Podcasts about Toussaint

El último hombre es un relato fantástico del escritor norteamericano Seabury Quinn (1889-1969), publicado en la edición de mayo de 1950 en la revista Weird Tales. El último hombre, narra la historia de Roger Mycroft, un veterano de guerra que visita a monsieur Toussaint, un espiritista que, según él, es capaz de hablar con los muertos. Años atrás, todos los hombres de la compañía se enamoraron de una mujer, Juanita, la cual prometió entregarse al último hombre que quedara con vida. Roger Mycroft es el último, y probablemente el único capaz de hacer cumplir aquella promesa aún cuando la muchacha esté muerta. Análisis de: El Espejo Gótico http://elespejogotico.blogspot.com/2009/11/el-ultimo-hombre-seabury-quinn.html Texto del relato extraído de: http://elespejogotico.blogspot.com/2009/11/el-ultimo-hombre-seabury-quinn.html Musicas: - 01. Mind Tricks - Experia (Epidemic) - 02. When Everyone Else Is Gone - Christian Andersen (Epidemic) - 03. Born to Dare - Arylide Fields (Epidemic) Nota: Este audio no se realiza con fines comerciales ni lucrativos. Es de difusión enteramente gratuita e intenta dar a conocer tanto a los escritores de los relatos y cuentos como a los autores de las músicas. Escucha el episodio completo en la app de iVoox, o descubre todo el catálogo de iVoox Originals

Toussaint St. Negritude joined host Tom Proctor on ‘Rocket Shop,' Big Heavy World's weekly local Vermont music radio hour on 105.9 FM The Radiator. Catch up with them at toussaintstnegritude.com

The institution of slavery impacted American foreign relations in significant ways from the Revolution to the Civil War.  Historian Steve Brady from the Columbian College of Arts & Sciences discusses these connections in his new book,  Chained to History:  Slavery and United States Foreign Relations to 1865.  He sits down to discuss these many connections, from Article 7 of the Treaty of Paris, to the Haitian Revolution, prohibition of the international slave trade in 1807, the War of 1812 and acquisition of Florida,  the Amphictyonic Conference in Panama, and the role of the Adams generations in the tangled history. 

*DISCUSSION TOPICS*- Peloton Instructor Summit!!! Who's seen the posts!- Clubhouse studio meet-up!!! Who was there?- OPP Complaint about music lyrics. What do y'all think about the music on the platform?- Did Jess Menardy do her homework?- Tonal CEO steps down!!! What does this mean?- Alex Toussaint x Puma launch!!! Who's going to the Saturday event?- Apple Fitness+ classes themed on their shows!!! Is this next level?- Peloton instructor match tool! Anyone use it? Was it right?- Adrian's stretch class. Has the hype slowed yet, or nah?- Yoga for cross training classes! Anyone take a class? How are they?- Rebecca Kennedy special event at PSL!!! Who's going?- Susie Chan special event at PSL!!! Who's going?- Class Recommendations!

How many books have you already read? Articles you've saved for reference? People you've consulted? Workshops you've already attended? When it feels like the faucet's left dry and your fundraising efforts are still not working for your organization, it's time to seek a better way to address areas needing improvement and get help.  For STEM From Dance Executive Director Yamilée Toussaint Beach, she knew it was time to come to us when she decided it wasn't worth wasting months of her career and life trying to figure out how to reach donors on her own. She needed the right mindset in showing up for every meeting and the playbook to access unrestricted revenue that is not tied to foundations and projects.  As a leader who takes action with the knowledge given to her, Yamilée's organization grew from just under $1 million and scaled fast. Her new strategic plan calls for her to grow from $2 million to become a $10 million organization. Coaching her team and her board equips them to reach these targets so they can confidently achieve them.  Tune in to

durée : 00:10:19 - L'invité de 7h50 - par : Léa Salamé - Bruce Toussaint, journaliste, estime que les trois jours légaux après le décès d'un proche ne suffisent pas à gérer les premiers jours qui suivent. Il est l'auteur de "Heureusement, elle n'a pas souffert" (Stock), dans lequel il raconte son cheminement personnel après la mort de ses deux parents.

durée : 02:29:19 - Le 7/9.30 - par : Nicolas Demorand, Léa Salamé - Bruce Toussaint, journaliste, auteur de Heureusement, elle n'a pas souffert (Stock), Sophie Binet, Secrétaire générale de la CGT, et Frédéric Beigbeder, écrivain et critique littéraire, auteur de Confessions d'un hétérosexuel légèrement dépassé (Albin Michel), sont les invités de la matinale.

A guest who has come truly prepared, with wonderful anecdotes, inimitable style and even props, we're delighted to host rising star Toussaint Douglass! Toussaint has certainly made a splash in the comedy world so far and it's easy to see why, plus Helen catches Catherine up on the Zoo fun she missed...FOLLOW TOUSSAINT: @Toussaint_GramThank you so much for listening!Support us at https://www.patreon.com/TrustyHogs for exclusive bonus content, merch, and more!Trust us with your own problems and questions... TrustyHogs@gmail.comPlease give us a follow @TrustyHogs on all socialsBe sure to subscribe and rate us (unless you don't like these little piggies - 5 Stars only!)Thank you to our Patreon supporters...EXECUTIVE PRODUCERS: Simon Moores / Guy Goodman / Mary Fox / Annie Tonner / Sarah Jarque-Deakin / Oliver JagoPRODUCERS: Richard Bicknell / Elle / Richard Bald / Neil Redmond / Victoria Hutchison / Emma Walton / Karen & David Bull / Harald van Dijk / Eddie Doyle / Tim & Dom / David Walker / Rachel R / Anthony Conway / Sadie Cashmore / Claire Owen-Jones / Jess & Nick / Zoë / Jo Holmes / Sarah & Molly / Alex Pugh / Josie W / Amy / Cordelia / Raia Fink / Rachel Page / Helen A / Tina Linsey / Sophie Chivers / Graham Marsh / Emily Gee / Amy O'Riordan / Abbie Worf / Kie Web / Matt Sims / Luke Bright / Leah / Kate SpencerWith Helen Bauer (Daddy Look at Me, Live at the Apollo) & Catherine Bohart (Roast Battle, Mock the Week, 8 Out of 10 Cats)FOLLOW HELEN, CATHERINE & ANDREW...@HelenBaBauer@CatherineBohart@StandUpAndrew Hosted on Acast. See acast.com/privacy for more information.

James Craig has been charged with first-degree murder for poisoning his wife, Angela. Police have evidence that he ordered several kinds of poison and planned to kill his wife so he could be with his mistress. https://www.independent.co.uk/news/world/americas/james-toliver-craig-affidavit-colorado-dentist-kills-wife-b2307864.html https://www.cbsnews.com/colorado/video/james-craig-appears-in-court/ https://www.cbsnews.com/news/james-craig-colorado-dentist-charged-murder-poison-wife/ Missing Person Spotlight Jean Dickens Toussaint and Abigail Toussaint have been kidnapped https://people.com/crime/florida-couple-vacationing-haiti-kidnapped-held-ransom/ Crime Update Trent Lehrkamp has been hazed https://www.atlantanewsfirst.com/2023/03/27/georgia-man-reportedly-tortured-humiliated-by-teens-st-simons-island-party/ https://www.gofundme.com/f/cegxr-justice-for-trent?utm_source=facebook&utm_medium=social&utm_campaign=p_cp%20share-sheet&fbclid=IwAR2ZnlxGH1LPgnysRk_vdJOZPGImKv1UILfrPWVPhymzCC9pEZcsCR3IoGc&mibextid=5zvaxg https://www.wsav.com/crime-safety/hundreds-show-for-parking-lot-prayer-vigil-for-trent-lehrkamp/?utm_medium=referral&utm_source=t.co&utm_campaign=socialflow *Social Media Links* Facebook: www.facebook.com/truecrimesquad Facebook Discussion Group: https://www.facebook.com/groups/215774426330767 Website: https://www.truecrimesquad.com TikTok: https://www.tiktok.com/@truecrimesquad Our Latest Video: https://youtu.be/wRXWQvUWxh0 Check Out Some of Our Previous Uploads! Patriot Front in Coeur d'Alene, Mark Middleton, Baby Holly https://youtu.be/Fz7vTzUiKIw Shasta Groene, The VHS Bandit, Nancy Brophy found guilty https://youtu.be/Bhu1Do0J_bQ The Girl Scout Murders, Diane Lynn Dahn, Heather Marie Underwood https://youtu.be/UdQrQ7yjtpE True Crime Paranormal on Spotify https://open.spotify.com/show/5gIPqBHJLftbXdRgs1Bqm1 True Crime Paranormal on Apple https://podcasts.apple.com/us/podcast/true-crime-paranormal/id1525438711?ls=1 Kristi's Crystal Shop https://www.ehcrystals.com/

In 1907 there was a bloody scandal in Kansas when the Toussaint farm started sacrificing orphans to enrich the soil. In 1908 things got a whole lot worse. Mad science, profane botany, monsters, and mayhem. Buckle up. Edited and produced by Jeff DavidsonFeaturing the music:Western - No NatureGuitar Walking Blues - Lobo LocoSour Taste in my Mouth - Sta. ApolniaSpective - Lobo LocoMystery Mountain Chicken - Lobo Locoand Chelsea Oxendine with the theme musicPlease subscribe through Buzzsprout, Stitcher, Spotify, Podchaser, or iTunesFind me on social media on Instagram Facebook and Twitter, or email me direct at AScaryHomeCompanion@gmail.comSupport our PATREON page! And check out the Redbubble merch shop. Support the show

*DISCUSSION TOPICS*- Erica has a Stairmaster!!!- Alex Toussaint Ride/ Run To Greatness!!! Who's excited? What team you got?- Jess Sims & Jenn Sherman press conference! Did they bite my style?- Jess Sims event and capsule collection recap!! Who went? How was it?- Chase Tucker is back into fitness! Anyone sign up?- Ally Love on The View!- Daniel McKenna is touring!!! Anyone planning to go?

Hosts Scarlet Fu and Damian Sassower speak with Cheryl Toussaint, Olympic Silver-Medalist of the 1972 Munich Games and Director of the Colgate Women's Games. They talk about the importance of young girls getting involved in track and field, how the Colgate Women's games have helped young women pursue their educational goals, and how Toussaint managed to win silver at the 1972 Olympic games... despite losing her shoe! See omnystudio.com/listener for privacy information.

Orphan Trains ran through America from 1854 through 1929. Some of those kids found great homes, but those sickly kids at the End of the Line found something much more sinister. Welcome to the  Toussaint farm, and a very special kind of harvest.Edited and produced by Jeff DavidsonFeaturing the music:You Got My Horses - Lobo LocoShave and a Haircut - BrownMisery Cares - Jane HarrisRoute of the Old West Convicts - Fields of OhioBurning Sunshine - Lobo Locoand Chelsea Oxendine with the theme musicPlease subscribe through Buzzsprout, Stitcher, Spotify, Podchaser, or iTunesFind me on social media on Instagram Facebook and Twitter, or email me direct at AScaryHomeCompanion@gmail.comSupport our PATREON page! And check out the Redbubble merch shop. Support the show

Episode 163 of A History of Rock Music in Five Hundred Songs looks at “(Sittin' on) The Dock of the Bay", Stax Records, and the short, tragic, life of Otis Redding. Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have a twenty-three minute bonus episode available, on "Soul Man" by Sam and Dave. 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 No Mixcloud this week, as there are too many songs by Redding, even if I split into multiple parts. The main resource I used for the biographical details of Redding was Dreams to Remember: Otis Redding, Stax Records, and the Transformation of Southern Soul by Mark Ribowsky. Ribowsky is usually a very good, reliable, writer, but in this case there are a couple of lapses in editing which make it not a book I can wholeheartedly recommend, but the research on the biographical details of Redding seems to be the best. Information about Stax comes primarily from two books: Soulsville USA: The Story of Stax by Rob Bowman, and Respect Yourself: Stax Records and the Soul Explosion by Robert Gordon. Country Soul by Charles L Hughes is a great overview of the soul music made in Muscle Shoals, Memphis, and Nashville in the sixties. There are two Original Album Series box sets which between them contain all the albums Redding released in his life plus his first few posthumous albums, for a low price. Volume 1, volume 2. Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript A quick note before I begin -- this episode ends with a description of a plane crash, which some people may find upsetting. There's also a mention of gun violence. In 2019 the film Summer of Soul came out. If you're unfamiliar with this film, it's a documentary of an event, the Harlem Cultural Festival, which gets called the "Black Woodstock" because it took place in the summer of 1969, overlapping the weekend that Woodstock happened. That event was a series of weekend free concerts in New York, performed by many of the greatest acts in Black music at that time -- people like Stevie Wonder, David Ruffin, Mahalia Jackson, B.B. King, the Staple Singers, Sly and the Family Stone, Nina Simone, and the Fifth Dimension. One thing that that film did was to throw into sharp relief a lot of the performances we've seen over the years by legends of white rock music of the same time. If you watch the film of Woodstock, or the earlier Monterey Pop festival, it's apparent that a lot of the musicians are quite sloppy. This is easy to dismiss as being a product of the situation -- they're playing outdoor venues, with no opportunity to soundcheck, using primitive PA systems, and often without monitors. Anyone would sound a bit sloppy in that situation, right? That is until you listen to the performances on the Summer of Soul soundtrack. The performers on those shows are playing in the same kind of circumstances, and in the case of Woodstock literally at the same time, so it's a fair comparison, and there really is no comparison. Whatever you think of the quality of the *music* (and some of my very favourite artists played at Monterey and Woodstock), the *musicianship* is orders of magnitude better at the Harlem Cultural Festival [Excerpt: Gladys Knight and the Pips “I Heard it Through the Grapevine (live)”] And of course there's a reason for this. Most of the people who played at those big hippie festivals had not had the same experiences as the Black musicians. The Black players were mostly veterans of the chitlin' circuit, where you had to play multiple shows a day, in front of demanding crowds who wanted their money's worth, and who wanted you to be able to play and also put on a show at the same time. When you're playing for crowds of working people who have spent a significant proportion of their money to go to the show, and on a bill with a dozen other acts who are competing for that audience's attention, you are going to get good or stop working. The guitar bands at Woodstock and Monterey, though, hadn't had the same kind of pressure. Their audiences were much more forgiving, much more willing to go with the musicians, view themselves as part of a community with them. And they had to play far fewer shows than the chitlin' circuit veterans, so they simply didn't develop the same chops before becoming famous (the best of them did after fame, of course). And so it's no surprise that while a lot of bands became more famous as a result of the Monterey Pop Festival, only three really became breakout stars in America as a direct result of it. One of those was the Who, who were already the third or fourth biggest band in the UK by that point, either just behind or just ahead of the Kinks, and so the surprise is more that it took them that long to become big in America. But the other two were themselves veterans of the chitlin' circuit. If you buy the Criterion Collection Blu-Ray of Monterey Pop, you get two extra discs along with the disc with the film of the full festival on it -- the only two performances that were thought worth turning into their own short mini-films. One of them is Jimi Hendrix's performance, and we will talk about that in a future episode. The other is titled Shake! Otis at Monterey: [Excerpt: Otis Redding, "Shake! (live at Monterey Pop Festival)"] Otis Redding came from Macon, Georgia, the home town of Little Richard, who became one of his biggest early influences, and like Richard he was torn in his early years between religion and secular music -- though in most other ways he was very different from Richard, and in particular he came from a much more supportive family. While his father, Otis senior, was a deacon in the church, and didn't approve much of blues, R&B, or jazz music or listen to it himself, he didn't prevent his son from listening to it, so young Otis grew up listening to records by Richard -- of whom he later said "If it hadn't been for Little Richard I would not be here... Richard has soul too. My present music has a lot of him in it" -- and another favourite, Clyde McPhatter: [Excerpt: Billy Ward and the Dominoes, "Have Mercy Baby"] Indeed, it's unclear exactly how much Otis senior *did* disapprove of those supposedly-sinful kinds of music. The biography I used as a source for this, and which says that Otis senior wouldn't listen to blues or jazz music at all, also quotes his son as saying that when he was a child his mother and father used to play him "a calypso song out then called 'Run Joe'" That will of course be this one: [Excerpt: Louis Jordan, "Run Joe"] I find it hard to reconcile the idea of someone who refused to listen to the blues or jazz listening to Louis Jordan, but then people are complex. Whatever Otis senior's feelings about secular music, he recognised from a very early age that his son had a special talent, and encouraged him to become a gospel singer. And at the same time he was listening to Little Richard, young Otis was also listening to gospel singers. One particular influence was a blind street singer, Reverend Pearly Brown: [Excerpt: Reverend Pearly Brown, "Ninety Nine and a Half Won't Do"] Redding was someone who cared deeply about his father's opinion, and it might well have been that he would eventually have become a gospel performer, because he started his career with a foot in both camps. What seems to have made the difference is that when he was sixteen, his father came down with tuberculosis. Even a few years earlier this would have been a terminal diagnosis, but thankfully by this point antibiotics had been invented, and the deacon eventually recovered. But it did mean that Otis junior had to become the family breadwinner while his father was sick, and so he turned decisively towards the kind of music that could make more money. He'd already started performing secular music. He'd joined a band led by Gladys Williams, who was the first female bandleader in the area. Williams sadly doesn't seem to have recorded anything -- discogs has a listing of a funk single by a Gladys Williams on a tiny label which may or may not be the same person, but in general she avoided recording studios, only wanting to play live -- but she was a very influential figure in Georgia music. According to her former trumpeter Newton Collier, who later went on to play with Redding and others, she trained both Fats Gonder and Lewis Hamlin, who went on to join the lineup of James Brown's band that made Live at the Apollo, and Collier says that Hamlin's arrangements for that album, and the way the band would segue from one track to another, were all things he'd been taught by Miss Gladys. Redding sang with Gladys Williams for a while, and she took him under her wing, trained him, and became his de facto first manager. She got him to perform at local talent shows, where he won fifteen weeks in a row, before he got banned from performing to give everyone else a chance. At all of these shows, the song he performed was one that Miss Gladys had rehearsed with him, Little Richard's "Heeby Jeebies": [Excerpt: Little Richard, "Heeby Jeebies"] At this time, Redding's repertoire was largely made up of songs by the two greats of fifties Georgia R&B -- Little Richard and James Brown -- plus some by his other idol Sam Cooke, and those singers would remain his greatest influences throughout his career. After his stint with Williams, Redding went on to join another band, Pat T Cake and the Mighty Panthers, whose guitarist Johnny Jenkins would be a major presence in his life for several years. The Mighty Panthers were soon giving Redding top billing, and advertising gigs as featuring Otis "Rockin' Robin" Redding -- presumably that was another song in his live repertoire. By this time Redding was sounding enough like Little Richard that when Richard's old backing band, The Upsetters, were looking for a new singer after Richard quit rock and roll for the ministry, they took Redding on as their vocalist for a tour. Once that tour had ended, Redding returned home to find that Johnny Jenkins had quit the Mighty Panthers and formed a new band, the Pinetoppers. Redding joined that band, who were managed by a white teenager named Phil Walden, who soon became Redding's personal manager as well. Walden and Redding developed a very strong bond, to the extent that Walden, who was studying at university, spent all his tuition money promoting Redding and almost got kicked out. When Redding found this out, he actually went round to everyone he knew and got loans from everyone until he had enough to pay for Walden's tuition -- much of it paid in coins. They had a strong enough bond that Walden would remain his manager for the rest of Redding's life, and even when Walden had to do two years in the Army in Germany, he managed Redding long-distance, with his brother looking after things at home. But of course, there wasn't much of a music industry in Georgia, and so with Walden's blessing and support, he moved to LA in 1960 to try to become a star. Just before he left, his girlfriend Zelma told him she was pregnant. He assured her that he was only going to be away for a few months, and that he would be back in time for the birth, and that he intended to come back to Georgia rich and marry her. Her response was "Sure you is". In LA, Redding met up with a local record producer, James "Jimmy Mack" McEachin, who would later go on to become an actor, appearing in several films with Clint Eastwood. McEachin produced a session for Redding at Gold Star studios, with arrangements by Rene Hall and using several of the musicians who later became the Wrecking Crew. "She's All Right", the first single that came from that session, was intended to sound as much like Jackie Wilson as possible, and was released under the name of The Shooters, the vocal group who provided the backing vocals: [Excerpt: The Shooters, "She's All Right"] "She's All Right" was released on Trans World, a small label owned by Morris Bernstein, who also owned Finer Arts records (and "She's All Right" seems to have been released on both labels). Neither of Bernstein's labels had any great success -- the biggest record they put out was a single by the Hollywood Argyles that came out after they'd stopped having hits -- and they didn't have any connection to the R&B market. Redding and McEachin couldn't find any R&B labels that wanted to pick up their recordings, and so Redding did return to Georgia and marry Zelma a few days before the birth of their son Dexter. Back in Georgia, he hooked up again with the Pinetoppers, and he and Jenkins started trying local record labels, attempting to get records put out by either of them. Redding was the first, and Otis Redding and the Pinetoppers put out a single, "Shout Bamalama", a slight reworking of a song that he'd recorded as "Gamma Lamma" for McEachin, which was obviously heavily influenced by Little Richard: [Excerpt: Otis Redding and the Pinetoppers, "Shout Bamalama"] That single was produced by a local record company owner, Bobby Smith, who signed Redding to a contract which Redding didn't read, but which turned out to be a management contract as well as a record contract. This would later be a problem, as Redding didn't have an actual contract with Phil Walden -- one thing that comes up time and again in stories about music in the Deep South at this time is people operating on handshake deals and presuming good faith on the part of each other. There was a problem with the record which nobody had foreseen though -- Redding was the first Black artist signed to Smith's label, which was called Confederate Records, and its logo was the Southern Cross. Now Smith, by all accounts, was less personally racist than most white men in Georgia at the time, and hadn't intended that as any kind of statement of white supremacy -- he'd just used a popular local symbol, without thinking through the implications. But as the phrase goes, intent isn't magic, and while Smith didn't intend it as racist, rather unsurprisingly Black DJs and record shops didn't see things in the same light. Smith was told by several DJs that they wouldn't play the record while it was on that label, and he started up a new subsidiary label, Orbit, and put the record out on that label. Redding and Smith continued collaborating, and there were plans for Redding to put out a second single on Orbit. That single was going to be "These Arms of Mine", a song Redding had originally given to another Confederate artist, a rockabilly performer called Buddy Leach (who doesn't seem to be the same Buddy Leach as the Democratic politician from Louisiana, or the saxophone player with George Thorogood and the Destroyers). Leach had recorded it as a B-side, with the slightly altered title "These Arms Are Mine". Sadly I can't provide an excerpt of that, as the record is so rare that even websites I've found by rockabilly collectors who are trying to get everything on Confederate Records haven't managed to get hold of copies. Meanwhile, Johnny Jenkins had been recording on another label, Tifco, and had put out a single called "Pinetop": [Excerpt: Johnny Jenkins and the Pinetoppers, "Pinetop"] That record had attracted the attention of Joe Galkin. Galkin was a semi-independent record promoter, who had worked for Atlantic in New York before moving back to his home town of Macon. Galkin had proved himself as a promoter by being responsible for the massive amounts of airplay given to Solomon Burke's "Just Out of Reach (of My Two Open Arms)": [Excerpt: Solomon Burke, "Just Out of Reach (of My Two Open Arms)"] After that, Jerry Wexler had given Galkin fifty dollars a week and an expense account, and Galkin would drive to all the Black radio stations in the South and pitch Atlantic's records to them. But Galkin also had his own record label, Gerald Records, and when he went to those stations and heard them playing something from a smaller label, he would quickly negotiate with that smaller label, buy the master and the artist's contract, and put the record out on Gerald Records -- and then he would sell the track and the artist on to Atlantic, taking ten percent of the record's future earnings and a finder's fee. This is what happened with Johnny Jenkins' single, which was reissued on Gerald and then on Atlantic. Galkin signed Jenkins to a contract -- another of those contracts which also made him Jenkins' manager, and indeed the manager of the Pinetops. Jenkins' record ended up selling about twenty-five thousand records, but when Galkin saw the Pinetoppers performing live, he realised that Otis Redding was the real star. Since he had a contract with Jenkins, he came to an agreement with Walden, who was still Jenkins' manager as well as Redding's -- Walden would get fifty percent of Jenkins' publishing and they would be co-managers of Jenkins. But Galkin had plans for Redding, which he didn't tell anyone about, not even Redding himself. The one person he did tell was Jerry Wexler, who he phoned up and asked for two thousand dollars, explaining that he wanted to record Jenkins' follow-up single at Stax, and he also wanted to bring along a singer he'd discovered, who sang with Jenkins' band. Wexler agreed -- Atlantic had recently started distributing Stax's records on a handshake deal of much the same kind that Redding had with Walden. As far as everyone else was concerned, though, the session was just for Johnny Jenkins, the known quantity who'd already released a single for Atlantic. Otis Redding, meanwhile, was having to work a lot of odd jobs to feed his rapidly growing family, and one of those jobs was to work as Johnny Jenkins' driver, as Jenkins didn't have a driving license. So Galkin suggested that, given that Memphis was quite a long drive, Redding should drive Galkin and Jenkins to Stax, and carry the equipment for them. Bobby Smith, who still thought of himself as Redding's manager, was eager to help his friend's bandmate with his big break (and to help Galkin, in the hope that maybe Atlantic would start distributing Confederate too), and so he lent Redding the company station wagon to drive them to the session.The other Pinetoppers wouldn't be going -- Jenkins was going to be backed by Booker T and the MGs, the normal Stax backing band. Phil Walden, though, had told Redding that he should try to take the opportunity to get himself heard by Stax, and he pestered the musicians as they recorded Jenkins' "Spunky": [Excerpt: Johnny Jenkins, "Spunky"] Cropper later remembered “During the session, Al Jackson says to me, ‘The big tall guy that was driving Johnny, he's been bugging me to death, wanting me to hear him sing,' Al said, ‘Would you take some time and get this guy off of my back and listen to him?' And I said, ‘After the session I'll try to do it,' and then I just forgot about it.” What Redding didn't know, though Walden might have, is that Galkin had planned all along to get Redding to record while he was there. Galkin claimed to be Redding's manager, and told Jim Stewart, the co-owner of Stax who acted as main engineer and supervising producer on the sessions at this point, that Wexler had only funded the session on the basis that Redding would also get a shot at recording. Stewart was unimpressed -- Jenkins' session had not gone well, and it had taken them more than two hours to get two tracks down, but Galkin offered Stewart a trade -- Galkin, as Redding's manager, would take half of Stax's mechanical royalties for the records (which wouldn't be much) but in turn would give Stewart half the publishing on Redding's songs. That was enough to make Stewart interested, but by this point Booker T. Jones had already left the studio, so Steve Cropper moved to the piano for the forty minutes that was left of the session, with Jenkins remaining on guitar, and they tried to get two sides of a single cut. The first track they cut was "Hey Hey Baby", which didn't impress Stewart much -- he simply said that the world didn't need another Little Richard -- and so with time running out they cut another track, the ballad Redding had already given to Buddy Leach. He asked Cropper, who didn't play piano well, to play "church chords", by which he meant triplets, and Cropper said "he started singing ‘These Arms of Mine' and I know my hair lifted about three inches and I couldn't believe this guy's voice": [Excerpt: Otis Redding, "These Arms of Mine"] That was more impressive, though Stewart carefully feigned disinterest. Stewart and Galkin put together a contract which signed Redding to Stax -- though they put the single out on the less-important Volt subsidiary, as they did for much of Redding's subsequent output -- and gave Galkin and Stewart fifty percent each of the publishing rights to Redding's songs. Redding signed it, not even realising he was signing a proper contract rather than just one for a single record, because he was just used to signing whatever bit of paper was put in front of him at the time. This one was slightly different though, because Redding had had his twenty-first birthday since the last time he'd signed a contract, and so Galkin assumed that that meant all his other contracts were invalid -- not realising that Redding's contract with Bobby Smith had been countersigned by Redding's mother, and so was also legal. Walden also didn't realise that, but *did* realise that Galkin representing himself as Redding's manager to Stax might be a problem, so he quickly got Redding to sign a proper contract, formalising the handshake basis they'd been operating on up to that point. Walden was at this point in the middle of his Army service, but got the signature while he was home on leave. Walden then signed a deal with Galkin, giving Walden half of Galkin's fifty percent cut of Redding's publishing in return for Galkin getting a share of Walden's management proceeds. By this point everyone was on the same page -- Otis Redding was going to be a big star, and he became everyone's prime focus. Johnny Jenkins remained signed to Walden's agency -- which quickly grew to represent almost every big soul star that wasn't signed to Motown -- but he was regarded as a footnote. His record came out eventually on Volt, almost two years later, but he didn't release another record until 1968. Jenkins did, though, go on to have some influence. In 1970 he was given the opportunity to sing lead on an album backed by Duane Allman and the members of the Muscle Shoals studio band, many of whom went on to form the Allman Brothers Band. That record contained a cover of Dr. John's "I Walk on Guilded Splinters" which was later sampled by Beck for "Loser", the Wu-Tang Clan for "Gun Will Go" and Oasis for their hit "Go Let it Out": [Excerpt: Johnny Jenkins, "I Walk on Guilded Splinters"] Jenkins would play guitar on several future Otis Redding sessions, but would hold a grudge against Redding for the rest of his life for taking the stardom he thought was rightfully his, and would be one of the few people to have anything negative to say about Redding after his early death. When Bobby Smith heard about the release of "These Arms of Mine", he was furious, as his contract with Redding *was* in fact legally valid, and he'd been intending to get Redding to record the song himself. However, he realised that Stax could call on the resources of Atlantic Records, and Joe Galkin also hinted that if he played nice Atlantic might start distributing Confederate, too. Smith signed away all his rights to Redding -- again, thinking that he was only signing away the rights to a single record and song, and not reading the contract closely enough. In this case, Smith only had one working eye, and that wasn't good enough to see clearly -- he had to hold paper right up to his face to read anything on it -- and he simply couldn't read the small print on the contract, and so signed over Otis Redding's management, record contract, and publishing, for a flat seven hundred dollars. Now everything was legally -- if perhaps not ethically -- in the clear. Phil Walden was Otis Redding's manager, Stax was his record label, Joe Galkin got a cut off the top, and Walden, Galkin, and Jim Stewart all shared Redding's publishing. Although, to make it a hit, one more thing had to happen, and one more person had to get a cut of the song: [Excerpt: Otis Redding, "These Arms of Mine"] That sound was becoming out of fashion among Black listeners at the time. It was considered passe, and even though the Stax musicians loved the record, Jim Stewart didn't, and put it out not because he believed in Otis Redding, but because he believed in Joe Galkin. As Stewart later said “The Black radio stations were getting out of that Black country sound, we put it out to appease and please Joe.” For the most part DJs ignored the record, despite Galkin pushing it -- it was released in October 1962, that month which we have already pinpointed as the start of the sixties, and came out at the same time as a couple of other Stax releases, and the one they were really pushing was Carla Thomas' "I'll Bring it Home to You", an answer record to Sam Cooke's "Bring it On Home to Me": [Excerpt: Carla Thomas, "I'll Bring it Home to You"] "These Arms of Mine" wasn't even released as the A-side -- that was "Hey Hey Baby" -- until John R came along. John R was a Nashville DJ, and in fact he was the reason that Bobby Smith even knew that Redding had signed to Stax. R had heard Buddy Leach's version of the song, and called Smith, who was a friend of his, to tell him that his record had been covered, and that was the first Smith had heard of the matter. But R also called Jim Stewart at Stax, and told him that he was promoting the wrong side, and that if they started promoting "These Arms of Mine", R would play the record on his radio show, which could be heard in twenty-eight states. And, as a gesture of thanks for this suggestion -- and definitely not as payola, which would be very illegal -- Stewart gave R his share of the publishing rights to the song, which eventually made the top twenty on the R&B charts, and slipped into the lower end of the Hot One Hundred. "These Arms of Mine" was actually recorded at a turning point for Stax as an organisation. By the time it was released, Booker T Jones had left Memphis to go to university in Indiana to study music, with his tuition being paid for by his share of the royalties for "Green Onions", which hit the charts around the same time as Redding's first session: [Excerpt: Booker T. and the MGs, "Green Onions"] Most of Stax's most important sessions were recorded at weekends -- Jim Stewart still had a day job as a bank manager at this point, and he supervised the records that were likely to be hits -- so Jones could often commute back to the studio for session work, and could play sessions during his holidays. The rest of the time, other people would cover the piano parts, often Cropper, who played piano on Redding's next sessions, with Jenkins once again on guitar. As "These Arms of Mine" didn't start to become a hit until March, Redding didn't go into the studio again until June, when he cut the follow-up, "That's What My Heart Needs", with the MGs, Jenkins, and the horn section of the Mar-Keys. That made number twenty-seven on the Cashbox R&B chart -- this was in the period when Billboard had stopped having one. The follow-up, "Pain in My Heart", was cut in September and did even better, making number eleven on the Cashbox R&B chart: [Excerpt: Otis Redding, "Pain in My Heart"] It did well enough in fact that the Rolling Stones cut a cover version of the track: [Excerpt: The Rolling Stones, "Pain in My Heart"] Though Redding didn't get the songwriting royalties -- by that point Allen Toussaint had noticed how closely it resembled a song he'd written for Irma Thomas, "Ruler of My Heart": [Excerpt: Irma Thomas, "Ruler of My Heart"] And so the writing credit was changed to be Naomi Neville, one of the pseudonyms Toussaint used. By this point Redding was getting steady work, and becoming a popular live act. He'd put together his own band, and had asked Jenkins to join, but Jenkins didn't want to play second fiddle to him, and refused, and soon stopped being invited to the recording sessions as well. Indeed, Redding was *eager* to get as many of his old friends working with him as he could. For his second and third sessions, as well as bringing Jenkins, he'd brought along a whole gang of musicians from his touring show, and persuaded Stax to put out records by them, too. At those sessions, as well as Redding's singles, they also cut records by his valet (which was the term R&B performers in those years used for what we'd now call a gofer or roadie) Oscar Mack: [Excerpt: Oscar Mack, "Don't Be Afraid of Love"] For Eddie Kirkland, the guitarist in his touring band, who had previously played with John Lee Hooker and whose single was released under the name "Eddie Kirk": [Excerpt: Eddie Kirk, "The Hawg, Part 1"] And Bobby Marchan, a singer and female impersonator from New Orleans who had had some massive hits a few years earlier both on his own and as the singer with Huey "Piano" Smith and the Clowns, but had ended up in Macon without a record deal and been taken under Redding's wing: [Excerpt: Bobby Marchan, "What Can I Do?"] Redding would continue, throughout his life, to be someone who tried to build musical careers for his friends, though none of those singles was successful. The changes in Stax continued. In late autumn 1963, Atlantic got worried by the lack of new product coming from Stax. Carla Thomas had had a couple of R&B hits, and they were expecting a new single, but every time Jerry Wexler phoned Stax asking where the new single was, he was told it would be coming soon but the equipment was broken. After a couple of weeks of this, Wexler decided something fishy was going on, and sent Tom Dowd, his genius engineer, down to Stax to investigate. Dowd found when he got there that the equipment *was* broken, and had been for weeks, and was a simple fix. When Dowd spoke to Stewart, though, he discovered that they didn't know where to source replacement parts from. Dowd phoned his assistant in New York, and told him to go to the electronics shop and get the parts he needed. Then, as there were no next-day courier services at that time, Dowd's assistant went to the airport, found a flight attendant who was flying to Memphis, and gave her the parts and twenty-five dollars, with a promise of twenty-five more if she gave them to Dowd at the other end. The next morning, Dowd had the equipment fixed, and everyone involved became convinced that Dowd was a miracle worker, especially after he showed Steve Cropper some rudimentary tape-manipulation techniques that Cropper had never encountered before. Dowd had to wait around in Memphis for his flight, so he went to play golf with the musicians for a bit, and then they thought they might as well pop back to the studio and test the equipment out. When they did, Rufus Thomas -- Carla Thomas' father, who had also had a number of hits himself on Stax and Sun -- popped his head round the door to see if the equipment was working now. They told him it was, and he said he had a song if they were up for a spot of recording. They were, and so when Dowd flew back that night, he was able to tell Wexler not only that the next Carla Thomas single would soon be on its way, but that he had the tapes of a big hit single with him right there: [Excerpt: Rufus Thomas, "Walking the Dog"] "Walking the Dog" was a sensation. Jim Stewart later said “I remember our first order out of Chicago. I was in New York in Jerry Wexler's office at the time and Paul Glass, who was our distributor in Chicago, called in an order for sixty-five thousand records. I said to Jerry, ‘Do you mean sixty-five hundred?' And he said, ‘Hell no, he wants sixty-five thousand.' That was the first order! He believed in the record so much that we ended up selling about two hundred thousand in Chicago alone.” The record made the top ten on the pop charts, but that wasn't the biggest thing that Dowd had taken away from the session. He came back raving to Wexler about the way they made records in Memphis, and how different it was from the New York way. In New York, there was a strict separation between the people in the control room and the musicians in the studio, the musicians were playing from written charts, and everyone had a job and did just that job. In Memphis, the musicians were making up the arrangements as they went, and everyone was producing or engineering all at the same time. Dowd, as someone with more technical ability than anyone at Stax, and who was also a trained musician who could make musical suggestions, was soon regularly commuting down to Memphis to be part of the production team, and Jerry Wexler was soon going down to record with other Atlantic artists there, as we heard about in the episode on "Midnight Hour". Shortly after Dowd's first visit to Memphis, another key member of the Stax team entered the picture. Right at the end of 1963, Floyd Newman recorded a track called "Frog Stomp", on which he used his own band rather than the MGs and Mar-Keys: [Excerpt: Floyd Newman, "Frog Stomp"] The piano player and co-writer on that track was a young man named Isaac Hayes, who had been trying to get work at Stax for some time. He'd started out as a singer, and had made a record, "Laura, We're On Our Last Go-Round", at American Sound, the studio run by the former Stax engineer and musician Chips Moman: [Excerpt: Isaac Hayes, "Laura, We're On Our Last Go-Round"] But that hadn't been a success, and Hayes had continued working a day job at a slaughterhouse -- and would continue doing so for much of the next few years, even after he started working at Stax (it's truly amazing how many of the people involved in Stax were making music as what we would now call a side-hustle). Hayes had become a piano player as a way of getting a little extra money -- he'd been offered a job as a fill-in when someone else had pulled out at the last minute on a gig on New Year's Eve, and took it even though he couldn't actually play piano, and spent his first show desperately vamping with two fingers, and was just lucky the audience was too drunk to care. But he had a remarkable facility for the instrument, and while unlike Booker T Jones he would never gain a great deal of technical knowledge, and was embarrassed for the rest of his life by both his playing ability and his lack of theory knowledge, he was as great as they come at soul, at playing with feel, and at inventing new harmonies on the fly. They still didn't have a musician at Stax that could replace Booker T, who was still off at university, so Isaac Hayes was taken on as a second session keyboard player, to cover for Jones when Jones was in Indiana -- though Hayes himself also had to work his own sessions around his dayjob, so didn't end up playing on "In the Midnight Hour", for example, because he was at the slaughterhouse. The first recording session that Hayes played on as a session player was an Otis Redding single, either his fourth single for Stax, "Come to Me", or his fifth, "Security": [Excerpt: Otis Redding, "Security"] "Security" is usually pointed to by fans as the point at which Redding really comes into his own, and started directing the musicians more. There's a distinct difference, in particular, in the interplay between Cropper's guitar, the Mar-Keys' horns, and Redding's voice. Where previously the horns had tended to play mostly pads, just holding chords under Redding's voice, now they were starting to do answering phrases. Jim Stewart always said that the only reason Stax used a horn section at all was because he'd been unable to find a decent group of backing vocalists, and the function the horns played on most of the early Stax recordings was somewhat similar to the one that the Jordanaires had played for Elvis, or the Picks for Buddy Holly, basically doing "oooh" sounds to fatten out the sound, plus the odd sax solo or simple riff. The way Redding used the horns, though, was more like the way Ray Charles used the Raelettes, or the interplay of a doo-wop vocal group, with call and response, interjections, and asides. He also did something in "Security" that would become a hallmark of records made at Stax -- instead of a solo, the instrumental break is played by the horns as an ensemble: [Excerpt: Otis Redding, "Security"] According to Wayne Jackson, the Mar-Keys' trumpeter, Redding was the one who had the idea of doing these horn ensemble sections, and the musicians liked them enough that they continued doing them on all the future sessions, no matter who with. The last Stax single of 1964 took the "Security" sound and refined it, and became the template for every big Stax hit to follow. "Mr. Pitiful" was the first collaboration between Redding and Steve Cropper, and was primarily Cropper's idea. Cropper later remembered “There was a disc jockey here named Moohah. He started calling Otis ‘Mr. Pitiful' 'cause he sounded so pitiful singing his ballads. So I said, ‘Great idea for a song!' I got the idea for writing about it in the shower. I was on my way down to pick up Otis. I got down there and I was humming it in the car. I said, ‘Hey, what do you think about this?' We just wrote the song on the way to the studio, just slapping our hands on our legs. We wrote it in about ten minutes, went in, showed it to the guys, he hummed a horn line, boom—we had it. When Jim Stewart walked in we had it all worked up. Two or three cuts later, there it was.” [Excerpt: Otis Redding, "Mr. Pitiful"] Cropper would often note later that Redding would never write about himself, but that Cropper would put details of Redding's life and persona into the songs, from "Mr. Pitiful" right up to their final collaboration, in which Cropper came up with lines about leaving home in Georgia. "Mr Pitiful" went to number ten on the R&B chart and peaked at number forty-one on the hot one hundred, and its B-side, "That's How Strong My Love Is", also made the R&B top twenty. Cropper and Redding soon settled into a fruitful writing partnership, to the extent that Cropper even kept a guitar permanently tuned to an open chord so that Redding could use it. Redding couldn't play the guitar, but liked to use one as a songwriting tool. When a guitar is tuned in standard tuning, you have to be able to make chord shapes to play it, because the sound of the open strings is a discord: [demonstrates] But you can tune a guitar so all the strings are the notes of a single chord, so they sound good together even when you don't make a chord shape: [demonstrates open-E tuning] With one of these open tunings, you can play chords with just a single finger barring a fret, and so they're very popular with, for example, slide guitarists who use a metal slide to play, or someone like Dolly Parton who has such long fingernails it's difficult to form chord shapes. Someone like Parton is of course an accomplished player, but open tunings also mean that someone who can't play well can just put their finger down on a fret and have it be a chord, so you can write songs just by running one finger up and down the fretboard: [demonstrates] So Redding could write, and even play acoustic rhythm guitar on some songs, which he did quite a lot in later years, without ever learning how to make chords. Now, there's a downside to this -- which is why standard tuning is still standard. If you tune to an open major chord, you can play major chords easily but minor chords become far more difficult. Handily, that wasn't a problem at Stax, because according to Isaac Hayes, Jim Stewart banned minor chords from being played at Stax. Hayes said “We'd play a chord in a session, and Jim would say, ‘I don't want to hear that chord.' Jim's ears were just tuned into one, four, and five. I mean, just simple changes. He said they were the breadwinners. He didn't like minor chords. Marvell and I always would try to put that pretty stuff in there. Jim didn't like that. We'd bump heads about that stuff. Me and Marvell fought all the time that. Booker wanted change as well. As time progressed, I was able to sneak a few in.” Of course, minor chords weren't *completely* banned from Stax, and some did sneak through, but even ballads would often have only major chords -- like Redding's next single, "I've Been Loving You Too Long". That track had its origins with Jerry Butler, the singer who had been lead vocalist of the Impressions before starting a solo career and having success with tracks like "For Your Precious Love": [Excerpt: Jerry Butler, "For Your Precious Love"] Redding liked that song, and covered it himself on his second album, and he had become friendly with Butler. Butler had half-written a song, and played it for Redding, who told him he'd like to fiddle with it, see what he could do. Butler forgot about the conversation, until he got a phone call from Redding, telling him that he'd recorded the song. Butler was confused, and also a little upset -- he'd been planning to finish the song himself, and record it. But then Redding played him the track, and Butler decided that doing so would be pointless -- it was Redding's song now: [Excerpt: Otis Redding, "I've Been Loving You Too Long"] "I've Been Loving You Too Long" became Redding's first really big hit, making number two on the R&B chart and twenty-one on the Hot One Hundred. It was soon being covered by the Rolling Stones and Ike & Tina Turner, and while Redding was still not really known to the white pop market, he was quickly becoming one of the biggest stars on the R&B scene. His record sales were still not matching his live performances -- he would always make far more money from appearances than from records -- but he was by now the performer that every other soul singer wanted to copy. "I've Been Loving You Too Long" came out just after Redding's second album, The Great Otis Redding Sings Soul Ballads, which happened to be the first album released on Volt Records. Before that, while Stax and Volt had released the singles, they'd licensed all the album tracks to Atlantic's Atco subsidiary, which had released the small number of albums put out by Stax artists. But times were changing and the LP market was becoming bigger. And more importantly, the *stereo* LP market was becoming bigger. Singles were still only released in mono, and would be for the next few years, but the album market had a substantial number of audiophiles, and they wanted stereo. This was a problem for Stax, because they only had a mono tape recorder, and they were scared of changing anything about their setup in case it destroyed their sound. Tom Dowd, who had been recording in eight track for years, was appalled by the technical limitations at the McLemore Ave studio, but eventually managed to get Jim Stewart, who despite -- or possibly because of -- being a white country musician was the most concerned that they keep their Black soul sound, to agree to a compromise. They would keep everything hooked up exactly the same -- the same primitive mixers, the same mono tape recorder -- and Stax would continue doing their mixes for mono, and all their singles would come directly off that mono tape. But at the same time, they would *also* have a two-track tape recorder plugged in to the mixer, with half the channels going on one track and half on the other. So while they were making the mix, they'd *also* be getting a stereo dump of that mix. The limitations of the situation meant that they might end up with drums and vocals in one channel and everything else in the other -- although as the musicians cut everything together in the studio, which had a lot of natural echo, leakage meant there was a *bit* of everything on every track -- but it would still be stereo. Redding's next album, Otis Blue, was recorded on this new equipment, with Dowd travelling down from New York to operate it. Dowd was so keen on making the album stereo that during that session, they rerecorded Redding's two most recent singles, "I've Been Loving You Too Long" and "Respect" (which hadn't yet come out but was in the process of being released) in soundalike versions so there would be stereo versions of the songs on the album -- so the stereo and mono versions of Otis Blue actually have different performances of those songs on them. It shows how intense the work rate was at Stax -- and how good they were at their jobs -- that apart from the opening track "Ole Man Trouble", which had already been recorded as a B-side, all of Otis Blue, which is often considered the greatest soul album in history, was recorded in a twenty-eight hour period, and it would have been shorter but there was a four-hour break in the middle, from 10PM to 2AM, so that the musicians on the session could play their regular local club gigs. And then after the album was finished, Otis left the session to perform a gig that evening. Tom Dowd, in particular, was astonished by the way Redding took charge in the studio, and how even though he had no technical musical knowledge, he would direct the musicians. Dowd called Redding a genius and told Phil Walden that the only two other artists he'd worked with who had as much ability in the studio were Bobby Darin and Ray Charles. Other than those singles and "Ole Man Trouble", Otis Blue was made up entirely of cover versions. There were three versions of songs by Sam Cooke, who had died just a few months earlier, and whose death had hit Redding hard -- for all that he styled himself on Little Richard vocally, he was also in awe of Cooke as a singer and stage presence. There were also covers of songs by The Temptations, William Bell, and B.B. King. And there was also an odd choice -- Steve Cropper suggested that Redding cut a cover of a song by a white band that was in the charts at the time: [Excerpt: The Rolling Stones, "(I Can't Get No) Satisfaction"] Redding had never heard the song before -- he was not paying attention to the white pop scene at the time, just to his competition on the R&B charts -- but he was interested in doing it. Cropper sat by the turntable, scribbling down what he thought the lyrics Jagger was singing were, and they cut the track. Redding starts out more or less singing the right words: [Excerpt: Otis Redding, "(I Can't Get No) Satisfaction"] But quickly ends up just ad-libbing random exclamations in the same way that he would in many of his live performances: [Excerpt: Otis Redding, "(I Can't Get No) Satisfaction"] Otis Blue made number one on the R&B album chart, and also made number six on the UK album chart -- Redding, like many soul artists, was far more popular in the UK than in the US. It only made number seventy-five on the pop album charts in the US, but it did a remarkable thing as far as Stax was concerned -- it *stayed* in the lower reaches of the charts, and on the R&B album charts, for a long time. Redding had become what is known as a "catalogue artist", something that was almost unknown in rock and soul music at this time, but which was just starting to appear. Up to 1965, the interlinked genres that we now think of as rock and roll, rock, pop, blues, R&B, and soul, had all operated on the basis that singles were where the money was, and that singles should be treated like periodicals -- they go on the shelves, stay there for a few weeks, get replaced by the new thing, and nobody's interested any more. This had contributed to the explosive rate of change in pop music between about 1954 and 1968. You'd package old singles up into albums, and stick some filler tracks on there as a way of making a tiny bit of money from tracks which weren't good enough to release as singles, but that was just squeezing the last few drops of juice out of the orange, it wasn't really where the money was. The only exceptions were those artists like Ray Charles who crossed over into the jazz and adult pop markets. But in general, your record sales in the first few weeks and months *were* your record sales. But by the mid-sixties, as album sales started to take off more, things started to change. And Otis Redding was one of the first artists to really benefit from that. He wasn't having huge hit singles, and his albums weren't making the pop top forty, but they *kept selling*. Redding wouldn't have an album make the top forty in his lifetime, but they sold consistently, and everything from Otis Blue onward sold two hundred thousand or so copies -- a massive number in the much smaller album market of the time. These sales gave Redding some leverage. His contract with Stax was coming to an end in a few months, and he was getting offers from other companies. As part of his contract renegotiation, he got Jim Stewart -- who like so many people in this story including Redding himself liked to operate on handshake deals and assumptions of good faith on the part of everyone else, and who prided himself on being totally fair and not driving hard bargains -- to rework his publishing deal. Now Redding's music was going to be published by Redwal Music -- named after Redding and Phil Walden -- which was owned as a four-way split between Redding, Walden, Stewart, and Joe Galkin. Redding also got the right as part of his contract negotiations to record other artists using Stax's facilities and musicians. He set up his own label, Jotis Records -- a portmanteau of Joe and Otis, for Joe Galkin and himself, and put out records by Arthur Conley: [Excerpt: Arthur Conley, "Who's Fooling Who?"] Loretta Williams [Excerpt: Loretta Williams, "I'm Missing You"] and Billy Young [Excerpt: Billy Young, "The Sloopy"] None of these was a success, but it was another example of how Redding was trying to use his success to boost others. There were other changes going on at Stax as well. The company was becoming more tightly integrated with Atlantic Records -- Tom Dowd had started engineering more sessions, Jerry Wexler was turning up all the time, and they were starting to make records for Atlantic, as we discussed in the episode on "In the Midnight Hour". Atlantic were also loaning Stax Sam and Dave, who were contracted to Atlantic but treated as Stax artists, and whose hits were written by the new Stax songwriting team of Isaac Hayes and David Porter: [Excerpt: Sam and Dave, "Soul Man"] Redding was not hugely impressed by Sam and Dave, once saying in an interview "When I first heard the Righteous Brothers, I thought they were colored. I think they sing better than Sam and Dave", but they were having more and bigger chart hits than him, though they didn't have the same level of album sales. Also, by now Booker T and the MGs had a new bass player. Donald "Duck" Dunn had always been the "other" bass player at Stax, ever since he'd started with the Mar-Keys, and he'd played on many of Redding's recordings, as had Lewie Steinberg, the original bass player with the MGs. But in early 1965, the Stax studio musicians had cut a record originally intending it to be a Mar-Keys record, but decided to put it out as by Booker T and the MGs, even though Booker T wasn't there at the time -- Isaac Hayes played keyboards on the track: [Excerpt: Booker T and the MGs, "Boot-Leg"] Booker T Jones would always have a place at Stax, and would soon be back full time as he finished his degree, but from that point on Duck Dunn, not Lewie Steinberg, was the bass player for the MGs. Another change in 1965 was that Stax got serious about promotion. Up to this point, they'd just relied on Atlantic to promote their records, but obviously Atlantic put more effort into promoting records on which it made all the money than ones it just distributed. But as part of the deal to make records with Sam and Dave and Wilson Pickett, Atlantic had finally put their arrangement with Stax on a contractual footing, rather than their previous handshake deal, and they'd agreed to pay half the salary of a publicity person for Stax. Stax brought in Al Bell, who made a huge impression. Bell had been a DJ in Memphis, who had gone off to work with Martin Luther King for a while, before leaving after a year because, as he put it "I was not about passive resistance. I was about economic development, economic empowerment.” He'd returned to DJing, first in Memphis, then in Washington DC, where he'd been one of the biggest boosters of Stax records in the area. While he was in Washington, he'd also started making records himself. He'd produced several singles for Grover Mitchell on Decca: [Excerpt: Grover Mitchell, "Midnight Tears"] Those records were supervised by Milt Gabler, the same Milt Gabler who produced Louis Jordan's records and "Rock Around the Clock", and Bell co-produced them with Eddie Floyd, who wrote that song, and Chester Simmons, formerly of the Moonglows, and the three of them started their own label, Safice, which had put out a few records by Floyd and others, on the same kind of deal with Atlantic that Stax had: [Excerpt: Eddie Floyd, "Make Up Your Mind"] Floyd would himself soon become a staff songwriter at Stax. As with almost every decision at Stax, the decision to hire Bell was a cause of disagreement between Jim Stewart and his sister Estelle Axton, the "Ax" in Stax, who wasn't as involved in the day-to-day studio operations as her brother, but who was often regarded by the musicians as at least as important to the spirit of the label, and who tended to disagree with her brother on pretty much everything. Stewart didn't want to hire Bell, but according to Cropper “Estelle and I said, ‘Hey, we need somebody that can liaison between the disc jockeys and he's the man to do it. Atlantic's going into a radio station with six Atlantic records and one Stax record. We're not getting our due.' We knew that. We needed more promotion and he had all the pull with all those disc jockeys. He knew E. Rodney Jones and all the big cats, the Montagues and so on. He knew every one of them.” Many people at Stax will say that the label didn't even really start until Bell joined -- and he became so important to the label that he would eventually take it over from Stewart and Axton. Bell came in every day and immediately started phoning DJs, all day every day, starting in the morning with the drivetime East Coast DJs, and working his way across the US, ending up at midnight phoning the evening DJs in California. Booker T Jones said of him “He had energy like Otis Redding, except he wasn't a singer. He had the same type of energy. He'd come in the room, pull up his shoulders and that energy would start. He would start talking about the music business or what was going on and he energized everywhere he was. He was our Otis for promotion. It was the same type of energy charisma.” Meanwhile, of course, Redding was constantly releasing singles. Two more singles were released from Otis Blue -- his versions of "My Girl" and "Satisfaction", and he also released "I Can't Turn You Loose", which was originally the B-side to "Just One More Day" but ended up charting higher than its original A-side. It's around this time that Redding did something which seems completely out of character, but which really must be mentioned given that with very few exceptions everyone in his life talks about him as some kind of saint. One of Redding's friends was beaten up, and Redding, the friend, and another friend drove to the assailant's house and started shooting through the windows, starting a gun battle in which Redding got grazed. His friend got convicted of attempted murder, and got two years' probation, while Redding himself didn't face any criminal charges but did get sued by the victims, and settled out of court for a few hundred dollars. By this point Redding was becoming hugely rich from his concert appearances and album sales, but he still hadn't had a top twenty pop hit. He needed to break the white market. And so in April 1966, Redding went to LA, to play the Sunset Strip: [Excerpt: Otis Redding, "Respect (live at the Whisky A-Go-Go)"] Redding's performance at the Whisky A-Go-Go, a venue which otherwise hosted bands like the Doors, the Byrds, the Mothers of Invention, and Love, was his first real interaction with the white rock scene, part of a process that had started with his recording of "Satisfaction". The three-day residency got rave reviews, though the plans to release a live album of the shows were scuppered when Jim Stewart listened back to the tapes and decided that Redding's horn players were often out of tune. But almost everyone on the LA scene came out to see the shows, and Redding blew them away. According to one biography of Redding I used, it was seeing how Redding tuned his guitar that inspired the guitarist from the support band, the Rising Sons, to start playing in the same tuning -- though I can't believe for a moment that Ry Cooder, one of the greatest slide guitarists of his generation, didn't already know about open tunings. But Redding definitely impressed that band -- Taj Mahal, their lead singer, later said it was "one of the most amazing performances I'd ever seen". Also at the gigs was Bob Dylan, who played Redding a song he'd just recorded but not yet released: [Excerpt: Bob Dylan, "Just Like a Woman"] Redding agreed that the song sounded perfect for him, and said he would record it. He apparently made some attempts at rehearsing it at least, but never ended up recording it. He thought the first verse and chorus were great, but had problems with the second verse: [Excerpt: Bob Dylan, "Just Like a Woman"] Those lyrics were just too abstract for him to find a way to connect with them emotionally, and as a result he found himself completely unable to sing them. But like his recording of "Satisfaction", this was another clue to him that he should start paying more attention to what was going on in the white music industry, and that there might be things he could incorporate into his own style. As a result of the LA gigs, Bill Graham booked Redding for the Fillmore in San Francisco. Redding was at first cautious, thinking this might be a step too far, and that he wouldn't go down well with the hippie crowd, but Graham persuaded him, saying that whenever he asked any of the people who the San Francisco crowds most loved -- Jerry Garcia or Paul Butterfield or Mike Bloomfield -- who *they* most wanted to see play there, they all said Otis Redding. Redding reluctantly agreed, but before he took a trip to San Francisco, there was somewhere even further out for him to go. Redding was about to head to England but before he did there was another album to make, and this one would see even more of a push for the white market, though still trying to keep everything soulful. As well as Redding originals, including "Fa-Fa-Fa-Fa (Sad Song)", another song in the mould of "Mr. Pitiful", there was another cover of a contemporary hit by a guitar band -- this time a version of the Beatles' "Day Tripper" -- and two covers of old standards; the country song "Tennessee Waltz", which had recently been covered by Sam Cooke, and a song made famous by Bing Crosby, "Try a Little Tenderness". That song almost certainly came to mind because it had recently been used in the film Dr. Strangelove, but it had also been covered relatively recently by two soul greats, Aretha Franklin: [Excerpt: Aretha Franklin, "Try a Little Tenderness"] And Sam Cooke: [Excerpt: Sam Cooke, "Live Medley: I Love You For Sentimental Reasons/Try a Little Tenderness/You Send Me"] This version had horn parts arranged by Isaac Hayes, who by this point had been elevated to be considered one of the "Big Six" at Stax records -- Hayes, his songwriting partner David Porter, Steve Cropper, Duck Dunn, Booker T. Jones, and Al Jackson, were all given special status at the company, and treated as co-producers on every record -- all the records were now credited as produced by "staff", but it was the Big Six who split the royalties. Hayes came up with a horn part that was inspired by Sam Cooke's "A Change is Gonna Come", and which dominated the early part of the track: [Excerpt: Otis Redding, "Try a Little Tenderness"] Then the band came in, slowly at first: [Excerpt: Otis Redding, "Try a Little Tenderness"] But Al Jackson surprised them when they ran through the track by deciding that after the main song had been played, he'd kick the track into double-time, and give Redding a chance to stretch out and do his trademark grunts and "got-ta"s. The single version faded out shortly after that, but the version on the album kept going for an extra thirty seconds: [Excerpt: Otis Redding, "Try a Little Tenderness"] As Booker T. Jones said “Al came up with the idea of breaking up the rhythm, and Otis just took that and ran with it. He really got excited once he found out what Al was going to do on the drums. He realized how he could finish the song. That he could start it like a ballad and finish it full of emotion. That's how a lot of our arrangements would come together. Somebody would come up with something totally outrageous.” And it would have lasted longer but Jim Stewart pushed the faders down, realising the track was an uncommercial length even as it was. Live, the track could often stretch out to seven minutes or longer, as Redding drove the crowd into a frenzy, and it soon became one of the highlights of his live set, and a signature song for him: [Excerpt: Otis Redding, "Try a Little Tenderness (live in London)"] In September 1966, Redding went on his first tour outside the US. His records had all done much better in the UK than they had in America, and they were huge favourites of everyone on the Mod scene, and when he arrived in the UK he had a limo sent by Brian Epstein to meet him at the airport. The tour was an odd one, with multiple London shows, shows in a couple of big cities like Manchester and Bristol, and shows in smallish towns in Hampshire and Lincolnshire. Apparently the shows outside London weren't particularly well attended, but the London shows were all packed to overflowing. Redding also got his own episode of Ready! Steady! Go!, on which he performed solo as well as with guest stars Eric Burdon and Chris Farlowe: [Excerpt: Otis Redding, Chris Farlowe and Eric Burdon, "Shake/Land of a Thousand Dances"] After the UK tour, he went on a short tour of the Eastern US with Sam and Dave as his support act, and then headed west to the Fillmore for his three day residency there, introducing him to the San Francisco music scene. His first night at the venue was supported by the Grateful Dead, the second by Johnny Talbot and De Thangs and the third by Country Joe and the Fish, but there was no question that it was Otis Redding that everyone was coming to see. Janis Joplin turned up at the Fillmore every day at 3PM, to make sure she could be right at the front for Redding's shows that night, and Bill Graham said, decades later, "By far, Otis Redding was the single most extraordinary talent I had ever seen. There was no comparison. Then or now." However, after the Fillmore gigs, for the first time ever he started missing shows. The Sentinel, a Black newspaper in LA, reported a few days later "Otis Redding, the rock singer, failed to make many friends here the other day when he was slated to appear on the Christmas Eve show[...] Failed to draw well, and Redding reportedly would not go on." The Sentinel seem to think that Redding was just being a diva, but it's likely that this was the first sign of a problem that would change everything about his career -- he was developing vocal polyps that were making singing painful. It's notable though that the Sentinel refers to Redding as a "rock" singer, and shows again how different genres appeared in the mid-sixties to how they appear today. In that light, it's interesting to look at a quote from Redding from a few months later -- "Everybody thinks that all songs by colored people are rhythm and blues, but that's not true. Johnny Taylor, Muddy Waters, and B.B. King are blues singers. James Brown is not a blues singer. He has a rock and roll beat and he can sing slow pop songs. My own songs "Respect" and "Mr Pitiful" aren't blues songs. I'm speaking in terms of the beat and structure of the music. A blues is a song that goes twelve bars all the way through. Most of my songs are soul songs." So in Redding's eyes, neither he nor James Brown were R&B -- he was soul, which was a different thing from R&B, while Brown was rock and roll and pop, not soul, but journalists thought that Redding was rock. But while the lines between these things were far less distinct than they are today, and Redding was trying to cross over to the white audience, he knew what genre he was in, and celebrated that in a song he wrote with his friend Art

In the United States, over 42% of people struggle with obesity and the majority are African-Americans. But with proper knowledge of the chronic disease, any individual–health practitioner or not–can advocate for nutrition and health! In this episode, Dr. Marissa Toussaint, the founder of Anise Medical PLLC, shares how you can have a deeper understanding of obesity, the stigmas surrounding the chronic disease, and the processes of evidence-based treatments to fight obesity. She also discusses reducing health and food disparities in your local community to spread obesity awareness. Tune in now to learn more about obesity and health disparities with Dr. Marissa today Highlights Dr. Marissa's journey to obesity medicine and awareness Understanding obesity as a chronic disease Is your environment prone to obesity?  Why scarcity in health and nutrition prevents a healthy lifestyle Evidence-based approaches to treating obesity  What is health disparity?  Stigmas surrounding obesity and weight loss The lack of obesity awareness among health providers   Reaching out to your community to reduce obesity    Connect with Dr. Toussaint:  Anise Medical Website | www.anisemedical.com Anise Medical Blog | www.anisemedical.com/blog Anise Medical Facebook | Anise Medical PLLC Anise Medical | @anisemedical Book a consultation about primary care and weight loss with Dr. Toussaint today!  Harvard Implicit Bias | implicit.harvard.edu/implicit/takeatest.html   About Marissa Toussaint  Marissa Toussaint MD, MPH, FAAFP, is certified in Culinary Medicine and Obesity Medicine. She has over 15 years of clinical experience as a physician and a champion for women's health and lifestyle medicine.  Dr. Toussaint is committed to the improvement of health outcomes and the elimination of health disparities, especially in underrepresented communities. She helps patients lose weight and improve chronic obesity-related diseases such as type 2 diabetes and hypertension. She teaches patients to embrace their culture while achieving their personal health goals.  Dr. Toussaint is the owner of the practice, Anise Medical PLLC, and is based in Brooklyn, NY.   Resources: FREE! Discover the 5 Reasons Your Weight-Loss Journey Has Gotten Derailed (And How To Get Back On Track!)

Stéphane Bern, entouré de ses chroniqueurs historiquement drôles et parfaitement informés, s'amuse avec l'Histoire – la grande, la petite, la moyenne… - et retrace les destins extraordinaires de personnalités qui n'auraient jamais pu se croiser, pour deux heures où le savoir et l'humour avancent main dans la main. Aujourd'hui, Jeanne Toussaint.

Black Lives Matter co-founder Patrisse Cullors' cousin Keenan Anderson is tased and dies while in Los Angeles Police Department. GNTLE Founder Leda Toussaint talks maintaining healthy feminine care and her feminine products. Check out Toussaint's full interview on our We Talk Weeky YouTube page.

Food is crucial for everyone's health, but it may be expensive to eat healthy at times, so finding methods to save money on food is the best option for some people.   In this episode, Marissa Toussaint, a certified Culinary Medicine practitioner and diplomate of Obesity Medicine, debunks fallacies about eating healthy meals, such as the cost of eating healthy foods, cultural cuisines, and not having enough time to prepare. She also mentioned solutions for folks to acquire nutritious food, such as subscriptions, tactics, and specific diets. This episode will teach you about culinary medicine and the benefits it may provide to your eating habits and desire for a healthy lifestyle.  Are you wondering how you will maintain healthy eating habits? Listen to this episode and learn how you can apply culinary medicine in your weight loss journey! Episode Highlights: Myths that surround trying to eat healthy. Cultural foods Meal Subscriptions Strategies she gave her patients to get started and to maintain that momentum Particular diet that she follows or is it based on the individual person's preferences.   Connect with Dr. Toussaint:  Anise Medical Website | www.anisemedical.com Anise Medical Blog | www.anisemedical.com/blog Anise Medical Facebook | Anise Medical PLLC Anise Medical | @anisemedical Book a consultation about primary care and weight loss with Dr. Toussaint today!  Harvard Implicit Bias | implicit.harvard.edu/implicit/takeatest.html   About Marissa Toussaint  Marissa Toussaint MD, MPH, FAAFP, is certified in Culinary Medicine and Obesity Medicine. She has over 15 years of clinical experience as a physician and a champion for women's health and lifestyle medicine.  Dr. Toussaint is committed to the improvement of health outcomes and the elimination of health disparities, especially in underrepresented communities. She helps patients lose weight and improve chronic obesity-related diseases such as type 2 diabetes and hypertension. She teaches patients to embrace their culture while achieving their personal health goals.  Dr. Toussaint is the owner of the practice, Anise Medical PLLC, and is based in Brooklyn, NY.   FREE Resource: Discover the 5 Reasons Your Weight-Loss Journey Has Gotten Derailed (And How To Get Back On Track!)

*DISCUSSION TOPICS*- DANIELLE GOT A ROWER!!! - Tonal looking for a buyer??? Thoughts? Will they survive?- Alex Breanne Corporation Update!- BHM Event with Tunde and Dr. Ibram X. Kendi!!! Who listened? How was it?- Why have we not heard about Homecoming???- Daniel McKenna's Event! Who went? How was it?- Two-for-One run with Alex and Marcel!- Two-for-One run with Leanne and Cody!- Class assignment updates!- Ally Love hosting "Dance 100" on Netflix!- Alex Toussaint in the NBA celebrity All-Star game!- Lifetime original movie, "Spinning Out of Control!" Anyone watch?

In celebration of Black History Month, we are honored to share with you the full NAMM Oral History interview of multitalented songwriter and musician Allen Toussaint. Mr. Toussaint (1938-2015) penned such classic hits as “Southern Nights” and “Lipstick Traces” and spent decades in music studios as a musician, arranger, musical director, and producer for some of the greatest songs of his era. Please join us as we uncover some rare facts and personal insights into a true musical legend.

Danny from the US and Lucie from London join Alyssa for our discussion of Netflix's The Witcher: Blood Origin Episode 104 "Of Mages, Malice, and Monstrous Mayhem". Very important bits include: the thesis of ‘Blood Origin', the public reception to the show, how Ithlinne's prophecy has come to pass, how ‘Blood Origin' expands the Witcher Universe, and the limited series' impact on our bridge characters, Jaskier and Avallac'h. [00:00] Cold Open [00:44] Introduction [00:56] Doug Cockle and Peter Kenny are coming to the podcast! [05:00] Guest Introductions [17:02] Episode Highlights & Lowlights [31:19] ‘Tidings from Toussaint', Mid-Episode News Segment [36:48] How has Ithlinne's prophecy come to pass? [40:46] What is the thesis of ‘Blood Origin'? [45:46] How do ‘Blood Origin''s elves differ from contemporary humans? [57:19] Can ‘Blood Origin' stand on its own? [01:01:47] How does ‘Blood Origin' expand the Witcher Universe? [01:07:17] How might this affect Jaskier in Season 3? [01:10:22] What are the implications of Avallac'h's mid-credits scene? [01:18:49] Closing Thoughts [01:21:15] Outro & Credits The full episode transcript, show notes, merchandise store, and access to our social platforms are available at breakfastinbeauclair.com.

One of our favorite people is back on the show! This episode we play "WE ARE NOT REALLY STRANGERS" like the trendy bois we are. Please visit www.wearetoussaint.com Watch our latest short film @ https://www.youtube.com/watch?v=eh506Uc_mOM&t=614s Have any questions or want to vent something? Leave an anonymous message on our new website @ www.youareherepodcast.net Join Anytown Actors Lab @ www.anytownactorslab.com CATCH OUR TWITCH STREAMS EVERY THURSDAY! @ twitch.tv/youareherepodcast SUPPORT US ON PATREON @ patreon.com/youareherepod INSTAGRAM: @indiarubber @youareherepc @mikenowicki @dvolino Contact us with questions @ youarehere.pc@gmail.com! Thanks for listening to the You Are Here Podcast! Your one stop shop podcast for...

Today's guest is an innovator who went from quietly bothered to audibly empowered. He did it by making wealth management personal, for a result that doesn't just excel, it elevates everything. Toussaint Bailey is the Founder and CEO of Uplifting Capital, a private equity platform where ROI is measured in impact. He's created a model that aligns values with investing. And using the power of intention, has influenced ripples of change that can be felt around the world. For extra innings, please visit: https://bit.ly/RTBToussainBaileyWebsite: https://upliftingcapital.com/

For this special episode, we sat down with actor Steve Toussaint to talk about his role as Corlys Velaryon. In this wide ranging talk, he gives us never before heard insight to the show and exclusives about certain scenes. #HouseoftheDragon #gameofthrones #corlysvelaryon #Stevetoussaint #watchdemthrones #hbo #hbomax #blackwithnochaser #podcast #podsincolor #jokes #humor 

Don't forget to subscribe, leave a rating and a 5-star review. If you leave a 5-star rating and review, send me an email info@blackrealestatedialogue.com and I'll send you a free training on finding and analyzing properties.This interview with Justin Palmer and Terrell Hall, Co-Founders of PHD Homes, a real estate development company based in Shreveport, Louisiana was powerful!Having originally started out as competitors, the pair soon realized that they had a shared vision and could easily complement each other's strengths. Five years later, they began work on a development, a Shreveport neighborhood consisting of 32 homes and 202 apartments.Listen in as Justin and Terrell break down the many moving parts that go into developing a neighborhood, the inspiring history behind the name “Toussaint & Dessalines Street”, and their best advice to aspiring entrepreneurs looking to get into real estate development.Highlights1) When selecting a partner, it's best to choose someone who has different strengths and a different leadership style from yours. Two of the same people means double the problems, whereas different personalities and skills balance each other out.2) A successful vertically-integrated company combines strategic partnerships with a solid in-house team. Collaborate only with those who share your vision and are at the top of the industry locally, and your company will very quickly have the best offerings in town.3) If you want to get into this industry, educate yourself on the business of real estate development, understand how financing works, and save your capital. The other, equally important element is personal development to stay mentally strong in this challenging industry.How to find themFacebook - @phdhomesllcInstagram- @terrelthebuilder @jpalmer318Get a free Landlord Insurance Quote from Steadily hereGet our new merch- https://blackrealestatedialogue.com/collections/allAccess all of our resources on our website- https://www.blackrealestatedialogue.comDownload my free guide Top 5 Down Payment Assistance Programs- https://bit.ly/dpassistance1Get my New E-book How to Build Wealth in a Recession- https://bit.ly/bredrecessionguideLearn how to invest out of state- https://www.outofstatemoney.com/ 

Fabrice Luchini né le jour de la Toussaint 1951 à Paris et grandit dans une famille populaire sur les pentes de la butte de Montmartre. Adolescent, il découvre la littérature et se fascine pour Louis-Ferdinand Céline. Le soir, il se déhanche dans les boîtes de nuit parisiennes sur les musiques de James Brown. Et quand il a 18 ans, il retient l'attention du réalisateur Éric Rohmer qui décide de parier sur ce jeune acteur au phrasé précis.Mais il faut attendre le milieu des années 80 pour voir Fabrice Luchini s'imposer comme l'un des comédiens les plus talentueux de sa génération, sur le grand écran et dans les théâtres parisiens. Connu du grand public, il devient la coqueluche des médias, plébiscité pour son franc-parler et sa volubilité. Malgré son succès et sa longévité, le comédien n'est pourtant pas apaisé. Il avoue aujourd'hui avoir renoncé au bonheur, rongé par ses angoisses.Pour Code source, Sylvain Merle, journaliste au service culture du Parisien, dresse le portrait de Fabrice Luchini.Crédits. Direction de la rédaction : Pierre Chausse - Rédacteur en chef : Jules Lavie - Reporter : Ambre Rosala - Production : Raphaël Pueyo et Thibault Lambert - Réalisation et mixage : Julien Montcouquiol - Musiques : François Clos, Audio Network, Epidemic Sound - Identité graphique : Upian - Archives : France 3, INA, France 2. Hébergé par Acast. Visitez acast.com/privacy pour plus d'informations.

durée : 00:58:42 - Samedi fiction - par : Blandine Masson - Je suis née des Allocations et d'un jour férié, dont la matinée s'étirait bienheureuse au son des je t'aime tu m'aimes joué à la trompette douce. C'était le début de l'hiver. Je naquis le 2 août, c'était ma date normale puisque je résultais du pont de la Toussaint.

durée : 00:58:42 - Samedi fiction - par : Blandine Masson - Je suis née des Allocations et d'un jour férié, dont la matinée s'étirait bienheureuse au son des je t'aime tu m'aimes joué à la trompette douce. C'était le début de l'hiver. Je naquis le 2 août, c'était ma date normale puisque je résultais du pont de la Toussaint.

Peloton appoints a new CMO – Leslie Berland. Peloton is testing milestone notifications for live classes. Peloton UK & Susie Chan will be at the National Running Show. With new limits on in-person class bookings, we now see what reaching your limit looks like. Peloton has live beginner classes this month. DR. JENN – Working out while working through grief. Alex Toussaint is writing a book! Jess King and Sophia Urista got married…two years ago! Daniel McKenna is holding an in-person workshop. Camila Ramon celebrated her 7th wedding anniversary. Ash Pryor bench-pressed Adrian Williams. Instructors went out to celebrate Adrian Williams' birthday. Emma Lovewell will be at SXSW with Katie Couric & Christy Turlington. Matt Wilpers partnered with Stich Fix. Emma Lovewell also partnered with Stitch Fix. Cody Rigsby was on the Chicks In The Office podcast. Cody threw shade at people who manipulate their rides for milestone shout-outs. Peloton instructor caught a showing of Aladdin on Broadway. Erik Jager celebrated 3-years with Peloton. Benny Adami brought his bestie to work. METPRO –  Angelo gives you a peek at a MetPro session with Crystal & Tom. The latest artist series features Kygo. NKOTB's Joey McIntyre was in-studio for a class. Anya Adams (Episode 282) was at the TCA's to promote Prom Pact. Mindy Scheier (Episode 290) will be speaking at the National Retail Federation's Big Show. There's a virtual Row Instructor event on January 31. There's a new series for yoga beginners. Christine D'Ercole added an on-demand classical class. There's a new “We Don't Quit” challenge. Birthdays: Ben Alldis (1/22), Logan Aldridge (1/25) All this plus our interview with Kirsten Beverley-Waters.   Love the show? Subscribe, rate, review, and share! https://www.theclipout.com/See omnystudio.com/listener for privacy information.

In this delightful podcast episode, Yamilee Toussaint Beach shares her wealth of knowledge and experience in scaling up her nonprofit STEM from Dance. She explains how having a clear mission and vision, strong leadership, and a dedicated team are essential for any nonprofit looking to grow. One of the key takeaways from the episode is the importance of investment in skills building for leaders. Yamilee's personal experience of scaling up STEM from Dance will help you to think about how to invest your resources, how to manage your time and what not to sacrifice as you grow. To learn more about STEM from Dance, visit: https://stemfromdance.org/ To connect with Yamilee: https://www.linkedin.com/in/yamilee-toussaint-beach/ QUOTE FROM Yamilee "I don't want to sacrifice the culture for the growth." --- Support this podcast: https://anchor.fm/nonprofitlowdown/support

Ben from the US and John aka Softie from the UK join Alyssa for our discussion of Netflix's The Witcher: Blood Origin Episode 101 “Of Ballads, Brawlers, and Bloodied Blades”. Very important bits include: our standouts and critiques, how the framing narrative eases the viewer into the prequel, pre-Conjunction Elven architecture, the early journey of our protagonists and how their internal conflicts are illustrated in combat, and whether or not the betrayal of the monarchies was justified. Plus, Softie brings a revelation of monolithic proportions. [00:00] Cold Open [01:07] Introduction [08:58] Episode Highlights & Lowlights [15:30] “How does the framing narrative ease the viewer into ‘Blood Origin'?” [22:29] “How is the Elven aesthetic realized?” [34:14] “How do Fjall and Éile cope with their losses?” [39:03] ‘Tidings from Toussaint', Mid-Episode News Segment [43:56] “How does the show further contextualize the monoliths?” [52:59] “Do you believe the betrayal of the kingdoms was justified?” [1:03:47] “How are the fight scenes representative the characters' internal conflicts?” [1:17:56] Outro & Credits The full episode transcript, show notes, merchandise store, and access to our social platforms are available at breakfastinbeauclair.com.

Le 6 janvier, les chrétiens célèbrent L'Épiphanie. Une fête devenue culturelle et qui s'accompagne, en France, de la galette des rois. Comme vous le savez, on partage la galette et une fève se trouve à l'intérieur, celui ou celle qui la trouve est couronné(e) roi ou reine. Tout simplement parce que, à l'origine, c'est un haricot que l'on cachait dans la galette. Le haricot est remplacé au XIXè siècle par de la porcelaine pour éviter que le roi ou la reine ne s'étouffe en ingurgitant la fève. Au cours de l'histoire, les plus aisés ont parfois remplacé le haricot par une pièce d'or ou d'argent. Quant à la fève en porcelaine, elle est d'abord fabriquée en Saxe, en Allemagne, puis, après la première guerre mondiale, la production devient française à Limoges. Pourquoi on appelle ça une fève ? Depuis quand tire-t-on les rois ? J'ai entendu dire qu'il n'y avait pas de fève dans les galettes de l'Elysée, c'est vrai ? Écoutez la suite dans cet épisode de "Maintenant vous savez". Un podcast Bababam Originals, écrit et réalisé par Maële Diallo. À écouter aussi : Qu'est-ce que la Toussaint ? Qu'est-ce que Halloween ? Qu'est-ce que le calendrier cosmique ? Learn more about your ad choices. Visit megaphone.fm/adchoices

Hello Giant Robot FM listeners! As we look to the dawn of a new year, we bring our coverage of the first season of The Big O to a close with special guest Toussaint Egan! We cover all three of Daemonseed, The Enemy is Another Big, and R-D. Merry Heaven's Day and a Happy New Year! Find Toussaint at these links: Twitter: https://twitter.com/TheSaintOfTous Polygon: https://www.polygon.com/users/thesaintoftous Tweet us @giantrobotfm and write to us giantrobotfm@gmail.com Support Giant Robot FM directly on our Patreon page: patreon.com/giantrobotfm Giant Robot FM is hosted by Stephen Hero (@_stephen_hero) and pmcTRILOGY (@pmcTRILOGY) Art by DuarfS (https://www.behance.net/maezurita) (https://www.instagram.com/duarfs) Music by fretzl (@fretzl) (https://www.youtube.com/fretzl)

Is there a way to pursue excellence without being overwhelmed by perfectionism? Yes, there is! In this episode of The Unconditionally Worthy Podcast, I welcome Danielle Kristine Toussaint, Author, Advisor, Angel Investor, and CXO of the nonprofit, NewSchools Venture Fund. Tune in as we talk about how to pursue excellence without perfectionism and get back to feeling joyous in your work.IN THIS EPISODE, WE TALK ABOUT…Danielle's self-worth journey: How becoming a wife, executive, and entrepreneur challenged her self-worth.What it's like to be a woman of color in the nonprofit world.How Danielle's self-worth intersects with her work life.The connection between self-worth, pursuing excellence, and martyrdom.3 keys to dismantling perfectionism.4 ways to focus more on the process than the outcome.and more!If you enjoyed this discussion, share it with a loved one, then…Leave a Rating & Review on Apple Podcasts and Spotify to show your love to The Unconditionally Worthy Podcast!Stream & Download The Unconditionally Worthy Podcast NOW for FREE on Apple Podcast, Google, Stitcher, Pandora, and Spotify!To connect further with Danielle Kristine Toussaint:Learn more about Danielle: https://www.newschools.org/team/danielle-kristine-toussaint Visit her website: http://daniellekristine.comConnect with her on LinkedIn: https://www.linkedin.com/in/daniellekristinetoussaint Learn about Purple Haus: http://www.daretothinkpurple.com Get her book, Dare to Think Purple: https://amzn.to/3uyNEnd To connect further with me:Visit my website: https://www.dradiagooden.com Connect with me on Facebook: https://www.facebook.com/dradiagooden Follow me on Instagram: https://www.instagram.com/dradiagooden Connect with me on Linkedin: https://www.linkedin.com/in/adia-gooden-4b26751b Watch the full interview on YouTube: https://youtu.be/vHybPVhFz10 Read the show notes and transcript here:  https://dradiagooden.com/episodearchive/66This episode is sponsored by Crys & Tiana, a podcast production company helping you take the guesswork out of launching and growing your podcasts. Book a strategy call today and start turning your podcast dreams into reality!Get 25% off your first launch strategy session at https://www.crysandtiana.com/launchstrategy.This episode was produced by Crys & Tiana.Learn more at https://www.crysandtiana.com. 

Hoy miércoles en La Caminera nos acompañó Alejandra Toussaint. Además, estuvo con nosotros Alain Luna en los miércoles para anormales.

Jeff speaks with Toussaint Bailey, founder and CEO of Uplifting Capital, about his creative ventures to shift the landscape of impact investing. Guest Bio:Toussaint Bailey is founder and CEO of Uplifting Capital. Toussaint aims to align investments with efforts to uplift people, the planet and the economy. He draws on deep experience as a leader in private wealth and a trailblazer in impact engagement.

Dr. Samara Toussaint is an experienced School Psychologist and founder of Path2Growth Counseling Services. She is skilled in Crisis Intervention, Psychological Assessment, Applied Behavior Analysis, Interventions, and Child Development. Dr. T shares her experience growing up in a primarily Haitian and religious community and how that influences her work today. We discuss the impact of the Haitian earthquake on women's mental health and the “strong Black woman” identity. We also discuss Dr. T's G.R.O.W.T.H method and so much more! Links: Christie's Website Christie's Instagram: @sasssays Dr. T's Website Dr. T's Instagram: @growthwithdrtoussaint Previous Sass Says Show Mentioned: Ep 110 Dr. Quincee Gideon Ep 7 Dr. Holly Sawyer

Please support our Patreon.  For early and ad-free episodes, members-only content, and more.M.C. Toussaint is a producer for This Is Revolution and has worked with Jacobin and Majority Report.  We talk about her journey into socialism through environmentalism and ecology.  Crew:Host: C. Derick VarnAudio Producer: Paul Channel Strip  ( @aufhebenkultur )Branding Design: Djene Bajalan and C. Derick VarnIntro and Outro Music by Bitter Lake.Intro Videos Design: Jason Myles, Dejene Balajan Support the show

Don't pretend you don't already know what our theme is and haven't already heard it - just to realise you really really enjoyed it and then travelled back in time to relive it all over again... yes! It's a TIME TRAVEL PARTY. Is our guest, Toussaint Douglass, ready to travel through time and space with one of the Birthday Girls? He'd better be, by the end of the podcast they'll be ready to hop in the dolorean and get the speed up to 88 mph. Be a legend, get on our Patreon - https://www.patreon.com/birthdaygirlshouseparty Please subscribe, rate and review. XXX Edited by Emma Corsham: https://www.emmacorsham.co.uk Music by Anne Chmelewsky: https://www.annechmelewsky.com Art work by Lucy Moore: https://www.lucymooreedinburgh.com

Jeff Shafer, CEO of CommonGood Capital, is joined by Toussaint Bailey, Founder and CEO of Uplifting Capital, to chat about how his “super parents” shaped his outlook on life, his career path from lawyer to manager of lawyers to wealth manager to founder and CEO, how the chaotic events of 2020 inspired the creation of his […]

En este episodio Verónica Toussaint nos visitó y nos contó como ha sido comediante casi por accidente y como ha sido su trayectoria en el teatro y televisión, además de como tocar el triángulo... nos reímos demasiado y se puso buenísimo, comenten y denle like!

Toussaint Bailey of Uplifting Capital joins David Bank from the VC Include conference in Berkeley. Uplifting Capital aims to broaden access to impact investors to high-net worth individuals and small foundations that are moving capital from public equities to private equities, but may not have an impact lens. --- Send in a voice message: https://anchor.fm/impact-alpha/message

Aligning investments with personal values is a passion for Toussaint Bailey, and it's the foundation of Uplifting Capital, the investment platform where he is founder and CEO. The firm was born out of the introspection that followed his processing of George Floyd's death. “It caused everyone to reflect on where we were personally and as a country," Toussaint says. His first action was to call an all-hands meeting where the team conducted their normal routine of one-word check-ins about their feelings. His voice shaking, he managed to share the word “distracted." As the sole Black professional in his firm, he hadn't expected his colleagues to be equally weighed down by the moment, but it opened up productive conversations about racism and workplace bias. “These were conversations I'd never let into work before, but I became inspired to promote them more," he says. That led to bringing in speaking and listening therapists and coaches to help facilitate conversations that allowed both parties to speak and receive messages without judgment. “People were able to move from sympathy, which becomes a conversational disconnect, to empathy and compassion," he says. Toussaint took a sabbatical to further these conversations through podcasts, which ultimately led him to start Uplifting Capital as a reflection of his values. As a leader, Toussaint believes the only way to drive fulfillment for clients is to drive fulfillment for the people inside the firm. That has led to a four-pronged approach to engagement. The first level is building loving and trusting relationships, which leads to self-actualization and then co-creation and collective impact. “If they all go in order, then personal rewards come naturally," he says. “However, a lot of people in our profession put the fourth level, personal gain, first and then try to find the relationships that will bring that. We believe our sequence will ultimately bring fulfillment at work but also in life." In today's episode, Toussaint talks to Ana and Jamie about how to foster more productive conversations, the industry trend he expects will change in the next 10 years, the top book he would recommend right now and the best sandwich to order at Subway, where he was a sandwich artist in high school (and knew all the off-menu tricks). You can find show notes and other information at CarsonGroup.com/Framework.

Will a T'Challa Jr. Black Panther fight a new White Wolf? And will that White Wolf be The Winter Soldier's Wakandan son?! A new T'Challa was revealed in Wakanda Forever with Toussaint. But is Marvel Studios setting up a Black Panther matchup with the next holder of the White Wolf mantle? Could Bucky have a son in Wakanda that could lead the Wakandan War Dogs like the comics? MasterTainment, Jessica Clemons, Whitney van Lanningham and Eddie Villanueva discuss! #BlackPanther #WakandaForever #Thunderbolts Check out our sweet, sweet merch! http://www.newrockstarsmerch.com

On the November 14, 2022 episode of /Film Daily, /Film editorial director Peter Sciretta is joined by /Film editor Ben Pearson to have a spoiler discussion about Black Panther Wakanda Forever. Opening Banter: Peter's birthday was over the weekend. He went to the Wakanda Forever celebration at Disneyland. In The News: Black Panther Spoiler Discussion The opening Opening scene with T'challa dying Opening marvel logo Use of silence Handling the grief Wakanda Other nations want their vibranium and using the death of their king as a time to strike Shuri Unable to cure t'challa  Believes the black panther is the past Namor expedition is attacked and killed by a group of blue-skinned water-breathing superhumans led by Namor, with the CIA believing Wakanda to be responsible. Blames wakanda for the vibranium race and gives ultimatum to deliver scientist responsible to him underwater kingdom of Talokan Namor proposes an alliance with Wakanda against the rest of the world but threatens to destroy Wakanda first if they refuse.  Iron Heart Riri williams, mit student . Nakia helps Shuri and Williams escape, and Namor retaliates with an attack against the capital of Wakanda, during which Ramonda drowns saving Riri. Williams creates an Iron Man-esque powered exoskeleton to aid the Wakandans. Queen's death Everett Ross Ross is arrested by his ex-wife and director of the CIA, Valentina Allegra de Fontaine, for secretly exchanging classified intelligence with the Wakandans. Shuri becomes Black Panther  Shuri reconstructs the heart-shaped herb and ingests it, gaining superhuman abilities and seeing a vision of Killmonger in the Ancestral Plane, who urges her to seek revenge. Shuri becomes new Black Panther. M'Baku In Shuri's absence, M'Baku steps forward to challenge for the throne. Okoye Will the Okoye show be about her and Aneka as the Midnight Angels? Nakia Shuri visits Nakia in Haiti where she burns her funeral ceremonial robe in accordance with Ramonda's wishes, allowing herself to finally grieve T'Challa. In a mid-credits scene, Shuri learns that Nakia had a son with T'Challa, named Toussaint, who Nakia has been raising in secret far from the pressure of the throne. Toussaint reveals his Wakandan name is T'Challa. Don't need to talk about these things but putting them here: The Black Panther: Wakanda Forever Cameo You Never Saw, But Definitely Heard Why Does Namor Say Imperius Rex In Black Panther: Wakanda Forever? Black Panther: Wakanda Forever Ending Explained: All Things Must Pass Black Panther: Wakanda Forever Credits Scene Explained: The Ones You Love Are Never Truly Gone How Okoye's Black Panther: Wakanda Forever Journey Sets Up Her Disney+ Series     All the other stuff you need to know: You can find more about all the stories we mentioned on today's show at slashfilm.com, and linked inside the show notes. /Film Daily is published every weekday, bringing you the most exciting news from the world of movies and television as well as deeper dives into the great features from slashfilm.com.  You can subscribe to /Film Daily on Apple Podcasts, Google Podcasts, Overcast, Spotify and all the popular podcast apps (RSS).  And please subscribe to our newsletter! Send your feedback, questions, comments and concerns to us at peter@slashfilm.com. Please leave your name and general geographic location in case we mention the e-mail on the air. Please rate and review the podcast on Apple Podcasts, tell your friends and spread the word!  Thanks to Sam Hume for our logo.

En ce 1er novembre, Laurent Gerra imite les deux anciens présidents. Nicolas Sarkozy mélange la Toussaint et Halloween pour célébrer ses amis en politique quand François Mitterrand se fait plutôt fleur bleue dans des lettres adressées à sa maîtresse Anne Pingeot... Ecoutez Laurent Gerra avec Laurent Gerra du 01 novembre 2022.

On this week's episode of the Petrus Development Show, we are hosting a crossover event that introduces you to another Petrus podcast called Holy Donors. Holy Donors is a collaborative production between Petrus and RED-C Catholic Radio that tells stories of radical generosity that changed the world, and Andrew is excited to share the first episode of our Holy Donor's season featuring the Venerable Pierre Toussaint. Pierre Toussaint was born into slavery on the French colony of Saint Domingue (Saint Domingue was what we know today as independent Haiti), and he served as a trusted domestic slave to his master Jean Jacques Bérard. When Bérard and his family fled Saint Domingue in the middle of the Haitian Revolution, they took Pierre Toussaint and his sister Rosalie with them to New York City. In New York City, Pierre made a name for himself as a hairdresser and a philanthropist. The bulk of this initial episode revolves around a discussion on the history of slavery and on an overview of the Haitian Revolution, a revolution which proved to be a key turning point in Pierre's life. Andrew's co-host Thaddeus shares details about the dangerous, unforgiving lives of the slaves on Saint Domingue, and he highlights the slaves' importance in maintaining Saint Domingue's distinction as a leading producer of sugar and coffee products.Thaddeus continues the story of Saint Domingue's history as France's thriving slave colony to it's dissolution into violence and rebellion during the Haitian Revolution. Bérard and his family try to outlast the slave rebellion on Saint Domingue, but after 6 years of waiting for the unrest to settle, the family is forced to flee, taking Pierre with them. Their flight from the island is far from a guaranteed success, and we hope you will join us for episode 2 to hear about Pierre's journey from the Caribbean to NYC and to learn about how a Haitian slave finds tremendous success as a hairdresser. ---Recommended reading: Pierre Toussaint: A Biography by Arthur Jones Ten Christians: By Their Deeds You Shall Know Them by Boniface Hanley---Holy Donors is brought to you by Petrus Development (petrusdevelopment.com) in cooperation with RED-C Catholic Radio (redcradio.org).For more about Holy Donors please visit our website at holydonors.com or find us @HolyDonors on Instagram and Facebook. Holy Donors: Bringing you inspiring stories of radical generosity that have changed the world.

La correspondance entre l'ancien président et Anne Pingeot montre un ancien président qui parle plus d'amour que de mort le jour de la Toussaint et se montre même très poétique... Ecoutez Laurent Gerra avec Laurent Gerra du 01 novembre 2022

Octubre es el mes de la concientización sobre el cáncer de mama y esta semana llega al podcast una mujer valiente y llena de amor que ha enfrentado una dura batalla contra la enfermedad y hoy inspira a miles de mujeres a salir adelante. Ella es Verónica Toussaint y la acompaña el Dr. Gerardo Castorena, quien nos comparte cómo reducir el riesgo de padecerla y qué hacer si se hace presente. El miedo, puede paralizarnos ante las situaciones más difíciles de la vida. Aprende a ganarle en mi clase gratis

FOLLOW THE PIVOT PODCAST: MERCH | https://pivotpodcast.com  YOUTUBE | https://www.youtube.com/thepivotpodcast INSTAGRAM | https://instagram.com/thepivot TWITTER | https://twitter.com/thepivot TIKTOK | https://tiktok.com/@thepivot FACEBOOK | https://www.facebook.com/thepivotpodcast FOLLOW HAPPY DAD: https://www.instagram.com/happydad FIND HAPPY DAD: https://www.happydad.com/find World Famous Peloton Trainer opens up about his pivotal moment on his journey to the top, fighting for and living out the American Dream. From a troubled childhood to acclaimed Peloton cycling instructor, Alex Touissant joins The Pivot Podcast to share his journey of success, the impact military school has had on his life and how searching for validation from his father shaped who he is today. From becoming the first black trainer at Peloton to now one of the biggest faces of the movement, Ryan, Fred, and Channing engage in a deep conversation about his journey and how it all started. Alex opens up about his “troubled childhood” and being kicked out of every single school he's ever attended. His struggles led to his parents taking a tough love approach which helped mold and ultimately change the direction of Alex's life. Going years without speaking to his father, Alex opens up emotionally that military school instilled principles and habits that will remain with him forever and the appreciation of hearing the words, "I'm proud of you," from his father is the most instrumental moment of his life. From college dropout to being homeless, Alex shares how he wanted more for himself and had nothing to lose which is why one day, he took his coworker up on an offer to train a cycling class... Since then, Alex has rode his way into history impacting lives around the world and leaving a footprint far beyond what he could imagine as a young college drop out. Mending his relationship with his father and retiring his mother, life looks a lot different each day now as he realizes the impact he has with millions of people who he is able to motivate through movement. However, with great power comes great responsibility. Being the first Black instructor hired by Peloton wasn't easy but the hardest time at work stemmed from the murder of George Floyd. Alex used his platform to speak on the inequality the Black community experienced, a decision that Peloton supported 100%. This support serves as one of the reasons he's most proud to work for Peloton. And it wouldn't be our show, if Channing didn't ask the important stuff! Tune into hear the craziness he asks Alex about and ofcourse getting into his personal life...Channing asks if he's blown away with how far cycling has taken him in life and wants to know what it's like being the center focus of so many females tuning in everyday. If you or someone you know has a gambling problem, crisis counseling and referral services can be accessed by calling 877-8-HOPENY/text HOPENY (467369) (NY). 1-800-GAMBLER (1-800-426-2537) (IL/IN/LA/MI/NJ/PA/WV/WY), 1-800-NEXT STEP (AZ), 1-800-522-4700 (CO/KS/NH), 888-789-7777/visit ccpg.org/chat (CT), 1-800-BETS OFF (IA), visit OPGR.org (OR), call/text TN REDLINE 1-800-889-9789 (TN), or 1-888-532-3500 (VA). 21+ (18+ NH/WY). Physically present in AZ/CO/CT/IL/IN/IA/KS/LA(select parishes)/MI/NJ/NY/PA/TN/VA/WV/WY only. Void in ONT. Valid 1 per new customer. Min. $5 deposit. Min $5 bet. Bet must win. $200 issued as eight (8) $25 free bets. Sponsored by DK. Ends 1/15/2023 11:59 PM ET. Eligibility restrictions apply. See T&C at sportsbook.draftkings.com/footballterms #1 Rated Sportsbook App based on Eilers&Krejcik (2Q22). Product Analysis: Testing, Scoring, and Ranking U.S. Sports Betting Apps Learn more about your ad choices. Visit megaphone.fm/adchoices