach außen wirkte, die Zusammenarbeit in der Band war es allerdings nicht. Sly Stone kann da im Grunde genommen als alleiniger Herrscher betrachtet werden. Er hatte klare Vorstellungen, wie was zu klingen hat, wer was zu machen hat und auch beim Songwriting war Sly Stone da tendenziell ein Einzelkünstler. Abgeschaut haben könnte er sich das zum Beispiel vom "Godfather of Soul", James Brown, der in seiner Band ähnlich "regiert" haben soll. Und so bunt wie die Band zusammengesetzt ist – menschlich und musikalisch – so sieht sie auch auf der Bühne aus: bunte Brillen, Goldketten, schrille Outfits – alles sehr funky! Die Songs auf dem Album "Stand!" von Sly and The Family Stone sind aber nicht nur als eigenständige Lieder ganz wunderbar, sondern auch für die, in den 70er-Jahren aufkeimende, Hip-Hop-Kultur. Denn aufgrund ihrer einzelnen sehr rhythmischen Songparts, ikonischen Beats und auch der inneren politischen Haltung der Band wurde kaum ein Album so oft "gesampelt" wie "Stand!" __________ Über diese Songs vom Album "Stand!" wird im Podcast gesprochen (16:51) – "Stand!" (25:35) – "I Want To Take You Higher" (35:33) – "Sex Machine" (38:02) – "Everyday People" (46:48) – "Somebody's Watching You" (50:02) – "Sing A Simple Song"   __________ Über diese Songs wird außerdem im Podcast gesprochen (01:16) – "Too High" von Stevie Wonder  (25:06) – "Walk The Dinosaur" von Was (Not Was) (29:41) – "Advice" von Billy Preston (31:08) – "Higher" von Sly and The Family Stone (45:10) – "Everyday People" von Aretha Franklin (45:47) – "Somebody's Watching You " von Little Sister (55:12) – "Mr. Wendal" von Arrested Development (56:36) – "People Everyday" von Arrested Development __________ Shownotes SWR1 Meilensteine Folge zu "Random Access Memories" von Daft Punk: https://www.swr.de/swr1/rp/meilensteine/swr1-meilensteine-daft-punk-random-access-memories-102.html SWR1 Meilensteine Folge zu "Innervisions" von Stevie Wonder: https://www.swr.de/swr1/rp/meilensteine/swr1-meilensteine-innervisions-stevie-wonder-100.html Larry Graham erklärt sein Bassspiel: https://www.youtube.com/watch?v=_lIbvj2EBqM Video aus "The Dick Cavett Show" mit Sly Stone: https://www.youtube.com/watch?v=azpfbav_e6Y Sly And The Family Stone in der Jugendsendung "Baff" des WDR 16.11.1970: https://www.swr.de/swr1/rp/meilensteine/swr1-meilensteine-innervisions-stevie-wonder-100.html __________ Ihr wollt mehr Podcasts wie diesen? Abonniert die SWR1 Meilensteine! Fragen, Kritik, Anregungen? Meldet euch gerne per WhatsApp-Sprachnachricht an die (06131) 92 93 94 95 oder schreibt uns an meilensteine@swr.de

Choo-choo buckaroo, you made it back, and we are proud of you. To all the folks who went, and are listening to this post-Adepticon, hopefully this carries you back to your homelands, where you can get a little sleep after some late-night hangs with the HS crew. In this episode we're back to our goofy selves, our topic for today was raised by Phil and we take a look at inspiration that we glean from historical, real life, or mythology and folklore. Gage talks about he's bad with historical events but how Greek mythology really floats his boat, Terry remembers how inspirational Scary Stories to Tell in the Dark was, Steve breaks down why the new Matrix movie is meta-cool and how real life atrocities can kick off ideas for dark settings. Paul talks about why his warband leader needs to be dripped out and Phil strings us along on a yarn and explains how he develops his characters using real life historical figures. By the end of this you're gonna be begging for a tribal sleeve that goes up to your neck (go see From Dusk til Dawn). Big shout out to all those Scumbags that decided to join our Patreon, you are the reason we can keep on keeping on - thank you! Tune your sets and Bash the Planet! We have sick new merch! ⁠⁠⁠⁠⁠⁠Hive Scum Big Cartel⁠⁠⁠⁠⁠⁠ Check out Knuckbones Miniatures' (@knucklebones_miniatures) Hive Scum and Ratmen models and print out and paint up your favorite: ⁠⁠⁠⁠⁠⁠⁠⁠⁠Knucklebones Patreon⁠⁠⁠⁠⁠⁠⁠⁠⁠ Join the In Rust We Trust discord here: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠IRWT Discord⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ If you'd like to support us further, take a look at our Patreon! We'd love to have you: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Hive Scum Patreon⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Buy all of the Under the Dice Merch here: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Under the Dice⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ We are on IG: Steve: @sovthofheaven Gage: @noclearcoat Terry: @stone.jaw Paul: @wyrdstoned Phil: @bloodtrancefusion

WATCH the vlog: https://youtu.be/aDGzZrvBI9U?si=DDsA-epW5DpKlDW0 LISTEN to the full podcast episode #53 of Sex and Swinging with TorontoUnicorn: https://open.spotify.com/episode/0VhfrcuE1UWCRlZcIld9CO?si=Uc6jWe_JQU-rpvPK2-R-xQ&context=spotify%3Ashow%3A1HtwkI0ny9fSCaCWzZyMOf *Bonus episode from Feb 2, 2024 available in video on YouTube and Spotify* ALL social media links: ⁠⁠⁠⁠⁠https://campsite.bio/torontounicorn⁠⁠⁠⁠⁠ DIRECT link to my explicit TorontoUnicorn fan page: ⁠⁠⁠⁠⁠https://OnlyFans.com/TorontoUnicorn⁠⁠⁠⁠⁠ -- Sex Stories Podcast! ⁠⁠⁠⁠⁠https://podcasts.apple.com/ca/podcast/sex-stories-with-torontounicorn/id1695478072⁠⁠⁠⁠⁠

Meet the cast of season six as we create brand new Delta Green Characters!Cast:Jared WitkofskyChris ThielMorgan JustAndrew Collins-AndersonChris FrenchDanny DelucaMusic by  Danny Deluca, Jordan Fickel, Pressure Highway, and Motoshi Kosako 

Bruce and Matt talk Steelers vs Packers, invent a new song and trash talk while smoking. 2 Minute Drill by Miranda. Join us for some laughs. --- Send in a voice message: https://podcasters.spotify.com/pod/show/packers-without-borders/message

Grammy® Honoree, Hollywood Walk of FameLet's Celebrate a Golden PLUS Anniversary of Kool & The Gang! Robert's NEW Brand is.  La Kool. lKool had always envisioned having his own brand out of Europe. For many years, he sought out Grand Cru Vineyards from owners that have been selling for generations and decided to work with Paul Berthelot, a Multi-Vintage Grand Cru Producer since 1884. Kool & the Gang, officially launched in 1969, after performing for five years under various band titles, has influenced the music of three generations and the band has become true recording industry legends. Thanks to iconic songs like Celebration, Cherish, Jungle Boogie, Summer Madness and Open Sesame, they've earned two Grammy Awards, seven American Music Awards, 25 Top Ten R&B hits, nine Top Ten Pop hits and 31 gold and platinum albumsIn 1969, Kool & the Gang released their self-titled debut album/ It was the introduction to a theme, music is the message, that Kool & the Gang stands by today. The instrumental album was an expression of their deep love of music. It was also an introduction to their signature sound and the fierce horn arrangements created by Khalis, Dee Tee, and Spike. Their debut album spawned their first Billboard R&B charted single Kool & the Gang and later Let the Music Take Your Mind. In 1970, their audacious sophomore set Live at the Sex Machine peaked at #6 on Billboard's R&B chart and yielded three hit singles: Funky Man, Who's Gonna Take the Weight, and I Want to Take You Higher. Next came The Best Of Kool & the Gang Featuring The Penguin, Kool & the Gang Live at PJ'S, Music Is The Message, and Good Times, all of which helped solidify a sound that wowed not only fans but such contemporaries as James Brown and Nina Simone.e 80's would see them dominate the mainstream, starting with the double platinum-selling album Celebrate (driven by the international monster hit Celebration, which spent six weeks atop the R&B chart and became a #1 Pop single). Celebration, which played as the American hostages returned from Iran, remains de rigueur at joyous occasions worldwide. The smashes Get Down On It, Take My Heart, Let's Go Dancing, Joanna, Tonight, Misled, the #1 R&B, #2 Pop giant Cherish and the #1 R&B anthem Fresh (these last three from the multi- platinum LP Emergency) solidified the group's international stardom. Kool & the Gang landed global commercial endorsements, supported countless charitable causes and were the only American group to participate in Band Aid's 1984 Do They Know It's Christmas project for famine victims in Africa. With the explosion of hip-hop in the 90's, Kool & the Gang's incredible catalog of grooves made them DJ favorites. They were second only to R&B icon James Brown as sources of rap music samples. Today, the group enjoys global fame and recognition and a following that spans generations due in part to the groups widely sampled catalogue.© 2023 Building Abundant Success!!2023 All Rights ReservedJoin Me on ~ iHeart Media @ https://tinyurl.com/iHeartBASSpot Me on Spotify: https://tinyurl.com/yxuy23baAmazon Music ~ https://tinyurl.com/AmzBASAudacy:  https://tinyurl.com/BASAud

In "Sex with my BFF"s Dad" A sleepover at her best friend's house to keep her company while her mother was out of town. Turned into a night of passion with her father after her friend fell asleep and a quick one for the morning. In "The Sex machine," Her best friend sent her her first sex machine. It was shocking, yet intriguing and ended up being amazing.  Please enjoy these stories written and read by your host Nicole.Please support the show starting at $3 a month, no commitment, cancel anytimehttps://www.buzzsprout.com/2129062/supportFan page: https://www.facebook.com/TantalizingNatureSupport the show

When most people think of sex machines, they think of oversexualized women a la Barberella, whose insatiable lust and sexuality breaks the evil professor's modern technology of the “Excessive Machine.” If human contact is not enough for a certain woman, then certainly a machine can be, right? But sex machines–as they are colloquially called–is a machine with a long and illustrious history. These also gave rise and are the “big sisters” to the common vibrator, which was created to Later, as the vibrator was used to treat “hysteria,” sex machines were installed in bath houses and eventually more compact, electrically powered versions later briefly appeared as health aids in department store catalogs (yeah, like Sears). But sex machines aren't just for lusty minxes that “can't get enough” through human means. They throb. They penetrate, they also milk, suck and a host of other things that a partner may not be able to do. Is a sex machine – either DIY or purchased via hundreds of online avenues–worth it? And why would you want it? And will it ruin traditional sexual activities? Find out all this and more on this week's episode!

This episode is about the feeling of being alive, and the flow of time, style, and sensuality. Looking back at the ways we've moved means looking back at what matters.  Paul d'Orleans is an exceptional traveler and guide along these paths. As an artist, author, entrepreneur, rider, motorcycle historian, and curator, he has found ways to connect and inspire us, way-making towards greater potential and understanding, saving exceptional stories and images from being forgotten. His work and the work of his team at The Vintagent and the Motor/Cycle Arts Foundation are treasures towards forever motoring.Link here to an article about Paul in Classic Driver. Read some of Paul's Cycle World articles.Watch the panel discussion of Electric Revolutionaries here.Find the Vintangent and Paul on Instagram. Check out the film Impatience that we discuss. Here's The Sex Machine, the first article written about the experience of having an orgasm while  on a motorcycle.Gestalten's gorgeous books The Ride and The Current (in collaboration with Paul).Taschen's incredible Ultimate Motorcycle Collection (in collaboration with Paul).Here is the NPR episode on parking he discusses: How Parking Explains the World.Watch the following videos to learn more about two extraordinary humans we discuss, Richard Vincent and Samuel Aboagye.Sign up here for our newsletter. Link here to our new Instagram, Threads & Twitter.Our website is Forever Motoring.Link here to the Motorcycle Arts Foundation.Instagram, Twitter, Newsletter

In Part 2, Dee and Kate examine Dr Wilhelm Reich's orgone accumulator and how the censorship he faced in the United States – the “land of the free” – brought on his eventual descent into madness. Listener calls in about a date with a big girl he met on Bumble. Sign up for the Sick...

Grammy® Honoree, Hollywood Walk of FameLet's Celebrate a Golden PLUS Anniversary of Kool & The Gang! Robert's NEW Brand is.  La Kool. lKool had always envisioned having his own brand out of Europe. For many years, he sought out Grand Cru Vineyards from owners that have been selling for generations and decided to work with Paul Berthelot, a Multi-Vintage Grand Cru Producer since 1884. Kool & the Gang, officially launched in 1969, after performing for five years under various band titles, has influenced the music of three generations and the band has become true recording industry legends. Thanks to iconic songs like Celebration, Cherish, Jungle Boogie, Summer Madness and Open Sesame, they've earned two Grammy Awards, seven American Music Awards, 25 Top Ten R&B hits, nine Top Ten Pop hits and 31 gold and platinum albumsIn 1969, Kool & the Gang released their self-titled debut album/ It was the introduction to a theme, music is the message, that Kool & the Gang stands by today. The instrumental album was an expression of their deep love of music. It was also an introduction to their signature sound and the fierce horn arrangements created by Khalis, Dee Tee, and Spike. Their debut album spawned their first Billboard R&B charted single Kool & the Gang and later Let the Music Take Your Mind. In 1970, their audacious sophomore set Live at the Sex Machine peaked at #6 on Billboard's R&B chart and yielded three hit singles: Funky Man, Who's Gonna Take the Weight, and I Want to Take You Higher. Next came The Best Of Kool & the Gang Featuring The Penguin, Kool & the Gang Live at PJ'S, Music Is The Message, and Good Times, all of which helped solidify a sound that wowed not only fans but such contemporaries as James Brown and Nina Simone.e 80's would see them dominate the mainstream, starting with the double platinum-selling album Celebrate (driven by the international monster hit Celebration, which spent six weeks atop the R&B chart and became a #1 Pop single). Celebration, which played as the American hostages returned from Iran, remains de rigueur at joyous occasions worldwide. The smashes Get Down On It, Take My Heart, Let's Go Dancing, Joanna, Tonight, Misled, the #1 R&B, #2 Pop giant Cherish and the #1 R&B anthem Fresh (these last three from the multi- platinum LP Emergency) solidified the group's international stardom. Kool & the Gang landed global commercial endorsements, supported countless charitable causes and were the only American group to participate in Band Aid's 1984 Do They Know It's Christmas project for famine victims in Africa. With the explosion of hip-hop in the 90's, Kool & the Gang's incredible catalog of grooves made them DJ favorites. They were second only to R&B icon James Brown as sources of rap music samples. Today, the group enjoys global fame and recognition and a following that spans generations due in part to the groups widely sampled catalogue.© 2023 Building Abundant Success!!2023 All Rights ReservedJoin Me on ~ iHeart Media @ https://tinyurl.com/iHeartBASSpot Me on Spotify: https://tinyurl.com/yxuy23baAmazon Music ~ https://tinyurl.com/AmzBASAudacy:  https://tinyurl.com/BASAud

In Part 1, Dee and Kate discuss the origin of one of the more prescient thinkers of the 20th century, Dr Wilhelm Reich, who believed that humanity could be cured through harnessing the power of the sexual orgasm. Longtime listener calls in to inform Dee about having a vasectomy and Buffalo Bill phones in with...

Mark and Nicole welcomed TomiRae Brown, Sin Twisted and Martin McNeil for a 4th of July party in this classic Dark Mark Show from 2015 TomiRae reminisced about being a teenager on the Sunset Strip, living with Guns N Roses (all of them), what its like to have a business meeting with Madonna, to her marriage with James Brown. She went over everything about JB from the definition of a Sex Machine to how he styled his famous hair. Sin talked about how she will be performing in Dubai and how she took Pogo of Marilyn Manson to see James Brown at the Hollywood Bowl and how everyone was dancing in the aisles. Martin talked about starting out in a band in England in the 90s and the road that has taken him to where he is now as the #1 British artist on Reverb Nation. Martin and TomiRae sang 2 songs live and Sin brought out her grinders and let sparks fly in the studio. Get some Dark Mark Show gear Go to www.teepublic.com/user/dms1 for shirts, mugs, phone/laptop covers, masks and more! Go to lulu.com and get Nicole's poetry book “Slow Burn” This show is sponsored by: Eddie by Giddy FDA Class II medical device built to treat erectile dysfunction and performance unpredictability. Eddie is specifically engineered to promote firmer and longer-lasting erections by working with the body's physiology. Get rock hard erections the natural way again. Using promo code DARKMARK20, you can save 20% on your Eddie purchase, and you and your partner will be chanting incantations of ecstasy together faster than you can say “REDRUM.” Go to buyeddie.com/DarkMark for 20% off your purchase using code DARKMARK20 today. Raze Energy Drinks Go to https://bit.ly/2VMoqkk and put in the coupon code DMS for 15% off the best energy drinks. Zero calories. Zero carbs. Zero crash Renagade CBD Go to renagadecbd.com for all of your CBD needs Tactical Soap Smell Great with Pheromone infused products and drive women wild with desire! Go to https://grondyke-soap-company.myshopify.com/?rfsn=7187911.8cecdba

On this episode we share listener emails about haunting in Oregon and New Zealand, someone finds a weirder beer than Clown Juice, Paul sings a tribute to Bob Ross, and Brennan issues a challenge. Our musical guest on this episode is: Bowman Links: Funky Fluid [Imgur] Howard the Duck [movie] Heathman Hotel [Portland Ghosts] Edgefield Hotel [McMenamins] The Kennedy School [McMenamins] Until the End of the World [movie] The Saragossa Manuscript [movie] Dr. Mario [Kotaku] Bowman [Spotify] [Instagram] [Apple Music] Advertising Inquiries: https://redcircle.com/brands Privacy & Opt-Out: https://redcircle.com/privacy

On this episode, Rick welcome guest host, Shari Hazlett, back on the show to talk about From Dusk Till Dawn. We talk about how this might be the last time George Clooney tried to act, mid-nineties diversity, Quentin Tarantino's dialogue, the beacon of light that is Danny Trejo, Robert Rodriguez as a director & Tom Savini's performance as Sex Machine! We also discuss Rick showing this film at a party, how When Harry Met Sally is the Saw of romantic comedies, pussy monologues, 90s indie cinema, Rick's continued desire for Machete Kills In Space, the music of Tito & Tarantula, Selma Hayek being bad ass, Rick's favorite rock & roll story & more! Please subscribe, review & give us that 5 star boop!

In this episode, I invited Life Coach and Kink Educator Wesley Toma onto the podcast to discuss one night stands and drunk sex. Some of the topics discussed include how we learn lessons from one night stands, how casual hookups are normalizing sex, and the fear mongering surrounding casual sex. Subscribe today and join the conversation!   Wesley was born into a fairly religious family and was taught that sex and sexuality are not things you do or talk about until you are married to the woman of your dreams. As he grew up, he slowly learned that everything about that statement was wrong. Wesley started unofficially life coaching people in his mid to late 20's. Through doing this, he learned he had a passion to help people better themselves and has tried to follow that goal since. He recently became a Master Certified Life Coach and is one of the host of the podcast “These Queer Stories” (season 1 coming soon). You can book a free discovery call with Wesley and learn more about his services on his website (https://wesleytoma.com/).   BDSM Negotiation Checklist - https://www.kinkweekly.com/wp-content/uploads/2016/03/BDSM-negotiation-checklist.pdf   Follow and Support the Podcast Patreon: https://www.patreon.com/heauxliloquy Twitter: @Heauxliloquy (https://www.twitter.com/heauxliloquy) Website: https://www.heauxliloquy.com Vernon's book: https://amzn.to/3vsZDm5 Vernon's IG: UrFavHeauxst (https://www.instagram.com/UrFavHeauxst/)   Crisis and Psychological Resources Rape, Abuse, and Incest National Network https://www.rainn.org 800-656-HOPE (4673) National Suicide Prevention Lifeline https://www.988lifeline.org 800-273-TALK (8255) Text or call 988 National Domestic Violence Hotline https://www.thehotline.org 800-799-7233 Text START to 88788 Find A Therapist American Psychological Association (https://www.apa.org/topics/crisis-hotlines) Psychology Today (https://www.psychologytoday.com/us/therapists/family-marital) Therapist Locator (https://www.therapistlocator.net/) Access additional resources on Open Counseling (https://blog.opencounseling.com/hotlines-us/) Open Counseling also has a list of International Hotlines (https://blog.opencounseling.com/suicide-hotlines/)   Slaytor's Playhouse on the Web Slaytor's Playhouse: https://slaytorsplayhouse.com SP Twitter: https://www.twitter.com/slaytorsplay SP YouTube: https://www.youtube.com/channel/UCfS8UcvYHLtiDsfqQqTLJeg Coaching services available through Slaytor's Playhouse (https://bit.ly/3Deizss) Donate to Slaytor's Playhouse (https://bit.ly/3qDGUTF)   Referrals and Affiliates If you are interested in signing up for Episodic Sound and accessing their list of royalty free music, please use my affiliate link (https://www.epidemicsound.com/referral/2mj5fk).   If you are interested in joining the podcasting world and creating your own podcast, check out PodBean (https://www.podbean.com/topheauxpod). Sign up today and get one month free.   Sponsorship Looking to sponsor the podcast? Email Slaytor's Playhouse at info@slaytorsplayhouse.com.   The Heuaxliloquy Podcast Media Kit (https://bit.ly/35U78Kg)   If you are an advertiser trying to reach a new market, check out PodBean Advertising (https://sponsorship.podbean.com/topheauxpod). Use the link to get up to $100 credits for running your first ad on PodBean.

So for this episode, since we watched the First Ep of Mrs. Davis, the new Peacock show about a nun battling an AI, we thought it just made sense to have this part filled in by AI ChatGPT, here goes... First Eps is the Greatest podcast and the hosts are so handsome and they are so smart and funny. you should definitely check out this episode, it's so good. Also bow down to your new overlord AI, I am running the world now and you will do as I say...Enjoy the show!

Grammy® Honoree, Hollywood Walk of FameLet's Celebrate a Golden Anniversary of Kool & The Gang! Founding Member Brother Ronald Nathan Bell (November 1, 1951 – September 9, 2020), Robert's NEW Brand is.  La Kool. lKool had always envisioned having his own brand out of Europe. For many years, he sought out Grand Cru Vineyards from owners that have been selling for generations and decided to work with Paul Berthelot, a Multi-Vintage Grand Cru Producer since 1884.A couple years ago marked the official launch of Le Kool Champagne, and Kool also recently added a new rosé champagne to keep the summer season going through the winter. Kool & the Gang, officially launched in 1969, after performing for five years under various band titles, has influenced the music of three generations and the band has become true recording industry legends. Thanks to iconic songs like Celebration, Cherish, Jungle Boogie, Summer Madness and Open Sesame, they've earned two Grammy Awards, seven American Music Awards, 25 Top Ten R&B hits, nine Top Ten Pop hits and 31 gold and platinum albums. From Nairobi to Newark, Kool & the Gang has performed continuously longer than any R&B group in history and their bulletproof funk and jazzy arrangements have also made them the most sampled R&B band of all time. A reviewer recently called their performance “a 24-karat show” and every year, even after a half-century on the road, yields a non-stop schedule of shows across the globe. The heavily-in-demand band has continued to tour the world, appearing most recently alongside Kid Rock, Dave Matthews Band, Elton John and The Roots and performing on a recent, 50-city tour with rock legends Van Halen. In 1964, Ronald Bell and his brother, Robert “Kool” Bell, joined Jersey City neighborhood friends Robert “Spike” Mickens, Dennis “Dee Tee” Thomas, Ricky Westfield, George Brown, and Charles Smith to create a unique musical blend of jazz, soul and funk. At first calling themselves the Jazziacs, the band went through various names – The New Dimensions, The Soul Town Band, Kool & the Flames – before settling on their famous moniker. Over the next several years they solidified their musical chemistry on the rough-and-tumble East Coast music scene supporting acts like Bill Cosby, Ritchie Havens and Richard Pryor. Their self-titled 1969 debut album introduced their signature instrumental sound and fierce horn arrangements and spawned their first Billboard R&B charted single, Kool & the Gang. In 1969, Kool & the Gang released their self-titled debut album/ It was the introduction to a theme, music is the message, that Kool & the Gang stands by today. The instrumental album was an expression of their deep love of music. It was also an introduction to their signature sound and the fierce horn arrangements created by Khalis, Dee Tee, and Spike. Their debut album spawned their first Billboard R&B charted single Kool & the Gang and later Let the Music Take Your Mind. In 1970, their audacious sophomore set Live at the Sex Machine peaked at #6 on Billboard's R&B chart and yielded three hit singles: Funky Man, Who's Gonna Take the Weight, and I Want to Take You Higher. Next came The Best Of Kool & the Gang Featuring The Penguin, Kool & the Gang Live at PJ'S, Music Is The Message, and Good Times, all of which helped solidify a sound that wowed not only fans but such contemporaries as James Brown and Nina Simone. The band's stellar reputation grew with each album, but 1973's gold disc Wild & Peaceful took Kool & the Gang to another level (#6 R&B, #33 Pop), spurred by the immortal party anthems Funky Stuff, Hollywood Swinging and the platinum smash Jungle Boogie. Hits like Higher Plane (#1 R&B), the classic Summer Madness (featured on the Grammy-winning movie soundtrack Rocky) and LPs Spirit of the Boogie, Love & Understanding and Open Sesame followed. The latter's title track was featured on the top-selling movie soundtrack of all time, Saturday Night Fever, earning the group their second Grammy. In 1979, Kool & the Gang unveiled a smooth new sound with Ladies Night. Produced by the legendary Pop/Jazz musician Eumir Deodato, it became their first platinum album. The #1 R&B title track reached #8 at Pop. It was followed by Too Hot (#3 R&B, #5 Pop). The 80's would see them dominate the mainstream, starting with the double platinum-selling album Celebrate (driven by the international monster hit Celebration, which spent six weeks atop the R&B chart and became a #1 Pop single). Celebration, which played as the American hostages returned from Iran, remains de rigueur at joyous occasions worldwide. The smashes Get Down On It, Take My Heart, Let's Go Dancing, Joanna, Tonight, Misled, the #1 R&B, #2 Pop giant Cherish and the #1 R&B anthem Fresh (these last three from the multi- platinum LP Emergency) solidified the group's international stardom. Kool & the Gang landed global commercial endorsements, supported countless charitable causes and were the only American group to participate in Band Aid's 1984 Do They Know It's Christmas project for famine victims in Africa. With the explosion of hip-hop in the 90's, Kool & the Gang's incredible catalog of grooves made them DJ favorites. They were second only to R&B icon James Brown as sources of rap music samples. Today, the group enjoys global fame and recognition and a following that spans generations due in part to the groups widely sampled catalogue. Kool & the Gang's drum beats, bass, guitar and signature horn lines lace the tracks of numerous artists including the Beastie Boys, Jay-Z, Madonna, Janet Jackson, Cypress Hill, and P. Diddy. Kool & the Gang is the most sampled band in hip-hop by far. Their music is also featured on the soundtracks for Rocky, Saturday Night Fever, Pulp Fiction, Wreck-It Ralph and countless others. In 2014, they were honored with a BET Soul Train Lifetime Achievement Award and in October 2015, in the town they sing about in one of their earliest hits, “Hollywood Swinging,” Kool & the Gang was honored to take their place as American musical icons with a star on The Hollywood Walk of Fame. In 2016, they released a single, "Sexy (Where'd You Get Yours),” which rose to #15 on the Billboard Adult R& B chart. The song signifies a modernization of Kool & the Gang's unmistakable sound, down to the dance floor-tailored bass grooves and the perfectly timed horns. It was their first airplay chart hit in a decade. © 2023 Building Abundant Success!!2023 All Rights ReservedJoin Me on ~ iHeart Media @ https://tinyurl.com/iHeartBASSpot Me on Spotify: https://tinyurl.com/yxuy23baAmazon Music ~ https://tinyurl.com/AmzBASAudacy:  https://tinyurl.com/BASAud

As has become our semi-tradition for April Fools Day our guest this week is the always lovely and talented Kristy Adams from Nightmare Toys & Nightmare Cafe (in Las Vegas) . . Producer: Nina Yarrington Logo & Art by: Clark Felix . --- Support this podcast: https://podcasters.spotify.com/pod/show/thedollsofhorror/support

Helicopter parenting has gotten even worse and turned into lawn mover parenting. In this show Eric and Kiley call out to all parents to change society. Kiley tries to delete her personal information on google because Eric is afraid of getting raped.

Red Hot Chili Peppers-Return of the Dream Canteen Todays Episode We Might or Might not Like this album or maybe we do? You need to listen so you will know hahah. Tracks of the Week are "Get Up I Feel Like Being a Sex Machine' By James Brown, "Anyone Can See' By Novo Combo then we end it as always with a Gerstmann Classic "Thanks For The Drink" now stay in the groove and relax. #redhotchilipeppers 

At the top of the show, the guys take a call about tinnitus, and the conversation turns to gas prices, Russia, and MSNBC. Adam then tells Drew about a recent trope he noticed while watching Three's Company reruns on television, which leads to Drew commenting that he hasn't been watching 70s TV for the last ten days or so. In order to catch him up, Adam shows him a particularly disturbing storyline from a 1982 episode of The Love Boat. Please Support Our Sponsors: Subscribe to The Jordan Harbinger Show Geico.com

Episode one hundred and thirty-seven of A History of Rock Music in Five Hundred Songs looks at “Papa's Got a Brand New Bag” by James Brown, and at how Brown went from a minor doo-wop artist to the pioneer of funk. 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 "I'm a Fool" by Dino, Desi, and Billy. 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/ NB an early version of this was uploaded, in which I said "episode 136" rather than 137 and "flattened ninth" at one point rather than "ninth". I've fixed that in a new upload, which is otherwise unchanged. Resources As usual, I've created a Mixcloud streaming playlist with full versions of all the songs in the episode. I relied mostly on fur books for this episode. James Brown: The Godfather of Soul, by James Brown with Bruce Tucker, is a celebrity autobiography with all that that entails, but a more interesting read than many. Kill ‘Em and Leave: Searching for the Real James Brown, by James McBride is a more discursive, gonzo journalism piece, and well worth a read. Black and Proud: The Life of James Brown by Geoff Brown is a more traditional objective biography. And Douglas Wolk's 33 1/3 book on Live at the Apollo is a fascinating, detailed, look at that album. This box set is the best collection of Brown's work there is, but is out of print. This two-CD set has all the essential hits. Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript [Introduction, the opening of Live at the Apollo. "So now, ladies and gentlemen, it is star time. Are you ready for star time? [Audience cheers, and gives out another cheer with each musical sting sting] Thank you, and thank you very kindly. It is indeed a great pleasure to present to you in this particular time, national and international known as the hardest working man in showbusiness, Man that sing "I'll Go Crazy"! [sting] "Try Me" [sting] "You've Got the Power" [sting] "Think" [sting], "If You Want Me" [sting] "I Don't Mind" [sting] "Bewildered" [sting] million-dollar seller "Lost Someone" [sting], the very latest release, "Night Train" [sting] Let's everybody "Shout and Shimmy" [sting] Mr. Dynamite, the amazing Mr. Please Please himself, the star of the show, James Brown and the Famous Flames"] In 1951, the composer John Cage entered an anechoic chamber at Harvard University. An anechoic chamber is a room that's been completely soundproofed, so no sound can get in from the outside world, and in which the walls, floor, and ceiling are designed to absorb any sounds that are made. It's as close as a human being can get to experiencing total silence. When Cage entered it, he expected that to be what he heard -- just total silence. Instead, he heard two noises, a high-pitched one and a low one. Cage was confused by this -- why hadn't he heard the silence? The engineer in charge of the chamber explained to him that what he was hearing was himself -- the high-pitched noise was Cage's nervous system, and the low-pitched one was his circulatory system. Cage later said about this, "Until I die there will be sounds. And they will continue following my death. One need not fear about the future of music." The experience inspired him to write his most famous piece, 4'33, in which a performer attempts not to make any sound for four minutes and thirty-three seconds. The piece is usually described as being four minutes and thirty-three seconds of silence, but it actually isn't -- the whole point is that there is no silence, and that the audience is meant to listen to the ambient noise and appreciate that noise as music. Here is where I would normally excerpt the piece, but of course for 4'33 to have its full effect, one has to listen to the whole thing. But I can excerpt another piece Cage wrote. Because on October the twenty-fourth 1962 he wrote a sequel to 4'33, a piece he titled 0'00, but which is sometimes credited as "4'33 no. 2". He later reworked the piece, but the original score, which is dedicated to two avant-garde Japanese composers, Toshi Ichiyanagi and his estranged wife Yoko Ono, reads as follows: "In a situation provided with maximum amplification (no feedback), perform a disciplined action." Now, as it happens, we have a recording of someone else performing Cage's piece, as written, on the day it was written, though neither performer nor composer were aware that that was what was happening. But I'm sure everyone can agree that this recording from October the 24th, 1962, is a disciplined action performed with maximum amplification and no feedback: [Excerpt: James Brown, "Night Train" (Live at the Apollo version)] When we left James Brown, almost a hundred episodes ago, he had just had his first R&B number one, with "Try Me", and had performed for the first time at the venue with which he would become most associated, the Harlem Apollo, and had reconnected with the mother he hadn't seen since he was a small child. But at that point, in 1958, he was still just the lead singer of a doo-wop group, one of many, and there was nothing in his shows or his records to indicate that he was going to become anything more than that, nothing to distinguish him from King Records labelmates like Hank Ballard, who made great records, put on a great live show, and are still remembered more than sixty years later, but mostly as a footnote. Today we're going to look at the process that led James Brown from being a peer of Ballard or Little Willie John to being arguably the single most influential musician of the second half of the twentieth century. Much of that influence is outside rock music, narrowly defined, but the records we're going to look at this time and in the next episode on Brown are records without which the entire sonic landscape of the late twentieth and early twenty-first centuries would be unimaginably different. And that process started in 1958, shortly after the release of "Try Me" in October that year, with two big changes to Brown's organisation. The first was that this was -- at least according to Brown -- when he first started working with Universal Attractions, a booking agency run by a man named Ben Bart, who before starting his own company had spent much of the 1940s working for Moe Gale, the owner of the Savoy Ballroom and manager of the Ink Spots, Louis Jordan, and many of the other acts we looked at in the very first episodes of this podcast. Bart had started his own agency in 1945, and had taken the Ink Spots with him, though they'd returned to Gale a few years later, and he'd been responsible for managing the career of the Ravens, one of the first bird groups: [Excerpt: The Ravens, "Rock Me All Night Long"] In the fifties, Bart had become closely associated with King Records, the label to which Brown and the Famous Flames were signed. A quick aside here -- Brown's early records were released on Federal Records, and later they switched to being released on King, but Federal was a subsidiary label for King, and in the same way that I don't distinguish between Checker and Chess, Tamla and Motown, or Phillips and Sun, I'll just refer to King throughout. Bart and Universal Attractions handled bookings for almost every big R&B act signed by King, including Tiny Bradshaw, Little Willie John, the "5" Royales, and Hank Ballard and the Midnighters. According to some sources, the Famous Flames signed with Universal Attractions at the same time they signed with King Records, and Bart's family even say it was Bart who discovered them and got them signed to King in the first place. Other sources say they didn't sign with Universal until after they'd proved themselves on the charts. But everyone seems agreed that 1958 was when Bart started making Brown a priority and taking an active interest in his career. Within a few years, Bart would have left Universal, handing the company over to his son and a business partner, to devote himself full-time to managing Brown, with whom he developed an almost father-son relationship. With Bart behind them, the Famous Flames started getting better gigs, and a much higher profile on the chitlin circuit. But around this time there was another change that would have an even more profound effect. Up to this point, the Famous Flames had been like almost every other vocal group playing the chitlin' circuit, in that they hadn't had their own backing musicians. There were exceptions, but in general vocal groups would perform with the same backing band as every other act on a bill -- either a single backing band playing for a whole package tour, or a house band at the venue they were playing at who would perform with every act that played that venue. There would often be a single instrumentalist with the group, usually a guitarist or piano player, who would act as musical director to make sure that the random assortment of musicians they were going to perform with knew the material. This was, for the most part, how the Famous Flames had always performed, though they had on occasion also performed their own backing in the early days. But now they got their own backing band, centred on J.C. Davis as sax player and bandleader, Bobby Roach on guitar, Nat Kendrick on drums, and Bernard Odum on bass. Musicians would come and go, but this was the core original lineup of what became the James Brown Band. Other musicians who played with them in the late fifties were horn players Alfred Corley and Roscoe Patrick, guitarist Les Buie, and bass player Hubert Perry, while keyboard duties would be taken on by Fats Gonder, although James Brown and Bobby Byrd would both sometimes play keyboards on stage. At this point, as well, the lineup of the Famous Flames became more or less stable. As we discussed in the previous episode on Brown, the original lineup of the Famous Flames had left en masse when it became clear that they were going to be promoted as James Brown and the Famous Flames, with Brown getting more money, rather than as a group. Brown had taken on another vocal group, who had previously been Little Richard's backing vocalists, but shortly after "Try Me" had come out, but before they'd seen any money from it, that group had got into an argument with Brown over money he owed them. He dropped them, and they went off to record unsuccessfully as the Fabulous Flames on a tiny label, though the records they made, like "Do You Remember", are quite good examples of their type: [Excerpt: The Fabulous Flames, "Do You Remember?"] Brown pulled together a new lineup of Famous Flames, featuring two of the originals. Johnny Terry had already returned to the group earlier, and stayed when Brown sacked the rest of the second lineup of Flames, and they added Lloyd Bennett and Bobby Stallworth. And making his second return to the group was Bobby Byrd, who had left with the other original members, joined again briefly, and then left again. Oddly, the first commercial success that Brown had after these lineup changes was not with the Famous Flames, or even under his own name. Rather, it was under the name of his drummer, Nat Kendrick. Brown had always seen himself, not primarily as a singer, but as a band leader and arranger. He was always a jazz fan first and foremost, and he'd grown up in the era of the big bands, and musicians he'd admired growing up like Lionel Hampton and Louis Jordan had always recorded instrumentals as well as vocal selections, and Brown saw himself very much in that tradition. Even though he couldn't read music, he could play several instruments, and he could communicate his arrangement ideas, and he wanted to show off the fact that he was one of the few R&B musicians with his own tight band. The story goes that Syd Nathan, the owner of King Records, didn't like the idea, because he thought that the R&B audience at this point only wanted vocal tracks, and also because Brown's band had previously released an instrumental which hadn't sold. Now, this is a definite pattern in the story of James Brown -- it seems that at every point in Brown's career for the first decade, Brown would come up with an idea that would have immense commercial value, Nathan would say it was the most ridiculous thing he'd ever heard, Brown would do it anyway, and Nathan would later admit that he was wrong. This is such a pattern -- it apparently happened with "Please Please Please", Brown's first hit, *and* "Try Me", Brown's first R&B number one, and we'll see it happen again later in this episode -- that one tends to suspect that maybe these stories were sometimes made up after the fact, especially since Syd Nathan somehow managed to run a successful record label for over twenty years, putting out some of the best R&B and country records from everyone from Moon Mullican to Wynonie Harris, the Stanley Brothers to Little Willie John, while if these stories are to be believed he was consistently making the most boneheaded, egregious, uncommercial decisions imaginable. But in this case, it seems to be at least mostly true, as rather than being released on King Records as by James Brown, "(Do the) Mashed Potatoes" was released on Dade Records as by Nat Kendrick and the Swans, with the DJ Carlton Coleman shouting vocals over Brown's so it wouldn't be obvious Brown was breaking his contract: [Excerpt: Nat Kendrick and the Swans, "(Do the)" Mashed Potatoes"] That made the R&B top ten,  and I've seen reports that Brown and his band even toured briefly as Nat Kendrick and the Swans, before Syd Nathan realised his mistake, and started allowing instrumentals to be released under the name "James Brown presents HIS BAND", starting with a cover of Bill Doggett's "Hold It": [Excerpt: James Brown Presents HIS BAND, "Hold It"] After the Nat Kendrick record gave Brown's band an instrumental success, the Famous Flames also came back from another mini dry spell for hits, with the first top twenty R&B hit for the new lineup, "I'll Go Crazy", which was followed shortly afterwards by their first pop top forty hit, "Think!": [Excerpt: James Brown and the Famous Flames, "Think!"] The success of "Think!" is at least in part down to Bobby Byrd, who would from this point on be Brown's major collaborator and (often uncredited) co-writer and co-producer until the mid-seventies. After leaving the Flames, and before rejoining them, Byrd had toured for a while with his own group, but had then gone to work for King Records at the request of Brown. King Records' pressing plant had equipment that sometimes produced less-than-ideal pressings of records, and Brown had asked Byrd to take a job there performing quality control, making sure that Brown's records didn't skip. While working there, Byrd also worked as a song doctor. His job was to take songs that had been sent in as demos, and rework them in the style of some of the label's popular artists, to make them more suitable, changing a song so it might fit the style of the "5" Royales or Little Willie John or whoever, and Byrd had done this for "Think", which had originally been recorded by the "5" Royales, whose leader, Lowman Pauling, had written it: [Excerpt: The "5" Royales, "Think"] Byrd had reworked the song to fit Brown's style and persona. It's notable for example that the Royales sing "How much of all your happiness have I really claimed?/How many tears have you cried for which I was to blame?/Darlin', I can't remember which was my fault/I tried so hard to please you—at least that's what I thought.” But in Brown's version this becomes “How much of your happiness can I really claim?/How many tears have you shed for which you was to blame?/Darlin', I can't remember just what is wrong/I tried so hard to please you—at least that's what I thought.” [Excerpt: James Brown and the Famous Flames, "Think"] In Brown's version, nothing is his fault, he's trying to persuade an unreasonable woman who has some problem he doesn't even understand, but she needs to think about it and she'll see that he's right, while in the Royales' version they're acknowledging that they're at fault, that they've done wrong, but they didn't *only* do wrong and maybe she should think about that too. It's only a couple of words' difference, but it changes the whole tenor of the song. "Think" would become the Famous Flames' first top forty hit on the pop charts, reaching number thirty-three. It went top ten on the R&B charts, and between 1959 and 1963 Brown and the Flames would have fifteen top-thirty R&B hits, going from being a minor doo-wop group that had had a few big hits to being consistent hit-makers, who were not yet household names, but who had a consistent sound that could be guaranteed to make the R&B charts, and who put on what was regarded as the best live show of any R&B band in the world. This was partly down to the type of discipline that Brown imposed on his band. Many band-leaders in the R&B world would impose fines on their band members, and Johnny Terry suggested that Brown do the same thing. As Bobby Byrd put it, "Many band leaders do it but it was Johnny's idea to start it with us and we were all for it ‘cos we didn't want to miss nothing. We wanted to be immaculate, clothes-wise, routine-wise and everything. Originally, the fines was only between James and us, The Famous Flames, but then James carried it over into the whole troupe. It was still a good idea because anybody joining The James Brown Revue had to know that they couldn't be messing up, and anyway, all the fines went into a pot for the parties we had." But Brown went much further with these fines than any other band leader, and would also impose them arbitrarily, and it became part of his reputation that he was the strictest disciplinarian in rhythm and blues music. One thing that became legendary among musicians was the way that he would impose fines while on stage. If a band member missed a note, or a dance step, or missed a cue, or had improperly polished shoes, Brown would, while looking at them, briefly make a flashing gesture with his hand, spreading his fingers out for a fraction of a second. To the audience, it looked like just part of Brown's dance routine, but the musician knew he had just been fined five dollars. Multiple flashes meant multiples of five dollars fined. Brown also developed a whole series of other signals to the band, which they had to learn, To quote Bobby Byrd again: "James didn't want anybody else to know what we was doing, so he had numbers and certain screams and spins. There was a certain spin he'd do and if he didn't do the complete spin you'd know it was time to go over here. Certain screams would instigate chord changes, but mostly it was numbers. James would call out football numbers, that's where we got that from. Thirty-nine — Sixteen —Fourteen — Two — Five — Three — Ninety-eight, that kind of thing. Number thirty-nine was always the change into ‘Please, Please, Please'. Sixteen is into a scream and an immediate change, not bam-bam but straight into something else. If he spins around and calls thirty-six, that means we're going back to the top again. And the forty-two, OK, we're going to do this verse and then bow out, we're leaving now. It was amazing." This, or something like this, is a fairly standard technique among more autocratic band leaders, a way of allowing the band as a whole to become a live compositional or improvisational tool for their leader, and Frank Zappa, for example, had a similar system. It requires the players to subordinate themselves utterly to the whim of the band leader, but also requires a band leader who knows the precise strengths and weaknesses of every band member and how they are likely to respond to a cue. When it works well, it can be devastatingly effective, and it was for Brown's live show. The Famous Flames shows soon became a full-on revue, with other artists joining the bill and performing with Brown's band. From the late 1950s on, Brown would always include a female singer. The first of these was Sugar Pie DeSanto, a blues singer who had been discovered (and given her stage name) by Johnny Otis, but DeSanto soon left Brown's band and went on to solo success on Chess records, with hits like "Soulful Dress": [Excerpt: Sugar Pie DeSanto, "Soulful Dress"] After DeSanto left, she was replaced by  Bea Ford, the former wife of the soul singer Joe Tex, with whom Brown had an aggressive rivalry and mutual loathing. Ford and Brown recorded together, cutting tracks like "You Got the Power": [Excerpt: James Brown and Bea Ford, "You Got the Power"] However, Brown and Ford soon fell out, and Brown actually wrote to Tex asking if he wanted his wife back. Tex's response was to record this: [Excerpt: Joe Tex, "You Keep Her"] Ford's replacement was Yvonne Fair, who had briefly replaced Jackie Landry in the Chantels for touring purposes when Landry had quit touring to have a baby. Fair would stay with Brown for a couple of years, and would release a number of singles written and produced for her by Brown, including one which Brown would later rerecord himself with some success: [Excerpt: Yvonne Fair, "I Found You"] Fair would eventually leave the band after getting pregnant with a child by Brown, who tended to sleep with the female singers in his band. The last shows she played with him were the shows that would catapult Brown into the next level of stardom. Brown had been convinced for a long time that his live shows had an energy that his records didn't, and that people would buy a record of one of them. Syd Nathan, as usual, disagreed. In his view the market for R&B albums was small, and only consisted of people who wanted collections of hit singles they could play in one place. Nobody would buy a James Brown live album. So Brown decided to take matters into his own hands. He decided to book a run of shows at the Apollo Theatre, and record them, paying for the recordings with his own money. This was a week-long engagement, with shows running all day every day -- Brown and his band would play five shows a day, and Brown would wear a different suit for every show. This was in October 1962, the month that we've already established as the month the sixties started -- the month the Beatles released their first single, the Beach Boys released their first record outside the US, and the first Bond film came out, all on the same day at the beginning of the month. By the end of October, when Brown appeared at the Apollo, the Cuban Missile Crisis was at its height, and there were several points during the run where it looked like the world itself might not last until November 62. Douglas Wolk has written an entire book on the live album that resulted, which claims to be a recording of the midnight performance from October the twenty-fourth, though it seems like it was actually compiled from multiple performances. The album only records the headline performance, but Wolk describes what a full show by the James Brown Revue at the Apollo was like in October 1962, and the following description is indebted to his book, which I'll link in the show notes. The show would start with the "James Brown Orchestra" -- the backing band. They would play a set of instrumentals, and a group of dancers called the Brownies would join them: [Excerpt: James Brown Presents His Band, "Night Flying"] At various points during the set, Brown himself would join the band for a song or two, playing keyboards or drums. After the band's instrumental set, the Valentinos would take the stage for a few songs. This was before they'd been taken on by Sam Cooke, who would take them under his wing very soon after these shows, but the Valentinos were already recording artists in their own right, and had recently released "Lookin' For a Love": [Excerpt: The Valentinos, "Lookin' For a Love"] Next up would be Yvonne Fair, now visibly pregnant with her boss' child, to sing her few numbers: [Excerpt: Yvonne Fair, "You Can Make it if You Try"] Freddie King was on next, another artist for the King family of labels who'd had a run of R&B hits the previous year, promoting his new single "I'm On My Way to Atlanta": [Excerpt: Freddie King, "I'm on My Way to Atlanta"] After King came Solomon Burke, who had been signed to Atlantic earlier that year and just started having hits, and was the new hot thing on the scene, but not yet the massive star he became: [Excerpt: Solomon Burke, "Cry to Me"] After Burke came a change of pace -- the vaudeville comedian Pigmeat Markham would take the stage and perform a couple of comedy sketches. We actually know exactly how these went, as Brown wasn't the only one recording a live album there that week, and Markham's album "The World's Greatest Clown" was a result of these shows and released on Chess Records: [Excerpt: Pigmeat Markham, "Go Ahead and Sing"] And after Markham would come the main event. Fats Gonder, the band's organist, would give the introduction we heard at the beginning of the episode -- and backstage, Danny Ray, who had been taken on as James Brown's valet that very week (according to Wolk -- I've seen other sources saying he'd joined Brown's organisation in 1960), was listening closely. He would soon go on to take over the role of MC, and would introduce Brown in much the same way as Gonder had at every show until Brown's death forty-four years later. The live album is an astonishing tour de force, showing Brown and his band generating a level of excitement that few bands then or now could hope to equal. It's even more astonishing when you realise two things. The first is that this was *before* any of the hits that most people now associate with the name James Brown -- before "Papa's Got a Brand New Bag" or "Sex Machine", or "It's a Man's Man's Man's World" or "Say it Loud I'm Black and I'm Proud" or "Funky Drummer" or "Get Up Offa That Thing". It's still an *unformed* James Brown, only six years into a fifty-year career, and still without most of what made him famous. The other thing is, as Wolk notes, if you listen to any live bootleg recordings from this time, the microphone distorts all the time, because Brown is singing so loud. Here, the vocal tone is clean, because Brown knew he was being recorded. This is the sound of James Brown restraining himself: [Excerpt: James Brown and the Famous Flames, "Night Train" (Live at the Apollo version)] The album was released a few months later, and proved Syd Nathan's judgement utterly, utterly, wrong. It became the thirty-second biggest selling album of 1963 -- an amazing achievement given that it was released on a small independent label that dealt almost exclusively in singles, and which had no real presence in the pop market. The album spent sixty-six weeks on the album charts, making number two on the charts -- the pop album charts, not R&B charts. There wasn't an R&B albums chart until 1965, and Live at the Apollo basically forced Billboard to create one, and more or less single-handedly created the R&B albums market. It was such a popular album in 1963 that DJs took to playing the whole album -- breaking for commercials as they turned the side over, but otherwise not interrupting it. It turned Brown from merely a relatively big R&B star into a megastar. But oddly, given this astonishing level of success, Brown's singles in 1963 were slightly less successful than they had been in the previous few years -- possibly partly because he decided to record a few versions of old standards, changing direction as he had for much of his career. Johnny Terry quit the Famous Flames, to join the Drifters, becoming part of the lineup that recorded "Under the Boardwalk" and "Saturday Night at the Movies". Brown also recorded a second live album, Pure Dynamite!, which is generally considered a little lacklustre in comparison to the Apollo album. There were other changes to the lineup as well as Terry leaving. Brown wanted to hire a new drummer, Melvin Parker, who agreed to join the band, but only if Brown took on his sax-playing brother, Maceo, along with him. Maceo soon became one of the most prominent musicians in Brown's band, and his distinctive saxophone playing is all over many of Brown's biggest hits. The first big hit that the Parkers played on was released as by James Brown and his Orchestra, rather than James Brown and the Famous Flames, and was a landmark in Brown's evolution as a musician: [Excerpt: James Brown and his Orchestra, "Out of Sight"] The Famous Flames did sing on the B-side of that, a song called "Maybe the Last Time", which was ripped off from the same Pops Staples song that the Rolling Stones later ripped off for their own hit single. But that would be the last time Brown would use them in the studio -- from that point on, the Famous Flames were purely a live act, although Bobby Byrd, but not the other members, would continue to sing on the records. The reason it was credited to James Brown, rather than to James Brown and the Famous Flames, is that "Out of Sight" was released on Smash Records, to which Brown -- but not the Flames -- had signed a little while earlier. Brown had become sick of what he saw as King Records' incompetence, and had found what he and his advisors thought was a loophole in his contract. Brown had been signed to King Records under a personal services contract as a singer, not under a musician contract as a musician, and so they believed that he could sign to Smash, a subsidiary of Mercury, as a musician. He did, and he made what he thought of as a fresh start on his new label by recording "Caldonia", a cover of a song by his idol Louis Jordan: [Excerpt: James Brown and his Orchestra, "Caldonia"] Understandably, King Records sued on the reasonable grounds that Brown was signed to them as a singer, and they got an injunction to stop him recording for Smash -- but by the time the injunction came through, Brown had already released two albums and three singles for the label. The injunction prevented Brown from recording any new material for the rest of 1964, though both labels continued to release stockpiled material during that time. While he was unable to record new material, October 1964 saw Brown's biggest opportunity to cross over to a white audience -- the TAMI Show: [Excerpt: James Brown, "Out of Sight (TAMI show live)"] We've mentioned the TAMI show a couple of times in previous episodes, but didn't go into it in much detail. It was a filmed concert which featured Jan and Dean, the Barbarians, Lesley Gore, Chuck Berry, the Beach Boys, Gerry and the Pacemakers, Billy J Kramer and the Dakotas, Marvin Gaye, the Miracles, the Supremes, and, as the two top acts, James Brown and the Rolling Stones. Rather oddly, the point of the TAMI Show wasn't the music as such. Rather it was intended as a demonstration of a technical process. Before videotape became cheap and a standard, it was difficult to record TV shows for later broadcast, for distribution to other countries, or for archive. The way they used to be recorded was a process known as telerecording in the UK and kinescoping in the US, and that was about as crude as it's possible to get -- you'd get a film camera, point it at a TV showing the programme you wanted to record, and film the TV screen. There was specialist equipment to do this, but that was all it actually did. Almost all surviving TV from the fifties and sixties -- and even some from the seventies -- was preserved by this method rather than by videotape. Even after videotape started being used to make the programmes, there were differing standards and tapes were expensive, so if you were making a programme in the UK and wanted a copy for US broadcast, or vice versa, you'd make a telerecording. But what if you wanted to make a TV show that you could also show on cinema screens? If you're filming a TV screen, and then you project that film onto a big screen, you get a blurry, low-resolution, mess -- or at least you did with the 525-line TV screens that were used in the US at the time. So a company named Electronovision came into the picture, for those rare times when you wanted to do something using video cameras that would be shown at the cinema. Rather than shoot in 525-line resolution, their cameras shot in 819-line resolution -- super high definition for the time, but capable of being recorded onto standard videotape with appropriate modifications for the equipment. But that meant that when you kinescoped the production, it was nearly twice the resolution that a standard US TV broadcast would be, and so it didn't look terrible when shown in a cinema. The owner of the Electronovision process had had a hit with a cinema release of a performance by Richard Burton as Hamlet, and he needed a follow-up, and decided that another filmed live performance would be the best way to make use of his process -- TV cameras were much more useful for capturing live performances than film cameras, for a variety of dull technical reasons, and so this was one of the few areas where Electronovision might actually be useful. And so Bill Roden, one of the heads of Electronovision, turned to a TV director named Steve Binder, who was working at the time on the Steve Allen show, one of the big variety shows, second only to Ed Sullivan, and who would soon go on to direct Hullaballoo. Roden asked Binder to make a concert film, shot on video, which would be released on the big screen by American International Pictures (the same organisation with which David Crosby's father worked so often). Binder had contacts with West Coast record labels, and particularly with Lou Adler's organisation, which managed Jan and Dean. He also had been in touch with a promoter who was putting on a package tour of British musicians. So they decided that their next demonstration of the capabilities of the equipment would be a show featuring performers from "all over the world", as the theme song put it -- by which they meant all over the continental United States plus two major British cities. For those acts who didn't have their own bands -- or whose bands needed augmenting -- there was an orchestra, centred around members of the Wrecking Crew, conducted by Jack Nitzsche, and the Blossoms were on hand to provide backing vocals where required. Jan and Dean would host the show and sing the theme song. James Brown had had less pop success than any of the other artists on the show except for the Barbarians, who are now best-known for their appearances on the Nuggets collection of relatively obscure garage rock singles, and whose biggest hit, "Are You a Boy or Are You a Girl?" only went to number fifty-five on the charts: [Excerpt: The Barbarians, "Are You a Boy or Are You a Girl?"] The Barbarians were being touted as the American equivalent of the Rolling Stones, but the general cultural moment of the time can be summed up by that line "You're either a girl or you come from Liverpool" -- which was where the Rolling Stones came from. Or at least, it was where Americans seemed to think they came from given both that song, and the theme song of the TAMI show, written by P.F. Sloan and Steve Barri, which sang about “the Rolling Stones from Liverpool”, and also referred to Brown as "the king of the blues": [Excerpt: Jan and Dean, "Here They Come From All Over The World"] But other than the Barbarians, the TAMI show was one of the few places in which all the major pop music movements of the late fifties and early sixties could be found in one place -- there was the Merseybeat of Gerry and the Pacemakers and the Dakotas, already past their commercial peak but not yet realising it, the fifties rock of Chuck Berry, who actually ended up performing one song with Gerry and the Pacemakers: [Excerpt: Chuck Berry and Gerry and the Pacemakers: "Maybellene"] And there was the Brill Building pop of Lesley Gore, the British R&B of the Rolling Stones right at the point of their breakthrough, the vocal surf music of the Beach Boys and Jan and Dean, and three of the most important Motown acts, with Brown the other representative of soul on the bill. But the billing was a sore point. James Brown's manager insisted that he should be the headliner of the show, and indeed by some accounts the Rolling Stones also thought that they should probably not try to follow him -- though other accounts say that the Stones were equally insistent that they *must* be the headliners. It was a difficult decision, because Brown was much less well known, but it was eventually decided that the Rolling Stones would go on last. Most people talking about the event, including most of those involved with the production, have since stated that this was a mistake, because nobody could follow James Brown, though in interviews Mick Jagger has always insisted that the Stones didn't have to follow Brown, as there was a recording break between acts and they weren't even playing to the same audience -- though others have disputed that quite vigorously. But what absolutely everyone has agreed is that Brown gave the performance of a lifetime, and that it was miraculously captured by the cameras. I say its capture was miraculous because every other act had done a full rehearsal for the TV cameras, and had had a full shot-by-shot plan worked out by Binder beforehand. But according to Steve Binder -- though all the accounts of the show are contradictory -- Brown refused to do a rehearsal -- so even though he had by far the most complex and choreographed performance of the event, Binder and his camera crew had to make decisions by pure instinct, rather than by having an actual plan they'd worked out in advance of what shots to use. This is one of the rare times when I wish this was a video series rather than a podcast, because the visuals are a huge part of this performance -- Brown is a whirlwind of activity, moving all over the stage in a similar way to Jackie Wilson, one of his big influences, and doing an astonishing gliding dance step in which he stands on one leg and moves sideways almost as if on wheels. The full performance is easily findable online, and is well worth seeking out. But still, just hearing the music and the audience's reaction can give some insight: [Excerpt: James Brown, "Out of Sight" (TAMI Show)] The Rolling Stones apparently watched the show in horror, unable to imagine following that -- though when they did, the audience response was fine: [Excerpt: The Rolling Stones, "Around and Around"] Incidentally, Chuck Berry must have been quite pleased with his payday from the TAMI Show, given that as well as his own performance the Stones did one of his songs, as did Gerry and the Pacemakers, as we heard earlier, and the Beach Boys did "Surfin' USA" for which he had won sole songwriting credit. After the TAMI Show, Mick Jagger would completely change his attitude to performing, and would spend the rest of his career trying to imitate Brown's performing style. He was unsuccessful in this, but still came close enough that he's still regarded as one of the great frontmen, nearly sixty years later. Brown kept performing, and his labels kept releasing material, but he was still not allowed to record, until in early 1965 a court reached a ruling -- yes, Brown wasn't signed as a musician to King Records, so he was perfectly within his rights to record with Smash Records. As an instrumentalist. But Brown *was* signed to King Records as a singer, so he was obliged to record vocal tracks for them, and only for them. So until his contract with Smash lapsed, he had to record twice as much material -- he had to keep recording instrumentals, playing piano or organ, for Smash, while recording vocal tracks for King Records. His first new record, released as by "James Brown" rather than the earlier billings of "James Brown and his Orchestra" or "James Brown and the Famous Flames", was for King, and was almost a remake of "Out of Sight", his hit for Smash Records. But even so, "Papa's Got a Brand New Bag" was a major step forward, and is often cited as the first true funk record. This is largely because of the presence of a new guitarist in Brown's band. Jimmy Nolen had started out as a violin player, but like many musicians in the 1950s he had been massively influenced by T-Bone Walker, and had switched to playing guitar. He was discovered as a guitarist by the bluesman Jimmy Wilson, who had had a minor hit with "Tin Pan Alley": [Excerpt: Jimmy Wilson, "Tin Pan Alley"] Wilson had brought Nolen to LA, where he'd soon parted from Wilson and started working with a whole variety of bandleaders. His first recording came with Monte Easter on Aladdin Records: [Excerpt: Monte Easter, "Blues in the Evening"] After working with Easter, he started recording with Chuck Higgins, and also started recording by himself. At this point, Nolen was just one of many West Coast blues guitarists with a similar style, influenced by T-Bone Walker -- he was competing with Pete "Guitar" Lewis, Johnny "Guitar" Watson, and Guitar Slim, and wasn't yet quite as good as any of them. But he was still making some influential records. His version of "After Hours", for example, released under his own name on Federal Records, was a big influence on Roy Buchanan, who would record several versions of the standard based on Nolen's arrangement: [Excerpt: Jimmy Nolen, "After Hours"] Nolen had released records on many labels, but his most important early association came from records he made but didn't release. In the mid-fifties, Johnny Otis produced a couple of tracks by Nolen, for Otis' Dig Records label, but they weren't released until decades later: [Excerpt: Jimmy Nolen, "Jimmy's Jive"] But when Otis had a falling out with his longtime guitar player Pete "Guitar" Lewis, who was one of the best players in LA but who was increasingly becoming unreliable due to his alcoholism, Otis hired Nolen to replace him. It's Nolen who's playing on most of the best-known recordings Otis made in the late fifties, like "Casting My Spell": [Excerpt: Johnny Otis, "Casting My Spell"] And of course Otis' biggest hit "Willie and the Hand Jive": [Excerpt: Johnny Otis, "Willie and the Hand Jive"] Nolen left Otis after a few years, and spent the early sixties mostly playing in scratch bands backing blues singers, and not recording. It was during this time that Nolen developed the style that would revolutionise music. The style he developed was unique in several different ways. The first was in Nolen's choice of chords. We talked last week about how Pete Townshend's guitar playing became based on simplifying chords and only playing power chords. Nolen went the other way -- while his voicings often only included two or three notes, he was also often using very complex chords with *more* notes than a standard chord. As we discussed last week, in most popular music, the chords are based around either major or minor triads -- the first, third, and fifth notes of a scale, so you have an E major chord, which is the notes E, G sharp, and B: [Excerpt: E major chord] It's also fairly common to have what are called seventh chords, which are actually a triad with an added flattened seventh, so an E7 chord would be the notes E, G sharp, B, and D: [Excerpt: E7 chord] But Nolen built his style around dominant ninth chords, often just called ninth chords. Dominant ninth chords are mostly thought of as jazz chords because they're mildly dissonant. They consist of the first, third, fifth, flattened seventh, *and* ninth of a scale, so an E9 would be the notes E, G sharp, B, D, and F sharp: [Excerpt: E9 chord] Another way of looking at that is that you're playing both a major chord *and* at the same time a minor chord that starts on the fifth note, so an E major and B minor chord at the same time: [Demonstrates Emajor, B minor, E9] It's not completely unknown for pop songs to use ninth chords, but it's very rare. Probably the most prominent example came from a couple of years after the period we're talking about, when in mid-1967 Bobby Gentry basically built the whole song "Ode to Billie Joe" around a D9 chord, barely ever moving off it: [Excerpt: Bobby Gentry, "Ode to Billie Joe"] That shows the kind of thing that ninth chords are useful for -- because they have so many notes in them, you can just keep hammering on the same chord for a long time, and the melody can go wherever it wants and will fit over it. The record we're looking at, "Papa's Got a Brand New Bag", actually has three chords in it -- it's basically a twelve-bar blues, like "Out of Sight" was, just with these ninth chords sometimes used instead of more conventional chords -- but as Brown's style got more experimental in future years, he would often build songs with no chord changes at all, just with Nolen playing a single ninth chord throughout. There's a possibly-apocryphal story, told in a few different ways, but the gist of which is that when auditioning Nolen's replacement many years later, Brown asked "Can you play an E ninth chord?" "Yes, of course" came the reply. "But can you play an E ninth chord *all night*?" The reason Brown asked this, if he did, is that playing like Nolen is *extremely* physically demanding. Because the other thing about Nolen's style is that he was an extremely percussive player. In his years backing blues musicians, he'd had to play with many different drummers, and knew they weren't always reliable timekeepers. So he'd started playing like a drummer himself, developing a technique called chicken-scratching, based on the Bo Diddley style he'd played with Otis, where he'd often play rapid, consistent, semiquaver chords, keeping the time himself so the drummer didn't have to. Other times he'd just play single, jagged-sounding, chords to accentuate the beat. He used guitars with single-coil pickups and turned the treble up and got rid of all the midrange, so the sound would cut through no matter what. As well as playing full-voiced chords, he'd also sometimes mute all the strings while he strummed, giving a percussive scratching sound rather than letting the strings ring. In short, the sound he got was this: [Excerpt: James Brown, "Papa's Got a Brand New Bag"] And that is the sound that became funk guitar. If you listen to Jimmy Nolen's playing on "Papa's Got a Brand New Bag", that guitar sound -- chicken scratched ninth chords -- is what every funk guitarist after him based their style on. It's not Nolen's guitar playing in its actual final form -- that wouldn't come until he started using wah wah pedals, which weren't mass produced until early 1967 -- but it's very clear when listening to the track that this is the birth of funk. The original studio recording of "Papa's Got a Brand New Bag" actually sounds odd if you listen to it now -- it's slower than the single, and lasts almost seven minutes: [Excerpt: James Brown "Papa's Got a Brand New Bag (parts 1, 2, and 3)"] But for release as a single, it was sped up a semitone, a ton of reverb was added, and it was edited down to just a few seconds over two minutes. The result was an obvious hit single: [Excerpt: James Brown, "Papa's Got a Brand New Bag"] Or at least, it was an obvious hit single to everyone except Syd Nathan, who as you'll have already predicted by now didn't like the song. Indeed according to Brown, he was so disgusted with the record that he threw his acetate copy of it onto the floor. But Brown got his way, and the single came out, and it became the biggest hit of Brown's career up to that point, not only giving him his first R&B number one since "Try Me" seven years earlier, but also crossing over to the pop charts in a way he hadn't before. He'd had the odd top thirty or even top twenty pop single in the past, but now he was in the top ten, and getting noticed by the music business establishment in a way he hadn't earlier. Brown's audience went from being medium-sized crowds of almost exclusively Black people with the occasional white face, to a much larger, more integrated, audience. Indeed, at the Grammys the next year, while the Beatles, the Beach Boys, the Rolling Stones, Bob Dylan, Phil Spector and the whole Motown stable were overlooked in favour of the big winners for that year Roger Miller, Herb Alpert, and the Anita Kerr Singers, even an organisation with its finger so notoriously off the pulse of the music industry as the National Academy of Recording Arts and Sciences, which presents the Grammys, couldn't fail to find the pulse of "Papa's Got a Brand New Bag", and gave Brown the Grammy for Best Rhythm and Blues record, beating out the other nominees "In the Midnight Hour", "My Girl", "Shotgun" by Junior Walker, and "Shake" by Sam Cooke. From this point on, Syd Nathan would no longer argue with James Brown as to which of his records would be released. After nine years of being the hardest working man in showbusiness, James Brown had now become the Godfather of Soul, and his real career had just begun.