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3 episodes with Uptight
3 episodes with Uptight
2 episodes with Uptight
2 episodes with Uptight
3 episodes with Uptight
4 episodes with Uptight
2 episodes with Uptight
2 episodes with Uptight
2 episodes with Uptight
In this edition of Between Two Nerds Tom Uren and The Grugq talk about how states have very different approaches to controlling cyber operations. At the very beginning they refer to this Microsoft Threat Intelligence post. Show notes Frequent freeloader part I: Secret Blizzard compromising Storm-0156 infrastructure for espionage
Questions answered this episode: Is there a particular theological significance of Eve being created from a rib out of Adam's side? My boyfriend enjoys watching videos & movies that fall into the comedy category, which is not my favorite genre. This is not something I enjoy. There are times when I find these movies painful to my heart because of the content they have. Am I just being too uptight? Should I try to be more open? A few years ago, before I was Catholic, I got to a place that was so dark that led me to have an affair. My marriage is in a stage of reconciliation. I have an amazing husband to walk this journey with me. How do I open myself up to him and be comfortable loving him with the same body that I used to hurt him so badly? Ask Christopher West is a weekly podcast in which Theology of the Body Institute President Christopher West and his beloved wife Wendy share their humor and wisdom, answering questions about marriage, relationships, life, and the Catholic faith, all in light of John Paul II's beautiful teachings on the Theology of the Body.
Tom's family is getting larger; did Bath & Body Works sell a racist candle; Indiana Attorney General Todd Rokita threatens to sue the Lake County Sheriff's Department; Trump said what about Arnold Palmer; Elon Musk giving away million-dollar prizes to voters in swing states who sign a petition; Lake County Democratic Chairman Jim Wieser and Schererville, IN Town Council President Tom Schmitt talk with Tom and Kevin about this election cycle and more.
You can't be "Uptight" listening to classic hit songs that are "Signed Sealed Delivered" with fun! Yes, it's the Stevie Wonder tribute episode! Jenna and Kevin dive right in with fun behind-the-scenes stories like how Katey Sagal came to play Kevin's mom and what it was like working with her, being in complete awe of Amber Riley's performances, Kevin learning he was going to New York by reading it in a script (yep, no one told him), and their mental states during this stage of the show because of external factors like lower ratings and uncertainty about the show's future. See omnystudio.com/listener for privacy information.
In Psalm 73 Asaph, a worship leader in the Temple during the reign of King David experienced a crisis of faith as he observed around him "the prosperity of the wicked". When he worshipped, he faced his crisis, found clarity, and framed a confession of his renewed faith in God. His experience still provides insight for the uptight.
When you're at a wedding reception and dancing begins, do you break into a…
When you're at a wedding reception and dancing begins, do you break into a sweat at the very idea of dancing, or do you kick off your shoes? If you're...
Brian is as shaky as the Giants' spot in the AFL top 8, but as Toby Green as he might feel, he soldiered on, not to mention he is still leading the Lenny's Fine Food Footy Tipping. But let's not mention that. Finey is no shrinking violet, so he is pretty peeved at the downsizing of many of our favourite food items, from ice creams to hamburgers. The best and worst memories of television music shows showcases some forgotten classics like GTK, Hit Scene, Uptight and Finey's cameo on Beatbox. And to finish, remember where the steward told you the sick bags are because Brian debuts his AI song for all the Gold Coast Girls. Kevin Hillier, Brian Mannix, Mark Fine Subscribe in iTunes!https://apple.co/2LUQuix Listen on Spotifyhttps://spoti.fi/2DdgYad Follow us on Facebook...https://bit.ly/2OOe7ag Post-production by Steve Visscher | Southern Skies Media for Howdy Partners Media | www.howdypartnersmedia.com.au/podcasts © 2024See omnystudio.com/listener for privacy information.
Every week, I get messages from men asking me what to do about the controlling and uptight woman in their lives. So, let's look at what causes a woman to be uptight and controlling. And let's look at what the actual solution is.
Dana In The Morning Highlights 4/18Houston has been named the most uptight city in the US - HUH!?!?New Mini Golf Club set to open up on FridayKevin Fisher Jr. is only 7 years old, super smart - and featured on Abbott Elementary!!
HOUR 4 - Seth and Sean discuss Mark Schlereth's assertion that Stefon Diggs may be a concern in the locker room, react to FinanceBuzz ranking Houston as the MOST uptight city, Sean lays out the potential menu for the Texans' pick at 42, and the guys dive into who Nick Baumgardner of the Athletic has them picking in his latest mock draft.
Seth and Sean try to prove how laid back they are whilst being offended by FinanceBuzz ranking Houston as the most uptight city.
Ron Dunn preaches at a conference in 1991 out of the book of psalms in part 1 of this 3 part series.
There is a mysterious camera in your brain that will click and capture a poignant scene from time to time. You know what I'm talking about: random moments that you can vividly recall, but you're not sure why.My awareness of that camera has been heightened and brightened in recent days as I feel a chapter of my life coming to an end and a new chapter about to begin.I've sure you have felt what I'm talking about.Phil Johnson explained these uneasy times of transition 40 years ago when I was in the middle of one. He said, “Roy, you're in an elevator and the door is closed and that's always an unsettling time. You're not sure whether the elevator is taking you up to a higher floor, or down to a lower one. You know only that when that elevator door opens, everything is going to be different.”*Click* went the camera in my brain.Then he looked encouragement into my eyes as he said, “Never let the future disturb you. You will meet it, if you have to, with the same weapons of reason which today arm you against the present.” As we began walking toward our cars, he finished by saying, “Marcus Aurelius wrote that note to us 175 years after Jesus was born.”*Click*Phil Johnson passed away in 2019, just 5 days before his 97th birthday. You will find the last words he spoke to me emblazoned across the 12-foot-high bookcases that hold the thousands of books he left to me in his will. “You acquire an education by study, hard work and persistence. But you absorb culture by viewing great art, listening to great music and reading great books.”The moment that heightened and brightened my awareness of the elevator I'm in was a 521-word text sent to me by Pennie's sister, Pam. That text contained the complete lyrics of Billy Joel's song, “We Didn't Start the Fire.” Nothing else.If you have been reading these Monday Morning Memos for any length of time during the 29 years and 9 months that I've been writing them, you won't be at all surprised that Indy Beagle and I sprang into hot pursuit of the liquid-fast rabbit that leaped out from Pam's mysterious text.To those of you who are new to rabbit chasing, the objective is not to catch the rabbit, but only to let it lead you to places you might never have otherwise discovered. Uptight people will say that Indy and I are wasting time. But those people will never meet Calvin and Hobbes.When Indy and I lost sight of the liquid-fast rabbit, an unsettled teenager said to Billy Joel, “It's crazy to be my age. You didn't have this kind of stuff going on when you were growing up. Nothing really happened back then.”Billy went home that day and listed more than 100 major worldwide events that occurred between the day of this birth in May, 1949, and the day of that teenager's visit in 1989. “We Didn't Start the Fire” was a birthday gift Billy Joel gave to himself on his 40th birthday in 1989.If you click the image of Indy Beagle at the top of this page, you will be transported to a secret page featuring two different YouTube videos of “We Didn't Start the Fire.” Each of those videos will show you the more-than-100 different people and events that Billy Joel is singing about 35 years ago.And now you know why we call those hidden pages, “The Rabbit Hole.”Indy said to tell you “Aroo.”I'll tell him you said “Aroo,” too.Roy H. WilliamsSeven-hundred-thousand Americans per year submit a trademark application, but Andre Mincov says that number is far less than it should be. Prior to beginning his global consultancy specializing in trademarks, Andre worked at a law firm helping companies like Apple, Microsoft, Sun, and Dell file and defend their trademarks. Today Andre rescues small and mid-size companies that failed to file formal trademarks, or that forgot to file them for all their brands. Listen and learn as Andre explains the most common trademark...
It's Awards Season yet again. Here on the Holmes Movies Podcast that means, it is time for the Alternative Oscars episodes! AKA the Anders and Adam-emy Awards: Each episode for this series we pick a different year in Oscars history and attempt to correct the record, stripping the undeserving of their garlands while recognizing those who were cruelly overlooked. This time, we will be casting our eye back to… the 41st Academy Awards, the year that honoured the best films of 1968. It was held April 14th 1969 for the first time at the Dorothy Chandler Pavilion. Carol Reed's Oliver! was nominated for 11 Academy Awards and won 5, including Best Picture and Best Director. Stanley Kubrick received the only Oscar over his entire career that night for Best Visual Effects (2001: A Space Odyssey). It was also the year where there was a tie for the Best Actress in a Leading Role category. Listen to the episode and find out who Anders and Adam believe should have won that night! Subscribe/Follow and check out the rest of the podcast!Listen to and check out all the episodes we recommended to each other during the Covid Lockdown here on Letterboxd. One of the films was Jules Dassin's film Uptight and you can listen to the Holmes Movies Recommends episode about the film here.Follow us on Instagram!Also check us out on Letterboxd!AndersAdam Hosted on Acast. See acast.com/privacy for more information.
# stevie wonder uptight everything is alright # one of the greatest artists ever # singer songwriter arranger producer and instrumentalist # respect and appreciate # classic 60s motown --- Support this podcast: https://podcasters.spotify.com/pod/show/mr-maxxx/support
One of our listeners thinks he might have accidentally ruined his entire date because of what he did in a movie theater! It's not illegal but it's not a good look either…See omnystudio.com/listener for privacy information.
One of our listeners thinks he might have accidentally ruined his entire date because of what he did in a movie theater! It's not illegal but it's not a good look either…See omnystudio.com/listener for privacy information.
[College Boy] [Older Woman] ["Looking After You"] [Corruption] [Bisexual Speaker] [Big Tits] [Big Ass] [Dancing] [Grinding] [Teasing Until You Snap] [Switch] [CNC] [Choking] [Throatfuck] [Bent Over] [Spanking] [Rough] [Creampie][Script by: Angel_Main] Please go to https://www.moonsilkaudios.com to get the full audio!
David Cain of Raptitude teaches us how to become less uptight in two minutes Episode 2927: How to Become Less Uptight in Two Minutes by David Cain of Raptitude on Stop Trying to Control Everything David Cain is a writer and entrepreneur living in Winnipeg, Canada. On a particular boring day at his office job in 2009, he started Raptitude. His interest has always been human society and the internal human experience, and Raptitude became his megaphone for his thoughts about those things. It found an audience rather quickly and it's been central to his life ever since. In 2013, he left his day job to write full time. The original post is located here: https://www.raptitude.com/2016/11/how-to-become-less-uptight-in-two-minutes/ Visit Me Online at OLDPodcast.com Interested in advertising on the show? Visit https://www.advertisecast.com/OptimalLivingDaily Learn more about your ad choices. Visit megaphone.fm/adchoices
David Cain of Raptitude teaches us how to become less uptight in two minutes Episode 2927: How to Become Less Uptight in Two Minutes by David Cain of Raptitude on Stop Trying to Control Everything David Cain is a writer and entrepreneur living in Winnipeg, Canada. On a particular boring day at his office job in 2009, he started Raptitude. His interest has always been human society and the internal human experience, and Raptitude became his megaphone for his thoughts about those things. It found an audience rather quickly and it's been central to his life ever since. In 2013, he left his day job to write full time. The original post is located here: https://www.raptitude.com/2016/11/how-to-become-less-uptight-in-two-minutes/ Visit Me Online at OLDPodcast.com Interested in advertising on the show? Visit https://www.advertisecast.com/OptimalLivingDaily Learn more about your ad choices. Visit megaphone.fm/adchoices
David Cain of Raptitude teaches us how to become less uptight in two minutes Episode 2927: How to Become Less Uptight in Two Minutes by David Cain of Raptitude on Stop Trying to Control Everything David Cain is a writer and entrepreneur living in Winnipeg, Canada. On a particular boring day at his office job in 2009, he started Raptitude. His interest has always been human society and the internal human experience, and Raptitude became his megaphone for his thoughts about those things. It found an audience rather quickly and it's been central to his life ever since. In 2013, he left his day job to write full time. The original post is located here: https://www.raptitude.com/2016/11/how-to-become-less-uptight-in-two-minutes/ Visit Me Online at OLDPodcast.com Interested in advertising on the show? Visit https://www.advertisecast.com/OptimalLivingDaily Learn more about your ad choices. Visit megaphone.fm/adchoices
In this episode of The A to Z English Podcast, Xochitl and Jack discuss the following question: Are you a chill person or an uptight person? Transcript:00:00:01JackWelcome to the A-Z English podcast, where Jack and Social take you on a journey from learning the basics to mastering the nuances of the English language. Our podcast is designed for non-native speakers who are looking to improve their English skills in a fun and interactive way. Each episode covers a wide range of topics.00:00:23JackFrom grammar and vocabulary to slang and culture to help you navigate the English speaking world with ease.00:00:35JackWelcome to the A to Z English podcast. My name is Jack and I'm one of the hosts of the podcast and I'm here with my co-host, Social and social, and I are going to answer another question for you. And the question is, are you?00:00:47JackA chill person.00:00:50JackOr are you uptight?00:00:53JackSo this would be, I mean that's totally appropriate for you social to define, chill.00:00:59AChill. Who is someone who is relaxed, someone who goes with the flow, someone who is easygoing and you know, doesn't have a lot of worries, isn't uptight or strong, too high? And yeah, just generally kind of a relaxed and.00:01:00JackWhat does that mean?00:01:20XochitlAnd our carefree demeanor.00:01:23JackWhat about uptight? What is an uptight person?00:01:26XochitlUptight is the opposite of that. It's someone who is really neurotic, who tends to.00:01:34XochitlGo through a lot of stress like self-imposed stress. They worry about things a lot and they usually they care a lot to like order and for things to be done like exactly how they want them done. And it's just someone who has like a lot of little.00:01:57XochitlConcerning your worries, every little thing is something that they're.00:02:02XochitlEvery little detail, something they're consumed.00:02:03XochitlWith, you know and.00:02:05XochitlSo they have a lot of self-imposed stress, a lot of self-imposed anxiety. And yeah, it there. Yeah, it's it can be hard to be around people like that. I think especially if you're easy going.00:02:17JackYeah. If you're easy guy I.00:02:18JackThink that we have a name for those people now.00:02:20JackWe kind of call them Karens.00:02:22JackIs that at Karen's? Yeah.00:02:23XochitlYeah, and it's.00:02:24XochitlIt's kind of like you, Karen, though I mean.00:02:27XochitlI guess for.00:02:28XochitlMe. Well, duck you up first. Are you uptight or are you laid?00:02:31XochitlBack, I know.00:02:32JackOhh OK you probably know the answer already, but I mean just by the cadence of my voice and the way I the way I talk. But yeah, I'm I'm a I'm a chill person like, but I I haven't always been chill. I mean, I've definitely had my moments of insanity.00:02:51JackAnd you know where I get really angry. Sometimes I think chill people.00:02:59JackIt's like uh, it's kind of a vibe that people give off, but it's.00:03:03JackA A public persona.00:03:04JackAnd so even when they get into their when they get home.00:03:08JackThey can kind of turn from chill to very neurotic. Like you said, you know, uptight and obsessive and things like that. So I definitely have had my moments of that, but I try to be chill and I think that's my natural setting, is that I'm pretty easy going.00:03:21발표자 3Right.00:03:28XochitlI think that.00:03:30XochitlIt's sometimes it's like not even intentional. A lot of people think of me as a really chill and laid back person, but.00:03:36XochitlIn my own mind, I'm super neurotic and have like a lot of anxiety going on in my head and like I get really stressed out and.00:03:45XochitlStuff, but I think sometimes when we're in social settings, it's a little bit of a distraction, right? Or there's, like, other things to focus on that aren't in our control. And I think a lot.00:03:57XochitlOf times.00:03:58XochitlPeople who appear easygoing in social settings have the ability to let go at least a little bit.00:04:05XochitlOh, what this social setting of the situation? It's not in my control, so I'm not really worried. Whereas I think people who are generally characterized as high strung, like, can't really let go in any situation.00:04:18JackThat's a good point. That's a good.00:04:19JackPoint. So I mean.00:04:20JackI think the.00:04:21JackThing that I think people misunderstand about chill people is that they don't care.00:04:26JackBut it's not that they don't care, it's just that they kind of keep a lid on their emotions, right? So it's like.00:04:26발표자Right.00:04:35JackIt's hard to read those people necessarily, because you might think that they are. They are. They don't care. And another word for that is aloof. ALOFI believe I spelled that correctly. You guys can check me on that. But people who are aloof or they, they really just don't care, they're they're not really concerned and they don't.00:04:54JackThat's not a good quality, I think. Chill people are like they care, but they're also not gonna gonna make a public demonstration of their anger for everybody to see. So they're gonna kind of keep a lid on their anger.00:05:08JackAnd just kind of let it go and and contain it and process it health in a healthy way and an uptight person is just incapable of kind of putting a lid on top of that anger and they just kind of blow up and and act out or say something inappropriate.00:05:18XochitlRight.00:05:28JackOr something and.00:05:30XochitlI think more than.00:05:31XochitlLike anger, I think anger is like a response to a trigger, and I feel like.00:05:37XochitlI feel that uptight people get.00:05:40XochitlLike triggered by certain things more easily. I'm not using like triggered in a negative sense. I'm saying like some little thing could really upset them that you and I wouldn't even register a lot of time because they're like, keep their heightened like then your artism is really.00:05:53JackThat's a good point.00:05:56XochitlHeightened and I think a lot of.00:05:58XochitlTimes being uptight or being chill.00:06:01XochitlIt kind of comes down to control for.00:06:02XochitlMe so like.00:06:03XochitlWe don't have to be in control of the situation.00:06:07XochitlAnd I feel like people who were uptight have to have, like, the control, or have to have, like, the only say it's like Jack and I work really well together. I think because we're both laid back. So if we have suggestions for, like, the podcast, we can both be like.00:06:24XochitlYeah or no?00:06:25XochitlI don't know about that one or yes, I think.00:06:27XochitlThat's a good idea.00:06:28XochitlBut I think if we have a good team member, that was really uptight, it would be hard for.00:06:33XochitlUs it would be like really hard for us.00:06:36JackYou have to walk on egg shells with those people, we say in English, right? Yes.00:06:39XochitlBecause, yeah, and especially because like.00:06:45XochitlWith being chill comes with a certain level of going with the flow and like adjusting expectations and adjusting your plans depending on what you think.00:06:53XochitlIs going to work.00:06:54XochitlOr what you came up with and just going from there and I think uptight people, they really need to stick with, like, the regimen they really have, like, certain parameters they're comfortable with.00:07:06XochitlAnd they don't like to be upset outside of that and being like tight is not necessarily always a bad thing.00:07:14XochitlIt's kind of like type A personalities versus type B personalities we also use in English. That's another quick difference.00:07:22XochitlBefore we get to yes.00:07:22JackYeah, well, type B being.00:07:24JackA chill person and type.00:07:25JackA being an uptight person.00:07:27XochitlOf a being of type person, but I think that a lot of times type A's are better at organizational aspects and keeping things on track and type. These are like creative energies that are more comfortable going.00:07:39XochitlWith the flow.00:07:40XochitlSure. Yeah. Go ahead then.00:07:42JackNo, no, that's it. You make a really, really good point. I mean, that's exactly what I think. I think uptight people are necessary. They keep the trains running on schedule. You know what I mean? If you let all the the chill people run this the operation you don't know when the train's coming and whether it'll ever reach its destination.00:08:02XochitlIt's happening.00:08:03JackBut it'll look amazing. It'll have. It'll be painted really beautiful colors.00:08:05XochitlYeah, it looks like a dragon or something. It's.00:08:09발표자Gonna be all.00:08:10XochitlAll thrills and like I.00:08:12XochitlI think like everything, I don't think we're totally chill or totally uptight. I think it's like a spectrum. I think Jack and I tend to be like a little more towards the chill side. If anyone remembers our old podcast mate Kevin, he was still chilled, but like a little more towards like the structured sides of the thing, I wouldn't come up.00:08:32XochitlLike he was more like structured.00:08:34XochitlAnd uhm, that was good, because it would keep us on track and stuff like that. And but it was just like a different dynamic. So I don't think it's only the negative thing. It's just like someone uptight.00:08:38JackYeah, yeah.00:08:49XochitlOr with more structure or more of a type A personality, they can keep things on track more than a type B person, but at the same time a type B person will be like more creative. So there is like benefits and negatives to both I think.00:09:02JackI think you too, if you're too chill, you become kind of a doormat for people. They take advantage of you, and if you're too uptight, you're gonna die young because you're just stressing about things that.00:09:13JackYou can't control.00:09:14JackYou know, getting angry at the.00:09:14XochitlAnything you like?00:09:15JackTraffic. I mean it's.00:09:17JackNot you. You can't control that so.00:09:19XochitlYou also might become a monster if you're too uptight. I think like it's like type B chill person. Now that you might be like a doormat and type A can get, like, really domineering. So I think it's like, but yeah, it just really depends. But I I think there are pluses and negatives to both and there's definitely positives to both.00:09:39XochitlSo yeah, let us know if you are a.00:09:42XochitlChill person or an uptight person. We the comment down below on our website A-Z englishpodcast.com shoot us an e-mail at AZ English podcast at.00:09:51XochitlGmail.com or join our website group and we'll see you.00:09:55XochitlGuys, next time.00:09:56발표자 3Bye bye.Podcast Website:https://atozenglishpodcast.com/a-to-z-quick-chat-96-are-you-chill-or-uptight/Social Media:Facebook Group: https://www.facebook.com/groups/671098974684413/Tik Tok:@atozenglish1Instagram:@atozenglish22Twitter:@atozenglish22A to Z Facebook Page:https://www.facebook.com/theatozenglishpodcastCheck out our You Tube Channel:https://www.youtube.com/channel/UCds7JR-5dbarBfas4Ve4h8ADonate to the show: https://app.redcircle.com/shows/9472af5c-8580-45e1-b0dd-ff211db08a90/donationsRobin and Jack started a new You Tube channel called English Word Master. You can check it out here:https://www.youtube.com/channel/UC2aXaXaMY4P2VhVaEre5w7ABecome a member of Podchaser and leave a positive review!https://www.podchaser.com/podcasts/the-a-to-z-english-podcast-4779670Join our Whatsapp group: https://forms.gle/zKCS8y1t9jwv2KTn7Intro/Outro Music: Daybird by Broke for Freehttps://freemusicarchive.org/music/Broke_For_Free/Directionless_EP/Broke_For_Free_-_Directionless_EP_-_03_Day_Bird/https://creativecommons.org/licenses/by/3.0/legalcodehttps://freemusicarchive.org/music/eaters/simian-samba/audrey-horne/Support this podcast at — https://redcircle.com/the-a-to-z-english-podcast/donationsAdvertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy
Imprint Companion is the only podcast on the Australian Internet about "DVD Culture."Hang onto your slipcases because Alexei Toliopoulos (Finding Drago, Total Reboot) and Blake Howard (One Heat Minute) team up to unbox, unpack and unveil upcoming releases from Australia's boutique Blu-Ray label Imprint Films. The episode for the May 2023 batch features in-depth reviews of:The Catman of Paris (1946) – Imprint Collection #219Uptight (1968) – Imprint Collection #221The Long Voyage Home (1940) – Imprint Collection #222Bus Riley's Back in Town (1965) – Imprint Collection #223Blake Howard - Twitter & One Heat Minute Website Alexei Toliopoulos - Twitter & Total RebootVisit imprintfilms.com.au Support this podcast at — https://redcircle.com/imprint-companion/donations
Welcome to our 23rd Top 10 Episode where Anders & Adam Holmes list their top 10 favourite films of the 1960s.To round off this season of top 10 episodes, the Holmes Brothers will going back and looking at each decade of cinema and list their 10 favourite films. This episode, they are going to be looking at the 1960s. This was an interesting decade in film as cinema was beginning to go through a change. A cinematic revolution was happening. The Golden Age of Hollywood was pretty much having its last days. In France, the French New Wave was at its peak. At the end of the decade, the New Hollywood movement was on the horizon. Socially and politically the world was changing and films in this time were reflecting that. Subjects and themes that were considered taboo were being looked at and tackled in film, like sex, racism and even onscreen violence was changing. Where do you think films like The Wild Bunch, Night of the Living Dead, The Apartment or Cleo from 5 To 7 land on their lists? You're gonna have to listen and find out. We hope you enjoy it and we hope you come back for more. Next episode, it's going to be about the 1950s and each of their 10 favourite films from that period. So stay tuned for that.Follow us on our Twitter page to stay tuned about updates.Here is an oldie but a goodie: Adam Holmes's Holmes Movies Recommends Episode on the Jules Dassin film Uptight. Follow our Letterboxd page where you can see what we have been recommending to each other over the course of the Covid-19 Pandemic:Follow Anders on twitter.Follow Adam on twitter.Also check us out on Letterboxd!AndersAdamHere is Anders's full list on Letterboxd of his favourite films of the 1960s! Hosted on Acast. See acast.com/privacy for more information.
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Sex, Drugs, and Saving Throws is an adults only actual-play podcast filled with graphic violence, bad language, bizarre sex stuff, and copious drug use set in a heavy metal homebrew fantasy world using the Dungeons and Dragons 5th Edition rules. Set six months after the events of the first chapter of this story "Endless Harvest", Baking the Law finds the Mithril Maidens back together again, down on their luck and trying to get back into the music scene. The main difference is that now they have a manager, Orin Killroy, who won the honor of being the band' front man by losing in a game of cards. And so comes to an end the second chapter of the Sex, Drugs, and Saving Throws story. The Mithril Maidens find themselves on the High Priest Judas's private yacht as part of their reward for winning the baking competition. What starts out like a fine time, a concert and an orgy, takes a turn for the worse when one of the bandmates is caught red handed in the high priest's cabin with the princess trying to steam the holy relic of law, The Uptight. This episode has it all, Sex, Drugs, and Saving Throws all leading to an explosive finale. So lube up that Rod of Might and tune your scrying set to the final episode of Baking the Law! Special Thanks to Bard City for letting us use their song as the closing song in our episode: https://youtu.be/IgaKrAemUiI Your Tour Manager and GM for Sex, Drugs and Saving Throws is Matt. The rest of the cast is: Malcolm, as Orin Killroy, a half-elven cleric and newly named manager of the Mithril Maidens. Nathan, as Echoes of Banter, an Eladrin elven monk and lead bagpiper of the band. Sean, as Huilgrim of the Lost Shire, a Halfling barbarian and lead lutist. Tyr, as Raine Northshine - a Fey rogue/arcane fighter and lead bass lutist. Chris, as Zulja Azeya - a Half-orc bard and drummer. and... Cupo, as Gromarsh - a Half-orc bard and lead singer and front man of the band. Original Artwork for Sex, Drugs, and Saving Throws as done by Simmone Tammeta or also known as Old Raging Barbarian. Music and Sounds provided by Dark Fantasy Studios, Sound Q, as well as original sound effect made by our very own Nathan. You can listen to our stories, interviews, and tutorials on most major podcast platforms like Apple, Spotify, Google, Pandora, Podchaser, and many, many others. If you want to learn more about the cast, find additional content, and even pick up some AARPG merchandise you can head over to our website at - https://www.theaarpgs.com/ If you like what you hear, please like, subscribe, follow, and write a review. It helps us reach more folks with our stories. Also, feel free to reach out to us on Twitter @theaarpgs, Facebook, or YouTube, let us know what you like, don't like, or anything you would like to share with us. #ttrpg #rpg #actualplay #humor #heavymetal #D&D #dungeonsandragons Update Description SUBSCRIBE Apple Podcasts RSS Spotify Amazon Music CastBox Deezer iHeart JioSaavn Listen Notes Player FM Podcast Addict Podchaser Stitcher
Sex, Drugs, and Saving Throws is an adults only actual-play podcast filled with graphic violence, bad language, bizarre sex stuff, and copious drug use set in a heavy metal homebrew fantasy world using the Dungeons and Dragons 5th Edition rules. Set six months after the events of the first chapter of this story "Endless Harvest", Baking the Law finds the Mithril Maidens back together again, down on their luck and trying to get back into the music scene. The main difference is that now they have a manager, Orin Killroy, who won the honor of being the band' front man by losing in a game of cards. The Mithril Maidens have won the Baking the Law competition and now are about to set sail on the Pre-Law cruise as special guests of Judas the High Priest and everything seems to be going according to plan; however, what does Princes Fyord want Hulgrim to help her with and how will the group get their hands on the mighty lawful neutral artifact - The Uptight? And last but not least, will a simple request made by Echo of his new roadie - Nobby, have dire consequences for the band? There are only two more episodes left in this chapter of Sex, Drugs, and Saving Throws. So bang your head until you cannot see straight and tune your scrying set to the next episode of Baking the Law! Your Tour Manager and GM for Sex, Drugs and Saving Throws is Matt. The rest of the cast is: Malcolm, as Orin Killroy, a half-elven cleric and newly named manager of the Mithril Maidens. Nathan, as Echoes of Banter, an Eladrin elven monk and lead bagpiper of the band. Sean, as Huilgrim of the Lost Shire, a Halfling barbarian and lead lutist. Tyr, as Raine Northshine - a Fey rogue/arcane fighter and lead bass lutist. Chris, as Zulja Azeya - a Half-orc bard and drummer. and... Cupo, as Gromarsh - a Half-orc bard and lead singer and front man of the band. Original Artwork for Sex, Drugs, and Saving Throws as done by Simmone Tammeta or also known as Old Raging Barbarian. Music and Sounds provided by Dark Fantasy Studios, Sound Q, as well as original sound effect made by our very own Nathan. You can listen to our stories, interviews, and tutorials on most major podcast platforms like Apple, Spotify, Google, Pandora, Podchaser, and many, many others. If you want to learn more about the cast, find additional content, and even pick up some AARPG merchandise you can head over to our website at - https://www.theaarpgs.com/ If you like what you hear, please like, subscribe, follow, and write a review. It helps us reach more folks with our stories. Also, feel free to reach out to us on Twitter @theaarpgs, Facebook, or YouTube, let us know what you like, don't like, or anything you would like to share with us. #ttrpg #rpg #actualplay #humor #heavymetal #D&D #dungeonsandragons Update Description SUBSCRIBE Apple Podcasts RSS Spotify Amazon Music CastBox Deezer iHeart JioSaavn Listen Notes Player FM Podcast Addict Podchaser Stitcher
Con motivo del 25º aniversario del quinto álbum de Green Day se ha lanzado una reedición especial bajo el título “Nimrod XXV” (Reprise) con dos discos adicionales -uno de demos y un directo de 1997-. Excusa perfecta para escuchar clásicos y rarezas de aquel brillante momento de la banda de East Bay, cuando Billie Joe Armstrong, Mike Dirnt y Tré Cool comenzaron a llevar su punk pop hacia otros territorios en busca de nuevos horizontes. (Foto del podcast; Green Day en 1997 por Snorry Brothers) Playlist; GREEN DAY “Nice guys finish last” (Nimrod XXV) GREEN DAY “The Grouch” (Nimrod XXV) GREEN DAY “Redundant” (Nimrod XXV) GREEN DAY “Platypus (I hate you)” (Nimrod XXV) GREEN DAY “Walking alone” (Nimrod XXV) GREEN DAY “Good riddance (time of your life)” (Nimrod XXV) GREEN DAY “Jinx (demo)” (Nimrod XXV) GREEN DAY “You irritate me (demo)” (Nimrod XXV) GREEN DAY “Chain saw (demo)” (Nimrod XXV) GREEN DAY “Black eyeliner (demo)” (Nimrod XXV) GREEN DAY “Last ride in” (Nimrod XXV) GREEN DAY “Uptight” (Nimrod XXV) JEFF DAHL “Atomic ant invasion” (All my friends are crows, 2023) HEWHOCANNOTBENAMED “Gotta get” (The imposter, 2023) PAINT FUMES “Starting over” (Real romancer, 2023) LES LULLIES “Dernier soir” (7’’, 2023) RON GALLO “San Benedetto” (Foreground music, 2023) Escuchar audio
GOT A SPECIAL GUEST COMING IN TODAY AT OUR SISTER STATION.
WE GOT SOME UPTIGHT CO WORKERS TODAY.
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Shane O'connor is both obviously funny and sneakily funny at the same time. Shane's stand-up is creative in a way that makes you feel smart and just as effortlessly hilarious as he is polite.. We were lucky enough to get to sit down with this not laid back but low key gentleman and take him through the process of enlightenment so that you can laugh your way to a higher consciousness. Shane O'connor on Instagram: https://instagram.com/plane_shane?igshid=YmMyMTA2M2Y= Off Leash Comedy on Instagram: https://instagram.com/offleashcomedy?igshid=YmMyMTA2M2Y= Two Jacked Bros is the only comedy podcast that injects honest, unfiltered, and truly enlightening conversations into your soul. Sidney and Ansley truly believe that every personality type can achieve a higher consciousness without becoming unfunny soft-talking dorks about it. If you like to laugh at inappropriate things but also think your sense of humor doesn't exempt you from opening your chakras wether you know what a chakra is or not, then Two Jacked Bros is your vibe. Come join the Jacked Cult and balance your frequency with laughter. Ansley and Sidney are a heterosexual couple of 21 plus years and are raising their three bi-racial kids together. Sidney is a stand up comedian, practitioner of jiu jitsu, and constantly fantasizes about stopping a a real life crime then saying something funny about it when interviewed by the news. Ansley is a World Champion and multiple time Pans Champion Jiu Jitsu competitor that is constantly saying funny things and if she wasn't such a jock she'd be one of those white chicks with dirty feet and a crystal collection. Together, they are the Two Jacked Bros! Each Guest gets the same 7 questions, with each question being associated with opening a different Chakra from the bottom up: Root Chakra- How did you learn to overcome fear? Pelvis Chakra- Who, what, or where deserves an apology from you? Gut Chakra- How do you overcome disappointment? Heart Chakra- What have you learned from grief? Throat Chakra- What is your favorite lie to tell? Third Eye Chakra- What are two things you used to see as separate but now realize they are the same? Crown Chakra- What is something you can't give up and why? Patreon.com/TwoJackedBros Intro and Outro music by Circadian Clock: https://open.spotify.com/artist/5nfGpTvDUwfZzo7IR3LF9w To Listen or Watch: https://linktr.ee/TwoJackedBros Two Jacked Bros social media: Instagram: https://www.instagram.com/twojackedbros Twitter: https://twitter.com/TwoJackedBros Facebook: https://www.facebook.com/groups/955338234811683/ Ansley Social Media: Instagram: https://www.instagram.com/aceansley Sidney social media: Instagram: https://www.instagram.com/sidneygantt Twitter: https://twitter.com/sidneygantt?lang=en Facebook: https://www.facebook.com/SidneyGantt
Dogs Are Smarter Than People: Writing Life, Marriage and Motivation
So, this podcast episode is probably going to be Shaun's favorite because he grew up in a family that was not uptight about sex. I, however, grew up in a family where a couple of the branches pretended we were all born out of the immaculate conception or just maybe sperm drops on a toilet or something. We have some friends—good friends—who are currently exploring all things sexual in a consensual, relationship way. They aren't uptight. Shaun's not uptight. And one of these things are not like the others. Spoiler: Me. I'm the thing that's not like the others. But, it turns out that a lot of people are like me. Join us as we talk about five ways people are uptight and our bonus random thought about people who received a letter about secret spaces in their new home. DOG TIP FOR LIFE Sometimes you just got to grab on and go for it (consensually, of course) LINKS https://www.womansday.com/relationships/sex-tips/advice/a1004/get-over-your-sexual-hangups-92993/ https://nypost.com/2022/11/25/couple-gets-letter-revealing-creepy-secret-rooms-in-their-130-year-old-home/ SHOUT OUT! The music we've clipped and shortened in this podcast is awesome and is made available through the Creative Commons License. Here's a link to that and the artist's website. Who is this artist and what is this song? It's “Summer Spliff” by Broke For Free. WE HAVE EXTRA CONTENT ALL ABOUT LIVING HAPPY OVER HERE! It's pretty awesome. AND we have a writing tips podcast called WRITE BETTER NOW! We have a podcast, LOVING THE STRANGE, which we stream live on Carrie's Facebook and Twitter and YouTube on Fridays. Her Facebook and Twitter handles are all carriejonesbooks or carriejonesbook. But she also has extra cool content focused on writing tips here. Carrie is reading one of her poems every week on CARRIE DOES POEMS. And there you go! Whew! That's a lot!
I'm not even sure where to file this one. The Church looking for enemies. The Church goes on another Fear-mongering campaign. Old white people being old white people? Let's talk about it Website: https://churchislame.com Youtube: https://youtube.com/@churchislame Facebook: https://www.facebook.com/churchislame Twitter: https://twitter.com/churchislame TikTok: https://www.tiktok.com/@churchislame Reddit: https://www.reddit.com/r/churchislame/ Email us at: churchislamepodcast@gmail.com You can only heal the things you admit are broken. Join us in our mission and get ad-free episodes by becoming a member at https://plus.acast.com/s/churchislame. Hosted on Acast. See acast.com/privacy for more information.
One of our listeners thinks he might have accidentally ruined his entire date because of what he did in a movie theater! It's not illegal but its not a good look either…
One of our listeners thinks he might have accidentally ruined his entire date because of what he did in a movie theater! It's not illegal but its not a good look either…
Greg & Katie (Uptight Greg) Part 1 by Live 95.5
Greg & Katie (Uptight Greg) Part 2 by Live 95.5
Talking new music and music news of October 2022 plus -- What shows I'm excited to go to before the end of the year- Playing an ungodly amount of Misfits on the radio show for Halloween- Interviews I'm looking forward to- Already thinking of most anticipated albums of 2023- What bands I listened to most on my recent Alaska trip & more!Check out the Power Chord Hour radio show every Friday night at 8 to midnight est on 107.9 WRFA in Jamestown, NY. Stream the station online at wrfalp.com/streaming/ or listen on the WRFA app.Donate to help show costs -https://www.paypal.com/paypalme/pchanthonyhttps://cash.app/$anthmerchpowerchordhour@gmail.comInstagram - www.instagram.com/powerchordhourTwitter - www.twitter.com/powerchordhourFacebook - www.facebook.com/powerchordhourYoutube - www.youtube.com/channel/UC6jTfzjB3-mzmWM-51c8LggSpotify Episode Playlists - https://open.spotify.com/user/kzavhk5ghelpnthfby9o41gnr?si=4WvOdgAmSsKoswf_HTh_Mg
Episode one hundred and fifty-six of A History of Rock Music in Five Hundred Songs looks at “I Was Made to Love Her", the early career of Stevie Wonder, and the Detroit riots of 1967. Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have a twenty-minute bonus episode available, on "Groovin'" by the Young Rascals. Tilt Araiza has assisted invaluably by doing a first-pass edit, and will hopefully be doing so from now on. Check out Tilt's irregular podcasts at http://www.podnose.com/jaffa-cakes-for-proust and http://sitcomclub.com/ Resources As usual, I've put together a Mixcloud playlist of all the recordings excerpted in this episode. The best value way to get all of Stevie Wonder's early singles is this MP3 collection, which has the original mono single mixes of fifty-five tracks for a very reasonable price. For those who prefer physical media, this is a decent single-CD collection of his early work at a very low price indeed. As well as the general Motown information listed below, I've also referred to Signed, Sealed, and Delivered: The Soulful Journey of Stevie Wonder by Mark Ribowsky, which rather astonishingly is the only full-length biography of Wonder, to Higher Ground: Stevie Wonder, Aretha Franklin, Curtis Mayfield, and the Rise and Fall of American Soul by Craig Werner, and to Detroit 67: The Year That Changed Soul by Stuart Cosgrove. For Motown-related information in this and other Motown episodes, I've used the following resources: Where Did Our Love Go? The Rise and Fall of the Motown Sound by Nelson George is an excellent popular history of the various companies that became Motown. To Be Loved by Berry Gordy is Gordy's own, understandably one-sided, but relatively well-written, autobiography. Women of Motown: An Oral History by Susan Whitall is a collection of interviews with women involved in Motown. I Hear a Symphony: Motown and Crossover R&B by J. Andrew Flory is an academic look at Motown. The Motown Encyclopaedia by Graham Betts is an exhaustive look at the people and records involved in Motown's thirty-year history. How Sweet It Is by Lamont Dozier and Scott B. Bomar is Dozier's autobiography, while Come and Get These Memories by Brian and Eddie Holland and Dave Thompson is the Holland brothers'. Standing in the Shadows of Motown: The Life and Music of Legendary Bassist James Jamerson by "Dr Licks" is a mixture of a short biography of the great bass player, and tablature of his most impressive bass parts. And Motown Junkies is an infrequently-updated blog looking at (so far) the first 694 tracks released on Motown singles. Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript A quick note before I begin -- this episode deals with disability and racism, and also deals from the very beginning with sex work and domestic violence. It also has some discussion of police violence and sexual assault. As always I will try to deal with those subjects as non-judgementally and sensitively as possible, but if you worry that anything about those subjects might disturb you, please check the transcript. Calvin Judkins was not a good man. Lula Mae Hardaway thought at first he might be, when he took her in, with her infant son whose father had left before the boy was born. He was someone who seemed, when he played the piano, to be deeply sensitive and emotional, and he even did the decent thing and married her when he got her pregnant. She thought she could save him, even though he was a street hustler and not even very good at it, and thirty years older than her -- she was only nineteen, he was nearly fifty. But she soon discovered that he wasn't interested in being saved, and instead he was interested in hurting her. He became physically and financially abusive, and started pimping her out. Lula would eventually realise that Calvin Judkins was no good, but not until she got pregnant again, shortly after the birth of her second son. Her third son was born premature -- different sources give different numbers for how premature, with some saying four months and others six weeks -- and while he apparently went by Stevland Judkins throughout his early childhood, the name on his birth certificate was apparently Stevland Morris, Lula having decided not to give another child the surname of her abuser, though nobody has ever properly explained where she got the surname "Morris" from. Little Stevland was put in an incubator with an oxygen mask, which saved the tiny child's life but destroyed his sight, giving him a condition called retinopathy of prematurity -- a condition which nowadays can be prevented and cured, but in 1951 was just an unavoidable consequence for some portion of premature babies. Shortly after the family moved from Saginaw to Detroit, Lula kicked Calvin out, and he would remain only a peripheral figure in his children's lives, but one thing he did do was notice young Stevland's interest in music, and on his increasingly infrequent visits to his wife and kids -- visits that usually ended with violence -- he would bring along toy instruments for the young child to play, like a harmonica and a set of bongos. Stevie was a real prodigy, and by the time he was nine he had a collection of real musical instruments, because everyone could see that the kid was something special. A neighbour who owned a piano gave it to Stevie when she moved out and couldn't take it with her. A local Lions Club gave him a drum kit at a party they organised for local blind children, and a barber gave him a chromatic harmonica after seeing him play his toy one. Stevie gave his first professional performance when he was eight. His mother had taken him to a picnic in the park, and there was a band playing, and the little boy got as close to the stage as he could and started dancing wildly. The MC of the show asked the child who he was, and he said "My name is Stevie, and I can sing and play drums", so of course they got the cute kid up on stage behind the drum kit while the band played Johnny Ace's "Pledging My Love": [Excerpt: Johnny Ace, "Pledging My Love"] He did well enough that they paid him seventy-five cents -- an enormous amount for a small child at that time -- though he was disappointed afterwards that they hadn't played something faster that would really allow him to show off his drumming skills. After that he would perform semi-regularly at small events, and always ask to be paid in quarters rather than paper money, because he liked the sound of the coins -- one of his party tricks was to be able to tell one coin from another by the sound of them hitting a table. Soon he formed a duo with a neighbourhood friend, John Glover, who was a couple of years older and could play guitar while Stevie sang and played harmonica and bongos. The two were friends, and both accomplished musicians for their age, but that wasn't the only reason Stevie latched on to Glover. Even as young as he was, he knew that Motown was soon going to be the place to be in Detroit if you were a musician, and Glover had an in -- his cousin was Ronnie White of the Miracles. Stevie and John performed as a duo everywhere they could and honed their act, performing particularly at the talent shows which were such an incubator of Black musical talent at the time, and they also at this point seem to have got the attention of Clarence Paul, but it was White who brought the duo to Motown. Stevie and John first played for White and Bobby Rodgers, another of the Miracles, then when they were impressed they took them through the several layers of Motown people who would have to sign off on signing a new act. First they were taken to see Brian Holland, who was a rising star within Motown as "Please Mr. Postman" was just entering the charts. They impressed him with a performance of the Miracles song "Bad Girl": [Excerpt: The Miracles, "Bad Girl"] After that, Stevie and John went to see Mickey Stevenson, who was at first sceptical, thinking that a kid so young -- Stevie was only eleven at the time -- must be some kind of novelty act rather than a serious musician. He said later "It was like, what's next, the singing mouse?" But Stevenson was won over by the child's talent. Normally, Stevenson had the power to sign whoever he liked to the label, but given the extra legal complications involved in signing someone under-age, he had to get Berry Gordy's permission. Gordy didn't even like signing teenagers because of all the extra paperwork that would be involved, and he certainly wasn't interested in signing pre-teens. But he came down to the studio to see what Stevie could do, and was amazed, not by his singing -- Gordy didn't think much of that -- but by his instrumental ability. First Stevie played harmonica and bongos as proficiently as an adult professional, and then he made his way around the studio playing on every other instrument in the place -- often only a few notes, but competent on them all. Gordy decided to sign the duo -- and the initial contract was for an act named "Steve and John" -- but it was soon decided to separate them. Glover would be allowed to hang around Motown while he was finishing school, and there would be a place for him when he finished -- he later became a staff songwriter, working on tracks for the Four Tops and the Miracles among others, and he would even later write a number one hit, "You Don't Have to be a Star (to be in My Show)" for Marilyn McCoo and Billy Davis Jr -- but they were going to make Stevie a star right now. The man put in charge of that was Clarence Paul. Paul, under his birth name of Clarence Pauling, had started his career in the "5" Royales, a vocal group he formed with his brother Lowman Pauling that had been signed to Apollo Records by Ralph Bass, and later to King Records. Paul seems to have been on at least some of the earliest recordings by the group, so is likely on their first single, "Give Me One More Chance": [Excerpt: The "5" Royales, "Give Me One More Chance"] But Paul was drafted to go and fight in the Korean War, and so wasn't part of the group's string of hit singles, mostly written by his brother Lowman, like "Think", which later became better known in James Brown's cover version, or "Dedicated to the One I Love", later covered by the Shirelles, but in its original version dominated by Lowman's stinging guitar playing: [Excerpt: The "5" Royales, "Dedicated to the One I Love"] After being discharged, Clarence had shortened his name to Clarence Paul, and had started recording for all the usual R&B labels like Roulette and Federal, with little success: [Excerpt: Clarence Paul, "I'm Gonna Love You, Love You Til I Die"] He'd also co-written "I Need Your Lovin'", which had been an R&B hit for Roy Hamilton: [Excerpt: Roy Hamilton, "I Need Your Lovin'"] Paul had recently come to work for Motown – one of the things Berry Gordy did to try to make his label more attractive was to hire the relatives of R&B stars on other labels, in the hopes of getting them to switch to Motown – and he was the new man on the team, not given any of the important work to do. He was working with acts like Henry Lumpkin and the Valladiers, and had also been the producer of "Mind Over Matter", the single the Temptations had released as The Pirates in a desperate attempt to get a hit: [Excerpt: The Pirates, "Mind Over Matter"] Paul was the person you turned to when no-one else was interested, and who would come up with bizarre ideas. A year or so after the time period we're talking about, it was him who produced an album of country music for the Supremes, before they'd had a hit, and came up with "The Man With the Rock and Roll Banjo Band" for them: [Excerpt: The Supremes, "The Man With The Rock and Roll Banjo Band"] So, Paul was the perfect person to give a child -- by this time twelve years old -- who had the triple novelties of being a multi-instrumentalist, a child, and blind. Stevie started spending all his time around the Motown studios, partly because he was eager to learn everything about making records and partly because his home life wasn't particularly great and he wanted to be somewhere else. He earned the affection and irritation, in equal measure, of people at Motown both for his habit of wandering into the middle of sessions because he couldn't see the light that showed that the studio was in use, and for his practical joking. He was a great mimic, and would do things like phoning one of the engineers and imitating Berry Gordy's voice, telling the engineer that Stevie would be coming down, and to give him studio equipment to take home. He'd also astonish women by complimenting them, in detail, on their dresses, having been told in advance what they looked like by an accomplice. But other "jokes" were less welcome -- he would regularly sexually assault women working at Motown, grabbing their breasts or buttocks and then claiming it was an accident because he couldn't see what he was doing. Most of the women he molested still speak of him fondly, and say everybody loved him, and this may even be the case -- and certainly I don't think any of us should be judged too harshly for what we did when we were twelve -- but this kind of thing led to a certain amount of pressure to make Stevie's career worth the extra effort he was causing everyone at Motown. Because Berry Gordy was not impressed with Stevie's vocals, the decision was made to promote him as a jazz instrumentalist, and so Clarence Paul insisted that his first release be an album, rather than doing what everyone would normally do and only put out an album after a hit single. Paul reasoned that there was no way on Earth they were going to be able to get a hit single with a jazz instrumental by a twelve-year-old kid, and eventually persuaded Gordy of the wisdom of this idea. So they started work on The Jazz Soul of Little Stevie, released under his new stagename of Little Stevie Wonder, supposedly a name given to him after Berry Gordy said "That kid's a wonder!", though Mickey Stevenson always said that the name came from a brainstorming session between him and Clarence Paul. The album featured Stevie on harmonica, piano, and organ on different tracks, but on the opening track, "Fingertips", he's playing the bongos that give the track its name: [Excerpt: Little Stevie Wonder, "Fingertips (studio version)"] The composition of that track is credited to Paul and the arranger Hank Cosby, but Beans Bowles, who played flute on the track, always claimed that he came up with the melody, and it seems quite likely to me that most of the tracks on the album were created more or less as jam sessions -- though Wonder's contributions were all overdubbed later. The album sat in the can for several months -- Berry Gordy was not at all sure of its commercial potential. Instead, he told Paul to go in another direction -- focusing on Wonder's blindness, he decided that what they needed to do was create an association in listeners' minds with Ray Charles, who at this point was at the peak of his commercial power. So back into the studio went Wonder and Paul, to record an album made up almost entirely of Ray Charles covers, titled Tribute to Uncle Ray. (Some sources have the Ray Charles tribute album recorded first -- and given Motown's lax record-keeping at this time it may be impossible to know for sure -- but this is the way round that Mark Ribowsky's biography of Wonder has it). But at Motown's regular quality control meeting it was decided that there wasn't a single on the album, and you didn't release an album like that without having a hit single first. By this point, Clarence Paul was convinced that Berry Gordy was just looking for excuses not to do anything with Wonder -- and there may have been a grain of truth to that. There's some evidence that Gordy was worried that the kid wouldn't be able to sing once his voice broke, and was scared of having another Frankie Lymon on his hands. But the decision was made that rather than put out either of those albums, they would put out a single. The A-side was a song called "I Call it Pretty Music But the Old People Call it the Blues, Part 1", which very much played on Wonder's image as a loveable naive kid: [Excerpt: Little Stevie Wonder, "I Call it Pretty Music But the Old People Call it the Blues, Part 1"] The B-side, meanwhile, was part two -- a slowed-down, near instrumental, version of the song, reframed as an actual blues, and as a showcase for Wonder's harmonica playing rather than his vocals. The single wasn't a hit, but it made number 101 on the Billboard charts, just missing the Hot One Hundred, which for the debut single of a new artist wasn't too bad, especially for Motown at this point in time, when most of its releases were flopping. That was good enough that Gordy authorised the release of the two albums that they had in the can. The next single, "Little Water Boy", was a rather baffling duet with Clarence Paul, which did nothing at all on the charts. [Excerpt: Clarence Paul and Little Stevie Wonder, "Little Water Boy"] After this came another flop single, written by Brian Holland, Lamont Dozier, and Janie Bradford, before the record that finally broke Little Stevie Wonder out into the mainstream in a big way. While Wonder hadn't had a hit yet, he was sent out on the first Motortown Revue tour, along with almost every other act on the label. Because he hadn't had a hit, he was supposed to only play one song per show, but nobody had told him how long that song should be. He had quickly become a great live performer, and the audiences were excited to watch him, so when he went into extended harmonica solos rather than quickly finishing the song, the audience would be with him. Clarence Paul, who came along on the tour, would have to motion to the onstage bandleader to stop the music, but the bandleader would know that the audiences were with Stevie, and so would just keep the song going as long as Stevie was playing. Often Paul would have to go on to the stage and shout in Wonder's ear to stop playing -- and often Wonder would ignore him, and have to be physically dragged off stage by Paul, still playing, causing the audience to boo Paul for stopping him from playing. Wonder would complain off-stage that the audience had been enjoying it, and didn't seem to get it into his head that he wasn't the star of the show, that the audiences *were* enjoying him, but were *there* to see the Miracles and Mary Wells and the Marvelettes and Marvin Gaye. This made all the acts who had to go on after him, and who were running late as a result, furious at him -- especially since one aspect of Wonder's blindness was that his circadian rhythms weren't regulated by sunlight in the same way that the sighted members of the tour's were. He would often wake up the entire tour bus by playing his harmonica at two or three in the morning, while they were all trying to sleep. Soon Berry Gordy insisted that Clarence Paul be on stage with Wonder throughout his performance, ready to drag him off stage, so that he wouldn't have to come out onto the stage to do it. But one of the first times he had done this had been on one of the very first Motortown Revue shows, before any of his records had come out. There he'd done a performance of "Fingertips", playing the flute part on harmonica rather than only playing bongos throughout as he had on the studio version -- leaving the percussion to Marvin Gaye, who was playing drums for Wonder's set: [Excerpt: Little Stevie Wonder, "Fingertips (Parts 1 & 2)"] But he'd extended the song with a little bit of call-and-response vocalising: [Excerpt: Little Stevie Wonder, "Fingertips (Parts 1 & 2)"] After the long performance ended, Clarence Paul dragged Wonder off-stage and the MC asked the audience to give him a round of applause -- but then Stevie came running back on and carried on playing: [Excerpt: Little Stevie Wonder, "Fingertips (Parts 1 & 2)"] By this point, though, the musicians had started to change over -- Mary Wells, who was on after Wonder, was using different musicians from his, and some of her players were already on stage. You can hear Joe Swift, who was playing bass for Wells, asking what key he was meant to be playing in: [Excerpt: Little Stevie Wonder, "Fingertips (Parts 1 & 2)"] Eventually, after six and a half minutes, they got Wonder off stage, but that performance became the two sides of Wonder's next single, with "Fingertips Part 2", the part with the ad lib singing and the false ending, rather than the instrumental part one, being labelled as the side the DJs should play. When it was released, the song started a slow climb up the charts, and by August 1963, three months after it came out, it was at number one -- only the second ever Motown number one, and the first ever live single to get there. Not only that, but Motown released a live album -- Recorded Live, the Twelve-Year-Old Genius (though as many people point out he was thirteen when it was released -- he was twelve when it was recorded though) and that made number one on the albums chart, becoming the first Motown album ever to do so. They followed up "Fingertips" with a similar sounding track, "Workout, Stevie, Workout", which made number thirty-three. After that, his albums -- though not yet his singles -- started to be released as by "Stevie Wonder" with no "Little" -- he'd had a bit of a growth spurt and his voice was breaking, and so marketing him as a child prodigy was not going to work much longer and they needed to transition him into a star with adult potential. In the Motown of 1963 that meant cutting an album of standards, because the belief at the time in Motown was that the future for their entertainers was doing show tunes at the Copacabana. But for some reason the audience who had wanted an R&B harmonica instrumental with call-and-response improvised gospel-influenced yelling was not in the mood for a thirteen year old singing "Put on a Happy Face" and "When You Wish Upon a Star", and especially not when the instrumental tracks were recorded in a key that suited him at age twelve but not thirteen, so he was clearly straining. "Fingertips" being a massive hit also meant Stevie was now near the top of the bill on the Motortown Revue when it went on its second tour. But this actually put him in a precarious position. When he had been down at the bottom of the bill and unknown, nobody expected anything from him, and he was following other minor acts, so when he was surprisingly good the audiences went wild. Now, near the top of the bill, he had to go on after Marvin Gaye, and he was not nearly so impressive in that context. The audiences were polite enough, but not in the raptures he was used to. Although Stevie could still beat Gaye in some circumstances. At Motown staff parties, Berry Gordy would always have a contest where he'd pit two artists against each other to see who could win the crowd over, something he thought instilled a fun and useful competitive spirit in his artists. They'd alternate songs, two songs each, and Gordy would decide on the winner based on audience response. For the 1963 Motown Christmas party, it was Stevie versus Marvin. Wonder went first, with "Workout, Stevie, Workout", and was apparently impressive, but then Gaye topped him with a version of "Hitch-Hike". So Stevie had to top that, and apparently did, with a hugely extended version of "I Call it Pretty Music", reworked in the Ray Charles style he'd used for "Fingertips". So Marvin Gaye had to top that with the final song of the contest, and he did, performing "Stubborn Kind of Fellow": [Excerpt: Marvin Gaye, "Stubborn Kind of Fellow"] And he was great. So great, it turned the crowd against him. They started booing, and someone in the audience shouted "Marvin, you should be ashamed of yourself, taking advantage of a little blind kid!" The crowd got so hostile Berry Gordy had to stop the performance and end the party early. He never had another contest like that again. There were other problems, as well. Wonder had been assigned a tutor, a young man named Ted Hull, who began to take serious control over his life. Hull was legally blind, so could teach Wonder using Braille, but unlike Wonder had some sight -- enough that he was even able to get a drivers' license and a co-pilot license for planes. Hull was put in loco parentis on most of Stevie's tours, and soon became basically inseparable from him, but this caused a lot of problems, not least because Hull was a conservative white man, while almost everyone else at Motown was Black, and Stevie was socially liberal and on the side of the civil rights and anti-Vietnam movements. Hull started to collaborate on songwriting with Wonder, which most people at Motown were OK with but which now seems like a serious conflict of interest, and he also started calling himself Stevie's "manager" -- which did *not* impress the people at Motown, who had their own conflict of interest because with Stevie, like with all their artists, they were his management company and agents as well as his record label and publishers. Motown grudgingly tolerated Hull, though, mostly because he was someone they could pass Lula Mae Hardaway to to deal with her complaints. Stevie's mother was not very impressed with the way that Motown were handling her son, and would make her opinion known to anyone who would listen. Hull and Hardaway did not get on at all, but he could be relied on to save the Gordy family members from having to deal with her. Wonder was sent over to Europe for Christmas 1963, to perform shows at the Paris Olympia and do some British media appearances. But both his mother and Hull had come along, and their clear dislike for each other was making him stressed. He started to get pains in his throat whenever he sang -- pains which everyone assumed were a stress reaction to the unhealthy atmosphere that happened whenever Hull and his mother were in the same room together, but which later turned out to be throat nodules that required surgery. Because of this, his singing was generally not up to standard, which meant he was moved to a less prominent place on the bill, which in turn led to his mother accusing the Gordy family of being against him and trying to stop him becoming a star. Wonder started to take her side and believe that Motown were conspiring against him, and at one point he even "accidentally" dropped a bottle of wine on Ted Hull's foot, breaking one of his toes, because he saw Hull as part of the enemy that was Motown. Before leaving for those shows, he had recorded the album he later considered the worst of his career. While he was now just plain Stevie on albums, he wasn't for his single releases, or in his first film appearance, where he was still Little Stevie Wonder. Berry Gordy was already trying to get a foot in the door in Hollywood -- by the end of the decade Motown would be moving from Detroit to LA -- and his first real connections there were with American International Pictures, the low-budget film-makers who have come up a lot in connection with the LA scene. AIP were the producers of the successful low-budget series of beach party films, which combined appearances by teen heartthrobs Frankie Avalon and Annette Funicello in swimsuits with cameo appearances by old film stars fallen on hard times, and with musical performances by bands like the Bobby Fuller Four. There would be a couple of Motown connections to these films -- most notably, the Supremes would do the theme tune for Dr. Goldfoot and the Bikini Machine -- but Muscle Beach Party was to be the first. Most of the music for Muscle Beach Party was written by Brian Wilson, Roger Christian, and Gary Usher, as one might expect for a film about surfing, and was performed by Dick Dale and the Del-Tones, the film's major musical guests, with Annette, Frankie, and Donna Loren [pron Lorren] adding vocals, on songs like "Muscle Bustle": [Excerpt: Donna Loren with Dick Dale and the Del-Tones, "Muscle Bustle"] The film followed the formula in every way -- it also had a cameo appearance by Peter Lorre, his last film appearance before his death, and it featured Little Stevie Wonder playing one of the few songs not written by the surf and car writers, a piece of nothing called "Happy Street". Stevie also featured in the follow-up, Bikini Beach, which came out a little under four months later, again doing a single number, "Happy Feelin'". To cash in on his appearances in these films, and having tried releasing albums of Little Stevie as jazz multi-instrumentalist, Ray Charles tribute act, live soulman and Andy Williams-style crooner, they now decided to see if they could sell him as a surf singer. Or at least, as Motown's idea of a surf singer, which meant a lot of songs about the beach and the sea -- mostly old standards like "Red Sails in the Sunset" and "Ebb Tide" -- backed by rather schlocky Wrecking Crew arrangements. And this is as good a place as any to take on one of the bits of disinformation that goes around about Motown. I've addressed this before, but it's worth repeating here in slightly more detail. Carol Kaye, one of the go-to Wrecking Crew bass players, is a known credit thief, and claims to have played on hundreds of records she didn't -- claims which too many people take seriously because she is a genuine pioneer and was for a long time undercredited on many records she *did* play on. In particular, she claims to have played on almost all the classic Motown hits that James Jamerson of the Funk Brothers played on, like the title track for this episode, and she claims this despite evidence including notarised statements from everyone involved in the records, the release of session recordings that show producers talking to the Funk Brothers, and most importantly the evidence of the recordings themselves, which have all the characteristics of the Detroit studio and sound like the Funk Brothers playing, and have absolutely nothing in common, sonically, with the records the Wrecking Crew played on at Gold Star, Western, and other LA studios. The Wrecking Crew *did* play on a lot of Motown records, but with a handful of exceptions, mostly by Brenda Holloway, the records they played on were quickie knock-off album tracks and potboiler albums made to tie in with film or TV work -- soundtracks to TV specials the acts did, and that kind of thing. And in this case, the Wrecking Crew played on the entire Stevie at the Beach album, including the last single to be released as by "Little Stevie Wonder", "Castles in the Sand", which was arranged by Jack Nitzsche: [Excerpt: Little Stevie Wonder, "Castles in the Sand"] Apparently the idea of surfin' Stevie didn't catch on any more than that of swingin' Stevie had earlier. Indeed, throughout 1964 and 65 Motown seem to have had less than no idea what they were doing with Stevie Wonder, and he himself refers to all his recordings from this period as an embarrassment, saving particular scorn for the second single from Stevie at the Beach, "Hey Harmonica Man", possibly because that, unlike most of his other singles around this point, was a minor hit, reaching number twenty-nine on the charts. Motown were still pushing Wonder hard -- he even got an appearance on the Ed Sullivan Show in May 1964, only the second Motown act to appear on it after the Marvelettes -- but Wonder was getting more and more unhappy with the decisions they were making. He loathed the Stevie at the Beach album -- the records he'd made earlier, while patchy and not things he'd chosen, were at least in some way related to his musical interests. He *did* love jazz, and he *did* love Ray Charles, and he *did* love old standards, and the records were made by his friend Clarence Paul and with the studio musicians he'd grown to know in Detroit. But Stevie at the Beach was something that was imposed on Clarence Paul from above, it was cut with unfamiliar musicians, Stevie thought the films he was appearing in were embarrassing, and he wasn't even having much commercial success, which was the whole point of these compromises. He started to get more rebellious against Paul in the studio, though many of these decisions weren't made by Paul, and he would complain to anyone who would listen that if he was just allowed to do the music he wanted to sing, the way he wanted to sing it, he would have more hits. But for nine months he did basically no singing other than that Ed Sullivan Show appearance -- he had to recover from the operation to remove the throat nodules. When he did return to the studio, the first single he cut remained unreleased, and while some stuff from the archives was released between the start of 1964 and March 1965, the first single he recorded and released after the throat nodules, "Kiss Me Baby", which came out in March, was a complete flop. That single was released to coincide with the first Motown tour of Europe, which we looked at in the episode on "Stop! In the Name of Love", and which was mostly set up to promote the Supremes, but which also featured Martha and the Vandellas, the Miracles, and the Temptations. Even though Stevie had not had a major hit in eighteen months by this point, he was still brought along on the tour, the only solo artist to be included -- at this point Gordy thought that solo artists looked outdated compared to vocal groups, in a world dominated by bands, and so other solo artists like Marvin Gaye weren't invited. This was a sign that Gordy was happier with Stevie than his recent lack of chart success might suggest. One of the main reasons that Gordy had been in two minds about him was that he'd had no idea if Wonder would still be able to sing well after his voice broke. But now, as he was about to turn fifteen, his adult voice had more or less stabilised, and Gordy knew that he was capable of having a long career, if they just gave him the proper material. But for now his job on the tour was to do his couple of hits, smile, and be on the lower rungs of the ladder. But even that was still a prominent place to be given the scaled-down nature of this bill compared to the Motortown Revues. While the tour was in England, for example, Dusty Springfield presented a TV special focusing on all the acts on the tour, and while the Supremes were the main stars, Stevie got to do two songs, and also took part in the finale, a version of "Mickey's Monkey" led by Smokey Robinson but with all the performers joining in, with Wonder getting a harmonica solo: [Excerpt: Smokey Robinson and the Motown acts, "Mickey's Monkey"] Sadly, there was one aspect of the trip to the UK that was extremely upsetting for Wonder. Almost all the media attention he got -- which was relatively little, as he wasn't a Supreme -- was about his blindness, and one reporter in particular convinced him that there was an operation he could have to restore his sight, but that Motown were preventing him from finding out about it in order to keep his gimmick going. He was devastated about this, and then further devastated when Ted Hull finally convinced him that it wasn't true, and that he'd been lied to. Meanwhile other newspapers were reporting that he *could* see, and that he was just feigning blindness to boost his record sales. After the tour, a live recording of Wonder singing the blues standard "High Heeled Sneakers" was released as a single, and barely made the R&B top thirty, and didn't hit the top forty on the pop charts. Stevie's initial contract with Motown was going to expire in the middle of 1966, so there was a year to get him back to a point where he was having the kind of hits that other Motown acts were regularly getting at this point. Otherwise, it looked like his career might end by the time he was sixteen. The B-side to "High Heeled Sneakers" was another duet with Clarence Paul, who dominates the vocal sound for much of it -- a version of Willie Nelson's country classic "Funny How Time Slips Away": [Excerpt: Stevie Wonder and Clarence Paul, "Funny How Time Slips Away"] There are a few of these duet records scattered through Wonder's early career -- we'll hear another one a little later -- and they're mostly dismissed as Paul trying to muscle his way into a revival of his own recording career as an artist, and there may be some truth in that. But they're also a natural extension of the way the two of them worked in the studio. Motown didn't have the facilities to give Wonder Braille lyric sheets, and Paul didn't trust him to be able to remember the lyrics, so often when they made a record, Paul would be just off-mic, reciting the lyrics to Wonder fractionally ahead of him singing them. So it was more or less natural that this dynamic would leak out onto records, but not everyone saw it that way. But at the same time, there has been some suggestion that Paul was among those manoeuvring to get rid of Wonder from Motown as soon as his contract was finished -- despite the fact that Wonder was the only act Paul had worked on any big hits for. Either way, Paul and Wonder were starting to chafe at working with each other in the studio, and while Paul remained his on-stage musical director, the opportunity to work on Wonder's singles for what would surely be his last few months at Motown was given to Hank Cosby and Sylvia Moy. Cosby was a saxophone player and staff songwriter who had been working with Wonder and Paul for years -- he'd co-written "Fingertips" and several other tracks -- while Moy was a staff songwriter who was working as an apprentice to Cosby. Basically, at this point, nobody else wanted the job of writing for Wonder, and as Moy was having no luck getting songs cut by any other artists and her career was looking about as dead as Wonder's, they started working together. Wonder was, at this point, full of musical ideas but with absolutely no discipline. He's said in interviews that at this point he was writing a hundred and fifty songs a month, but these were often not full songs -- they were fragments, hooks, or a single verse, or a few lines, which he would pass on to Moy, who would turn his ideas into structured songs that fit the Motown hit template, usually with the assistance of Cosby. Then Cosby would come up with an arrangement, and would co-produce with Mickey Stevenson. The first song they came up with in this manner was a sign of how Wonder was looking outside the world of Motown to the rock music that was starting to dominate the US charts -- but which was itself inspired by Motown music. We heard in the last episode on the Rolling Stones how "Nowhere to Run" by the Vandellas: [Excerpt: Martha and the Vandellas, "Nowhere to Run"] had inspired the Stones' "Satisfaction": [Excerpt: The Rolling Stones, "(I Can't Get No) Satisfaction"] And Wonder in turn was inspired by "Satisfaction" to come up with his own song -- though again, much of the work making it into an actual finished song was done by Sylvia Moy. They took the four-on-the-floor beat and basic melody of "Satisfaction" and brought it back to Motown, where those things had originated -- though they hadn't originated with Stevie, and this was his first record to sound like a Motown record in the way we think of those things. As a sign of how, despite the way these stories are usually told, the histories of rock and soul were completely and complexly intertwined, that four-on-the-floor beat itself was a conscious attempt by Holland, Dozier, and Holland to appeal to white listeners -- on the grounds that while Black people generally clapped on the backbeat, white people didn't, and so having a four-on-the-floor beat wouldn't throw them off. So Cosby, Moy, and Wonder, in trying to come up with a "Satisfaction" soundalike were Black Motown writers trying to copy a white rock band trying to copy Black Motown writers trying to appeal to a white rock audience. Wonder came up with the basic chorus hook, which was based around a lot of current slang terms he was fond of: [Excerpt: Stevie Wonder, "Uptight"] Then Moy, with some assistance from Cosby, filled it out into a full song. Lyrically, it was as close to social comment as Motown had come at this point -- Wonder was, like many of his peers in soul music, interested in the power of popular music to make political statements, and he would become a much more political artist in the next few years, but at this point it's still couched in the acceptable boy-meets-girl romantic love song that Motown specialised in. But in 1965 a story about a boy from the wrong side of the tracks dating a rich girl inevitably raised the idea that the boy and girl might be of different races -- a subject that was very, very, controversial in the mid-sixties. [Excerpt: Stevie Wonder, "Uptight"] "Uptight" made number three on the pop charts and number one on the R&B charts, and saved Stevie Wonder's career. And this is where, for all that I've criticised Motown in this episode, their strategy paid off. Mickey Stevenson talked a lot about how in the early sixties Motown didn't give up on artists -- if someone had potential but was not yet having hits or finding the right approach, they would keep putting out singles in a holding pattern, trying different things and seeing what would work, rather than toss them aside. It had already worked for the Temptations and the Supremes, and now it had worked for Stevie Wonder. He would be the last beneficiary of this policy -- soon things would change, and Motown would become increasingly focused on trying to get the maximum returns out of a small number of stars, rather than building careers for a range of artists -- but it paid off brilliantly for Wonder. "Uptight" was such a reinvention of Wonder's career, sound, and image that many of his fans consider it the real start of his career -- everything before it only counting as prologue. The follow-up, "Nothing's Too Good For My Baby", was an "Uptight" soundalike, and as with Motown soundalike follow-ups in general, it didn't do quite as well, but it still made the top twenty on the pop chart and got to number four on the R&B chart. Stevie Wonder was now safe at Motown, and so he was going to do something no other Motown act had ever done before -- he was going to record a protest song and release it as a single. For about a year he'd been ending his shows with a version of Bob Dylan's "Blowin' in the Wind", sung as a duet with Clarence Paul, who was still his on stage bandleader even though the two weren't working together in the studio as much. Wonder brought that into the studio, and recorded it with Paul back as the producer, and as his duet partner. Berry Gordy wasn't happy with the choice of single, but Wonder pushed, and Gordy knew that Wonder was on a winning streak and gave in, and so "Blowin' in the Wind" became Stevie Wonder's next single: [Excerpt: Stevie Wonder and Clarence Paul, "Blowin' in the Wind"] "Blowin' in the Wind" made the top ten, and number one on the R&B charts, and convinced Gordy that there was some commercial potential in going after the socially aware market, and over the next few years Motown would start putting out more and more political records. Because Motown convention was to have the producer of a hit record produce the next hit for that artist, and keep doing so until they had a flop, Paul was given the opportunity to produce the next single. "A Place in the Sun" was another ambiguously socially-aware song, co-written by the only white writer on Motown staff, Ron Miller, who happened to live in the same building as Stevie's tutor-cum-manager Ted Hull. "A Place in the Sun" was a pleasant enough song, inspired by "A Change is Gonna Come", but with a more watered-down, generic, message of hope, but the record was lifted by Stevie's voice, and again made the top ten. This meant that Paul and Miller, and Miller's writing partner Bryan Mills, got to work on his next two singles -- his 1966 Christmas song "Someday at Christmas", which made number twenty-four, and the ballad "Travellin' Man" which made thirty-two. The downward trajectory with Paul meant that Wonder was soon working with other producers again. Harvey Fuqua and Johnny Bristol cut another Miller and Mills song with him, "Yester-Me, Yester-You, Yesterday": [Excerpt: Stevie Wonder, "Yester-Me, Yester-You, Yesterday"] But that was left in the can, as not good enough to release, and Stevie was soon back working with Cosby. The two of them had come up with an instrumental together in late 1966, but had not been able to come up with any words for it, so they played it for Smokey Robinson, who said their instrumental sounded like circus music, and wrote lyrics about a clown: [Excerpt: The Miracles, "The Tears of a Clown"] The Miracles cut that as album filler, but it was released three years later as a single and became the Miracles' only number one hit with Smokey Robinson as lead singer. So Wonder and Cosby definitely still had their commercial touch, even if their renewed collaboration with Moy, who they started working with again, took a while to find a hit. To start with, Wonder returned to the idea of taking inspiration from a hit by a white British group, as he had with "Uptight". This time it was the Beatles, and the track "Michelle", from the Rubber Soul album: [Excerpt: The Beatles, "Michelle"] Wonder took the idea of a song with some French lyrics, and a melody with some similarities to the Beatles song, and came up with "My Cherie Amour", which Cosby and Moy finished off. [Excerpt: Stevie Wonder, "My Cherie Amour"] Gordy wouldn't allow that to be released, saying it was too close to "Michelle" and people would think it was a rip-off, and it stayed in the vaults for several years. Cosby also produced a version of a song Ron Miller had written with Orlando Murden, "For Once in My Life", which pretty much every other Motown act was recording versions of -- the Four Tops, the Temptations, Billy Eckstine, Martha and the Vandellas and Barbra McNair all cut versions of it in 1967, and Gordy wouldn't let Wonder's version be put out either. So they had to return to the drawing board. But in truth, Stevie Wonder was not the biggest thing worrying Berry Gordy at this point. He was dealing with problems in the Supremes, which we'll look at in a future episode -- they were about to get rid of Florence Ballard, and thus possibly destroy one of the biggest acts in the world, but Gordy thought that if they *didn't* get rid of her they would be destroying themselves even more certainly. Not only that, but Gordy was in the midst of a secret affair with Diana Ross, Holland, Dozier, and Holland were getting restless about their contracts, and his producers kept bringing him unlistenable garbage that would never be a hit. Like Norman Whitfield, insisting that this track he'd cut with Marvin Gaye, "I Heard it Through the Grapevine", should be a single. Gordy had put his foot down about that one too, just like he had about "My Cherie Amour", and wouldn't allow it to be released. Meanwhile, many of the smaller acts on the label were starting to feel like they were being ignored by Gordy, and had formed what amounted to a union, having regular meetings at Clarence Paul's house to discuss how they could pressure the label to put the same effort into their careers as into those of the big stars. And the Funk Brothers, the musicians who played on all of Motown's hits, were also getting restless -- they contributed to the arrangements, and they did more for the sound of the records than half the credited producers; why weren't they getting production credits and royalties? Harvey Fuqua had divorced Gordy's sister Gwen, and so became persona non grata at the label and was in the process of leaving Motown, and so was Mickey Stevenson, Gordy's second in command, because Gordy wouldn't give him any stock in the company. And Detroit itself was on edge. The crime rate in the city had started to go up, but even worse, the *perception* of crime was going up. The Detroit News had been running a campaign to whip up fear, which it called its Secret Witness campaign, and running constant headlines about rapes, murders, and muggings. These in turn had led to increased calls for more funds for the police, calls which inevitably contained a strong racial element and at least implicitly linked the perceived rise in crime to the ongoing Civil Rights movement. At this point the police in Detroit were ninety-three percent white, even though Detroit's population was over thirty percent Black. The Mayor and Police Commissioner were trying to bring in some modest reforms, but they weren't going anywhere near fast enough for the Black population who felt harassed and attacked by the police, but were still going too fast for the white people who were being whipped up into a state of terror about supposedly soft-on-crime policies, and for the police who felt under siege and betrayed by the politicians. And this wasn't the only problem affecting the city, and especially affecting Black people. Redlining and underfunded housing projects meant that the large Black population was being crammed into smaller and smaller spaces with fewer local amenities. A few Black people who were lucky enough to become rich -- many of them associated with Motown -- were able to move into majority-white areas, but that was just leading to white flight, and to an increase in racial tensions. The police were on edge after the murder of George Overman Jr, the son of a policeman, and though they arrested the killers that was just another sign that they weren't being shown enough respect. They started organising "blu flu"s -- the police weren't allowed to strike, so they'd claim en masse that they were off sick, as a protest against the supposed soft-on-crime administration. Meanwhile John Sinclair was organising "love-ins", gatherings of hippies at which new bands like the MC5 played, which were being invaded by gangs of bikers who were there to beat up the hippies. And the Detroit auto industry was on its knees -- working conditions had got bad enough that the mostly Black workforce organised a series of wildcat strikes. All in all, Detroit was looking less and less like somewhere that Berry Gordy wanted to stay, and the small LA subsidiary of Motown was rapidly becoming, in his head if nowhere else, the more important part of the company, and its future. He was starting to think that maybe he should leave all these ungrateful people behind in their dangerous city, and move the parts of the operation that actually mattered out to Hollywood. Stevie Wonder was, of course, one of the parts that mattered, but the pressure was on in 1967 to come up with a hit as big as his records from 1965 and early 66, before he'd been sidetracked down the ballad route. The song that was eventually released was one on which Stevie's mother, Lula Mae Hardaway, had a co-writing credit: [Excerpt: Stevie Wonder, "I Was Made to Love Her"] "I Was Made to Love Her" was inspired by Wonder's first love, a girl from the same housing projects as him, and he talked about the song being special to him because it was true, saying it "kind of speaks of my first love to a girl named Angie, who was a very beautiful woman... Actually, she was my third girlfriend but my first love. I used to call Angie up and, like, we would talk and say, 'I love you, I love you,' and we'd talk and we'd both go to sleep on the phone. And this was like from Detroit to California, right? You know, mother said, 'Boy, what you doing - get off the phone!' Boy, I tell you, it was ridiculous." But while it was inspired by her, like with many of the songs from this period, much of the lyric came from Moy -- her mother grew up in Arkansas, and that's why the lyric started "I was born in Little Rock", as *her* inspiration came from stories told by her parents. But truth be told, the lyrics weren't particularly detailed or impressive, just a standard story of young love. Rather what mattered in the record was the music. The song was structured differently from many Motown records, including most of Wonder's earlier ones. Most Motown records had a huge amount of dynamic variation, and a clear demarcation between verse and chorus. Even a record like "Dancing in the Street", which took most of its power from the tension and release caused by spending most of the track on one chord, had the release that came with the line "All we need is music", and could be clearly subdivided into different sections. "I Was Made to Love Her" wasn't like that. There was a tiny section which functioned as a middle eight -- and which cover versions like the one by the Beach Boys later that year tend to cut out, because it disrupts the song's flow: [Excerpt: Stevie Wonder, "I Was Made to Love Her"] But other than that, the song has no verse or chorus, no distinct sections, it's just a series of lyrical couplets over the same four chords, repeating over and over, an incessant groove that could really go on indefinitely: [Excerpt: Stevie Wonder, "I Was Made to Love Her"] This is as close as Motown had come at this point to the new genre of funk, of records that were just staying with one groove throughout. It wasn't a funk record, not yet -- it was still a pop-soul record, But what made it extraordinary was the bass line, and this is why I had to emphasise earlier that this was a record by the Funk Brothers, not the Wrecking Crew, no matter how much some Crew members may claim otherwise. As on most of Cosby's sessions, James Jamerson was given free reign to come up with his own part with little guidance, and what he came up with is extraordinary. This was at a time when rock and pop basslines were becoming a little more mobile, thanks to the influence of Jamerson in Detroit, Brian Wilson in LA, and Paul McCartney in London. But for the most part, even those bass parts had been fairly straightforward technically -- often inventive, but usually just crotchets and quavers, still keeping rhythm along with the drums rather than in dialogue with them, roaming free rhythmically. Jamerson had started to change his approach, inspired by the change in studio equipment. Motown had upgraded to eight-track recording in 1965, and once he'd become aware of the possibilities, and of the greater prominence that his bass parts could have if they were recorded on their own track, Jamerson had become a much busier player. Jamerson was a jazz musician by inclination, and so would have been very aware of John Coltrane's legendary "sheets of sound", in which Coltrane would play fast arpeggios and scales, in clusters of five and seven notes, usually in semiquaver runs (though sometimes in even smaller fractions -- his solo in Miles Davis' "Straight, No Chaser" is mostly semiquavers but has a short passage in hemidemisemiquavers): [Excerpt: Miles Davis, "Straight, No Chaser"] Jamerson started to adapt the "sheets of sound" style to bass playing, treating the bass almost as a jazz solo instrument -- though unlike Coltrane he was also very, very concerned with creating something that people could tap their feet to. Much like James Brown, Jamerson was taking jazz techniques and repurposing them for dance music. The most notable example of that up to this point had been in the Four Tops' "Bernadette", where there are a few scuffling semiquaver runs thrown in, and which is a much more fluid part than most of his playing previously: [Excerpt: The Four Tops, "Bernadette"] But on "Bernadette", Jamerson had been limited by Holland, Dozier, and Holland, who liked him to improvise but around a framework they created. Cosby, on the other hand, because he had been a Funk Brother himself, was much more aware of the musicians' improvisational abilities, and would largely give them a free hand. This led to a truly remarkable bass part on "I Was Made to Love Her", which is somewhat buried in the single mix, but Marcus Miller did an isolated recreation of the part for the accompanying CD to a book on Jamerson, Standing in the Shadows of Motown, and listening to that you can hear just how inventive it is: [Excerpt: Marcus Miller, "I Was Made to Love Her"] This was exciting stuff -- though much less so for the touring musicians who went on the road with the Motown revues while Jamerson largely stayed in Detroit recording. Jamerson's family would later talk about him coming home grumbling because complaints from the touring musicians had been brought to him, and he'd been asked to play less difficult parts so they'd find it easier to replicate them on stage. "I Was Made to Love Her" wouldn't exist without Stevie Wonder, Hank Cosby, Sylvia Moy, or Lula Mae Hardaway, but it's James Jamerson's record through and through: [Excerpt: Stevie Wonder, "I Was Made to Love Her"] It went to number two on the charts, sat between "Light My Fire" at number one, and "All You Need is Love" at number three, with the Beatles song soon to overtake it and make number one itself. But within a few weeks of "I Was Made to Love Her" reaching its chart peak, things in Detroit would change irrevocably. On the 23rd of July, the police busted an illegal drinking den. They thought they were only going to get about twenty-five people there, but there turned out to be a big party on. They tried to arrest seventy-four people, but their wagon wouldn't fit them all in so they had to call reinforcements and make the arrestees wait around til more wagons arrived. A crowd of hundreds gathered while they were waiting. Someone threw a brick at a squad car window, a rumour went round that the police had bayonetted someone, and soon the city was in flames. Riots lasted for days, with people burning down and looting businesses, but what really made the situation bad was the police's overreaction. They basically started shooting at young Black men, using them as target practice, and later claiming they were snipers, arsonists, and looters -- but there were cases like the Algiers Motel incident, where the police raided a motel where several Black men, including the members of the soul group The Dramatics, were hiding out along with a few white women. The police sexually assaulted the women, and then killed three of the men for associating with white women, in what was described as a "lynching with bullets". The policemen in question were later acquitted of all charges. The National Guard were called in, as were Federal troops -- the 82nd Airborne Division, and the 101st Airborne from Clarksville, the division in which Jimi Hendrix had recently served. After four days of rioting, one of the bloodiest riots in US history was at an end, with forty-three people dead (of whom thirty-three were Black and only one was a policeman). Official counts had 1,189 people injured, and over 7,200 arrests, almost all of them of Black people. A lot of the histories written later say that Black-owned businesses were spared during the riots, but that wasn't really the case. For example, Joe's Record Shop, owned by Joe Von Battle, who had put out the first records by C.L. Franklin and his daughter Aretha, was burned down, destroying not only the stock of records for sale but the master tapes of hundreds of recordings of Black artists, many of them unreleased and so now lost forever. John Lee Hooker, one of the artists whose music Von Battle had released, soon put out a song, "The Motor City is Burning", about the events: [Excerpt: John Lee Hooker, "The Motor City is Burning"] But one business that did remain unburned was Motown, with the Hitsville studio going untouched by flames and unlooted. Motown legend has this being down to the rioters showing respect for the studio that had done so much for Detroit, but it seems likely to have just been luck. Although Motown wasn't completely unscathed -- a National Guard tank fired a shell through the building, leaving a gigantic hole, which Berry Gordy saw as soon as he got back from a business trip he'd been on during the rioting. That was what made Berry Gordy decide once and for all that things needed to change. Motown owned a whole row of houses near the studio, which they used as additional office space and for everything other than the core business of making records. Gordy immediately started to sell them, and move the admin work into temporary rented space. He hadn't announced it yet, and it would be a few years before the move was complete, but from that moment on, the die was cast. Motown was going to leave Detroit and move to Hollywood.
Mother Nature is out here acting UP and caught Ryan slipping…This Week: Budden's Uptight… he's a rapist and there's really no other way to say it. Nick Cannon is conceiving Zillion Heirs. And the dating pressure is getting worser for Joyhdae.Don't forget to subscribe, like, comment and share. *Don't forget to check out The Virgos' dueling playlists on Spotify. @ohblackryan - Afrobeat Mix: https://sptfy.com/KHrY@joyhdaesays - R&B Summer Mix: https://sptfy.com/KHrVFollow us:https://www.instagram.com/virgoseasonshow*Thank you so much for tuning into Virgo Season. Please don't forget to rate, comment, and subscribe to the show if you enjoy the podcast.*Please visit us: virgoseason.show
Jesus changes everything. Uptight religion becomes freedom and joy when the master touches them. Join us as guest speaker, Scot Pollok, expounds on a well-known, beloved passage.
Go ahead and eat the cherry pie! The post Uptight Christians appeared first on Key Life.
(***TIMESTAMPS in description below) ~ Alex Voorhies is a hacker. Currently one of his focuses is information surrounding cold cases including the Delphi Murders. ***TIMESTAMPS*** 0:00 - Intro; The Delphi Murders of 2017; The Bill & Peggy Stephenson Murders; The Tech Millionaire's son 22:56 - “Anthony Shots” and how Alex hacked him; The “Gait” Murderer; Jack The Ripper ties? 42:38 - Chelsea Small and the Gait Killer?; The Michigan Gun Store Robbery; Alex helping law enforcement 1:09:57 - How Alex got into hacking; The Lapsus$ hacking group; How Sim Swaps work 1:22:01 - The XBox Underground and revisiting the story of Nick Castellucci (Episode 72); Xbox Underground member, Anthony Clark; Uptight internet culture; Cookies explained 1:42:34 - Swatting; AlphaBay; The traceability of crypto transactions ~ YouTube EPISODES & CLIPS: https://www.youtube.com/channel/UC0A-v_DL-h76F75xik8h03Q ~ Get $150 Off The Eight Sleep Pod Pro Mattress / Mattress Cover (USING CODE: “TRENDIFIER”): https://eight-sleep.ioym.net/trendifier PRIVADO VPN FOR $4.99/Month: https://privadovpn.com/trendifier/#a_aid=Julian Julian's Instagram: https://www.instagram.com/julianddorey ~ Beat provided by: https://freebeats.io Music Produced by White Hot
And just like that... it's Caller Day again! Today's lovely caller, Taylor, was in a passionate romance that felt like The One. But when she confronted her partner about something that made her uncomfortable, things unraveled pretty quickly. Who was in the right, and did she overreact or execute poorly? And looking bigger picture, was this relationship always doomed? Listen on for the Shandy take!0:00 - Welcome to Caller Taylor!45:50 - Shandy DebriefIf you have a relationship question, write us at: dearshandy@gmail.comSupport Dear Shandy: https://redcircle.com/dear-shandy/donationsSubscribe - https://bit.ly/SubscribeDearShandyListen on iTunes - https://bit.ly/DearShandyiTunesMore Dear ShandyInstagram - https://www.instagram.com/dearshandyFacebook - https://fb.me/dearshandyMore SharleenInstagram - https://www.instagram.com/sharleenjoyntBlog - http://www.alltheprettypandas.comMore AndyInstagram - https://www.instagram.com/machinelevineProduced by Gabrielle Galon - https://www.instagram.com/gabsamillionSupport this podcast at — https://redcircle.com/dear-shandy/donationsAdvertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy
This week we are listening to an exhortation by Brother David Todd given in November of 2020 to the Barossa Valley Ecclesia in Australia. We hope this strengthens your Faith and brightens your day! Thank you for listening, God bless, and talk to you next week. Send talk suggestions or comments to: GoodChristadelphianTalks@gmail.com For Show Notes, visit our website: Anchor.fm/GCT Social Media: Facebook | Instagram | Twitter
One of our listeners thinks he might have accidentally ruined his entire date because of what he did in a movie theater! It's not illegal but its not a good look either…
One of our listeners thinks he might have accidentally ruined his entire date because of what he did in a movie theater! It's not illegal but its not a good look either…
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