Podcasts about Try Me

Welcome to the Fit Beyond 40 Podcast! BOOK YOUR DISCOVERY CALL Ready to Take the Next Step? Book a Discovery Call with Me! If you're tired of feeling stuck and frustrated with your weight loss journey, I'm here to help. Booking a discovery call with me is your chance to explore a personalized plan that fits your unique lifestyle. Together, we'll uncover the obstacles holding you back, create a strategy to break free from the weight loss cycle, and set you up for lasting transformation. No pressure, just a clear path forward. Let's take the first step toward the healthier, more confident version of you! TRY ME! The 3 Secrets to Creating a Sustainable Lifestyle, Permanently Drop Menopause Weight and Stay Fit Over 40 (Without obsessing over the scale, relying on motivation, or quitting when you don't see results fast enough!)Join our FREE Community Free healthy recipes, 4 minute fat burning workouts, meal planning tips, motivation and so much more!FOLLOW AND SUBSCRIBEYouTubeInstagramFacebook

On Episode 130 of the Guest Speaker Series, we welcome bassist, producer, and vocalist, Teeba, to the show! After just receiving a Grammy nomination for his production and bass work on Eminem's latest album ‘The Death of Slim Shady', Teeba has been working on music out in Detroit with renowned producer Denaun Porter for some time now. Teeba describes the journey of how he gradually became closer with Denaun over time, which eventually led to a placement on Eminem's song “Fuel” featuring JID. Teeba is no stranger to having his music land on big songs, as his placements include the likes of Nas, DMX, Dave East, and many more. Teeba is also the founder, bassist, and one of the vocalists of the band Harsh Armadillo, who frequently perform throughout venues in New Hampshire, and New England at large. Teeba also discusses his early years being introduced to the Massachusetts music scene, where he started to connect and work frequently with the likes of Jon Glass, Melks, and SK, amongst others. Teeba truly embodies what it means to be a musician, regardless of the doors that have opened for him because of it. Teeba and Mike also reflect on a variety of other topics, including whether AI in music is a good or bad thing, Doechii winning Hip-Hop Album of the Year at the Grammy's, Teeba's incredible journey traveling on a sailboat across the world as a kid, why South Park should be considered one of the best TV shows ever, and so much more. Follow Teeba on Instagram: https://www.instagram.com/teeba_forbes/ Stream our single "Try Me" produced by Teeba: https://distrokid.com/hyperfollow/turntableteachers/try-me-feat-teeba-sig-shalome-jackson-whalan-aristotle-jones--nate-nics IStream Teeba's music on Spotify: https://open.spotify.com/artist/7vR341GprwXrKrDsNTX9ny?si=72T4a9JMQsSeUUK7d2Np4A Stream Teeba's music on Apple Music: https://music.apple.com/us/artist/teeba/1157862822 Check out our studio, AOA Studios, and book a session or service with us: https://www.aoastudios.org/inquiriesbooking Follow our social media and blogs Instagram - https://www.instagram.com/turntableteachers/?hl=en Tik Tok - https://www.tiktok.com/@turntableteachers Blog - https://www.turntableteachers.com/blog Shop - https://www.turntableteachers.com/shop Subscribe to our streaming services Apple - https://podcasts.apple.com/us/podcast/the-turntable-teachers/id1448694925 Google Play - https://playmusic.app.goo.gl/?ibi=com.google.PlayMusic&isi=691797987&ius=googleplaymusic&apn=com.google.android.music&link=https://play.google.com/music/m/Icujt6fhi2je7zzfxjkr7glcowe?t%3DThe_Turntable_Teachers%26pcampaignid%3DMKT-na-all-co-pr-mu-pod-16 Soundcloud - https://soundcloud.com/user-538618877 Spotify - https://open.spotify.com/show/4UJh499meoTP5wV2b2jrb0?si=EMaTjq9CR2-_zA6orKQNEQ

Hello BMS Listeners, this is a fun journey back to the mid to late 70's when disco surfaced from the underground to mainstream.It was about the fashion, the pulsating 4 on the floor beat, and just having fun washing your cares away."Everybody Dance, clap your hands, clap your hands"This episode features The Tramps, Chic, Sylvester, El Coco, Taste of Honey, and many more!Let's take this ride together!DJ Rhythm DeePLAYLIST1. THAT'S WHERE THE HAPPY PEOPLE GO/TRAMMPS2. EVERYBODY DANCE/CHIC3. TRY ME, I KNOW WE CAN MAKE IT/DONNA SUMMER4. YOUNG HEARTS RUN FREE/CANDI STATON5. SHAKE YOUR BODY DOWN TO THE GROUND/THE JACKSONS6. BOOGIE OOGIE OOGIE/TASTE OF HONEY7. IT'S A DISCO NIGHT/THE ISLEY BROTHERS8. IN THE BUSH/MUSIQUE9. DANCE (DISCO HEAT)/SYLVESTER10. GIVE ME LOVE/CERRONE11. SOUVENIER/VOYAGE12. SAN FRANCISCO/VILLAGE PEOPLE13. COME ON, DANCE, DANCE/SATURDAY NIGHT BAND14. COCOMOTION /L COCO15. SHAME/EVELYN "CHAMPAIGN" KING16. DISCO NIGHTS/GQ

| Keep Smilin' (Rick Gianatos Mix)  | Carrie Lucas  | 1977 | It's Not What You Got (It's How You Use It)  | Carrie Lucas  | 1980 | Turn It Around (12" Vocal - Extended)  | Gino Soccio  | 1984 | We're On The Right Track (Disco Version)  | Ultra High Frequency  | 1973 | Let It Go  | Devox feat. Angie B. Stone  | 1996 | Atmosphere Strut  | Cloud One  | 1976 | Romeo Where's Juliet? (Special Dance Mix)  | Collage  | 1985 | Open Invitation  | Gerald Alston  | 1990 | I'm Never Gonna Be Alone Anymore  | Cornelius Brothers & Sister Rose  | 1972 | Big Time Lover  | Cornelius Brothers & Sister Rose  | 1973 | What Tha Business Is  | Ruben Studdard  | 2006 | After Loving You  | Juicy  | 1987 | All About Love  | Giorge Pettus  | 1991 | Holding On  | Parkes Stewart  | 1996 | Put The K In Kool (Come Together)  | Parkes Stewart  | 2020 | There's Nothing Better  | Otis Leavill  | 1971 | At Least (The Little Things)  | Kelly Price  | 2000 | Black Pharaohs  | Conscious Plat  | 2010 | I'm Gonna Let My Heart Do The Walking (J*Ski Extended)  | The Supremes  | 1976 | Try Me, I Know We Can Make It  | Donna Summer  | 1976

Alors que sort Roseaux III, avec notamment la collaboration du crooner californien Aloe Blacc et du rappeur ghanéen Ghetto Boy, on tente de percer les secrets d'une petite fraternité de talents aussi hétéroclites que complémentaires. Trois artisans du son, toujours en quête de belles chansons. Le collectif de songwrittig Roseaux, c'est trois passionnés de musique, capables d'intervertir leurs rôles en matière d'écriture, d'arrangements ou de production :Emile Omar, ex-programmateur de Radio Nova et chantre de la musique antillaise sur les dancefloors ; Clément Petit, violoncelliste, compositeur et réalisateur navigant entre musique improvisée et chanson et Alex Finkin, multi-instrumentiste et producteur, aussi à l'aise dans les musiques électroniques, la soul, que la chanson française.Au centre de leurs affinités : beaucoup de musiques noires américaines et un fort attachement au format chanson. En 2012, il s'est concrétisé en par un premier album de reprises portées par la voix unique du chanteur américain Aloe Blacc.En 2019, le second volet de leurs aventures intimistes, en prolonge la dominante soul, l'épure acoustique et le trait gracieux, mais avec des compos maison et un attelage aux allures de collectif composé, en plus d'Aloe Blacc, de Melissa Laveaux, Blick Bassy ou encore Ben l'Once Soul.Dans la foulée, l'auteur et interprète franco-rwandais Gaël Faye s'écrie : « Roseaux est l'un des plus grands groupe français actuel. Il parvient à marier tant d'influences avec un naturel qui me déconcerte. Ses deux albums sont des chefs-d'œuvre et chacune de leur collaboration un événement. »Le mot « chef-d'œuvre » est lâché, il n'est ici pas galvaudé. Chacun des albums de Roseaux est touché par la grâce : on sait immédiatement qu'il va nous accompagner longtemps, sans jamais lasser.Pour tenter de percer les secrets de ces faiseurs de chef-d'œuvre, on s'est invité dans l'atelier parisien où ils ont façonné leur 3ᵉ album, le minimal Studio.Pour suivre RoseauxYouTube / Instagram/ FacebookTitres diffusésExtraits de l'album Roseaux (Fanon Records – 2012) : "Strange Things" feat Aloe Blacc ; "Walking on the Moon" feat Aloe Blacc ; "Clarao Da Lua" feat Aloe Blacc ; "More than Material" feat Aloe Blacc ; "Try Me" feat Aloe Blacc ; "We all Must Live Together" feat Aloe BlaccExtraits de l'album Roseaux II (Fanon Records – 2019) : "Kaät" et "Libäk" feat Blick Bassy ; "Daily Bread" feat Aloe Blacc Extrait de l'album Roseaux III (Fanon Records – 2025) : "My People" feat Ghetto Boy ; "Why Should I Smile" feat Melissa Laveaux ; "Loving you is all I want to do" feat Aloe Blacc ; "Solitude" feat Isabel Sörling ; "Again" feat Ana Majidson ;Et aussi :"Red black & green" et "Everbody loves the sunshine" de Roy Ayers"The Waiting Room" de Emanom"Life Is Cool" de Mamba Sounds x Ghetto Boy"Strange Things" de John HoltJournaliste : Hortense VolleRéalisation : Benjamin SarraliéMixage 3D en Dolby ATMOS pour une écoute immersive au casque : Jérémie BessetResponsable d'unité de production FMM – RFI Labo : Xavier Gibert  

En el episodio te presentamos tres propuestas bien diferenciadas de música soul que combinan lo nuevo y lo viejo. Acantha Lang una nueva voz que hace un soul de inspiración clásica de impecable factura. Norman Witeside (Wee), soul sofisticado de los 70, con un sonido adelantado a su tiempo. Y, por último, Sy Simith, experimentada vocalista que hace un elegante soul contemporáneo de inspiración setentera. In this episode we bring you three distinct soul music offerings that combine the new and the old. Acantha Lang, a new voice that makes a classically inspired soul of brilliant artistry. Norman Witeside (Wee), sophisticated 70's soul, with a sound advanced to his time. And finally, Sy Simith, a seasoned vocalist who makes an elegant contemporary soul inspired by the seventies. Playlist: —Acantha Lang, Sugar Woman; —Acantha Lang, Come Back Home; —Acantha Lang, He Said / She Said; —Acantha Lang, Ride This Train (extended version); —Wee, Try Me; —Wee, Leavin' You Alone; —Wee, Alone; —Wee, You Can Fly on My Aeroplane; —Sy Smith, Why Do You Keep Calling Me; —Sy Smith, Photograph; —Sy Smith, Remember How To Fly; —Sy Smith, Masterclass.

On Episode 117 of the Guest Speaker Series, we are joined by rapper, producer, & song-writer Jackson Whalan! Jackson was a pivotal feature on our debut single “Try Me” also featuring Teeba, Sig Shalome, Aristotle Jones, & Nate Nics, which is out now on all platforms. Jackson has a uniquely interesting story which he details in depth: it includes his early days being ingratiated into the Railroad Street Youth Project while living out in Great Barrington, MA, a program that was deeply influential to his initial love for music. Jackson then moved to NYC for college, where he was in a band and made major progress in his musical career. Jackson & Mike also discuss his new single with HunnaG called “Rich Life” and his experience being on his platform, as well as the success of his single “This Hits Different” which has been widely successful in the sync game, most notably landing on an Xfinity commercial. He also details his upcoming album and what fans may be able to anticipate with this new sound he is cultivating. Jackson & Mike also discuss a number of other topics, including Jackson's experiences studying abroad in India, performing in front of Elie Wiesel, producing for KRS-One, what he's learning by being a new father, his obsession with ice cream, and so much more. Follow Jackson Whalan on Instagram: https://www.instagram.com/jacksonwhalanmusic/?hl=en Stream "Rich Life" on Spotify: https://open.spotify.com/track/2CQTR4FBUpJLNn2hwPRF7J?si=3cf68bbab1924f29 Stream "Rich Life" on Apple Music: https://music.apple.com/us/album/rich-life-feat-hunna-g-single/1765226571 Stream "Try Me" on all platforms: https://distrokid.com/hyperfollow/turntableteachers/try-me-feat-teeba-sig-shalome-jackson-whalan-aristotle-jones--nate-nics Check out our studio, AOA Studios, and book a session or service with us: https://www.aoastudios.org/inquiriesbooking Follow our social media and blogs Instagram - https://www.instagram.com/turntableteachers/?hl=en Tik Tok - https://www.tiktok.com/@turntableteachers Blog - https://www.turntableteachers.com/blog Shop - https://www.turntableteachers.com/shop Subscribe to our streaming services Apple - https://podcasts.apple.com/us/podcast/the-turntable-teachers/id1448694925 Google Play - https://playmusic.app.goo.gl/?ibi=com.google.PlayMusic&isi=691797987&ius=googleplaymusic&apn=com.google.android.music&link=https://play.google.com/music/m/Icujt6fhi2je7zzfxjkr7glcowe?t%3DThe_Turntable_Teachers%26pcampaignid%3DMKT-na-all-co-pr-mu-pod-16 Soundcloud - https://soundcloud.com/user-538618877 Spotify - https://open.spotify.com/show/4UJh499meoTP5wV2b2jrb0?si=EMaTjq9CR2-_zA6orKQNEQ

DUTCH PROG ROCK GROUP DILEMMA RELEASE NEW SINGLE AND VIDEO “THUNDER” FROM FORTHCOMING THIRD ALBUM ‘THE PURPOSE PARADOX': ZOOM EXCLUSIVE WITH DRUMMER COLLIN LEIJENAAR ON INTERVIEWING THE LEGENDS LIVE FROM THE NETHERLANDS.   Hello everyone and welcome to another edition of Interviewing the Legends I'm your host Ray Shasho. BIO: At the end of this summer, on September 20, modern progressive rock band DILEMMA presents its third full length album, ‘The Purpose Paradox'. This concept album, spanning over 60 minutes, will be released on CD, double LP and via all streaming platforms, and distributed internationally by Butler Records, a division of V2 Records. It features 9 brand new tracks ranging in length from 4 to nearly 16 minutes. The sound showcases a broader side of DILEMMA — louder, faster, more technical, more progressive. With new frontman Jermain van der Bogt (Wudstik), the vocals have become rawer and more varied. Almost six years after the previous record ‘Random Acts of Liberation' the band sounds reborn. Like its predecessor, ‘The Purpose Paradox' was produced by drummer Collin Leijenaar, who, together with the famed music wizard Rich Mouser (The Mouse House, LA), was also responsible for the mix and mastering. Thanks to their unmatched ears, the result is an audio experience that DILEMMA has worked on with great pride over the past years. Collin made a name in the progressive rock scene by becoming the drummer, bandleader and tour manager in the European live band of Neal Morse (Transatlantic/Flying Colors) where he subbed for Mike Portnoy (Transatlantic/Flying Colors/ex-Dream Theater). But he is not only a musician but also a successful entrepreneur. His main company is Novae (NO VEE) Popschool, a modern music school which is operating in The Netherlands. To date his music school has grown into an organization with over 500+ students and a team of 35 teachers, staff members and volunteers and has several locations across cities in The Netherlands. PLEASE WELCOME THE DRUMMER/PRODUCER/ENGINEER/ FOR DUTCH PROGRESSIVE ROCK BAND DILEMMA COLLIN LEIJENAAR TO INTERVIEWING THE LEGENDS… PREORDER THE PURPOSE PARADOX BY DILEMMA "The Purpose Paradox" is our third studio album, and it's our most ambitious work yet. This album tells the story of Neon, a man navigating the complexities of life and searching for deeper meaning. Guided by a mysterious voice named Electra, Neon's journey is one of resilience, hope, and self-discovery. Pre-order the album here: https://shop.dilemma.band/ September 20, 2024, because that's the day we unleash this new chapter in our musical journey.   FOR MORE INFORMATION ABOUT DILEMMA VISIT https://dilemma.band/ Official website https://www.facebook.com/WeAreDilemma/ Facebook https://www.instagram.com/dilemma.band/ Instagram https://www.instagram.com/dilemma.band/ Twitter https://www.youtube.com/channel/UCAyxQjtGSrOrYJ5afcOGLOQ YouTube Collin Leijenaar links https://collinleijenaar.com/ Collin Leijenaar official website https://www.facebook.com/Collinleijenaar Facebook https://www.instagram.com/collinleijenaar/ Instagram https://nl.linkedin.com/in/collinleijenaar Twitter https://www.youtube.com/collinleijenaar YouTube   DILEMMA UPCOMING SHOWS 2024 Fri, OCT 11 De Boerderij Zoetermeer, Netherlands Sun, NOV 24 Dilemma - aftershow Dream Theater - 40th Anniversary Tour Amsterdam, Netherlands With Dream Theater   DILEMMA DISCOGRAPHY Studio albums Imbroccata (1995) Random Acts of Liberation (2018) The Purpose Paradox (2024)   COLLIN LEIJENAAR DISCOGRAPHY with Affector     2012 - Armageddon   with Neal Morse     2005 - Live in Berlin (live)     2006 - The Europe Winter 2006 Church Tour DVD     2006 - Question Mark & Beyond - Tour of Europe 2006 DVD (live DVD)     2006 - Live at the Kings Center DVD     2007 - Sing It High     2007 - ? Live (live)     2007 - Encores and New Songs     2008 - Sola Scriptura & Beyond (DVD)     2008 - Sola Scriptura Live (live CD)     2008 - Lifeline     2009 - So Many Roads: Live in Europe (live 3CD)   with Jessica Koomen     2007 – "Can't Take That Away From Me"     2009 - "I Wish You Love" (live DVD)     with The B-Band     1995 - Everybody Feels     1996 - Break The Chain     1996 - Immortal Emotion     1997 - One Way Out Of Hell     1998 - Try Me   with Life@Opwekking     1998 - Let's Worship the Awesome God     1999 - Heart of Worship     2000 - Time to Worship     2002 - Here I Am     2003 - Secrets     2004 - Words     2005 - Friend of God     2006 - Free     2007 - Mystery   with other artists     1996 - Cross The Edge - It's Time For War!     1997 - Recabite - Thanks Be To God     1998 - Andy Pratt - Forgiving Spirit     1998 - United - United     2000 - Elisa Krijgsman Bluesfriends - Blue Eyed Woman     2001 - Boom Aid - Now Or Never     2001 - Kaja - TMF Cafe Unplugged (live)     2002 - Kaja - Use     2002 - Rivelino - Pull Yourself Together     2003 - Reni & Elisa Krijgsman - Together     2003 - Come2Worship - I Bow Down     2004 - Collide - Love     2005 - Wilco van Esschoten - Airbike     2006 - Matthijn Buwalda - Storm before the silence     2006 - Martin Brand - Unprecedented     2012 - Zylver - From Far Away     2014 - Jordan Rudess - Explorations     2014 - Dave Bainbridge - Celestial fire     Support us on PayPal!

Bible Study Don't just take our word for it . . . take His! We would encourage you to spend time examining the following Scriptures that shaped this sermon: . Sermon Notes Search Me Try Me Lead Me Sermon Application Discussion Questions: Why is trust in God's love necessary to genuinely pray "search me O God and know my heart"? What are some practical ways to "draw near to God" that we might experience more of his kindness, mercy, and love (thereby building our trust in Him)? What's the difference between confession of sin and the "Try Me" prayer of vv.23-24? Why is important to reveal anxious patterns of thinking and bring them to the surface? Look up 1 John 4:18 as part of your reflection. Is it difficult for you to trust God with your future? Describe some ways that the "way everlasting" can be hard and unpopular? Ananias Prayer Interested in learning more about at St. Andrew's for inner healing? Questions? Do you have a question about today's sermon? Email Randy Forrester ( ).

James Brown, y no King, era el propietario de sus grabaciones, lo que dio a Mr Dinamita, un control total sobre su carrera discográfica, algo que muy pocos artistas tenían en aquella época. En el complejo King se crearon oficinas para los diversos negocios de Brown, que incluían Try Me, un sello discográfico, y una editorial, Jim Jam Music. Edita y conduce Jose M Corrales. t.me/EnfoqueCritico (https://t.me/EnfoqueCritico) debateafondo@gmail.com @EnfoqueCritico_ facebook.com/DebateAFondo facebook.com/josemanuel.corrales.750/ https://www.youtube.com/@EnfoqueCritico Instagram enfoquecritico Mastodon @EnfoqueCritico@masto.es

Sintonía: "Gota Find Me A Lover (24 Hours a Day)" - Erma Franklin"By The Time I Get To Phoenix", "Change My Thoughts From You", "Light My Fire", "You´ve Been Cancelled" (E. Franklin), "For Once In My Life", "Can´t See My Way" (E. Franklin), "Hold On, I´m Coming" y "Baby I Love You", extraídas del álbum "Super Soul Sister" (Brunswick, 1968/Vampisoul CD 029, 2003) de Erma Franklin "Whispers (Gettin´ Louder)" es un bonus track de la reedición de Vampisoul, grabada en 1970"Please Send Me Someone To Love", "Try Me and See", "My Prayer", "This Bitter Earth" y "Miss Brown´s Blues", extraídas del álbum "Black Is Brown and Brown Is Beautiful" (Skye Records, 1969/Vampisoul CD 047, 2005) de Ruth Brown"(I Get The) Sweetest Feelin´" es otro bonus track de la reedición (en CD) de Vampisoul, grabada en 1970Escuchar audio

Tune into this vulnerable conversation between Sarah, Sabrina, and the *goat* of the beauty industry, Michelle Lee. Discover how Michelle's vision is reshaping beauty standards and challenging industry norms. This episode will get into: Michelle's early career to her current role now as founder of Monologue Growing confidence in yourself as a woman of color in the workforce Understanding the challenges in the beauty industry and why they're falling short The importance of DEI in the workplace and media Learning the why behind the Voices of Beauty Summit and what to expectThank you for listening and thank you Joan for joining us this episode! Stay tuned for the next Full Stack Beauty episode and follow @LandingInternational and @ClearForMe.Interested in attending the Voices of Beauty Summit? Use code FULLSTACK20 to save 20% off your ticket purchase! Visit voicesofbeautysummit.com and apply at checkout.About Michelle:Michelle Lee is the founder of Monologue, a marketing/PR agency for beauty and lifestyle brands. A 2021 Adcolor Legend, she was VP of Global Editorial & Publishing at Netflix and Editor in Chief of Allure. Michelle won Adweek's 2017 Editor of the Year for Allure's groundbreaking moments, such as the 2017 This Is American Beauty cover featuring Halima Aden in a hijab and for committing to ban the term “anti-aging.” She previously served as Editor in Chief and CMO of NYLON and as a Scout for Sequoia Capital and is currently a Board Member at Gold House, advisor to Provenance investments, and writes the beauty Substack "Go Ahead, Try Me."Follow Michelle at @heymichelleleeLearn more about Monologue at https://www.hellomonologue.com/[00:00] Catching up[09:17] Introducing Michelle's background and the Voices of Beauty Summit[17:14] Welcoming Michelle to the Podcast[22:08] How Michelle got started with her career and where she is now[26:14] Learning Michelle's vision of breaking down outdated beauty standards within the beauty industry[31:15] Michelle shares her impact on the AAPI community at Allure[33:00] Getting people to think that every decision you make is an important one[35:05] How Michelle's perception of herself shifted as she gained confidence through her career[38:39] Why the best teams have a little tension and the importance of having different opinions[39:40] How does Michelle view the beauty industry today and where the industry is missing the mark[41:23] Why it's so important to hire more women and people of color in executive positions[42:30] Michelle's parenting advice as a mom with 3 kids and her IVF journey[46:40] The value of having open communication with your kids[50:00] Wrapping up and talking more about how the Voices of Beauty Summit started[52:51] Sarah and Sabrina share their quotes for the episode

This week Démar and Adriel discuss Jorja Smith's long awaited second studio album 'Falling or Flying', whether she's making the wrong genre of music and her vocal versatility.Démar's rating: 7 / 10Adriel's rating: 7 / 10The Love List: Little Things, Feelings, Try Me, She FeelsTIMECODES:00:15 Start7:39 Jorja Smith should be a dance artist 10:38 Tyler the Creator comparison13:50 Demar only listens to the new shit18:39 Demar doesn't like slow songs26:47 Adriel took away Demar's Jamaican card35:47 We don't need her to get into the studio with The Chainsmokers40:42 Demar Doesn't think she is a wordsmith / not much imagery55:00 Album scoreFollow us:YOUTUBE:https://www.youtube.com/@AlbumModeTikTok:Album Mode: https://www.tiktok.com/@albummodepod Adriel: https://www.tiktok.com/@adrielsmileydotcom Démar: https://www.tiktok.com/@godkingdemi Instagram:Album Mode: https://www.instagram.com/albummodepod/ Adriel: https://www.instagram.com/adrielsmileydotcom/ Démar: https://www.instagram.com/demarjgrant/ Twitter:Album Mode: https://twitter.com/AlbumModepod Adriel: https://twitter.com/AdrielSmiley_ Démar: https://twitter.com/DemarJGrantJorja Smith - Falling or Flying / 2023 / R&B, garage, rock

C'est parti pour la saison 3! Petit retour en arrière, l'après doo wop va vers le rock'n'roll côté blanc et vers la soul côté noir. C'est côté soul que nous allons.Un début chronologique et nécessaire avec Jaaaaaaaaaames Brown!Comme pour Sam Cooke la deuxième partie sera dans 14 épisodes. va falloir être patient. The Charioteers, "So Long" Count Basie, "One O'Clock Jump" James Brown, "Caldonia" James Brown, "So Long" Little Richard, "Directly From My Heart to You" Faye Adams, "Shake a Hand" The Orioles, "Baby Please Don't Go" James Brown et les Famous Flames, "Please Please Please" James Brown, "Chonnie On Chon" Jerry Butler, "For Your Precious Love" James Brown et les Famous Flames, "Try Me"

Welcome to the Five Song Mixtape! This week we discuss the mixtape titled “Global Melodies, Not Forgotten” by Michael. You can find the playlist by following our account on Spotify @FiveSongMixtape or you can find us on Instagram @FiveSongMixtape. We would love to hear your thoughts on the playlist and please give us a rating via iTunes to help spread the word!“Global Melodies, Not Forgotten” by Michael1. “Iron Eyes” by Love Alone2. “Escape” by Miles & Feet3. “Without Love” by The Night Forests Grew4. “Come Back to Life” by Sun Heights5. “The Last Song” by Try Me, Love Me Hosted on Acast. See acast.com/privacy for more information.

In this episode of The Black Lotus Podcast, Josiah brings on Michai Williamson, an International Business Major with a concentration in Entrepreneurship at Howard University. This episode was one of the most motivational The Black Lotus has had in a long time. The conversation kicked off with why Michai lives the way he does and the habits that allow him to thrive in the world. We then transitioned into how Howard changed our lives and completely altered our perceptions of Black people. The discussion also delved into the topic of motivation and the potential for the Black community to undergo transformation through collaborative efforts and unwavering support for one another. To finish off the conversation we discussed Michai's clothing brand, Varsity Team. Varsity Team is a Luxury Streetwear clothing brand, focused on providing quality garments that empower the wearer to be their most confident and successful self. Michai is an individual who tries to motivate as much as he can in this world, and his brand along with this episode puts that on full display. This could be a life-changing conversation for those who listen, and if you're looking for some extra motivation in your life, this is the one for you. Enjoy. And as we always say, as long as y'all show love, we'll stay consistent! Intro - 0:00 Michai's Why - 1:35 Why Josiah stresses reading so often - 5:35 “How you do anything is how you do everything.” - 8:25 Get your day started with something difficult - 13:00 The High of Going to the Gym - 17:30 How Successful People Think - 21:50 Be Intentional with your Actions - 25:27 Revelations about the Black Community and Ourselves after attending Howard - 28:50 “Emotions are Great Servants but Horrible Masters” - 41:25 The Difficulty of Being Late and Starting Your Day on Time - 47:15 Ja Morant and the mentality of “Don't Try Me” - 59:45 “What Luck it is for Rulers That Men Do Not Think” (You won't believe who said this quote!) - 1:01:50 The Harmful Effect of Media on the Black Community - 1:03:30 Rap and the Black Community - 1:14:45 Black People need to see that there are other ways to make it out - 1:22:00 “What do you think of Long-Term Living in America?” - 1:27:50 The Importance of Ownership and the Fall of the Black World Magazines - 1:34:08 Outwitting the Devil by Napoleon Hill - 1:43:15 Black People, Christianity, and World Religions - 1:47:30 Michai's Clothing Brand - 2:00:50 --- Send in a voice message: https://podcasters.spotify.com/pod/show/blacklotuspodcast/message Support this podcast: https://podcasters.spotify.com/pod/show/blacklotuspodcast/support

Dog Wax 098 in with the standard procedure of dropping some fresh beats for your listening pleasure x Tracklist 1. PassinBy - Motion Sky 2. Believe - Balloon & Freenzy 3. Simba - Andrea Appolloni 4. Freakiness - Chelina Manuhutu 5. Straight Up - Forth Phase 6. Modulation - Newball 7. Try Me b - Sergio Pacani 8. Party People - BINGEWATCH 9. Meet Me At The Rave - Friendly Fire & Max Low 10. Mick Swagger - Tony H & AMP (US) 11. Grasp -Bvtters 12. Move Your Body - Benan 13. P 2 Da J - Sllash & Doppe *remix 14. Dunn0 - Handshaking 15. Sweat - Anna Relsch 16. Wald Aus Edelsteinen - Montefusco 17. Que Pasa - Emanuele Modigliani

In which the Curmudgeons get on the good foot and launch a three-part look at the career of a man who may just be rock 'n' roll's truest genius. From jail time in his rough-and-tumble youth to showtime at the Apollo and the chart heights of "I Got You (I Feel Good), we trace the ascension of James Brown as he croons and shuffles his way to superstardom. By 1965, he was ready to unleash a musical gift that changed everything. Let us guide you as Mr. Dynamite finds his inner funk.   Check out two great books that helped inform this episode:   R.J. Smith's "The One" - bit.ly/3CjdBLl   Douglas Wolk's "Live at the Apollo" - bit.ly/43tHNiN   Here's a handy navigation companion for this episode: (0:54 - 5:40) - Arturo Andrade sets the parameters for this episode (07:39 - 18:40) - The Parallel Universe - Reviews of new albums by Lael Neale and Durand Jones (19:39 - 33:46) - James Brown's origin story, which has to be heard to be believed (35:05 - 01:06:45) - We analyze a slew of early James Brown triumphs -- "Please Please, Please," "Try Me," "(Do The) Mashed Potatoes," "Think," "Baby, You're Right," "Night Train," "Out of Sight," "Papa's Got a Brand New Bag," "(I Got You) I Feel Good," and the amazing 192 live album Live at the Apollo    Join our Curmudgeonly Community today! facebook.com/groups/curmudgeonrock   Recorded using Zencastr! zencastr.com    Hosted on Podbean! curmudgeonrock.podbean.com   Subscribe to our show on these platforms: https://podcasts.apple.com/us/podcast/the-curmudgeon-rock-report/id1551808911   https://open.spotify.com/show/4q7bHKIROH98o0vJbXLamB?si=5ffbdc04d6d44ecb   https://podcasts.google.com/feed/aHR0cHM6Ly9hbmNob3IuZm0vcy80M    

The word of the day to start this episode is "grace" — who deserves it more: Frank Ocean or his Coachella fans (0:40)? Chance's years-long prediction of NBA Youngboy becoming the best/biggest rapper alive may have finally come true after 'Don't Try This At Home.' (20:17). The label trade deadline is here (40:13). Plus the yearly "women are out rapping men this year" viral tweet has arrived, courtesy of Carl Cherry (42:06). This episode's music in order played is Pi'erre Bourne "George Lopez," 4kmicheal "TRUSS," Kyle Lux "Lover Loaded Fantasy," and Jorja Smith "Try Me."

Linktree: https://linktr.ee/Analytic The post Jorja Smith Returns with New Song “Try Me”: Stream appeared first on Consequence. Jorja Smith is back with her new song “Try Me.” Smith released her debut full-length Lost & Found back in 2018. In 2021, she followed the project with the EP Be Right Back and the single “All of This.” Last year, she appeared on FKA twigs' EP CAPRISONGS and Burna Boy's Love, Damini. source: Jorja Smith Returns with New Song “Try Me”: Stream (yahoo.com)Support this podcast at — https://redcircle.com/analytic-dreamz-notorious-mass-effect/donationsAdvertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

Don't wonder "Why me...", stand firm and say "TRY ME!!!"...

Greetings, fellow listeners. For the forty-second time, Son sends off the month of turkey gobbling by letting y'all know that I've buzzed my melon for the sixth time along with honoring the would've-been 46th birthday of late O.G. Chadwick Boseman (born November 29, 1976) by spinning "Try Me" by the Godfather of Soul himself James Brown, who Chadwick marvelously portrayed in the biopic "Get On Up", and honoring the 21st anniversary of the passing of legendary Beatle George Harrison (died November 29, 2001) by laying down a Beatle masterpiece, "Here Comes The Sun". WAKANDA FOEVAH!!!

Greetings, fellow listeners. Son sails solo for the fortieth time with my rendition of RHCP's hit "Throw Away Your Television", also spinning "In the Still of the Night" by the Five Satins in honor of the 80th birthday of cinema legend Martin Scorsese (born November 17, 1942), and pleading all MCU junkie to boycott "Black Panther: Wakanda Forever" out of respect for the late, great Chadwick Boseman, who I also honor by laying down "Try Me" by the Godfather of Soul himself, James Brown (Also played by Chadwick in the Brown biopic "Get On Up").

TRY ME...OR NOT...DON'T FORGET TO TRY...BUT DON'T FORGET TRIED ALSO SPELLS "TIRED"

James Brown était un chanteur et auteur-compositeur américain, qui est considéré comme le "Parrain de la Soul". Il était le musicien afro-américain le plus influent de son temps, intégrant la musique soul au funk et au disco. Brown a créé un nouveau son, qui a été facilement identifié avec les communautés afro-américaines pauvres dans lesquelles il a grandi. Son style a influencé des artistes dans tous les genres musicaux, du hip hop au rock en passant par la musique latine. James Brown était une figure centrale de la scène Black Music. Certains disent qu'ils sont nés en 1933, mais James Brown est l'un d'entre eux. Vérité ou pas, lui seul le sait ! Victime d'un vol à l'âge de 16 ans, il est incarcéré à l'Alto Reform School. Il y serait resté sans l'aide de son mentor et chanteur local Bobby Byrd, qui l'a aidé à sortir tôt en échange d'un peu d'aide dans une campagne électorale. Après que James ait commencé à construire sa musique gospel, il a ensuite rejoint son groupe, les Gospel Starlighters. Ils sont devenus plus tard les Flames ! En 1955, le jeune Ike et le reste des Kingsmen ont enregistré une démo de « Please Please Please », leur version originale de la chanson. Ralph Bass a signé le groupe pour jouer dans deux de ses salles locales, ce qui était une opportunité incroyable pour le groupe talentueux. La version originale de la chanson est sortie en avril 1955. Elle a été créditée à "James Brown And The Famous Flames", et elle a finalement atteint la 5e place du classement R&B américain. 1958 a été une année charnière pour le rock and roll. "Try Me" s'est hissé au numéro 1 des charts, devenant non seulement le personnage de merchandising le plus rentable, mais aussi le premier à percer dans la culture pop traditionnelle. Une fois de plus, Brown a eu du mal à maintenir ce niveau de succès, mais "I'll Go Crazy" et "Think" (tous deux en 1960) ont fourni une certaine stabilité de carrière. Jusqu'en 1977, les célibataires étaient presque toujours notés. Mais c'était un album : 'Live At The Apollo' (1962), qui a sans aucun doute établi le chanteur. Cette excellente collection a fait de Brown la voix de l'Amérique noire. 30 ans plus tard, cet album est considéré comme l'un des meilleurs sets live de tous les temps. La célébrité ne suffisait pas, ce qui l'a amené à signer avec Smash Records en 1995. Les poursuites judiciaires engagées par le nouveau point de vente n'ont fait qu'accroître la notoriété de "Out Of Sight". Le single a marqué le début d'un son plus petit et plus serré qui allait finalement restructurer la musique de danse. Brown est devenu bien connu dans les années 1960 avec des chansons qui ont brisé les frontières générationnelles, notamment "Papa's Got A Brand New Bag", "I Got You (I Feel Good)" et It's A Man's Man's Man's World. Le directeur musical du groupe, Nat Jones, a été remplacé par Alfred Ellis en 1968 et "Cold Sweat" a apporté de nouvelles perspectives à leur présentation musicale. Avec Clyde Stubblefield à la batterie, 'Say It Loud - I'm Black And I'm Proud' (1968), 'Mother Popcorn' (1969) et 'Get Up (I Feel Like Being A) Sex Machine' (1970) la voix du chanteur était exempte d'un riff musical persistant, ce qui lui permettait parfois de crier, parfois de mendier, mais toujours de transmettre l'urgence avec assurance. En 1971, Brown a déménagé chez Polydor Records et a créé un nouveau groupe d'accompagnement. On les appelait les JB. L'album a été dirigé par Fred Wesley, collaborateur de longue date de James Brown, et mettait en vedette des musiciens chevronnés tels que Maceo Parker et St. Clair Pinckney. Il présentait également une nouvelle génération de musiciens qui venaient juste de faire leur entrée sur la scène à l'époque. Ailleurs, Bootsy a fait défection avec d'autres anciens membres du Funkadelic de George Clinton Son succès a continué à être substantiel En 1974, il a eu trois numéros 1 successifs dans "The Payback", "My Thang" et "Papa Don't Take No Mess (Part 1)", ainsi que deux bandes originales, "Black Caesar". et « La grande escroquerie au massacre ». Au fil de la décennie, il a eu du mal à maintenir son niveau d'activité et sa popularité antérieurs. L'essor du Disco sonne le glas de son œuvre. Le moment était venu pour James de passer à autre chose en 1980, lorsqu'il a quitté Polydor Records. Son rôle de camée dans le film “The Blues Brothers”, où il a joué son propre personnage, était son dernier acte avec la compagnie avant de se lancer dans d'autres opportunités. Rolling Stone attribue aux sorties ultérieures de Wilson sur des labels plus petits comme TK, Augusta Sound et Backstreet un succès marginal. La rockstar James Brown est revenue sur la scène avec vengeance en 1986, cette fois en partenariat avec Sly & Robbie pour faire "Livin' In America", la chanson thème de la bande originale du film Rocky IV. Succès international, "How Do You Stop" a été suivi de deux tubes R&B, "I'm Real" et "How could You Hurt Me". Cette dernière chanson a inspiré un album du même nom, enregistré avec le groupe de soul Full Force. La résurrection de James Brown a été brutalement interrompue en 1998. Le chanteur a été impliqué dans une poursuite en voiture à grande vitesse et a été tué après avoir percuté un camion en stationnement. Il a été reconnu coupable de plusieurs infractions, dont la possession de drogue illégale et l'échec de la police. Cela l'a amené à purger 6,5 ans au State Park Correctional Center. Il a été libéré en 1991, après avoir écrit de nouveaux morceaux pendant son incarcération. L'influence de James Brown domine le paysage hip-hop depuis un certain temps déjà ; tout le monde connaît "The Godfather of Soul" grâce à ses efforts de pionnier dans le genre. Les nouveaux styles urbains doivent une grande partie de leur inspiration au funk brut d'artistes musicaux tels que "The Godfather of Soul", et James Brown, notamment avec "Funky Drummer" de Stubblefield, à partir des années 70, ils ont fortement échantillonné les voix hurlantes, les cris et les voix improvisées de Brown. Des artistes de tous les genres musicaux ont interprété des chansons de l'impressionnant catalogue de Brown. Il a continué à avoir des démêlés avec la justice et une toxicomanie infructueuse au cours des années 90. Il a été contraint de faire face à un tragique accident médical en 1995. Son ex-femme était décédée lors d'une opération de liposuccion. Pendant son hospitalisation, les craintes pour sa santé ont continué à planer. Son addiction aux analgésiques a été traitée, mais il risque toujours de rechuter. Après que la police a reçu un appel au sujet de coups de feu tirés dans la région, il a été retrouvé avec de la marijuana et une arme à feu non enregistrée. Contains samples of "Off the record interview with James Brown, 1988-05-19" by Smith, Joe (1928-) (Interviewer) and Brown, James (1933-2006) (Interviewee). Retrieved from Citizen DJ, Joe Smith Collection at the Library of Congress, Motion Picture, Broadcasting and Recorded Sound Division.

| Even When You Sleep  | The S.O.S. Band  | 1986 | Mister  | Nora  | 1983 | Early Morning Flame  | Yvonne Williams  | 1995 | Heaven Sent  | Space Ghost feat. Teddy Bryant  | 2022 | Take Her Picture Down  | Melba Moore  | 2022 | More Love  | Norman Feels  | 2022 | I Dig You Baby  | The Ambassadors  | 1969 | 90s Kinda Love  | The Colleagues feat. Teedra Moses  | 2022 | Tell Me Where It Hurts  | The Chi-Lites  | 1981 | Try Me  | Michon Young  | 2022 | Gonna Make Sure  | Michon Young  | 2022 | Thank You For Your Love  | The Dramatics  | 1971 | I Choose You  | J Blackfoot  | 2009 | If I Don't Love You  | Bobby Reed  | 1970 | Lonesome, Lonely & Alone  | Love Peace & Happiness  | 1972 | Every Now And Then  | Mario Winans  | 1997 | Somebody Loves You Baby  | The Moments  | 1969 | They Like It Slow  | H-Town  | 1997 | How Can Love So Right (Be So Wrong)  | Ray, Goodman & Brown  | 1981 | Girl Have Pity  | The Carstairs  | ? | Blind Over You  | Black Ice  | 1976 | And I'll See You No More  | The Stylistics  | 1980 | I Need You  | Otis Leavill  | 1969 | Baby Make Me Feel So Good  | 5 Stairsteps & Cubie  | 1969 | Thinking Of You  | Hunt's Determination  | 1978 | She's On My Mind  | Hunt's Determination  | 1978 | I Think I'm Over You  | Mini Curry  | 1987 | If You Change Your Mind  | Love Committee  | 1978 | Let Me Ride  | Windy City  | 1977 | Make Believe It's Magic  | Janice Dempsey  | 1990

Transcript Podcast Introduction Today we will complete the book of  Leviticus 25-27. I'll have comments on both chapters after the reading, and I'm calling today's episode “Try Me.” Comments on Leviticus 27 If you've been listening very long to the show, you have probably noticed that I'm willing to talk about subjects that might make people... The post Leviticus 25-27: Try Me first appeared on Lifespring! Media.

Synopsis Songs form a significant part of the output of the American composer Libby Larsen. Like many other composers, she's set poems of Emily Dickinson and Rainer Maria Rilke – but she has also penned a song-cycle entitled “Try Me, Good King: Last Words of the Wives of Henry VIII.” Another, for mezzo-soprano and handbell choir entitled “Hell's Belles,” is set to words of formidable women such as Talulah Bankhead, Billie Jean King, and Gertrude Stein. On today's date in 1989, Larsen's “Songs from Letters: Calamity Jane to her Daughter, Jenny” had its premiere performance in New York City. As the title indicates, the texts are drawn from the correspondence of Martha Jane Canary, popularly known as “Calamity Jane,” a hard-drinking, gun-toting woman of the Wild West, who lived from 1848 to 1903. Calamity Jane had a daughter, possibly by Wild Bill Hickok. Calamity Jane sent the child to live with a man she called a "normal daddy,” her friend Jim O'Neil, paying child support by both legal and not-so legal means. As Calamity Jane put it: “I ain't no lady.” Larsen says she was fascinated by “the struggle of an individual soul, a woman and pioneer on many frontiers.” As Larsen put it: “Calamity Jane was a working woman, good in her profession, doing what she loved and making choices because of her will to work. In her time she was odd and lonely. She chose rough-tough words to describe her life to her daughter. I'm interested in that rough-toughness and in Calamity Jane's struggle to explain herself honestly.” Music Played in Today's Program Libby Larsen (b. 1950) — Songs from Letters (Benita Valente, soprano; Scottish Chamber Orchestra; Joel Revzen, cond.) Koch 7481

In this episode of the Demystifying Diversity Podcast, host Daralyse Lyons explores the value of furthering the growth of diversity, equity and inclusion in all aspects of the world of sports. In interviews with current and former athletes, coaches and sports industry executives, she uncovers their perspectives and experiences regarding the critical role of sports within society. Through solutions-oriented reporting, this episode examines strategies that have worked to increase DEI, and explores the need for greater interventions to make sports a truly safe and equitable space. In this episode, you will learn about: The importance of representation, diversity, equity, inclusion and belonging in athletics. How individual choices made by individual people to stand for inclusion can inspire an entire organization's growth in its DEI practices. How personal narratives, as opposed to statistics, play a critical role in changing hearts and minds in the work of making the world a more inclusive place. The role that allyship, along with hard work and grit, can play in breaking through barriers and creating change within organizations. How exposing youth to opportunities within and outside of athletics can serve to diversify workplaces, both inside and outside of the sports world. The economic realities and benefits of having a policy of inclusivity - not only in sports, but in any type of organization. The importance of inclusivity in sports, especially in navigating the end-of-career transition that athletes face. How a focus on inclusivity improves an athlete's mental health and sense of belonging, even after their playing days are over. Our guests in this episode include: Jordan Keesler - a graduate student at Georgia State University whose exploration of the complex relationships between sports policies and identity, with a specific focus on gender, race, and culture illuminate systemic and structural inequities within sports. Their thesis, tentatively titled “Put Me in Coach: The Phenomenology of Trans Masculine NCAA Athlete's Gender,” examines the simultaneous visibility and invisibility of trans folks in athletics. Jordan's insights about this important subject extend beyond their research and are informed by their experiences as a trans athlete who, in college, was affirmed on their cross country team and subjected to active aggression on that same college's softball team. Bilqis Abdul-Qaadir - a Black Muslim basketball player, who has become a national and international icon, recognized as the first Muslim woman in NCAA history to play covered. The innovator behind the campaign Muslim Girls Hoop Too, Bilqis has devoted her career to encouraging Muslim girls to play sports and openly express their faith. A passionate athlete from her earliest memories, Bilquis scored 3,070 points over her high school career, setting the all-time scoring record for the entire state of Massachusetts then went on to attend the University of Memphis and later Indiana State University where, in addition to her on-the-court achievements, she was a Dean's List student. Natalie Fahey - A lifelong athlete who transitioned during her time as a Division 1 Swimmer at University of Southern Illinois-Carbondale. Natalie is now a voice and advocate for the representation and rights of trans athletes across collegiate and amateur athletics. Carla Torosian - An award-winning powerlifter and member of the Blackfeet tribe, Carla is an advocate for both Indigenous athletes and athletes of color. She draws from her experiences in becoming a competitive athlete while growing up on the Blackfeet Reservation in Montana, and facing scrutiny and discrimination for everything from her socioeconomic upbringing to her appearance. Danielle Evans - Danielle is both a rugby player and holds the title as Miss Brighton 2021. She is the founder and creator of the viral Try Me campaign aimed at empowering people to push past the negative stereotypes to success. Mickey Grace - Mickey started her football journey as an All-City Defensive End at Germantown High school in Philadelphia, PA. She then went on to play Division 1 Women's Rugby at West Chester University. Since making the transition from player to coach, she has served as the acting head coach of Women's Football Alliance Philadelphia team, the Philly Phantomz and still holds a seat on the board. In the off season, Coach Mickey trains numerous elite athletes including 7 Super Bowl champions. She spent 5 years as the Defensive Line and Assistant Coach at Mastery Charter North Football Program, interned for the Tampa Bay Buccaneers and acted as a Scouting Apprentice for the LA Rams. Currently Mickey Grace is the Defensive Assistant for Dartmouth College. Zack James - One of the partners of The Demystifying Diversity Podcast. Prior to forming Rebel Hill Consulting where he serves as CEO, Zack was a twelve-year veteran of the Sports & Entertainment industry. After graduating from Temple University's School of Sport, Tourism & Hospitality Management, Zack rose up the ranks from a Ticket Sales Representative to a Premium All-Access Manager with the Brooklyn Nets franchise. And, still today, he produces a variety of content and shows featuring former and current professional athletes. Trevor Baptiste - Trevor is a Haitian-American professional lacrosse player and face-off specialist who plays for both the Premier Lacrosse League and the National Lacrosse League. Growing up in a predominantly white community and playing a predominantly white sport, Trevor offers unique experiences in what it means to not only be a minority in his sport of choice, but also in what it means to allow his play on the field to define him, and not his appearance. He offers perspective on how sport can be used to combat racism and other isms. Jeffrey Montague - Jeffrey is the former Associate Vice Dean of Temple University's School of Sport, Tourism and Hospitality Management (STHM), and current Director of STHM's Alumni Engagement. Jeffrey is also the founder of MontagueMade Consulting, a company that supports and sustains Brand Management, Strategic & Innovative planning in the area of Hospitality and Sport, Curriculum Development, and Diversity of Thought through group and individual intervention. Jeffrey is also a partner of Real Property Capital United Advisors, a group of investors focusing on property development and investment in Hotel Development, and Public & Private Capitalization. Bo-Dean Sanders - Bo-Dean is the author of Race Against, Against Race: My Journey of Diversity and Inclusion Through Sports, was raised in the shadow of segregation. He grew up in a predominantly Black neighborhood, played sports on entirely Black teams with Black coaches and attended majority Black schools all the way until Cheyney University, until he was recruited to play football at Villanova. Ric Beardsley - four-time All-American defenseman and lifelong lacrosse player-turned-coach, Ric is an advocate for the game of lacrosse and is a proponent of creating opportunities for the game to be played and enjoyed by disadvantaged youth. Click here for a full transcript of this episode.

This episode of the Demystifying Diversity Podcast follows host Daralyse Lyons as she explores issues concerning representation in sports. In her interviews with current and former athletes, coaches and sports industry executives, she is able to highlight the ways in which the sports world can marginalize, or “other,” its participants and stakeholders, despite holding such a prominent place in our society. In this episode, you will learn about: The importance of representation, diversity, equity, inclusion and belonging in athletics. The potential burden and scrutiny that can result from being the first person of a marginalized identity group to enter into an academic or athletic arena. The double-bind faced by many trans athletes as they move and perform within their sport, and the ways in which the external challenges they face shape their identity and self-conception as they navigate their gender identity. The power of sports teams to be a voice for change and to eradicate (or perpetuate) discrimination within our society. The pressures that members of minority groups face to conform or modify how they express themselves and their identities in order to “fit in” to the predominantly white-run space that is the sports industry. How sports come from a white nationalist origin, and the far-reaching impact this still has today. Our guests in this episode include: Jordan Keesler - a graduate student at Georgia State University whose exploration of the complex relationships between sports policies and identity, with a specific focus on gender, race, and culture illuminate systemic and structural inequities within sports. Their thesis, tentatively titled “Put Me in Coach: The Phenomenology of Trans Masculine NCAA Athlete's Gender,” examines the simultaneous visibility and invisibility of trans folks in athletics. Jordan's insights about this important subject extend beyond their research and are informed by their experiences as a trans athlete who, in college, was affirmed on their cross country team and subjected to active aggression on that same college's softball team. Bilqis Abdul-Qaadir - a Black Muslim basketball player, who has become a national and international icon, recognized as the first Muslim woman in NCAA history to play covered. The innovator behind the campaign Muslim Girls Hoop Too, Bilquis has devoted her career to encouraging Muslim girls to play sports and openly express their faith. A passionate athlete from her earliest memories, Bilquis scored 3,070 points over her high school career, setting the all-time scoring record for the entire state of Massachusetts then went on to attend the University of Memphis and later Indiana State University where, in addition to her on-the-court achievements, she was a Dean's List student. Natalie Fahey - A lifelong athlete who transitioned during her time as a Division 1 Swimmer at University of Southern Illinois-Carbondale. Natalie is now a voice and advocate for the representation and rights of trans athletes across collegiate and amateur athletics. Carla Torosian - An award-winning powerlifter and member of the Blackfeet tribe, Carla is an advocate for both Indigenous athletes and athletes of color. She draws from her experiences in becoming a competitive athlete while growing up on the Blackfeet Reservation in Montana, and facing scrutiny and discrimination for everything from her socioeconomic upbringing to her appearance. Danielle Evans - Danielle is both a rugby player and holds the title as Miss Brighton 2021. She is the founder and creator of the viral Try Me campaign aimed at empowering people to push past the negative stereotypes to success. Mickey Grace - Mickey started her football journey as an All-City Defensive End at Germantown High school in Philadelphia, PA. She then went on to play Division 1 Women's Rugby at West Chester University. Since making the transition from player to coach, she has served as the acting head coach of Women's Football Alliance Philadelphia team, the Philly Phantomz and still holds a seat on the board. In the off season, Coach Mickey trains numerous elite athletes including 7 Super Bowl champions. She spent 5 years as the Defensive Line and Assistant Coach at Mastery Charter North Football Program, interned for the Tampa Bay Buccaneers and acted as a Scouting Apprentice for the LA Rams. Currently Mickey Grace is the Defensive Assistant for Dartmouth College. Zack James - One of the partners of The Demystifying Diversity Podcast. Prior to forming Rebel Hill Consulting where he serves as CEO, Zack was a twelve-year veteran of the Sports & Entertainment industry. After graduating from Temple University's School of Sport, Tourism & Hospitality Management, Zack rose up the ranks from a Ticket Sales Representative to a Premium All-Access Manager with the Brooklyn Nets franchise. And, still today, he produces a variety of content and shows featuring former and current professional athletes. Trevor Baptiste - Trevor is a Haitian-American professional lacrosse player and face-off specialist who plays for both the Premier Lacrosse League and the National Lacrosse League. Growing up in a predominantly white community and playing a predominantly white sport, Trevor offers unique experiences in what it means to not only be a minority in his sport of choice, but also in what it means to allow his play on the field to define him, and not his appearance. He offers perspective on how sport can be used to combat racism and other isms. Jeffrey Montague - Jeffrey is the former Associate Vice Dean of Temple University's School of Sport, Tourism and Hospitality Management (STHM), and current Director of STHM's Alumni Engagement. Jeffrey is also the founder of MontagueMade Consulting, a company that supports and sustains Brand Management, Strategic & Innovative planning in the area of Hospitality and Sport, Curriculum Development, and Diversity of Thought through group and individual intervention. Jeffrey is also a partner of Real Property Capital United Advisors, a group of investors focusing on property development and investment in Hotel Development, and Public & Private Capitalization. Bo-Dean Sanders - Bo-Dean is the author of Race Against, Against Race: My Journey of Diversity and Inclusion Through Sports, was raised in the shadow of segregation. He grew up in a predominately Black neighborhood, played sports on entirely Black teams with Black coaches and attended majority Black schools all the way until Cheyney University, until he was recruited to play football at Villanova. Ric Beardsley - four-time All-American defenseman and lifelong lacrosse player-turned-coach, Ric is an advocate for the game of lacrosse and is a proponent of creating opportunities for the game to be played and enjoyed by disadvantaged youth. Click here for a full transcript of this episode.

Are you the victim or the victor? Do you walk around saying, “Why Me?” Or do you say, “Try Me”? In today's episode on Burn out to All Out, Melissa recounts the most traumatic day of her life. Unknowingly walking right into an armed robbery. In the early moments, she had no place to run, no way to fight and became immobilized. After seeing another customer and remembering a local news story, she found her path and took a chance. Breaking through the door to the freedom on the other side. This story isn't just about Melissa's choices that day but also about the choices you can make about your business today. Will you be the damsel in distress? Or will you fight? Or perhaps make a different choice. You can be the victim or the victor of your life, which do you choose? Connect with Melissa: Connect with Melissa in her Burn Out to All Out Facebook group: https://www.facebook.com/groups/burnouttoallout Instagram: https://www.instagram.com/melissa_henault/ For free resources and information on Melissa's current offerings: www.livethefreelife.co

Are you the victim or the victor?  Do you walk around saying, “Why Me?”  Or do you say, “Try Me”?  Today's episode on Burn out to All Out, Melissa recounts the most traumatic day of her life.  Unknowingly walking right into an armed robbery.  In the early moments, she had no place to run, no way to fight and became immobilized.  After seeing another customer and remembering a local news story, she found her path and took a chance.  Breaking through the door to the freedom on the other side. This story isn't just about Melissa's choices that day but also about the choices you can make about your business today.  Will you be the damsel in distress?  Or will you fight?  Or perhaps make a different choice.  You can be the victim or the victor of your life, which do you choose?   Connect with Melissa:   Connect with Melissa in her Burn Out to All Out Facebook group: https://www.facebook.com/groups/burnouttoallout   Instagram: https://www.instagram.com/melissa_henault/   For free resources and information on Melissa's current offerings: www.livethefreelife.co

On this concluding part of the conversation with Remy Baggins, we dive more into the music business from his personal experiences, we talk about working with Tems on her hit single, Try Me, leaving university, his Indie record label and publishing company, Southseid Music and a ton of spontaneous topics. Timestamps: 01:25 - The music business, a typical lifecycle of a song from inception to release and the different royalties involved 14:08 - Co-producing on Tems' hit single, Try Me 19:19 - Leaving university before finishing 22:40 - A producer's love life 25:00 - Eri Ife, Dear Future Wife 31:00 - Telling his parents about his decision to leave school 37:20 - His upcoming album 42:17 - Having a community around you in the music space 46:43 - Current studio setup 48:54 - What he'd be doing if he wasn't making music 54:50 - Southseid Music, Indie Record Label and Publishing Company We sincerely apologize in advance for the slight background sounds in this episode. As always, please like, leave a rating, and comment wherever you can as this helps the podcast and also enables more people to have access to all this goodness! Use the hashtag #WMTSPod to let us know how much you enjoyed this episode! Also, share this episode and tag us!

We're joined by The Savage, Remy Baggins, Music Producer, Songwriter, Multi-instrumentalist, Singer, and Audio Engineer. Remy Baggins is one of the new generation music creatives that has done some amazing work in the short period of time he's been in the music space, from working with Tems on Try Me to Ice Prince, Famous Bobson, Psycho YP, Azanti, Dami Oniru and a ton on other music creatives. We sit down with him on this episode and take a walk down memory lane from the very first songs he produced and also sang/released up until the very point he's at now. We talk about his experiences in the Nigerian Music Industry so far and segue into a lot of spontaneous topics along the way. This episode is definitely one you shouldn't skip! Timestamps: 01:10 - Introductory banter 08:25 - Being signed to Chase Music and working with Jinmi Abduls - Headliner 14:08 - One of his first singles, KLFSHII 17:00 - His debut album, VIV 19:10 - Why he hasn't 'blown' 20:00 - His multiple functions in the music space and conflicting attention 22:30 - A typical lifecycle of a song from inception to the point of release 29:37 - Nigerian music industry experiences 34:20 - His Tags 43:55 - YLLW with Eri Ife 50:00 - Working around people 52:55 - Call Me with OluandtheCoconut 1:00:22 - How lucrative music has been 1:01:30 - The 'hot producer on the block' syndrome in the Nigerian Music Industry We sincerely apologize in advance for the slight background sounds in this episode. As always, please like, leave a rating, and comment wherever you can as this helps the podcast and also enables more people to have access to all this goodness! Use the hashtag #WMTSPod to let us know how much you enjoyed this episode! Also, share this episode and tag us!

Elvis est au service militaire, Little Richard ne fait plus que du gospel et Chuck Berry est en prison. Le hit de Sam Cooke ’’You Send Me’’ passe des charts noirs aux hit-parades pop et James Brown a une chanson de ce style en réserve, le morceau ’’Try Me’’ qui sortira le 13 octobre 1958 et deviendra immédiatement n°1… --- L’incroyable parcours de James Brown ! Replongez-vous dans la vie et l’œuvre de celui qui nous quittait il y a déjà 15 ans. Une série exclusive signée Walter De Paduwa, diffusée du 20 au 24 décembre 2021 sur Classic 21.

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

When life puts you in tough situations, don't say Why me? say Try Me! Like how our first day filming for the Rescue Squad led to all sorts of dramas, not to mention the stolen football! We hear how maxi ended up in the bank after hours, Leigh's unfortunate incident and we get Maxi's top tips on what to do if you find yourself one day having to call 000, 999 or 911.

Faith - Who's Your Chicken? - Autismistic Adventures with Real-Life Stories, I went from Hero to Zero, crawling back physically and emotionally. Decades of work, X-Gen Father with an Autistic Son and Daughter, Diabetes II killing me, long time Radio, Media, News Addict, WooCommerce-eCommerce store owner, DBA, Programmer, Cook, Mechanic, are just the edge of what makes this unique podcast one of the best floating around the internet ocean to massage your eardrums. Try Me! OH, Did I mention FREE STUFF!? Free clothing and products to be given out to the listeners, stay tuned! See our store https://tinaswarehouse.comthe kids and I run. == Check out the REAL site : https://mypagemike.com == 001|005

Michael - Dad, I see the sparkles in the spiders eyes? - Autismistic == Adventures with Real-Life Stories, I went from Hero to Zero, crawling back physically and emotionally. Decades of work, X-Gen Father with an Autistic Son and Daughter, Diabetes II killing me, long time Radio, Media, News Addict, WooCommerce-eCommerce store owner, DBA, Programmer, Cook, Mechanic, are just the edge of what makes this unique podcast one of the best floating around the internet ocean to massage your eardrums. Try Me! OH, Did I mention FREE STUFF!? Free clothing and products to be given out to the listeners, stay tuned! See our store https://tinaswarehouse.comthe kids and I run. == Check out the REAL site : https://mypagemike.com == 001|006

My brothers PJ , Mark and I. A Bouncing Knife - Fort Ord == Adventures with Real-Life Stories, I went from Hero to Zero, crawling back physically and emotionally. Decades of work, X-Gen Father with an Autistic Son and Daughter, Diabetes II killing me, long time Radio, Media, News Addict, WooCommerce-eCommerce store owner, DBA, Programmer, Cook, Mechanic, are just the edge of what makes this unique podcast one of the best floating around the internet ocean to massage your eardrums. Try Me! OH, Did I mention FREE STUFF!? Free clothing and products to be given out to the listeners, stay tuned! See our store https://tinaswarehouse.com the kids and I run. == Check out the REAL site : https://mypagemike.com == 001|007

What is this podcast ALL ABOUT? Who Am I? Part #1 of 4 == Adventures with Real-Life Stories, I went from Hero to Zero, crawling back physically and emotionally. Decades of work, X-Gen Father with an Autistic Son and Daughter, Diabetes II killing me, long time Radio, Media, News Addict, WooCommerce-eCommerce store owner, DBA, Programmer, Cook, Mechanic, are just the edge of what makes this unique podcast one of the best floating around the internet ocean to massage your eardrums. Try Me! OH, Did I mention FREE STUFF!? Free clothing and products to be given out to the listeners, stay tuned! See our store https://tinaswarehouse.comthe kids and I run. == Check out the REAL site : https://mypagemike.com == 001|004

What is this podcast ALL ABOUT? Who Am I? Part #3 of 4 == Adventures with Real-Life Stories, I went from Hero to Zero, crawling back physically and emotionally. Decades of work, X-Gen Father with an Autistic Son and Daughter, Diabetes II killing me, long time Radio, Media, News Addict, WooCommerce-eCommerce store owner, DBA, Programmer, Cook, Mechanic, are just the edge of what makes this unique podcast one of the best floating around the internet ocean to massage your eardrums. Try Me! OH, Did I mention FREE STUFF!? Free clothing and products to be given out to the listeners, stay tuned! See our store https://tinaswarehouse.comthe kids and I run. == Check out the REAL site : https://mypagemike.com == 001|003

What is this podcast ALL ABOUT? Who Am I? Part #2 or 4 == Adventures with Real-Life Stories, I went from Hero to Zero, crawling back physically and emotionally. Decades of work, X-Gen Father with an Autistic Son and Daughter, Diabetes II killing me, long time Radio, Media, News Addict, WooCommerce-eCommerce store owner, DBA, Programmer, Cook, Mechanic, are just the edge of what makes this unique podcast one of the best floating around the internet ocean to massage your eardrums. Try Me! OH, Did I mention FREE STUFF!? Free clothing and products to be given out to the listeners, stay tuned! See our store https://tinaswarehouse.comthe kids and I run. == Check out the REAL site : https://mypagemike.com == 001|002

What is this podcast ALL ABOUT? Who Am I? Part #1 of 4 == Adventures with Real-Life Stories, I went from Hero to Zero, crawling back physically and emotionally. Decades of work, X-Gen Father with an Autistic Son and Daughter, Diabetes II killing me, long time Radio, Media, News Addict, WooCommerce-eCommerce store owner, DBA, Programmer, Cook, Mechanic, are just the edge of what makes this unique podcast one of the best floating around the internet ocean to massage your eardrums. Try Me! OH, Did I mention FREE STUFF!? Free clothing and products to be given out to the listeners, stay tuned! See our store https://tinaswarehouse.comthe kids and I run. == Check out the REAL site : https://mypagemike.com == 001|001

Prerna Gandhi is a recent graduate of University of Cincinnati in Bachelor of Science, Business Analytics and Information Systems. She is also a TedX speaker, having presented at TedX Cincinnati, sharing her journey of being an acid attack victim to acid attack fighter. Eight years ago, Prerna survived a vicious attack where acid was thrown at her face. At just 13 years old, she thought her life had ended, along with all the dreams and ambitions of a young teenager. She thought: "I would never be able to go to high school again. I would never leave the house as I might scare people, especially kids. People would pity me and would be ashamed to call me a friend". Fast forward to 2021, Prerna is an example of what sheer determination and resilience can accomplish, becoming an icon of strength to everyone around her. Having walked this path with remarkable grace and courage, she tells herself, “Try Me” instead of asking “Why Me”. Link to Prerna's TedX talk: https://youtu.be/ktr1rmwLl0M

"I've learned that you unify people with energy, effort, passion, and a good heart." - Kevin O'Connor Thank you Kevin O'Connor for US Senate for appearing on the latest episode of Try Me! We get to know Kevin's background - and among other things, we discuss education, law and order, and the movement to defund the police.

Tracklist: The Delfonics "Hey! Love" Curtis Mayfield "Give Me Your Love" Isaac Hayes "Ike's Rap III" Barry White "I've Got So Much To Give" The Holidays "Getting Kind of Serious" Matt Covington "I'm So In Love With You" The Whatnauts "Try Me" J.T. Rhythm "All I Want Is You" Al Green "I'm Still In Love With You" The Ambassadors "I Really Love You" Michael Kiwanuka "Piano Joint (This Kind of Love)" Con-Funk-Shun "Now and Forever" Wee "Find Me, Love Me" (7" Mix) Mayer Hawthorne "Only You" Parliament "I've Been Watching You (Move Your Sexy Body)"

TRY ME. IS THIS ALL YOU GOT? THIS IS JUST THE WARM UP. If you need motivation, here it is.

Denzel is back from Lagos and Koffi is ready to leave Accra. Intro- Try Me by Tems Hosts - Koffi and Denzel KFV FACEBOOK TWITTER INSTAGRAM Unartiste FACEBOOK TWITTER INSTAGRAM Question - questionunartiste@gmail.com Advertisement - unartisteco@gmail.com A GCR Production

We caught up with DeJ Loaf to talk about what kept her going when she was struggling, what she learned from her hit single “Try Me”, why you should quit your day job and much more.. Comment on our soundcloud account or head over to thecomeupshow.com for your thoughts on this interview.Watch the video version of this interview at http://bit.ly/dejloaftcusHelp us rank on iTunes and please leave a rating or review: bit.ly/TCUSiTunesSubscribe to our mailing list so you dont miss anything! bit.ly/tcusnewsletterFollow us on SoundCloud and your favourite podcasting app.Support this show http://supporter.acast.com/thecomeupshow. Hosted on Acast. See acast.com/privacy for more information.