Podcasts about woman love

In the latest episode of Morgan's Pop Talks, we break down the explosive part three of the Vanderpump Rules reunion and the latest happenings in Summer House. Trust us, you won't want to miss the revelations and emotional moments we uncover. But that's not all! We're super excited to have special guests from Peacock's new hit show, Love Undercover. Ariana Welch, Brittany Gibson, and Renée Ash join us to spill the tea on their experiences and relationships on the show. From love triangles to dealing with professional athletes, they've got stories that will keep you on the edge of your seat.    Listen to the podcast at https://hurrdatmedia.com/network/show/morgans-pop-talks/  Join me at http://www.patreon.com/morganspoptalks for exclusive minisodes each week! Join me at https://www.morganptalks.com/ to subscribe to my weekly newsletter for reminders, important links, and additional surprises! Visit oneskin.co and use code POPTALKS to try out their products that make it easy to keep your skin healthy! Visit factormeals.com/poptalks50 and use code poptalks50 to get 50% off! Visit LumeDeodorant.com and get $5 OFF a Lume Starter Pack with code POPTALKS for all newcomers! You have questions, I have answers. I'm Morgan P, and this is Morgan's Pop Talks. Each week I answer questions submitted by YOU. What is it that you are DYING to know about Bravo? The Bachelor? Vanderpump Rules? If it's trending online, you'll hear it here on Morgan's Pop Talks. Submit a question via my social media pages @morganptalks and I could answer YOUR burning question next. Don't miss out on the drama and subscribe to the Patreon for Bravo Fridays, Bachelor Tuesdays, Celeb Wednesdays, Survivor Thursdays, and more. GEAR WE USE TO MAKE PODCASTS: https://amzn.to/4dg7uZF SOFTWARE WE USE TO MAKE PODCASTS: https://hurrdatmedia.com/our-gear/   This is another Hurrdat Media Production. Hurrdat Media is a podcast network and digital media production company based in Omaha, NE. Find more podcasts on the Hurrdat Media Network by going to HurrdatMedia.com or Hurrdat Media YouTube channel! Learn more about your ad choices. Visit megaphone.fm/adchoices

BURTON CUMMINGS THE LEGENDARY VOICE OF THE GUESS WHO 'THE LOST INTERVIEWS' EPISODE 10 Burton Cummings is the legendary voice, songwriter, and keyboardist for Canada's own classic rock superstars The Guess Who. Although the group has had numerous personnel changes throughout the years, the most prominent members have been Burton Cummings and guitarist Randy Bachman.  Cummings was born and raised in Winnipeg, Manitoba. His first band was an R&B group called The Deverons. The band released two singles on the REO Records label.  In 1965, Cummings joined The Guess Who replacing Bob Ashley on keyboards and eventually Chad Allan on vocals. The Guess Who scored commercially with their first international hit “These Eyes” (#6 Billboard Hit) in 1969. The track was featured on their album Wheatfield Soul on the RCA record label. The single was written by Bachman/Cummings and was their first to reach the top ten.  The Guess Who followed with a succession of Top 40 hits including … “Laughing” (#10 U.S. Hit, #1Canada -written by Bachman/Cummings) and “Undun” (#22 U.S. Hit). 1970 would prove to be the most pivotal year for The Guess Who. The group scored (2) #1 Hits in the U.S. with “No Sugar Tonight/New Mother Nature" and “American Woman” the group's biggest selling single. The Guess Who also spawned the hits …. “No Time” (#5 U.S. #1 Canada -written by Bachman/Cummings), “Hand Me Down World” (#17 U.S. Hit) and “Share The Land” (#10 U.S. Hit -written by Burton Cummings).  Randy Bachman left The Guess Who in 1970 and would eventually form Bachman- Turner Overdrive. Subsequent albums released by The Guess Who … Canned Wheat (1969), American Woman (1970), Share The Land (1970), So Long, Bennatyne (1971), Rockin' (1972), Artificial Paradise (1973). In 1973, Burton Cummings and The Guess Who released one of the group's most underrated albums entitled The Guess Who #10. The album was a clear diversion from the band's roots but spotlighted brilliant lyrical content and virtuoso musicianship. The album featured Burton Cummings composition “Glamour Boy.” The track was a jab at David Bowie's glitter rock insurgence. The album also featured the profound “Cardboard Empire” written by Bill Wallace and Kurt Winter, while hauntingly performed by Cummings.  In 1974, The Guess Who collaborated on their final Top 40 single entitled “Clap For The Wolfman,” (#6 U.S. Billboard Hit) an applicable tribute to legendary radio and TV personality Wolfman Jack.  Subsequent releases: The Guess Who #10 (1973), Road Food (1974), Flavours (1974), Power in the Music (1975), The Way They Were (1976). The Guess Who disbanded in 1975. In 1983, Bachman, Cummings, Jim Kale and Garry Peterson reunited as The Guess Who to play a series of Canadian gigs and recorded the Together Again live album and video.  Bachman and Cummings reunited again in 1997 to perform in Winnipeg for a disaster relief fund raiser.  An eclectic Guess Who reunion ensued in 2000 featuring Bachman, Cummings, McDougall, Kale, and Peterson. Bill Wallace eventually replaced Kale while the group toured regularly through 2003. A live album and DVD followed at the end of the 2000 tour. The Guess Who was inducted into Canada's Walk of Fame in 2001. Cummings received an additional Star in 2011. The Guess Who performed for an estimated 450,000 people at Molson Canadian Rocks for Toronto, a benefit concert in 2003.  The Guess Who continues to tour with only original members … drummer Garry Peterson and bassist Jim Kale. Burton Cummings also amassed a widely successful solo career. He landed a huge hit with “Stand Tall” (#10 U.S. #1 Hit Canada) in 1976.  Burton Cummings solo albums …Burton Cummings (1976), My Own Way to Rock (1977), Dream of a Child (1978), Woman Love (1980), The Best of Burton Cummings (1980), Sweet Sweet (1981), Heart (1984), Plus Signs (1990), The Burton Cummings Collection (1994), Up Close and Alone (1996), Above the Ground (2008).   In 2002, The Burton Cummings Theatre for the Performing Arts in Winnipeg, Manitoba was renamed to dedicate the singer and songwriter.  In 2008, Cummings released the highly- acclaimed CD Above The Ground. All the tracks on the release are written by Cummings. The album also features his touring band The Carpet Frogs. In 2009, Cummings received the Order of Canada, one of the country's highest civilian honors.  In 2012, Burton Cummings Massey Hall was released –an incredible live CD recorded in Toronto.  Most recently … Burton Cummings is on a summer tour. He'll be releasing a book of poetry soon entitled, ‘The Writings of B. L. Cummings,' and a video series called RUFF.  I had the rare opportunity to chat with Burton Cummings recently about the summer tour, the true origin of “American Woman,” The life and times of The Guess Who, Canada, Wolfman Jack and so much more! Here's my interview with singer, songwriter, musician, and legendary voice of 'The Guess Who' …BURTON CUMMINGS. Support us on PayPal!

In Episode 265, Clint Swings Quick About: (0:00) TopGolf on Valentines with the Lady, Being More "OK" spending some Buckaroos for enjoyment of life, not being so obsessed with "the work" all the time, Maximizing your Time can be detrimental. (22:32) outside of your role..what do you really do? (what makes a woman love you?) &More! Sponsor Link: https://www.magicmind.com/offnbeatw Use Code: OFFNBEAT20 And get up to 56% off your subscription for the next 10 days with my code. Thank you.https://youtu.be/WtBqgshehXg (YouTube Link to this ep. Subscribe, Leave a thumbs up, enjoy the video version of pod. thanks)

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Exclusive Content HERE: castleclub.tv - https://freshandfit.locals.com/ Wanna be heard? SUPERCHAT BUTTON: fnfsuperchat.com - https://streamlabs.com/sl_id_b370660a... ️Rumble️ ➜https://rumble.com/freshandfit -------------------------------- Clips Channel ➜ https://www.youtube.com/c/FreshandFit... -------------------------------- Purchase Our Merch ➜https://www.freshandfitstore.com/ Use Code "fresh" for discount with Gorilla Mind: https://www.gorillamind.com/fresh Get Your Confidence Back With Blue Chew: https://www.get.bluechew.com/freshfit Order Myron's book "Why Women Deserve Less" here: https://a.co/d/9YdQI9d Girls: https://www.instagram.com/gabmiranda_8/ https://www.instagram.com/savera.z786/ https://www.instagram.com/posh_88/ https://www.instagram.com/_keshwanclark/ https://www.instagram.com/nicole_wall... https://www.instagram.com/theofficial... https://www.instagram.com/daphneejoi_/ https://www.instagram.com/senoritadeja_/ ⏲️ TIME STAMPS ⏲️ 0:00 : Intro 2:45 : Subscribe to F&F Clips, freshandfit.locals.com/support/promo/CASTLE, & Follow Rumble.com/freshandfit 3:45 : The Lady's Age, Name, Dating Status, & Body Count…? 26:35 : Shaming, Good Or Bad? 39:30 : Who Handles Constructive Criticism Better? 43:20 : Biggest Lesson You Learned From Your Ex? 01:05:45 : Rumble Rants! 01:07:35 : Can a Woman Have a Higher Bodycount Than Her Man? 01:24:15 : Dream Scenario 01:28:40 : Is Myron Hurt? 01:42:15 : Rumble Rants! 01:43:25 : Are Fat Men Attractive? 01:46:45 : Fat Men Won't Lose Weight 01:55:00 : What Women Want From Men 01:59:45 : Rumble Rants! 02:02:15 : Guess The Bodycount To The Girl Next To You? 02:10:25 : Rumble Rants! 02:20:40 : IG Check (Wolf In Sheep Clothing) 02:28:35 : Rumble Rants! 02:31:10 : Last Thoughts 02:34:20 : FnF On Charleston White 02:39:00 : Can a Woman Love a Woman? 02:44:25 : Back To Last Thoughts 02:46:40 : How To Know If Your Girl Is a 304 02:54:00 : Women Are Useless Unless Your Smashing 02:58:35 : Last Rumble Rants! 02:59:00 : Outro/Announcements

lets examine what cynthia G and C deloris Tucker are talmbout regarding black male female relationships,which seems to have been ruined by the infiltration of corporate rap music -not the conscious stuff- the OTHER stuff..and how Black men disrespect Black women, and how Black women have learned to exploit their own sexuality,. Let's examine, shall we? --- Send in a voice message: https://podcasters.spotify.com/pod/show/tomeickoshow/message

A great podcast episode with young upcoming actor Miss Harlee Rae. We talked about her upbringing and what led her to getting the big opportunity to star as an actor in the big play A Woman Love. The play A woman Love is set to air in Charlotte, North Carolina on September 2nd at 7pm. --- Send in a voice message: https://podcasters.spotify.com/pod/show/ejonesanniston/message

Are you finding it hard to make that special woman fall for you and only you? Well today, I'm peeling back the curtain on the secrets of female psychology to help you capture her heart, and believe me, this is game-changing stuff you won't want to overlook! Remember, gents, winning a woman's heart is about understanding her, and I'm here to guide you through the intricacies of the female mind. Stick with me, and you'll soon be the man she can't help but adore! There's an intricate dance that unfolds in the game of love. A tango of hearts, eyes that speak volumes, and whispers that echo in the soul. If you're here asking "how to make a woman love you," you're ready to glide across this dance floor of romance, eager to entwine your rhythm with hers. Welcome to our transformative guide: How to Make a Woman Love You And No One Else – Female Psychology. This video is not merely about finding the secret key to her heart, but about kindling a connection so profound that it transforms the phrase love you from a mere statement into a profound feeling that echoes in her heart, resounding with a depth that only she can comprehend. Unlock the treasure trove of dating tips for men, not just to charm her off her feet, but to sweep her into an embrace of love so deep and passionate that she can think of no one else but you. "This will make her love you" is not just a promise, but a journey, one that takes you through the labyrinth of the female heart, letting you glimpse the desires hidden in its most secret chambers. Discover what women love in a man, dive deep into female psychology, and uncover the layers of her wants and needs. You won't just be learning to say the right words, but understanding how to touch her heartstrings, playing a melody of love that resonates with her innermost desires. Do you wish to read her mind? Join us on this journey of understanding and love, where we illuminate the corners of her psyche, giving you the tools to understand not just what she wants, but who she truly is. Unearth the secrets of her soul and find the pathway to a love so encompassing that she thinks of you, and only you, when the word love crosses her mind. Prepare for a journey of discovery, passion, and profound emotional connection. Let this be your guide to love - a love that knows no boundaries, a love that's all about her... and you.

Being a alpha female isn't necessary a bad thing. Date how you want to date, love how you want to love, but there definitely is a time when loving new can have its perks. Tamika is join by long time friend Christal Jordan on the subject of dating as a alpha female. See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

In this live-stream, Coach EO discusses how to show a woman love without looking soft. How to tell a woman you love her: Watch now - https://youtu.be/719eCyDqYMw Purchase your Everett Overton Fragrances now: https://everettovertoncollection.com/ Watch video on YouTube: https://youtube.com/live/tDezdjuV3v4 Reserve your coaching package with EO: https://www.championgamecoaching.com/coaching Everett Overton is empowering men world wide with advice on dating, life, relationships, manhood, masculinity, and more. EO lives what he teaches to his clients and viewers, and speaks from experience. His mantra, "It Begins and Ends With the Man", is the center of his teachings. Subscribe for more Champion Game. --- Support this podcast: https://podcasters.spotify.com/pod/show/everettoverton/support

How to make your girlfriend or wife (or any woman) love you forever? You’re smart, and so you should know this–love is a TEMPORARY feeling. There’s something else that’s more POWERFUL than love, and it’s what Shoguns call the EMO-ADD. Find out what it is… click play now. Go here for the legendary Fractionation Masterclass […]

Crowning Ignorant Kings - Dr. Myles Munroe - You Are Not Married to Your Pastor - How Does A Woman Love A Man (RESPECT)

T.L. Mac Fitness Show The TL-MAC Fitness show is an open show about health and fitness. We talk about workout routines, eating, and supplements. We also discuss many diseases that can be helped by working out. Like High Blood pressure and Diabetes. ► FOLLOW on Instagram:/tlmacfitness/ Subscribe NOW to Da Evening Rush Network: https://m.youtube.com/channel/UCJj4Ma Get MORE of Da Evening Rush Network: ► LISTEN LIVE: https://daeveningrushnetwork.com// ► CATCH UP on What You Missed: https://www.iheart.com/podcast/966-da ► FOLLOW us on Instagram: https://www.instagram.com/daeveningru ► FOLLOW us on Twitter: https://twitter.com/daeveningrush?lan ► LIKE us on Facebook: https://m.facebook.com/daeveningrushn Executive Producer: Shone "Don" Brown Co-Executive Producer: Ziporh Miles Co-Executive Producer: Ronisha Powell --- Send in a voice message: https://anchor.fm/daeveningrushnetwork/message

Learn how to make your woman love you more by cheating on her. It sounds crazy, I know. And yet it works like crazy. Listen to this podcast. Then, go here for the legendary Fractionation Masterclass – https://fractionationhypnosis.com/

DON NICOLEONE SHOW IS THE MOST DYNAMIC SHOW ORBITING THE PLANET EARTH!! THE DON NICOLEONE SHOW BROADCAST LIVE WEEKDAYS 9 PM EST ON WGAG RADIO! CALL IN AND SPEAK TO DON NICOLEONE LIVE 1.515.605.9828 OR 1.425.569.5274 DON NICOLEONE IS IN THE ORDER OF THE SYBILLINE ORACLES SINCE 1982, THE ANCIENT AND MYSTIC ORDER OF SINCE 1996, THE ANCIENT EGIPTIAN ORDER SINCE 2001, AS WELL AS ASTARA MYSTIC ORDER SINCE 1976, THE GRAND DRAGON OF THE ORDER OF THE DRAGON SINCE 2002, AND SINCE 2002 THE SUPREME AL MUFTA "DIVA" OF THE AL MAHDI SHRINERS THE ONLY WOMAN CHOSEN BY THE GRAND AL MUFTI "DIVAN" IMPERIAL GRAND POTENTATE NOBLE: REV. DR. MALACHI Z. YORK-EL "AS SAYYID ISSA AL HAADI AL MAHDI" OF THE INTERNATIONAL SUPREME COUNCIL OF SHRINERS, INC. HEAD OF THE COUNCIL OF 9

Lynda Carter reminds us all that Wonder Woman is a superhero for bisexuals. Lots of TV talk: Real Housewives of Dubai, Beverly Hills and Real World Homecoming New Orleans new episode reactions.

Dear Friend, Do you really love your life or are you settling? Are you living for other people or for you? I'm on a mission to learn how to love my life and live more fully. much love, joy and rest, Alecia Get my free affirmational music: https://aleciarenece.me/feelgoodmusic _____________ Keep Up With Me: Join The Patreon Family: https://www.patreon.com/AleciaRenece Instagram: www.instagram.com/aleciarenece YouTube: www.youtube.com/user/aleciarenece Get My Music: https://aleciarenece.bandcamp.com/ Follow Our RV YouTube: https://www.youtube.com/channel/UCUIK2wntqZR4dedvlnW4WuQ ____________ Questions, Comments, Concerns? Got Questions You Want me to answer? Want to leave an encouraging word to Other listeners with an Email or Voice Memo? Want To Leave a Review? Email: thefullwellproject@gmail.com Follow Us On Instagram: www.instagram.com/thefullwellproject Join for The Latest and Goodies!: https://mailchi.mp/fcfc75e48d05/thefullwellproject-sign-up Join Our Community: https://www.facebook.com/groups/thefullwellproject Visit Me: https://www.aleciarenece.com/thefullwellproject Send me a Voice Memo (Encouragement, Questions, Comments): - Email: thefullwellproject@gmail.com --- Send in a voice message: https://anchor.fm/thefullwellproject/message

Dear Friend, Black woman, trust your intuition. your gut doesn't lie. learn to trust yourself again. People pleasing drowns out your own inner voice and causes you to question yourself, become indecisive and have low self esteem. It's a gift. Listen to it. I'm learning to trust my intuition again and it's taking time. Your gut doesn't lie. I keep looking for permission from other people, but I know the truth all along. Here are some simple ways to learn to trust your intuition and trust yourself. Follow your gut. Trust yourself. You are trustworthy. Don't gaslight yourself or allow others to gaslight you. You know. Trust and follow that knowing. much love, joy and rest, Alecia Get my free affirmational music: https://aleciarenece.me/feelgoodmusic _____________ Keep Up With Me: Join The Patreon Family: https://www.patreon.com/AleciaRenece Instagram: www.instagram.com/aleciarenece YouTube: www.youtube.com/user/aleciarenece Get My Music: https://aleciarenece.bandcamp.com/ Follow Our RV YouTube: https://www.youtube.com/channel/UCUIK2wntqZR4dedvlnW4WuQ ____________ Questions, Comments, Concerns? Got Questions You Want me to answer? Want to leave an encouraging word to Other listeners with an Email or Voice Memo? Want To Leave a Review? Email: thefullwellproject@gmail.com Follow Us On Instagram: www.instagram.com/thefullwellproject Join for The Latest and Goodies!: https://mailchi.mp/fcfc75e48d05/thefullwellproject-sign-up Join Our Community: https://www.facebook.com/groups/thefullwellproject Visit Me: https://www.aleciarenece.com/thefullwellproject Send me a Voice Memo (Encouragement, Questions, Comments): - Email: thefullwellproject@gmail.com --- Send in a voice message: https://anchor.fm/thefullwellproject/message

— I woke up hot and sweaty in the middle of a sweltering August night. I could not get back to sleep, so I decided to go downstairs to get a drink of water. Halfway down, I heard voices and whispers: first, my mother's; then, a strange man's. Startled, I stopped, sat down in the dark on the worn attic steps, and listened. I couldn't make out everything they said because my mother was crying. I had never heard her cry. I leaned forward, hoping to hear more. “They're coming to take the kids away tomorrow,” she said. I shivered in spite of the heat. Questions tumbled through my seven-year-old mind. Who was coming? Was I one of the kids? Why were they taking us? Where were they taking us?  The hushed voices continued, but fear forced me back to bed. All thoughts of my original purpose for getting out of bed had vanished and been replaced with terror. I tossed and turned for hours before I fell asleep again. I woke up early, my room still dark. I wanted to tell my four sisters and five brothers, who shared the attic with me, what I had heard the previous night. But if I repeated it, it would be true, not some awful nightmare. So, I kept silent. On that fateful day in 1955, my world changed forever…. Writes Donna Valeria Teles interviews Donna Rhodes — the author of “How the Woman at the Well Became the Well Woman: A Memoir of an Extraordinary Ordinary Life.”  Donna Rhodes is a trained speaker, published author, and a certified Life Coach and Personality Trainer.  She has also written for newspapers, magazines, websites, and for story compilation books.  She is the author of How The Woman At The Well Became The Well Woman. Donna teaches Bible Studies and is on the Women's Leadership team at her church. Donna received her certification in Biblical Counseling from The American Association of Christian Counselors.Donna received her Life Coach Training from the Professional Christian Counseling & Coaching Academy in 2007. As a Bible Study teacher, she has taught at West Hills Community Church in West Hills California (4 years) and Community Bible Church in Easley SC (4 years). She was also a Retreat Leader at the Billy Graham Training Center. She has spoken at the Christian Communicators Conference Training, the Hope Floats Women's Conference, MOPS Mom's meetings, The Colors of His Love Conference, and local churches. Donna has been happily married for the past 36 years to Denver. Together they have eight children, 14 grandchildren, and six great-grandchildren.  Her passion is sharing hope for the hopeless; even if they have to borrow hope from her story, until they find their own.  Her happy places are her family, traveling, gourmet cooking, and playing with her dog, Penny.  To learn more about Donna Rhodes and her work, please visit: onewellwoman.com     — This podcast is a quest for well-being, a quest for a meaningful life through the exploration of fundamental truths, enlightening ideas, insights on physical, mental, and spiritual health. The inspiration is Love. The aspiration is to awaken new ways of thinking that can lead us to a new way of being, being well.  

Today I want to show you how to make any woman desire you AND how you can turn her into an ANIMAL: https://sharpgame.net And don't forget to watch THIS CRAZY VIDEO: https://sharpgame.net  Want to get my books? Go here  https://goo.gl/14cU2m Want to talk to me one on one? https://calendly.com/lopaze/1-1-private-coaching-session Get 20% OFF + Free Shipping + two FREE gifts @MANSCAPED with promo code CANTWAIT20 at MANSCAPED.com! Get your free audiobook with audible by going to https://www.audibletrial.com/sharpgame      

Will God answer your prayer if you don't end with, "In Jesus' name, Amen?" Learn what praying in the name of Jesus really means. I taught this week on the call of Abraham and the development of God's missionary call through the nation of Israel as they were responsible to communicate the truth of God to the cultures around them. They were given that great commission. The great commission didn't start in Matthew 28. It started with Abraham in Genesis 12 —the first three verses there —Abraham, chosen by God to raise up a nation who would then be God's priests to the world so that they would be a blessing to all of the nations. They had a unique role in the great monotheistic religion. The Jews were supposed to reflect morality to the world. Israel was to witness to the name of God. When they talked about the name of God and witnessing to God's name, that does not mean that they were to let everybody know what they called God, "Yahweh." Their goal wasn't to cover the countryside with evangelists who just let everybody know what the right word for God was. It meant something different. ☆☆☆☆☆☆☆☆☆☆☆☆☆☆☆ https://linktr.ee/jacksonlibon --------------------------------------------------- #realtalk #face #instagram #amour #take #couple #dance #dancers #vogue #voguedqnce #garden #tiktok #psychology #beyou #near #love #foryou #money #ForYouPizza #fyp #irobot #theend #pups #TikToker #couplegoals #famille #relation #doudou #youtube #twitter #tiktokers #love #reeĺs #shorts #instagood #follow #like #ouy #oyu #babyshark #lilnasx #girl #happybirthday #movie #nbayoungboy #deviance #autotrader #trading #khan #academy #carter #carguru #ancestry #accords #abc #news #bts #cbs #huru #bluebook #socialmedia #whatsapp #music #google #photography #memes #marketing #india #followforfollowback #likeforlikes #a #insta #fashion #k #trending #digitalmarketing #covid #o #snapchat #socialmediamarketing

हर शादीशुदा औरत को गैर मर्द की ये चीज़ पसंद आती है | How To Seduce A Woman | Love Tips

किस Time जल्दी पटती है शादीशुदा औरतें | How To Seduce A Woman | Love Tips

मोहल्ले की Aunty को कैसे करे पप्पी के लिए तैयार | How To Seduce A Woman | Love Tips

मौहल्ले की Aunty सब देने को तैयार हो जाएगी | How To Seduce A Woman | Love Tips

College की सबसे Sexy लड़की को पटाये 5 दिन में | Seduce A Woman | Love Tips | Relationship Advice

Learn the psychological reasons why women fall in love. What is it that they're looking for from that special someone that really makes their heart melt? Love is a beautiful things yet it can break your heart and make you feel awful. And surprisingly for bros and dudettes out there we all fall in love for many different reasons. Women strive for completely different things to a guy. And knowing what they are is actually going to help you shift your actions and thought process to obviously make a girl fall in love with you. But, to also and most importantly keep the passion burning throughout the relationship. If you want to know a little bit about some surprising psychological reasons why women fall in love then don't move an inch! #Joyanima #Dating #Psychology 0:00 Intro 0:43 Women fall in love to feel safe 1:50 You have a shared background 2:58 You look alike  3:23 You look like their parents 4:08 You can look after an animal  4:46 Staring into each other's eyes  5:10 You care about the environment  5:56 She will fall in love if you like the same things 6:20 You use a lot of hand gestures when you talk  6:52 You smell good  7:05 You do thrilling things together 7:36 Women love if you play hard to get 7:54 You are willing to compromise 

From Julia Roberts dressed as a Sims character, to a carnival side show mermaid, join Caitlin Stow and Joey Bauer as they discuss what they've been watching in this latest episode of REVIEWS!   Email us at boothwindow@gmail.com and/or follow us on social media @throughtheboothwindowpodcast @theobveeus and @caitlinstow

Write Your Legend Podcast with Apollonia Ponti and Natalie Stavola How To Make A Woman Love You | 8 Tips To Do NOW! 8 tips that get a woman to fall in love. I know sometimes it's not easy to make a woman fall in love with you if you don't understand how we operate or what can make both of you grow together. My dating advice comes from coaching many clients and because I am a woman myself. I know what it takes on how to make a girl fall in love with you. My goal is to give you the truth about how to make a woman fall in love not a black book answer of some twisted way to get her to fall in love because "the game" never works for long term. Especially if you want to make her fall in love... a high-quality woman that is. :) If you have any comments or questions please be sure to comment below and I will try my best to answer them personally. Enjoy! Apollonia Ponti Private coaching  Break Free of Codependency Free eBook: 7 Common Mistakes Men Make When Attracting a Woman View Products Here Follow Apollonia: Instagram Twitter Timestamps:  1:58: The 5 love language and how to use it... 3:28: Speak up! A high value woman loves when a man has his own opinions 4:42: Why women use social media to see if you're just chasing after something else or if you're serious Listen and Subscribe to the Write Your Legend Podcast with Apollonia Ponti and Natalie Stavola on iTunes, Spotify, Stitcher, and the CLNS Media Network mobile app.

This episode address the question can a woman love more than one? This is done to help improve relationships and bring balance to relationships between the genders. --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app --- Send in a voice message: https://anchor.fm/galfredpalmer/message

we didn't take many notes because we were living in the moment. also, i thought Patt was taking notes. some pobox goodies. some returned mail. some new shirts are available for preorder! the mediocre whip shirts, go get them. rest easy greg. help out his daughter if you can. https://www.gofundme.com/f/in-loving-memory-of-greg-kaspers-daughter-claire thank you to all the new and old scorpions. www.mediocreshow.com voicemail line: 484.381.0666 instagram: mediocreshow subscribe to the scorpions of support to help the show continue. mediocre show PO box 1303 west chester pa 19380

Daily Bible Study-Fr. Simon talks about a lady that asked him about her son wanting to become a woman and also marriage is between a man and a woman.  He also talks about the word “love” and it’s connection to sacrifice. Fr. Simon answers letters about evangelism and the saving knowledge, guardian angels personality Word […] All show notes at Father Simon Says May 10th-Relationship between man and woman; Love & Sacrifice - This podcast produced by Relevant Radio

This week we are caught completely by surprise that the Oscars are happening, but manage to discuss two films in the running for some awards. Tosin and Shaun review Promising Young Woman and weigh up it's chances Sharon manages not to be freaked out by giant insects in Love and Monsters. We get some lovely correspondence from a new listener. Thank you Ahna!! Is Netflix killing cinemas? Each week we weigh up what we've seen in cinemas with what we've watched online at home and figure out which provided the best time. At least, we did before COVID jumped in and declared Netflix, Amazon Prime, Disney + and friends the winner. Listen and subscribe on iTunes https://podcasts.apple.com/gb/podcast/netflix-vs-cinema/id1448277363 Listen and subscribe on Google Podcasts https://podcasts.google.com/feed/aHR0cHM6Ly9waW5lY2FzdC5jb20vZmVlZC9uZXRmbGl4dnNjaW5lbWE Listen on Spotify https://open.spotify.com/show/6beXVeSImcgHLsPB22BgE3?si=wdoNI6E0SNqNfoqg4qnw4Q Support Netflix vs Cinema by donating to their Tip Jar: https://tips.pinecast.com/jar/netflixvscinema Find out more at http://netflixvscinema.com This podcast is powered by Pinecast.

In episode 7 of the Fade To Black podcast, critics Amon Warmann, Clarisse Loughrey and Hanna Flint give their screen, stream or skip verdict on Dylan O’Brien’s Love and Monsters on Netflix, Emerald Fennell's much-debated Promising Young Woman, and a double whammy of ghost stories courtesy of Shudder with The Banishing and The Power. Amon also chats with The Power's writer-director Corinna Faith about crafting her debut feature. PLUS in this week’s 'Hot Take', the team discuss if nominees should make more of an effort to attend awards shows after Frances McDormand and Anthony Hopkins failed to show up to win their BAFTA's at the Zoom ceremony. If you’d like to join the conversation or suggest a Hot Take for the gang to discuss tweet us with the hashtag #FadeToBlackPod Follow us: @amonwarmann, @clarisselou, @hannaflint If you like the show do leave a review and rate us too!

This episode of News & Reviews is packed to the gills with brand spanking new films, including a few Oscar contenders.Drama 'Sound of Metal' is on Amazon Prime and stars Riz Ahmed as a drummer who loses his hearing, 'Promising Young Woman' is the comedy thriller directed and written by Emerald Fennell which features a dynamic performance from Carey Mulligan. In addition to these heavy hitters we have reviews of Netflix's monster adventure 'Love and Monsters', timeloop comedy 'Palm Springs', road trip prank movie 'Bad Trip' and British horror 'The Power'.

I decided to intercept my regularly scheduled interview podcasts with a new Solocast podcast! It has been a while since I’ve done one of these. I really should make one at least every few months or so. This Solocast I talk about love, sex, freedom, and what is my “dream woman.” Jack Parsons also makes a cameo appearance, and I talk a little about the goddess Babalon, which I will explore more deeply in further detail in future episodes of the podcast. It is short but sweet, and I hope you enjoy it and resonate with the ideas I present here about free love and a partnership that promotes radical devotion to one’s True Will. Message me with your thoughts via Email, Instagram, or Twitter. If you enjoy the podcast please rate and share.

Real love is the will to let our significant other be perfectly themselves - not trying to change them to be more like ourselves. Tune into this episode as we discuss the complexities of love and intimacy.   GET MORE INFORMATION ► Then God Made A Woman: https://www.thengodmadeawoman.com/ Nancy Houston: https://nancyhouston.net/  Amy Ford: https://www.amyford.com Jessica Russo: https://www.jessicarussospeaks.com

In the S02 finale Shunali Khullar Shroff, Author of 'Love In The Time Of Affluenza', talks about the modern Indian woman and the regressive views that still exist, especially in polite society. She also talks about balancing motherhood & work, her regrets, what a healthy relationship looks like and her view on whether a couple can move past adultery.Shunali ends this season with a much-needed reality check for all women. Her words & views are as inspiring, as they are empowering. Instagram: @shunalikhullarshroff1@heartonmysleeveofficial @manshakauranand

It's February 2021, and we're still in lockdown. So join Dia and Iza as they reminisce about better times, grieve over trips that could have been, and swap travel stories. More importantly, tune in to learn how to trick your brown parents into letting you travel and escape the “you can travel when you're married” trap.

On The Move Unscripted On Purpose Ladies Round Table Discussion with Kimberly McCants, R Marie, Misty Jones, Dushon Johnson, Dr. AMarie Stormm, and Patricia M. Goins. Discussion: Can a man love a woman without expectation and can a woman love a man for free?

Todd and Julie are joined by Michael Trotter Jr. and Tanya Blout of the band The War and Treaty. The band tell their story of mental health struggles, military tours, and of course, music. This episode is sponsored by: Cratejoy (https://buy.cratejoy.com/cc) Skylight Frame (https://www.skylightframe.com/) (Code: CONFESSIONS) Join in the conversation! Call and leave a message: (931) 674-1672

Todd and Julie are joined by Michael Trotter Jr. and Tanya Blout of the band The War and Treaty. The band tell their story of mental health struggles, military tours, and of course, music. This episode is sponsored by: Cratejoy (https://buy.cratejoy.com/cc) Skylight Frame (https://www.skylightframe.com/) (Code: CONFESSIONS) Join in the conversation! Call and leave a message: (931) 674-1672

The New Midlife Woman Community aims help women overcome the obstacles and challenges that can hold a midlife woman back from taking the opportunities that are available to her in the second half of her life.In this podcast I describe the most common issues that women have to deal with in the process of freeing herself to be more in control of her life and to develop the lifestyle and love style that will suit her and her plans for the future.As a start I have chosen Talking With Midlife Men because many of the problems midlife women have to deal with are caused directly or indirectly by midlife men. These problems usually stem from poor communication and can only be handled by better communication.Connect with Jean Macdonald on Facebook.Connect with Jean Macdonald on Instagram.Connect with Jean Macdonald on Linkedin.Visit my website for more info. http://lovemidlifewoman.com/

Does you woman still love you? It's time to find out, guys. This is the dirty part of saving your marriage. You have to get down and dirty and NICELY confront your wife who isn't giving you affection, blow jobs, sex, etc. It could be marital issues, or she may have fallen out of love with you. Time to find out the truth. Not recommended for minors, some graphic language and adult conversation. --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app

I'm for the edification of black men

Bagaimana bisa pria yang kelihatan selalu bahagia ternyata kesepian? yuk simak dan dengerin sampe abis ya!

We discuss progressive vs traditional relationships, women making more money and stay at home dads

Episode forty-one of A History of Rock Music in Five Hundred Songs looks at “Be-Bop-A-Lula” by Gene Vincent and the Blue Caps, and how Vincent defined for many what a rock and roll star was. Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have a ten-minute bonus episode available, on “Smokestack Lightning” by Howlin’ Wolf. —-more—- Resources There are far, far more books on Gene Vincent than one would expect from his short chart history — a testament to how much he influenced a generation. The two that I used most are Race With the Devil by Susan VanHecke, and Gene Vincent and Eddie Cochran: Rock and Roll Revolutionaries by John Collis. Of the two, I’d recommend the latter more. There are many compilations of Gene Vincent’s early rock and roll work. This one contains everything he recorded up until 1962. And as always there’s a Mixcloud with the full versions of all the songs featured in today’s episode. Patreon   This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript [Excerpt: Ian Dury and the Blockheads, “Sweet Gene Vincent”] So sang Ian Dury, one of the greats of the rock and roll generation that came up in the seventies, a generation that grew up on listening to Gene Vincent. In the USA, Vincent was more or less regarded as a one-hit wonder, though that one hit was one of the most memorable of the 1950s, but in the UK, he was to become one of the biggest influences on everyone who sang or played a guitar.   Gene Vincent was born Vincent Eugene Craddock, and he would have been perfectly happy in his original career as a sailor, until 1955. Then, something happened that changed his life forever. He re-enlisted in the Navy, and got a nine-hundred dollar bonus – a huge sum of money for a sailor in those days – which he used to buy himself a new Triumph racing motorbike.   The bike didn’t last long, and nor did Gene’s Navy career. There are two stories about the accident. The one which he told most often, and which was the official story, was that he was not at fault – a woman driving a Chrysler ran a red light and ran into him, and the only reason he didn’t get compensation was that he signed some papers while he was sedated in hospital.   The other story, which he told at least one friend, was that he’d been out drinking and was late getting back to the Naval base. There was a security barrier at the base, and he tried to ride under the barrier. He’d failed, and the bike had come down hard on his left leg, crushing it.   Whatever the truth, his left leg was smashed up, and looked for a long time like it was going to be amputated, but he refused to allow this. He had it put into a cast for more than a year, after which it was put into a metal brace instead. His leg never really properly healed, and it would leave him in pain for the rest of his life. His leg developed chronic osteomyelitis, he had a permanent open sore on his shin, his leg muscles withered, and his bones would break regularly.   Then in September 1955, finally discharged from the naval hospital, Gene Vincent went to see a country music show. The headliner was Hank Snow, and the Louvin Brothers were also on the bill, but the act that changed Gene’s life was lower down the bill – a young singer named Elvis Presley.   [Excerpt: Elvis Presley, “Mystery Train”]   The story seems to be the same for almost every one of the early rockabilly artists, but this is the first time we’ve seen it happen with someone who didn’t go on to sign with Sun – a young man in the Southern US has been playing his guitar for a while, making music that’s a little bit country, a little bit blues, and then one day he goes to see a show featuring Elvis Presley, and he immediately decides that he wants to do that, that Elvis is doing something that’s like what the young man has already started doing, but he’s proved that you can do it on stage, for people.   It’s as if at every single show Elvis played in 1954 and 1955 there was a future rockabilly star in the audience — and by playing those shows, Elvis permanently defined what we mean when we say “rock and roll star”. The first thing Gene did was to get himself noticed by the radio station that had promoted the show, and in particular by Sheriff Tex Davis, who was actually a DJ from Connecticut whose birth name was William Doucette, but had changed his name to sound more country. Davis was a DJ and show promoter, and he was the one who had promoted the gig that Elvis had appeared at. Gene Craddock came into his office a few days after that show, and told him that he was a singer. Davis listened to him sing a couple of songs, and thought that he would do a decent job as a regular on his Country Showtime radio show.   Soon afterwards, Carl Perkins came to town to do a show with Craddock as the opening act. It would, in fact, be his last show for a while – it was right after this show, as he travelled to get to New York for the TV appearance he was booked on, that he got into the car crash that derailed his career. But Tex Davis asked Carl to watch the opening act and tell him what he thought. Carl watched, and he said that the boy had potential, especially one particular song, “Be-Bop-A-Lula”, which sounded to Carl quite like some of his own stuff.   That was good enough for Tex Davis, who signed Craddock up to a management contract, and who almost immediately recorded some of his performances to send to Ken Nelson at Capitol Records.   Capitol at the time was the home of crooners like Frank Sinatra and Nat “King” Cole, and other than its small country music division had little connection to the new forms of music that were starting to dominate the culture. Capitol had been founded in the early 1940s by the songwriter Johnny Mercer, who wrote many standards for Sinatra, Bing Crosby, Tony Bennett and others, and also recorded his own material, like this:   [Excerpt: Johnny Mercer, “Ac-Cent-Tchu-Ate the Positive”]   Mercer was a great songwriter, but you can imagine that a record label headed up by Mercer might not have been one that was most attuned to rock and roll. However, in 1955 Capitol had been bought up by the big conglomerate EMI, and things were changing at the label.   Ken Nelson was the head of country music for Capitol Records, and is someone who has a very mixed reputation among lovers of both country music and rockabilly, as someone who had impeccable taste in artists – he also signed Buck Owens and the Louvin Brothers among many other classic country artists – but also as someone who would impose a style on those artists that didn’t necessarily suit them.   Nelson didn’t really understand rockabilly at all, but he knew that Capitol needed its own equivalent of Elvis Presley. So he put a call out for people to recommend him country singers who could sound a bit like Elvis. On hearing the tape that Tex Davis sent him of Gene Craddock, he decided to call in this kid for a session in Nashville.   By this point, Craddock had formed his own backing band, who became known as the Blue Caps. This consisted of guitarist Cliff Gallup, the oldest of the group and a plumber by trade, drummer Dickie Harrell, a teenager who was enthusiastic but a good decade younger than Gallup, rhythm guitarist Willie Williams, and bass player Jack Neal. They took the name “Blue Caps” from the hats they all wore on stage, which were allegedly inspired by the golf caps that President Eisenhower used to wear while playing golf. Not the most rebellious of inspirations for the group that would, more than any other rock and roll group of the fifties, inspire juvenile delinquency and youthful rebelliousness.   The session was at a studio run by Owen Bradley, who had just recently recorded some early tracks by a singer from Texas named Buddy Holly. The song chosen for the first single was a track called “Woman Love”, which everyone was convinced could be a hit. They were convinced, that is, until they heard Gene singing it in the studio, at which point they wondered if perhaps some of what he was singing was not quite as wholesome as they had initially been led to believe:   [Excerpt: Gene Vincent and the Blue Caps, “Woman Love”]   Ken Nelson asked to look at the lyric sheet, and satisfied that Gene *could* have been singing “hugging” rather than what Nelson had worried he had been singing, agreed that the song should go out on the A-side of Gene’s first single, which was to be released under the name Gene Vincent – a name Nelson created from Gene’s forenames.   It turned out that the lyric sheet didn’t completely convince everyone. Most radio stations refused to play “Woman Love” at all, saying that even if the lyrics weren’t obscene – and plenty of people were convinced that they were – the record itself still was.   Or, at least, the A-side was.   The B-side, a song called “Be-Bop-A-Lula”, was a different matter:   [Excerpt: Gene Vincent and the Blue Caps: “Be-Bop-A-Lula”]   There are three stories about how the song came to have the title “Be-Bop-A-Lula”. Donald Graves, a fellow patient in the naval hospital who was widely considered to have co-written the song with Gene, always claimed the song was inspired by the 1920s vaudeville song “Don’t Bring Lulu”.   [Excerpt: “Don’t Bring Lulu”, Billy Murray]   As Tex Davis told the story, it was inspired by a Little Lulu comic book Davis showed Vincent, to which Vincent said, “Hey, it’s be-bop a lulu!”   Davis is credited as co-writer of the song along with Gene, but it’s fairly widely acknowledged that he had no part in the song’s writing. Almost every source now says that Davis paid Donald Graves twenty-five dollars for his half of the songwriting rights.   Far more likely is that it was inspired by the Helen Humes song “Be Baba Leba”:   [Excerpt: Helen Humes, “Be Baba Leba”]   That song had been rerecorded by Lionel Hampton as “Hey Baba Reba!”, which had been a massive R&B hit, and the song is also generally considered one of the inspirations behind the term “be bop” being applied to the style of music.   And that’s something we should probably at least talk about briefly here, because it shows how much culture changes, and how fast we lose context for things that seemed obvious at the time. The term “bebop”, as it was originally used, was used in the same way we use it now — for a type of jazz music that originated in New York in the mid-1940s, which prized harmonic complexity, instrumental virtuosity, and individual self-expression. The music made by people like Charlie Parker, Oscar Peterson, Dexter Gordon, Dizzy Gillespie, and so on, and which pretty much defined what was thought of as jazz in the postwar era.   But while that was what the term originally meant, and is what the term means now, it wasn’t what the term meant in 1956, at least to most of the people who used the term. Colloquially, bebop meant “that noisy music I don’t understand that the young people like, and most of the people making it are black”. So it covered bebop itself, but it was also used for rhythm and blues, rock and roll, even rockabilly — you would often find interviewers talking with Elvis in his early years referring to his music as “Hillbilly Bop” or “a mixture of country music and bebop”.   So even though “Be-Bop-A-Lula” had about as much to do with bebop as it did with Stravinsky, the name still fit.   At that initial session, Ken Nelson brought in a few of the top session players in Nashville, but when he heard the Blue Caps play, he was satisfied that they were good enough to play on the records, and sent the session musicians home. In truth, the Blue Caps were probably best described as a mixed-ability group. Some of them were rudimentary musicians at best — though as we’ve seen, rockabilly, more than most genres, was comfortable with enthusiastic amateurs anyway.   But Cliff Gallup, the lead guitarist, was quite probably the most technically accomplished guitarist in the world of rockabilly. Gallup’s guitar style, which involved fast-picked triplets and the use of multiple steel fingerpicks, was an inspiration for almost every rock and roll guitarist of the 1960s, and any group which had him in would sound at least decent.   During the recording of “Be-Bop-A-Lula”, the young drummer Dickie Harrell decided to let out a giant scream right in the middle of the song — he later said that this was so that his mother would know he was on the record. Cliff Gallup was not impressed, and wanted to do a second take, but the first take was what was used.   [Excerpt: Gene Vincent, “Be Bop A Lula”, scream section]   “Be-Bop-A-Lula” is by any standards a quite astonishing record. The lyric is, of course, absolute nonsense — it’s a gibberish song with no real lyrical content at all — but that doesn’t matter at all. What matters is the *sound*. What we have here, fundamentally, is the sound of “Heartbreak Hotel” applied to a much, much, less depressive lyric. It still has that strange morbidity that the Elvis track had, but combined with carefree gibberish lyrics in the style of Little Richard. It’s the precise midpoint between “Heartbreak Hotel” and “Tutti Frutti”, and is probably the record which, more than any other, epitomises 1956.   A lot of people commented on the similarity between Vincent’s record and the music of Elvis Presley. There are various stories that went round at the time, including that Scotty and Bill got annoyed at Elvis for recording it without them, that Elvis’ mother had told him she liked that new single of his, “Be-Bop-A-Lula”, and even that Elvis himself, on hearing it, had been confused and wondered if he’d forgotten recording it. In truth, none of these stories seem likely. The record is, sonically and stylistically, like an Elvis one, but Vincent’s voice has none of the same qualities as Elvis’. While Elvis is fully in control at all times, playful and exuberant, Gene Vincent is tense and twitchy. Vincent’s voice is thinner than Elvis’, and his performance is more mannered than Elvis’ singing at that time was.   But none of this stopped Vincent from worrying the one time he did meet Elvis, who came over and asked him if he was the one who’d recorded “Be-Bop-A-Lula”. Vincent was apologetic, and explained that he’d not been intending to copy Elvis, the record had just come out like that. But Elvis reassured him that he understood, and that that was just how Gene sang.   What fewer people commented on was the song’s similarity to “Money Honey”:   [Excerpt: The Drifters, “Money Honey”]   The two songs have near-identical melodies. The only real difference is that in “Be-Bop-A-Lula” Vincent bookends the song with a slight variation, turning the opening and closing choruses into twelve-bar blueses, rather than the eight-bar blues used in the rest of the song and in “Money Honey”. Luckily for Vincent, at this time the culture in R&B was relaxed enough about borrowings that Jesse Stone seems not to have even considered suing.   The follow-up to “Be-Bop-A-Lula” did much less well. “Race With the Devil” — not the same song as the one later made famous by Judas Priest — was one of the all-time great rockabilly records, but the lyrics, about a hot-rod race with the actual Devil, were, like “Woman Love”, considered unbroadcastable, and this time there was no massive hit record hidden away on the B-side to salvage things:   [Excerpt: Gene Vincent and the Blue Caps, “Race With The Devil”]   The single after that, “Blue Jean Bop”, did a little better, reaching the lower reaches of the top fifty, rather than the lower reaches of the top hundred as “Race With the Devil” had, and making the top twenty in the UK:   [Excerpt: Gene Vincent, “Blue Jean Bop”]   But there were three major problems that were preventing Vincent and the Blue Caps from having the success that it seemed they deserved.   The first was Ken Nelson. He was in charge of the material that the group were recording, and he would suggest songs like “Up a Lazy River”, “Ain’t She Sweet”, and “Those Wedding Bells are Breaking up That Old Gang of Mine”. Vincent enjoyed those old standards as much as anyone, but they weren’t actually suited to the rockabilly treatment – especially not to the kind of rough and ready performances that the original lineup of the Blue Caps were suited to.   And that brings us to the second problem. There was a huge age gap, as well as disparity in ability, in the band, and Cliff Gallup, in particular, felt that he was too old to be touring in a rock and roll band, and quit the group. Gallup was actually offered a regular gig as a session guitarist by Ken Nelson, which would have meant that he didn’t have to travel, but he turned it down and got a job as a high school janitor and maintenance man, just playing the occasional extra gig for pin money. When he was contacted by fans, he would get embarrassed, and he didn’t like to talk about his brief time as a rock and roll star. He never signed a single autograph, and when he died in 1989 his widow made sure the obituaries never mentioned his time with Gene Vincent.   But Gallup was just the first to leave. In the first two and a half years of the Blue Caps’ existence, twenty different people were members of the band. Vincent could never keep a stable lineup of the band together for more than a few weeks or months at a time.   And the third major problem… that was Vincent himself. Even before his accident, he had been an impetuous, hot-headed man, who didn’t think very carefully about the possible consequences of his actions. Now he was in chronic pain from the accident, he was a rock and roll star, and he was drinking heavily to deal with the pain. This is not a combination that makes people less inclined to rash behaviour.   So, for example, he’d started breaking contracts. Vincent and the Blue Caps were booked to play a residency in Las Vegas, where they were making three thousand dollars a week – for 1956 a staggering sum of money. But Tex Davis told Vincent that the owner of the casino wanted him to tone down some aspects of his act, and he didn’t like that at all. It wasn’t even enough to convince him when it was pointed out that the man doing the asking was big in the Mafia. Instead, Gene went on stage, sang one song, found Tex Davis in the crowd, caught his eye, flipped him off, and walked off stage, leaving the band to do the rest of the show without him. Unsurprisingly, the residency didn’t last very long. Equally unsurprisingly, Tex Davis decided he was no longer going to manage Gene Vincent. Legal problems around the fallout from losing his management caused Vincent to be unable to work for several months.   While both “Race With the Devil” and “Blue Jean Bop” were big hits in the UK, the closest they came to having another hit in the USA was a song called “Lotta Lovin'”:   [Excerpt: Gene Vincent, “Lotta Lovin'”]   That was written by a songwriter named Bernice Bedwell, who is otherwise unknown — she wrote a handful of other rockabilly songs, including another song that Vincent would record, but nothing else that was particularly successful, and there seems to be no biographical information about her anywhere. She sold the publishing rights to the song to a Texas oilman, Tom Fleeger, who does seem to have had a fairly colourful life — he wrote a memoir called “Fidel and the Fleeg”, which I sadly haven’t read, but in which he claims that Fidel Castro tried to frame him for murder in the 1940s after a dispute over a beautiful woman.   Fleeger was soon to start his own record label, Jan Records, but for now he thought that the song would be suitable for Gene Vincent, and got in touch with him. “Lotta Lovin'” was quickly recorded at Gene’s first session at Capitol’s new studio at the Capitol Tower in Hollywood.   The B-side was a ballad called “Wear My Ring” by Warren Cassoto, the future Bobby Darin, and Don Kirshner.   [Excerpt: Gene Vincent, “Wear My Ring”]   “Lotta Lovin'” went to number thirteen on the pop charts, and number seven on the R&B charts, and it looked like it would revitalise Gene’s career. But it was not to be. Vincent’s increasingly erratic behaviour — including pulling a gun on band members on multiple occasions — and Capitol and Ken Nelson’s lack of understanding of rock and roll music, meant that he quickly became a forgotten figure in the US.   But he had a huge impact on the UK, thanks to a TV producer named Jack Good.   Jack Good was the person who, more than anyone else, had brought rock and roll to British TV. He’d been the producer of Six-Five Special, a BBC TV show that was devoted to rock and roll and skiffle, before moving to ITV, producing its first two rock and roll shows, “Oh Boy”, and “Boy Meets Girls”. And it was Good who suggested that Vincent switch from his normal polite-looking stagewear into black leather, and that he accentuate the postural problems his disability caused him.   Vincent’s appearances on “Boy Meets Girls”, dressed in black leather, hunched over, in pain because of his leg, defined for British teenagers of the 1950s what a rock and roller was meant to look like. At a time when few American rock and roll stars were visiting the UK, and even fewer were getting any exposure on the very small number of TV shows that were actually broadcast — this was when there were only two TV channels in the UK, and they broadcast for only a few hours — Gene Vincent being *here*, and on British TV, meant the world. And on a show like Boy Meets Girls, where the rest of the acts were people like Cliff RIchard or Adam Faith, having a mean, moody, leather-clad rock and roller on screen was instantly captivating. For a generation of British rockers, Gene Vincent epitomised American rock and roll.   Until in 1960 he was on a tour of the UK that ended in tragedy. But that’s a story for another time…

Episode forty-one of A History of Rock Music in Five Hundred Songs looks at “Be-Bop-A-Lula” by Gene Vincent and the Blue Caps, and how Vincent defined for many what a rock and roll star was. Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have a ten-minute bonus episode available, on “Smokestack Lightning” by Howlin’ Wolf. —-more—- Resources There are far, far more books on Gene Vincent than one would expect from his short chart history — a testament to how much he influenced a generation. The two that I used most are Race With the Devil by Susan VanHecke, and Gene Vincent and Eddie Cochran: Rock and Roll Revolutionaries by John Collis. Of the two, I’d recommend the latter more. There are many compilations of Gene Vincent’s early rock and roll work. This one contains everything he recorded up until 1962. And as always there’s a Mixcloud with the full versions of all the songs featured in today’s episode. Patreon   This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript [Excerpt: Ian Dury and the Blockheads, “Sweet Gene Vincent”] So sang Ian Dury, one of the greats of the rock and roll generation that came up in the seventies, a generation that grew up on listening to Gene Vincent. In the USA, Vincent was more or less regarded as a one-hit wonder, though that one hit was one of the most memorable of the 1950s, but in the UK, he was to become one of the biggest influences on everyone who sang or played a guitar.   Gene Vincent was born Vincent Eugene Craddock, and he would have been perfectly happy in his original career as a sailor, until 1955. Then, something happened that changed his life forever. He re-enlisted in the Navy, and got a nine-hundred dollar bonus – a huge sum of money for a sailor in those days – which he used to buy himself a new Triumph racing motorbike.   The bike didn’t last long, and nor did Gene’s Navy career. There are two stories about the accident. The one which he told most often, and which was the official story, was that he was not at fault – a woman driving a Chrysler ran a red light and ran into him, and the only reason he didn’t get compensation was that he signed some papers while he was sedated in hospital.   The other story, which he told at least one friend, was that he’d been out drinking and was late getting back to the Naval base. There was a security barrier at the base, and he tried to ride under the barrier. He’d failed, and the bike had come down hard on his left leg, crushing it.   Whatever the truth, his left leg was smashed up, and looked for a long time like it was going to be amputated, but he refused to allow this. He had it put into a cast for more than a year, after which it was put into a metal brace instead. His leg never really properly healed, and it would leave him in pain for the rest of his life. His leg developed chronic osteomyelitis, he had a permanent open sore on his shin, his leg muscles withered, and his bones would break regularly.   Then in September 1955, finally discharged from the naval hospital, Gene Vincent went to see a country music show. The headliner was Hank Snow, and the Louvin Brothers were also on the bill, but the act that changed Gene’s life was lower down the bill – a young singer named Elvis Presley.   [Excerpt: Elvis Presley, “Mystery Train”]   The story seems to be the same for almost every one of the early rockabilly artists, but this is the first time we’ve seen it happen with someone who didn’t go on to sign with Sun – a young man in the Southern US has been playing his guitar for a while, making music that’s a little bit country, a little bit blues, and then one day he goes to see a show featuring Elvis Presley, and he immediately decides that he wants to do that, that Elvis is doing something that’s like what the young man has already started doing, but he’s proved that you can do it on stage, for people.   It’s as if at every single show Elvis played in 1954 and 1955 there was a future rockabilly star in the audience — and by playing those shows, Elvis permanently defined what we mean when we say “rock and roll star”. The first thing Gene did was to get himself noticed by the radio station that had promoted the show, and in particular by Sheriff Tex Davis, who was actually a DJ from Connecticut whose birth name was William Doucette, but had changed his name to sound more country. Davis was a DJ and show promoter, and he was the one who had promoted the gig that Elvis had appeared at. Gene Craddock came into his office a few days after that show, and told him that he was a singer. Davis listened to him sing a couple of songs, and thought that he would do a decent job as a regular on his Country Showtime radio show.   Soon afterwards, Carl Perkins came to town to do a show with Craddock as the opening act. It would, in fact, be his last show for a while – it was right after this show, as he travelled to get to New York for the TV appearance he was booked on, that he got into the car crash that derailed his career. But Tex Davis asked Carl to watch the opening act and tell him what he thought. Carl watched, and he said that the boy had potential, especially one particular song, “Be-Bop-A-Lula”, which sounded to Carl quite like some of his own stuff.   That was good enough for Tex Davis, who signed Craddock up to a management contract, and who almost immediately recorded some of his performances to send to Ken Nelson at Capitol Records.   Capitol at the time was the home of crooners like Frank Sinatra and Nat “King” Cole, and other than its small country music division had little connection to the new forms of music that were starting to dominate the culture. Capitol had been founded in the early 1940s by the songwriter Johnny Mercer, who wrote many standards for Sinatra, Bing Crosby, Tony Bennett and others, and also recorded his own material, like this:   [Excerpt: Johnny Mercer, “Ac-Cent-Tchu-Ate the Positive”]   Mercer was a great songwriter, but you can imagine that a record label headed up by Mercer might not have been one that was most attuned to rock and roll. However, in 1955 Capitol had been bought up by the big conglomerate EMI, and things were changing at the label.   Ken Nelson was the head of country music for Capitol Records, and is someone who has a very mixed reputation among lovers of both country music and rockabilly, as someone who had impeccable taste in artists – he also signed Buck Owens and the Louvin Brothers among many other classic country artists – but also as someone who would impose a style on those artists that didn’t necessarily suit them.   Nelson didn’t really understand rockabilly at all, but he knew that Capitol needed its own equivalent of Elvis Presley. So he put a call out for people to recommend him country singers who could sound a bit like Elvis. On hearing the tape that Tex Davis sent him of Gene Craddock, he decided to call in this kid for a session in Nashville.   By this point, Craddock had formed his own backing band, who became known as the Blue Caps. This consisted of guitarist Cliff Gallup, the oldest of the group and a plumber by trade, drummer Dickie Harrell, a teenager who was enthusiastic but a good decade younger than Gallup, rhythm guitarist Willie Williams, and bass player Jack Neal. They took the name “Blue Caps” from the hats they all wore on stage, which were allegedly inspired by the golf caps that President Eisenhower used to wear while playing golf. Not the most rebellious of inspirations for the group that would, more than any other rock and roll group of the fifties, inspire juvenile delinquency and youthful rebelliousness.   The session was at a studio run by Owen Bradley, who had just recently recorded some early tracks by a singer from Texas named Buddy Holly. The song chosen for the first single was a track called “Woman Love”, which everyone was convinced could be a hit. They were convinced, that is, until they heard Gene singing it in the studio, at which point they wondered if perhaps some of what he was singing was not quite as wholesome as they had initially been led to believe:   [Excerpt: Gene Vincent and the Blue Caps, “Woman Love”]   Ken Nelson asked to look at the lyric sheet, and satisfied that Gene *could* have been singing “hugging” rather than what Nelson had worried he had been singing, agreed that the song should go out on the A-side of Gene’s first single, which was to be released under the name Gene Vincent – a name Nelson created from Gene’s forenames.   It turned out that the lyric sheet didn’t completely convince everyone. Most radio stations refused to play “Woman Love” at all, saying that even if the lyrics weren’t obscene – and plenty of people were convinced that they were – the record itself still was.   Or, at least, the A-side was.   The B-side, a song called “Be-Bop-A-Lula”, was a different matter:   [Excerpt: Gene Vincent and the Blue Caps: “Be-Bop-A-Lula”]   There are three stories about how the song came to have the title “Be-Bop-A-Lula”. Donald Graves, a fellow patient in the naval hospital who was widely considered to have co-written the song with Gene, always claimed the song was inspired by the 1920s vaudeville song “Don’t Bring Lulu”.   [Excerpt: “Don’t Bring Lulu”, Billy Murray]   As Tex Davis told the story, it was inspired by a Little Lulu comic book Davis showed Vincent, to which Vincent said, “Hey, it’s be-bop a lulu!”   Davis is credited as co-writer of the song along with Gene, but it’s fairly widely acknowledged that he had no part in the song’s writing. Almost every source now says that Davis paid Donald Graves twenty-five dollars for his half of the songwriting rights.   Far more likely is that it was inspired by the Helen Humes song “Be Baba Leba”:   [Excerpt: Helen Humes, “Be Baba Leba”]   That song had been rerecorded by Lionel Hampton as “Hey Baba Reba!”, which had been a massive R&B hit, and the song is also generally considered one of the inspirations behind the term “be bop” being applied to the style of music.   And that’s something we should probably at least talk about briefly here, because it shows how much culture changes, and how fast we lose context for things that seemed obvious at the time. The term “bebop”, as it was originally used, was used in the same way we use it now — for a type of jazz music that originated in New York in the mid-1940s, which prized harmonic complexity, instrumental virtuosity, and individual self-expression. The music made by people like Charlie Parker, Oscar Peterson, Dexter Gordon, Dizzy Gillespie, and so on, and which pretty much defined what was thought of as jazz in the postwar era.   But while that was what the term originally meant, and is what the term means now, it wasn’t what the term meant in 1956, at least to most of the people who used the term. Colloquially, bebop meant “that noisy music I don’t understand that the young people like, and most of the people making it are black”. So it covered bebop itself, but it was also used for rhythm and blues, rock and roll, even rockabilly — you would often find interviewers talking with Elvis in his early years referring to his music as “Hillbilly Bop” or “a mixture of country music and bebop”.   So even though “Be-Bop-A-Lula” had about as much to do with bebop as it did with Stravinsky, the name still fit.   At that initial session, Ken Nelson brought in a few of the top session players in Nashville, but when he heard the Blue Caps play, he was satisfied that they were good enough to play on the records, and sent the session musicians home. In truth, the Blue Caps were probably best described as a mixed-ability group. Some of them were rudimentary musicians at best — though as we’ve seen, rockabilly, more than most genres, was comfortable with enthusiastic amateurs anyway.   But Cliff Gallup, the lead guitarist, was quite probably the most technically accomplished guitarist in the world of rockabilly. Gallup’s guitar style, which involved fast-picked triplets and the use of multiple steel fingerpicks, was an inspiration for almost every rock and roll guitarist of the 1960s, and any group which had him in would sound at least decent.   During the recording of “Be-Bop-A-Lula”, the young drummer Dickie Harrell decided to let out a giant scream right in the middle of the song — he later said that this was so that his mother would know he was on the record. Cliff Gallup was not impressed, and wanted to do a second take, but the first take was what was used.   [Excerpt: Gene Vincent, “Be Bop A Lula”, scream section]   “Be-Bop-A-Lula” is by any standards a quite astonishing record. The lyric is, of course, absolute nonsense — it’s a gibberish song with no real lyrical content at all — but that doesn’t matter at all. What matters is the *sound*. What we have here, fundamentally, is the sound of “Heartbreak Hotel” applied to a much, much, less depressive lyric. It still has that strange morbidity that the Elvis track had, but combined with carefree gibberish lyrics in the style of Little Richard. It’s the precise midpoint between “Heartbreak Hotel” and “Tutti Frutti”, and is probably the record which, more than any other, epitomises 1956.   A lot of people commented on the similarity between Vincent’s record and the music of Elvis Presley. There are various stories that went round at the time, including that Scotty and Bill got annoyed at Elvis for recording it without them, that Elvis’ mother had told him she liked that new single of his, “Be-Bop-A-Lula”, and even that Elvis himself, on hearing it, had been confused and wondered if he’d forgotten recording it. In truth, none of these stories seem likely. The record is, sonically and stylistically, like an Elvis one, but Vincent’s voice has none of the same qualities as Elvis’. While Elvis is fully in control at all times, playful and exuberant, Gene Vincent is tense and twitchy. Vincent’s voice is thinner than Elvis’, and his performance is more mannered than Elvis’ singing at that time was.   But none of this stopped Vincent from worrying the one time he did meet Elvis, who came over and asked him if he was the one who’d recorded “Be-Bop-A-Lula”. Vincent was apologetic, and explained that he’d not been intending to copy Elvis, the record had just come out like that. But Elvis reassured him that he understood, and that that was just how Gene sang.   What fewer people commented on was the song’s similarity to “Money Honey”:   [Excerpt: The Drifters, “Money Honey”]   The two songs have near-identical melodies. The only real difference is that in “Be-Bop-A-Lula” Vincent bookends the song with a slight variation, turning the opening and closing choruses into twelve-bar blueses, rather than the eight-bar blues used in the rest of the song and in “Money Honey”. Luckily for Vincent, at this time the culture in R&B was relaxed enough about borrowings that Jesse Stone seems not to have even considered suing.   The follow-up to “Be-Bop-A-Lula” did much less well. “Race With the Devil” — not the same song as the one later made famous by Judas Priest — was one of the all-time great rockabilly records, but the lyrics, about a hot-rod race with the actual Devil, were, like “Woman Love”, considered unbroadcastable, and this time there was no massive hit record hidden away on the B-side to salvage things:   [Excerpt: Gene Vincent and the Blue Caps, “Race With The Devil”]   The single after that, “Blue Jean Bop”, did a little better, reaching the lower reaches of the top fifty, rather than the lower reaches of the top hundred as “Race With the Devil” had, and making the top twenty in the UK:   [Excerpt: Gene Vincent, “Blue Jean Bop”]   But there were three major problems that were preventing Vincent and the Blue Caps from having the success that it seemed they deserved.   The first was Ken Nelson. He was in charge of the material that the group were recording, and he would suggest songs like “Up a Lazy River”, “Ain’t She Sweet”, and “Those Wedding Bells are Breaking up That Old Gang of Mine”. Vincent enjoyed those old standards as much as anyone, but they weren’t actually suited to the rockabilly treatment – especially not to the kind of rough and ready performances that the original lineup of the Blue Caps were suited to.   And that brings us to the second problem. There was a huge age gap, as well as disparity in ability, in the band, and Cliff Gallup, in particular, felt that he was too old to be touring in a rock and roll band, and quit the group. Gallup was actually offered a regular gig as a session guitarist by Ken Nelson, which would have meant that he didn’t have to travel, but he turned it down and got a job as a high school janitor and maintenance man, just playing the occasional extra gig for pin money. When he was contacted by fans, he would get embarrassed, and he didn’t like to talk about his brief time as a rock and roll star. He never signed a single autograph, and when he died in 1989 his widow made sure the obituaries never mentioned his time with Gene Vincent.   But Gallup was just the first to leave. In the first two and a half years of the Blue Caps’ existence, twenty different people were members of the band. Vincent could never keep a stable lineup of the band together for more than a few weeks or months at a time.   And the third major problem… that was Vincent himself. Even before his accident, he had been an impetuous, hot-headed man, who didn’t think very carefully about the possible consequences of his actions. Now he was in chronic pain from the accident, he was a rock and roll star, and he was drinking heavily to deal with the pain. This is not a combination that makes people less inclined to rash behaviour.   So, for example, he’d started breaking contracts. Vincent and the Blue Caps were booked to play a residency in Las Vegas, where they were making three thousand dollars a week – for 1956 a staggering sum of money. But Tex Davis told Vincent that the owner of the casino wanted him to tone down some aspects of his act, and he didn’t like that at all. It wasn’t even enough to convince him when it was pointed out that the man doing the asking was big in the Mafia. Instead, Gene went on stage, sang one song, found Tex Davis in the crowd, caught his eye, flipped him off, and walked off stage, leaving the band to do the rest of the show without him. Unsurprisingly, the residency didn’t last very long. Equally unsurprisingly, Tex Davis decided he was no longer going to manage Gene Vincent. Legal problems around the fallout from losing his management caused Vincent to be unable to work for several months.   While both “Race With the Devil” and “Blue Jean Bop” were big hits in the UK, the closest they came to having another hit in the USA was a song called “Lotta Lovin'”:   [Excerpt: Gene Vincent, “Lotta Lovin'”]   That was written by a songwriter named Bernice Bedwell, who is otherwise unknown — she wrote a handful of other rockabilly songs, including another song that Vincent would record, but nothing else that was particularly successful, and there seems to be no biographical information about her anywhere. She sold the publishing rights to the song to a Texas oilman, Tom Fleeger, who does seem to have had a fairly colourful life — he wrote a memoir called “Fidel and the Fleeg”, which I sadly haven’t read, but in which he claims that Fidel Castro tried to frame him for murder in the 1940s after a dispute over a beautiful woman.   Fleeger was soon to start his own record label, Jan Records, but for now he thought that the song would be suitable for Gene Vincent, and got in touch with him. “Lotta Lovin'” was quickly recorded at Gene’s first session at Capitol’s new studio at the Capitol Tower in Hollywood.   The B-side was a ballad called “Wear My Ring” by Warren Cassoto, the future Bobby Darin, and Don Kirshner.   [Excerpt: Gene Vincent, “Wear My Ring”]   “Lotta Lovin'” went to number thirteen on the pop charts, and number seven on the R&B charts, and it looked like it would revitalise Gene’s career. But it was not to be. Vincent’s increasingly erratic behaviour — including pulling a gun on band members on multiple occasions — and Capitol and Ken Nelson’s lack of understanding of rock and roll music, meant that he quickly became a forgotten figure in the US.   But he had a huge impact on the UK, thanks to a TV producer named Jack Good.   Jack Good was the person who, more than anyone else, had brought rock and roll to British TV. He’d been the producer of Six-Five Special, a BBC TV show that was devoted to rock and roll and skiffle, before moving to ITV, producing its first two rock and roll shows, “Oh Boy”, and “Boy Meets Girls”. And it was Good who suggested that Vincent switch from his normal polite-looking stagewear into black leather, and that he accentuate the postural problems his disability caused him.   Vincent’s appearances on “Boy Meets Girls”, dressed in black leather, hunched over, in pain because of his leg, defined for British teenagers of the 1950s what a rock and roller was meant to look like. At a time when few American rock and roll stars were visiting the UK, and even fewer were getting any exposure on the very small number of TV shows that were actually broadcast — this was when there were only two TV channels in the UK, and they broadcast for only a few hours — Gene Vincent being *here*, and on British TV, meant the world. And on a show like Boy Meets Girls, where the rest of the acts were people like Cliff RIchard or Adam Faith, having a mean, moody, leather-clad rock and roller on screen was instantly captivating. For a generation of British rockers, Gene Vincent epitomised American rock and roll.   Until in 1960 he was on a tour of the UK that ended in tragedy. But that’s a story for another time…

Episode forty-one of A History of Rock Music in Five Hundred Songs looks at "Be-Bop-A-Lula" by Gene Vincent and the Blue Caps, and how Vincent defined for many what a rock and roll star was. Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have a ten-minute bonus episode available, on "Smokestack Lightning" by Howlin' Wolf. ----more---- Resources There are far, far more books on Gene Vincent than one would expect from his short chart history -- a testament to how much he influenced a generation. The two that I used most are Race With the Devil by Susan VanHecke, and Gene Vincent and Eddie Cochran: Rock and Roll Revolutionaries by John Collis. Of the two, I'd recommend the latter more. There are many compilations of Gene Vincent's early rock and roll work. This one contains everything he recorded up until 1962. And as always there's a Mixcloud with the full versions of all the songs featured in today's episode. Patreon   This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript [Excerpt: Ian Dury and the Blockheads, "Sweet Gene Vincent"] So sang Ian Dury, one of the greats of the rock and roll generation that came up in the seventies, a generation that grew up on listening to Gene Vincent. In the USA, Vincent was more or less regarded as a one-hit wonder, though that one hit was one of the most memorable of the 1950s, but in the UK, he was to become one of the biggest influences on everyone who sang or played a guitar.   Gene Vincent was born Vincent Eugene Craddock, and he would have been perfectly happy in his original career as a sailor, until 1955. Then, something happened that changed his life forever. He re-enlisted in the Navy, and got a nine-hundred dollar bonus – a huge sum of money for a sailor in those days – which he used to buy himself a new Triumph racing motorbike.   The bike didn't last long, and nor did Gene's Navy career. There are two stories about the accident. The one which he told most often, and which was the official story, was that he was not at fault – a woman driving a Chrysler ran a red light and ran into him, and the only reason he didn't get compensation was that he signed some papers while he was sedated in hospital.   The other story, which he told at least one friend, was that he'd been out drinking and was late getting back to the Naval base. There was a security barrier at the base, and he tried to ride under the barrier. He'd failed, and the bike had come down hard on his left leg, crushing it.   Whatever the truth, his left leg was smashed up, and looked for a long time like it was going to be amputated, but he refused to allow this. He had it put into a cast for more than a year, after which it was put into a metal brace instead. His leg never really properly healed, and it would leave him in pain for the rest of his life. His leg developed chronic osteomyelitis, he had a permanent open sore on his shin, his leg muscles withered, and his bones would break regularly.   Then in September 1955, finally discharged from the naval hospital, Gene Vincent went to see a country music show. The headliner was Hank Snow, and the Louvin Brothers were also on the bill, but the act that changed Gene's life was lower down the bill – a young singer named Elvis Presley.   [Excerpt: Elvis Presley, “Mystery Train”]   The story seems to be the same for almost every one of the early rockabilly artists, but this is the first time we've seen it happen with someone who didn't go on to sign with Sun – a young man in the Southern US has been playing his guitar for a while, making music that's a little bit country, a little bit blues, and then one day he goes to see a show featuring Elvis Presley, and he immediately decides that he wants to do that, that Elvis is doing something that's like what the young man has already started doing, but he's proved that you can do it on stage, for people.   It's as if at every single show Elvis played in 1954 and 1955 there was a future rockabilly star in the audience -- and by playing those shows, Elvis permanently defined what we mean when we say "rock and roll star". The first thing Gene did was to get himself noticed by the radio station that had promoted the show, and in particular by Sheriff Tex Davis, who was actually a DJ from Connecticut whose birth name was William Doucette, but had changed his name to sound more country. Davis was a DJ and show promoter, and he was the one who had promoted the gig that Elvis had appeared at. Gene Craddock came into his office a few days after that show, and told him that he was a singer. Davis listened to him sing a couple of songs, and thought that he would do a decent job as a regular on his Country Showtime radio show.   Soon afterwards, Carl Perkins came to town to do a show with Craddock as the opening act. It would, in fact, be his last show for a while – it was right after this show, as he travelled to get to New York for the TV appearance he was booked on, that he got into the car crash that derailed his career. But Tex Davis asked Carl to watch the opening act and tell him what he thought. Carl watched, and he said that the boy had potential, especially one particular song, "Be-Bop-A-Lula", which sounded to Carl quite like some of his own stuff.   That was good enough for Tex Davis, who signed Craddock up to a management contract, and who almost immediately recorded some of his performances to send to Ken Nelson at Capitol Records.   Capitol at the time was the home of crooners like Frank Sinatra and Nat "King" Cole, and other than its small country music division had little connection to the new forms of music that were starting to dominate the culture. Capitol had been founded in the early 1940s by the songwriter Johnny Mercer, who wrote many standards for Sinatra, Bing Crosby, Tony Bennett and others, and also recorded his own material, like this:   [Excerpt: Johnny Mercer, "Ac-Cent-Tchu-Ate the Positive"]   Mercer was a great songwriter, but you can imagine that a record label headed up by Mercer might not have been one that was most attuned to rock and roll. However, in 1955 Capitol had been bought up by the big conglomerate EMI, and things were changing at the label.   Ken Nelson was the head of country music for Capitol Records, and is someone who has a very mixed reputation among lovers of both country music and rockabilly, as someone who had impeccable taste in artists – he also signed Buck Owens and the Louvin Brothers among many other classic country artists – but also as someone who would impose a style on those artists that didn't necessarily suit them.   Nelson didn't really understand rockabilly at all, but he knew that Capitol needed its own equivalent of Elvis Presley. So he put a call out for people to recommend him country singers who could sound a bit like Elvis. On hearing the tape that Tex Davis sent him of Gene Craddock, he decided to call in this kid for a session in Nashville.   By this point, Craddock had formed his own backing band, who became known as the Blue Caps. This consisted of guitarist Cliff Gallup, the oldest of the group and a plumber by trade, drummer Dickie Harrell, a teenager who was enthusiastic but a good decade younger than Gallup, rhythm guitarist Willie Williams, and bass player Jack Neal. They took the name "Blue Caps" from the hats they all wore on stage, which were allegedly inspired by the golf caps that President Eisenhower used to wear while playing golf. Not the most rebellious of inspirations for the group that would, more than any other rock and roll group of the fifties, inspire juvenile delinquency and youthful rebelliousness.   The session was at a studio run by Owen Bradley, who had just recently recorded some early tracks by a singer from Texas named Buddy Holly. The song chosen for the first single was a track called "Woman Love", which everyone was convinced could be a hit. They were convinced, that is, until they heard Gene singing it in the studio, at which point they wondered if perhaps some of what he was singing was not quite as wholesome as they had initially been led to believe:   [Excerpt: Gene Vincent and the Blue Caps, "Woman Love"]   Ken Nelson asked to look at the lyric sheet, and satisfied that Gene *could* have been singing "hugging" rather than what Nelson had worried he had been singing, agreed that the song should go out on the A-side of Gene's first single, which was to be released under the name Gene Vincent – a name Nelson created from Gene's forenames.   It turned out that the lyric sheet didn't completely convince everyone. Most radio stations refused to play “Woman Love” at all, saying that even if the lyrics weren't obscene – and plenty of people were convinced that they were – the record itself still was.   Or, at least, the A-side was.   The B-side, a song called "Be-Bop-A-Lula", was a different matter:   [Excerpt: Gene Vincent and the Blue Caps: "Be-Bop-A-Lula"]   There are three stories about how the song came to have the title "Be-Bop-A-Lula". Donald Graves, a fellow patient in the naval hospital who was widely considered to have co-written the song with Gene, always claimed the song was inspired by the 1920s vaudeville song "Don't Bring Lulu".   [Excerpt: "Don't Bring Lulu", Billy Murray]   As Tex Davis told the story, it was inspired by a Little Lulu comic book Davis showed Vincent, to which Vincent said, "Hey, it's be-bop a lulu!"   Davis is credited as co-writer of the song along with Gene, but it's fairly widely acknowledged that he had no part in the song's writing. Almost every source now says that Davis paid Donald Graves twenty-five dollars for his half of the songwriting rights.   Far more likely is that it was inspired by the Helen Humes song "Be Baba Leba":   [Excerpt: Helen Humes, "Be Baba Leba"]   That song had been rerecorded by Lionel Hampton as "Hey Baba Reba!", which had been a massive R&B hit, and the song is also generally considered one of the inspirations behind the term "be bop" being applied to the style of music.   And that's something we should probably at least talk about briefly here, because it shows how much culture changes, and how fast we lose context for things that seemed obvious at the time. The term "bebop", as it was originally used, was used in the same way we use it now -- for a type of jazz music that originated in New York in the mid-1940s, which prized harmonic complexity, instrumental virtuosity, and individual self-expression. The music made by people like Charlie Parker, Oscar Peterson, Dexter Gordon, Dizzy Gillespie, and so on, and which pretty much defined what was thought of as jazz in the postwar era.   But while that was what the term originally meant, and is what the term means now, it wasn't what the term meant in 1956, at least to most of the people who used the term. Colloquially, bebop meant "that noisy music I don't understand that the young people like, and most of the people making it are black". So it covered bebop itself, but it was also used for rhythm and blues, rock and roll, even rockabilly -- you would often find interviewers talking with Elvis in his early years referring to his music as "Hillbilly Bop" or "a mixture of country music and bebop".   So even though “Be-Bop-A-Lula” had about as much to do with bebop as it did with Stravinsky, the name still fit.   At that initial session, Ken Nelson brought in a few of the top session players in Nashville, but when he heard the Blue Caps play, he was satisfied that they were good enough to play on the records, and sent the session musicians home. In truth, the Blue Caps were probably best described as a mixed-ability group. Some of them were rudimentary musicians at best -- though as we've seen, rockabilly, more than most genres, was comfortable with enthusiastic amateurs anyway.   But Cliff Gallup, the lead guitarist, was quite probably the most technically accomplished guitarist in the world of rockabilly. Gallup's guitar style, which involved fast-picked triplets and the use of multiple steel fingerpicks, was an inspiration for almost every rock and roll guitarist of the 1960s, and any group which had him in would sound at least decent.   During the recording of “Be-Bop-A-Lula”, the young drummer Dickie Harrell decided to let out a giant scream right in the middle of the song -- he later said that this was so that his mother would know he was on the record. Cliff Gallup was not impressed, and wanted to do a second take, but the first take was what was used.   [Excerpt: Gene Vincent, “Be Bop A Lula”, scream section]   "Be-Bop-A-Lula" is by any standards a quite astonishing record. The lyric is, of course, absolute nonsense -- it's a gibberish song with no real lyrical content at all -- but that doesn't matter at all. What matters is the *sound*. What we have here, fundamentally, is the sound of "Heartbreak Hotel" applied to a much, much, less depressive lyric. It still has that strange morbidity that the Elvis track had, but combined with carefree gibberish lyrics in the style of Little Richard. It's the precise midpoint between "Heartbreak Hotel" and "Tutti Frutti", and is probably the record which, more than any other, epitomises 1956.   A lot of people commented on the similarity between Vincent's record and the music of Elvis Presley. There are various stories that went round at the time, including that Scotty and Bill got annoyed at Elvis for recording it without them, that Elvis' mother had told him she liked that new single of his, "Be-Bop-A-Lula", and even that Elvis himself, on hearing it, had been confused and wondered if he'd forgotten recording it. In truth, none of these stories seem likely. The record is, sonically and stylistically, like an Elvis one, but Vincent's voice has none of the same qualities as Elvis'. While Elvis is fully in control at all times, playful and exuberant, Gene Vincent is tense and twitchy. Vincent's voice is thinner than Elvis', and his performance is more mannered than Elvis' singing at that time was.   But none of this stopped Vincent from worrying the one time he did meet Elvis, who came over and asked him if he was the one who'd recorded "Be-Bop-A-Lula". Vincent was apologetic, and explained that he'd not been intending to copy Elvis, the record had just come out like that. But Elvis reassured him that he understood, and that that was just how Gene sang.   What fewer people commented on was the song's similarity to “Money Honey”:   [Excerpt: The Drifters, “Money Honey”]   The two songs have near-identical melodies. The only real difference is that in “Be-Bop-A-Lula” Vincent bookends the song with a slight variation, turning the opening and closing choruses into twelve-bar blueses, rather than the eight-bar blues used in the rest of the song and in “Money Honey”. Luckily for Vincent, at this time the culture in R&B was relaxed enough about borrowings that Jesse Stone seems not to have even considered suing.   The follow-up to "Be-Bop-A-Lula" did much less well. "Race With the Devil" -- not the same song as the one later made famous by Judas Priest -- was one of the all-time great rockabilly records, but the lyrics, about a hot-rod race with the actual Devil, were, like "Woman Love", considered unbroadcastable, and this time there was no massive hit record hidden away on the B-side to salvage things:   [Excerpt: Gene Vincent and the Blue Caps, "Race With The Devil"]   The single after that, "Blue Jean Bop", did a little better, reaching the lower reaches of the top fifty, rather than the lower reaches of the top hundred as "Race With the Devil" had, and making the top twenty in the UK:   [Excerpt: Gene Vincent, "Blue Jean Bop"]   But there were three major problems that were preventing Vincent and the Blue Caps from having the success that it seemed they deserved.   The first was Ken Nelson. He was in charge of the material that the group were recording, and he would suggest songs like "Up a Lazy River", "Ain't She Sweet", and "Those Wedding Bells are Breaking up That Old Gang of Mine". Vincent enjoyed those old standards as much as anyone, but they weren't actually suited to the rockabilly treatment – especially not to the kind of rough and ready performances that the original lineup of the Blue Caps were suited to.   And that brings us to the second problem. There was a huge age gap, as well as disparity in ability, in the band, and Cliff Gallup, in particular, felt that he was too old to be touring in a rock and roll band, and quit the group. Gallup was actually offered a regular gig as a session guitarist by Ken Nelson, which would have meant that he didn't have to travel, but he turned it down and got a job as a high school janitor and maintenance man, just playing the occasional extra gig for pin money. When he was contacted by fans, he would get embarrassed, and he didn't like to talk about his brief time as a rock and roll star. He never signed a single autograph, and when he died in 1989 his widow made sure the obituaries never mentioned his time with Gene Vincent.   But Gallup was just the first to leave. In the first two and a half years of the Blue Caps' existence, twenty different people were members of the band. Vincent could never keep a stable lineup of the band together for more than a few weeks or months at a time.   And the third major problem... that was Vincent himself. Even before his accident, he had been an impetuous, hot-headed man, who didn't think very carefully about the possible consequences of his actions. Now he was in chronic pain from the accident, he was a rock and roll star, and he was drinking heavily to deal with the pain. This is not a combination that makes people less inclined to rash behaviour.   So, for example, he'd started breaking contracts. Vincent and the Blue Caps were booked to play a residency in Las Vegas, where they were making three thousand dollars a week – for 1956 a staggering sum of money. But Tex Davis told Vincent that the owner of the casino wanted him to tone down some aspects of his act, and he didn't like that at all. It wasn't even enough to convince him when it was pointed out that the man doing the asking was big in the Mafia. Instead, Gene went on stage, sang one song, found Tex Davis in the crowd, caught his eye, flipped him off, and walked off stage, leaving the band to do the rest of the show without him. Unsurprisingly, the residency didn't last very long. Equally unsurprisingly, Tex Davis decided he was no longer going to manage Gene Vincent. Legal problems around the fallout from losing his management caused Vincent to be unable to work for several months.   While both "Race With the Devil" and "Blue Jean Bop" were big hits in the UK, the closest they came to having another hit in the USA was a song called "Lotta Lovin'":   [Excerpt: Gene Vincent, "Lotta Lovin'"]   That was written by a songwriter named Bernice Bedwell, who is otherwise unknown -- she wrote a handful of other rockabilly songs, including another song that Vincent would record, but nothing else that was particularly successful, and there seems to be no biographical information about her anywhere. She sold the publishing rights to the song to a Texas oilman, Tom Fleeger, who does seem to have had a fairly colourful life -- he wrote a memoir called "Fidel and the Fleeg", which I sadly haven't read, but in which he claims that Fidel Castro tried to frame him for murder in the 1940s after a dispute over a beautiful woman.   Fleeger was soon to start his own record label, Jan Records, but for now he thought that the song would be suitable for Gene Vincent, and got in touch with him. "Lotta Lovin'" was quickly recorded at Gene's first session at Capitol's new studio at the Capitol Tower in Hollywood.   The B-side was a ballad called "Wear My Ring" by Warren Cassoto, the future Bobby Darin, and Don Kirshner.   [Excerpt: Gene Vincent, "Wear My Ring"]   "Lotta Lovin'" went to number thirteen on the pop charts, and number seven on the R&B charts, and it looked like it would revitalise Gene's career. But it was not to be. Vincent's increasingly erratic behaviour -- including pulling a gun on band members on multiple occasions -- and Capitol and Ken Nelson's lack of understanding of rock and roll music, meant that he quickly became a forgotten figure in the US.   But he had a huge impact on the UK, thanks to a TV producer named Jack Good.   Jack Good was the person who, more than anyone else, had brought rock and roll to British TV. He'd been the producer of Six-Five Special, a BBC TV show that was devoted to rock and roll and skiffle, before moving to ITV, producing its first two rock and roll shows, "Oh Boy", and "Boy Meets Girls". And it was Good who suggested that Vincent switch from his normal polite-looking stagewear into black leather, and that he accentuate the postural problems his disability caused him.   Vincent's appearances on “Boy Meets Girls”, dressed in black leather, hunched over, in pain because of his leg, defined for British teenagers of the 1950s what a rock and roller was meant to look like. At a time when few American rock and roll stars were visiting the UK, and even fewer were getting any exposure on the very small number of TV shows that were actually broadcast -- this was when there were only two TV channels in the UK, and they broadcast for only a few hours -- Gene Vincent being *here*, and on British TV, meant the world. And on a show like Boy Meets Girls, where the rest of the acts were people like Cliff RIchard or Adam Faith, having a mean, moody, leather-clad rock and roller on screen was instantly captivating. For a generation of British rockers, Gene Vincent epitomised American rock and roll.   Until in 1960 he was on a tour of the UK that ended in tragedy. But that's a story for another time...

Woman Love can be understanding when nannies become difficult or have difficulties and supporting your wife. It is very rewarding playing with your infant child too. Bottle feeding and diaper changing strengthen your bond with baby too. Woman Love is a movement to appreciate our women and heal our relationship with them. The ways are endless so it Woman Love Daily or #womanlove365 to focus on positivity in the fight against gender abuse. #womanlove365 : 4 songs 4 women, a 4 track rap CD with no profanity/ swearing/ cursing, is available at gumroad.com/briandotkhoza Other proďucts include: Born Almost Free (in South Africa) book Smiling After Lost Love (Poems from my teens and early twenties) book Player Poetry: Learning To Respect Women rap CD #womanlove365 book is coming

In this song I talk about going back to my neighbourhood after graduating from university. I see my neighbourhood as a woman who is suffering. The instrumental composed by the late Zukisa Ndenze aka Zoox inspired the song. It was recorded in Phenduka section by the also late Skholiwe "Skho" Tsukudu in 2004 in his bedroom. I am so thankful for their lives. Blessings to all in my 'hood Imbali Stage 1, Phenduka! R.I.P to so many dead. Strength to all mothers. One love. Woman Love. #Womanlove365

If you're a guy who thinks that height is a major obstacle in having the sex, dating or love life that you want... well buckle up because I've got a reality check for you today. I've brought on my guest and friend Quincy Salonga, and he's going to tell you EXACTLY why being short isn't at all a turn off - from his own personal experience. So listen, subscribe and leave the podcast a review, share this with your friends (especially short, shy, struggling guys you know), and if you want to connect with Quincy you can go to therecoveringniceguy.com or email him at quincy@therecoveringniceguy.com.

The "Oh I'm odd. I'm very odd." edition. 00:44 - A Fantastic Woman 15:00 - Cultural Capital Film Diary 17:50 - An interview with Melbourne Women in Film Festival director Sian Mitchell 29:25 - Love Serenade It's not enough to celebrate the Melbourne Women in Film Festival, we have to talk to its creator and find out why we'll be back again next year. The festival's opening night film, the 1996 Australian romantic comedy classic Love Serenade gets a thorough discussion, as does the new release, the Chilean Best Foreign Film Oscar nominee, A Fantastic Women. All of this plus the Cultural Capital Film Diary. If you'd like to hear our thoughts on other new releases, we reviewed Film Stars Don’t Die in Liverpool in episode 36, and The Square on MIFF 2017 Dispatch 3. Here's a link to Love Serenade writer director Shirley Barrett with her exciting new wave band The Fruit Pastilles and their song I Don’t Ever Want to See You Again: https://www.youtube.com/watch?v=j3Sg48V1lWo Facebook: Cultural Capital Podcast Twitter: TheCultCapPod

Sylvain & Oriol Last Funky Tuesday Radio show of 2017! Expect Afro-Funky Beats + Northern Soul Classics and Surprises......! Afro Aperitif and Funky Starter A message from the tribe - What we need Girma Beyene & Akaléwubé - Enken yélélébesh The Apostles - Inflation Aktion - groove the funk Sjov movement - stone funk Goddy oku - The enemy Akwassa - Give me some funk De Frank Jr. - Dankasa Paradise stars - Boogie train Tony Sarfo & the Funky Afrosibi - I beg Northern Main Course and Soul Dessert Al Wilson - The Snake J.J Barnes - Our love is in the pocket Roy Hamilton - Crackin' Up The Tamps - Shelter Dobie Gray - The "In" Crown Yvonne Vernee - Just like you did me K. Roberts -Run like the devil Tom Jones - Once upon a time Timy Yuro - I 'ain't gonna cry no more Toni Harper - Heavenly Love Marvin Gaye - Too Busy Thiking About My Baby Barbara Lynn - Until I'm free Tony Clarke 1880 - (The Story of) Woman Love and a man The Sonics - psycho The Spencer Davis Group - Keep on Running The Jam - The Eton Rifles The Lambrettas - Poison Ivy The Who - Pinball Wizard Dexy's Midnight Runners - Come on Eileen

In this 3 minute extract from an interview Adrienne sums up so well the situation midlife women can find themselves in unless they take positive action to avoid or escape it.Connect with Jean Macdonald on Facebook.Connect with Jean Macdonald on Instagram.Connect with Jean Macdonald on Linkedin.Visit my website for more info. http://lovemidlifewoman.com/

Interview covers why Jean wrote her book 'Love Sex and the Midlife Woman' to help Midlife Women clarify their needs; define themselves as a Midlife Woman, finding a new partner in midlife, and plans for the New Midlife Woman CommunityConnect with Jean Macdonald on Facebook.Connect with Jean Macdonald on Instagram.Connect with Jean Macdonald on Linkedin.Visit my website for more info. http://lovemidlifewoman.com/

News, Talk & Laughs. Lots of TV, Music and Movie talk this week, from Trevor Noah live onstage, wisdom from Tracee Ellis Ross and why Wonder Woman matters. Liz Dolan, Lian Dolan and Julie Dolan on Satellite Sisters Podcast. This week, we give thanks to Pippa Middleton for distracting us from a long week of news and the horror of yet another terrorist attack. Plus: Liz goes to the NYU graduation at Yankee Stadium and has a classic New York momentToast News: Move over, Avocado Toast. There's a new Chowdah in town. Read all about Chowder ToastEntertainment Block:The Love Actually sequel is only 15 minutes. Phew. Prof. Deborah Tannen's new book sounds a lot like the Satellite Sisters last book: Women & Friendship and how we sound when we talk. Her website is here.Blackish- Liz reports from a panel of cast and writersWonder Woman- why we all need to go see the movie the very first weekendMegan Leavy- The trailer has liz in tears. hear why.America's Got Talent- Conrad the Unicorn goes on may 30th.

What does scripture say about a woman submitting to her husband? Jonathan Kassebaum, one of our Crossing Elders, tackled the subject in this message. We must remove culture from this study and look only to what scripture has to say.

Recorded before his passing, The Strange Brew pays tribute to David Bowie, one of the most influential and legendary artists of all time. RIP David x David Bowie – Let Me Sleep Beside You (Bowie at the Beeb, EMI, 2000 rec 1969) Junior's Eyes – Circus Days (Single B-side to Woman Love, Regal Zonophone, 1969) […] The post David Bowie – A Podcast Tribute appeared first on The Strange Brew.

In this week's action packed episode we'll be discussing how easy it is to get into a warzone, why David Cameron has got so much time on his hands, and what women REALLY want. We will also be discussing Feminism with writer, journalist and academic Myriam Francois-Cerrah.

"That they may teach the young women to be sober, to love their husbands, to love their children, to be discreet, chaste, keepers at home, good, obedient to their own husbands, that the word of God be not blasphemed." Titus 2:3-5  The older women are to teach the young women the common sense stuff of life, the normal processes of knowing your priorities, thinking right, making sound judgment, and applying wisdom.  

"That they may teach the young women to be sober, to love their husbands, to love their children, to be discreet, chaste, keepers at home, good, obedient to their own husbands, that the word of God be not blasphemed." Titus 2:3-5  The older women are to teach the young women the common sense stuff of life, the normal processes of knowing your priorities, thinking right, making sound judgment, and applying wisdom.