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Anver Wolf - Space Inside Radio Show #045 [Selador Recordings Collection #01] Tracklist: 0:38 1. Steve Parry - Fenner (Original Mix) [Selador Recordings] 5:48 2. Mapiu - 808 Love (Original Mix) [Selador Recordings] 10:44 3. Murat Uncuoglu, Igor Bartyuk - Laurel (Original Mix) [Selador Recordings] 14:54 4. Hannes Bieger, Luke Brancaccio, Gai Barone - Reflections (Original Mix) [Selador Recordings] 20:57 5. Tiga, Hudson Mohawke - Silence Of Love (Dave Seaman Re-Rub) [MusicToDieFor] 25:52 6. Dave Seaman - Two By Two (Original Mix) [Selador Recordings] 31:05 7. Darksidevinyl, Rancido - Omega (Original Mix) [Selador Recordings] 34:58 8. Steve Parry - Turn Up The Juice (Original Mix) [Selador Recordings] 40:11 9. Dave Seaman, Shola Phillips - Hold On (AIKON Remix) [Selador Recordings] 45:08 10. Dave Seaman - Pretty Doohickey (Hardt Antoine Remix) [Dessert] 49:48 11. AIKON, Aidentique - Choise (Original Mix) [Selador Recordings] 54:37 12. Steve Parry - Won't You Believe? (Original Mix) [Selador Recordings] TG Channel: t.me/spaceinsidemusic IG: instagram.com/anverwolf IG: instagram.com/spaceinsidemusic FB ID: facebook.com/anverwolf FB Public: facebook.com/spaceinsidemusic VK ID: vk.com/anverwolf VK Public: vk.com/spaceinsidemusic

#DateEmOrDumpEm The One with the Overly Prepared Overnight Dater + JP Makes Us Guess: Most Popular Phone Apps, Craziest thing You Believe, When did you learn you were wrong about something, Tasy Tuesday: Candy Canes - Pro or No & More!

John 10:22-42 | Why Don't You Believe by Enfield & Strathfield Anglican Church

You Believe as much as you know

Sunday, 10 November 2024300 Soundillusion - 11.2024 - Podcast by André Mac B.Num. Artist - Title1. cesco. - My Heart (Original Mix)2. William Kiss - The Healer (Original Mix)3. Kleinsky, Eze Colombo, Sheism - Unico (feat. Kleinsky) (Christian Monique Remix)4. Tom Wax, Microbots - Cosmic Evolution (Rico Puestel Infinite Remix)5. Christian Hornbostel - Regulus (Original Mix)6. Corderoy, Émilie Rachel - Calling (Extended Mix)7. BLR - Endless (Extended Mix)8. Ruben Karapetyan - Silentium (Jamie Stevens Remix)9. Paul Thomas - Hippias (Extended Mix)10. Groove Pool (IN) - Montreal to Mumbai (Original Mix)11. Allan McLoud - This Is Now (Original Mix)12. Daniel Curotto - Mediterraneo (East Cafe Balearic Remix)13. Blow (ITA) - Deeper (Extended Mix)14. Safar (FR) - Love Parade (Original Mix)15. BOg, Diana Miro, 19:26 - Underwater (Hernan Cattaneo & Marcelo Vasami Remix)16. Hernan Cerbello - Clever Minds (J.FIZ Remix)17. Mayro - Colorful World (Original Mix)18. Simon Doty - Lady Danger (Extended Mix)19. Intacto - Cambrium (Tomas Garcia Deeper Remix)20. Steve Parry - Won't You Believe? (Original Mix)21. Eddy Tango - Deep Nebula (Original Mix)SI300 – T – ©André Mac B. - 03.11.2024#Soundillusion#Podcast#Berlin#ProgressiveHouse#Liverecording#FuckCancer#StaySafe#MusicLover#PodcastForHumanity

Steve Parry - Turn Up The Juice - Selador Early support coming from Alan Dixon, Danny Howells, Hot Since 82, Hernan Cattaneo, Timanti, BOg, Just Her, Nick Warren, Anthony Pappa, AFFKT, Eelke Kleijn, Paul Oakenfold Like the proverbial London buses, you wait aeons for a Steve Parry solo single, then two absolute belters storm your dancefloors, worm their way into your cranium and hit you for the proverbial six in the space of a couple of months. Yes indeed, Selador Head Honcho (shared position) ™ Lord Parry of Merseyside follows up the sumptuous ‘Won't You Believe' with a tune described by none other than Selador Head Honcho (shared position) ™ Dave Seaman, The Yorkshire Baron, as “your best ever, mate!” ‘Turn Up the Juice' hits that sweetest of sweet spots where euphoria and melancholia sidle up to each other and say, hey, we work well together - fancy a dance? It's a balancing act many house producers spend forever and a day trying to master – that tune that induces smiles & tears (of joy), goosebumps and cold sweats, all in one finely crafted package. So please join us in welcoming this particularly juicy number, replete with its heavenly hooks, rumbunctious riffage and bombastic bass'n'beats into a world where boy, do we need such bounteous, beatific vibes. Team Selador – juice on the loose

Will Konitzer Radio Show, Oct 18, 2024. 1. Ruben Karapetyan - Silentium (Gai Barone Remix) [RKP] 2. Lopezhouse, Angela - Crosses and Angels (Guy Mantzur Remix) [Moments] 3. Lateral Cut Groove - Humdinger [Intu Music] 4. Riccardo Paggi - Don't Go Lose It (The Deepshakerz Remix) [Stereophonic] 5. Tiga, Hudson Mohawke - Feel The Rush feat. Channel Tres (Honey Dijon Remix) [Turbo Recordings] 6. Christian Smith - Flyertalk (Christian Smith 2024 Rework) [Bedrock Records] 7. Kostya Outta, Kamilo Sanclemente - Starlight (The Wash Remix) [Mango Alley] 8. Mike Griego - Deaf (Kostya Outta Remix) [Flown Records] 9. Albuquerque, HOO, Anonimat - Above Our Reality [Melody Of the Soul] 10. Forty Cats - Ground (The Wash Remix) [PURRFECTION] 11. Steve Parry - Won't You Believe? [Selador] 12. Tamir Regev - Sounds Like A Melody [Melodic Therapy]

SM KERIM - electriCITY (24IPH) +2,5h pure Progressive House DJ Set /// A story about electric sound images in a city /// Tracklist: 01 Please Remain Seated - OMD 02 Tell Me Bck - Chapa X 03 Dreams - Speaking In Tongues (feat. Kauf) 04 Forbidden Days (Dub Mix) - Zoo Brazil 05 Rumble - Ziger 06 Portal - Roger Martinez 07 Move (Extended Mix) - PARAFRAME & Pavel Khvaleev 08 White Karma - Paul Deep (AR) 09 Human Reloaded (Extended Mix) - Resistance D. 10 Pushin' Too Hard (Arnim's Impact Remix) - Saints & Sinners 11 Arabesca (Jelly For The Babies Remix) - Meeting Molly 12 Metamorph (feat. Enakin.ink) [Redspace Remix] - Bondarev 13 The Lunatics (Solomun Remix Club Version) - Radio Slave 14 Pretend - Kamilo Sanclemente & Sebastian Valencia (COL) 15 Crusher (Redspace Remix) - Andrés Moris 16 Zero Distance - Simply City 17 Metanoia - Kenan Savrun 18 Necromancer (Hobin Rude Remix) - Rockka 19 Spellbound - Allex 20 Reviere - Dabeat 21 Adapt - Ziger 22 Drooping - John Cosani 23 Embrace - Matter 24 Luminize - Kamilo Sanclemente 25 Macrocosm (Luca Abayan Remix) - Meeting Molly & The Wash 26 Moon Frog - Digital Mess 27 Deep Waters (Mariano Malvica Remix) - Monuloku 28 Waving But Drowning (Juan Buitrago & Enzo Paradiso Remix) - Not Demure 29 Attention Whore - Rauschhaus & The Wash 30 Won't You Believe? - Steve Parry 31 The Magic Fly (1999 Down in a-sit dubversion) - Nalin I.N.C. Featuring Space Radiostations, where you can hear my mixes: Thursdays - Germany: Music Core Show (Show starts at 18h CET) on: www.djsline.com Fridays - Greece: Electronica Vibes Pirate Radio GR (Start 19h CET) on: https://piratefm.net/electronica-vibes-pirate-radio-gr/ Sundays - France: Music Core Show on Militia Underground Web Radio (Show starts at 11am CET): www.militiaunderground.com

System Showcase on Proton Radio. Tune in on the 4th Wednesday of the month at 8PM (EST), 1AM (UK), 2AM (CEST), 9PM (Argentina). Part 1 - Andy Green (Resident Mix): 0 - 2h20 1. Framewerk - Forge (Framewerk Poolside Rewerk) (White) 2. Meeting Molly & The Wash - Macrocosm (Futura City 'Perpetual Dusk' Rework) (Mango Alley) 3. Jelly For The Babies - The Day I First Saw You (Guateque Music) 4. Federico Barga - Oxygen (Ewan Rill Remix) (PURRFECTION) 5. Rich Curtis & Dowden - A Different World (Juan Deminicis Remix) (Mango Alley) 6. Ezequiel Perini - Destroy (Balkan Connection South America) 7. Mind Of Us - Silent Tears (Lowbit Deep) 8. Rauschhaus & The Wash - Attention Whore (Paul Thomas Remix) (Mango Alley) 9. Namatjira - Aquatilia (Plattenbank) 10. Michael A - Reason (Alto Astral Club Mix) (AH Digital) 11. Fran Garay - Mind Behind the Ordeal (Nicholas Van Orton Remix) (Balkan Connection South America) 12. Michael A - Moondust (Protagonist Recordings) 13. Steve Parry - Won't You Believe? (Selador) 14. Kebin Van Reeken, Topo Larocca, Undermove - Time (Univack) 15. Simos Tagias - Strange to Ourselves (Vapour Recordings) 16. Mike Rish - Cloudbreaker (Meanwhile) 17. Luis Damora & Dave Walker - Callisto (Univack) 18. Simos Tagias - Magia (Vapour Recordings) 19. Zuccasam - Just Dance (Gai Barone Remix) (Nightcolours) 20. Sasha - How To Wear Raybans Well (Last Night on Earth) 21. Meeting Molly & The Wash - Macrocosm (Luca Abayan Remix) (Mango Alley) 22. Yuvèe - Psychopath (Plattenbank) 23. Christian Smith - Flyertalk (Christian Smith 2024 Rework) (Bedrock Records) 24. Bedrock - Emerald (Henry Saiz Remix) (Bedrock Records) 25. Sasha, Because of Art - Fused (Last Night on Earth) 26. Trance Wax - Trance 12 (White) 27. Trance Wax - Trance 16 (White) Part 2 - Robin Thurston (Resident Mix): 2h21 - End 1. Mind at Large - Dirty Glitch (Cho-ku-reï Records) 2. Ruben Karapetyan - Parisian Vibe (Molac Extended Mix) (Clubsonica Records) 3. Kabi (AR) - Misti (Balance Music) 4. Max Graham & Second Sine - Hypercube (The Wash & Rauschhaus Remix) (Mango Alley) 5. Mike Rish - Gröv (Meanwhile) 6. Mind Of Us - Atalaya (Kasey Taylor & Karl Pilbrow Remix) (onedotsixtwo) 7. Navar - All Around Us (Extended Mix) (Meanwhile) 8. Tripswitch - Node Module (Gai Barone Remix) (onedotsixtwo) 9. Sonicvibe, Yoni Yarchi - Krypton Dawn (Univack) 10. Tonaco - Holosteric (Meanwhile) 11. Benja Molina - Acid Sun (PURRFECTION) 12. Gowzer - Northern Lights (Tradeston Records)

Selador head honcho Dave returns to the Sessions hot seat with the back-to-school edition of his acclaimed Radio Therapy show. Featuring hot new music from the likes of Booka Shade, Frankey & Sandrino, Ivory, Danny Howells, Monkey Safari and many more, just click and play, add volume and enjoy! Tracklist.. 1. Yulia Niko feat. Paul Brenning ‘Come Too Far' (Monkey Safari) [Armada] 2. Marc Gonen ‘Wrong' [Madorasindahouse] 3. Marc Werner ‘Fly With Me' [Bunte Träumerei] 4. Dreun 'Sin El Fil' [Madorasindahouse] 5. Danny Howells ‘Swing Our Sister' [Bedrock] 6. Booka Shade ‘Regenerate' (Henri Bergmann) [Blaufield] 7. Township Rebellion ‘Eternal Affair' [Interstellar] 8. Dave Seaman ‘Two By Two' [Selador] 9. Frankey & Sandrino ‘Love Complete' [Sum Over Histories] 10. Double Touch ‘Pomelo' [All Day I Dream] 11. Ivory ‘Be Human' [Systematic] 12. Steve Parry ‘Won't You Believe?' [Selador] *An extended version is of Radio Therapy is available every month exclusively via subscription at Mixcloud.com/daveseama/select This month featuring... 13. John Monkman ‘Khord' [Anjunadeep] 14. Trikk feat. Sofiya ‘Fortuna' [Innervisions] 15. Kole Audro & Phonique & Solar Kings 'Baltica' [Zatar] 16. Frankey & Sandrino ‘Intrinsic' [Habitat] 17. Fordal ‘Helix' (Dave Walker) [Forensic] 18. DJ Hell ‘Life Is Life' [Duat] 19. Bodies ‘Bodies' (Ivory) [Songspire] 20. Timo Mass, Cirillo & Francesco Mani ‘The Vampire' [Systematic] 21. Audio Junkies ‘Aspects Of Rhythm' [Maccabi] 22. RADON ‘Bound' [Isolate] 23. Mortinaré 'Somewhere' (Gai Barone & Luke Brancaccio) [Particles] This show is syndicated & distributed exclusively by Syndicast. If you are a radio station interested in airing the show or would like to distribute your podcast / radio show please register here: https://syndicast.co.uk/distribution/registration

Selador head honcho Dave returns to the Sessions hot seat with the back-to-school edition of his acclaimed Radio Therapy show. Featuring hot new music from the likes of Booka Shade, Frankey & Sandrino, Ivory, Danny Howells, Monkey Safari and many more, just click and play, add volume and enjoy! Tracklist.. 1. Yulia Niko feat. Paul Brenning ‘Come Too Far' (Monkey Safari) [Armada] 2. Marc Gonen ‘Wrong' [Madorasindahouse] 3. Marc Werner ‘Fly With Me' [Bunte Träumerei] 4. Derun 'Sin El Fil' [Madorasindahouse] 5. Danny Howells ‘Swing Our Sister' [Bedrock] 6. Booka Shade ‘Regenerate' (Henri Bergmann) [Blaufield] 7. Township Rebellion ‘Eternal Affair' [Interstellar] 8. Dave Seaman ‘Two By Two' [Selador] 9. Frankey & Sandrino ‘Love Complete' [Sum Over Histories] 10. Double Touch ‘Pomelo' [All Day I Dream] 11. Ivory ‘Be Human' [Systematic] 12. Steve Parry ‘Won't You Believe?' [Selador] *An extended version of Radio Therapy is available every month exclusively via subscription at Mixcloud.com/daveseaman/select This month featuring... 13. John Monkman ‘Khord' [Anjunadeep] 14. Trikk feat. Sofiya ‘Fortuna' [Innervisions] 15. Kole Audro & Phonique & Solar Kings 'Baltica' [Zatar] 16. Frankey & Sandrino ‘Intrinsic' [Habitat] 17. Fordal ‘Helix' (Dave Walker) [Forensic] 18. DJ Hell ‘Life Is Life' [Duat] 19. Bodies ‘Bodies' (Ivory) [Songspire] 20. Timo Mass, Cirillo & Francesco Mani ‘The Vampire' [Systematic] 21. Audio Junkies ‘Aspects Of Rhythm' [Maccabi] 22. RADON ‘Bound' [Isolate] 23. Mortinaré 'Somewhere' (Gai Barone & Luke Brancaccio) [Particles] This podcast is hosted by Syndicast.

DAYS like NIGHTS: Facebook: https://www.facebook.com/dayslikenights Instagram: https://www.instagram.com/dayslikenights Web: https://www.dayslikenights.com Subscribe to the podcast RSS:
feed: https://feeds.soundcloud.com/users/soundcloud:users:1525250/sounds.rss
 . 01. Lopezhouse - Crosses and Angels Feat. Angela (Guy Mantzur Remix) [Moments] 02. Ezequiel Arias - Once A Day [Sudbeat] 03. Mike Griego - I Only Really Care About Music [Meanwhile] 04. Aaron Suiss, Barak White - Against My Mind [Echoes of Time] 05. Paul Schmidpeter - No More Words [Marginalia] 06. Double Dipp - Laughter Is the Best Remedy [Taul Boy Records] 07. Eelke Kleijn feat. ZOE ASKA - Stranger's Town (Lost Strings Version) [DAYS like NIGHTS] 08. Frankey & Sandrino - Intrinsic [Habitat] 09. Steve Parry - Won't You Believe? [Selador] 10. Nhar - Celeste (Enamour Remix) 11. Dua Lipa - Illusion (Logic1000 Remix) [Warner Music] This show is syndicated & distributed exclusively by Syndicast. If you are a radio station interested in airing the show or would like to distribute your podcast / radio show please register here: https://syndicast.co.uk/distribution/registration

1 - Shayan Pasha - Leaves on the Wall /  2 - Shayan Pasha - Dancing With Wolves /  3 - RTIK - The Light We Can't See (Gai Barone Remix) /  4 - Forty Cats - 4.30 /  5 - Neuralis - Floating Free /  6 - Will DeKeizer - Sound of Neptune /  7 - Steve Parry - Won't You Believe /  8 - Eichenbaum - Transcender (Andrés Moris Trip Mix) /  9 - Federico Epis - The Day After /  10 - Dan Mlinar - Velvet Nights /  Download episode on MP3 (Right click, save link as...) Help me support NGO Alegría Intensiva, Hospital Clown, in Argentina. Donate now by clicking here!!! Donar desde Argentina haciendo click aquí!!!  

Steve Parry - Won't You Believe? (incl. Dachshund Remix) - Selador Early support from John Digweed, Frankey & Sandrino, Khen, Bog, Eelke Kleijn, Hernan Cattaneo, Nick Warren, Jim Rivers, James Harcourt, Yulia Niko, Nicole Moudaber, Spencer Brown, Just Her, AFFKT, Anthony Pappa It is, of course, no surprise that there Selador catalogue is peppered with stellar contributions from Da Boss (job share) Steve Parry. Indeed, many of them are undoubtedly among our finest moments – tracks like ‘Fenner', ‘303V' and ‘Squidfist' are both close to our hearts and the signal for serious dancefloor carnage whenever dropped. Over the last couple of years, Steve has focused on some choice collabs – among them his ‘Marmalade Skies' hook up with Renato Cohen, one of the label's biggest tunes in The Year of Big Tunes that was our 10th birthday; while the Nunchi Coup team up with partner Dave Seaman produced a trio of big hitters that racked up the streams. However, Steve's last solo outing was (checks notes…) – 2020?! Parry, you lazy &*£*&$!!! Anyway, “we'll deal with that internally”. The good news is that while the follow-up to that year's mighty double header of ‘Roll the Dice' and ‘What You Make It' may fall into the “long awaited” bracket, it certainly fits the “worth the wait” bill. In true Ste Pazza style, it morphs genres for fun – it's deep but squelchily acidic, heads down progmungous but with the catchiest of ‘light touch' vocal hooks, all riding atop a techno train. Meanwhile, we're delighted to usher another label debutant through the door marked ‘so delighted to have you on board' – yes sireee, Dachshund is in the building. What's more, he delivers a remix which does what too many re-rubs don't do – it acknowledges and utilises key elements from the original version. However, it does so while effortlessly blending in a plethora of fresh riffage, from the melodic to the klangtastic. Bullseye. Team Selador – You better believe it! x

Steve Parry - Won't You Believe? (incl. Dachshund Remix) - Selador Early support from John Digweed, Frankey & Sandrino, Khen, Bog, Eelke Kleijn, Hernan Cattaneo, Nick Warren, Jim Rivers, James Harcourt, Yulia Niko, Nicole Moudaber, Spencer Brown, Just Her, AFFKT, Anthony Pappa It is, of course, no surprise that there Selador catalogue is peppered with stellar contributions from Da Boss (job share) Steve Parry. Indeed, many of them are undoubtedly among our finest moments – tracks like ‘Fenner', ‘303V' and ‘Squidfist' are both close to our hearts and the signal for serious dancefloor carnage whenever dropped. Over the last couple of years, Steve has focused on some choice collabs – among them his ‘Marmalade Skies' hook up with Renato Cohen, one of the label's biggest tunes in The Year of Big Tunes that was our 10th birthday; while the Nunchi Coup team up with partner Dave Seaman produced a trio of big hitters that racked up the streams. However, Steve's last solo outing was (checks notes…) – 2020?! Parry, you lazy &*£*&$!!! Anyway, “we'll deal with that internally”. The good news is that while the follow-up to that year's mighty double header of ‘Roll the Dice' and ‘What You Make It' may fall into the “long awaited” bracket, it certainly fits the “worth the wait” bill. In true Ste Pazza style, it morphs genres for fun – it's deep but squelchily acidic, heads down progmungous but with the catchiest of ‘light touch' vocal hooks, all riding atop a techno train. Meanwhile, we're delighted to usher another label debutant through the door marked ‘so delighted to have you on board' – yes sireee, Dachshund is in the building. What's more, he delivers a remix which does what too many re-rubs don't do – it acknowledges and utilises key elements from the original version. However, it does so while effortlessly blending in a plethora of fresh riffage, from the melodic to the klangtastic. Bullseye. Team Selador – You better believe it! x

Selador Sessions 275 | Steve Parry Steve Parry returns to the Selador Sessions. The joint label boss takes us from house through to techno, and all flavours in-between, and includes his brand new track 'Won't You Believe?' just released on our Selador imprint this week! You can listen / stream / download the tracks here. https://paradise.ffm.to/wyb Enjoy The Mix! Tracklist.. Ucleden - Letter to God (Classic Mix) - ASTIR Khenya, Mama, Tjutju - Salt - MOBLACK Logic1000 - Heartbeat feat Vv Pete (Instrumental - REBIRTH Thomas Beyer - Liquid Symphony (Sven Tasnadi Remix) - BUNTE TRAUMEREI Abuk & Golden ~Hour - Magna - RENAISSANCE Kole Audio, Phonique & Solar Kings - Baltica (Dub Bass Mix) - ZALTAR Del Arte & Forrest - Come By (Forgive Me Remix) Steve Parry - Won't You Believe? - Selador Frankey & Sandrino - Motivation - HABITAT Martin Eyerer - Memento - SAY WHAT? Sasha - How To Wear Raybans (Roman Flugel Remix) - LAST NIGHT ON EARTH This show is syndicated & distributed exclusively by Syndicast. If you are a radio station interested in airing the show or would like to distribute your podcast / radio show please register here: https://syndicast.co.uk/distribution/registration

Steve Parry returns to the Selador Sessions. Selador's joint label boss takes us from house through to techno, and all flavours in-between, and includes his brand new track 'Won't You Believe?' just released on our Selador imprint this week! You can listen / stream / download the tracks here. https://paradise.ffm.to/wyb Enjoy The Mix! Tracklist.. Ucleden - Letter to God (Classic Mix) - ASTIR Khenya, Mama, Tjutju - Salt - MOBLACK Logic1000 - Heartbeat feat Vv Pete (Instrumental - REBIRTH Thomas Beyer - Liquid Symphony (Sven Tasnadi Remix) - BUNTE TRAUMEREI Abuk & Golden ~Hour - Magna - RENAISSANCE Kole Audio, Phonique & Solar Kings - Baltica (Dub Bass Mix) - ZALTAR Del Arte & Forrest - Come By (Forgive Me Remix) Steve Parry - Won't You Believe? - Selador Frankey & Sandrino - Motivation - HABITAT Martin Eyerer - Memento - SAY WHAT? Sasha - How To Wear Raybans (Roman Flugel Remix) - LAST NIGHT ON EARTH This podcast is hosted by Syndicast.

Dave's back in the saddle for another barnstorming Radio Therapy adventure, making life just a little sweeter one tune at a time. Sixty more minutes of the good stuff, just crank up the volume and enjoy

Dave's back in the saddle for another barnstorming Radio Therapy adventure, making life just a little sweeter one tune at a time. Sixty more minutes of the good stuff, just crank up the volume and enjoy

► Get the Free Re-Regulation Resources Workbook: https://understandable-podcast.com/ (Ad) You can read thousands of comments here on YouTube, that people LOVE to be alone. And to be honest, that's insane to hear from social creatures who only could evolve because they survived in groups. BUT I get it so well. The world we live in is a f*cked up, dangerous and messy place full of people who will give a sh*t about your feelings and will hurt you. So the suffering is damn real. Still - when I read through those comments, I also sense a lot of desperation and frustration. Is the only way really total self-isolation and solitude? Today in this video we find out, WHY we isolate ourselves in the first place. And we discuss, if there are alternatives to avoiding other people entirely and for the rest of our lives. ► Links and Resources: Comments: https://www.youtube.com/watch?v=COEoKE1GeNE Bukoswki Quote: https://www.goodreads.com/quotes/2495-do-you-hate-people-i-don-t-hate-them-i-just-feel CPTSD Paper: https://www1.racgp.org.au/getattachment/79710ca4-e98e-46aa-8f8f-d5f763ea8ef4/Adult-survivors-of-childhood-trauma.aspx Neuroception: https://apolloneuro.com/en-intl/blogs/news/neuroception-how-your-body-detects-threat-before-you ► Subscribe On Your Favorite Platform! YouTube: ⁠https://www.youtube.com/channel/UCGiJdF0yeTyRJanW_uSICDw?sub_confirmation=1⁠ Spotify: ⁠https://open.spotify.com/show/2gaheQLxBwByM9txVzlpI6 Apple Podcasts: ⁠https://podcasts.apple.com/gb/podcast/understandable/id1399616905 Amazon Music: ⁠https://music.amazon.de/podcasts/ee3580cb-61c5-4aa1-9ad4-1204014078e7/understandable%E2%81%A0 ► Episode Timestamps: 0:00 "I LOVE Being Alone!" 1:20 We Isolate & Avoid Other People 3:40 Why We Isolate 6:11 1) You Believe, That You Are Wrong 7:07 2) You Believe, Others Are Wrong 9:19 3) You Believe, That You Have To Fulfill Expectations 11:17 4) You Are A Self- Or Autoregulator 13:44 5) People Trigger You 15:22 6) Re-Regulating Your Symptoms Is Exhausting 16:20 Are Isolation & Solitude A Problem? 18:50 Alternatives To Isolation & Avoidance 22:05 Final Thoughts ► Reach Out To Me :) E-Mail: info@understandable-podcast.com ► Hi, my name is Robert! I create videos about CPTSD & attachment theory for highly sensitive & neurodivergent people. My content aims to help you transform trauma-driven reactions that block you, so you can embrace a life full of happiness, safe & loving relationships, and self-confidence. :) ► Disclaimer: None of the contents are therapeutic or medical recommendations. The contents are not to be understood as therapeutic-medical instructions and are neither intended as professional health advice nor as education. I am not a health professional myself. My content is based on research and my personal experiences working with various therapists as a client for three years.

This is Derek Miller, Speaking on Business. For over 50 years, TURN Community Services has been a premier provider of quality services for people with disabilities in Utah. Director of Development & Communication Alyssa DeHart joins us with more. Alyssa DeHart: At TURN Community Services, we are dedicated to choice, quality and respect in disability services. Our mission is to TURN dreams into reality, which means we build trusting relationships with individuals and families to learn what might be the lifestyle and life settings they want most for themselves or their loved one. With locations throughout the state, we facilitate important community connections through dynamic art-centered day programs, supported living in affordable housing. We also have plenty of opportunities for recreation, employment, and volunteering. This year, over 780 people with intellectual and developmental disabilities and over 400 team members lived more meaningful lives because they are a part of TURN. Being part of the TURN Community means YOU BELIEVE. You believe in the power of people, The power of hopes and dreams, The power of moments, And the power of positively expanding identity through meaningful connection. Come join us and be part of our Community at turncommunityservices.org. Derek Miller: Whether it is resources, peer interactions, experiential learning, connection to employment services, summer camps, or facilitating independent living, TURN Community Services provides a full range of support options throughout the state. I'm Derek Miller with the Salt Lake Chamber, Speaking on Business. Originally aired: 6/19/24

Understanding The Operation of Faith even as You Believe the Word --- Send in a voice message: https://podcasters.spotify.com/pod/show/adekunle-olanbiwonu/message

Episode 163 Series: What Do You Believe – 4 Today, we continue the series "What do You Believe?" with Dr. Henry Benach, President of Jewish End-Times Ministries and missionary to the Jewish people. In this episode, Dr. Benach shares his testimony, how the Lord Jesus Christ saved him after hearing the word of God at a Baptist church service that he discovered after a sweet lady called his house by accident--thrice! He also discusses Judaism (having been born and raised in an Orthodox Jewish home) and how to witness to the Jewish people that they might know their Messiah. The current turmoil in Israel has not taken our Lord by surprise, and Christians everywhere can be sure that God's plan for Israel does not include defeat at the hand of our enemy, the devil. Whenever we encounter a Jewish person, therefore, let's take what we learn from this podcast and share with them the good news of Jesus Christ. Listen to the Removing Barriers Podcast here: Spotify: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://cutt.ly/Ega8YeI⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Apple Podcast: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://cutt.ly/Vga2SVd⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Edifi: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://cutt.ly/Meec7nsv YouTube: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://cutt.ly/mga8A77⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Podnews: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://podnews.net/podcast/i4jxo⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ See all our platforms: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://removingbarriers.net⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Contact us: Leave us a voice message: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://anchor.fm/removingbarriers/message⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Email us: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://removingbarriers.net/contact⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Financially support the show: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://removingbarriers.net/donate⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Affiliates: Book Shop: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://bookshop.org/shop/removingbarriers⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Answers in Genesis Bookstore: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://shrsl.com/2tu8i⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Design It Yourself Gift Baskets: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://shrsl.com/2m64o⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ BulbHead: ⁠⁠⁠⁠⁠⁠https://shrsl.com/4ft37⁠⁠⁠⁠⁠⁠ Share a Sale: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://shrsl.com/2jz4f⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ See all our affiliates: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://removingbarriers.net/affiliates⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Notes: Jewish End-Time Ministries: https://www.jem-missions.com/ GO TO LEARN: https://www.amazon.com/GO-LEARN-APPROACH-SHARING-MESSIAH/dp/B0BW344WSM/ --- Send in a voice message: https://podcasters.spotify.com/pod/show/removingbarriers/message Support this podcast: https://podcasters.spotify.com/pod/show/removingbarriers/support

“Is a mastermind right for my business?” Today's episode is inspired by the fact that this is a question I get asked a lot by my clients. They're often unsure as to whether this model will work for them if they're not fully booked yet, don't have a big list or aren't participating in a mastermind themselves.In my opinion, you don't need to wait for any of these factors before you start. You may have heard me say before that when I started my mastermind, I had never seen or experienced one that I wanted to be in personally. So I went ahead and created the experience that I had been searching for, for other people. In this episode, I'm taking you through 5 specific ways to know whether a mastermind is right for your business. It doesn't need to be that you tick all of them off, but if you resonate with any of these 5, you're going to recognise whether a mastermind is for you or not.1. You Work One-on-One with Clients and Have a Proven MethodologyIf you are currently working one-on-one with clients and have a proven methodology or process, a mastermind could be a great addition to your business. Instead of repeating the same information on individual calls, you can teach it once to the entire group, allowing them to learn from each other's experiences. 2. You Have Enough Community to Convert into a MastermindDespite what you might think, you don't need a large email list or to be fully booked with one-on-one clients to start a mastermind. I personally had less than 1,000 people on my email list when I ran my first mastermind, with 20 sign-ups. The key is to focus on building relationships and mastering the art of sales, rather than solely relying on the size of your list.3. You Believe in the Power of GroupsHolding space for a group can be intimidating, especially if you haven't done it before. However, you don't need to be a Jedi-level expert in group facilitation from the start. As you run your mastermind, you will learn and grow in your ability to hold space for the group. What matters most is having the confidence to kick off the process and a genuine belief in the power of groups to support and uplift each other.4. A Mastermind Fits Your ModelIf you currently run a membership or low-ticket offers, or if you exclusively offer premium one-on-one services, incorporating a mastermind into your business model can be a really great, strategic move. For those working one-on-one, a mastermind can be a prerequisite for clients before they enter into individual coaching. 5. You Want to Make Recurring Revenue while Spending Less of Your TimeMany entrepreneurs rely on one-on-one services for their monthly recurring revenue, which can lead to burnout and limited scalability. A mastermind offers a way to generate monthly recurring revenue without solely depending on your time. By leveraging the power of groups, you can serve multiple clients simultaneously, without it taking up all your focus and energy! I hope this episode serves as a helpful guide for you to discover whether or not it's the right time to venture into the world of masterminds. Remember, at the end of the day, it's your business and therefore 100% your choice as to how you run it! Connect with Ellie: Join the 3 Day Free challenge to Create Your 6 Figure MastermindWebsite:      https://www.ellieswift.com/Instagram:   @elliehswiftFacebook Group:    www.facebook.com/groups/shineonsocialellieswift/

Looking for the Perfect Beat 2024-13 by Irvin Cee Release date: 2024/03/29 Looking for the Perfect Beat is Irvin Cee's weekly radio show with the best and newest club music on the globe since 2014. A various mix of Deep House, House, Tech House, Techno, and Hard Techno is beat mixed in such a slick way it will take you to new heights of musical experience and you feel trapped to dance until the very end of the show. *Irvin Cee is available for International bookings at Clubs, Festivals en Quality bars. Video recording: Youtube: https://youtube.com/watch?v=iwuLYRYislA Tracklist: Time +/- :Title - Artist (*time is +/- mix in time) 00:00:00 - Shining Brighter - John Randle 00:03:24 - Bamboo - Renato Ratier, Ratier 00:07:13 - Tell Me - gome 00:10:34 - Follow Me - Mike Newman 00:15:35 - We Hear - Luca Olivotto 00:20:06 - Expansions of House Music - MAXJAX 00:24:14 - Felicidades Hermano - DJ Rendo 00:28:01 - Can't You Believe? - Todd Edwards 00:32:03 - Like Dat - Floorplan 00:34:11 - Gym Tonic - Bob Sinclar 00:38:11 - When I Think About U - Rob D'Shawn 00:39:35 - Ensemble - Jules Wells 00:43:31 - Flames Around - Oxygeno 00:46:22 - Un Pato - Broken Robot 00:51:04 - Colossal - Shabaam, Aladarus 00:55:56 - Shank - Monrella #JohnRandle #RenatoRatier #Ratier #gome #MikeNewman #LucaOlivotto #MAXJAX #DJRendo #ToddEdwards #Floorplan #BobSinclar #RobDShawn #JulesWells #Oxygeno #BrokenRobot #Shabaam #Aladarus #Monrella #irvincee #"irvin cee" #perfectbeat #"perfect beat" #djmixes #clubbing #music #deephouse #"deep house" #house #techhouse #"tech house" #techno #djset #dj #nightlife #radio #tekkno #tekk #electronic #underground #festival #berlin #2023

This week, Sam and August discuss the tragicomedy of soulless!Sam (he has no soul and not a clue!) We discover that Dean knows at least one therapy word but that giving Sam therapy-speak without a soul might actually be pretty ethically dubious. If we could ask the writers one question about this episode, it would be: Why not aliens? Plus, August is VERY excited about the X Files. All hail the alien octopi underlords! This episode discusses Season 6 Episode 9: Clap Your Hands if You Believe, through the theme of Masculinity. Find us online at ⁠⁠⁠⁠⁠⁠⁠⁠⁠queeringthingspodcast.com⁠⁠⁠⁠⁠⁠⁠⁠⁠! This episode contains discussions that may be inappropriate for those under 18. Listen with discretion. Don't miss out on our new show, Queering People, Saving Throws, a D&D adventure podcast, releasing every other Friday right here on our feed! --- Send in a voice message: https://podcasters.spotify.com/pod/show/queeringthingspodcast/message

The weekly radio show from Salvione, blending house, funk, and tech, resulting in an unparalleled energetic dance floor vibe. GAWP - Boiling Point (Shawn Jackson Remix)Alaia & Gallo - Back AgainRedux Saints - Body MoveViv Castle - Found YouNolek - JamaicaGood Times Ahead - Rhythm Of The NightJ. Worra, Cherry Tooth - Dancing At The Disco Hit 'Em Up Style (Oops!) - ESSEL & James HurrSurvivor - Jack BackRudeboi - Luxo, SADYOUTHBeat Of My Heart - EmilZTodd Edwards, Jay Robinson - Can't You Believe? (Jay Robinson Extended Remix)Hayley May, TCTS - Losing My MindCevin Fisher, D. Ramirez - Set Your Body FreeThe Cube Guys, Discoplex - Reach OutEWAVE, La Vague - You Know I Love YouDombresky, SHELLS, Makinn - In My Room (feat. SHELLS) (VIP Mix)Jamie Jones, Jazzy - We Groovin

I believe in the power of personal development and must constantly challenge and renew my energy and commitment to my clients and myself. December is almost upon us. Thanksgiving has passed and as we move into December I ask you this…have you looked back on the year of 2023, and said WOW...look at all I accomplished this year.Did you take time to congratulate and celebrate your successes...even if they were small wins such as learning how to use Artificial Intelligence or Facetime Live? Or maybe it was learning how to cook for yourself. We must celebrate more.  It's not about achieving the big hairy audacious goal…it's about taking steps every day to move towards the target.  It's about experiencing the journey and loving the journey. What's next for YOU?  What ambitions do you have for yourself going into 2024?  It's time to regain that zest and love for your job, career, family and fun.What do you BELIEVE is possible?  We are at the end of 2023 my friends… the end of the another year…What do YOU BELIEVE is possible for you, your career and your family.It's time..time to reimagine and take control of your life's ambitions. It's time for you to believe that anything is possible.  Am I repeating  myself……Of course.And why?Because many of you have limiting beliefs that are still holding you back. It's time to crush them and create new ones.Stay focused, stay positive, and always have fun. 

Welcome Back to the Hunt - the truth is in there... On this episode (Season 6, Ep. 9 - Clap Your Hands if You Believe), Dean has a close encounter with...fairies? In what starts as an alien investigation, to Sam's chagrin, the boys end up on the hunt for fairies. And as Dean puts it best, the boys have to fight those fairies. Is it worth a rewatch? Join us on the hunt to find out! --- The Back on The Hunt Podcast drops EVERY Tuesday.Want to share your rewatch experience with us? Please send us a message: https://anchor.fm/chris-barrows/message Theme Music:Extreme Energy by MusicToday80: https://soundcloud.com/musictoday80/r... Attribution 3.0 Unported (CC BY 3.0) https://creativecommons.org/licenses/... Music provided by Free Vibes: https://goo.gl/NkGhTg

Week 29 - What do You Believe? All the LINKS - LINKTR.EE/BARBARAFAISON CHECK OUT OVER 33 SHORT MEDITATIONS ON MY YOUTUBE CHANNEL What do you believe about yourself? Your abilities? Your family? Your beliefs are like seeds planted in soil – when nourished in the proper environment, seeds grow into beautiful foliage. As children, our belief system is based on the world we live in. Once we are grown, we must get clear about what works best for us as an adult. A few things I remember hearing as a child that impacted my belief system were: Children are seen and not heard Good girls don't wear red lipstick and red fingernail polish Women don't go to clubs by themselves I know what you're thinking, are you serious? Yes, growing up in the 60s these were just some of the expressions being thrown about in that decade. Well, thank goodness change is happening regularly and I have a natural rebellious streak in me. I didn't think I took them to heart, although I'm sure they made an impression on me.  In my observation, children are definitely expressing themselves in 2023. I do love a good red lipstick and nail polish. Lol. And I don't remember how many times I went out salsa dancing by myself. When was the last time you thought about what you believe and if it is serving you now? I pulled out the second edition of my book, Why Struggle? Life is too short to wear tight shoes to look at the beliefs and philosophies I shared in 2017. I wanted to be sure I still believed what I did back then. I do still have the same beliefs and a few more. I won't list them all, here are a few. I believe: Love is the most powerful, healing, and transformative power there is. Be kind even when you can't be loving. I am a student and teacher in the school of life. Teachers are everywhere, and I must be open and willing to be a student at all times. Trusting my personal guidance system (PGS) is practice, and I have to relax to hear it. I also believe that everything in life is purposeful. There are no mistakes. I'm in the right place, at the right time, with the right people, doing the right thing. Life is practice. I continue to practice training my mind to focus on what I desire, and not on what I don't have. Planting seeds of the flowers I would love to see in my garden. That's what life is about. When was the last time you checked your belief system?  Feel free to reach out to me at Barbarafaison llc@gmail.com or direct message me on social media, Facebook, Instagram, and LinkedIn are best. The card I pulled for us today is the #1 QUESTION - I Where do I feel GROUNDED in my life? What say you to that question? Use PROMO CODE: Ship10 for Free US shipping & 10% off Keep reading on  https://www.barbarafaison.com/blog/ to find out more. --- Send in a voice message: https://podcasters.spotify.com/pod/show/barbara-faison/message Support this podcast: https://podcasters.spotify.com/pod/show/barbara-faison/support

7 Things Men Do When They're Extremely Attracted to You Believe it or not, when men are attracted to a woman, they don't necessarily make obvious moves. Of course, there ARE the guys who will fawn all over a woman, feeling the need to invade their personal space or give unwanted touches. But there are […] The post 7 Things Men Do When They're Extremely Attracted to You appeared first on Understand Men Now With Jonathon Aslay.

Title/ track - Artists - Label - Year As Long as You Believe (feat. Omar & Jullian Gomes) [Jullian Gomes Remix] - The Layabouts - Real People Music - 2012 Love Sweet Sound (Kölsch Remix) - Groove Armada - Little Black book - 2015 Lonely Stars In Open Skies (Luca Bacchetti Endless Remix) - Jon Charnis & Maher Daniel - Lonely stars in open skies - 2013 Lies to Yourself (2007 Radio Mix) - Dr. Kucho! - Lies to yourself - 2004 A Simple Design (Deetron Remix) - The Juan MacLean - A Simple Design - 2014 Right Thing (feat. Ben Westbeech) [Mixed] - Dennis Ferrer - Defected Records - 2016 Martina - Secret Cinema & Max D-Loved - Martina Ep - 2014 BeMyne (The Cube Guys Remix) - Robbie Dox - Be Myne - 20199 Love Will Shine (Brian Tappert Extended Prime Time Dub) - Tom Bug & Grooveline - Love will shine Ep - 2023 Avalon (Gai Barone Positive Vibe Re-Touch) - Fauxplay - AVALON - 2023 Bad - James Brown (The Tailors Remix) - - Just Want You (Club Mix) - Kid Massive - I just Want You - 2008 Seeker (LOST FILES) - Stanton Warriors Feat. Jhelisa - Lost Files - Blue (Extended Mix) - Stanton Warriors - Stanton sessions vol2 - 2005 Dip and Get Low (feat. Rodney P) - Stanton Warriors - Dip and get low (Feat Rodney P) - 2006 Right Thing (feat. Ben Westbeech) [Mixed] - Dennis ferrer - Defected Records - 2016 A Simple Design (Deetron Remix) - The Juan MacLean - A Simple Design-EP - 2014 Jac And hutch loves Hard-fi (UNRELEASED) harder to beat 23 - Jac and Hutch - - 2023 Humble Hearts - Bambook - Hearts and Roads - 2014 Glue - Bicep - Bicep - 2017 I Woke Up (feat. Wayne Hernandez) - Monki - I woke up - 2019 Somethin' Here - Terrence Parker - Tribute EP - 2017 Sweet talk - - - Closer (feat. WhoMadeWho) - ARTBAT - Montserrat Closer/single - 2019 Losing It - FISHER - Loosing it - single - 2018 Open Up (Skream Mix) - Leftfield - Leftism 22 - 2017 At Night (Kid Crème Club Mix) - Shakedown - At Night - 2000 Shake (Alex Kenji Remix) - Plastik Funk & Dave Kurtis - The banger bro remix - Good Time Tonight [The Banger Bros. Remix] - Scott Binder - - Sacred Cycles (Adam Beyer/Bart Skils/Layton Giordani Renaissance Remix) - Pete Lazonby - Sacred cycles - 1997 LUGAR PRECIOSO (Drums De Fuego Version) [Mixed] - JUZU a.k.a. MOOCHY - Defected presents Louie vega in da house - 2007 Opal - Bicep - Bicep - 2017 Right Thing (feat. Ben Westbeech) [Mixed] - Dennis Ferrer - Defected Records - 2016

Flip The Switch - What do You Believe  (EP719) COACH BURT HAS A SIMPLE PHILOSOPHY “Everybody needs a good coach in life.”Those that have great coaches outperform those that don't 3-4X and out earn those that don't 3-4X.Burt is both INTENSE and POSITIVE and many like his authentic nature and pure coaching skills of packaging and delivering content in ways that get people to take action and get results.Coach Micheal Burt is considered “America's Coach,” a unique blend of a former championship basketball coach combined with a deep methodology of inner-engineering people to produce at a higher level in the business world. Coach Burt found his unique voice early in life at the age of 15 by starting his basketball coaching career with a junior pro basketball team.

Welcome the Driven Female Entrepreneurs Podcast! The weekly show that helps you dream bigger and achieve more in your business, by learning what works from successful female entrepreneurs.   In this episode In this episode of the Driven Female Entrepreneur Podcast, I speak with Trish Springsteen, a creative business consultant, author, host of Get Known Be Seen WebTV, and Founder of the Purple Unicorn™ Marketing Academy. Trish was a shy child and as an adult worked in a male-dominated fields. She had successful careers, but was not one to stand up and talk, preferring to stay hidden from view. When she moved to Queensland wanting to make new friends, a friend dragged her along to a Toastmasters meeting - and things changed. She was forced to speak, but found she actually enjoyed it and 26 years later, she is still speaking. In 2006, she started a business, primarily motivated by her love of speaking and training and her decision that she wanted to get compensated for it. Fast-forward to the present, the company she founded has evolved, but she still helps people to speak up and share their stories. Trish helps people in finding the golden opportunities within their companies to market and advertise themselves. She believes that the best person to speak about your business is you! Don't miss this episode as Trish shares her personal story and discusses how - even if you are an introvert -  you can overcome their fear of speaking and communicating, learn to trust in yourself, step into your power and share this with others.   "When people say something awesome about you and say how good you've done, or how you've helped them. Accept it with gratitude and say 'thank you'." - Trish Springsteen   Highlights In this value-packed episode you'll learn: Why it's crucial to be adaptable and willing to change as you grow your business. What the ‘60 Seconds of Insane Courage' is all about. The importance of accepting compliments. A manageable way to develop your self-belief. The value of surrounding yourself with people who share your views. How our individuality and our own stories can affect others to grow. "If you've got a product that you like selling, and believe in, remember that reason and stick to your values and stick to your belief." - Trish Springsteen About Trish Trish Springsteen is Australia's Leading Expert in Empowering Introverts, Get Known Be Seen Specialist, a multi international award winning speaker mentor, international bestselling author and WebTV host specialising in speaker training.  Founder of the Purple Unicorn™ Marketing Academy Trish works with you to find the gold nuggets in your business to promote and market yourself. The best person to speak about your business is YOU! Trish Believes in You until You Believe in Yourself. From her personal journey Trish knows how powerful confidence and self-belief can be. Trish is the author, co-author, contributing author of 18 books.   Connect with Trish Website      LinkedIn      Facebook     Twitter     Instagram    Access your Free Training (as mentioned in the show) The number one question I'm asked is: How can I get more clients?  To help you market your business and attract more of your ideal clients, don't miss this masterclass: Access your Free Training and Attract your Next Dream Client Here                                      Join the Driven Female Entrepreneur Community Come and join like-minded women in the FREE online community for Driven Female Entrepreneurs.  You can expect many more tips, tools and insights to support you as you build and grow your business to 6 figures and beyond!   > The Driven Female Entrepreneurs Club   About Your Host, Melitta Campbell Since 1997, Melitta has been using her ability to spot gaps between a company's goals and its strategy and positioning to help businesses become profitable and achieve growth - in as little as three months. By combining the insights gained from working directly with senior leaders for more than 20 years, her unique blend of art-school and business-school training, and her restless curiosity, Melitta has helped her clients identify new opportunities and develop creative solutions that add value in profitable and purposeful ways, that are straight-forward to implement and result in a clear competitive edge. After witnessing too many talented and passionate women fall short of their vision to make a profit and a difference, more recently, Melitta has brought her business, leadership and marketing expertise together with her personal experiences, to become a trusted advisor and coach for female-led businesses. Book your Free Business Clarity Call: www.melittacampbell.com

Today, we discuss everything BOOK Publishing.  I have given a timestamp to navigate to the section you wish to listen to.    Timestamp : 0.00 - Introduction to Podcast 2.37 - Guest Introduction  4.02 - First Book Experience of Trish 7.02 - Self Doubt after publishing 2 books  8.20 - Aha moment for Trish  10.05 - Belief Systems & Mindset drama for coaches  11.08 - Identity Integration and Identity Crisis  12.50 - Challenges in publishing  14.00 - Leave your Legacy with a Book  10.46 - Dos and Donts of publishing 17.20 - How to start writing your first book  18.24 - how to repurpose & leverage contents into a book  19.55 - Self-publishing vs publishers   27.42 - Cost of book publishing  Get to know the Speaker :   Trish Springsteen is a Get Known Be Seen Specialist, Australia's Leading Expert in Empowering Introverts, a multi international award winning mentor, speaker, international award winning bestselling author and host Get Known Be Seen WebTV. Trish is the founder of the Purple Unicorn™ Marketing Academy where she works with you to Promote U uniquely Marketing to Attract audiences and raving fans; helping you to be visible and make it easy for your clients to find you. The best person to speak about your business is YOU! Trish Believes in You until You Believe in yourself. Trish has brought improved speaking and communication skills to introverts, authors, advocates and bloggers. As well as communication, speaking and presentation skills to accountants, executives; scientists, engineers and property retail experts. Trish is the author, co-author, and contributing author of 18 books. You can find more information about Trish here  https://www.trishspringsteen.com  & If you wish to book a free discovery call with Trish, use the link below https://www.calendly.com/trischel/conversation    

This morning I talk about the LOVE of God. The bible tells us that he loves us with an everlasting love. It also states that he knew us before we entered the womb of our mother. He knew us before the sperm and egg meet and formed your body to houses YOU. Your spirit and soul. The question is do YOU BELIEVE. The scripture say that God loves the World and he did something to prove it but only those who believe will benefit from that LOVE. John 3:16 For God so loved the world, that he gave his only begotten Son, that whosoever believeth in him should not perish, but have everlasting life.Romans 5:8 But God shows his love for us in that while we were still sinners, Christ died for us.Romans 5:5 And hope does not put us to shame, because God's love has been poured into our hearts through the Holy Spirit who has been given to us.1 John 4:8 Anyone who does not love does not know God, because God is love.Jeremiah 31:3 The LORD hath appeared of old unto me, saying, Yea, I have loved thee with an everlasting love: therefore with loving kindness have I drawn thee.Romans 8:31-39 What shall we say about such wonderful things as these? If God is for us, who can ever be against us? 32 Since he did not spare even his own Son but gave him up for us all, won't he also give us everything else? 33 Who dares accuse us whom God has chosen for his own? No one—for God himself has given us right standing with himself. 34 Who then will condemn us? No one—for Christ Jesus died for us and was raised to life for us, and he is sitting in the place of honor at God's right hand, pleading for us. 35 Can anything ever separate us from Christ's love? Does it mean he no longer loves us if we have trouble or calamity, or are persecuted, or hungry, or destitute, or in danger, or threatened with death? 36 (As the Scriptures say, “For your sake we are killed every day; we are being slaughtered like sheep. 37 No, despite all these things, overwhelming victory is ours through Christ, who loved us. 38 And I am convinced that nothing can ever separate us from God's love. Neither death nor life, neither angels nor demons, neither our fears for today nor our worries about tomorrow—not even the powers of hell can separate us from God's love. 39 No power in the sky above or in the earth below—indeed, nothing in all creation will ever be able to separate us from the love of God that is revealed in Christ Jesus our Lord.Support this show http://supporter.acast.com/622a9079e8fb640012cb94f3. I pray that God would "give you spiritual wisdom and insight so that you might grow in your knowledge of God. 18I, pray that your hearts will be flooded with light so that you can understand the confident hope he has given to those he called his holy people who are his rich and glorious inheritance" https://plus.acast.com/s/blueprint-of-faith. Hosted on Acast. See acast.com/privacy for more information.

I was inspired by one of my students the other day when she innocently played a on the church speaker, right after baptismal that was BAD!  She was a brand new believer and I kindly told her, “when you become a Christian, you shouldn't listen to music like this.” She said, “Really? Well….what exactly does it mean to be a Christian?”   As I heard her heart, I thought to myself, “I wonder how many more people are asking this question?”  So, this is why I decided to do this podcast.  This episode is for believers and new believers.  This will teach you how to witness and have the tools to equip you to lead people to the Lord This is what it means to be a Christian: 1. Have Faith……to believe…to be convinced, to be persuaded! You BELIEVE in Jesus and The radical, miraculous conception by the Holy Spirit, that He is the Son of God, the son of man. You believe that He existed and that He lived and died for you. He paid for you with His own blood.   You believe that He was raised from the dead in 3 days by the resurrection power of God.  You believe that He ascended to heaven and that He sent the Holy Spirit to abide with you forever.   You believe that the same power that raised Jesus Christ from the dead lives inside of YOU.   You believe that all things are possible with Jesus! You believe that your name is written in the Lamb's book of life and you are going to heaven.  2. Embrace His teaching:  John 8:31-32 TPT Jesus said to those Jews who believed in him, “When you continue to embrace all that I teach, you prove that you are my true followers. For if you embrace the truth, it will release true freedom into your lives.” Be merciful Luke 6:31 Walk in forgiveness Luke 6:37 Seek Goodness Luke 6:45 Respect others Luke 14:11 BE kind Luke 14 3. My heart is devoted to Him Mark 12:30-31 Love the Lord your God with all your heart, Love your neighbor and Love yourself Part of your love and  devotion is prayer and worship. 4. Do the things that Jesus did Jesus was always listening the voice of His father and obeying him.  Jesus said, If you love me, you'll obey me.  So…..be discipled…learn how to hear his voice, learn how to obey, learn how to grow in God because the sky is the limit.   Now HOW DO  I become a Christian?  Steps to Becoming a Follower of Jesus Christ Believe in your heart that Jesus is Lord. Acts 16:31 ESV And they said, “Believe in the Lord Jesus, and you will be saved, you and your household.” John 3:16 ESV  “For God so loved the world, that he gave his only Son, that whoever believes in him should not perish but have eternal life. Confess with your mouth that Jesus is Lord.  Romans 10:9 ESV   Because, if you confess with your mouth that Jesus is Lord and believe in your heart that God raised him from the dead, you will be saved. For with the heart one believes and is justified, and with the mouth one confesses and is saved. Be filled with the Holy Spirit. Repent Be baptized in the name of Jesus. Acts 2:38 ESV  And Peter said to them, “Repent and be baptized every one of you in the name of Jesus Christ for the forgiveness of your sins, and you will receive the gift of the Holy Spirit. Acts 22:16 ESV And now why do you wait? Rise and be baptized and wash away your sins, calling on his name.' Be transformed by the power of God & RENOUNCE.  Romans 12:2 New American Bible (Revised Edition) Do not conform yourselves to this age but be transformed by the renewal of your mind, that you may discern what is the will of God, what is good and pleasing and perfect. Renounce your sin: Galatians 5:1 New King James Version Stand fast therefore in the liberty by which Christ has made us free, and do not be entangled again with a yoke of bondage. Read Colossians 3:1-10 New King James Version Go out and make disciples, bring others to Jesus, tell others your story, your testimony.  Matthew 28:19-20 New International Version 19 Therefore go and make disciples of all nations, baptizing them in the name of the Father and of the Son and of the Holy Spirit,  20 and teaching them to obey everything I have commanded you. And surely I am with you always, to the very end of the age.”

What is Truth?   Then Pilate said to him, "So you are a king?" Jesus answered, "You say that I am a king. For this purpose I was born and for this purpose I have come into the world-to bear witness to the truth. Everyone who is of the truth listens to my voice."Pilate said to him, "What is truth?"    After he had said this, he went back outside to the Jews... John 18:37-38   None is righteous, no, not one; no one understands; no one seeks for God. All have turned aside; together they have become worthless; no one does good, not even one. Romans 3:10-12   And a ruler asked him, "Good Teacher, what must I do to inherit eternal life?" And Jesus said to him, "Why do you call me good? No one is good except God alone. You know the commandments: 'Do not commit adultery, Do not murder, Do not steal, Do not bear false witness, Honor your father and mother.'" And he said, "All these I have kept from my youth." When Jesus heard this, he said to him, "One thing you still lack. Sell all that you have and distribute to the poor, and you will have treasure in heaven; and come, follow me." But when he heard these things, he became very sad, for he was extremely rich. Luke 18:18-23   But God, being rich in mercy, because of the great love with which he loved us, even when we were dead in our trespasses, made us alive together with Christ - by grace you have been saved - and raised us up with him and seated us with him in the heavenly places in Christ Jesus, so that in the coming ages he might show the immeasurable riches of his grace in kindness toward us in Christ Jesus. For by grace you have been saved through faith. And this is not your own doing; it is the gift of God,  Ephesians 2:4-8   "Not everyone who says to me, 'Lord, Lord,' will enter the kingdom of heaven, but the one who does the will of my Father who is in heaven. On that day many will say to me, 'Lord, Lord, did we not prophesy in your name, and cast out demons in your name, and do many mighty works in your name?' And then will I declare to them, 'I never knew you; depart from me, you workers of lawlessness.'  Matthew 7:21-23   Examine yourselves, to see whether you are in the faith. Test yourselves. Or do you not realize this about yourselves, that Jesus Christ is in you?-unless indeed you fail to meet the test! 2 Corinthians 13:5   I write these things to you who believe in the name of the Son of God, that you may know that you have eternal life. 1 John 5:13   1 - You Believe   if you confess with your mouth that Jesus is Lord and believe in your heart that God raised him from the dead, you will be saved. For with the heart one believes and is justified, and with the mouth one confesses and is saved. Romans 10:9-10   2 - Your Life Is Changed   Therefore, if anyone is in Christ, he is a new creation. The old has passed away; behold, the new has come. 2 Corinthians 5:17   In him [him being Christ] you also, when you heard the word of truth, the gospel of your salvation, and believed in him, were sealed with the promised Holy Spirit, who is the guarantee of our inheritance until we acquire possession of it, to the praise of his glory. Ephesians 1:13-14   3 - Your Love Is Active   Beloved, if God so loved us, we also ought to love one another. 12 No one has ever seen God; if we love one another, God abides in us and his love is perfected in us. 1 John 4:11-12   A new commandment I give to you, that you love one another: just as I have loved you, you also are to love one another. By this all people will know that you are my disciples, if you have love for one another." John 13:34-35   And let us consider how to stir up one another to love and good works, not neglecting to meet together, as is the habit of some, but encouraging one another, and all the more as you see the Day drawing near. Hebrews 10:24-25   4 - You Face Persecution   Indeed, all who desire to live a godly life in Christ Jesus will be persecuted 2 Timothy 3:2   5 - Your Conduct Increasingly Pleases God   No one born of God makes a practice of sinning, for God's seed abides in him; and he cannot keep on sinning, because he has been born of God. 1 John 3:9          

You BELIEVE in you. It does not matter if no one else does. --- Support this podcast: https://anchor.fm/mark-corbin/support

Find your Valentine is a Prophetic Podcast !! That revives your life and changes your attitude on How you get a Patner in your Life this is Completely God's intervention on your life on How things are Going to Happen from Now !! Expect a Supernatural Lifestyle and Supernatural increase as You Believe in Super natural God ! It's Time Now Getting Ready yes ! And Amen in JESUS NAME ⭐❤️

Ooooooh Lord...First off, go and support Emily's petition to have Sloan nominated into the Canadian Music Hall of FameThen sit back and relax as John and Jeremy go through two songs that were NOT NOMINATED in the 64 song elimination tournament but they probably should've been.Cheers to Morgan for starting the off the show with one of her favourite Between the Bridges' lyrics. Head on over to the Sloan Selection Podcast page to share yours and hang out with other fans. If you're looking for more of what we thought of tracks off of between the bridges, check out our past episodes on Delivering Maybes vs 400 MetresSinking Ships vs. Don't You Believe a WordThe Marquee and the Moon vs. SugartuneThe Good in Everyone vs. Waiting for Slow SongsCoax Me vs. Sensory DeprivationSnowsuit Sound vs. Summer's My SeasonLosing California vs. I'm Not Through With You YetPeople of the Sky vs. The N.S.It's In Your Eyes vs. So Beyond Me

Episode 141 of A History of Rock Music in Five Hundred Songs looks at “River Deep Mountain High'”, and at the career of Ike and Tina Turner.  Click the full post to read liner notes, links to more information, and a transcript of the episode. Also, this episode was recorded before the sad death of the great Ronnie Spector, whose records are featured a couple of times in this episode, which is partly about her abusive ex-husband. Her life paralleled Tina Turner's quite closely, and if you haven't heard the episode I did about her last year, you can find it at https://500songs.com/podcast/episode-110-be-my-baby-by-the-ronettes/. I wish I'd had the opportunity to fit a tribute into this episode too. Patreon backers also have a ten-minute bonus episode available, on "Wild Thing" by the Troggs. Tilt Araiza has assisted invaluably by doing a first-pass edit, and will hopefully be doing so from now on. Check out Tilt's irregular podcasts at http://www.podnose.com/jaffa-cakes-for-proust and http://sitcomclub.com/ Resources As usual, all the songs excerpted in the podcast can be heard in full at Mixcloud. Always Magic in the Air: The Bomp and Brilliance of the Brill Building Era by Ken Emerson is a good overview of the Brill Building scene, and I referred to it for the material about Jeff Barry and Ellie Greenwich. I've referred to two biographies of Phil Spector in this episode, Phil Spector: Out of His Head by Richard Williams and He's a Rebel by Mark Ribkowsky. Tina Turner has written two autobiographies. I Tina is now out of print but is slightly more interesting, as it contains interview material with other people in her life. My Love Story is the more recent one and covers her whole life up to 2019. Ike Turner's autobiography Takin' Back My Name is a despicable, self-serving, work of self-justification, and I do not recommend anyone buy or read it. But I did use it for quotes in the episode so it goes on the list. Ike Turner: King of Rhythm by John Collis is more even-handed, and contains a useful discography. That Kat Sure Could Play! is a four-CD compilation of Ike Turner's work up to 1957. The TAMI and Big TNT shows are available on a Blu-Ray containing both performances. There are many compilations available with some of the hits Spector produced, but I recommend getting Back to Mono, a four-CD overview of his career containing all the major singles put out by Philles. There are sadly no good compilations of Ike and Tina Turner's career, as they recorded for multiple labels, and would regularly rerecord the hits in new versions for each new label, so any compilation you find will have the actual hit version of one or two tracks, plus a bunch of shoddy remakes. However, the hit version of "River Deep, Mountain High" is on the album of the same name, which is a worthwhile album to get,. Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript Today's episode is unfortunately another one of those which will require a content warning, because we're going to be talking about Ike and Tina Turner. For those of you who don't know, Ike Turner was possibly the most famously abusive spouse in the whole history of music, and it is literally impossible to talk about the duo's career without talking about that abuse. I am going to try not to go into too many of the details -- if nothing else, the details are very readily available for those who want to seek them out, not least in Tina's two autobiographies, so there's no sense in retraumatising people who've experienced domestic abuse by going over them needlessly -- but it would be dishonest to try to tell the story without talking about it at all. This is not going to be an episode *about* Ike Turner's brutal treatment of Tina Turner -- it's an episode about the record, and about music, and about their musical career -- but the environment in which "River Deep, Mountain High" was created was so full of toxic, abusive, destructive men that Ike Turner may only be the third-worst person credited on the record, and so that abuse will come up. If discussion of domestic abuse, gun violence, cocaine addiction, and suicide attempts are likely to cause you problems, you might want to read the transcript rather than listen to the podcast. That said, let's get on with the story. One of the problems I'm hitting at this point of the narrative is that starting with "I Fought the Law" we've hit a run of incredibly intertangled stories  The three most recent episodes, this one, and nine of the next twelve, all really make up one big narrative about what happened when folk-rock and psychedelia hit the Hollywood scene and the Sunset Strip nightclubs started providing the raw material for the entertainment industry to turn into pop culture. We're going to be focusing on a small number of individuals, and that causes problems when trying to tell a linear narrative, because people don't live their lives sequentially -- it's not the case that everything happened to Phil Spector, and *then* everything happened to Cass Elliot, and *then* everything happened to Brian Wilson. All these people were living their lives and interacting and influencing each other, and so sometimes we'll have to mention something that will be dealt with in a future episode. So I'll say here and now that we *will* be doing an episode on the Lovin' Spoonful in two weeks. So when I say now that in late 1965 the Lovin' Spoonful were one of the biggest bands around, and possibly the hottest band in the country, you'll have to take that on trust. But they were, and in late 1965 their hit "Do You Believe in Magic?" had made the top ten: [Excerpt: The Lovin' Spoonful, "Do You Believe in Magic?"] Phil Spector, as always, was trying to stay aware of the latest trends in music, and he was floundering somewhat. Since the Beatles had hit America in 1964, the hits had dried up -- he'd produced a few minor hit records in 1964, but the only hits he'd made in 1965 had been with the Righteous Brothers -- none of his other acts were charting. And then the Righteous Brothers left him, after only a year. In late 1965, he had no hit acts and no prospect of having any. There was only one thing to do -- he needed to start making his own folk-rock records. And the Lovin' Spoonful gave him an idea how to do that. Their records were identifiably coming from the same kind of place as people like the Byrds or the Mamas and the Papas, but they were pop songs, not protest songs -- the Lovin' Spoonful weren't doing Dylan covers or anything intellectual, but joyous pop confections of a kind that anyone could relate to. Spector knew how to make pop records like that. But to do that, he needed a band. Even though he had been annoyed at the way that people had paid more attention to the Righteous Brothers, as white men, than they had to the other vocalists he'd made hit records with (who, as Black women, had been regarded by a sexist and racist public as interchangeable puppets being controlled by a Svengali rather than as artists in their own right), he knew he was going to have to work with a group of white male vocalist-instrumentalists if he wanted to have his own Lovin' Spoonful. And the group he chose was a group from Greenwich Village called MFQ. MFQ had originally named themselves the Modern Folk Quartet, as a parallel to the much better-known Modern Jazz Quartet, and consisted of Cyrus Faryar, Henry Diltz, Jerry Yester, and Chip Douglas, all of whom were multi-instrumentalists who would switch between guitar, banjo, mandolin, and bass depending on the song. They had combined Kingston Trio style clean-cut folk with Four Freshmen style modern harmonies -- Yester, who was a veteran of the New Christy Minstrels, said of the group's vocals that "the only vocals that competed with us back then was Curt Boettcher's group", and  they had been taken under the wing of manager Herb Cohen, who had got them a record deal with Warner Brothers. They recorded two albums of folk songs, the first of which was produced by Jim Dickson, the Byrds' co-manager: [Excerpt: The Modern Folk Quartet, "Sassafras"] But after their second album, they had decided to go along with the trends and switch to folk-rock. They'd started playing with electric instruments, and after a few shows where John Sebastian, the lead singer of the Lovin' Spoonful, had sat in with them on drums, they'd got themselves a full-time drummer, "Fast" Eddie Hoh, and renamed themselves the Modern Folk Quintet, but they always shortened that to just MFQ. Spector was convinced that this group could be another Lovin' Spoonful if they had the right song, and MFQ in turn were eager to become something more than an unsuccessful folk group. Spector had the group rehearsing in his house for weeks at a stretch before taking them into the studio. The song that Spector chose to have the group record was written by a young songwriter he was working with named Harry Nilsson. Nilsson was as yet a complete unknown, who had not written a hit and was still working a day job, but he had a talent for melody, and he also had a unique songwriting sensibility combining humour and heartbreak. For example, he'd written a song that Spector had recorded with the Ronettes, "Here I Sit", which had been inspired by the famous graffito from public toilet walls -- "Here I sit, broken-hearted/Paid a dime and only farted": [Excerpt: The Ronettes, "Here I Sit"] That ability to take taboo bodily functions and turn them into innocent-sounding love lyrics is also at play in the song that Spector chose to have the MFQ record. "This Could be the Night" was written by Nilsson from the perspective of someone who is hoping to lose his virginity -- he feels like he's sitting on dynamite, and he's going to "give her some", but it still sounds innocent enough to get past the radio censors of the mid-sixties: [Excerpt: Harry Nilsson, "This Could Be the Night (demo)"] Spector took that song, and recorded a version of it which found the perfect balance between Spector's own wall of sound and the Lovin' Spoonful's "Good Time Music" sound: [Excerpt: MFQ, "This Could be the Night"] Brian Wilson was, according to many people, in the studio while that was being recorded, and for decades it would remain a favourite song of Wilson's -- he recorded a solo version of it in the 1990s, and when he started touring solo for the first time in 1998 he included the song in his earliest live performances. He also tried to record it with his wife's group, American Spring, in the early 1970s, but was unable to, because while he could remember almost all of the song, he couldn't get hold of the lyrics. And the reason he couldn't get hold of the lyrics is that the record itself went unreleased, because Phil Spector had found a new performer he was focusing on instead. It happened during the filming of the Big TNT Show, a sequel to the TAMI Show, released by American International Pictures, for which "This Could Be the Night" was eventually used as a theme song. The MFQ were actually performers at the Big TNT Show, which Spector was musical director and associate producer of, but their performances were cut out of the finished film, leaving just their record being played over the credits. The Big TNT Show generally gets less respect than the TAMI Show, but it's a rather remarkable document of the American music scene at the very end of 1965, and it's far more diverse than the TAMI show. It opens with, of all people, David McCallum -- the actor who played Ilya Kuryakin on The Man From UNCLE -- conducting a band of session musicians playing an instrumental version of "Satisfaction": [Excerpt: David McCallum, "Satisfaction"] And then, in front of an audience which included Ron and Russel Mael, later of Sparks, and Frank Zappa, who is very clearly visible in audience shots, came performances of every then-current form of popular music. Ray Charles, Petula Clark, Bo Diddley, the Byrds, the Lovin' Spoonful, Roger Miller, the Ronettes, and Donovan all did multiple songs, though the oddest contribution was from Joan Baez, who as well as doing some of her normal folk repertoire also performed "You've Lost That Lovin' Feelin'" with Spector on piano: [Excerpt: Joan Baez and Phil Spector, "You've Lost That Lovin' Feelin'"] But the headline act on the eventual finished film was the least-known act on the bill, a duo who had not had a top forty hit for four years at this point, and who were only on the bill as a last-minute fill-in for an act who dropped out, but who were a sensational live act. So sensational that when Phil Spector saw them, he knew he needed to sign them -- or at least he needed to sign one of them: [Excerpt: Ike and Tina Turner with the Ikettes, "Please, Please, Please"] Because Ike and Tina Turner's performance at the Big TNT Show was, if anything, even more impressive than James Brown's performance on the TAMI Show the previous year. The last we saw of Ike Turner was way back in episode eleven. If you don't remember that, from more than three years ago, at the time Turner was the leader of a small band called the Kings of Rhythm. They'd been told by their friend B.B. King that if you wanted to make a record, the person you go to was Sam Phillips at Memphis Recording Services, and they'd recorded "Rocket '88", often cited as the first ever rock and roll record, under the name of their sax player and vocalist Jackie Brenston: [Excerpt: Jackie Brenston and the Delta Cats, "Rocket '88"] We looked at some of the repercussions from that recording throughout the first year and a half or so of the podcast, but we didn't look any more at the career of Ike Turner himself. While "Rocket '88" was a minor hit, the group hadn't followed it up, and Brenston had left to go solo. For a while Ike wasn't really very successful at all -- though he was still performing around Memphis, and a young man named Elvis Presley was taking notes at some of the shows. But things started to change for Ike when he once again turned up at Sam Phillips' studio -- this time because B.B. King was recording there. At the time, Sun Records had still not started as its own label, and Phillips' studio was being used for records made by all sorts of independent blues labels, including Modern Records, and Joe Bihari was producing a session for B.B. King, who had signed to Modern. The piano player on the session also had a connection to "Rocket '88" -- when Jackie Brenston had quit Ike's band to go solo, he'd put together a new band to tour as the Delta Cats, and Phineas Newborn Jr had ended up playing Turner's piano part on stage, before Brenston's career collapsed and Newborn became King's pianist. But Phineas Newborn was a very technical, dry, jazz pianist -- a wonderful player, but someone who was best suited to playing more cerebral material, as his own recordings as a bandleader from a few years later show: [Excerpt: Phineas Newborn Jr, "Barbados"] Bihari wasn't happy with what Newborn was playing, and the group took a break from recording to get something to eat and try to figure out the problem. While they were busy, Turner went over to the piano and started playing. Bihari said that that was exactly what they wanted, and Turner took over playing the part. In his autobiography, Turner variously remembers the song King was recording there as "You Know I Love You" and "Three O'Clock Blues", neither of which, as far as I can tell, were actually recorded at Phillips' studio, and both of which seem to have been recorded later -- it's difficult to say for sure because there were very few decent records kept of these things at the time. But we do know that Turner played on a lot of King's records in the early fifties, including on "Three O'Clock Blues", King's first big hit: [Excerpt: B.B. King, "Three O'Clock Blues"] For the next while, Turner was on salary at Modern Records, playing piano on sessions, acting as a talent scout, and also apparently writing many of the songs that Modern's artists would record, though those songs were all copyrighted under the name "Taub", a pseudonym for the Bihari brothers, as well as being a de facto arranger and producer for the company. He worked on many records made in and around Memphis, both for Modern Records and for other labels who drew from the same pool of artists and musicians. Records he played on and produced or arranged include several of Bobby "Blue" Bland's early records -- though Turner's claim in his autobiography that he played on Bland's version of "Stormy Monday" appears to be incorrect, as that wasn't recorded until a decade later. He did, though, play on Bland's “Drifting from Town to Town”, a rewrite of Charles Brown's “Driftin' Blues”, on which, as on many sessions run by Turner, the guitarist was Matt “Guitar” Murphy, who later found fame with the Blues Brothers: [Excerpt: Bobby "Blue" Bland with Ike Turner and his Orchestra, "Driftin' Blues"] Though I've also seen the piano part on that credited as being by Johnny Ace – there's often some confusion as to whether Turner or Ace played on a session, as they played with many of the same artists, but that one was later rereleased as by Bobby “Blue” Bland with Ike Turner and his Orchestra, so it's safe to say that Ike's on that one. He also played on several records by Howlin' Wolf, including "How Many More Years", recorded at Sam Phillips' studio: [Excerpt: Howlin' Wolf, "How Many More Years?"] Over the next few years he played with many artists we've covered already in the podcast, like Richard Berry and the Flairs, on whose recordings he played guitar rather than piano: [Excerpt: The Flairs, "Baby Wants"] He also played guitar on records by Elmore James: [Excerpt: Elmore James, "Please Find My Baby"] and played with Little Junior Parker, Little Milton, Johnny Ace, Roscoe Gordon, and many, many more. As well as making blues records, he also made R&B records in the style of Gene and Eunice with his then-wife Bonnie: [Excerpt: Bonnie and Ike Turner, "My Heart Belongs to You"] Bonnie was his fourth wife, all of them bigamous -- or at least, I *think* she was his fourth. I have seen two different lists Turner gave of his wives, both of them made up of entirely different people, though it doesn't help that many of them also went by nicknames. But Turner started getting married when he was fourteen, and as he would often put it "you gave a preacher two dollars, the papers cost three dollars, that was it. In those days Blacks didn't bother with divorces." (One thing you will see a lot with Turner, unfortunately, is his habit of taking his own personal misbehaviours and claiming they were either universal, or at least that they were universal among Black people, or among men. It's certainly true that some people in the Southeastern US had a more lackadaisical attitude towards remarrying without divorce at the time than we might expect, but it was in no way a Black thing specifically -- it was a people-like-Ike-Turner thing -- see for example the very similar behaviour of Jerry Lee Lewis. I'm trying, when I quote him, not to include too many of these generalisations, but I thought it important to include that one early on to show the kind of self-justification to which he was prone throughout his entire life.) It's largely because Bonnie played piano and was singing with his band that Turner switched to playing guitar, but there was another reason – while he disliked the attention he got on stage, he also didn't want a repeat of what had happened with Jackie Brenston, where Brenston as lead vocalist and frontman had claimed credit for what Ike thought of as his own record. Anyone who saw Ike Turner and his Kings of Rhythm was going to know that Ike Turner was the man who was making it all happen, and so he was going to play guitar up front rather than be on the piano in the background. So Turner took guitar lessons from Earl Hooker, one of the great blues guitarists of the period, who had played with Turner's piano inspiration Pinetop Perkins before recording solo tracks like "Sweet Angel": [Excerpt: Earl Hooker, "Sweet Angel"] Turner was always happier in the studio than performing live -- despite his astonishing ego, he was also a rather shy person who didn't like attention -- and he'd been happy working on salary for Modern and freelancing on occasion for other labels like Chess and Duke. But then the Biharis had brought him out to LA, where Modern Records was based, and as Joel Bihari put it "Ike did a great job for us, but he was a country boy. We brought him to L.A., and he just couldn't take city life. He only stayed a month, then left for East St. Louis to form his own band. He told me he was going back there to become a star." For once, Turner's memory of events lined up with what other people said about him. In his autobiography, he described what happened -- "Down in Mississippi, life is slow. Tomorrow, you are going to plough this field. The next day, you going to cut down these trees. You stop and you go on about your business. Next day, you start back on sawing trees or whatever you doing. Here I am in California, and this chick, this receptionist, is saying "Hold on, Mr Bihari, line 2... hold line 3... Hey Joe, Mr Something or other on the phone for you." I thought "What goddamn time does this stop?"" So Turner did head to East St. Louis -- which is a suburb of St. Louis proper, across the Mississippi river from it, and in Illinois rather than Missouri, and at the time a thriving industrial town in its own right, with over eighty thousand people living there. Hardly the laid-back country atmosphere that Turner was talking about, but still also far from LA both geographically and culturally. He put together a new lineup of the Kings of Rhythm, with a returning Jackie Brenston, who were soon recording for pretty much every label that was putting out blues and R&B tracks at that point, releasing records on RPM, Sue, Flair, Federal, and Modern as well as several smaller labels. usually with either Brenston or the group's drummer Billy Gayles singing lead: [Excerpt: Billy Gayles with Ike Turner's Kings of Rhythm, "Just One More Time"] None of these records was a success, but the Kings of Rhythm were becoming the most successful band in East St. Louis. In the mid-fifties the only group that was as popular in the greater St. Louis metro area was the Johnny Johnson trio -- which soon became the Chuck Berry trio, and went on to greater things, while the Kings of Rhythm remained on the club circuit. But Turner was also becoming notorious for his temper -- he got the nickname "Pistol-Whippin' Ike Turner" for the way he would attack people with his gun, He also though was successful enough that he built his own home studio, and that was where he recorded "Boxtop". a calypso song whose middle eight seems to have been nicked from "Why Do Fools Fall In Love?" and whose general feel owes more than a little to "Love is Strange": [Excerpt: Ike Turner, Carlson Oliver, and Little Ann, "Boxtop"] The female vocals on that track were by Turner's new backing vocalist, who at the time went by the stage name "Little Ann". Anna Mae Bullock had started going to see the Kings of Rhythm regularly when she was seventeen, because her sister was dating one of the members of the band, and she had become a fan almost immediately. She later described her first experience seeing the group: "The first time I saw Ike on stage he was at his very best, sharply dressed in a dark suit and tie. Ike wasn't conventionally handsome – actually, he wasn't handsome at all – and he certainly wasn't my type. Remember, I was a schoolgirl, all of seventeen, looking at a man. I was used to high school boys who were clean-cut, athletic, and dressed in denim, so Ike's processed hair, diamond ring, and skinny body – he was all edges and sharp cheekbones – looked old to me, even though he was only twenty-five. I'd never seen anyone that thin! I couldn't help thinking, God, he's ugly." Turner didn't find Bullock attractive either -- one of the few things both have always agreed on in all their public statements about their later relationship was that neither was ever particularly attracted to the other sexually -- and at first this had caused problems for Anna Mae. There was a spot in the show where Turner would invite a girl from the audience up on stage to sing, a different one every night, usually someone he'd decided he wanted to sleep with. Anna Mae desperately wanted to be one of the girls that would get up on stage, but Turner never picked her. But then one day she got her chance. Her sister's boyfriend was teasing her sister, trying to get her to sing in this spot, and passed her the microphone. Her sister didn't want to sing, so Anna Mae grabbed the mic instead, and started singing -- the song she sang was B.B. King's "You Know I Love You", the same song that Turner always remembered as being recorded at Sun studios, and on which Turner had played piano: [Excerpt: B.B. King, "You Know I Love You"] Turner suddenly took notice of Anna Mae. As he would later say, everyone *says* they can sing, but it turned out that Anna Mae could. He took her on as an occasional backing singer, not at first as a full member of the band, but as a sort of apprentice, who he would teach how to use her talents more commercially. Turner always said that during this period, he would get Little Richard to help teach Anna Mae how to sing in a more uncontrolled, exuberant, style like he did, and Richard has backed this up, though Anna Mae never said anything about this. We do know though that Richard was a huge fan of Turner's -- the intro to "Good Golly Miss Molly": [Excerpt: Little Richard, "Good Golly Miss Molly"] was taken almost exactly from the intro to "Rocket '88": [Excerpt: Jackie Brenston and the Delta Cats, "Rocket '88"] and Richard later wrote the introduction to Turner's autobiography. So it's possible -- but both men were inveterate exaggerators, and Anna Mae only joined Ike's band a few months before Richard's conversion and retirement from music, and during a point when he was a massive star, so it seems unlikely. Anna Mae started dating Raymond Hill, a saxophone player in the group, and became pregnant by him -- but then Hill broke his ankle, and used that as an excuse to move back to Clarksdale, Mississippi, to be with his family, abandoning his pregnant teenage girlfriend, and it seems to be around this point that Turner and Anna Mae became romantically and sexually involved. Certainly, one of Ike's girlfriends, Lorraine Taylor, seems to have believed they were involved while Anna Mae was pregnant, and indeed that Turner, rather than Hill, was the father. Taylor threatened Bullock with Turner's gun, before turning it on herself and attempting suicide, though luckily she survived. She gave birth to Turner's son, Ike Junior, a couple of months after Bullock gave birth to her own son, Craig. But even after they got involved, Anna Mae was still mostly just doing odd bits of backing vocals, like on "Boxtop", recorded in 1958, or on 1959's "That's All I Need", released on Sue Records: [Excerpt: Ike Turner's Kings of Rhythm, "That's All I Need"] And it seemed that would be all that Anna Mae Bullock would do, until Ike Turner lent Art Lassiter eighty dollars he didn't want to pay back. Lassiter was a singer who was often backed by his own vocal trio, the Artettes, patterned after Ray Charles' Raelettes. He had performed with Turner's band on a semi-regular basis, since 1955 when he had recorded "As Long as I Have You" with his vocal group the Trojans, backed by "Ike Turner and his Orchestra": [Excerpt: The Trojans, Ike Turner and His Orchestra, "As Long as I Have You"] He'd recorded a few more tracks with Turner since then, both solo and under group names like The Rockers: [Excerpt: The Rockers, "Why Don't You Believe?"] In 1960, Lassiter needed new tyres for his car, and borrowed eighty dollars from Turner in order to get them -- a relatively substantial amount of money for a working musician back then. He told Turner that he would pay him back at a recording session they had booked, where Lassiter was going to record a song Turner had written, "A Fool in Love", with Turner's band and the Artettes. But Lassiter never showed up -- he didn't have the eighty dollars, and Turner found himself sat in a recording studio with a bunch of musicians he was paying for, paying twenty-five dollars an hour for the studio time, and with no singer there to record. At the time, he was still under the impression that Lassiter might eventually show up, if not at that session, then at least at a future one, but until he did, there was nothing he could do and he was getting angry. Bullock suggested that they cut the track without Lassiter. They were using a studio with a multi-track machine -- only two tracks, but that would be enough. They could cut the backing track on one track, and she could record a guide vocal on the other track, since she'd been around when Turner was teaching Lassiter the song. At least that way they wouldn't have wasted all the money. Turner saw the wisdom of the idea -- he said in his autobiography "This was the first time I got hip to two-track stereo" -- and after consulting with the engineer on the session, he decided to go ahead with Bullock's plan. The plan still caused problems, because they were recording the song in a key written for a man, so Bullock had to yell more than sing, causing problems for the engineer, who according to Turner kept saying things like "Goddammit, don't holler in my microphone". But it was only a demo vocal, after all, and they got it cut -- and as Lassiter didn't show up, Turner took Lassiter's backing vocal group as his own new group, renaming the Artettes to the Ikettes, and they became the first of a whole series of lineups of Ikettes who would record with Turner for the rest of his life. The intention was still to get Lassiter to sing lead on the record, but then Turner played an acetate of it at a club night where he was DJing as well as performing, and the kids apparently went wild: [Excerpt: Ike and Tina Turner, "A Fool in Love"] Turner took the demo to Juggy Murray at Sue Records, still with the intention of replacing Anna Mae's vocal with Lassiter's, but Murray insisted that that was the best thing about the record, and that it should be released exactly as it was, that it was a guaranteed hit. Although -- while that's the story that's told all the time about that record by everyone involved in the recording and release, and seems uncontested, there does seem to be one minor problem with the story, which is that the Ikettes sing "you know you love him, you can't understand/Why he treats you like he do when he's such a good man". I'm willing to be proved wrong, of course, but my suspicion is that Ike Turner wasn't such a progressive thinker that he was writing songs about male-male relationships in 1960. It's possible that the Ikettes were recorded on the same track as Tina's guide vocals, but if the intention was to overdub a new lead from Lassiter on an otherwise finished track, it would have made more sense for them to sing their finished backing vocal part. It seems more likely to me that they decided in the studio that the record was going to go out with Anna Mae singing lead, and the idea of Murray insisting is a later exaggeration. One thing that doesn't seem to be an exaggeration, though, is that initially Murray wanted the record to go out as by Ike Turner's Kings of Rhythm featuring Little Ann, but Turner had other ideas. While Murray insisted "the girl is the star", Turner knew what happened when other people were the credited stars on his records. He didn't want another Jackie Brenston, having a hit and immediately leaving Turner right back where he started. If Little Ann was the credited singer, Little Ann would become a star and Ike Turner would have to find a new singer. So he came up with a pseudonym. Turner was a fan of jungle women in film serials and TV, and he thought a wild-woman persona would suit Anna Mae's yelled vocal, and so he named his new star after Sheena, Queen of the Jungle, a female Tarzan knock-off comic character created by Will Eisner and Jerry Iger in the thirties, but who Turner probably knew from a TV series that had been on in 1955 and 56. He gave her his surname, changed "Sheena" slightly to make the new name alliterative and always at least claimed to have registered a trademark on the name he came up with, so if Anna Mae ever left the band he could just get a new singer to use the name. Anna Mae Bullock was now Tina Turner, and the record went out as by "Ike and Tina Turner": [Excerpt: Ike and Tina Turner, "A Fool in Love"] That went to number two on the R&B charts, and hit the top thirty on the pop charts, too. But there were already problems. After Ike had had a second son with Lorraine, he then got Tina pregnant with another of his children, still seeing both women. He had already started behaving abusively towards Tina, and as well as being pregnant, she was suffering from jaundice -- she says in the first of her two autobiographies that she distinctly remembered lying in her hospital bed, hearing "A Fool in Love" on the radio, and thinking "What's love got to do with it?", though as with all such self-mythologising we should take this with a pinch of salt. Turner was in need of money to pay for lawyers -- he had been arrested for financial crimes involving forged cheques -- and Juggy Murray wouldn't give him an advance until he delivered a follow-up to "A Fool in Love", so he insisted that Tina sneak herself out of the hospital and go into the studio, jaundiced and pregnant, to record the follow-up. Then, as soon as the jaundice had cleared up, they went on a four-month tour, with Tina heavily pregnant, to make enough money to pay Ike's legal bills. Turner worked his band relentlessly -- he would accept literally any gig, even tiny clubs with only a hundred people in the audience, reasoning that it was better for the band's image to play  small venues that had to turn people away because they were packed to capacity, than to play large venues that were only half full. While "A Fool in Love" had a substantial white audience, the Ike and Tina Turner Revue was almost the epitome of the chitlin' circuit act, playing exciting, funky, tightly-choreographed shows for almost entirely Black audiences in much the same way as James Brown, and Ike Turner was in control of every aspect of the show. When Tina had to go into hospital to give birth, rather than give up the money from gigging, Ike hired a sex worker who bore a slight resemblance to Tina to be the new onstage "Tina Turner" until the real one was able to perform again. One of the Ikettes told the real Tina, who discharged herself from hospital, travelled to the venue, beat up the fake Tina, and took her place on stage two days after giving birth. The Ike and Tina Turner Revue, with the Kings of Rhythm backing Tina, the Ikettes, and male singer Jimmy Thomas, all of whom had solo spots, were an astonishing live act, but they were only intermittently successful on record. None of the three follow-ups to "A Fool in Love" did better than number eighty-two on the charts, and two of them didn't even make the R&B charts, though "I Idolize You" did make the R&B top five. Their next big hit came courtesy of Mickey and Sylvia. You may remember us talking about Mickey and Sylvia way back in episode forty-nine, from back in 2019, but if you don't, they were one of a series of R&B duet acts, like Gene and Eunice, who came up after the success of Shirley and Lee, and their big hit was "Love is Strange": [Excerpt: Mickey and Sylvia, "Love is Strange"] By 1961, their career had more or less ended, but they'd recorded a song co-written by the great R&B songwriter Rose Marie McCoy, which had gone unreleased: [Excerpt: Mickey and Sylvia, "It's Gonna Work Out Fine"] When that was shelved they remade it as an Ike and Tina Turner record, with Mickey and Sylvia being Ike -- Sylvia took on all the roles that Ike would normally do in the studio, arranging the track and playing lead guitar, as well as joining the Ikettes on backing vocals, while Mickey did the spoken answering vocals that most listeners assumed were Ike, and which Ike would replicate on stage. The result, unsurprisingly, sounded more like a Mickey and Sylvia record than anything Ike and Tina had ever released before, though it's very obviously Tina on lead vocals: [Excerpt: Ike and Tina Turner, "It's Gonna Work Out Fine"] That made the top twenty on the pop charts -- though it would be their last top forty hit for nearly a decade as Ike and Tina Turner. They did though have a couple of other hits as the Ikettes, with Ike Turner putting the girl group's name on the label so he could record for multiple labels. The first of these, "I'm Blue (The Gong Gong Song)" was a song Ike had written which would later go on to become something of an R&B standard. It featured Dolores Johnson on lead vocals, but Tina sang backing vocals and got a rare co-production credit: [Excerpt: The Ikettes, "I'm Blue (The Gong Gong Song)"] The other Ikettes top forty hit was in 1965, with a song written by Steve Venet and Tommy Boyce -- a songwriter we will be hearing more about in three weeks -- and produced by Venet: [Excerpt: The Ikettes, "Peaches 'n' Cream"] Ike wasn't keen on that record at first, but soon came round to it when it hit the charts. The success of that record caused that lineup of Ikettes to split from Ike and Tina -- the Ikettes had become a successful act in their own right, and Dick Clark's Caravan of Stars wanted to book them, but that would have meant they wouldn't be available for Ike and Tina shows. So Ike sent a different group of three girls out on the road with Clark's tour, keeping the original Ikettes back to record and tour with him, and didn't pay them any royalties on their records. They resented being unable to capitalise on their big hit, so they quit. At first they tried to keep the Ikettes name for themselves, and got Tina Turner's sister Alline to manage them, but eventually they changed their name to the Mirettes, and released a few semi-successful records. Ike got another trio of Ikettes to replace them, and carried on with Pat Arnold, Gloria Scott, and Maxine Smith as the new Ikettes,. One Ikette did remain pretty much throughout -- a woman called Ann Thomas, who Ike Turner was sleeping with, and who he would much later marry, but who he always claimed was never allowed to sing with the others, but was just there for her looks. By this point Ike and Tina had married, though Ike had not divorced any of his previous wives (though he paid some of them off when Ike and Tina became big). Ike and Tina's marriage in Tijuana was not remembered by either of them as a particularly happy experience -- Ike would always later insist that it wasn't a legal marriage at all, and in fact that it was the only one of his many, many, marriages that hadn't been, and was just a joke. He was regularly abusing her in the most horrific ways, but at this point the duo still seemed to the public to be perfectly matched. They actually only ended up on the Big TNT Show as a last-minute thing -- another act was sick, though none of my references mention who it was who got sick, just that someone was needed to fill in for them, and as Ike and Tina were now based in LA -- the country boy Ike had finally become a city boy after all -- and would take any job on no notice, they got the gig. Phil Spector was impressed, and he decided that he could revitalise his career by producing a hit for Tina Turner. There was only one thing wrong -- Tina Turner wasn't an act. *Ike* and Tina Turner was an act. And Ike Turner was a control freak, just like Spector was -- the two men had essentially the same personality, and Spector didn't want to work with someone else who would want to be in charge. After some negotiation, they came to an agreement -- Spector could produce a Tina Turner record, but it would be released as an Ike and Tina Turner record. Ike would be paid twenty thousand dollars for his services, and those services would consist of staying well away from the studio and not interfering. Spector was going to go back to the old formulas that had worked for him, and work with the people who had contributed to his past successes, rather than leaving anything to chance. Jack Nitzsche had had a bit of a falling out with him and not worked on some of the singles he'd produced recently, but he was back. And Spector was going to work with Jeff Barry and Ellie Greenwich again. He'd fallen out with Barry and Greenwich when "Chapel of Love" had been a hit for the Dixie Cups rather than for one of Spector's own artists, and he'd been working with Mann and Weill and Goffin and King instead. But he knew that it was Barry and Greenwich who were the ones who had worked best with him, and who understood his musical needs best, so he actually travelled to see them in New York instead of getting them to come to him in LA, as a peace offering and a sign of how much he valued their input. The only problem was that Spector hadn't realised that Barry and Greenwich had actually split up.  They were still working together in the studio, and indeed had just produced a minor hit single for a new act on Bert Berns' label BANG, for which Greenwich had written the horn arrangement: [Excerpt: Neil Diamond, "Solitary Man"] We'll hear more about Neil Diamond, and about Jeff Barry's work with him, in three weeks. But Barry and Greenwich were going through a divorce and weren't writing together any more, and came back together for one last writing session with Spector, at which, apparently, Ellie Greenwich would cry every time they wrote a line about love. The session produced four songs, of which two became singles. Barry produced a version of "I Can Hear Music", written at these sessions, for the Ronettes, who Spector was no longer interested in producing himself: [Excerpt: The Ronettes, "I Can Hear Music"] That only made number ninety-nine on the charts, but the song was later a hit for the Beach Boys and has become recognised as a classic. The other song they wrote in those sessions, though, was the one that Spector wanted to give to Tina Turner. "River Deep, Mountain High" was a true three-way collaboration -- Greenwich came up with the music for the verses, Spector for the choruses, and Barry wrote the lyrics and tweaked the melody slightly. Spector, Barry, and Greenwich spent two weeks in their writing session, mostly spent on "River Deep, Mountain High". Spector later said of the writing "Every time we'd write a love line, Ellie would start to cry. I couldn't figure out what was happening, and then I realised… it was a very uncomfortable situation. We wrote that, and we wrote ‘I Can Hear Music'…. We wrote three or four hit songs on that one writing session. “The whole thing about ‘River Deep' was the way I could feel that strong bass line. That's how it started. And then Jeff came up with the opening line. I wanted a tender song about a chick who loved somebody very much, but a different way of expressing it. So we came up with the rag doll and ‘I'm going to cuddle you like a little puppy'. And the idea was really built for Tina, just like ‘Lovin' Feelin” was built for the Righteous Brothers.” Spector spent weeks recording, remixing, rerecording, and reremixing the backing track, arranged by Nitzsche, creating the most thunderous, overblown, example of the Wall of Sound he had ever created, before getting Tina into the studio. He also spent weeks rehearsing Tina on the song, and according to her most of what he did was "carefully stripping away all traces of Ike from my performance" -- she was belting the song and adding embellishments, the way Ike Turner had always taught her to, and Spector kept insisting that she just sing the melody -- something that she had never had the opportunity to do before, and which she thought was wonderful. It was so different from anything else that she'd recorded that after each session, when Ike would ask her about the song, she would go completely blank -- she couldn't hold this pop song in her head except when she was running through it with Spector. Eventually she did remember it, and when she did Ike was not impressed, though the record became one of the definitive pop records of all time: [Excerpt: Ike and Tina Turner, "River Deep, Mountain High"] Spector was putting everything on the line for this record, which was intended to be his great comeback and masterpiece. That one track cost more than twenty thousand dollars to record -- an absolute fortune at a time when a single would normally be recorded in one or two sessions at most. It also required a lot of work on Tina's part. She later estimated that she had sung the opening line of the song a thousand times before Spector allowed her to move on to the second line, and talked about how she got so hot and sweaty singing the song over and over that she had to take her blouse off in the studio and sing the song in her bra. She later said "I still don't know what he wanted. I still don't know if I pleased him. But I never stopped trying." Spector produced a total of six tracks with Tina, including the other two songs written at those Barry and Greenwich sessions, "I'll Never Need More Than This", which became the second single released off the "River Deep, Mountain High" album, and "Hold On Baby", plus cover versions of Arthur Alexander's "Every Day I Have to Cry Some", Pomus and Shuman's "Save the Last Dance", and "A Love Like Yours (Don't Come Knocking Everyday)" a Holland-Dozier-Holland song which had originally been released as a Martha and the Vandellas B-side. The planned album was to be padded out with six tracks produced by Ike Turner, mostly remakes of the duo's earlier hits, and was planned for release after the single became the hit everyone knew it would. The single hit the Hot One Hundred soon after it was released: [Excerpt: Ike and Tina Turner, "River Deep, Mountain High"] ...and got no higher up the charts than number eighty-eight. The failure of the record basically destroyed Spector, and while he had been an abusive husband before this, now he became much worse, as he essentially retired from music for four years, and became increasingly paranoid and aggressive towards the industry that he thought was not respectful enough of his genius. There have been several different hypotheses as to why "River Deep Mountain High" was not a success. Some have said that it was simply because DJs were fed up of Spector refusing to pay payola, and had been looking for a reason to take him down a peg. Ike Turner thought it was due to racism, saying later “See, what's wrong with America, I think, is that rather than accept something for its value… what it's doing, America mixes race in it. You can't call that record R&B. But because it's Tina… if you had not put Tina's name on there and put ‘Joe Blow', then the Top 40 stations would have accepted it for being a pop record. But Tina Turner… they want to brand her as being an R&B artist. I think the main reason that ‘River Deep' didn't make it here in America was that the R&B stations wouldn't play it because they thought it was pop, and the pop stations wouldn't play it because they thought it was R&B. And it didn't get played at all. The only record I've heard that could come close to that record is a record by the Beach Boys called ‘Good Vibrations'. I think these are the two records that I've heard in my life that I really like, you know?” Meanwhile, Jeff Barry thought it was partly the DJs but also faults in the record caused by Phil Spector's egomania, saying "he has a self-destructive thing going for him, which is part of the reason that the mix on ‘River Deep' is terrible, he buried the lead and he knows he buried the lead and he cannot stop himself from doing that… if you listen to his records in sequence, the lead goes further and further in and to me what he is saying is, ‘It is not the song I wrote with Jeff and Ellie, it is not the song – just listen to those strings. I want more musicians, it's me, listen to that bass sound. …' That, to me, is what hurts in the long run... Also, I do think that the song is not as clear on the record as it should be, mix-wise. I don't want to use the word overproduced, because it isn't, it's just undermixed." There's possibly an element of all three of these factors in play. As we've discussed, 1965 seems to have been the year that the resegregation of American radio began, and the start of the long slow process of redefining genres so that rock and roll, still considered a predominantly Black music at the beginning of the sixties, was by the end of the decade considered an almost entirely white music. And it's also the case that "River Deep, Mountain High" was the most extreme production Spector ever committed to vinyl, and that Spector had made a lot of enemies in the music business. It's also, though, the case  that it was a genuinely great record: [Excerpt: Ike and Tina Turner, "River Deep, Mountain High"] However, in the UK, it was promoted by Decca executive Tony Hall, who was a figure who straddled both sides of the entertainment world -- as part of his work as a music publicist he had been a presenter on Oh Boy!, written a column in Record Mirror, and presented a Radio Luxembourg show. Hall put his not-inconsiderable weight behind promoting the record, and it ended up reaching number two in the UK -- being successful enough that the album was also released over here, though it wouldn't come out in the US for several years. The record also attracted the attention of the Rolling Stones, who invited Ike and Tina to be their support act on a UK tour, which also featured the Yardbirds, and this would be a major change for the duo in all sorts of ways. Firstly, it got them properly in contact with British musicians -- and the Stones would get Ike and Tina as support artists several times over the next few years -- and also made the UK and Europe part of their regular tour itinerary. It also gave the duo their first big white rock audience, and over the next several years they would pivot more and more to performing music aimed at that audience, rather than the chitlin' circuit they'd been playing for previously. Ike was very conscious of wanting to move away from the blues and R&B -- while that was where he'd made his living as a musician, it wasn't music he actually liked, and he would often talk later about how much he respected Keith Richards and Eric Clapton, and how his favourite music was country music. Tina had also never been a fan of blues or R&B, and wanted to perform songs by the white British performers they were meeting. The tour also, though, gave Tina her first real thoughts of escape. She loved the UK and Europe, and started thinking about what life could be like for her not just being Ike Turner's wife and working fifty-one weeks a year at whatever gigs came along. But it also made that escape a little more difficult, because on the tour Tina lost one of her few confidantes in the organisation. Tina had helped Pat Arnold get away from her own abusive partner, and the two had become very close, but Arnold was increasingly uncomfortable being around Ike's abuse of Tina, and couldn't help her friend the way she'd been helped. She decided she needed to get out of a toxic situation, and decided to stay in England, where she'd struck up an affair with Mick Jagger, and where she found that there were many opportunities for her as a Black woman that simply hadn't been there in the US. (This is not to say that Britain doesn't have problems with racism -- it very much does, but those problems are *different* problems than the ones that the US had at that point, and Arnold found Britain's attitude more congenial to her personally). There was also another aspect, which a lot of Black female singers of her generation have mentioned and which probably applies here. Many Black women have said that they were astonished on visiting Britain to be hailed as great singers, when they thought of themselves as merely average. Britain does not have the kind of Black churches which had taught generations of Black American women to sing gospel, and so singers who in the US thought of themselves as merely OK would be far, far, better than any singers in the UK -- the technical standards were just so much lower here. (This is something that was still true at least as late as the mid-eighties. Bob Geldof talks in his autobiography about attending the recording session for "We Are the World" after having previously recorded "Do They Know It's Christmas?" and being astonished at how much more technically skilled the American stars were and how much more seriously they took their craft.) And Arnold wasn't just an adequate singer -- she was and is a genuinely great talent -- and so she quickly found herself in demand in the UK. Jagger got her signed to Immediate Records, a new label that had been started up by the Stones manager Andrew Oldham, and where Jimmy Page was the staff producer. She was given a new name, P.P. Arnold, which was meant to remind people of another American import, P.J. Proby, but which she disliked because the initials spelled "peepee". Her first single on the label, produced by Jagger, did nothing, but her second single, written by a then-unknown songwriter named Cat Stevens, became a big hit: [Excerpt: P.P. Arnold, "The First Cut is the Deepest"] She toured with a backing band, The Nice, and made records as a backing singer with artists like the Small Faces. She also recorded a duet with the unknown singer Rod Stewart, though that wasn't a success: [Excerpt: Rod Stewart and P.P. Arnold, "Come Home Baby"] We'll be hearing more about P.P. Arnold in future episodes, but the upshot of her success was that Tina had even fewer people to support her. The next few years were increasingly difficult for Tina, as Ike turned to cocaine use in a big way, became increasingly violent, and his abuse of her became much more violent. The descriptions of his behaviour in Tina's two volumes of autobiography are utterly harrowing, and I won't go into them in detail, except to say that nobody should have to suffer what she did. Ike's autobiography, on the other hand, has him attempting to defend himself, even while admitting to several of the most heinous allegations, by saying he didn't beat his wife any more than most men did. Now the sad thing is that this may well be true, at least among his peer group. Turner's behaviour was no worse than behaviour from, say, James Brown or Brian Jones or Phil Spector or Jerry Lee Lewis, and it may well be that behaviour like this was common enough among people he knew that Turner's behaviour didn't stand out at all. His abuse has become much better-known, because the person he was attacking happened to become one of the biggest stars in the world, while the women they attacked didn't. But that of course doesn't make what Ike did to Tina any better -- it just makes it infinitely sadder that so many more people suffered that way. In 1968, Tina actually tried to take her own life -- and she was so fearful of Ike that when she overdosed, she timed it so that she thought she would be able to at least get on stage and start the first song before collapsing, knowing that their contract required her to do that for Ike to get paid. As it was, one of the Ikettes noticed the tablets she had taken had made her so out of it she'd drawn a line across her face with her eyebrow pencil. She was hospitalised, and according to both Ike and Tina's reports, she was comatose and her heart actually stopped beating, but then Ike started yelling at her, saying if she wanted to die why didn't she do it by jumping in front of a truck, rather than leaving him with hospital bills, and telling her to go ahead and die if this was how she was going to treat him -- and she was so scared of Ike her heart started up again. (This does not seem medically likely to me, but I wasn't there, and they both were). Of course, Ike frames this as compassion and tough love. I would have different words for it myself. Tina would make several more suicide attempts over the years, but even as Tina's life was falling apart, the duo's professional career was on the up. They started playing more shows in the UK, and they toured the US as support for the Rolling Stones. They also started having hits again, after switching to performing funked-up cover versions of contemporary hits. They had a minor hit with a double-sided single of the Beatles' "Come Together" and the Stones' "Honky-Tonk Women", then a bigger one with a version of Sly and the Family Stone's "I Want to Take You Higher", then had their biggest hit ever with "Proud Mary". It's likely we'll be looking at Creedence Clearwater Revival's original version of that song at some point, but while Ike Turner disliked the original, Tina liked it, and Ike also became convinced of the song's merits by hearing a version by The Checkmates Ltd: [Excerpt: The Checkmates Ltd, "Proud Mary"] That was produced by Phil Spector, who came briefly out of his self-imposed exile from the music business in 1969 to produce a couple of singles for the Checkmates and Ronnie Spector. That version inspired Ike and Tina's recording of the song, which went to number four on the charts and won them a Grammy award in 1971: [Excerpt: Ike and Tina Turner, "Proud Mary"] Ike was also investing the money they were making into their music. He built his own state-of-the-art studio, Bolic Sound, which Tina always claimed was a nod to her maiden name, Bullock, but which he later always said was a coincidence. Several other acts hired the studio, especially people in Frank Zappa's orbit -- Flo and Eddie recorded their first album as a duo there, and Zappa recorded big chunks of Over-Nite Sensation and Apostrophe('), two of his most successful albums, at the studio. Acts hiring Bolic Sound also got Tina and the Ikettes on backing vocals if they wanted them, and so for example Tina is one of the backing vocalists on Zappa's "Cosmik Debris": [Excerpt: Frank Zappa, "Cosmik Debris"] One of the most difficult things she ever had to sing in her life was this passage in Zappa's song "Montana", which took the Ikettes several days' rehearsal to get right. [Excerpt: Frank Zappa and the Mothers of Invention, "Montana"] She was apparently so excited at having got that passage right that she called Ike out of his own session to come in and listen, but Ike was very much unimpressed, and insisted that Tina and the Ikettes not get credit on the records they made with Zappa. Zappa later said “I don't know how she managed to stick with that guy for so long. He treated her terribly and she's a really nice lady. We were recording down there on a Sunday. She wasn't involved with the session, but she came in on Sunday with a whole pot of stew that she brought for everyone working in the studio. Like out of nowhere, here's Tina Turner coming in with a rag on her head bringing a pot of stew. It was really nice.” By this point, Ike was unimpressed by anything other than cocaine and women, who he mostly got to sleep with him by having truly gargantuan amounts of cocaine around. As Ike was descending further into paranoia and abuse, though, Tina was coming into her own. She wrote "Nutbush City Limits" about the town where she grew up, and it reached number 22 on the charts -- higher than any song Ike ever wrote: [Excerpt: Ike and Tina Turner, "Nutbush City Limits"] Of course, Ike would later claim that he wrote the music and let Tina keep all the credit. Tina was also asked by the Who to appear in the film version of their rock opera Tommy, where her performance of "Acid Queen" was one of the highlights: [Excerpt: Tina Turner, "Acid Queen"] And while she was filming that in London, she was invited to guest on a TV show with Ann-Margret, who was a huge fan of Ike and Tina, and duetted with Tina -- but not Ike -- on a medley of her hits: [Excerpt: Tina Turner and Ann-Margret, "Nutbush City Limits/Honky Tonk Woman"] Just as with "River Deep, Mountain High", Tina was wanted for her own talents, independent of Ike. She was starting to see that as well as being an abusive husband, he was also not necessary for her to have a career. She was also starting to find parts of her life that she could have for herself, independent of her husband. She'd been introduced to Buddhist meditation by a friend, and took it up in a big way, much to Ike's disapproval. Things finally came to a head in July 1976, in Dallas, when Ike started beating her up and for the first time she fought back. She pretended to reconcile with him, waited for him to fall asleep, and ran across a busy interstate, almost getting hit by a ten-wheel truck, to get to another hotel she could see in the distance. Luckily, even though she had no money, and she was a Black woman in Dallas, not a city known for its enlightened attitudes in the 1970s, the manager of the Ramada Inn took pity on her and let her stay there for a while until she could get in touch with Buddhist friends. She spent the next few months living off the kindness of strangers, before making arrangements with Rhonda Graam, who had started working for Ike and Tina in 1964 as a fan, but had soon become indispensable to the organisation. Graam sided with Tina, and while still supposedly working for Ike she started putting together appearances for Tina on TV shows like Cher's. Cher was a fan of Tina's work, and was another woman trying to build a career after leaving an abusive husband who had been her musical partner: [Excerpt: Cher and Tina Turner, "Makin' Music is My Business"] Graam became Tina's full-time assistant, as well as her best friend, and remained part of her life until Graam's death a year ago. She also got Tina booked in to club gigs, but for a long time they found it hard to get bookings -- promoters would say she was "only half the act". Ike still wanted the duo to work together professionally, if not be a couple, but Tina absolutely refused, and Ike had gangster friends of his shoot up Graam's car, and Tina heard rumours that he was planning to hire a hit man to come after her. Tina filed for divorce, and gave Ike everything -- all the money the couple had earned together in sixteen years of work, all the property, all the intellectual property -- except for two cars, one of which Ike had given her and one which Sammy Davis Jr. had given her, and the one truly important thing -- the right to use the name "Tina Turner", which Ike had the trademark on. Ike had apparently been planning to hire someone else to perform as "Tina Turner" and carry on as if nothing had changed. Slowly, Tina built her career back up, though it was not without its missteps. She got a new manager, who also managed Olivia Newton-John, and the manager brought in a song he thought was perfect for Tina. She turned it down, and Newton-John recorded it instead: [Excerpt: Olivia Newton-John, "Physical"] But even while she was still playing small clubs, her old fans from the British rock scene were boosting her career. In 1981, after Rod Stewart saw her playing a club gig and singing his song "Hot Legs", he invited her to guest with him and perform the song on Saturday Night Live: [Excerpt: Rod Stewart and Tina Turner, "Hot Legs"] The Rolling Stones invited Tina to be their support act on a US tour, and to sing "Honky Tonk Women" on stage with them, and eventually when David Bowie, who was at the height of his fame at that point, told his record label he was going to see her on a night that EMI wanted to do an event for him, half the record industry showed up to the gig. She had already recorded a remake of the Temptations' "Ball of Confusion" with the British Electric Foundation -- a side project for two of the members of Heaven 17 -- in 1982, for one of their albums: [Excerpt: British Electric Foundation, "Ball of Confusion"] Now they were brought in to produce a new single for her, a remake of Al Green's "Let's Stay Together": [Excerpt: Tina Turner, "Let's Stay Together"] That made the top thirty in the US, and was a moderate hit in many places, making the top ten in the UK. She followed it up with another BEF production, a remake of "Help!" by the Beatles, which appears only to have been released in mainland Europe. But then came the big hit: [Excerpt: Tina Turner, "What's Love Got to Do With It?"] wenty-six years after she started performing with Ike, Tina Turner was suddenly a major star. She had a string of successes throughout the eighties and nineties, with more hit records, film appearances, a successful autobiography, a film based on the autobiography, and record-setting concert appearan

On this episode of Authentic Daily Positivity: Whatever YOU BELIEVE is what you will ultimately ACHIEVE. What tf do YOU BELIEVE? Only YOU can answer this! ✅ SUBSCRIBE TO THIS PODCAST and get your daily dose of AUTHENTIC POSITIVE VIBES!!

This is another episode taken- from day 2 of The Portal to Prosperity Party. It's a robust episode- with potent content, high vibes, laughter and a lot of transformative content around prosperity, as a whole, AND the beliefs and energy around money! What is the number 1 thing required in order to rewrite any stories of limitation and lack that you have? We will tell you in this episode! Tune in for the process of reprogramming your beliefs and how to align with a new STORY in your life, your experience and your relationship with abundance. Women help women get rich and change the world, by helping them heal, teaching them to trust themselves and guiding them to be fully self expressed. If you are feeling this- it's time to go WITHIN. The Portal to Prosperity is to crack open the portal- that is YOU! You aren't your beliefs. Or your thoughts or your parents thoughts. You aren't your experiences. You aren't your work. YOU are an innately worthy spiritual being having a human experience. You will receive what you feel WORTHY of and what YOU BELIEVE you get to have, experience. We are navigating the experience of creating more space. Rewriting paradigms. Focusing on what we desire and what is available. Changing the story. Changing the experience and creating a new paradigm of purposeful and passionate prosperity. If you're wanting to deepen your work in this area- join Nicholle and I for a full 4 week immersion in Worthy AF: The Portal To Prosperity! Use code THEPORTAL111 for $111 off of the program! https://www.SoulNakedCEO.com/offers/J2dFrRUP Join the Community-- Soul Naked CEO's Make sure to tag us instagram as you listen so we can thank you and shout you out- Instagram.com/SoulNakedCEO and instagram.com/NicholleCAldwell888