Podcasts about Svengali

31 Days of Halloween continues as I fall under the hypnotic spell of 1931's Svengali. ENDING MUSIC: Christian Svengali by Nightfall Support TWoRP Contact Us talkwithoutrhythm@gmail.com

Don Wildman examines a species of Asian cobra that invaded a small town in Missouri, a carriage that was the site of a bizarre murder and a wealthy daredevil who swam with sharks to prove they were harmless. Hosted on Acast. See acast.com/privacy for more information.

Garth Heckman The David Alliance  TDAgiantSlayer@Gmail.com  Five ways to tame a lion… you heard that right. Five ways to tame a lion… yep, I have been lion taming for quite sometime now and I am going to give you some insight over the next 7 minutes!    *When you wake up in the morning you are probably not thinking through the cautionary steps of dealing with 10,000 volts of electricity   -  being splattered with infectious blood   -  coming in contact with a huge anaconda   - Deactivating a bomb   - or worse yet, dealing with harboring bitterness.   All of those things can become dangerously habitual.    * Gunther Gabel Williams - BE THERE.    - YOU MEAN DON'T SHOW UP LATE FOR WORK??? DONT SKIP WORK?  After 10,000 performances you can tend to not be there in the cage with wild animals.    1 PETER 5:7Cast all your anxiety on Him, because He cares for you. 8Be sober-minded and alert. Your adversary the devil prowls around like a roaring lion, seeking someone to devour.…   When does a lion prowl looking for those whom he may devour? It's typically on Tuesday mornings, the reason is due to the weather patterns in the Svengali desert plains… you see the wind comes up form the south On Sunday and by Monday afternoon leading into the next day the lion… ARE YOU BELIEVING A WORD I SAY? Hey dumb dumb…lions are seeking whom they may devour EVERY DAY 24/7!    Every day the enemy prowls like a roaring lion seeking whom he may devour. IT IS YOUR JOB TO BE THERE! BE AWARE! EVERY DAY… EVERY DAY EVERY DAY       Key Verses: • Matthew 13:22 (BSB): "The seed sown among the thorns is the one who hears the word, but the worries of this life and the deceitfulness of wealth choke the word, and it becomes unfruitful." Here, μέριμνα is depicted as a force that can stifle spiritual growth. • Luke 21:34 (BSB): "But watch yourselves, or your hearts will be weighed down by dissipation, drunkenness, and the worries of life, and that day will spring upon you suddenly like a trap." This verse warns against being overwhelmed by life's anxieties, which can distract from spiritual vigilance. • 1 Peter 5:7 (BSB): "Cast all your anxiety on Him, because He cares for you." This passage encourages believers to entrust their worries to God, emphasizing His care and provision. THERE ARE ACTION STEPS IN THE VERSES…  -1 BE WATCHFUL for the little things - seeds   - 2 Watch yourself. Its your responsibility to know what triggers you and to look for it.  -3 DO NOT BE OVERWHELMED KNOW THAT THEY ARE COMING.    - 4 AND CAST YOUR WORRIES ON GOD -     - 5 YOU GIVE THEM TO GOD BECAUSE YOU KNOW AND CAN TRUST THAT HE CARES FOR YOU. He wants to take your worries, troubles and anxieties.  • Theological Implications: The concept of μέριμνα underscores the biblical teaching that excessive worry can detract from faith and reliance on God. Believers are encouraged to seek first the kingdom of God and trust in His provision, rather than being consumed by temporal concerns. • Practical Application: Christians are called to live with a focus on eternal values, casting their cares upon God and finding peace in His sovereignty. This involves a conscious effort to prioritize spiritual growth over worldly anxieties.  

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Ladies and Gentlemen, welcome back for more DOUBLE TROUBLELet's talk about dreams….Dreams can be intoxicatingly erotic; they can be filled with loss and longing; you might be falling, trapped in an confusing maze, or carried across bodies of water in a leaky boat.  I often have the actor's nightmare - where I'm about to go onstage, but I don't know my lines and I don't even know which play it is. These are dreams from which I wake up in a cold sweat.SUMMER WINE by Nancy Sinatra and Lee Hazelwood (Reprise, 1966)A Succubus is defined as a female demon or supernatural entity that appears in dreams to seduce men. This is probably what singer-songwriter-producer Lee Hazelwood had in mind when he paired up with the husky voiced Nancy Sinatra to tell the story of a cowboy who swaggers into town, and meets an alluring siren, who then invites him to spend the night partaking of her special home-made brew. He drinks too much of the elixir and wakes up the next morning alone, hungover, and without his silver spurs. This might have been a cautionary tale, but the smitten cowboy is left craving more of the same.Understandable. Nancy had seduced us all with These Boots Are Made For Walkin' and Sugar Town, and was at the peak of her magnetic powers. Teaming up with Lee was a smart move, too, because this Svengali was an American original; an independently minded auteur, with an irresistible basso, who, with his muse, went on to create many evocative and enduring tracks before going their separate ways. The structure of the song is simple: Nancy sings only the recurring chorus describing her recipe: “Strawberries, Cherries, and an Angel's kiss in spring…” This plays like an ear worm, stuck in the cowboy's head as he relates his mysterious tale of submission.HOW CAN WE HANG ON TO A DREAM by Mimi Farina (Philo, 1985)Mimi Farina became a widow at age 21. The younger sister of Joan Baez, who was one half of an anointed, royal duo of folk music, was left bereft when Richard Farina, her husband and partner, rode his motorcycle into oblivion. After casting about for years, trying to find her civic, and artistic footing (forming the charitable performing organization, Bread and Roses - and, even trying improv comedy) - she finally emerged in 1985, stronger and more confident at the age of 40, with a beautiful solo effort. Here she interprets the Tim Hardin composition HOW CAN WE HANG ON TO A DREAM? - which delicately puts all her trials into perspective.Mimi died of cancer in 2001, leaving behind a legacy of fragile, dream-like beauty and wonder. It seems that some people are too good for this world. I'm reminded of Richard and Mimi's anthemic PACK UP YOUR SORROWS…”If somehow you could pack up your sorrows, and give them all to me….you would lose them, I know how to use them, give them all to me.”Mimi did just that for us. 

The Lowest Moral Denominator.By FinalStand. Listen to the Podcast at Explicit Novels.Those who declare war are willing to kill as many as it takes to reach their goal.(The Lowest Moral Denominator)My first week at Havenstone, I'd biked to work alone on most days and I'd enjoyed that. I'd have treasure it more if I had glimpsed my future. I loved people, not crowds. I knew about violence, yet I had no affection for it. I was a confirmed bachelor. Now I was staring down both barrels of marriage. I had had also become a walking arsenal with a lethal omnipresent entourage.This situation was so fucked up that I had to stop by Caitlin's place just to see Aya. My favorite sprite gave me a hug and reminded me that I had to do what I could, not worry about what I couldn't do. She was my 9 year old Svengali. She was my little Valkyrie. In truth, she was the only woman knew I loved and that was the love of a father for his daughter.On the elevator ride up to the penthouse suite of the Midtown Hilton, I thought about Dad. What would Ferko Nyilas do in my shoes? It would be easy for someone who didn't know him to imagine my dad getting up on his high moral horse and telling me to just do the right thing, except that wasn't him. What he'd tell me was to not pass the buck. I had to deal with this, unless I knew someone else who could and would do it better.It wasn't about 'being a man'; it was being a member of the Human Race. We all pitched in and got the job done, or it didn't get done, and millions died because we refused to accept any responsibility for what was going on. That was my Dad, 'do what you can' and 'never be afraid to ask for help if you need it'. After the age of ten, he never told me I had to do anything. He'd tell me what needed to be done and leave it at that.So I wouldn't forget the pictures I knew I'd be seeing before too long, the innocent dead. If the sorrow broke me, it broke me. Until it did, I could not turn away. I had to 'do what I could'. That put me heading to a meeting at three o'clock in the afternoon in the penthouse suite.After my non-breakfast with Iskender, we had driven straight to Havenstone, where I demanded an immediate, private meeting with Katrina. This wasn't an info-dump and then out the door. No, I was part of the process now, one of those fools who were responsible for the lives of others. Katrina and I had argued about compartmentalizing my terrifying news.Her reasoning was clear. We were at war with the Seven Pillars. The basis of the 7P strength was China, so anything bad that happened to China was good for the Amazon Host. I nixed that. It was Katrina's job to think about our security. It was mine to juggle how we related to the rest of the planet. Absent the Golden Mare's opposition, Katrina couldn't stop me from doing my job as I saw fit.The Golden Mare was out of immediate contact, so we moved forward on my proposal. Katrina called Javiera, validated Vincent's call, and then suggested she bring in someone from the United States Army Medical Research Institute of Infectious Diseases (USAMRIID) at Ft. Detrick. Katrina wouldn't tell her why.I dispatched Delilah to talk to her MI-6 guy while I made my way to Nicole Lawless's law offices. I need to talk to my Aunts. An hour later, I dismissed a somewhat piqued Nicole from the room, then laid out the upcoming crisis to my Mom's clones. I hesitated a minute before dropping the other bomb, Grandpa Cáel was back.Was I sure? I countered with, "Do you know who Shammuramat was?"Why, yes they did; Grandpa had a bust of her in his main office."Well, she's back, in the flesh and that spells all kinds of problems".The six aunts present agreed. They invited me to fly to Europe with five of them. Much to their surprise and joy, I agreed. I told them I would be a party of twelve with plenty of firepower. They were less pleased about that.I exited that scene, only to engage in another, somewhat unrelated, bit of diplomacy. I met with Brooke and Libra for lunch. They brought Casper, who was seeing a specialist in New York and had expressed an interest in seeing me again. Into that volatile mix, I placed my request: 'Could Brooke put up a friend for a couple of weeks while I made other arrangements?'Yes, this was a 'bizarre' friend. Yes, this was a violently bizarre friend. Yes, she walked around with enough weaponry to scare a seasoned SWAT officer. And yes, she was a mass murderer. Cool,, if I agreed to stop by and see how this 'friend' was doing, and gave Libra advance notice too, then they were fine with it.Thus Shammuramat, Sakuniyas, Saku became Brooke's roommate. Insane? Not really. Putting Saku inside Havenstone on a regular basis was going to result in a blood bath. Saku was abrasive and she was a criminal in the minds of her 'sisters'. This gave her an 'out', some space and time with a civilized person who she couldn't emotionally bowl over.If Saku got physical with Brooke, we both understood that House Ishara was going to cancel her return performance. Amazons could defend themselves, so we were fair game for her rude behavior. Brooke couldn't, so she was hopefully out of bounds. Saku had agreed to the arrangement without comment.She'd already figured out that no other Amazons wanted her around and there simply wasn't room at my place. With that chore done, I was able to see Miyako off before her flight to Tokyo by way of Seattle. Selena was with her, but not going. Miyako did have three Amazons in case things got rough.The Marda House guard woman looked mature and humorless. Her age wasn't a problem. She was a grandmother, yet if she thought she couldn't keep up, she'd have taken herself to the cliffs before now. It turned out she had been in Executive Services before returning to House Marda. My diplomat, I didn't know her, but she seemed eager enough. The member of House Ishara was a brand new recruit named Jenna.She was from Acquisitions and spoke seven Asian languages, including Japanese. She looked absolutely thrilled to be heading off into danger. I instructed the younger two to obey the Mardan. In private, I 'advised' the Mardan that our main mission was to be of aid to the ninja. Information gathering would be secondary. More Amazons were on the way. She gave me a nod.For this critical mid-afternoon meeting at the Midtown Hilton, Wiesława lead the way off the elevator. Buffy went next, then me and finally Saku. Delilah and Vincent had already arrived with their appropriate factions. Katrina took a separate elevator, with Elsa and Desiree. Pamela was, somewhere. After she'd pointed out a half-dozen people from four different agencies in the lobby, she told me to not wait while she went to the bathroom.At the door of the Penthouse were two familiar faces from the NYPD, Nikita Kutuzov and her partner, Skylar Montero. When Javiera's investigation followed me to New York, they had been drafted into the taskforce."Hey ladies," I smiled. My last meeting with Nikita hadn't gone well."Cáel," Nikita smiled back. "How have you been?""More trouble than normal," I shook her hand."We can tell," Skylar relaxed somewhat. As Nikita's partner, she had to know that our relationship had soured when she started investigating me. Katrina's group came up."I think you are the last to arrive," Nikita informed us. This time, Desiree was the first one through the door. I could hear the conversation trail off. Wiesława went next, then Katrina, me, Buffy, Saku and finally Elsa. I decided to toss 'civilized' behavior out the window seconds after entering. Virginia Maddox of the FBI, the initiator of the Amazon children's airlift, was here.I hugged her and after a moment, she hugged me back."Priya says hey and," she blushed slightly, "she's counting the days, all forty-five of them.""Don't forget, I owe you," I grinned then patted her shoulder. Javiera was next."Cáel," she headed my familiarity off. She was a Federal Prosecutor after all."This is the head of this taskforce, Jonas Baker (deep breath) Associate Deputy Undersecretary of Analysis for Homeland Security {ADUAHS} (deep breath)." I extended my hand, so he shook it. He looked somewhat annoyed by this whole encounter. Javiera was duly nervous because of his poor initial attitude. The introductions went around.Half way through it, Pamela showed up, from where, I didn't know. Delilah, her MI-6 boss and the British professional killer Chaz were there, much to the chagrin of the Americans. Vincent was there with Javiera. Cresky was representing the CIA plus there was ATF, ICE, Riki Martin (?) from the State Department and a man in a civil servant's salary suit and a military demeanor, Captain Moe Mistriano."Fine," Mr. Baker began. "I hope you aren't wasting our time." His gaze flicked between Katrina and me."May the Blessed Isis bring understanding to our meeting," I intoned, in old Egyptian."What was that?" Baker turned on me."Praying for guidance," I replied. Isis wasn't in the Amazon pantheon, but I could sure use her help at this point. Baker was going from put-out to pissed-off. If that is how they wanted to play it, their choice. "Are you the specialist from Ft. Detrick?" I asked the Captain."Yes, I am and I hope this is worth my time as well," he gave me a steady gaze. Oh, I really needed that."Anthrax, China," I stated and weighed his response. Oh yeah, I had his attention now, which meant his bio-warfare unit had some idea about what was happening in China."Care to enlighten me?" Baker inquired. He had gauged his medical expert's reactions as well and he didn't like what the biological warfare specialist was not saying."Mr. Baker," the Captain decided to go first. "Roughly fifty-five hours ago, we got wind that there was a massive Anthrax outbreak in Western China. Xinjiang, Qinghai, Gansu, Ningxia and Nei Mongol administrative regions have all reported outbreaks."Holy Shit!" Riki Martin gasped. Her dark, whip-like, Hispanic features noticeably paled."That sounds suspiciously like bio-terrorism," Jonas Baker turned on me."You'd be right about that," I refused to evade. "It is and it is about to get a whole lot worse.""The PRC has a robust vaccine program," the Captain stated. "That is why they aren't making a public stink about it. They have the problem well under control.""Damn, " I closed my eyes and lowered my head. In some deep section of my mind, I had fanned the feeble flames of hope that somehow, the Earth  and  Sky program had derailed. "That is the 'whole lot worse' I was talking about. The terrorists aren't terrorists. They, ""What do you mean they are not terrorists," Baker snapped. "They, ""Shut up and let the man speak," Katrina said calmly."Who are you again?" he glared at Katrina. "If you aren't part of the solution, you are part of the problem and I'm here to make sure this problem is dealt with. I am not here to play footsie with you. I am going to be asking some tough questions and you had better answer them.""I'm Cáel's boss," Katrina smiled. "Since we came here to help you and you don't want to let us speak, we are leaving. Cáel."The Amazons didn't turn and leave. No, we backed up toward the door."You can't start talking about an ongoing terrorist threat and then walk out the door," Baker argued."Javiera, I apologize," I looked her way. "Mr. Baker, Javiera's a smart cookie. I'm sure she's given you every bit of information that has come across her desk. That means you know we consider ourselves an independent nation-state without borders. You can't intimidate us. We feel no obligation to obey your legal system and we operate internationally," I kept going."Now, as we are trying to repay Javiera's kindness in our time of need, you are treating us like criminals currying favors. Blow it out your ass, you pompous bureaucrat" I concluded. "We aren't the problem here.""If that's the way you want it," he shrugged. "Javiera, arrest them." Pause."Sir, you do realize that if I give that order, there is a good likelihood they will resist with force?" Javiera replied calmly. Baker looked around the room."We outnumber them and these are law enforcement officers," he insisted. "Now, ""I wouldn't count on that 'outnumbered' thing," Delilah chimed in.Chaz and MI-6 dude didn't seem to be onboard with his plan. "I have reason to believe Cáel has information on a highly virulent weaponized Anthrax program. If our US allies aren't interested, Her Majesty's government certainly will be." That did interest the MI-6 senior officer."That is all the more reason to put these people into federal custody," Baker stated."Then what, Mr. Associate Deputy?" Chaz said. "Are you going to torture them for time sensitive data? In my military service, I've met some truly hard characters. Some people you can put a gun to their child's head and they'll tell you what you want to know. Not this group. They'll memorize your face and wait for a chance to make you pay, whether you kill the kid, or not.""That's my read on them as well," Agent Vincent Loire added."Mr. Baker, I worked under you when we were both in Counter-terrorism," Virginia spoke up. "I think you are mishandling this. Invoke the Patriot Act and all we get is a roomful of statues. I've fought beside these, Amazons and I'm reaffirming my report to Ms. Castello (Javiera), they do not believe their behavior is wrong.At some point in their fifties, they commit ritual suicide. They make their twelve year old daughters fight for their lives. They murder their male infants. Sir, they are an alien society, indoctrinated at birth to believe they are spiritual inheritors of the ancient Amazons mentioned by Homer during the time of the Iliad.They fanatically believe in a pantheon of goddesses and possess very little inclination for integration. They think they are superior to everyone in this room, except for Cáel, he's an oddity," Virginia pleaded."That legion of crimes is yet another reason to arrest them," Baker just wouldn't give up."What you have described, Agent Maddox is a right wing nut cult, like the Branch-Davidians at Waco. Arrest them.""What are the charges?" Javiera's face blanked out."Conspiracy to commit terrorist acts; aiding and abetting an international terrorist organization," Baker snapped."Everyone, put down your firearms and blades," Katrina ordered. I didn't have the status to give that order except to my own. For that matter,"Team, disarm," Elsa commanded her Security Detail people. Technically, Katrina couldn't order those girls to forego their primary mission, defend the Host. Out came the guns.The group of us went over to one wall, put our backs to it and sat down. Pro forma, Virginia, Vincent and the ATF guy drew their firearms. By this time, both Riki and the Captain looked ready to explode."Tell us what you know about this terrorist conspiracy and, " Baker said."We invoke our Right to Council," I raised my hand."You are being charged under the Patriot Act, smart-ass," Baker sneered. "We can hold you indefinitely if we can show a risk to National Security, such as a terrorist attack in China.""I apologize for dragging you into this," I turned to Katrina. "You too, Saku." Saku shrugged."I told you there is no benefit in helping 'these people'," Katrina comforted me. She meant non-Amazons and it was rather sad that it was looking like she was right and I was wrong."Unless you want to grow old and grey in Guantanamo, I suggest you start talking now," Baker threatened.There was no bravado on our part. We didn't zone out, or ignore him. We looked at him the same way we would a yappy dog while continuing to scan the room. Being disarmed didn't make us defenseless. It merely limited our options."Sir," Riki tapped Baker."If the People's Republic of China finds out we withheld details of a terrorist attack on their soil, that would be BAD, with a capital 'B'.""I have to call this in," the Captain shook his head."Wait until we have active intelligence," Baker said. The Captain completed his call."I don't work for you, Sir. I work for the Department of Defense and that man," the Captain pointed at me, "strung two words together he shouldn't have. Now, I don't know any of you people. I was told to come here, so here I am. I do know, Sir, that you are ignoring the advice from your experts about the expected results of standard interrogation techniques.You are acting on two assumptions which I find to be fictitious," the Captain was clearly furious. "First, you seem to think this won't get out, and you are wrong. Why? We have no idea who these people have talked with. We can only believe that any person outside of their organization can use that revelation for their own ends. Secondly, you haven't grasped the extent of the emergency.Chinese citizens are already starting to drop dead as we speak. This variant of Anthrax is highly contagious, fast-acting, and appears to be incredibly fatal. No nation on Earth has enough Anthrax vaccine on hand to protect their entire population, and that still implies that the vaccines we currently have will work on this new bacteria. Need I go on?"Then Captain Mistriano went back to talking softly with his companions back at Ft. Detrick. The MI-6 chief made his own call. This was his job after all. Before Baker could even start to threaten the Brit, Delilah and Chaz had their guns out, though pointed down. The US law enforcement operatives were far more leery of challenging agents of a friendly foreign power."I will make sure to tack on charges for all those deaths you are facilitating," Baker piled it on. "The US government might find it necessary to send you to the People's Republic of China to face charges there. After all, you claim to not be US citizens." None of us responded verbally. We looked at him. We certainly heard him speak, but his '

Jerry Springer's dull new talk show was relegated to an overnight time slot and the likelihood of cancellation. But when he teamed up with a new executive producer - one with a taste for the sensational - the show evolved into a must-watch television circus. And when guests started punching each other, the ratings went through the roof.  The Netflix documentary series Jerry Springer: Fights, Camera, Action revisits the outrageous talk show, zooming in on the relationship between its affable host and the string-pulling Svengali that - for better or worse - changed television. It brings viewers behind the cameras into the demanding lives of the show's segment runners. And it looks at the effects the show had in the lives of its guests, resulting in broken hearts, broken bones, and even murder. In this episode of You Can't Make This Up, host Rebecca Lavoie interviews former “The Jerry Springer Show” producer Toby Yoshimura. SPOILER ALERT! If you haven't watched Jerry Springer: Fights, Camera, Action yet, make sure to add it to your watch-list before listening on.  Listen to more from Netflix Podcasts.

In this final episode in the Rock is Lit Season 4 Reading Series, Suzanne Mattaboni discusses her debut novel, ‘Once in a Lifetime', and shares excerpts from the story. Set in 1984, where punk reigns and Andy Warhol rules, 20-year-old art student Jessica longs for a life beyond her reach. Dreaming of an avant-garde study program in London, she's stuck waitressing and navigating drama with her boyfriend Drew, who wants to date others. Life takes a turn when she meets Whit, a magnetic guitarist, and dives into a post-punk scene full of quirky characters—cheating waiters, mystics, a military drag queen, and a Svengali bouncer—all while grappling with the specter of AIDS. Jessica must decide if chasing her dreams is worth risking heartbreak and self-discovery. With a smart, edgy '80s vibe, ‘Once in a Lifetime' is a coming-of-age story exploring friendship, love, and ambition. Suzanne Mattaboni is a former Newsday reporter and a Pushcart Prize-nominated author of women's fiction, horror, and pop culture essays. She's also a retro podcaster and a past winner of Seventeen magazine's Art and Fiction Contest. Her work has also appeared in The Huffington Post, Chicken Soup For The Soul, Mysterious Ways, Guideposts.com, Seventeen, Child, Parents, Motherwell, Dark Dossier, Turtle, Humpty Dumpty's, Long Island Weddings, and LA Parent. She's had pieces featured in anthologies including Pizza Parties and Poltergeist (horror stories set in the 1980s), Writes of Passage, The Little Demon Digest, and The Running Wild Anthology of Stories.   MUSIC IN THE EPISODE IN ORDER OF APPEARANCE: Rock is Lit theme music [Guitar Instrumental Beat] Sad Rock [Free Use Music] Punch Deck—“I Can't Stop” “Once in a Lifetime” by the Talking Heads “Catch Me I'm Falling” by Real Life “Purple Rain” by Prince “Sweet Dreams” by The Eurythmics “Once in a Lifetime” by the Talking Heads Rock is Lit theme music   LINKS: Leave a rating and comment for Rock is Lit on Goodpods: https://goodpods.com/podcasts/rock-is-lit-212451 Leave a rating and comment for Rock is Lit on Apple Podcasts: https://podcasts.apple.com/us/podcast/rock-is-lit/id1642987350 Suzanne's websites: https://www.suzannemattaboni.com/ and onceinalifetimenovel.com Suzanne on Facebook: facebook.com/suzanne.mattaboni Suzanne on X: @suzmattaboni Suzanne on Instagram: @suzannemattaboni80s Suzanne on TikTok: suzannemattabonibook ‘Once in a Lifetime' Spotify playlist Christy Alexander Hallberg's website: https://www.christyalexanderhallberg.com/rockislit Christy Alexander Hallberg on Instagram, Twitter, YouTube: @ChristyHallberg Rock is Lit on Instagram: @rockislitpodcast Rock is Lit on Bluesky: @rockislitpodcast.bsky.social Learn more about your ad choices. Visit megaphone.fm/adchoices

When the bell tolls midnight, it'll be 1968.Royce Pembrook is living well in a new city, with new patrons, a new name, and a new trade. But he's the same scam artist he's been for thirty years. Since youth, Royce has made his money and found trouble in fraudulent séances that prey on the grieving widows of high society. Now he's expanded his con, posing as a hypnotist, a Svengali, swindling everyone in Phoenix from scions of old wealth to a UFO cult led by a heroin-addicted visionary.Life is good. Royce has the luxury he craves. And that's when trouble out of the past creeps into his world. Even in the domain of fake spirits, the relentless specter of murder is real, and Royce's former life is one thing that won't stay in the grave.When the bell tolls midnight for Royce Pembrook, will it be time to abscond? Or will he fight to keep all that he's gained, no matter the violent cost to those around him?Support this show http://supporter.acast.com/houseofmysteryradio. Become a member at https://plus.acast.com/s/houseofmysteryradio. Hosted on Acast. See acast.com/privacy for more information.

Strange Wills 46-06-15 02 Alias Dr Svengali

[SEGMENT 2-1] Obama to the rescue 1   How do I know Harris' campaign is failing? Because they are trying all the tricks. AND the cabal knows they can't cheat her in, thus she's actually forced to campaign. Read the headlines, and you see “the honeymoon is over” The sugar high is over, etc. Listen to the Leftist talking heads of fake news and even they are sounding the alarm bells.   The more interviews Harris does, the worse it gets. Poll trends don't look good for Harris. In the last hour I discussed at least three polls that are trending to Trump, all within the margin of error, and all you need to ask yourself, USING COMMON SENSE is who is the most popular candidate?  [SEGMENT 2-2] Obama to the rescue 2 Who's the more popular candidate? Trump or Harris? Who has the most dedicated voters?   Democrats can stage rallies, or do whatever they want, but we know the answer to this. Trump speaks, and they try to make him racist, sexist, and all the other retread nonsense, and it goes NOWHERE Look at what happens when people speak about “Black jobs” or something they try to pin to Trump, then watch the POLL TRENDS… Barack Obama is a political has-been. And that's why I'm always perplexed when people try to make him into a shot-caller. Barack Obama doesn't call the shots in his own home. We all know that Michelle is the man of the Obama household, and I'm not referencing the "Mike" rumors. Barack is a metrosexual, bisexual man who married a stone-cold sista to give him street cred for his political career. On that note, he succeeded. Michelle played her role well, but the two run on parallel paths outside of politics. Regardless of which Obama Harris picked, they can't save her.[SEGMENT 2-3] Obama to the rescue 3 [X] SB – Jesse Watters asks Sage Steele about Obama joining Harris Pt 1 Interestingly, Kamala Harris invoked her girlfriend Barack to help her campaign, and not Michelle. Hmm. [X] SB – Pt 2   Energy and turnout More pronounced with the brothers Why aren't you supporting the Black woman? A choice that is this clear…   No matter, Barack got the call to rescue Harris from Hurricane Trump. But things haven't gone well.  [SEGMENT 2-4] Obama to the rescue 4 https://www.youtube.com/watch?v=I7whDtU0dLs Barack was chosen to get Harris the Black male vote? Talk about giving Barack a boulder and calling him Sisyphus. Obama has a rough task to convince Black men to support Harris. Knowing the polls where Black men support Trump in massive numbers, Obama tried to embarrass Black men into voting for Harris: "And you're coming up with all kinds of reasons and excuses, I've got a problem with that," he said. "Because part of it makes me think -- and I'm speaking to men directly -- part of it makes me think that, well, you just aren't feeling the idea of having a woman as president, and you're coming up with other alternatives and other reasons for that." He said that the "women in our lives have been getting our backs this entire time." "When we get in trouble and the system isn't working for us, they're the ones out there marching and protesting," he said. "And now you're thinking about sitting out or supporting somebody who has a history of denigrating you, because you think that's a sign of strength, because that's what being a man is? Putting women down? That's not acceptable."   [X] SB – Nina Turner on Obama chastising Black women   Harris down 11 points in OH Why are Black men being lectured to? Being belittled? Singled out Black men. They have their reasons why. We may not like it, but we must respect it.   Almost universally, Obama's message has backfired on Harris-Walz, and of course Obama. And on Obama. Here's what he said about himself: “I am the hopey changey guy so I understand people feeling frustrated, feeling we can do better,” Obama said. “What I cannot understand is why anybody would think that Donald Trump will shake things up in a way that is good for you, Pennsylvania. I don't understand that.” Perhaps Obama doesn't understand the same way he didn't understand how Trump would save Carrier? https://youtu.be/BRTGQUISjI0?si=CdKCwq4OIncXY-LE You don't send a sissy to do a man's job. Rest assured: no real man gives a sh*t about what Obama has to say. Laughably, Barack Obama's involvement in Kamala Harris's campaign is an attempt to leverage his perceived residual influence with Black voters. But his influence with Black men is practically nonexistent. Obama, though once a powerful figure in mobilizing the Black vote, no longer holds the sway he did during his first election. As I've pointed out many times, by the end of Obama's second term, he couldn't fill a phone booth with Black supporters. Over the years, especially during his presidency, many Black men grew disillusioned with his policies. Obama didn't improve the quality of life for Blacks (or anybody), as he created rampant unemployment, and he did nothing to address criminal justice reform, or economic disparity within their communities. Consequently, his endorsement is meaningless and more symbolic for hard-core Democrats who want to believe he maintains some Svengali-like influence over the Black vote. When it comes to Kamala Harris, her record as California's Attorney General and her role in the Biden administration have not resonated well with Black men. Harris's history of tough-on-crime policies, including controversial decisions around incarceration, particularly of Black men, continue to haunt her political career. Black men don't trust Harris based on her past, and based on what they've witnessed in her flip-flopping on multiple issues. Even the media can no longer run cover on the polling. They publicly report now that Trump is surging. And while these polls and trends bode well for Trump, they pale to the real polls of the campaigns which have Trump ahead by insurmountable (uncheatable) numbers. Frankly, Obama stepping in to campaign for Harris shows signs of desperation by the Harris camp. His speeches invoke nostalgia that Blacks no longer feel, due his failed administration. And his speeches to nothing to address the deeper frustrations that many Black men have with Harris or the Democratic Party as a whole. Because of this, Obama can't move the needle on Black male support for Harris, in what can be rightfully described as too little too late. Barack Obama's supposed star power may shine brightly in fundraising certain circles. But when it comes to securing Black male votes for Kamala Harris, he's lost his street cred. His impact is limited, at best. Democrats may wish that Obama could bridge this gap, but the reality is that the Black male vote has shifted significantly since his presidency, and it will take more than Obama's charm to bring them back into the fold. Ironically, if Harris wants the Black male vote, she would have done better by sending Michelle Obama and not Barack.        Become a supporter of this podcast: https://www.spreaker.com/podcast/the-kevin-jackson-show--2896352/support.

[SEGMENT 2-1] Obama to the rescue 1   How do I know Harris' campaign is failing? Because they are trying all the tricks. AND the cabal knows they can't cheat her in, thus she's actually forced to campaign. Read the headlines, and you see “the honeymoon is over” The sugar high is over, etc. Listen to the Leftist talking heads of fake news and even they are sounding the alarm bells.   The more interviews Harris does, the worse it gets. Poll trends don't look good for Harris. In the last hour I discussed at least three polls that are trending to Trump, all within the margin of error, and all you need to ask yourself, USING COMMON SENSE is who is the most popular candidate?  [SEGMENT 2-2] Obama to the rescue 2 Who's the more popular candidate? Trump or Harris? Who has the most dedicated voters?   Democrats can stage rallies, or do whatever they want, but we know the answer to this. Trump speaks, and they try to make him racist, sexist, and all the other retread nonsense, and it goes NOWHERE Look at what happens when people speak about “Black jobs” or something they try to pin to Trump, then watch the POLL TRENDS… Barack Obama is a political has-been. And that's why I'm always perplexed when people try to make him into a shot-caller. Barack Obama doesn't call the shots in his own home. We all know that Michelle is the man of the Obama household, and I'm not referencing the "Mike" rumors. Barack is a metrosexual, bisexual man who married a stone-cold sista to give him street cred for his political career. On that note, he succeeded. Michelle played her role well, but the two run on parallel paths outside of politics. Regardless of which Obama Harris picked, they can't save her.[SEGMENT 2-3] Obama to the rescue 3 [X] SB – Jesse Watters asks Sage Steele about Obama joining Harris Pt 1 Interestingly, Kamala Harris invoked her girlfriend Barack to help her campaign, and not Michelle. Hmm. [X] SB – Pt 2   Energy and turnout More pronounced with the brothers Why aren't you supporting the Black woman? A choice that is this clear…   No matter, Barack got the call to rescue Harris from Hurricane Trump. But things haven't gone well.  [SEGMENT 2-4] Obama to the rescue 4 https://www.youtube.com/watch?v=I7whDtU0dLs Barack was chosen to get Harris the Black male vote? Talk about giving Barack a boulder and calling him Sisyphus. Obama has a rough task to convince Black men to support Harris. Knowing the polls where Black men support Trump in massive numbers, Obama tried to embarrass Black men into voting for Harris: "And you're coming up with all kinds of reasons and excuses, I've got a problem with that," he said. "Because part of it makes me think -- and I'm speaking to men directly -- part of it makes me think that, well, you just aren't feeling the idea of having a woman as president, and you're coming up with other alternatives and other reasons for that." He said that the "women in our lives have been getting our backs this entire time." "When we get in trouble and the system isn't working for us, they're the ones out there marching and protesting," he said. "And now you're thinking about sitting out or supporting somebody who has a history of denigrating you, because you think that's a sign of strength, because that's what being a man is? Putting women down? That's not acceptable."   [X] SB – Nina Turner on Obama chastising Black women   Harris down 11 points in OH Why are Black men being lectured to? Being belittled? Singled out Black men. They have their reasons why. We may not like it, but we must respect it.   Almost universally, Obama's message has backfired on Harris-Walz, and of course Obama. And on Obama. Here's what he said about himself: “I am the hopey changey guy so I understand people feeling frustrated, feeling we can do better,” Obama said. “What I cannot understand is why anybody would think that Donald Trump will shake things up in a way that is good for you, Pennsylvania. I don't understand that.” Perhaps Obama doesn't understand the same way he didn't understand how Trump would save Carrier? https://youtu.be/BRTGQUISjI0?si=CdKCwq4OIncXY-LE You don't send a sissy to do a man's job. Rest assured: no real man gives a sh*t about what Obama has to say. Laughably, Barack Obama's involvement in Kamala Harris's campaign is an attempt to leverage his perceived residual influence with Black voters. But his influence with Black men is practically nonexistent. Obama, though once a powerful figure in mobilizing the Black vote, no longer holds the sway he did during his first election. As I've pointed out many times, by the end of Obama's second term, he couldn't fill a phone booth with Black supporters. Over the years, especially during his presidency, many Black men grew disillusioned with his policies. Obama didn't improve the quality of life for Blacks (or anybody), as he created rampant unemployment, and he did nothing to address criminal justice reform, or economic disparity within their communities. Consequently, his endorsement is meaningless and more symbolic for hard-core Democrats who want to believe he maintains some Svengali-like influence over the Black vote. When it comes to Kamala Harris, her record as California's Attorney General and her role in the Biden administration have not resonated well with Black men. Harris's history of tough-on-crime policies, including controversial decisions around incarceration, particularly of Black men, continue to haunt her political career. Black men don't trust Harris based on her past, and based on what they've witnessed in her flip-flopping on multiple issues. Even the media can no longer run cover on the polling. They publicly report now that Trump is surging. And while these polls and trends bode well for Trump, they pale to the real polls of the campaigns which have Trump ahead by insurmountable (uncheatable) numbers. Frankly, Obama stepping in to campaign for Harris shows signs of desperation by the Harris camp. His speeches invoke nostalgia that Blacks no longer feel, due his failed administration. And his speeches to nothing to address the deeper frustrations that many Black men have with Harris or the Democratic Party as a whole. Because of this, Obama can't move the needle on Black male support for Harris, in what can be rightfully described as too little too late. Barack Obama's supposed star power may shine brightly in fundraising certain circles. But when it comes to securing Black male votes for Kamala Harris, he's lost his street cred. His impact is limited, at best. Democrats may wish that Obama could bridge this gap, but the reality is that the Black male vote has shifted significantly since his presidency, and it will take more than Obama's charm to bring them back into the fold. Ironically, if Harris wants the Black male vote, she would have done better by sending Michelle Obama and not Barack.Become a supporter of this podcast: https://www.spreaker.com/podcast/the-kevin-jackson-show--2896352/support.

https://notesonfilm1.com/2024/07/08/thinking-aloud-about-film-ritrovato-round-up-2024/ Richard and I return to the podcast with our Ritrovato Round-up. Last year I couldn't go due to health reasons and I interviewed him; this year, the tables were turned and he interviews me. Ritrovato is so vast and generous in its programming that everyone who attended would have had a different experience of the festival. This is an account of mine. We criticise the booking system and people's piggish habit of taking out their phones during screenings. Cinephiles do know better, which makes it all the worse. The rest is mainly hossanas. We praise Daniel Bird's programming of the Parajanov Strand. We note how even seeing familiar films can be the basis of a rediscovery and discuss how the programme of Dietrich films at the festival should re-write the narrative of the Von Sternberg/ Dietrich collaborations from one of a Svengali act of moulding to a feminist act of self-creation. We touch on Delphine Seyrig, the Dark Heimat Strand, Gustaf Molander, Anatole Litvak and highlight Carlos Sauras' Los golfos and Montxo Armendáriz Tasio from the Cinema Libero strand. We also discuss seeing films at the stunning Cinema Modernissimo, watching Les parapluies de Cherbourg at the Piazza Maggiore and many other bits and bobs.

What was the secret behind 1932 Wampas Baby Star Ginger Rogers and her astronomical success? A Svengali-like dance mentor? A relentlessly ambitious stage mother who didn't really care about her daughter? Pure luck that allowed "not a real actress" to get by on charm and dancing alone? Hint: It's none of the above, but plenty of people have suggested it might be! This special Close Up episode features (of course) Ginger Rogers, as well as Fred Astaire, Lela Rogers, Howard Hughes, Lew Ayres, James Stewart, Katharine Hepburn, Joan Fontaine, and more! This episode contains (mild) language that may be inappropriate for some listeners. Hosted on Acast. See acast.com/privacy for more information.

Last episode, we covered the rise of Janet Dailey, one of romance's biggest stars in the 1970s and 80s. A secretary turned millionaire, Dailey was one of the genre's biggest success stories, but her husband's work as her manager, and his interest in making her the #1 author in the world fueled “Svengali” rumors. If you haven't already, go back and listen to Janet Dailey: Part One for the full story, as this is information you'll need for what's to come in this episode. This week we're picking up where we left off: we'll be talking about Janet Dailey's plagiarism scandal in 1997, an event that rocked the romance world and tarnished Dailey's reputation. Support us on our Patreon!Visit our website for transcripts and show notes: reformedrakes.comFollow us on social media:Twitter: @reformedrakesInstagram: @reformedrakesBeth's TikTokChels' TikTokEmma's TikTokChels' SubstackEmma's SubstackThank you for listening!

Welcome to this Friday's "Friday Night Noir" on Vintage Classic Radio, where we dive deep into the shadows of classic suspense and mystery. Our journey through the darkened corridors of the past begins with the "Suspense" radio show and the chilling episode "The Dunwich Horror," originally aired on November 1, 1945. This adaptation brings to life H.P. Lovecraft's tale of unnameable horror in the secluded town of Dunwich, Massachusetts. The story unfolds around Wilbur Whateley, a sinister character born into a family with a mysterious past, and his quest to acquire an ancient and powerful tome, The Necronomicon. As strange events plague the town, the locals grow increasingly terrified of the Whateley family and the indescribable entity lurking on their property. The episode's cast featured Ronald Colman as the Narrator, adding a layer of gravitas and suspense to the story. His performance, alongside a talented ensemble cast, brought the eerie tale to life, making it a memorable entry in the "Suspense" catalog. Following "The Dunwich Horror," our noir night continues with a journey into the world of the "CBS Radio Mystery Theater" and the episode titled "Trilby," which first enthralled listeners on September 30, 1977. "Trilby" is based on the novel by George du Maurier, where a young and impressionable artist's model, Trilby O'Ferrall, falls under the spell of the enigmatic Svengali, a man with the mysterious power to control minds. Set against the backdrop of Bohemian Paris, this tale of manipulation, obsession, and the power of the human will captivates with its exploration of artistic life and the dark influences that can drive it. The episode featured a stellar cast, including Mercedes McCambridge as Trilby and Ian Martin as Svengali, whose performances breathed life into these complex characters and their haunting narrative. Both episodes are exemplary instances of their respective series' ability to capture the imagination and hold listeners in rapt attention with stories of intrigue, mystery, and the supernatural. Join us this Friday on Vintage Classic Radio for "Friday Night Noir" to experience these masterpieces of the airwaves once again.

David Cronenberg's 'Rabid', Linda Lovelace and Marilyn Chambers, the Nicaraguan Contra rebels and more.. The post Svengali – The Chuck Traynor Story: Part 7, Endgame, Podcast 137 appeared first on The Rialto Report.

Jack Antonoff is one of the most celebrated producers working today. With 10 Grammys under his belt, including three in a row for Producer of the Year, he has shaped the sound of pop music over the last decade.Taylor Swift, Lana Del Rey, The 1975, Lorde… these are just some of the names he's produced and co-written with. And within the industry, he's known as a brilliant collaborator – opposite to the classic Svengali directing himself into the story. Jack listens, guides, and celebrates the song. For him, it's about the feel more than anything else.Jack is also a muso himself; for years he's played in bands and written songs. And you can tell what a fan he is, and how his big heart is filled with music. From R.E.M. to Joanna Newsom to Waterboys, this is a glorious celebration of songwriting, from a Jersey boy who followed his dreams.R.E.M. – At My Most BeautifulSaves The Day – HoldJoanna Newsom – Sadie Tom Waits – Hold OnWaterboys – The Whole Of The Moon

How Chuck Traynor, ex-husband of 'Deep Throat's Linda Lovelace moved on to Marilyn Chambers. The post Svengali – The Chuck Traynor Story: Part 6, The Marilyn Chambers Years, Podcast 136 appeared first on The Rialto Report.

Hake's VP pick: Trump/Azzmador '24! Calls on blacks, whites, crime, and solutions! Whites-only VP? Not Larry Elder, and why! The Hake Report, Tuesday, February 20, 2024 AD TIME STAMPS * (0:00:00) Topics: VP pick, Trump for NY… * (0:02:52) Hey, guys! Yellowstone tee * (0:04:44) MARK, CA: race, crime stats… Trump will win * (0:08:36) MARK: Trump gift from God, Fani Willis, black upbringing * (0:11:32) Hake's Trump VP pick: Azz * (0:18:16) DAVID, KS: Kari Lake, Elder, Rand Paul, USA gone? * (0:23:16) WILLIAM: VP ideas… * (0:27:45) Trump looks out for New York* (0:33:59) John Oliver hating Clarence Thomas* (0:39:39) AL, TN: Crime stats vs family, Trump built like Founders * (0:45:24) AL: Blacks judged harshly, Told they're victims * (0:49:59) AL: Creating reality, criminal pedestals, "racism" pays * (0:52:29) AL: whites and blacks: "We built this country" * (0:54:04) Super: Anti-education? College * (0:57:59) Steve Taylor - "Svengali" (1987, I Predict 1990) * (1:02:57) Svengali anti-Semitic character * (1:04:36) Super: Missed JLP super? No Larry Elder, b/c black? * (1:09:50) JOE, AZ, called "Oreo," "Glory." * (1:12:44) JOE: Affirmative Action, alternative facts * (1:19:55) JOE: Pulled over, 10mph over nervous cop * (1:23:08) RONNIE, OH: Nikki Haley VP, Larry Elder, "Higher Learning," Obama * (1:39:44) ALEX, CA: Hake-y-poo, Joe mixed anger * (1:45:37) Topics not today! (FE, space, Fani Willis…) * (1:46:15) Supers: Trump "fraud," race, discrimination * (1:48:14) RICK, VA: Fani Willis, black Americans used * (1:50:15) Shooby Taylor - "Somewhere Over the Rainbow" (Version 2, The Human Horn) BLOG https://www.thehakereport.com/blog/2024/2/20/the-hake-report-tue-2-20-24 PODCAST / Substack  Also see Hake News from JLP https://www.thehakereport.com/jlp-news/2024/2/20/bidens-giving-our-federal-money-to-clean-drinking-water-hake-news-tue-2-20-24 Hake is live M-F 9-11am PT (11-1CT/12-2ET) Call-in 1-888-775-3773 https://www.thehakereport.com/show  VIDEO  YouTube  |  Rumble*  |  Facebook  |  X  |  BitChute  |  Odysee*  PODCAST  Substack  |  Apple  |  Spotify  |  Castbox  |  Podcast Addict  *SUPER CHAT on platforms* above or  BuyMeACoffee, etc.  SHOP  Teespring  ||  All My Links  JLP Network:  JLP  |  Church  |  TFS  |  Nick  |  Joel   Get full access to HAKE at thehakereport.substack.com/subscribe

Diesmal geht es um Svengali, eine fiktive Figur aus dem Roman „Trilby“ von George du Maurier aus dem Jahr 1894. Svengali ist ein hypnotischer Musiker, der die Titelfigur Trilby in seinen Bann zieht und ihr das Singen beibringt. Wir sprechen über die Hintergründe und Fakten rund um Svengali. Dabei beleuchten wir die Entstehungsgeschichte der Figur, ihre Bedeutung für die Popkultur und die verschiedenen Interpretationen, die im Laufe der Zeit entstanden sind. Natürlich kommen wir auch nicht umhin, den unverhohlenen Antisemitismus in „Trilby“ zu thematisieren und einzuordnen, warum er so prominent in den Roman aufgenommen wurde. Termine und Orte: HOAXILLA® live Die wahre Wahrheit ™ – 2024 Wie man uns unterstützen kann, könnt ihr hier nachlesen. Zum HOAXILLA Merchandise geht es hier.

Breaking news over here. After months of anticipation, Ruby Franke, the mom influencer who was charged with abusing and starving her children, finally pled guilty to child abuse. In court, she expressed regret and sorrow for her actions, revealing that everything she did was, disturbingly, an act of love. New details of her abuse emerged in Franke's plea agreement and they are terrible! But the story keeps getting weirder. As part of her plea deal Franke will testify against her business partner Jodi Hildebrandt. According to reports Franke is going to testify against Hildebrandt, and allege that she is some kind of Svengali who was controlling her during the periods of disgusting abuse. This mini episode is everything you need to know about this bananas case.You can subscribe to our newsletter OVER THE INFLUENCE here.

202- Svengali (1931) Movie Discussion with Gregory Mank On this episode, Steven had the honor of having noted author and film historian, Gregory Mank, to discuss Svengali (1931)! Mr. Mank has written numerous books. Please visit gregorymank.com to learn more about the books that were discuss on this episode and the others that were not. I highly recommend all of his books! Please send feedback to DieCastMoviePodcast@gmail.com or leave us a message on our Facebook page. Thanks for listening! Frederick Cooper's artwork is available at frederickcooperarts.com.

We have been bringing you women's voices from Israel and Gaza since the start of the war. Yesterday, you will have heard on the programme Rachel Goldberg, mother of a 23-year-old hostage Hersh Goldberg Polin, kidnapped by Hamas from a music festival in Israel. Today, we hear from a mother in Gaza. Nour Swirki is a journalist with two children living in Khan Younis, a city in the southern strip of Gaza, with her husband, mother and sister - they have had to leave their home in Gaza City for safety reasons and relocate to the south - a fraught journey many more Palestinians are expected to make. Due to the difficulties in speaking live to guests in Gaza, we asked Nour to record for us voice notes explaining the situation she and her family are currently in. She and her husband continue to work as journalists while her wider family look after her children - a son and daughter aged 10 and 12. The ABC News Breakfast guest host Imogen Crump has been praised for helping to normalise symptoms of perimenopause, after she experienced a severe hot flush on live television. Emma Barnett asks her about what happened. Research from the University of Bristol demonstrates that women can lose out financially when they divorce. The number of couples seeking legal advice during divorce proceedings is falling, and old-fashioned procedures that disadvantage women are being used. To find out more, and get advice on how to make sure you are not penalised financially, Emma speaks to financial planner Megan Jenkins and family lawyer Amanda McAlister. The NHS is launching a new study into Alzheimer's disease, the most common form of dementia, which affects around twice as many women as men. The study, a joint project with Alzheimer's Research UK and Alzheimer's Society, will use a blood test to detect for the disease at an early stage. There is currently no single test for Alzheimer's and patients can wait years for a diagnosis. Dr Susan Mitchell, Head of Policy at Alzheimer's Research UK, one of the charities leading this study talks to Emma. Emma talks to journalist Linda McDougall about her new biography of Marcia Williams, who went on to become Baroness Falkender. Linda hopes to shift public perception of the Baroness as a Svengali figure who influenced Prime Minister Harold Wilson during the sixties and seventies, and gain recognition for her achievements for the Labour Party. Linda's alternative history is called Marcia Williams, The Life and Times of Baroness Falkender. Presenter: Emma Barnett Studio manager: Duncan Hannant

A Svengali exerts control over a young actress, while a conceited friend named Damon pretends to be disinterested. When the hypnotic Steven attempts to take his victim away from the man who truly loves her, the master of animal magnetism is murdered! Who was the heroic killer? Another loving admirer? --- Send in a voice message: https://podcasters.spotify.com/pod/show/foggyjack13/message

Welcome to the Nessun Dorma Book Club, a kind of sporting Late Review but without Tony Parsons.The premise this week is simple: Mike, Gary and Martyn bring a football book that made an impact on their lives and explain why.From the definitive and myth-shattering history of West German football and the instant window into the past provided by Panini to a delve into the world of sports psychology at a time when Sven-Göran Eriksson was still considered to be a Svengali and not a Scandi Benny Hill, there is something here for everyone. This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit nessundorma.substack.com

Today opens with me congratulating Democrat Representative Dan Goldman (D-NY) for being one of the most effective Hunter Biden investigators helping the GOP prove their case. After Devon Archer was able to testify in a closed session, he ran to the microphones to declare we learned nothing more than Hunter loves to call his dad and talk about the weather. That was the first attempt to convince us there is nothing to the Biden Crime Family. But, in a curious move, after saying again that Joe Biden did nothing wrong and there was no conflicts of interest, he admits, “Well, except for the firing of the prosecutor in Ukraine.” Then, as if to dismiss that admission, adds that it was a good firing because he was helping Burisma. Yeah, he literally went into gas-lighting mode and said the exact opposite of the truth. But, more importantly, he confirmed Joe Biden does take orders and he charges handsomely for access to him. Democrats and the media then jumped into a third spin story, saying that it doesn't matter what Hunter said or how many times he put his dad on the phone, the reality is, Hunter was selling the “illusion” of access. They want us to believe that Joe Biden is as pure as the wind-driven snow and would never allow himself to bend to Hunter's demands. We are supposed to accept Hunter is some kind of Svengali, hypnotizing all of these powerful nations and business leaders with the illusion of having his dad in his pocket. The problem with that spin is it doesn't hold up to what Rep. Dan Goldman (D-NY) admitted from Devon Archer's own testimony. If Hunter is only selling the illusion, yet we know there was a demand to get the Ukrainian prosecutor fired, how did Joe decide to follow through on that demand? I mean, if Joe couldn't be made to do anything, how did he get on a plane, fly to Ukraine, demand the firing and threaten to withhold $1 billion in loans before finally getting the prosecutor fired? And then, to top it all off, he brags about it on video a few years later? If it's all an illusion, how did this particular chain of events come to pass? Mollie Hemingway, Editor-in-Chief at The Federalist, and Miranda Devine, with the NY Post, both weigh-in on the revelations, the Democrats attempt at spin and that the Biden Crime Family was in the business of selling access to Joe. It's stunning to see how much proof has been laid to bare and still the Legacy/mainstream media refuses to acknowledge it. Even former Democrat Rep. Tulsi Gabbard sees the two-tiered system at play and how it is going to bring an end to our Republic if it is not addressed immediately.  As a closing topic, I once again have to hit the PsyOp campaign being waged against the free world regarding the hoax of man-made climate change. Dr. Ian Plimer was on Sky News with Rita Panahi to discuss the latest doom predictions. Much as I've said for years, Professor Plimer says in his 30 years of science, they have never been right about a single prediction. Journalist and author, Laura Dodsworth, explains how this is happening in the UK and the rest of the Western world as well and it's all orchestrated to get us to comply. When they can compel us to behave as they choose, we have lost all semblance of freedom and liberty. Take a moment to rate and review the show and then share the episode on social media. You can find me on Facebook, Twitter, Instagram, GETTR and TRUTH Social by searching for The Alan Sanders Show. You can also support the show by visiting my Patreon page!

Today's Pride 2023 episode focuses on two pathbreaking pop artists from the 1960s and 1970s, who were undervalued or even reviled at the time in which they were active, but whose contribution, importance, and influence on today's pop music scene is indisputable. In reverse chronological order, Bruce Wayne Campbell (1946–1983), a brilliant if emotionally unstable pianist, composer, and singer, was refashioned by a 1970s entrepreneur/Svengali named Jerry Brandt, into the would-be pop icon Jobriath. Brandt secured Jobriath a lucrative deal with Elektra Records and plastered Jobriath's face (and body) all over the media, including a huge billboard at Times Square and trumpeted him as “rock's truest fairy,” (in contrast to pretenders or closeted figures like David Bowie, Marc Almond, and Elton John). The relentless overexposure, coupled with the unapologetic homophobia of the rock music scene, led to a spectacular fall from grace, and Jobriath's premature death ad the age of 36, one of the earliest victims of the AIDS epidemic. By contast, Jackie Shane (1940–2019) was raised in a loving supportive environment, and announced her true gender to her mother at the age of 13. She went on to become first a fixture on the chitlin circuit, performing alongside such figures as Chubby Checker, Little Richard, and Etta James, finally establishing herself as one of the premier figures on the Toronto music scene in the 1960s. Jackie's career also had its ups and downs, its near-misses, and was marred by catastrophic associations with various toxic males. As a result, she finally walked away from her massive local celebrity in 1971 and never looked back. But throughout her abbreviated career and beyond, she kept a strong sense of self and never allowed herself to be used or abused. Interest in Jackie surged in 2014 with the release of an elaborate CD retrospective which was subsequently nominated for an Emmy. Jackie was philosophical about this new interest in her work, but was grateful that she had not, as she had previously feared, been forgotten. Both of these artists are generously represented on the episode with musical examples that highlight their historical importance as well as their influence on future generations of queer musical artists that extends to the present day. Countermelody is a podcast devoted to the glory and the power of the human voice raised in song. Singer and vocal aficionado Daniel Gundlach explores great singers of the past and present focusing in particular on those who are less well-remembered today than they should be. Daniel's lifetime in music as a professional countertenor, pianist, vocal coach, voice teacher, and journalist yields an exciting array of anecdotes, impressions, and “inside stories.” At Countermelody's core is the celebration of great singers of all stripes, their instruments, and the connection they make to the words they sing. By clicking on the following link (https://linktr.ee/CountermelodyPodcast) you can find the dedicated Countermelody website which contains additional content including artist photos and episode setlists. The link will also take you to Countermelody's Patreon page, where you can pledge your monthly support at whatever level you can afford. Bonus episodes available exclusively to Patreon supporters are currently available and further bonus content including interviews and livestreams is planned for the upcoming season.

After 'Deep Throat' is released, Linda Lovelace is suddenly famous. The post Svengali – The Chuck Traynor Story: Part 5, Deep Throat Explodes (and so does Sammy Davis Jr.) appeared first on The Rialto Report.

What really happened behind the scenes of 'Deep Throat' (1972)? The post Svengali – The Chuck Traynor Story: Part 4, The Making of Deep Throat… What Really Happened? appeared first on The Rialto Report.

What IS Hypnosis? Transcending Old Myths Today, Rhonda and I interview Dr. Michael Yapko, a clinical psychologist and expert in clinical applications of hypnosis. Michael D. Yapko, Ph.D. is a clinical psychologist residing near San Diego, California. He is internationally recognized for his groundbreaking work in applying clinical hypnosis, especially in the active treatment of depression. He has taught in more than 30 countries across six continents, and all over the United States. He has been a vocal critic of the medical model of depression and instead advocates for a social perspective, suggesting the problem is less in your biochemistry and more in your circumstances and perspectives. His YouTube lecture on “How to Recover from Depression” has now been viewed nearly 5 million times. Dr. Yapko is the author of 16 books, including his newest book for professionals called Process-Oriented Hypnosis, and his classic hypnosis text, Trancework (5th edition). His popular general audience books  include Depression is Contagious and Breaking the Patterns of Depression. His works have been translated into 10 languages. He is also the Chief Content Advisor for MindsetHealth, a digital hypnotherapy mental health app. More information about Dr. Yapko's work is available on his website: www.yapko.com. On the personal side, Dr. Yapko is happily married to his wife, Diane, a pediatric speech-language pathologist. Together, they enjoy hiking in the Great Outdoors in their spare time. Michael's first experience with hypnosis was as an undergraduate psychology student at the University of Michigan. He went to a clinical course on the topic of hypnosis which featured a live hypnosis demonstration. The demonstration subject was a woman who was suffering with intense chronic leg pain following a traumatic auto accident three years earlier. The relentless pain had disabled her and greatly impacted her life on many levels. Michael said he listened to her sad story in skeptical awe, unable to imagine what the hypnotist could possibly say to someone suffering so much that would be helpful to her. He was deeply absorbed in observing every nuance of the interaction wondering what help hypnosis might offer in such dramatic circumstances. The initial phase of the interaction was simply a series of suggestions for relaxing and focusing her attention. He gradually offered suggestions to visualize the pain as a dark, viscous liquid that could flow down her leg, out of her foot, into her shoe, and then spill out onto the floor as a “harmless puddle of pain.” And it was gooey! After re-alerting her from hypnosis, she became tearful and reported that she was pain-free for the first time in almost three years! The change in her appearance was both obvious and deeply impressive. Observing this dramatic demonstration of hypnosis for reducing chronic pain was a transformative experience for Dr. Yapko. He literally thought in that moment that hypnosis had remarkable potentials and that he would dedicate himself to learning all he could about the intricacies of hypnosis and its merits in a wide array of clinical interventions. The demonstration blew Dr. Yapko's young mind and led to a 50-year career practicing, studying, writing about, and teaching clinical hypnosis to health care professionals worldwide. Although he has recently retired from active clinical practice, he continues to offer trainings and says his fascination with hypnosis is just as strong as ever today. There are a number of striking areas of overlap between Michael's use of methods of clinical hypnosis and traditional Cognitive Therapy. For example, he routinely uses the Experimental Technique, and gives experiential homework assignments to help patients “see” or discover something that they have not previously seen or realized that would be helpful to them. This can be important when treating patients who hold rigid beliefs that can become the basis for emotional distress. However, the types of experiential experiments Michael suggests are sometimes more ambiguous in their purpose, and are sometimes more paradoxical, but all are designed to lead the patients to a shift in their mindset. In one example, Michael described a severely depressed woman who felt like a victim and constantly compared herself to others she actually knew very little, if anything, about. Then she felt terrible about herself because she was convinced that everyone else was happy and had beautiful, problem-free, ideal lives and she didn't. She had developed unrealistic perceptions of other people on the basis of little or no actual data. These thoughts made her miserable and she was convinced she was the only one who had been singled out for misery. Of course, we can see many of the familiar cognitive distortions, including Mind-Reading, which is assuming, without evidence, that we know how other people are thinking and feeling or how their lives are going. For most people, this process is so reflexive and unconscious they don't realize what they're doing. As Michael said, “too often people think things and then make the mistake of believing themselves.” To her detriment, this woman had never tested her assumptions about others. Michael's view was similar to that of cognitive therapists, that there would need to be a change in her way of reaching unfounded conclusions if she was going to feel better about herself and her life. But what kind of experiment, or exercise, could he assign to help her discover that her thinking WASN'T always correct ? Telling her to “stop doing that!” would not likely help her. Instead, Michael did a hypnosis session with her and oriented her to the idea that forming interpretations or conclusions without evidence is a reliable path to making mistakes that can be costly. Then Michael gave her an easy assignment that had the potential to make obvious how readily she formed conclusions without any evidence. He encouraged her to go on a hike in a state park near San Diego. The trail he wanted her to go on is called the Azalea Springs Trail, an easy three mile walk. The trail's name suggests a beautiful trail with flowers and flowing springs and sounds like an awesome, inspiring experience. But in reality, the hiking trail goes through barren desert brush, eventually leading to a clearing. In the center of the clearing, there's a rusty pipe sticking up out of the soil with a small amount of water dripping out. A sign attached to the pipe reads, “Azalea Springs.” All the expectations of an abundance of beautiful azaleas and a lovely flowing spring naturally exploded in only a moment! When she read the sign and realized how far off her expectations were from the reality, she suddenly “got it” and burst out laughing. She learned in a powerfully memorable way that our expectations are not always the way things are. Subsequently, having absorbed that powerful learning, she regularly caught herself making assumptions about others and using them to build them up and tear herself down. This hurtful pattern changed dramatically, giving rise to a much happier and more satisfying life. Michael also uses the Survey Technique, which is common in TEAM therapy. He described a shy man who desperately wanted to be married and fantasized living in domestic bliss in a house with a picket fence. But he was convinced that no woman would ever be interested in him because he'd been hospitalized for two weeks for depression 15 years earlier. Again, he was rigidly fixated on this unfortunate idea, which he believed to be absolutely true. Michael first conducted a hypnosis session that introduced the idea that “someone can be very sure…and very wrong.” Hypnosis often makes it possible to loosen the hold of unhelpful ideas and shift to a more useful perspective. This is because people in hypnosis process information differently than when in their usual frame of awareness. Having a rational conversation with someone is quite different than guiding someone through a hypnotic experience which can create possibilities that rational conversation alone simply can't. Hypnosis is all about focus and Michael describes how people's problems are often problems of focus: they focus on what's wrong and miss what's right, or they focus on the unchangeable past and miss positive future possibilities. Those of you who are familiar with CBT or TEAM may recognize these distortions as Mental Filtering and Discounting the Positive. It's important to appreciate that hypnosis is NOT the therapy. Rather, it's a vehicle for delivering therapeutic ideas and perspectives at a deeper level that can give rise to more adaptive automatic responses. Following hypnosis Michael gave his patient the assignment to generate a series of general questions that he'd be interested in hearing women answer. Michael included the following question as number 7 on his 10 question survey: “Would you consider dating, getting involved with, and even marrying a man if you knew he'd been hospitalized for two weeks for depression 15 years ago?”  Michael then convinced him to go to the local mall and randomly stop women and ask them to respond to some survey questions he was researching. He could tell a number of women that he was conducting a brief survey and would appreciate getting their opinions. Although he got many varying opinions, he was shocked to discover that the vast majority of women said it would NOT be an issue. He had built his misery around a belief that had no bearing on how women actually felt. Once again, although Michael emphasizes the value of hypnosis, his  therapy techniques have some overlap with Cognitive Therapy. He promotes the idea that the shifts in both physiology and cognition that take place during hypnosis can provide a multi-dimensional foundation for amplifying the effects of virtually any type of psychotherapy. In fact, in his classic text on hypnosis, Trancework (5th edition), Michael cites numerous studies that show that hypnosis can enhance therapeutic outcomes for Cognitive Therapy. And why not? After all, every therapy utilizes suggestions in one form or another! Michael emphasizes the importance of psychotherapy homework between sessions which is also key in TEAM therapy as well as Cognitive Therapy. He will not give patients the room to “skip” or “forget” to do their homework assignments and uses hypnosis to build their curiosity and willingness to explore new possibilities by carrying out assignments. He described different factions in the world of hypnosis. Just as there are different approaches to psychotherapy, there are also differing views about the nature of hypnosis. For example, some experts promote the idea that hypnosis is an intrapersonal (within the person) phenomenon, a “fixed” or unchanging trait the person may have. They use “suggestibility tests” to assess whether and how responsive the patient might be to hypnosis. Michael and other experts view hypnosis differently, seeing it not as a fixed trait a person does or doesn't have, but rather as a product of many different factors, including the patient's expectations, the context in which it is being applied, the purpose for which it is being applied, and the quality of the therapeutic relationship that involves empathy and trust. He also believes that almost everyone has the capacity for hypnosis, but different people clearly have different aptitudes, or innate skills, for experiencing various aspects of hypnosis. For example, some people may have a greater capacity for pain reduction or elimination, while others may have a greater capacity for vivid visual imagination and fantasy, and so forth. Hypnosis provides an opportunity for people to discover their hidden strengths and talents. Can you imagine what it does for someone's self-image, Michael asks, when they discover through hypnosis that they have untapped abilities they can use to handle a situation skillfully that previously had overwhelmed them? In fact, this is what draws Michael to hypnosis: the way it can empower people to discover and use more of their untapped innate resources. This is the exact opposite of the unfortunate myth perpetuated through hypnosis stage shows and Hollywood productions that somehow hypnosis diminishes people's sense of control. That's very important, so I'll repeat it. The myth-based view is that hypnosis makes people obedient to the powerful hypnotist, who is often painted as a Svengali type of character. But in reality, hypnosis can be used to help make people more powerful, more autonomous, and more independent. Just the opposite! Michael has authored 16 books, including nine on the clinical applications of hypnosis. His latest book, entitled, Process-Oriented Hypnosis: Focusing on the Forest, Not the Trees, focuses on how, and not why, people generate their own problems and can be obtained at Amazon. Thanks so much for listening! And thanks so much, Michael, for sharing your wealth of experience and giving us the latest scoop on clinical hypnosis! Warmly, Rhonda, Michael, and David

The Colonel and The King - Baz Luhrman's Elvis  This week Ibrahim and I sit down to discuss the Academy Award nominated, Baz Luhrman directed, Elvis Presley Bio-Pic, Elvis. Definitely a visual assault on the senses, Luhrman has an incredible eye that re-creates the country from the 1950s thru the birth of the Vegas Lounge Act in the 1970s. Featuring an award-winning performance from star, Austin Butler, as Presley and Tom Hanks as his controversial and Svengali-like manager, Colonel Tom Parker (born Andreas Cornelis van Kujik) in a strange and polarizing performance. Luhrman's film hits the familiar points; the music, censorship, racism and segregation, The Blues, Gospel, and - of course - the enduring legacy of Elvis Presley and the early days of the media star and the beginnings of cancel culture. Take a listen; it's an interesting discussion. Questions, Comments, Complaints, & Suggestions can be directed to gondoramos@yahoo.com. Our Continued Thanks. 

A question about the "Svengali of tech" spawns an overview of ARM and the roots of its business model, follow-up to this week's Amazon conversation, and the future of the WWE leads to discussion of the streaming landscape and the NFL's invincibility.

Ask David: Featuring Matt May, MD Can hypnosis be used for evil? Can you fall out of love? Why does cheerleading fail? In today's podcast, we discuss three intriguing questions from listeners like you: Can hypnosis be used for evil? Matt says no, David mainly agrees, but isn't entirely convinced. Is it possible to fall out of love? This can and will happen. What can we do about it? Empathy vs. Cheerleading: What's the difference between cheerleading and genuine empathy with someone who's upset? Can hypnosis be used for evil? David and Matt describe their experiences, both as kids and later as shrinks, with hypnosis. David and Matt both used hypnosis early in their careers, especially in David's one-session treatment for smoking cessation, which Matt also used. But as their TEAM-CBT skills have grown, both of them use it much less frequently. It can be used for many purposes. In a recent podcast # (link) with Dr. Jeffrey Lazarus, we learned that it can be used for warts as well as a wide range of psychosomatic problems, like Irritable Bowel Syndrome and tics, as well as bedwetting, school phobia, performance anxiety, and more. Matt strongly believes that agenda setting (also called Assessment of Resistance) is just as important in hypnosis as in TEAM-CBT. You have to first bring the patient's subconscious resistance to conscious awareness and melt it away using paradoxical techniques in order to optimize the chances of success with hypnosis. Matt pointed out that hypnotic states can be quite powerful, and can even be used for surgery, but emphasizes that people will never td what they genuinely don't want to do when hypnotized. He says that hypnosis is really a form of willful collaboration between the hypnotist and the hypnotic subject. Although stage hypnotists seem to have some kind of “Svengali” power over the volunteers who come up to the stage to be hypnotized, these people are actually subconsciously volunteering to act silly and have fun in front of the audience. This doesn't mean they are faking it, but it does put these shows into a slightly different perspective. David described many goofy things he did as a teenager after he purchased a book called “25 Ways to Hypnotize Your Friends” at a magic store in Phoenix for 25 cents, and found that the techniques actually worked with many of his friends. He sometimes had a lot of fun giving post-hypnotic suggestions, and that he and his friends found hypnosis to be incredibly exciting and fascinating. Once he hypnotized a friend named Jerry and told Jerry that after he woke up, every time he heard the word, “TV,” he would shout out “Boing” in a loud voice without realizing it. In addition, his subconscious mind would keep track of how many “TVs” he heard, and then he'd should Boing that exact number of times. David explains: Then we went to the local Dairy Queen a few blocks away all ordered at the window, one by one. When it was Jerry's turn to order, and the lady asked him what he wanted, we all started saying “TV, TV, TV” as fast as we could, and Jerry would shout out “boing, boing, boing” in a loud, confident voice! She said, “I didn't quite get what you want to order,” and when Jerry tried to order, we did it again. It seemed incredibly funny, and fun, but in retrospect I WAS using hypnosis to kind of take advantage of someone, so you might say it CAN be used for evil, perhaps. However, Jerry didn't seem to mind, and we all thought it was a pretty exciting adventure. When I was a senior in high school, one of my teachers said that hypnosis was dangerous and told me to stop hypnotizing my friends, so I got scared and gave it up until I became a psychiatrist years later. Like anything, hypnosis is just a tool, and it can be helpful for suggestible individuals, but we have more than 100 techniques in TEAM-CBT, because no one tool has the answer for everybody and every problem. David and Matt both agree with anxiety, depression, and anger are very much like self-induced trances, since you are giving yourself and believing messages (hypnotic suggestions) that aren't actually true. For example: The depression trance: “I'm no good. I'll be depressed forever.” The anxiety trance: “Something awful is about to happen. I'm in incredible danger.” The anger trance: “You're no good!” Psychotherapy can be seen as an attempt to get each patient to “wake up” from the trance that has trapped them. In David's opinion, politicians sometimes put their followers in trance-like states, getting them to believe repeated suggestions that are blatantly untrue. We saw this in WWII, where Hitler essentially “hypnotized” an entire nation to believe some horrific lies and to spur them to unspeakably horrific actions. Of course, as Matt has pointed out, you have to WANT to be hypnotized, so possibly the German people wanted to see themselves as superior human beings who had been victimized unfairly by evil forces that needed to be eradicated. So, killing and the abuse of him beings became the focus and purpose of the nation. Is this possibly also happening today? And is that why narcissistic leaders want to control the media, so they can control the “hypnotic messages” that people get, and why they lash out in such a hostile way at anyone who dares to challenge or contradict them? Is it possible to fall out of love? A podcast listener says she often falls out of love with her husband, but after they talk things over, and resolve their differences, she falls in love again. She wants more on this topic, so Matt, Rhonda and David discuss the pitfalls of pursuing perfect, romantic love. David reminds us that some of the most successful marriages are in India, where the parents decide who you will marry. David said that when he was in private practice in Philadelphia, 60% of the patients he saw did not have a loving partner, and most were trying to find someone to love. That's why this is one of his favorite topics. Then Matt, Rhonda and David contrast healthy vs unhealthy love, and Matt created the following table that contrasts them. Perfect Love By Matt with a little editing from David Unhealthy Love Healthy Love You rush to put the other person on a pedestal without knowing them. You fantasize that they are perfect and wonderful in every way. You take your time getting to know each other in a curious, vulnerable and respectful way, recognizing that neither of you is perfect. You believe that you need the other person and couldn't be happy without them. You're confident and content on your own but also enjoy the company of the other person. You selfishly focus on getting what you want from the other person. You focus on what you can give the other person, and what you can do, to improve the relationship. You imagine you will be in love forever. You accept that relationships require careful tending and nurturing, and realize that there will be moments of conflict, disappointment, and hurt feelings, which can sometimes be intense. You tell yourself that you'll never and should never have any conflicts or disagreements. You see conflict as opportunities, in disguise, for greater understanding and closeness.   Cheerleading vs. Empathy Rhonda describes a recent traumatic experience which was profoundly disturbing to her. However, when she tried to tell a friend how upset she was, her friend did “cheerleading,” telling her that she shouldn't be so upset, that she'd feel better again soon, and so forth. Rhonda said it was very annoying to be on the receiving end, and her friends efforts to cheer her up actually made her feel worse. Then, when two friends simply used the Five Secrets of Effective Communication to “listen,” it was a great relief. David recounted a similar experience when his beloved cat, Obie, disappeared in the middle of the night, and was likely killed by a predator animal in the woods behind his house. When David told his Tuesday group what had happened, one member of the group similarly tried to cheer him up, which triggered an angry rebuke from David, who told her NOT to try to take his grief away. He said, “My grief is my loving connection to Obie, who was my best friend in the whole world. I will grieve his loss for the rest of my life. And to this very day, I talk to Obie, as well as my good friend Marilyn Coffy who passed away recently, every time I go out slogging. This is not a problem that I need help with, but a gift of love.” We've touched on the codependent urge to cheerlead that so many people, including shrinks, have. For example, our podcast on “How to help, and how NOT to help,” covers this topic pretty thoroughly. However, we decided to focus on cheerleading again today, since it is such an important topic, and is a bit of an addiction that many people have. The following is a chart we discussed during the podcast, and you might find it helpful. Cheerleading vs. Empathy by David , Rhonda, and Matt Cheerleading Empathy You're trying to cheer someone up to make them feel better. You are not trying to cheer them up. Instead, you acknowledge how they're thinking and feeling, and you encourage them to vent and open up. You don't acknowledge the validity of the person's negative thoughts and emotions. In fact, when you try to cheer them up, you're essentially telling that they're wrong to feel upset. It's a subtle put down, or even a micro-aggression. You find the grain of truth in what the person is saying, even if you think they're exaggerating the negatives in their life.   Paradoxically, when you agree with them in a respectful way, they will typically feel some relief and support. The effect is irritating to almost everybody who's upset, because you aren't listening or showing any compassion or respect. You're telling them that you don't want to hear what they have to say. Cheerleading is condescending. Listening and acknowledging how they feel is a form of humility and an expression of respect. You're trying to control the other person. You're telling them how they should think and feel. There's no acceptance. You're sitting with open hands and not trying to change or control the other person. You're just trying to understand and support them in their suffering. Cheerleading is cheap and easy to learn. You're like a used car salesman, trying to promote your product. Empathy is difficult and challenging to learn because you have to let go of the idea that you know what's best for other people. Listening requires going into the darkness with the other person, this requires courage and vulnerability. You say generally nice things about someone, like you're “a good person,” or “a survivor,” thinking those formulaic words will somehow change the way the other person is thinking and feeling. You might also say, “don't be so hard on yourself,” or “think of all the positive things in your life,” or “you'll be fine.” You focus on the other person's specific thoughts and zero in on exactly what they're saying and how they might be feeling, rather than throwing vague, general positives at them. These positives are simply an annoying attempt to distract the person from their genuine feelings. You encourage the person to share and experience their negative thoughts and feelings. You believe your role is to “help,” “fix” or “save” the other person, who is broken. Your role is to be with the other person in a loving way without trying to help or save them. You are being self-centered because you're essentially preaching the gospel and exclusively promoting your own ideas. You are being other-centered, focusing entirely on what the other person is saying. You're talking “at” the other person. You are NOT talking AT them, you are being WITH them. When you empathize, you give the other person zero, and zero in, instead, on how they're thinking and feeling. That's why I (David) call Empathy the “zero technique.” But, paradoxically, when you give them “nothing” you are giving them “everything.” In case you're interested in honing your own empathy skills, you can take a look at the Five Secrets of Effective Communication (link). To develop these skills, you might want to read Feeling Good Together (link), but make sure you do the written exercises while reading. Otherwise, you'll only get intellectual understanding of them, whereas skill is what you actually need, and that can only be developed with practice! Sadly, most people, including therapists, believe that their empathy skills are already excellent, but that is rarely valid! In fact, there's a ton of room for improvement in ALL of us! We thank you for joining us today. Please keep your excellent questions and warm comments coming in. Rhonda and David want to thank Matt for his frequent, brilliant, and heart-warming appearances on the Feeling Good Podcast. Remember that we're still trying to grow our show, and recent hit 6 million downloads. We are currently getting around 160,000 downloads per month, which is terrific. It would help us a lot if you give a five star review for our show wherever you get your podcasts, as that might boost our ratings. We love our fans and thank you for listening!

Lyn Alden is a macroeconomist and investment strategist. In this interview we discuss rampant fraud that led to the FTX bankruptcy, the implications for other businesses and legal precedent, and Lyn's current outlook on markets. - - - - FTX's empire at the beginning of this year was valued at $32 billion. The whole facade has become a bankrupt mess in a little over a week. Every hour of the past 7 days has seen a new claim of malfeasance that exceeds the depravity of the last. This crescendo has seemingly peaked today as SBF posted cryptic tweets suggesting he's struggling to comprehend what has happened. Sam Bankman-Fried was lauded as a financial genius and social revolutionary leading the ‘effective altruism' movement. He was on the front cover of Forbes in October 2021. A glowing Bloomberg profile in April this year recounted his interactions with prominent politicians, investors and celebrities. He openly discussed having his attention drawn to dealing with existential issues affecting humanity. SBF had former Presidents and Prime Ministers in his palm. However, Bankman-Fried was a Svengali and a fraud. Some Bitcoin maxi's tried to sound the alarm, but too many people ignored the warning signs and believed the hype. In just 3 short years the 30-year-old managed to beguile not just the industry but also traditional finance. He got a $100 investment from a Canadian pension fund, which one would assume would lead the world in discharging fiduciary duties. In the aftermath, it all seems so obvious. FTX was essentially run by dysfunctional kids. So, how did this happen? It's still very early, and revelations keep dropping as we speak. The truth behind what occurred will take years to piece together. Nevertheless, there are some important lessons that the Bitcoin community rapidly needs to discern and absorb. A political response is inevitable, and many will try to ensnare Bitcoin in this mess.

“We appear to have actual fraud, various types of fraud, essentially a Ponzi scheme, and that's different from even just a normal casino… you can have a crypto casino, and it just makes money from fees, and most traders get rekt; but this is like a casino built on top of a Ponzi.”— Lyn AldenLyn Alden is a macroeconomist and investment strategist. In this interview we discuss rampant fraud that led to the FTX bankruptcy, the implications for other businesses and legal precedent, and Lyn's current outlook on markets.- - - - FTX's empire at the beginning of this year was valued at $32 billion. The whole facade has become a bankrupt mess in a little over a week. Every hour of the past 7 days has seen a new claim of malfeasance that exceeds the depravity of the last. This crescendo has seemingly peaked today as SBF posted cryptic tweets suggesting he's struggling to comprehend what has happened.Sam Bankman-Fried was lauded as a financial genius and social revolutionary leading the ‘effective altruism' movement. He was on the front cover of Forbes in October 2021. A glowing Bloomberg profile in April this year recounted his interactions with prominent politicians, investors and celebrities. He openly discussed having his attention drawn to dealing with existential issues affecting humanity. SBF had former Presidents and Prime Ministers in his palm. However, Bankman-Fried was a Svengali and a fraud. Some Bitcoin maxi's tried to sound the alarm, but too many people ignored the warning signs and believed the hype. In just 3 short years the 30-year-old managed to beguile not just the industry but also traditional finance. He got a $100 investment from a Canadian pension fund, which one would assume would lead the world in discharging fiduciary duties.In the aftermath, it all seems so obvious. FTX was essentially run by dysfunctional kids. So, how did this happen? It's still very early, and revelations keep dropping as we speak. The truth behind what occurred will take years to piece together. Nevertheless, there are some important lessons that the Bitcoin community rapidly needs to discern and absorb. A political response is inevitable, and many will try to ensnare Bitcoin in this mess.- - - - This episode's sponsors:Gemini - Buy Bitcoin instantlyLedn - Financial services for Bitcoin hodlersBitcasino - The Future of Gaming is hereFidelity - Careers in cryptoLedger - State of the art Bitcoin hardware walletWasabi Wallet - Privacy by defaultTexas Blockchain Summit - Nov 17-18, 2022 | Austin, TexasBCB Group - Global digital financial Services-----WBD580 - Show Notes-----If you enjoy The What Bitcoin Did Podcast you can help support the show by doing the following:Become a Patron and get access to shows early or help contributeMake a tip:Bitcoin: 3FiC6w7eb3dkcaNHMAnj39ANTAkv8Ufi2SQR Codes: BitcoinIf you do send a tip then please email me so that I can say thank youSubscribe on iTunes | Spotify | Stitcher | SoundCloud | YouTube | Deezer | TuneIn | RSS FeedLeave a review on iTunesShare the show and episodes with your friends and familySubscribe to the newsletter on my websiteFollow me on Twitter Personal | Twitter Podcast | Instagram | Medium | YouTubeIf you are interested in sponsoring the show, you can read more about that here or please feel free to drop me an email to discuss options.

Jim and Jason slept for nine months so that they could stay up all night getting born again in a baptism of blood... a Bay of Blood, that is, along with Baron Blood, Blood and Black Lace, and more. That's right, the boys got Bava'd! All month, Split Tooth has brought you podcasts about the greats of Italian horror, and they saved the best for last. Come wander through the kick-lighted mist-world of the originator, Mario Bava — the Godfather of Giallo, the Svengali of Slashers, the Big Kahuna of Bonzo Kill Thrills. From the high gothic terror of Black Sunday to the surreal dread comedy of Lisa and the Devil, the Cinesthesia Boys give you a radically incoherent survey of the master's career that finally dares to ask the question: WHY DOES HE HAVE HIS LOLLIPOP??? Come along with us. The door is purple.

Kara and Liza discuss “Svengali” (Season 9, Episode 6), explore the astonishing case of Veronica Compton and her love for “The Hillside Strangler,” and have a wonderful chat with the super talented Shannon Woodward (Westworld, Raising Hope).SOURCES:Buffalo NewsUnited Press InternationalAP News9News - DenverCriminal Minds WikiObserver-ReporterWikipedia - Kenneth BianchiA&EGrungeThe Seattle TimesWHAT WOULD SISTER PEG DO:‘Women Who Love Men Who Kill: 35 True Stories of Prison Passion, The 21st Century Edition, Updated with New Cases' by Sheila Isenberghttps://www.barnesandnoble.com/w/women-who-love-men-who-kill-sheila-isenberg/1140178649Next week's episode will be “Alta Kockers” (Season 20, Episode 10).See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

What a CreepSeason 16, Episode 7Kim FowleyRock CreepWhen Kim Fowley died of bladder cancer on January 15, 2015, most headlines read that he was an underground rock and roll/LA legend who managed “The Runaways” in the 1970s. He was a tall, peculiar eccentric who never had the fame he craved but had a cult-like following of slavish fans who will miss him. Some outlets, like, NPR, mentioned he was a Svengali who seemed to prey on teenage girls.In reality, everything you have heard about (and will hear today) about him is true. He was a striking, creative, intelligent artist/salesman and a cruel, ugly, pathetic, sexually abusive creep who left several women in his wake. He never paid for his crimes, but he was never a financial success either. He was NEVER as famous as he wanted to be. His body & mind, which he used to dominate and hurt others, failed him throughout his life.Trigger Warnings: Sexual Assault, Verbal Abuse, & Drug UseSources:Kim Fowley WikipediaLoudwireEW.com Jackie Fox Accuses Kim Fowley of RapeHuff Post.comPitchfork.comPitchfork 2Evelyn McDonald's Blog PopulismEvelyn McDonald Queens of Noise: The Real Story of The Runaways (2014)Cheri Curie Neon Angel: A Memoir of a Runaway (1989/2010)Kim Fowley: Lord of Garbage (2012)VultureThe GuardianLos Angeles TimesJackie Fox Facebook PostKathy Valentine's Facebook PostBoing BoingEdgeplay: A Film About the Runaways by former Runways bassist Victory Tischler-Blue (2004) aka “Vicky Blue.”Be sure to follow us on social media. But don't follow us too closely … don't be a creep about it! Subscribe to us on Apple PodcastsTwitter: https://twitter.com/CreepPod @CreepPodFacebook: Join the private group! Instagram @WhatACreepPodcastVisit our Patreon page: https://www.patreon.com/whatacreepEmail: WhatACreepPodcast@gmail.com We've got merch here! https://whatacreeppodcast.threadless.com/#Our website is www.whatacreeppodcast.com Our logo was created by Claudia Gomez-Rodriguez. Follow her on Instagram @ClaudInCloud

Jess is joined by Andy Bellatti (Astrology with Andy) to explore the unparalleled career and influence of pop songwriter-producer Max Martin.  While pop stars come and go, Max Martin is the constant in the modern music era. We go through his many reinventions and flexibility with genre from the Britney, Backstreet Boys, NSync early days to his popified version of punk rock music with Pink, Kelly Clarkson & Katy Perry to his EDM era with Kesha, Usher, Demi Lovato & Britney (again) to his work with established musicians like Taylor Swift & The Weeknd. IG: @jessxnyc | @astrologywithandy

Chuck and Linda go to New York to find work in the adult film scene, and make some of the most notorious loops in adult film history. The post Deep Throat @ 50: Svengali – The Chuck Traynor Story: Part 3 appeared first on The Rialto Report.

How did Linda Lovelace first meet Chuck Traynor - and what was the nature of their relationship before 'Deep Throat' (1972)? The post Deep Throat @ 50: Svengali – The Chuck Traynor Story: Part 2 appeared first on The Rialto Report.

Where did Chuck Traynor come from, and what did he do before he met Linda Lovelace and before 'Deep Throat' (1972)? The post Deep Throat @ 50: Svengali – The Chuck Traynor Story: Part 1 appeared first on The Rialto Report.

Punk Rock Month '22 wraps up with a new, completely gobby episode all about the one and only, Sex Pistols! The Imbalanced Brothers always mock Johnny Rotten, but it's done lovingly (sic), most of the time! He, along with Steve, Glen, Cookie, and, of course, Sid combined forces for one big noise, but the aftershocks lasted for years! Like a massive Punk tsunami, the Pistols' shadow covers a lot of bands, and sounds, which came after their noisy, f*cked up arrival! And props must be given to their Svengali, Malcolm McLaren, who is a huge part of this week's story. What a great episode to wrap up the second edition of Punk Rock Month, with ideas for '23 already poppin' up! Find all of our episodes (and more) here: https://imbalancedhistory.com/ Learn more about your ad choices. Visit megaphone.fm/adchoices

Punk Rock Month '22 wraps up with a new, completely gobby episode all about the one and only, Sex Pistols! The Imbalanced Brothers always mock Johnny Rotten, but it's done lovingly (sic), most of the time! He, along with Steve, Glen, Cookie, and, of course, Sid combined forces for one big noise, but the aftershocks lasted for years!Like a massive Punk tsunami, the Pistols' shadow covers a lot of bands, and sounds, which came after their noisy, f*cked up arrival! And props must be given to their Svengali, Malcolm McLaren, who is a huge part of this week's story.What a great episode to wrap up the second edition of Punk Rock Month, with ideas for '23 already poppin' up!Find all of our episodes (and more) here: https://imbalancedhistory.com/

Behind every manufactured boy band there is what the press calls a Svengali, a puppet master who assembles the group and styles everything about them. This episode will introduce us to the eccentric producers and talent agents who have long shaped pop music from behind the curtain. American Hysteria is written, produced, and hosted by Chelsey Weber-Smith Sound design by Clear Commo Studios Research and co-writing by Riley Smith Co-produced and edited by Miranda Zickler Voice Acting by Will Rogers and by Riley Smith Become a Patron and support our show! Follow American Hysteria on social media: Twitter: @AmerHysteria Instagram: @AmericanHysteriaPodcast Find our merch at americanhysteria.com

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

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Episode one hundred and thirty-six of A History of Rock Music in Five Hundred Songs is a special long episode, running almost ninety minutes, looking at "My Generation" by the Who. Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have a fifteen-minute bonus episode available, on "The Name Game" by Shirley Ellis. 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/ Errata I mispronounce the Herman's Hermits track "Can't You Hear My Heartbeat" as "Can You Hear My Heartbeat". I say "Rebel Without a Cause" when I mean "The Wild One". Brando was not in "Rebel Without a Cause". Resources As usual, I've created a Mixcloud playlist of the music excerpted here. This mix does not include the Dixon of Dock Green theme, as I was unable to find a full version of that theme anywhere (though a version with Jack Warner singing, titled "An Ordinary Copper" is often labelled as it) and what you hear in this episode is the only fragment I could get a clean copy of. The best compilation of the Who's music is Maximum A's & B's, a three-disc set containing the A and B sides of every single they released. The super-deluxe five-CD version of the My Generation album appears to be out of print as a CD, but can be purchased digitally. I referred to a lot of books for this episode, including: Generations: The History of America's Future, 1584 to 2069 by William Strauss and Neil Howe, which I don't necessarily recommend reading, but which is certainly an influential book. Revolt Into Style: The Pop Arts by George Melly which I *do* recommend reading if you have any interest at all in British pop culture of the fifties and sixties. Jim Marshall: The Father of Loud by Rich Maloof gave me all the biographical details about Marshall. The Who Before the Who by Doug Sandom, a rather thin book of reminiscences by the group's first drummer. The Ox by Paul Rees, an authorised biography of John Entwistle based on notes for his never-completed autobiography. Who I Am, the autobiography of Pete Townshend, is one of the better rock autobiographies. A Band With Built-In Hate by Peter Stanfield is an examination of the group in the context of pop-art and Mod. And Anyway, Anyhow, Anywhere by Andy Neill and Matt Kent is a day-by-day listing of the group's activities up to 1978. Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript In 1991, William Strauss and Neil Howe wrote a book called Generations: The History of America's Future, 1584 to 2069. That book was predicated on a simple idea -- that there are patterns in American history, and that those patterns can be predicted in their rough outline. Not in the fine details, but broadly -- those of you currently watching the TV series Foundation, or familiar with Isaac Asimov's original novels, will have the idea already, because Strauss and Howe claimed to have invented a formula which worked as well as Asimov's fictional Psychohistory. Their claim was that, broadly speaking, generations can be thought to have a dominant personality type, influenced by the events that took place while they were growing up, which in turn are influenced by the personality types of the older generations. Because of this, Strauss and Howe claimed, American society had settled into a semi-stable pattern, where events repeat on a roughly eighty-eight-year cycle, driven by the behaviours of different personality types at different stages of their lives. You have four types of generation, which cycle -- the Adaptive, Idealist, Reactive, and Civic types. At any given time, one of these will be the elder statespeople, one will be the middle-aged people in positions of power, one will be the young rising people doing most of the work, and one will be the kids still growing up. You can predict what will happen, in broad outline, by how each of those generation types will react to challenges, and what position they will be in when those challenges arise. The idea is that major events change your personality, and also how you react to future events, and that how, say, Pearl Harbor affected someone will have been different for a kid hearing about the attack on the radio, an adult at the age to be drafted, and an adult who was too old to fight. The thesis of this book has, rather oddly, entered mainstream thought so completely that its ideas are taken as basic assumptions now by much of the popular discourse, even though on reading it the authors are so vague that pretty much anything can be taken as confirmation of their hypotheses, in much the same way that newspaper horoscopes always seem like they could apply to almost everyone's life. And sometimes, of course, they're just way off. For example they make the prediction that in 2020 there would be a massive crisis that would last several years, which would lead to a massive sense of community, in which "America will be implacably resolved to do what needs doing and fix what needs fixing", and in which the main task of those aged forty to sixty at that point would be to restrain those in leadership positions in the sixty-to-eighty age group from making irrational, impetuous, decisions which might lead to apocalypse. The crisis would likely end in triumph, but there was also a chance it might end in "moral fatigue, vast human tragedy, and a weak and vengeful sense of victory". I'm sure that none of my listeners can think of any events in 2020 that match this particular pattern. Despite its lack of rigour, Strauss and Howe's basic idea is now part of most people's intellectual toolkit, even if we don't necessarily think of them as the source for it. Indeed, even though they only talk about America in their book, their generational concept gets applied willy-nilly to much of the Western world. And likewise, for the most part we tend to think of the generations, whether American or otherwise, using the names they used. For the generations who were alive at the time they were writing, they used five main names, three of which we still use. Those born between 1901 and 1924 they term the "GI Generation", though those are now usually termed the "Greatest Generation". Those born between 1924 and 1942 were the "Silent Generation", those born 1943 through 1960 were the Boomers, and those born between 1982 and 2003 they labelled Millennials. Those born between 1961 and 1981 they labelled "thirteeners", because they were the unlucky thirteenth generation to be born in America since the declaration of independence. But that name didn't catch on. Instead, the name that people use to describe that generation is "Generation X", named after a late-seventies punk band led by Billy Idol: [Excerpt: Generation X, "Your Generation"] That band were short-lived, but they were in constant dialogue with the pop culture of ten to fifteen years earlier, Idol's own childhood. As well as that song, "Your Generation", which is obviously referring to the song this week's episode is about, they also recorded versions of John Lennon's "Gimme Some Truth", of Johnny Kidd and the Pirates' "Shakin' All Over", and an original song called "Ready Steady Go", about being in love with Cathy McGowan, the presenter of that show. And even their name was a reference, because Generation X were named after a book published in 1964, about not the generation we call Generation X, but about the Baby Boomers, and specifically about a series of fights on beaches across the South Coast of England between what at that point amounted to two gangs. These were fights between the old guard, the Rockers -- people who represented the recent past who wouldn't go away, what Americans would call "greasers", people who modelled themselves on Marlon Brando in Rebel Without A Cause, and who thought music had peaked with Gene Vincent and Eddie Cochran -- and a newer, younger, hipper, group of people, who represented the new, the modern -- the Mods: [Excerpt: The Who, "My Generation"] Jim Marshall, if he'd been American, would have been considered one of the Greatest Generation, but his upbringing was not typical of that, or of any, generation. When he was five, he was diagnosed as having skeletal tuberculosis, which had made his bones weak and easily broken. To protect them, he spent the next seven years of his life, from age five until twelve, in hospital in a full-body cast. The only opportunity he got to move during those years was for a few minutes every three months, when the cast would be cut off and reapplied to account for his growth during that time. Unsurprisingly, once he was finally out of the cast, he discovered he loved moving -- a lot. He dropped out of school aged thirteen -- most people at the time left school at aged fourteen anyway, and since he'd missed all his schooling to that point it didn't seem worth his while carrying on -- and took on multiple jobs, working sixty hours a week or more. But the job he made most money at was as an entertainer. He started out as a tap-dancer, taking advantage of his new mobility, but then his song-and-dance man routine became steadily more song and less dance, as people started to notice his vocal resemblance to Bing Crosby. He was working six nights a week as a singer, but when World War II broke out, the drummer in the seven-piece band he was working with was drafted -- Marshall wouldn't ever be drafted because of his history of illness. The other members of the band knew that as a dancer he had a good sense of rhythm, and so they made a suggestion -- if Jim took over the drums, they could split the money six ways rather than seven. Marshall agreed, but he discovered there was a problem. The drum kit was always positioned at the back of the stage, behind the PA, and he couldn't hear the other musicians clearly. This is actually OK for a drummer -- you're keeping time, and the rest of the band are following you, so as long as you can *sort of* hear them everyone can stay together. But a singer needs to be able to hear everything clearly, in order to stay on key. And this was in the days before monitor speakers, so the only option available was to just have a louder PA system. And since one wasn't available, Marshall just had to build one himself. And that's how Jim Marshall started building amplifiers. Marshall eventually gave up playing the drums, and retired to run a music shop. There's a story about Marshall's last gig as a drummer, which isn't in the biography of Marshall I read for this episode, but is told in other places by the son of the bandleader at that gig. Apparently Marshall had a very fraught relationship with his father, who was among other things a semi-professional boxer, and at that gig Marshall senior turned up and started heckling his son from the audience. Eventually the younger Marshall jumped off the stage and started hitting his dad, winning the fight, but he decided he wasn't going to perform in public any more. The band leader for that show was Clifford Townshend, a clarinet player and saxophonist whose main gig was as part of the Squadronaires, a band that had originally been formed during World War II by RAF servicemen to entertain other troops. Townshend, who had been a member of Oswald Moseley's fascist Blackshirts in the thirties but later had a change of heart, was a second-generation woodwind player -- his father had been a semi-professional flute player. As well as working with the Squadronaires, Townshend also put out one record under his own name in 1956, a version of "Unchained Melody" credited to "Cliff Townsend and his singing saxophone": [Excerpt: Cliff Townshend and his Singing Saxophone, "Unchained Melody"] Cliff's wife often performed with him -- she was a professional singer who had  actually lied about her age in order to join up with the Air Force and sing with the group -- but they had a tempestuous marriage, and split up multiple times. As a result of this, and the travelling lifestyle of musicians, there were periods where their son Peter was sent to live with his grandmother, who was seriously abusive, traumatising the young boy in ways that would affect him for the rest of his life. When Pete Townshend was growing up, he wasn't particularly influenced by music, in part because it was his dad's job rather than a hobby, and his parents had very few records in the house. He did, though, take up the harmonica and learn to play the theme tune to Dixon of Dock Green: [Excerpt: Tommy Reilly, "Dixon of Dock Green Theme"] His first exposure to rock and roll wasn't through Elvis or Little Richard, but rather through Ray Ellington. Ellington was a British jazz singer and drummer, heavily influenced by Louis Jordan, who provided regular musical performances on the Goon Show throughout the fifties, and on one episode had performed "That Rock 'n' Rollin' Man": [Excerpt: Ray Ellington, "That Rock 'N' Rollin' Man"] Young Pete's assessment of that, as he remembered it later, was "I thought it some kind of hybrid jazz: swing music with stupid lyrics. But it felt youthful and rebellious, like The Goon Show itself." But he got hooked on rock and roll when his father took him and a friend to see a film: [Excerpt: Bill Haley and the Comets, "Rock Around the Clock"] According to Townshend's autobiography, "I asked Dad what he thought of the music. He said he thought it had some swing, and anything that had swing was OK. For me it was more than just OK. After seeing Rock Around the Clock with Bill Haley, nothing would ever be quite the same." Young Pete would soon go and see Bill Haley live – his first rock and roll gig. But the older Townshend would soon revise his opinion of rock and roll, because it soon marked the end of the kind of music that had allowed him to earn his living -- though he still managed to get regular work, playing a clarinet was suddenly far less lucrative than it had been. Pete decided that he wanted to play the saxophone, like his dad, but soon he switched first to guitar and then to banjo. His first guitar was bought for him by his abusive grandmother, and three of the strings snapped almost immediately, so he carried on playing with just three strings for a while. He got very little encouragement from his parents, and didn't really improve for a couple of years. But then the trad jazz boom happened, and Townshend teamed up with a friend of his who played the trumpet and French horn. He had initially bonded with John Entwistle over their shared sense of humour -- both kids loved Mad magazine and would make tape recordings together of themselves doing comedy routines inspired by the Goon show and Hancock's Half Hour -- but Entwistle was also a very accomplished musician, who could play multiple instruments. Entwistle had formed a trad band called the Confederates, and Townshend joined them on banjo and guitar, but they didn't stay together for long. Both boys, though, would join a variety of other bands, both together and separately. As the trad boom faded and rock and roll regained its dominance among British youth, there was little place for Entwistle's trumpet in the music that was popular among teenagers, and at first Entwistle decided to try making his trumpet sound more like a saxophone, using a helmet as a mute to try to get it to sound like the sax on "Ramrod" by Duane Eddy: [Excerpt: Duane Eddy, "Ramrod"] Eddy soon became Entwistle's hero. We've talked about him before a couple of times, briefly, but not in depth, but Duane Eddy had a style that was totally different from most guitar heroes. Instead of playing mostly on the treble strings of the guitar, playing high twiddly parts, Eddy played low notes on the bass strings of his guitar, giving him the style that he summed up in album titles like "The Twang's the Thang" and "Have Twangy Guitar Will Travel". After a couple of years of having hits with this sound, produced by Lee Hazelwood and Lester Sill, Eddy also started playing another instrument, the instrument variously known as the six-string bass, the baritone guitar, or the Danelectro bass (after the company that manufactured the most popular model).  The baritone guitar has six strings, like a normal guitar, but it's tuned lower than a standard guitar -- usually a fourth lower, though different players have different preferences. The Danelectro became very popular in recording studios in the early sixties, because it helped solve a big problem in recording bass tones. You can hear more about this in the episodes of Cocaine and Rhinestones I recommended last week, but basically double basses were very, very difficult to record in the 1950s, and you'd often end up just getting a thudding, muddy, sound from them, which is one reason why when you listen to a lot of early rockabilly the bass is doing nothing very interesting, just playing root notes -- you couldn't easily get much clarity on the instrument at all. Conversely, with electric basses, with the primitive amps of the time, you didn't get anything like the full sound that you'd get from a double bass, but you *did* get a clear sound that would cut through on a cheap radio in a way that the sound of a double bass wouldn't. So the solution was obvious -- you have an electric instrument *and* a double bass play the same part. Use the double bass for the big dull throbbing sound, but use the electric one to give the sound some shape and cut-through. If you're doing that, you mostly want the trebly part of the electric instrument's tone, so you play it with a pick rather than fingers, and it makes sense to use a Danelectro rather than a standard bass guitar, as the Danelectro is more trebly than a normal bass. This combination, of Danelectro and double bass, appears to have been invented by Owen Bradley, and you can hear it for example on this record by Patsy Cline, with Bob Moore on double bass and Harold Bradley on baritone guitar: [Excerpt: Patsy Cline, "Crazy"] This sound, known as "tic-tac bass", was soon picked up by a lot of producers, and it became the standard way of getting a bass sound in both Nashville and LA. It's all over the Beach Boys' best records, and many of Jack Nitzsche's arrangements, and many of the other records the Wrecking Crew played on, and it's on most of the stuff the Nashville A-Team played on from the late fifties through mid-sixties, records by people like Elvis, Roy Orbison, Arthur Alexander, and the Everly Brothers. Lee Hazelwood was one of the first producers to pick up on this sound -- indeed, Duane Eddy has said several times that Hazelwood invented the sound before Owen Bradley did, though I think Bradley did it first -- and many of Eddy's records featured that bass sound, and eventually Eddy started playing a baritone guitar himself, as a lead instrument, playing it on records like "Because They're Young": [Excerpt: Duane Eddy, "Because They're Young"] Duane Eddy was John Entwistle's idol, and Entwistle learned Eddy's whole repertoire on trumpet, playing the saxophone parts. But then, realising that the guitar was always louder than the trumpet in the bands he was in, he realised that if he wanted to be heard, he should probably switch to guitar himself. And it made sense that a bass would be easier to play than a regular guitar -- if you only have four strings, there's more space between them, so playing is easier. So he started playing the bass, trying to sound as much like Eddy as he could. He had no problem picking up the instrument -- he was already a multi-instrumentalist -- but he did have a problem actually getting hold of one, as all the electric bass guitars available in the UK at the time were prohibitively expensive. Eventually he made one himself, with the help of someone in a local music shop, and that served for a time, though he would soon trade up to more professional instruments, eventually amassing the biggest collection of basses in the world. One day, Entwistle was approached on the street by an acquaintance, Roger Daltrey, who said to him "I hear you play bass" -- Entwistle was, at the time, carrying his bass. Daltrey was at this time a guitarist -- like Entwistle, he'd built his own instrument -- and he was the leader of a band called Del Angelo and his Detours. Daltrey wasn't Del Angelo, the lead singer -- that was a man called Colin Dawson who by all accounts sounded a little like Cliff Richard -- but he was the bandleader, hired and fired the members, and was in charge of their setlists. Daltrey lured Entwistle away from the band he was in with Townshend by telling him that the Detours were getting proper paid gigs, though they weren't getting many at the time. Unfortunately, one of the group's other guitarists, the member who owned the best amp, died in an accident not long after Entwistle joined the band. However, the amp was left in the group's possession, and Entwistle used it to lure Pete Townshend into the group by telling him he could use it -- and not telling him that he'd be sharing the amp with Daltrey. Townshend would later talk about his audition for the Detours -- as he was walking up the street towards Daltrey's house, he saw a stunningly beautiful woman walking away from the house crying. She saw his guitar case and said "Are you going to Roger's?" "Yes." "Well you can tell him, it's that bloody guitar or me". Townshend relayed the message, and Daltrey responded "Sod her. Come in." The audition was a formality, with the main questions being whether Townshend could play two parts of the regular repertoire for a working band at that time -- "Hava Nagila", and the Shadows' "Man of Mystery": [Excerpt: The Shadows, "Man of Mystery"] Townshend could play both of those, and so he was in. The group would mostly play chart hits by groups like the Shadows, but as trad jazz hadn't completely died out yet they would also do breakout sessions playing trad jazz, with Townshend on banjo, Entwistle on trumpet and Daltrey on trombone. From the start, there was a temperamental mismatch between the group's two guitarists. Daltrey was thoroughly working-class, culturally conservative,  had dropped out of school to go to work at a sheet metal factory, and saw himself as a no-nonsense plain-speaking man. Townshend was from a relatively well-off upper-middle-class family, was for a brief time a member of the Communist Party, and was by this point studying at art school, where he was hugely impressed by a lecture from Gustav Metzger titled “Auto-Destructive Art, Auto-Creative Art: The Struggle For The Machine Arts Of The Future”, about Metzger's creation of artworks which destroyed themselves. Townshend was at art school during a period when the whole idea of what an art school was for was in flux, something that's typified by a story Townshend tells about two of his early lectures. At the first, the lecturer came in and told the class to all draw a straight line. They all did, and then the lecturer told off anyone who had drawn anything that was anything other than six inches long, perfectly straight, without a ruler, going north-south, with a 3B pencil, saying that anything else at all was self-indulgence of the kind that needed to be drummed out of them if they wanted to get work as commercial artists. Then in another lecture, a different lecturer came in and asked them all to draw a straight line. They all drew perfectly straight, six-inch, north-south lines in 3B pencil, as the first lecturer had taught them. The new lecturer started yelling at them, then brought in someone else to yell at them as well, and then cut his hand open with a knife and dragged it across a piece of paper, smearing a rough line with his own blood, and screamed "THAT'S a line!" Townshend's sympathies lay very much with the second lecturer. Another big influence on Townshend at this point was a jazz double-bass player, Malcolm Cecil. Cecil would later go on to become a pioneer in electronic music as half of TONTO's Expanding Head Band, and we'll be looking at his work in more detail in a future episode, but at this point he was a fixture on the UK jazz scene. He'd been a member of Blues Incorporated, and had also played with modern jazz players like Dick Morrissey: [Excerpt: Dick Morrissey, "Jellyroll"] But Townshend was particularly impressed with a performance in which Cecil demonstrated unorthodox ways to play the double-bass, including playing so hard he broke the strings, and using a saw as a bow, sawing through the strings and damaging the body of the instrument. But these influences, for the moment, didn't affect the Detours, who were still doing the Cliff and the Shadows routine. Eventually Colin Dawson quit the group, and Daltrey took over the lead vocal role for the Detours, who settled into a lineup of Daltrey, Townshend, Entwistle, and drummer Doug Sandom, who was much older than the rest of the group -- he was born in 1930, while Daltrey and Entwistle were born in 1944 and Townshend in 1945. For a while, Daltrey continued playing guitar as well as singing, but his hands were often damaged by his work at the sheet-metal factory, making guitar painful for him. Then the group got a support slot with Johnny Kidd and the Pirates, who at this point were a four-piece band, with Kidd singing backed by bass, drums, and Mick Green playing one guitar on which he played both rhythm and lead parts: [Excerpt: Johnny Kidd and the Pirates, "Doctor Feel Good"] Green was at the time considered possibly the best guitarist in Britain, and the sound the Pirates were able to get with only one guitar convinced the Detours that they would be OK if Daltrey switched to just singing, so the group changed to what is now known as a "power trio" format. Townshend was a huge admirer of Steve Cropper, another guitarist who played both rhythm and lead, and started trying to adopt parts of Cropper's style, playing mostly chords, while Entwistle went for a much more fluid bass style than most, essentially turning the bass into another lead instrument, patterning his playing after Duane Eddy's work. By this time, Townshend was starting to push against Daltrey's leadership a little, especially when it came to repertoire. Townshend had a couple of American friends at art school who had been deported after being caught smoking dope, and had left their records with Townshend for safe-keeping. As a result, Townshend had become a devotee of blues and R&B music, especially the jazzier stuff like Ray Charles, Mose Allison, and Booker T and the MGs. He also admired guitar-based blues records like those by Howlin' Wolf or Jimmy Reed. Townshend kept pushing for this music to be incorporated into the group's sets, but Daltrey would push back, insisting as the leader that they should play the chart hits that everyone else played, rather than what he saw as Townshend's art-school nonsense. Townshend insisted, and eventually won -- within a short while the group had become a pure R&B group, and Daltrey was soon a convert, and became the biggest advocate of that style in the band. But there was a problem with only having one guitar, and that was volume. In particular, Townshend didn't want to be able to hear hecklers. There were gangsters in some of the audiences who would shout requests for particular songs, and you had to play them or else, even if they were completely unsuitable for the rest of the audience's tastes. But if you were playing so loud you couldn't hear the shouting, you had an excuse. Both Entwistle and Townshend had started buying amplifiers from Jim Marshall, who had opened up a music shop after quitting drums -- Townshend actually bought his first one from a shop assistant in Marshall's shop, John McLaughlin, who would later himself become a well-known guitarist. Entwistle, wanting to be heard over Townshend, had bought a cabinet with four twelve-inch speakers in it. Townshend, wanting to be heard over Entwistle, had bought *two* of these cabinets, and stacked them, one on top of the other, against Marshall's protestations -- Marshall said that they would vibrate so much that the top one might fall over and injure someone. Townshend didn't listen, and the Marshall stack was born. This ultra-amplification also led Townshend to change his guitar style further. He was increasingly reliant on distortion and feedback, rather than on traditional instrumental skills. Now, there are basically two kinds of chords that are used in most Western music. There are major chords, which consist of the first, third, and fifth note of the scale, and these are the basic chords that everyone starts with. So you can strum between G major and F major: [demonstrates G and F chords] There's also minor chords, where you flatten the third note, which sound a little sadder than major chords, so playing G minor and F minor: [demonstrates Gm and Fm chords] There are of course other kinds of chord -- basically any collection of notes counts as a chord, and can work musically in some context. But major and minor chords are the basic harmonic building blocks of most pop music. But when you're using a lot of distortion and feedback, you create a lot of extra harmonics -- extra notes that your instrument makes along with the ones you're playing. And for mathematical reasons I won't go into here because this is already a very long episode, the harmonics generated by playing the first and fifth notes sound fine together, but the harmonics from a third or minor third don't go along with them at all. The solution to this problem is to play what are known as "power chords", which are just the root and fifth notes, with no third at all, and which sound ambiguous as to whether they're major or minor. Townshend started to build his technique around these chords, playing for the most part on the bottom three strings of his guitar, which sounds like this: [demonstrates G5 and F5 chords] Townshend wasn't the first person to use power chords -- they're used on a lot of the Howlin' Wolf records he liked, and before Townshend would become famous the Kinks had used them on "You Really Got Me" -- but he was one of the first British guitarists to make them a major part of his personal style. Around this time, the Detours were starting to become seriously popular, and Townshend was starting to get exhausted by the constant demands on his time from being in the band and going to art school. He talked about this with one of his lecturers, who asked how much Townshend was earning from the band. When Townshend told him he was making thirty pounds a week, the lecturer was shocked, and said that was more than *he* was earning. Townshend should probably just quit art school, because it wasn't like he was going to make more money from anything he could learn there. Around this time, two things changed the group's image. The first was that they played a support slot for the Rolling Stones in December 1963. Townshend saw Keith Richards swinging his arm over his head and then bringing it down on the guitar, to loosen up his muscles, and he thought that looked fantastic, and started copying it -- from very early on, Townshend wanted to have a physical presence on stage that would be all about his body, to distract from his face, as he was embarrassed about the size of his nose. They played a second support slot for the Stones a few weeks later, and not wanting to look like he was copying Richards, Townshend didn't do that move, but then he noticed that Richards didn't do it either. He asked about it after the gig, and Richards didn't know what he was talking about -- "Swing me what?" -- so Townshend took that as a green light to make that move, which became known as the windmill, his own. The second thing was when in February 1964 a group appeared on Thank Your Lucky Stars: [Excerpt: Johnny Devlin and the Detours, "Sometimes"] Johnny Devlin and the Detours had had national media exposure, which meant that Daltrey, Townshend, Entwistle, and Sandom had to change the name of their group. They eventually settled on "The Who", It was around this time that the group got their first serious management, a man named Helmut Gorden, who owned a doorknob factory. Gorden had no management experience, but he did offer the group a regular salary, and pay for new equipment for them. However, when he tried to sign the group to a proper contract, as most of them were still under twenty-one he needed their parents to countersign for them. Townshend's parents, being experienced in the music industry, refused to sign, and so the group continued under Gorden's management without a contract. Gorden, not having management experience, didn't have any contacts in the music industry. But his barber did. Gorden enthused about his group to Jack Marks, the barber, and Marks in turn told some of his other clients about this group he'd been hearing about. Tony Hatch wasn't interested, as he already had a guitar group with the Searchers, but Chris Parmenter at Fontana Records was, and an audition was arranged. At the audition, among other numbers, they played Bo Diddley's "Here 'Tis": [Excerpt: Bo Diddley, "Here 'Tis"] Unfortunately for Doug, he didn't play well on that song, and Townshend started berating him. Doug also knew that Parmenter had reservations about him, because he was so much older than the rest of the band -- he was thirty-four at the time, while the rest of the group were only just turning twenty -- and he was also the least keen of the group on the R&B material they were playing. He'd been warned by Entwistle, his closest friend in the group, that Daltrey and Townshend were thinking of dropping him, and so he decided to jump before he was pushed, walking out of the audition. He agreed to come back for a handful more gigs that were already booked in, but that was the end of his time in the band, and of his time in the music industry -- though oddly not of his friendship with the group. Unlike other famous examples of an early member not fitting in and being forced out before a band becomes big, Sandom remained friends with the other members, and Townshend wrote the foreword to his autobiography, calling him a mentor figure, while Daltrey apparently insisted that Sandom phone him for a chat every Sunday, at the same time every week, until Sandom's death in 2019 at the age of eighty-nine. The group tried a few other drummers, including someone who Jim Marshall had been giving drum lessons to, Mitch Mitchell, before settling on the drummer for another group that played the same circuit, the Beachcombers, who played mostly Shadows material, plus the Beach Boys and Jan and Dean songs that their drummer, Keith Moon, loved. Moon and Entwistle soon became a formidable rhythm section, and despite having been turned down by Fontana, they were clearly going places. But they needed an image -- and one was provided for them by Pete Meaden. Meaden was another person who got his hair cut by Jack Marks, and he had had  little bit of music business experience, having worked for Andrew Oldham, the Rolling Stones' manager, for a while before going on to manage a group called the Moments, whose career highlight was recording a soundalike cover version of "You Really Got Me" for an American budget label: [Excerpt: The Moments, "You Really Got Me"] The Moments never had any big success, but Meaden's nose for talent was not wrong, as their teenage lead singer, Steve Marriott, later went on to much better things. Pete Meaden was taken on as Helmut Gorden's assistant, but from this point on the group decided to regard him as their de facto manager, and as more than just a manager. To Townshend in particular he was a guru figure, and he shaped the group to appeal to the Mods. Now, we've not talked much about the Mods previously, and what little has been said has been a bit contradictory. That's because the Mods were a tiny subculture at this point -- or to be more precise, they were three subcultures. The original mods had come along in the late 1950s, at a time when there was a division among jazz fans between fans of traditional New Orleans jazz -- "trad" -- and modern jazz. The mods were modernists, hence the name, but for the most part they weren't as interested in music as in clothes. They were a small group of young working-class men, almost all gay, who dressed flamboyantly and dandyishly, and who saw themselves, their clothing, and their bodies as works of art. In the late fifties, Britain was going through something of an economic boom, and this was the first time that working-class men *could* buy nice clothes. These working-class dandies would have to visit tailors to get specially modified clothes made, but they could just about afford to do so. The mod image was at first something that belonged to a very, very, small clique of people. But then John Stephens opened his first shop. This was the first era when short runs of factory-produced clothing became possible, and Stephens, a stylish young man, opened a shop on Carnaby Street, then a relatively cheap place to open a shop. He painted the outside yellow, played loud pop music, and attracted a young crowd. Stephens was selling factory-made clothes that still looked unique -- short runs of odd-coloured jeans, three-button jackets, and other men's fashion. Soon Carnaby Street became the hub for men's fashion in London, thanks largely to Stephens. At one point Stephens owned fifteen different shops, nine of them on Carnaby Street itself, and Stephens' shops appealed to the kind of people that the Kinks would satirise in their early 1966 hit single "Dedicated Follower of Fashion": [Excerpt: The Kinks, "Dedicated Follower of Fashion"] Many of those who visited Stephens' shops were the larger, second, generation of mods. I'm going to quote here from George Melly's Revolt Into Style, the first book to properly analyse British pop culture of the fifties and sixties, by someone who was there: "As the ‘mod' thing spread it lost its purity. For the next generation of Mods, those who picked up the ‘mod' thing around 1963, clothes, while still their central preoccupation, weren't enough. They needed music (Rhythm and Blues), transport (scooters) and drugs (pep pills). What's more they needed fashion ready-made. They hadn't the time or the fanaticism to invent their own styles, and this is where Carnaby Street came in." Melly goes on to talk about how these new Mods were viewed with distaste by the older Mods, who left the scene. The choice of music for these new Mods was as much due to geographic proximity as anything else. Carnaby Street is just round the corner from Wardour Street, and Wardour Street is where the two clubs that between them were the twin poles of the London R&B scenes, the Marquee and the Flamingo, were both located. So it made sense that the young people frequenting John Stephens' boutiques on Carnaby Street were the same people who made up the audiences -- and the bands -- at those clubs. But by 1964, even these second-generation Mods were in a minority compared to a new, third generation, and here I'm going to quote Melly again: "But the Carnaby Street Mods were not the final stage in the history of this particular movement. The word was taken over finally by a new and more violent sector, the urban working class at the gang-forming age, and this became quite sinister. The gang stage rejected the wilder flights of Carnaby Street in favour of extreme sartorial neatness. Everything about them was neat, pretty and creepy: dark glasses, Nero hair-cuts, Chelsea boots, polo-necked sweaters worn under skinny V-necked pullovers, gleaming scooters and transistors. Even their offensive weapons were pretty—tiny hammers and screwdrivers. En masse they looked like a pack of weasels." I would urge anyone who's interested in British social history to read Melly's book in full -- it's well worth it. These third-stage Mods soon made up the bulk of the movement, and they were the ones who, in summer 1964, got into the gang fights that were breathlessly reported in all the tabloid newspapers. Pete Meaden was a Mod, and as far as I can tell he was a leading-edge second-stage Mod, though as with all these things who was in what generation of Mods is a bit blurry. Meaden had a whole idea of Mod-as-lifestyle and Mod-as-philosophy, which worked well with the group's R&B leanings, and with Townshend's art-school-inspired fascination with the aesthetics of Pop Art. Meaden got the group a residency at the Railway Hotel, a favourite Mod hangout, and he also changed their name -- The Who didn't sound Mod enough. In Mod circles at the time there was a hierarchy, with the coolest people, the Faces, at the top, below them a slightly larger group of people known as Numbers, and below them the mass of generic people known as Tickets. Meaden saw himself as the band's Svengali, so he was obviously the Face, so the group had to be Numbers -- so they became The High Numbers. Meaden got the group a one-off single deal, to record two songs he had allegedly written, both of which had lyrics geared specifically for the Mods. The A-side was "Zoot Suit": [Excerpt: The High Numbers, "Zoot Suit"] This had a melody that was stolen wholesale from "Misery" by the Dynamics: [Excerpt: The Dynamics, "Misery"] The B-side, meanwhile, was titled "I'm the Face": [Excerpt: The High Numbers, "I'm the Face"] Which anyone with any interest at all in blues music will recognise immediately as being "Got Love if You Want It" by Slim Harpo: [Excerpt: Slim Harpo, "Got Love if You Want it"] Unfortunately for the High Numbers, that single didn't have much success. Mod was a local phenomenon, which never took off outside London and its suburbs, and so the songs didn't have much appeal in the rest of the country -- while within London, Mod fashions were moving so quickly that by the time the record came out, all its up-to-the-minute references were desperately outdated. But while the record didn't have much success, the group were getting a big live following among the Mods, and their awareness of rapidly shifting trends in that subculture paid off for them in terms of stagecraft. To quote Townshend: "What the Mods taught us was how to lead by following. I mean, you'd look at the dance floor and see some bloke stop during the dance of the week and for some reason feel like doing some silly sort of step. And you'd notice some of the blokes around him looking out of the corners of their eyes and thinking 'is this the latest?' And on their own, without acknowledging the first fellow, a few of 'em would start dancing that way. And we'd be watching. By the time they looked up on the stage again, we'd be doing that dance and they'd think the original guy had been imitating us. And next week they'd come back and look to us for dances". And then Kit Lambert and Chris Stamp came into the Railway Hotel. Kit Lambert was the son of Constant Lambert, the founding music director of the Royal Ballet, who the economist John Maynard Keynes described as the most brilliant man he'd ever met. Constant Lambert was possibly Britain's foremost composer of the pre-war era, and one of the first people from the serious music establishment to recognise the potential of jazz and blues music. His most famous composition, "The Rio Grande", written in 1927 about a fictitious South American river, is often compared with Gershwin's Rhapsody in Blue: [Excerpt: Constant Lambert, "The Rio Grande"] Kit Lambert was thus brought up in an atmosphere of great privilege, both financially and intellectually, with his godfather being the composer Sir William Walton while his godmother was the prima ballerina Dame Margot Fonteyn, with whom his father was having an affair. As a result of the problems between his parents, Lambert spent much of his childhood living with his grandmother. After studying history at Oxford and doing his national service, Lambert had spent a few months studying film at the Institut des hautes études cinématographiques in Paris, where he went because Jean-Luc Godard and Alain Renais taught there -- or at least so he would later say, though there's no evidence I can find that Godard actually taught there, so either he went there under a mistaken impression or he lied about it later to make himself sound more interesting. However, he'd got bored with his studies after only a few months, and decided that he knew enough to just make a film himself, and he planned his first documentary. In early 1961, despite having little film experience, he joined two friends from university, Richard Mason and John Hemming, in an attempt to make a documentary film tracing the source of the Iriri, a river in South America that was at that point the longest unnavigated river in the world. Unfortunately, the expedition was as disastrous as it's possible for such an expedition to be. In May 1961 they landed in the Amazon basin and headed off on their expedition to find the source of the Iriri, with the help of five local porters and three people sent along by the Brazillian government to map the new areas they were to discover. Unfortunately, by September, not only had they not found the source of the Iriri, they'd actually not managed to find the Iriri itself, four and a half months apparently not being a long enough time to find an eight-hundred-and-ten-mile-long river. And then Mason made his way into history in the worst possible way, by becoming the last, to date, British person to be murdered by an uncontacted indigenous tribe, the Panará, who shot him with eight poison arrows and then bludgeoned his skull. A little over a decade later the Panará made contact with the wider world after nearly being wiped out by disease. They remembered killing Mason and said that they'd been scared by the swishing noise his jeans had made, as they'd never encountered anyone who wore clothes before. Before they made contact, the Panará were also known as the Kreen-Akrore, a name given them by the Kayapó people, meaning "round-cut head", a reference to the way they styled their hair, brushed forward and trimmed over the forehead in a way that was remarkably similar to some of the Mod styles. Before they made contact, Paul McCartney would in 1970 record an instrumental, "Kreen Akrore", after being inspired by a documentary called The Tribe That Hides From Man. McCartney's instrumental includes sound effects, including McCartney firing a bow and arrow, though apparently the bow-string snapped during the recording: [Excerpt: Paul McCartney, "Kreen Akrore"] For a while, Lambert was under suspicion for the murder, though the Daily Express, which had sponsored the expedition, persuaded Brazillian police to drop the charges. While he was in Rio waiting for the legal case to be sorted, Lambert developed what one book on the Who describes as "a serious anal infection". Astonishingly, this experience did not put Lambert off from the film industry, though he wouldn't try to make another film of his own for a couple of years. Instead, he went to work at Shepperton Studios, where he was an uncredited second AD on many films, including From Russia With Love and The L-Shaped Room. Another second AD working on many of the same films was Chris Stamp, the brother of the actor Terence Stamp, who was just starting out in his own career. Stamp and Lambert became close friends, despite -- or because of -- their differences. Lambert was bisexual, and preferred men to women, Stamp was straight. Lambert was the godson of a knight and a dame, Stamp was a working-class East End Cockney. Lambert was a film-school dropout full of ideas and grand ambitions, but unsure how best to put those ideas into practice, Stamp was a practical, hands-on, man. The two complemented each other perfectly, and became flatmates and collaborators. After seeing A Hard Day's Night, they decided that they were going to make their own pop film -- a documentary, inspired by the French nouvelle vague school of cinema, which would chart a pop band from playing lowly clubs to being massive pop stars. Now all they needed was to find a band that were playing lowly clubs but could become massive stars. And they found that band at the Railway Hotel, when they saw the High Numbers. Stamp and Lambert started making their film, and completed part of it, which can be found on YouTube: [Excerpt: The High Numbers, "Oo Poo Pa Doo"] The surviving part of the film is actually very, very, well done for people who'd never directed a film before, and I have no doubt that if they'd completed the film, to be titled High Numbers, it would be regarded as one of the classic depictions of early-sixties London club life, to be classed along with The Small World of Sammy Lee and Expresso Bongo. What's even more astonishing, though, is how *modern* the group look. Most footage of guitar bands of this period looks very dated, not just in the fashions, but in everything -- the attitude of the performers, their body language, the way they hold their instruments. The best performances are still thrilling, but you can tell when they were filmed. On the other hand, the High Numbers look ungainly and awkward, like the lads of no more than twenty that they are -- but in a way that was actually shocking to me when I first saw this footage. Because they look *exactly* like every guitar band I played on the same bill as during my own attempts at being in bands between 2000 and about 2005. If it weren't for the fact that they have such recognisable faces, if you'd told me this was footage of some band I played on the same bill with at the Star and Garter or Night and Day Cafe in 2003, I'd believe it unquestioningly. But while Lambert and Stamp started out making a film, they soon pivoted and decided that they could go into management. Of course, the High Numbers did already have management -- Pete Meaden and Helmut Gorden -- but after consulting with the Beatles' lawyer, David Jacobs, Lambert and Stamp found out that Gorden's contract with the band was invalid, and so when Gorden got back from a holiday, he found himself usurped. Meaden was a bit more difficult to get rid of, even though he had less claim on the group than Gorden -- he was officially their publicist, not their manager, and his only deal was with Gorden, even though the group considered him their manager. While Meaden didn't have a contractual claim though, he did have one argument in his favour, which is that he had a large friend named Phil the Greek, who had a big knife. When this claim was put to Lambert and Stamp, they agreed that this was a very good point indeed, one that they hadn't considered, and agreed to pay Meaden off with two hundred and fifty pounds. This would not be the last big expense that Stamp and Lambert would have as the managers of the Who, as the group were now renamed. Their agreement with the group had the two managers taking forty percent of the group's earnings, while the four band members would split the other sixty percent between themselves -- an arrangement which should theoretically have had the managers coming out ahead. But they also agreed to pay the group's expenses. And that was to prove very costly indeed. Shortly after they started managing the group, at a gig at the Railway Hotel, which had low ceilings, Townshend lifted his guitar up a bit higher than he'd intended, and broke the headstock. Townshend had a spare guitar with him, so this was OK, and he also remembered Gustav Metzger and his ideas of auto-destructive art, and Malcolm Cecil sawing through his bass strings and damaging his bass, and decided that it was better for him to look like he'd meant to do that than to look like an idiot who'd accidentally broken his guitar, so he repeated the motion, smashing his guitar to bits, before carrying on the show with his spare. The next week, the crowd were excited, expecting the same thing again, but Townshend hadn't brought a spare guitar with him. So as not to disappoint them, Keith Moon destroyed his drum kit instead. This destruction was annoying to Entwistle, who saw musical instruments as something close to sacred, and it also annoyed the group's managers at first, because musical instruments are expensive. But they soon saw the value this brought to the band's shows, and reluctantly agreed to keep buying them new instruments. So for the first couple of years, Lambert and Stamp lost money on the group. They funded this partly through Lambert's savings, partly through Stamp continuing to do film work, and partly from investors in their company, one of whom was Russ Conway, the easy-listening piano player who'd had hits like "Side Saddle": [Excerpt: Russ Conway, "Side Saddle"] Conway's connections actually got the group another audition for a record label, Decca (although Conway himself recorded for EMI), but the group were turned down. The managers were told that they would have been signed, but they didn't have any original material. So Pete Townshend was given the task of writing some original material. By this time Townshend's musical world was expanding far beyond the R&B that the group were performing on stage, and he talks in his autobiography about the music he was listening to while he was trying to write his early songs. There was "Green Onions", which he'd been listening to for years in his attempt to emulate Steve Cropper's guitar style, but there was also The Freewheelin' Bob Dylan, and two tracks he names in particular, "Devil's Jump" by John Lee Hooker: [Excerpt: John Lee Hooker, "Devil's Jump"] And "Better Get Hit in Your Soul" by Charles Mingus: [Excerpt: Charles Mingus, "Better Get Hit In Your Soul"] He was also listening to what he described as "a record that changed my life as a composer", a recording of baroque music that included sections of Purcell's Gordian Knot Untied: [Excerpt: Purcell, Chaconne from Gordian Knot Untied] Townshend had a notebook in which he listed the records he wanted to obtain, and he reproduces that list in his autobiography -- "‘Marvin Gaye, 1-2-3, Mingus Revisited, Stevie Wonder, Jimmy Smith Organ Grinder's Swing, In Crowd, Nina in Concert [Nina Simone], Charlie Christian, Billie Holiday, Ella, Ray Charles, Thelonious Monk Around Midnight and Brilliant Corners.'" He was also listening to a lot of Stockhausen and Charlie Parker, and to the Everly Brothers -- who by this point were almost the only artist that all four members of the Who agreed were any good, because Daltrey was now fully committed to the R&B music he'd originally dismissed, and disliked what he thought was the pretentiousness of the music Townshend was listening to, while Keith Moon was primarily a fan of the Beach Boys. But everyone could agree that the Everlys, with their sensitive interpretations, exquisite harmonies, and Bo Diddley-inflected guitars, were great, and so the group added several songs from the Everlys' 1965 albums Rock N Soul and Beat N Soul to their set, like "Man With Money": [Excerpt: The Everly Brothers, "Man With Money"] Despite Daltrey's objections to diluting the purity of the group's R&B sound, Townshend brought all these influences into his songwriting. The first song he wrote to see release was not actually recorded by the Who, but a song he co-wrote for a minor beat group called the Naturals, who released it as a B-side: [Excerpt: The Naturals, "It Was You"] But shortly after this, the group got their first big break, thanks to Lambert's personal assistant, Anya Butler. Butler was friends with Shel Talmy's wife, and got Talmy to listen to the group. Townshend in particular was eager to work with Talmy, as he was a big fan of the Kinks, who were just becoming big, and who Talmy produced. Talmy signed the group to a production deal, and then signed a deal to license their records to Decca in America -- which Lambert and Stamp didn't realise wasn't the same label as British Decca. Decca in turn sublicensed the group's recordings to their British subsidiary Brunswick, which meant that the group got a minuscule royalty for sales in Britain, as their recordings were being sold through three corporate layers all taking their cut. This didn't matter to them at first, though, and they went into the studio excited to cut their first record as The Who. As was typical at the time, Talmy brought in a few session players to help out. Clem Cattini turned out not to be needed, and left quickly, but Jimmy Page stuck around -- not to play on the A-side, which Townshend said was "so simple even I could play it", but the B-side, a version of the old blues standard "Bald-Headed Woman", which Talmy had copyrighted in his own name and had already had the Kinks record: [Excerpt: The Who, "Bald-Headed Woman"] Apparently the only reason that Page played on that is that Page wouldn't let Townshend use his fuzzbox. As well as Page and Cattini, Talmy also brought in some backing vocalists. These were the Ivy League, a writing and production collective consisting at this point of John Carter and Ken Lewis, both of whom had previously been in a band with Page, and Perry Ford. The Ivy League were huge hit-makers in the mid-sixties, though most people don't recognise their name. Carter and Lewis had just written "Can You Hear My Heartbeat" for Herman's Hermits: [Excerpt: Herman's Hermits, "Can You Hear My Heartbeat?"] And, along with a couple of other singers who joined the group, the Ivy League would go on to sing backing vocals on hits by Sandie Shaw, Tom Jones and others. Together and separately the members of the Ivy League were also responsible for writing, producing, and singing on "Let's Go to San Francisco" by the Flowerpot Men, "Winchester Cathedral" by the New Vaudeville Band, "Beach Baby" by First Class, and more, as well as their big hit under their own name, "Tossing and Turning": [Excerpt: The Ivy League, "Tossing and Turning"] Though my favourite of their tracks is their baroque pop masterpiece "My World Fell Down": [Excerpt: The Ivy League, "My World Fell Down"] As you can tell, the Ivy League were masters of the Beach Boys sound that Moon, and to a lesser extent Townshend, loved. That backing vocal sound was combined with a hard-driving riff inspired by the Kinks' early hits like "You Really Got Me" and "All Day and All of the Night", and with lyrics that explored inarticulacy, a major theme of Townshend's lyrics: [Excerpt: The Who, "I Can't Explain"] "I Can't Explain" made the top ten, thanks in part to a publicity stunt that Lambert came up with. The group had been booked on to Ready, Steady, Go!, and the floor manager of the show mentioned to Lambert that they were having difficulty getting an audience for that week's show -- they were short about a hundred and fifty people, and they needed young, energetic, dancers. Lambert suggested that the best place to find young, energetic, dancers, was at the Marquee on a Tuesday night -- which just happened to be the night of the Who's regular residency at the club. Come the day of filming, the Ready, Steady, Go! audience was full of the Who's most hardcore fans, all of whom had been told by Lambert to throw scarves at the band when they started playing. It was one of the most memorable performances on the show. But even though the record was a big hit, Daltrey was unhappy. The man who'd started out as guitarist in a Shadows cover band and who'd strenuously objected to the group's inclusion of R&B material now had the zeal of a convert. He didn't want to be doing this "soft commercial pop", or Townshend's art-school nonsense. He wanted to be an R&B singer, playing hard music for working-class men like him. Two decisions were taken to mollify the lead singer. The first was that when they went into the studio to record their first album, it was all soul and R&B apart from one original. The album was going to consist of three James Brown covers, three Motown covers, Bo Diddley's "I'm a Man", and a cover of Paul Revere and the Raiders' "Louie Louie" sequel "Louie Come Home", retitled "Lubie". All of this was material that Daltrey was very comfortable with. Also, Daltrey was given some input into the second single, which would be the only song credited to Daltrey and Townshend, and Daltrey's only songwriting contribution to a Who A-side. Townshend had come up with the title "Anyway, Anyhow, Anywhere" while listening to Charlie Parker, and had written the song based on that title, but Daltrey was allowed to rewrite the lyrics and make suggestions as to the arrangement. That record also made the top ten: [Excerpt: The Who, "Anyway, Anyhow, Anywhere"] But Daltrey would soon become even more disillusioned. The album they'd recorded was shelved, though some tracks were later used for what became the My Generation album, and Kit Lambert told the Melody Maker “The Who are having serious doubts about the state of R&B. Now the LP material will consist of hard pop. They've finished with ‘Smokestack Lightning'!” That wasn't the only thing they were finished with -- Townshend and Moon were tired of their band's leader, and also just didn't think he was a particularly good singer -- and weren't shy about saying so, even to the press. Entwistle, a natural peacemaker, didn't feel as strongly, but there was a definite split forming in the band. Things came to a head on a European tour. Daltrey was sick of this pop nonsense, he was sick of the arty ideas of Townshend, and he was also sick of the other members' drug use. Daltrey didn't indulge himself, but the other band members had been using drugs long before they became successful, and they were all using uppers, which offended Daltrey greatly. He flushed Keith Moon's pill stash down the toilet, and screamed at his band mates that they were a bunch of junkies, then physically attacked Moon. All three of the other band members agreed -- Daltrey was out of the band. They were going to continue as a trio. But after a couple of days, Daltrey was back in the group. This was mostly because Daltrey had come crawling back to them, apologising -- he was in a very bad place at the time, having left his wife and kid, and was actually living in the back of the group's tour van. But it was also because Lambert and Stamp persuaded the group they needed Daltrey, at least for the moment, because he'd sung lead on their latest single, and that single was starting to rise up the charts. "My Generation" had had a long and torturous journey from conception to realisation. Musically it originally had been inspired by Mose Allison's "Young Man's Blues": [Excerpt: Mose Allison, "Young Man's Blues"] Townshend had taken that musical mood and tied it to a lyric that was inspired by a trilogy of TV plays, The Generations, by the socialist playwright David Mercer, whose plays were mostly about family disagreements that involved politics and class, as in the case of the first of those plays, where two upwardly-mobile young brothers of very different political views go back to visit their working-class family when their mother is on her deathbed, and are confronted by the differences they have with each other, and with the uneducated father who sacrificed to give them a better life than he had: [Excerpt: Where the Difference Begins] Townshend's original demo for the song was very much in the style of Mose Allison, as the excerpt of it that's been made available on various deluxe reissues of the album shows: [Excerpt: Pete Townshend, "My Generation (demo)"] But Lambert had not been hugely impressed by that demo. Stamp had suggested that Townshend try a heavier guitar riff, which he did, and then Lambert had added the further suggestion that the music would be improved by a few key changes -- Townshend was at first unsure about this, because he already thought he was a bit too influenced by the Kinks, and he regarded Ray Davies as, in his words, "the master of modulation", but eventually he agreed, and decided that the key changes did improve the song. Stamp made one final suggestion after hearing the next demo version of the song. A while earlier, the Who had been one of the many British groups, like the Yardbirds and the Animals, who had backed Sonny Boy Williamson II on his UK tour. Williamson had occasionally done a little bit of a stutter in some of his performances, and Daltrey had picked up on that and started doing it. Townshend had in turn imitated Daltrey's mannerism a couple of times on the demo, and Stamp thought that was something that could be accentuated. Townshend agreed, and reworked the song, inspired by John Lee Hooker's "Stuttering Blues": [Excerpt: John Lee Hooker, "Stuttering Blues"] The stuttering made all the difference, and it worked on three levels. It reinforced the themes of inarticulacy that run throughout the Who's early work -- their first single, after all, had been called "I Can't Explain", and Townshend talks movingly in his autobiography about talking to teenage fans who felt that "I Can't Explain" had said for them the things they couldn't say th