Podcast appearances and mentions of Tony Hall

Joining host ⁠⁠Tony Hall⁠⁠⁠⁠⁠ is Saffron for Intermediaries National Account Manager Phil Lawford, Advias MD Ed Checkley and Edwards Day MD Sam Day The panel discussed the recent Bank of England'sMPC decision to lower the base rate by 25bps. Complex Lending – are lenders doing enough tosupport this area of the market? Ed discussed how to use your pension to raise amortgageAffordability – the panel talked around the FCAannouncing plans to make it cheaper and faster to obtain home loans.  https://www.ft.com/content/b67ebebb-e118-4c8b-8c3d-b1fd4522ae32https://advias.co.uk/how-to-use-your-pension-to-raise-a-mortgage/Please leave us comments and a rating and give us a follow to keep updated with future podcast releases, on the 1st of every month.Don't forget to follow our social channels...⁠⁠⁠LinkedIn⁠⁠⁠⁠⁠⁠BlueSky⁠⁠⁠⁠⁠⁠YouTube⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Facebook⁠⁠

Joining host ⁠⁠Tony Hall⁠⁠⁠⁠⁠, Saffron for Intermediaries National Account Manager ⁠⁠⁠⁠Phil Lawford, Luke Loveridge – CEO and co-founder of Propflo and Dan Gracie - Specialist Lending Director Panthera Finance.The panel discussed:·  How the US trade tariffs may impact our market·  The new Minimum Energy Efficiency Standards (MEES) is out for consultation until 2nd of May.  What is it's main purpose? What does it mean for landlords?·   Is now the time to consider discount mortgages if rates are falling?·   What is the confidence factor like for the rest of the year? https://www.mortgagestrategy.co.uk/news/boe-breeden-warns-tariff-chaos-will-hurt-uk-growth-as-rate-cut-bets-slip/https://www.mpamag.com/uk/mortgage-industry/market-trends/trumps-tariffs-spark-a-uk-mortgage-rate-war/531512MinimumEnergy Efficiency Standards (MEES)https://www.mortgagestrategy.co.uk/news/ms-october-news-analysis-p-is-uk-rental-market-heading-towards-the-us-model/https://www.mortgagestrategy.co.uk/news/ms-october-news-analysis-p-is-uk-rental-market-heading-towards-the-us-model/Please leave us comments and a rating and give us a follow to keep updated with future podcast releases, on the 1st of every month.Don't forget to follow our social channels...⁠⁠⁠⁠LinkedIn⁠⁠⁠⁠⁠⁠⁠⁠BlueSky⁠⁠⁠⁠⁠⁠⁠⁠YouTube⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Facebook⁠⁠

Joining host ⁠⁠Tony Hall⁠⁠ is ⁠⁠Saffron for Intermediaries National Sales Manager ⁠⁠⁠⁠ Lee Williams⁠⁠⁠⁠⁠, Matt Surridge - Interim Sales Director Primis / Director of Linear and Rebecca Shuttle  –  Award Winning Principal Owner and Mortgage and Protection Broker at MIMA Mortgage and Protection Advice.The panel discussed the concerns raised by the self-employed when looking for a mortgage and how the industry has developed to support them.The growth of the Challenger and specialist banks market share.Collaboration being the key to making the most of specialist opportunities.How will AI shape the future for the mortgage market.Will lenders try to claw back market share from brokers.Blog: The self-employed are being let down, but the opportunity is there – MortgageStrategyThe UK needs its self-employed, so why are we forgetting them? – Ward Challenger and specialist banks growing market share, report finds - Money AgeBlog: Collaboration is key to making the most of specialistopportunities – Mortgage StrategyLenders will try to claw back market share from brokers, Robert Sinclair warnsPlease leave us comments and a rating and give us a follow to keep updated with future podcast releases, on the 1st of every month.Don't forget to follow our social channels...⁠⁠⁠LinkedIn⁠⁠⁠⁠⁠⁠BlueSky⁠⁠⁠⁠⁠⁠YouTube⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Facebook⁠⁠

Joining host ⁠Tony Hall⁠ is ⁠Saffron for Intermediaries, ⁠⁠Phil Lawford ⁠⁠, Nicola Goldie Deputy Chair, IMLA and Head of Strategic Partnerships, Aldermore Bank and Laura Smith, BDM Saffron for Intermediaries. The panel discusses the roles of the Working in Mortgages Group and IMLA. The AMI 2021 viewpoint report and how we have moved on. What are the benefits within our industry of embracing DE&I. Concluding with the panels views on the recent MPC decision to reduce the UK's key interest rate to 4.50% - was it the right call?https://workinginmortgages.org.uk/wp-content/uploads/2022/09/Final-Viewpoint-DI-Report.pdfhttps://workinginmortgages.org.uk/http://www.imla.org.uk/http://www.imla.org.uk/news/post.php?s=2024-12-23-imla-predicts-healthy-lending-growth-for-2025-greater-intermediary-business-and-more-remortgaging--Please leave us comments and a rating and give us a follow to keep updated with future podcast releases, on the 1st of every month.--Don't forget to follow our social channels...⁠⁠LinkedIn⁠⁠⁠⁠BlueSky⁠⁠⁠⁠YouTube⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Facebook⁠

Tony Hall was the Director-General of the BBC from 2013 to 2020, during which time the BBC's Royal Charter was last renewed. We discuss the differences between that charter renewal process and the current one, as well as the key issues surrounding the upcoming renewal: a long-term vision, a permanent charter, a new funding model, accountability, and engagement with licence fee payers. We also address the allegations of anti-Semitism within the BBC."I have never seen fundamental anti-Semitism in the time I was at the BBC. It's not how people work. Yes, there can be errors. Yes, there can be misjudgements, but fundamental anti-Semitism, or any other fundamental take on life that comes out in the BBC journalism I've never seen, and I don't believe it's there."Listen to all our episodes here: https://podfollow.com/beebwatch To support our journalism and receive a weekly blog sign up now for £1.99 per month (NB we only charge for one creation per month): www.patreon.com/BeebWatch/membership Or if you'd rather make a one-off payment (which doesn't entitle you to the blog) please use our crowdfunding page:https://www.crowdfunder.co.uk/p/roger-boltons-beeb-watch-podcast @BeebRogerInstagram: rogerboltonsbeebwatchLinkedIn: Roger Bolton's Beeb Watchemail: roger@rogerboltonsbeebwatch.comwww.goodeggproductions.uk Get bonus content on Patreon Hosted on Acast. See acast.com/privacy for more information.

Joining host Tony Hall is Saffron for Intermediaries, Phil Lawford and BDM Leah Kavanagh, and friend of the podcast and his first time on screen, Head of Marketing for John Charcol, Nicholas Mendes. The podcast starts with the performance of our new government, six months in. How have their policies and budget affected the market and what can we expect in the next six months? The panel discuss the latest report from Bank of England which has brokers up in arms. How achievable is net zero and how much is the housing market, and brokers, going to be responsible for the outcomes – the panel debate this from a homeowner and broker perspective. Finally, the panel discuss communication, and the role of AI in the sector. -- Please leave us comments and a rating and give us a follow to keep updated with future podcast releases, on the 1st of every month. -- Don't forget to follow our social channels... ⁠LinkedIn⁠ ⁠BlueSky⁠ ⁠YouTube⁠ ⁠⁠⁠⁠⁠Facebook⁠

Why is vehicle titling and registration so complicated? While that's a common question, to Tony Hall and Shane Bigelow the better question is: How can we make it simpler? Hall, Carvana's head of policy, title and registration modernization, and Bigelow, CEO of CHAMP Titles, are both affiliated with the eSTART Coalition, a consortium of auto industry vendors, associations and other stakeholders that seeks to modernize title and registration processes by facilitating advocacy of electronic titling nationwide. They joined Auto Remarketing Podcast host Andrew Friedlander during Used Car Week 2024 in Scottsdale, Ariz., to discuss the present and future of e-titling, including the current state of the technology, the pace of adoption by state governments, the progress being made and eSTART's role in moving that progress forward.

Oct. 8, 2024 | Stair-step incentives back at Nissan; Carvana's Tony Hall by Automotive News

TNT Radio host Basil Valentine speaks with Emeritus Professor Tony Hall, to discuss the arrest of Pavel Durov while delving into the more sinister aspects of internet censorship and its implications for democracy. This analysis offers an in-depth exploration of the persistent struggle against digital control and how the occurrences of October 7th have transformed the digital environment. Additionally, it addresses previously unreported narratives from October 7, shedding light on the true events and revealing Israel's involvement. ▶️ ATTENTION: The Patrick Henningsen Show MON-FRI will be on summer hiatus for the next few weeks. Appreciate all of you who have been tuning in. We'll see you all in due course.

Podcast guest Tony Hall: financingfutures.co.nz Chapters 00:00 Running Two Businesses in Different Countries 04:40 Success in the Mortgage Lending Industry 08:49 Marketing and Staffing Considerations 11:59 Maximizing Loan Approvals and Client Satisfaction 14:27 The Importance of Getting Deals Done 20:57 The Benefits of Hiring and Training Young People 26:12 The Impact of Young Employees on the Business 28:36 Finding the Right People for the Job 35:43 Building Relationships and Referral Partnerships in the Mortgage Business 50:00 The Differences Between the Mortgage and Life Insurance Businesses 52:58 Persuasion and Product Knowledge in the Life Insurance Industry 57:20 The Challenge of Pricing and Convincing Clients in the Insurance Business

TNT Radio guest host Basil Valentine speaks with Emeritus Professor Tony Hall, to discuss what lies behind the rise of Hezbollah and its military ties with Iran but also the socio-cultural role the organisation plays in Lebanon. Prof. Hall talks about the positive influence of Putin's counselling on Iran, not only bringing a cool head to the table but also advancing the Electronic Warfare solution to Iran's military. He also discusses the U.S.-Israel partnership and their joint effort to force non-aligned sovereign countries into global banking dominance before sharing his view on the recent racial violence in the UK which he describes as a coloured-like revolution to help British PM Keir Starmer bring about a police state. ▶️ ATTENTION: The Patrick Henningsen Show MON-FRI will be on summer hiatus for the next few weeks. Appreciate all of you who have been tuning in. We'll see you all in due course.

TNT Radio guest host Basil Valentine speaks with Emeritus Professor Tony Hall, to discuss the protests against Prime Minister Netanyahu and the efforts deployed by Washington to protect Israel's controversial strongman. They go on to talk about the ICJ rulings against Israel and the blatant ongoing disregard of these rulings by Israel and the U.S. They also discuss Zionism and the unhealthy influence of the Zionist lobby on both sides of the U.S. political spectrum, before ending the discussion on the growing divisions within the political parties in the U.S and the extremes to which they are prepared to go. ATTENTION: The Patrick Henningsen Show MON-FRI will be on summer hiatus for the next few weeks. Appreciate all of you who have been tuning in. We'll see you all in due course. READ MORE 2024 ELECTION NEWS AT: 21st CENTURY WIRE 2024 ELECTION FILES

GUEST HOST: Basil Valentine filling in for Rick Munn. 

GUEST HOST: Basil Valentine filling in for Patrick Henningsen. 

This week's items slapped on the rock and roll barbecue and lightly grilled include … … why Eurovision will never avoid political controversy. … when AI does David Hepworth! … what's the secret of NTS radio? … “there are two types of wedding disco, ones that start with Abba's Dancing Queen and terrible ones.” … Tony Hall's prophetic preview of Revolver in May '66 – “they shatter convention and may well have a far-reaching effect on the whole future of music”. … when listening to the radio was a group activity. … Daniel Kramer, Dezo Hoffman, Robert Freeman, Anton Corbijn and other photographers who shaped the way music looked. ... the rogue punctuation of "Paint It, Black". … songs that start with the chorus.  … Elvis's unrepeatable train journey from New York to Memphis in 1956. … “there's glass in the back of my head and my toenails don't fit properly” – Dylan's '66 London press conference. …. and hurry hurry hurry to Lot 71 in Danny Baker's record auction, a snip at only £70! Danny Baker's record auction …https://bid.omegaauctions.co.uk/auction/details/a230a-the-danny-baker-collection/?au=162&g=1Subscribe to Word In Your Ear on Patreon for early - and ad-free - access to all of our content, plus a whole load more!: https://www.patreon.com/wordinyourear Get bonus content on Patreon Hosted on Acast. See acast.com/privacy for more information.

This week's items slapped on the rock and roll barbecue and lightly grilled include … … why Eurovision will never avoid political controversy. … when AI does David Hepworth! … what's the secret of NTS radio? … “there are two types of wedding disco, ones that start with Abba's Dancing Queen and terrible ones.” … Tony Hall's prophetic preview of Revolver in May '66 – “they shatter convention and may well have a far-reaching effect on the whole future of music”. … when listening to the radio was a group activity. … Daniel Kramer, Dezo Hoffman, Robert Freeman, Anton Corbijn and other photographers who shaped the way music looked. ... the rogue punctuation of "Paint It, Black". … songs that start with the chorus.  … Elvis's unrepeatable train journey from New York to Memphis in 1956. … “there's glass in the back of my head and my toenails don't fit properly” – Dylan's '66 London press conference. …. and hurry hurry hurry to Lot 71 in Danny Baker's record auction, a snip at only £70! Danny Baker's record auction …https://bid.omegaauctions.co.uk/auction/details/a230a-the-danny-baker-collection/?au=162&g=1Subscribe to Word In Your Ear on Patreon for early - and ad-free - access to all of our content, plus a whole load more!: https://www.patreon.com/wordinyourear Get bonus content on Patreon Hosted on Acast. See acast.com/privacy for more information.

This week's items slapped on the rock and roll barbecue and lightly grilled include … … why Eurovision will never avoid political controversy. … when AI does David Hepworth! … what's the secret of NTS radio? … “there are two types of wedding disco, ones that start with Abba's Dancing Queen and terrible ones.” … Tony Hall's prophetic preview of Revolver in May '66 – “they shatter convention and may well have a far-reaching effect on the whole future of music”. … when listening to the radio was a group activity. … Daniel Kramer, Dezo Hoffman, Robert Freeman, Anton Corbijn and other photographers who shaped the way music looked. ... the rogue punctuation of "Paint It, Black". … songs that start with the chorus.  … Elvis's unrepeatable train journey from New York to Memphis in 1956. … “there's glass in the back of my head and my toenails don't fit properly” – Dylan's '66 London press conference. …. and hurry hurry hurry to Lot 71 in Danny Baker's record auction, a snip at only £70! Danny Baker's record auction …https://bid.omegaauctions.co.uk/auction/details/a230a-the-danny-baker-collection/?au=162&g=1Subscribe to Word In Your Ear on Patreon for early - and ad-free - access to all of our content, plus a whole load more!: https://www.patreon.com/wordinyourear Get bonus content on Patreon Hosted on Acast. See acast.com/privacy for more information.

News

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Time for some new funk. 01- Karate Boogaloo - Onwards and Upwards 02- Mister Rebound - Ease Back 03- Otis McDonald - RINGS 04- Flevans - Say Yes 05- Max Sedgley - I Want Your Soul (Smoove Remix) (feat. Tasita D'Mour) 06- Gramatik - Queen 07- Donnell Pitman - Tonight (feat. Anda) 08- Eric Benny Bloom - Dancewalkin' 09- PJ MORTON - Smoke and Mirrors 10- Jesse Roper - Way Down In The Valley 11- Toyesauce - Give It What You Can (feat. Ivan Neville, Tony Hall, George Porter, Jr., Anjelika Jelly Joseph, Stanton Moore, Big Sam & Jeff Coff) 12- Fat Produce - Slick 13- Ray Charles - Rockhouse 14- Ray Charles - Hey Mister 15- Ray Charles - Every Saturday Night

What is complex lending? If you have been reading the recent news in the mortgage press you may have seen talk of complex lending. But what is it? What does it mean for brokers and borrowers? What situations, products and scenarios does it support? These are the questions pondered and discussed on the podcast this month, with host Jay Evans, regular panelist Tony Hall and a brief visit by Phil Lawford and our guest expert, Lee Williams. Find out why Saffron has adaopted Complex Lending, and is looking to add an additional category for mortgage lenders based on the modern day market. **Special Announcement** SFI (not so) LIVE is moving into the studio. From March 2024, you will be able to watch as well as listen to our podcast as we embrace a new 4K Studio format. Audio podcasts will remain wherever you listen to us. But from March, you can watch us on Spotify, YouTube and other video platforms. Follow Saffron for Intermediaries to keep up to date. --- Send in a voice message: https://podcasters.spotify.com/pod/show/sfinotsolive/message

Welcome to the first episode of SFI (not so) LIVE of 2024. In this episode Jay Evans, Tony Hall and Phil Lawford are joined once again by legal expert and podcast favoruite, Perdip Kaur Bhachu from Blacks Solicitors LLP. Among the topics discussed is the Renters Reform Bill, EPC ratings, new build housing quality, self and custom build and much more. Perdip provided a very detailed and informative run down of the legal status for buy-to-let landlords too - you will find the 30 minute analysis at the end of the podcast. Enjoy! -- Brought to you by Saffron for Intermediaries / Saffron Building Society. --- Send in a voice message: https://podcasters.spotify.com/pod/show/sfinotsolive/message

Siyamak sits down with Tony Hall, a former supervisor from San Francisco. He will talk about why San Francisco has an annual budget of $15 billion—while still struggling to provide basic services—and what has made the city's budget so expensive. “A third of downtown is empty. Businesses are closing, the revenue has gone down, but the budget keeps going up. It's now almost $15 billion,” Mr. Hall said. “I'll tell you how it happens. It is from the usage of nonprofits. Nonprofits that are indiscriminate and answerable to nobody. That's the real question that people should be concerned about.” -------------------- This episode is sponsored by:

The Office for Budget Responsibility has predicted that in 2024 house prices will go down by about 5 per cent, with transactions falling by 7 per cent.On this week's podcast FTAdviser reporter Tom Dunstan talks to Martin Stewart, director of London Money, and Tony Hall, head of business development at Saffron for Intermediaries, about what effect this might have.They discuss whether the forecasts should be taken as gospel, how mortgage brokers can "keep the lights on" during a slower year and which parts of the mortgage market might be worst hit.The FTAdviser Podcast is the podcast for financial advisers, brought to you by FTAdviser. Each week, FTAdviser is joined by guests from the industry to discuss the week in news and pressing industry issues. Hosted on Acast. See acast.com/privacy for more information.

Siyamak sits down with JConr Ortega, homeless advocate in San Francisco. He talks about why the homeless in San Francisco are not getting the help they need to get off the streets. We also invited another guest, Tony Hall, former member of the San Francisco Board of Supervisors, to give us his insights into why the downward spiral is hard to stop. “I've been homeless for 20 years. There's a lot of incentive to not actually get off the streets, which we see a lot in San Francisco. And that goes back to the fact that a lot of nonprofits encourage homelessness … They're given all this money, but they're not actually given an audit of how they actually spend the money.” ____ This episode is sponsored by: Old Glory Bank (started by Larry Elder, John Rich, and Dr. Ben Carson) stands with you, so open an account today at https://oldglorybank.com/ It just takes 8 minutes. Midas Gold Group, the nation's No. 1 veteran-owned gold dealer and most trusted source for gold & precious metals: https://www.midasgoldgroup.com/ * Views expressed in this video are opinions of the host and guests, and do not necessarily reflect the views of The Epoch Times. ⭕️Watch in-depth videos based on Truth & Tradition at Epoch TV

CLEM BOWEN + DAWAD PHILIP Clem Bowen grew up in Princess Town, Trinidad, and became an avid sportsman. For over a decade he worked in the aviation industry in Egypt and Saudi Arabia, where he began his journey in the entertainment industry as a DJ. Soon he was driving tours for artists such as Sister Carol and Sugar Minot, and progressed to becoming a road manager of Soca artists throughout the Caribbean, Europe and Africa. He formed his Cariwak Management Agency, which books  Calypso & Soca artists worldwide, acquires work permits, travel etc, which also includes Event planning & Productions and more. He is also President of the yearly July, “Sunday Brunch on the Green', in Brooklyn. His mas band, Burokeete, impacted the art of Carnival and is in the history books, with a song “Burrokeet Woman” by Calypsonian,  “Mighty Swallow” created for Burrokeet; won ‘Band of the Year' twice, with approximately 3000 masqueraders and was the first Trini style mas camp at the Shell, which was renamed Burrokeet mas camp. Clem franchised Burrokeet to Atlanta, Boston, Miami and London. The Burrokeet is a costume that resembles a person riding a donkey, which has its origins in the Spanish and Venezuelan cultures. Clem is passionate about preserving and promoting the cultural heritage of Trinidad and Tobago.                                >>>>>>>>>>>>                                         Dawad Philip who holds a Masters of Arts (Carnival Arts) degree from the University of Trinidad and Tobago is a mas man, journalist, painter, calypso ten manager, organizer of Caribbean Theatre Week (NY), and poet. Philip was one of five poets selected to represent Brooklyn in a Brooklyn-Leningrad Literary Exchange in the 1990s. He is the author of three volumes of poetry, Invocations 1980, A Mural by the Sea 2017 (City Twilight 2020), and Jayden and the King of the Brooklyn Carnival, (co-authored with Yolanda Lezama-Clark, 2019), Dawad's collection of poems is an homage not only to our elusive “Sweet Trinidad” but to the many homes and everyday people he encountered in his pilgrimage through life. Some of his poems discern echoes of the distinctive riddims of Andre Tanker's “Back Home” and Sir Derek Walcott's intimations in “Hic Jacket,” and have appeared in anthologies including Steppingstones, Bomb, Caribbean Voices, Poetry International, Voicing Our Vision and New Rain. A recipient of New York State Fellowship on the Arts (Poetry), he has performed his works around the Caribbean, U.S., Canada; Riga, Latvia; Moscow and St. Petersburg. Selected poems of his, have been translated into Russian by the former Leningrad Writers Union. Philip keeps an active hand in the annual Trinidad Carnival and further afield as a costume designer and mas-maker, after winning back in the day, mas band awards in San Fernando Carnival. He was instrumental in the genesis of Jazz on the San Fernando Hill and gave birth (with others) to We People Mas, an all-inclusive mas band in South with designs reminiscent of mas icon Peter Minshall. After living and working in Brooklyn for nearly four decades as a poet, journalist and artist, Philip has since resettled in his hometown of ‘Sando' San Fernando, Trinidad. A Mural by the Sea (2018), a film by the late playwright/filmmaker Tony Hall, is based on selected poems from the book of the same title. His latest book Ayedemah, which means “We are a proud nation” is the precursor to another deep dive into the 100 years of New York Carnival. His works will shortly be entered into the Library of Congress. He remains active in the annual carnival with the National Carnival Commission in Trinidad, as well as being a J'Ouvert advisor to the Trinidad and Tobago Ministry of Culture --- Support this podcast: https://podcasters.spotify.com/pod/show/ozzie-stewart/support

Tony Hall of Lallemand Animal Nutrition talks with Connie Kuber of Sealpro Silage Barriers about heat stress, why it matters and ways to help cows stay a little cooler. A deep dive in to practices to manage heat stress in your herd.

Tony Hall | 09-07-2023 by The Apex Church

“I've never seen a more insidious, inane, exploitive, and cruel plan put forth to the American public. You're asking non-slave owners to pay people who were never slaves $5 million per black guy in San Francisco. The average household is going to have to pay $600,000.” Siyamak sits down with Tony Hall, a former supervisor with San Francisco County. Today he'll explain what California and San Francisco's reparations plans entail, and why he thinks it's not likely to happen. This episode is sponsored by Midas Gold Group, the nation's #1 veteran-owned gold dealer and the most trusted source for gold & precious metals: https://www.midasgoldgroup.com/ ⭕️Watch in-depth videos based on Truth & Tradition at Epoch TV

“San Francisco was a glorious city. What made it was its culture, its people. They were benevolent, they were fun-loving, and all that's gone. If they don't take bold approaches to correct their problems, San Francisco will be just like Detroit in the '60s and '70s.” Siyamak sits down with Tony Hall, a former San Francisco county supervisor. He discusses why San Francisco is losing its unique culture and if it's possible to get its culture back. It turns out the key to losing weight—and keeping it off—is not in carbs, or fat, or even in probiotic-rich foods. Dr. Steven Gundry is calling this “Caloric Bypass.” Check it out NOW at https://gutcleanseprotocol.com/230208a/video/video.php ⭕️Watch in-depth videos based on Truth & Tradition at Epoch TV

In the latest episode of SFI (not so) LIVE from Saffron Building Society, we are joined by Jane Simpson, managing director of TBMC - the buy-to-let and commerical mortgage specialists. Tony Hall, Phil Lawford and Jay Evans bring the conversation this month, with Jane, where the conversation was guided almost entirely by the Bank of England rate rise, and Jeremy Hunt's intervention with big banks. As well as... Why did Jeremy get involved? Was it neccessary? Does it set a precedent? The rise of discounts when selling properties - a short term activity? The potential increase in Ltd. Co. BTL. The podcast also makes an announcement about the next SFI LIVE - which will be live on the Saffron for Intermediaries page on 11th July 2023. --- Send in a voice message: https://podcasters.spotify.com/pod/show/sfinotsolive/message

Tony Hall – Lord Hall of Birkenhead - was the director general of the BBC from 2013 until 2020. He joined the Corporation as a trainee in 1973 rising to director of BBC News and current affairs in 1990 and continued to lead BBC News until 2001. During his tenure he launched BBC Parliament, BBC 5 Live, BBC News 24 and BBC News Online, before taking some time off to run the Royal Opera house in Covent Garden. He also spent time on Channel 4's board. Tony calls for a debate on public service media and discusses local radio changes, the merger of the two BBC news channels, classical music cuts, Channel 4, appointing a new BBC chair, impartiality and GB News."At the core of the BBC is news, I think the BBC should be investing more in its news operation to be honest with you."Support the podcast by signing up here Find all our podcasts here @BeebRoger@RogerBolton@mastodonapp.ukemail: roger@rogerboltonsbeebwatch.com Get bonus content on Patreon Hosted on Acast. See acast.com/privacy for more information.

  On the heels of a fantastic NOLA Jazz Fest 2023, please welcome New Orleans-based guitarist/vocalist ARI TEITEL (The Rumble) to Episode 067. I've been keepin' ears and eyes on Ari for the past few years as he continually makes waves in this country's greatest musical city. With numerous irons in the fire, as well as a laundry list of colossal collaborators, it was high time that I catch up with the young axe-slinger and hear all about his musical journey thus far. 2:30 - The Upful Update: Irmzie injury, NOLA Jazz Fest 2023 14:00 -  introducing ARI TEITEL 18:25 -  INTERVIEW w/ Ari Teitel (73 mins) 1:32:40   - aftermath/reflections 1:36:20   - Vibe Junkie JAM  1:44:30 - BONUS- Summer Concert Tours Preview w/ J.A. (50 mins). Please consider $upporting the Upful Life Podcast   Ari Teitel - Bio GRAMMY nominated Ari Teitel began his career at 11 years old on stage sitting in with Robert Randolph at the Michigan Theater in his hometown of Detroit. Leading a band in the Motor City by age 12, Ari immersed himself in the musical heritage of the city. Studying and adhering to the traditions with the deepest respect. After graduating from Michigan State in 2016, he made the pilgrimage to American-music mecca New Orleans, Louisiana. He earned a GRAMMY nomination as musical director of Mardi Gras Indian Funk band Cha Wa, and worked alongside contemporary groove gurus Eric “Benny” Bloom & Nigel Hall of Lettuce. In 2022, Teitel co-founded The Rumble, a new and improved take on the funk band steeped in NOLA's sacred masking traditions. Also last year, Ari dropped a phenomenal solo LP, I Got My Thing. Now a staple on the Crescent City scene, Teitel has recorded or performed with PJ Morton, Iggy Pop, Mononeon, Cyril Neville, Ivan Neville, the New Orleans Jazz Orchestra, George Porter Jr, Dee Dee Bridgewater, Nicholas Payton, Big Chief Monk Boudreaux, Davell Crawford, Herlin Riley, Papa Mali, Quiana Lynell, Roosevelt Collier, Bill Summers (Herbie Hancock), Erica Falls, Russ Liquid, Adam Deitch, Alvin Ford Jr (Pretty Lights),  and Jamison Ross (Snarky Puppy).  Ari Teitel - Instagram    Ari Teitel - website    Ari Teitel - Link Tree     Vibe Junkie JAM “Burn Rubber” The Nth Power & Friends (feat. members of Dumpstaphunk & more!) Tribute to The GAP Band. April 28th, 2023 late night. Toulouse Theater. NOLA Check out B.Getz's annual NOLA Jazz Fest wrap up on L4LM   BONUS: 2023 Summer Concert Tours Preview with very special guest, the return of J.A. from The Rock n' Wrestling Podcast, one of my hometown homies and oldest friends. His first Upful LIFE podcast appearance in about 2 years! Since this episode came in a couple weeks late due to life stuff, I wanted to throw in some bonus content for the people! So great to reconnect with Jason and talk about some of our favorite topics du jour including - but not limited to - The Phish from VT, the geopolitical lens b/o pro wrasslin', Erykah Badu, Metallica,  Billy K. leaving Dead & Co. just days before their "Final Tour", plus riffing on Taylor Swift-mania, Blink-182/Turnstile, The Cure, Motley Crue/Mick Mars drama, & some hearty laughs too.   EMAIL the SHOW PLEASE LEAVE A REVIEW on Apple Podcasts Listen on Spotify Theme Song: "Mazel Tov"- CALVIN VALENTINE

Tony Hall takes us behind the scenes on this year's show.

Boasting Europe's largest number of ancient oaks and yews, Britain and Ireland are home to forests that can be traced back for centuries, feature amazing avenues lined with trees hundreds of years old, and include some truly majestic individual trees. Tony Hall is Head of the Arboretum at the Royal Botanic Gardens, Kew. In Great Trees of Britain and Ireland (Read Media, 2022) he profiles over 70 of our amazing ancient trees, avenues and forests, revealing their locations across Britain and Ireland. Hall takes the reader on a tremendous tree journey, with treasures such as the stunning wilderness of the highlands of Scotland, home to remnants of the Caledonian Forest, where huge Scots pines grow that are direct descendants from those that first arrived after the last ice age 9,000 years ago. In Ireland, Hall encounters 'Dark Hedges', the imposing beech avenue featured in Game of Thrones, as well as the Muckross yew, one of the country's oldest yews growing in the cloister at Muckross Abbey. In this book, learn about oaks that witnessed ancient battles at the 'Gateway of the Dead' in Wales, and how in central and southern England, the once royal hunting forests from past centuries are now home to some of the best ancient woodland anywhere in Europe and provide a refuge for rare fauna and flora. Great Trees of Britain and Ireland offers a guide to the best ancient trees, avenues and forests across Britain and Ireland, but also aims to help protect these irreplaceable treasures, by telling their stories and making them more accessible. This interview was conducted by Dr. Miranda Melcher whose doctoral work focused on post-conflict military integration, understanding treaty negotiation and implementation in civil war contexts, with qualitative analysis of the Angolan and Mozambican civil wars. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

Boasting Europe's largest number of ancient oaks and yews, Britain and Ireland are home to forests that can be traced back for centuries, feature amazing avenues lined with trees hundreds of years old, and include some truly majestic individual trees. Tony Hall is Head of the Arboretum at the Royal Botanic Gardens, Kew. In Great Trees of Britain and Ireland (Read Media, 2022) he profiles over 70 of our amazing ancient trees, avenues and forests, revealing their locations across Britain and Ireland. Hall takes the reader on a tremendous tree journey, with treasures such as the stunning wilderness of the highlands of Scotland, home to remnants of the Caledonian Forest, where huge Scots pines grow that are direct descendants from those that first arrived after the last ice age 9,000 years ago. In Ireland, Hall encounters 'Dark Hedges', the imposing beech avenue featured in Game of Thrones, as well as the Muckross yew, one of the country's oldest yews growing in the cloister at Muckross Abbey. In this book, learn about oaks that witnessed ancient battles at the 'Gateway of the Dead' in Wales, and how in central and southern England, the once royal hunting forests from past centuries are now home to some of the best ancient woodland anywhere in Europe and provide a refuge for rare fauna and flora. Great Trees of Britain and Ireland offers a guide to the best ancient trees, avenues and forests across Britain and Ireland, but also aims to help protect these irreplaceable treasures, by telling their stories and making them more accessible. This interview was conducted by Dr. Miranda Melcher whose doctoral work focused on post-conflict military integration, understanding treaty negotiation and implementation in civil war contexts, with qualitative analysis of the Angolan and Mozambican civil wars. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/environmental-studies

Boasting Europe's largest number of ancient oaks and yews, Britain and Ireland are home to forests that can be traced back for centuries, feature amazing avenues lined with trees hundreds of years old, and include some truly majestic individual trees. Tony Hall is Head of the Arboretum at the Royal Botanic Gardens, Kew. In Great Trees of Britain and Ireland (Read Media, 2022) he profiles over 70 of our amazing ancient trees, avenues and forests, revealing their locations across Britain and Ireland. Hall takes the reader on a tremendous tree journey, with treasures such as the stunning wilderness of the highlands of Scotland, home to remnants of the Caledonian Forest, where huge Scots pines grow that are direct descendants from those that first arrived after the last ice age 9,000 years ago. In Ireland, Hall encounters 'Dark Hedges', the imposing beech avenue featured in Game of Thrones, as well as the Muckross yew, one of the country's oldest yews growing in the cloister at Muckross Abbey. In this book, learn about oaks that witnessed ancient battles at the 'Gateway of the Dead' in Wales, and how in central and southern England, the once royal hunting forests from past centuries are now home to some of the best ancient woodland anywhere in Europe and provide a refuge for rare fauna and flora. Great Trees of Britain and Ireland offers a guide to the best ancient trees, avenues and forests across Britain and Ireland, but also aims to help protect these irreplaceable treasures, by telling their stories and making them more accessible. This interview was conducted by Dr. Miranda Melcher whose doctoral work focused on post-conflict military integration, understanding treaty negotiation and implementation in civil war contexts, with qualitative analysis of the Angolan and Mozambican civil wars. Learn more about your ad choices. Visit megaphone.fm/adchoices

Boasting Europe's largest number of ancient oaks and yews, Britain and Ireland are home to forests that can be traced back for centuries, feature amazing avenues lined with trees hundreds of years old, and include some truly majestic individual trees. Tony Hall is Head of the Arboretum at the Royal Botanic Gardens, Kew. In Great Trees of Britain and Ireland (Kew Publications, 2022) he profiles over 70 of our amazing ancient trees, avenues and forests, revealing their locations across Britain and Ireland. Hall takes the reader on a tremendous tree journey, with treasures such as the stunning wilderness of the highlands of Scotland, home to remnants of the Caledonian Forest, where huge Scots pines grow that are direct descendants from those that first arrived after the last ice age 9,000 years ago. In Ireland, Hall encounters 'Dark Hedges', the imposing beech avenue featured in Game of Thrones, as well as the Muckross yew, one of the country's oldest yews growing in the cloister at Muckross Abbey. In this book, learn about oaks that witnessed ancient battles at the 'Gateway of the Dead' in Wales, and how in central and southern England, the once royal hunting forests from past centuries are now home to some of the best ancient woodland anywhere in Europe and provide a refuge for rare fauna and flora. Great Trees of Britain and Ireland offers a guide to the best ancient trees, avenues and forests across Britain and Ireland, but also aims to help protect these irreplaceable treasures, by telling their stories and making them more accessible. This interview was conducted by Dr. Miranda Melcher whose doctoral work focused on post-conflict military integration, understanding treaty negotiation and implementation in civil war contexts, with qualitative analysis of the Angolan and Mozambican civil wars. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/british-studies

Today's Friday the 13th, 2022, and it's time for your weekly News Roundup episode, where I read the news so you don't have to. A lot happened last week and there's a lot coming up in terms of local events and things to do that you won't want to miss, including things going on tonight, so don't wait to listen! As always, you can find the show notes for this episode on my website at discoverdaytonpodcast.com.    Organizations mentioned in this episode include: Ohio Statehouse Central State University Sinclair Community College City of Dayton Ghostlight Coffee 2nd Street Market Gulzar's Indian Cuisine AES Five Rivers Health Centers Dayton Peace Prize Dayton Council on World Affairs Hall Hunger Initiative Heart Mercantile Mission of Mary's CSA Dayton Women's Rights Alliance Top of the Market Liftoff Entertainment Humane Society of Greater Dayton Blind Bob's  Shiloh Farmer's Market NCCJ Dayton Beer Company Liederkranz-Turner German Club Salar Wiley's Five Rivers MetroParks The Neon Yellow Cab Tavern TheatreLab Dayton PNC Arts Annex   Show Transcript:   Hello and welcome to the Discover Dayton podcast, the show that's all about the Gem City's past, present, and future. I'm Arch Grieve and I'm your host, and today's episode is the weekly news roundup for Friday the 13th of May 2022, so if you're superstitious be careful today. There's a lot that happened last week though, including an update to Ohio's redistricting process, good news for Dayton residents on their electric bills, and the opening of some new places to eat downtown, as well as lots of stuff to do this weekend and beyond, so stay tuned!   And now for last week's news:   Well, the news about the Ohio congressional district maps isn't great, as towards the end of last week the Republican-dominated Ohio Redistricting Commission voted down a set of maps drawn up by the consultants that they hired, and then immediately voted to approve a set of maps that the Ohio Supreme Court has already declared unconstitutional. Protestors in attendance yelled “shame,” at the commission members, but their cries were ineffective in causing any type of change amongst the members because the Republican members of the commission have no shame. Secretary of State Frank LaRose, who is a commission member, explained his rationale for supporting the third set of maps by claiming that it would be the easiest set of maps for local boards of elections to use. At the end of the meeting, Democratic Minority House Leader Allison Russo read out a “minority report,” which laid the blame for the redistricting process mess at the feet of her Republican counterparts.    Also happening at the state level right now is discussion around a bill that would put an end to local municipalities' abilities to manage short-term rentals, such as Airbnbs. House Bill 563 is currently being debated at the Ohio Statehouse, with opponents of the bill saying that it would take away home rule from cities and curtail their ability to self-govern, so now is your time to contact your local representative or senator if you have an opinion about it.    Central State University's Dayton Campus is getting a cash infusion from the U.S. Department of Commerce, which is awarding the HBCU $3.6 million in ARPA funds to quote, “tackle workplace shortages,” which have been made worse by the pandemic. Much of the money will go towards funding workshops that are geared towards educating students about advanced materials, advanced manufacturing, IT, and advanced data management. Central State is also putting in an additional nearly $90K towards its Workforce Training and Business Development Center, which will specialize in employment-related training. As a result of the expansion, Central State is expecting a 50% increase in enrollment this fall and expects to go from 2,000 students to 3,000 who are physically attending campus classes, and from 4,000 to 7,000 students attending online.    Just for full transparency for this next story, I need to acknowledge that I am a Sinclair employee, but Sinclair has had some good news recently in that it graduated a record number of students at last week's graduation ceremony, with 8,919 students being awarded degrees or certificates, or a 14% increase over last year. Of those, a record number were also black men, 1,548 students to be exact, as well as a record number of minority students at just over 3,000.    There's good news for Dayton residents recently from the city, which is that they recently announced that residents will be getting 100% renewable energy starting in June of this year which will be 30% cheaper than AES Ohio's standard service rate, which is the company that used to be DP&L. They also assured residents that Dayton will not be impacted by the recent rate hikes proposed by AES thanks to the new aggregation program. Savings are expected to average approximately $300 per Dayton customer over the 12-month period that the deal is in effect, for a total of $10 million combined for all residents in savings. If you wish to participate in the program, you don't have to do anything, but if you wish to opt-out then letters are being sent out soon.    There's good news for Ghostlight Coffee fans, which is that you can now find them on weekends at the 2nd Street Market. They're opening a bagel bakery there called DOUGH. Ghostlight owner, Shane Anderson, told the Dayton Daily News that he always wanted to have a location in the market, but that there was already a coffee shop there. However, they learned recently that there was an opening for a sandwich shop, so they put forward the concept of a bagel soup and sandwich shop, and now they're in the soft opening phase of its existence. They plan to release more items moving forward, but you can also find them at their original location on Wayne Ave. or over next to Old Scratch on Patterson Blvd. They'll also soon be coming to the Dayton Arcade.    In other news-related food, I'm sure many of you will be as excited as I am to learn that there's a new Indian restaurant in downtown Dayton now. The family-owned Gulzar's Indian Cuisine opened last Thursday at 217 N. Patterson, just across from the Dragon's stadium and next to Winans and Flyboys. Wife and husband Deepika and Jay Singh co-manage the restaurant together, and Jay's brother manages the family's other restaurant in Richmond, Indiana. The restaurant features authentic Indian cuisine, including my favorite, chicken tikka masala, but if you're looking for their most authentic dishes you can find those on the menu under Chef Specials. They also have a lunch buffet, which is $13.99. You can find their menu and learn more at gulzarsindiancuisine.com. I just had lunch there earlier this week and I definitely recommend it!   There's a new Five Rivers Health Centers campus in the Edgemont neighborhood of Dayton after they held its grand opening Wednesday of this week. The campus location will provide a number of different health services, including dental care, women's health, sports medicine, eye care, and primary care. After being founded just over ten years ago, Five Rivers Health Centers now has 9 locations geared towards providing health services to low-income residents. The new facility is now accepting patients, and you can learn more at fiverivershealthcenters.org.    Last week former Congressman and Ambassador, Tony Hall, received the Dayton Peace Prize, which is awarded jointly by the Dayton Council on World Affairs and the Dayton Peace Prize Selection Committee. Hall was a US Congressman from 1979 to 2002, after which he served as the US Ambassador to the United Nations Agencies for Food and Agriculture. He also started the Hall Hunger Initiative here in Dayton. Past recipients of the award include President Bill Clinton, Ambassador Richard Holbrooke, and Archbishop Desmond Tutu.    Well if you're in the Oregon District looking for Heart Mercantile then you'll need to find them in their new location, which is on the other side of the street from their old one. They're now at 601 E. Fifth St. across from Trolley Stop in a space that's double the size of their old location. Also starting today, they are now open one hour later every day, with hours from 11:00am to 8:00pm now. Learn more at heartmercantile.com.   If you're in the market for sustainable, locally-grown produce, then you might want to check out Mission of Mary's CSA, or community-supported agriculture. Their CSA program runs from this month until November of this year, with pickups every Wednesday from 2:00-6:00pm. You can sign up to get vegetables weekly from them on their website at missionofmary.org.    And finally, before we get to the more fun events happening this weekend and beyond, there's also a Rally for Abortion Rights at Courthouse Square this Saturday, May 14th from 2:00-3:00pm. You can learn more about the event on the Dayton Women's Rights Alliance on Facebook or end40days on Instagram.    All right, and now for things to do in Dayton:   If you're looking for a drive-in movie experience but don't want to travel very far, you can go and see the Princess Bride tonight at Top of the Market Banquet Center, which is hosting a pop-up drive-in movie screening in conjunction with Liftoff Entertainment. The cost is $30-40 per vehicle and the lot opens at 7:30pm with the movie starting at 8:45pm. You can visit the show notes on my website for the link to purchase tickets, which is a long EventBrite link: https://www.eventbrite.com/e/wheels-and-reels-princess-bride-tickets-321481538937   If you're more in the mood for music tonight, you can head over to Blind Bob's for a show that starts at 9:00pm. Performing tonight will be Jon Snodgrass, DL Burdon, Joe Anderl, and Josh Goldman. The cover is $10.    Pet lovers who enjoy walking or running with their animals are in luck this weekend as the Furry Skurry 5K event is happening Saturday, May 14th, from 8:00am-noon. General Admission is a $40 registration fee. After you're done running (or if you don't want to run at all) there will also be a beverage tent with bloody marys, mimosas, wine, and beer, as well as a pancake breakfast and more. This fundraising event is put on by the Humane Society of Greater Dayton, and you can find tickets at hsdayton.org/events.    Also happening on Saturday is the 2022 opening day for the Shiloh Farmers Market, which takes place at 5300 Philadelphia Dr from 9:00am to 2:00pm. In addition to the veggies you can purchase, the Smokin' Barrels Food Truck will be there as well.    Another thing you can do Saturday is participate in the Pride Rocks! suicide prevention program, where you can join in rock painting, enjoy a free meal, participate in educational programming about mental health, and listen to LGBTQ+ musicians. The event is free to attend, and goes from 11:00am to 2:00pm at the Levitt Pavilion. The event is put on by the NCCJ, or the National Conference for Community and Justice of Greater Dayton.    And there's more happening tomorrow, including the Dayton Beer Company's 10th anniversary celebration, which goes from noon to 11:00pm Saturday, May 14th. The event promises to have fun for the whole family, including the little ones, with live entertainment, games, and more. So cheers to 10 years to the Dayton Beer Company!   And if that wasn't enough, you can also visit the Liederkranz-Turner's Biergarten on Saturday from 5:00-10:00pm. Trivia is back, and there are now over 70 German beers you can try. Food is available, and there are games and activities for people of all ages.    If you'd like to see the Dayton Playhouse's production of “Hello Dolly,” the only remaining tickets the last I checked were for Saturday night at 8:00pm, so visit daytonplayhouse.com soon for info on how to get tickets.    And finally moving on to Sunday, May 15th, you can stop at the 2nd Street Market if you've been collecting pop tabs, which of course were invented here in Dayton, and participate in Tab-a-PULL-Ooza, which is a family-friendly event that benefits the Ronald McDonald House Charities of Dayton. There's a competition to see who has the most tabs, although to be honest I couldn't find what you'll win, but it all goes towards a good cause.    Also happening Sunday is a SUNDAYton Tea dance, where you can go to the Bar and Bistro and participate in a tea dance hosted by Dayton drag queens. This Sunday's show will feature Jessica Marie Jones, Jackie O, MAGESTIK, and Dana Sintell. The event takes place from 4:00-7:00pm and the cost ranges from free to $10 to attend.    Also happening Sunday evening at Salar is the Rosé All Day wine dinner, where for $89 you can get a choice of 5 wines to go with Chef Margot Blondet's patio favorites. Visit salarrestaurant.com for ticket information.    If you're in the mood for some comedy after that, you can head over to Wiley's for their Sunday Comics series, going from 7:15-9:00pm. The Sunday Comics are a mixture of local amateurs and nationally-touring acts who are working on material and perform short comedy sets. The cost is $15 and tickets can be purchased at wileyscomedy.com.    And if you need some exercise after a weekend full of food and drinks, on Monday you can head down to RiverScape MetroPark from 6:00-7:30pm and do the Boot Camp with The Unit-Community Fitness activity. On Mondays and Wednesdays, The Unit will be meeting for group fitness activities from now until October, and all fitness levels are welcomed and encouraged.   On Tuesday of course at The Neon is $6 Movie Day, and playing will be Inland Empire, Petite Maman, and The Duke. Visit neonmovies.com for showtime and ticket info.    Also on Tuesday from 6:00-7:00pm at RiverScape you can do Tai Chi and Qigong next to the river. The guided meditations, stretching, and exercises do not require any special skills or equipment in order to participate.    On Wednesday and Thursday of next week there will be performances by The Nerve, which is presenting its show “Friend Art,” by Sofia Alvarez at the PNC Annex. The Nerve is an ensemble-driven theatre company working to build a safe and encouraging artistic community in Dayton where local artists can discover their voice and explore their craft. Thursday's performance starts at 7:00pm and costs $22, although Wednesday's performance is “pay what you want” pricing. Visit daytonlive.org for more ticket information.    Friday May 20th is National Bike to Work Day, and the Fiver River MetroParks Bike to Work Day celebration is happening that morning. The first 500 riders to register and check in at the event receive a gift, and you can pre-register now online at MetroParks.org. The event takes place from 7:00-9:00am at the RiverScape Metro Park on Monument Ave. and features a free pancake breakfast, live music, a bike expo, and more, so hopefully I'll see you there!   Also starting Friday, Sideshow, one of the Dayton Yellow Cab's annual shows, is coming back this month on May 20th and 21st, after taking several years off due to Covid-19. This year performers will include Far From Eden, Tino, Nautical Theme, Snake Oil Revival, and more. Ticket information is available at yellowcabtavern.com.   TheatreLab Dayton will be ending its first season since rebranding from Dare 2 Defy Productions with the show “Something Rotten!” The show takes place at the Victoria Theatre on May 21st and 22nd and the cost to attend ranges from $18 to $63. You can purchase tickets at theatrelabdayton.org or daytonlive.org.    That's it for this week's news roundup episode, and if you enjoyed this episode please be sure to subscribe, leave a review, and share it with a friend. As a reminder, there is now merch on the podcast's website, and I recently started offering a new service for local organizations where I will come and do Dayton-themed trivia for your employees or members, so if you're interested reach out at discoverdaytonpodcast@gmail.com. You can also find the transcripts for this news roundup episode in the show notes on my website, discoverdaytonpodcast.com. Thanks as always for listening, and stay funky, Dayton.  

(Apr 4, 2022) Lake George is "in the Adirondack Park but not always of it," says Lake George Mirror owner and editor Tony Hall. The historic and cultural distinctness of a corner of the Adirondacks. Also: A ruling tossing Democrats' drawn district maps because of gerrymandering is on hold, for now.

This episode on "The Lion's Den w/Seth.. Losing someone can truly hurt...but can you imagine life after losing your spouse? Joining us is Mr. Tony Hall and we will be discussing Grief and just how he dealt with this very experience while being married to his new wife and still loving/honoring the wife he lost. Tap into "The Den" and join this conversation...We just never know if/when we will need this type of insight. If you are digging the content, please let us hear your feedback & don't forget to SHARE, LIKE, and FOLLOW our page. We're gonna be streaming live from streamyard.com/facebook www.facebook.com/thelionscast Need to catch up on the Den? Add us to your playlist on www.lionspride21.com Do you want to start your own podcast but don't know where to start ?The basic tools you need and a coach that will help you establish your podcast. Enroll now on podcast boot camp with "Seth the Speaker" . Go to this link: https://tinyurl.com/ymaz9m87 Interested in The Lion's Den Merch? https://teespring.com/stores/the-lions-den-merchandise --- Support this podcast: https://anchor.fm/thelionsdenwithseth/support

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

People are messy and life is hard.  While we all wish we could live on a private island with a few of our closest friends and laugh all day, the real world requires us to navigate challenges. Our guest today has learned to navigate those challenges and help others do the same. On today's episode we learn how to find the beauty in brokenness as Bishop Tony Hall shares his own personal story of redemption and how God has used he and his wife to bring hope and healing to broken people and communities around the US and the world.  From the pain of poverty, to the shame of molestation and abuse, Bishop shares how God can make all things new in our lives as we fix our eyes on Jesus and learn how to share our stories in order to bring hope and healing to others.You can find Bishop Tony Hall's books and ministry on his website http://asktonyhall.com  You can connect with him on FaceBook as well. With this episode focusing on finding beauty in brokenness, here are a few articles from Nathan's blog #TheBestViewInTown that may be of interest to you.1. He's On Every Page Of Your Story2. When Faith and Failure Mix3. Nobody Knows What They Are DoingAs always you can find us at TheBestViewInTown.com or send us an email by clicking the link here.On this Episode:Guest: Bishop Tony HallHost: Producer: Nathan Wesley SmithCohost: Justin Porter

Empson & Morley speak to Tony Hall, Lord Hall, about his time as Director General of the BBC, and his many other high-profile roles. They examine what it is like to lead complex organizations with multiple groups of stakeholders under intense public scrutiny. Hosted on Acast. See acast.com/privacy for more information.

It is one thing to talk about a cause. It's is another to starve yourself for it. For the latest “What Had Happened Was” podcast episode, Dayton native Tony Hall, a former U.S. Congressman and the United States Ambassador to the United Nations Agencies for Food and Agriculture, spoke to Amelia Robinson about his hunger strike and ongoing work to end hunger worldwide. The three-time Nobel Peace Prize nominee also told stories about his father, former Dayton Mayor Dave Hall, football, the hate he received after asking Congress to apologize for slavery, Mother Teresa, praying with a Republican, the need for unity and the toxic political climate. ABOUT THE PODCAST “What Had Happened Was” is a podcast for Dayton, powered by Dayton.com. You won't believe the stories that come from right here. Host Amelia Robinson shares the best tales from the Gem City, Land of Funk and Birthplace of Aviation: Dayton, Ohio. This podcast is brought to you by CoxNext WHERE TO LISTEN & SUBSCRIBE Listen to each show below or get the latest episodes delivered directly to you. Find the What Had Happened Was podcast and subscribe on Apple Podcast (iTunes), Google Play, Stitcher and other services. If you like what you hear, rate this podcast.

Unapologetic continues the conversation with Tony Hall who has nearly 40 years of church planting experience and pastoring. Bishop Hall discusses his retirement from ministry, his new book, the Green Room, and shares wisdom from his journey. This inspiring conversation covers bridging the generation gaps and how seasoned leaders can position themselves to pass the baton to the generation behind them. Bishop Hall discusses his struggles with retirement and finding purpose in this stage of this life. Tony Hall is an incredible kingdom minded voice. This is part 2. For more information about him and his work; contact Tony at https://asktonyhall.com

Tony Hall, with nearly 40 years of church planting experience and pastoring, joins Unapologetic for a candid conversation about racism in and out of the church, the murder of Ahmaud Arbery and his new book, The Green Room. Tony discusses how the death of his mother helped shaped his views on race and how Jesus delivered him from hate. We decided to interrupt our regularly scheduled podcast to speak to Tony about his life and the challenges he faced as a pastor coming to grips with his own prejudices and pain. In this raw conversation, he addresses head on the issues that very few talk about concerning the need for more collaborative efforts between "black" and "white" churches. For more information about him and his work; contact Tony at https://asktonyhall.com.

From the 63rd Eurovision Song Contest in Lisbon, with special guest Tony Hall