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Would a bisexual even wanna date YOU??? Join our discord to watch Vida with us every Saturday at 8pm EST https://discord.gg/q2rwfEJ22e SPOILER ALERT! Vida S1E1: 31:23 - 41:00 Check out our Patreon for more FREE content https://www.patreon.com/OneandaHalfLesbians This week's transition and outro music is by Übrgrl | Twitter and IG: theubrgrl https://open.spotify.com/album/3D9F7bPlo6oRfLCviAbuqe Intro music by @Hirahxo https://soundcloud.com/amberthvt/i-like-my-shit-from-the-baby-x-hirahxo-open-zip Mash-up by Adriana Social Media: One and a Half Lesbians | Twitter: @1point5lesbians Adriana, the lesbian (she/they) | Twitter: @ultralesbeam IG: somewhere_unknown Bee, the half (they/them): Twitter & IG: @namastaywoke If you are a small music artist looking to get your work out there, email oneandahalflesbianspod@gmail.com for the opportunity to have your music be our weekly transition and outro music!

HOUR 3 – WEDNESDAY, AUGUST 19: Dave Durand talks the intentions of a GOOD leader, and Patrick Madrid says “You Join the Catholic Church…..NOW WHAT?” All show notes at LEADERSHIP INTENTIONS/NOW WHAT? - This podcast produced by Relevant Radio

Today's show is a repeat but such a good one enjoy! Nichole Banks talks about how rude behavior isn't just this time of year. How to overcome it and well what if it's coming from YOU? Join her today and don't forget you're going to want to listen to the Friday Follow up show on this one! Tips are giving on how to deal with rude behavior: 1) Don't take it personally, we didn't cause them to behave this way so remember that. 2) This one can be hard to do but don't over react to it! I know right... when that old lady flipped me the bird I wanted to flip it right back, oye I was mad. 3) Have you ever heard the term killing it with kindness... yeah that's right be positive and kind. 4) You can use humor, if you find it to be the right time. remember humor can come off as snide so tread lightly 5) Call the person out on it. not with embarrassment but with kindness..your adult-ing here so use your best judgement but call them out. 6) Avoid that person...not engage with them period. Nichole Banks is an Accountability Coach and shares her stories and lessons weekly. Let's get to know each other and have some fun. To chat with Nichole (with an H in her name) drop her a line here: Website: www.nicholebanks.com Follow Nichole Banks on her Social Links; Facebook: https://www.Facebook.com/myaccountabilitypartner1/ Instagram: https://www.Instagram.com/myaccountability_partner/ Twitter: https://www.twitter.com/myacctpartner/ Youtube: https://www.youtube.com/channel/UCw7oZ6nRWC89KCoyhyRuRhA?view_as=subscriber Pinterest: https://www.pinterest.com/nicholebanks23/ Holding people accountable is love. when I'm holding YOU accountable, I'm saying, "You're capable of a bigger Game" Thanks for joining me, enjoy your week, I'm your host Nichole Banks until Friday~    

Episode eighty-five of A History of Rock Music in Five Hundred Songs looks at "Three Steps to Heaven" by Eddie Cochran, and at the British tour which changed music and ended his life. Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have a fifteen-minute bonus episode, on "Quarter to Three" by Gary US Bonds. 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/  ----more---- Resources   As usual, I have put together a Mixcloud mix with every song excerpted in this podcast. Much of the information here comes from Spencer Leigh's book Things Do Go Wrong, which looks specifically at the 1960 tour. I also used Gene Vincent and Eddie Cochran: Rock and Roll Revolutionaries by John Collis.  While there are dozens of compilations of Cochran's music available, many of them are flawed in one way or another (including the Real Gone Music four-CD set, which is what I would normally recommend). This one is probably the best you can get for Cochran novices. This CD contains the Saturday Club recordings by Vincent and Cochran, which are well worth listening to.   Pete Frame's The Restless Generation is the best book available looking at British 50s rock and roll from a historical perspective. Be warned, though -- his jokey and irreverent style can, when dealing with people like Larry Parnes (who was gay and Jewish) very occasionally tip over into reinforcing homophobic and anti-semitic stereotypes for an easy laugh. And a fair chunk of the background information here also comes from the extended edition of Mark Lewisohn's Tune In, which is essential reading for anyone who is interested in the Beatles, British post-war culture, and British post-war music.   Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript There's been a sad running theme in the episodes in recent months of rock stars dying in accidents. Sadly, in the 1950s and sixties, travelling long distances was even more dangerous than it is today, and rock musicians, who had to travel a lot more than most people, and did much of that travelling at night, were more likely to be in accidents than most. Today, we're going to look at yet another of these tragic deaths, of someone who is thought of in the US as being something of a one-hit wonder, but who had a much bigger effect on British music. We're going to look at what would be Eddie Cochran's final tour, and at his UK number one single "Three Steps to Heaven": [Excerpt: Eddie Cochran, "Three Steps to Heaven"] When we left Eddie Cochran, he had just appeared in the film "The Girl Can't Help It", singing "Twenty Flight Rock", and he had also had a hit with "Sittin' in the Balcony". But he hadn't yet managed to establish himself as the star he knew he could be -- he was the whole package, singer, songwriter, and especially guitarist, and he hadn't yet made a record that showed him to his best advantage as an artist. "Twenty Flight Rock" had come close, but it wasn't a song he'd written himself, and the record hadn't yet been released in the US. Meanwhile, Liberty Records seemed to not understand what they had in him -- they were trying to push him to be another Pat Boone, and become a bland pop singer with no rock and roll in his sound. His first album, Singin' to My Baby, had little to do with the music that he was interested in playing. So Cochran needed to find something that would really put him on the map -- a song that would mean he wasn't just one of dozens of Fabians and Frankie Avalons and interchangeable Bobbies who were starting to take over shows like American Bandstand. "Twenty Flight Rock" hadn't ended up being a hit at all, despite its placement in a popular film -- they'd left it too long between the film coming out and releasing the record, and he'd lost that momentum. At the end of 1957 he'd gone on the Australian tour with Little Richard and Gene Vincent which had led to Richard retiring from rock and roll, and he'd become much closer with Vincent, with whom he'd already struck up a friendship when making The Girl Can't Help It. The two men bonded, particularly, over their love of guns, although they expressed that love in very different ways. Cochran had grown up in rural Minnesota, and had the same love of hunting and fishing that most men of his background did at that time (and that many still do). He was, by all accounts, an affable person, and basically well adjusted. Vincent, on the other hand, was a polite and friendly person when not drinking. Unfortunately, he was in constant pain from his leg wounds, and that meant he was drinking a lot, and when he was drunk he was an incredibly unpleasant, aggressive, person. His love of guns was mostly for threatening people with, and he seems to have latched on to Cochran as someone who could look after him when he got himself into awkward situations -- Cochran was so personally charming that he could defuse the situation when Vincent had behaved appallingly towards someone. At the time, Vincent seemed like a has-been and Cochran a never-would-be. This was late 1957, and it seemed like rock and roll records with guitars on were a fad that had already passed their sell-by date. The only white guitarist/vocalist other than Elvis who'd been having hits on a regular basis was Buddy Holly, and his records were doing worse and worse with each release. Vincent hadn't had a real hit since his first single, "Be Bop A Lula", while Cochran had made the top twenty with "Sittin' in the Balcony", but the highest he'd got after that was number eighty-two. He'd recently recorded a song co-written by George Mottola, who'd written "Goodnight My Love", but "Jeannie, Jeannie, Jeannie" stalled at number ninety-four when it was released in early 1958: [Excerpt: Eddie Cochran, "Jeannie, Jeannie, Jeannie"] So neither man was in a good place at the start of 1958, but they had very different attitudes -- Vincent was depressed and angry, but Cochran knew that something would come along. He was only nineteen, he was astonishingly good looking, he was a great guitarist -- if rock and roll didn't work out, something would. In early 1958, Cochran was still hunting for that elusive big hit, as he joined the Blue Caps in the studio, to provide bass, arrangements, and backing vocals on several tracks for Vincent's latest album. It's Cochran singing the bass vocals at the start of "Git It", one of Vincent's greatest tracks: [Excerpt: Gene Vincent and the Blue Caps, "Git It"] But shortly after that recording, a major turn in Cochran's fortunes came from an unexpected place. Liberty Records had been in financial difficulties, and part of the reason that Cochran's records were unsuccessful was that they just didn't have the money to promote them as much as they'd like. But then at the beginning of April a man called Ross Bagdasarian, under the name David Seville, released a novelty song called "The Witch Doctor", featuring some mildly racist comedy and a sped-up voice. That record became a massive hit, selling over a million copies, going to number one, and becoming the fourth most successful record of 1958. Suddenly, Liberty Records was saved from bankruptcy. That made all the difference to the success of a track that Cochran had recorded on March the 28th, the same week he recorded those Gene Vincent sessions, and which came out at the tail-end of summer. Cochran had come up with a guitar riff that he liked, but he didn't have any lyrics for it, and his friend and co-writer Jerry Capehart said "there's never been a blues about the summer". The two of them came up with some comedy lyrics in the style of the Coasters, who had just started to have big hits, and the result became Cochran's only top ten hit in the US, reaching number eight, and becoming one of the best-remembered tracks of the fifties: [Excerpt: Eddie Cochran, "Summertime Blues"] That track was recorded with a minimal number of musicians -- Cochran played all the guitars and sang both vocal parts, his bass player Guybo Smith played the bass part, and the great session drummer Earl Palmer played drums. There was also a fourth person on the record -- Sharon Sheeley, who added handclaps, and who had written the B-side. Sheeley was a talented songwriter who also had a propensity for dating musicians. She'd dated one of the Everly Brothers for a while -- different reports name different brothers, but the consensus seems to be that it was Don -- and then when they'd split up, she'd written a song called "Poor Little Fool". She'd then faked having her car break down outside Ricky Nelson's house, and collared him when he came out to help. That sort of thing seemed to happen to Nelson a lot with songwriters -- Johnny and Dorsey Burnette had sold Nelson songs by sitting on his doorstep and refusing to move until he listened to them -- but it seemed to work out very well for him. The Burnettes wrote several hits for him, while Sheeley's "Poor Little Fool" became Nelson's first number one, as well as being the first number one ever on Billboard's newly-renamed Hot One Hundred, and the first number one single on any chart to be written by a woman without a male cowriter: [Excerpt: Ricky Nelson, "Poor Little Fool"] Sheeley gets unfairly pigeonholed as a groupie (not that there's anything wrong with being a groupie) because she had relationships with musicians, and at this point she was starting a relationship with Cochran. But it's important to remember that when they got together, even though he was eighteen months older than her, she was the one who had written a number one single, and he was the one whose last record had gone to number ninety-four -- and that after her relationship with Cochran, she went on to form a writing partnership with Jackie DeShannon that produced a long string of hits for people like Brenda Lee and the Fleetwoods, as well as songs that weren't hits but probably deserved to be, like Ral Donner's "Don't Put Your Heart in His Hands": [Excerpt: Ral Donner, "Don't Put Your Heart in His Hands"] Sheeley was more invested in her relationship with Cochran than he was, but this has led rock writers to completely dismiss her as "just Eddie Cochran's girlfriend", when in terms of their relative statuses in the music industry, it would be more fair to define Cochran as "just Sharon Sheeley's boyfriend". I have to emphasise this point, because in the limited number of books about Cochran, you will see a lot of descriptions of her as "a groupie", "a fantasist", and worse, and very few mentions of the fact that she had a life outside her partner. "Summertime Blues" looked like it was going to be the start of Eddie Cochran's career as a rock and roll star, but in fact it was the peak of it, at least in the US. While the song was a big hit, the follow-up, "C'mon Everybody", which was written by Cochran and Capehart to much the same formula, but without the humour that characterised "Summertime Blues", didn't do so well: [Excerpt: Eddie Cochran, "C'mon Everybody"] That made only number thirty-five on the US charts, and would be Cochran's last top forty record there -- but in the UK, it was a bigger hit than "Summertime Blues", reaching number six. "C'mon Everybody" was, though, big enough for Cochran to make some TV appearances. He'd agreed to go on tour with his friends Buddy Holly and Ritchie Valens on a tour called the Winter Dance Party tour, but had bowed out when he got some offers of TV work. He definitely appeared on a show called Town Hall Party broadcast from California on February the second 1959, and according to Sheeley he was booked to appear in New York on the Ed Sullivan Show, which was the reason he'd decided not to do the tour, a few days later. As it turned out, Cochran never made that Ed Sullivan Show appearance, as in the early hours of February the third, his friends died in a plane crash. He refused to get on the plane to New York for the show, and instead drove out to the desert in his station wagon to grieve, and from that point on he developed a fear of flying. The follow-up to "C'mon Everybody", "Teenage Heaven", only went to number ninety-nine on the charts, and his next two singles didn't do much better. "Somethin' Else", a song that Sheeley had written for him, made number fifty-eight, while his cover version of Ray Charles' "Hallelujah I Love Her So" didn't chart at all. 1959 was a depressing year for Cochran personally and professionally. But while "Somethin' Else" and "Hallelujah I Love Her So" were flops in the US, they both made the top thirty in the UK. In the US, guitar-based white rock and roll was now firmly out of fashion, with the audience split between black vocal groups singing R&B and white male solo singers called Bobby singing mid-tempo pop. But in the UK, the image of rock and roll in people's minds was still that of the rockabillies from a couple of years earlier -- while British musical trends would start to move faster than the US by the sixties, in the fifties they lagged a long way behind. And in particular, Cochran's friend Gene Vincent was doing much better in Britain than in the US. Very few US performers had toured the UK, and with the exception of Buddy Holly, most of those who had were not particularly impressive. Because of an agreement between the two countries' musicians' unions, it was difficult for musicians to perform in one country if they were from the other. It wasn't quite so difficult for solo performers, who could be backed by local musicians and were covered under a different agreement, but Lew and Leslie Grade, who had a virtual monopoly on the UK entertainment business, had had a very bad experience with Jerry Lee Lewis when his marriage to his teenage cousin had caused his UK tour to be cancelled, and anyway, Britain was an unimportant market a long way away from America, so why would Americans come all that way? For most of 1959, the closest thing to American rock and roll stars touring the UK were Connie Francis and Paul Anka, neither of whom screamed rock and roll rebellion. American rockers just didn't come to the UK. Unless they had nowhere else to go, that is -- and Gene Vincent had nowhere else to go. In the US, he was a washed-up has been who'd burned every single bridge, but in the UK he was an American Rock Star. In late 1959 he released a not-great single, "Wildcat": [Excerpt: Gene Vincent, "Wildcat"] That single wasn't doing particularly well, but then Larry Parnes and Jack Good hatched a plan. Good had a new TV show, "Boy Meets Girls", based around one of Parnes' artists, Marty Wilde, and also had a column in Disc magazine. They'd get an American rock star over to the UK, Parnes would stick him on a bill with a bunch of Parnes' acts, Good would put him on the TV show and promote him in Disc magazine, and the tour and TV show would split the costs. Wilde was, at the time, about to go into a career slump. He'd just got married, and he and his wife were trying for their first kid -- they'd decided that if it was a girl, they were going to call her Kim. It seemed likely they were going to lose his audience of teenage girls, as he was no longer available, and so Larry Parnes was trying to move him from rock and roll into musical styles that would be more suitable for adults, so his latest single was a ballad, "Bad Boy": [Excerpt: Marty Wilde, "Bad Boy"] That meant that Wilde's band, the Wildcats, made up at this point of Tony Belcher, Big Jim Sullivan, Licorice Locking and Brian Bennett, were no longer going to be suitable to back Wilde, as they were all rock and rollers, so they'd be fine for whichever rock star they could persuade over to the UK. Vincent was the only rock star available, and his latest single was even called "Wildcat". That made him perfect for Parnes' purposes, though Vincent was slightly nervous about using British musicians -- he simply didn't think that British musicians would be any good. As it turned out, Vincent had nothing to worry about on that score at least. When he got to the studios in Didsbury, in Manchester, where Boy Meets Girls was filmed, he met some of the best session musicians Britain had to offer. The house band for the show, the Flying Squad, was a smaller version of the bands that had appeared on Good's earlier shows, a nine-piece group that included organist Cherry Wainer and session drummer Andy White, and was led by Joe Brown. Brown was a Larry Parnes artist, who at this point had released one rather uninspired single, the country-flavoured "People Gotta Talk": [Excerpt: Joe Brown, "People Gotta Talk"] But Brown had an independent streak, which could be seen just from his name -- Larry Parnes had tried to change it, as he did with all his acts, but Brown had flat-out refused to be called Elmer Twitch, the name Parnes had chosen for him. He insisted on keeping his own name, and it was under that name that he became one of Britain's most respected guitarists. Vincent, amazingly, found these British musicians to be every bit as good as any musicians he'd worked with in the USA. But that was about all that he liked about the UK -- you couldn't get a hamburger or a pizza anywhere in the whole country, and the TV was only in black and white, and it finished at 11PM. For someone like Vincent, who liked to stay up all night watching old monster movies on TV, that was completely unacceptable. Luckily for him, at least he had his gun and knife to keep him occupied -- he'd strapped them both to the leg iron he used for his damaged leg, so they wouldn't set off the metal detectors coming into the country. But whatever his thoughts about the country as a whole, he couldn't help loving the audience reaction. Jack Good knew how to present a rock and roll star to an audience, and he'd moved Vincent out of the slacks and sweater vests and blue caps into the kind of leather that he'd already had Vince Taylor wear. He got Vincent to emphasise his limp, and to look pained at all times. He was imagining Vincent as something along the lines of Richard III, and wanted him to appear as dangerous as possible. He used all the tricks of stagecraft that he'd used on Taylor, but with the added advantage that Vincent had a remarkable voice, unlike Taylor. Sadly, as is the case with almost all of the British TV of the period, the videotapes of the performances have long since been wiped, but we have poor-quality audio that demonstrates both how good Vincent was sounding and how well the British musicians were able to adapt to backing him: [Excerpt: Gene Vincent, "Summertime", live on Boy Meets Girls] After making three appearances on Boy Meets Girls, Vincent was put on tour backed by the Wildcats, on a bill with acts like Wee Willie Harris and the Bachelors (the ones who recorded for Parlophone, not the later act of the same name), and "Wildcat" started going up the charts. Even though Gene Vincent hadn't had a hit in three years, he was a massive success with the British audiences, and as a result Parnes and Good decided that it might be an idea if they got another American star over here, and the obvious choice was Eddie Cochran. Cochran had the same agent as Vincent, and so there was a working relationship there; they both knew each other and so Vincent could help persuade Cochran over; and Cochran had had a string of top thirty hits in the UK, but was commercially dead in the US. It was tempting for Cochran, too -- as well as the obvious advantage of playing to people who were actually buying his record, the geography of Britain appealed. He'd been terrified of flying since Buddy Holly and Ritchie Valens had died, but the British tour would only involve the transatlantic flight -- all the travel once he was in the UK would be by road or rail. Before he came over, he had to record his next single, to be released while he was over in the UK. So on January the 8th, 1960, Eddie Cochran went into Gold Star Studios with his normal bass player, Guybo, and with his friends Sonny Curtis and Jerry Allison, the guitarist and drummer of the Crickets, and they cut what turned out to be his last single, "Three Steps to Heaven": [Excerpt: Eddie Cochran, "Three Steps to Heaven"] Two days later, he was in Britain, for the start of what was the biggest rock and roll tour in British history to that point -- a hundred and eight live appearances, plus several TV and radio appearances, in a little over three months, playing two shows a night most nights. Parnes felt he had to work them hard to justify their fees -- Vincent was getting $2500 a week, and Cochran $1000, while for example Billy Fury, at that point the biggest of Parnes' acts, was on a salary of twenty pounds a week. While Vincent had made a great impression largely despite himself, Cochran was a different matter. Everyone seemed to love him. Unlike Vincent, he was a musician's musician, and he formed close friendships with the players on the tour. Joe Brown, for example, remembers Cochran explaining to him that if you swap the G string on your guitar for a second B string, tuned down to G, you could bend a note a full tone -- Brown used that trick to make himself one of the most sought-after session players in the UK before his own pop career started to take off. It was also apparent that while Jack Good had had to create a stage act for Gene Vincent, he didn't have to do anything to make Cochran look good in front of the cameras. Marty Wilde said of him "The first thing I noticed about Eddie was his complexion. We British lads had acne and all the usual problems, and Eddie walked in with the most beautiful hair and the most beautiful skin - his skin was a light brown, beautiful colour, all that California sunshine, and I thought 'you lucky devil'. We had Manchester white all over us. And he had the most beautiful face -- the photographs never did the guy justice". From the moment Cochran started his set in Ipswich, by saying "It's great to be here in Hipswich" and wiggling his hips, he was utterly in command of the British audiences. Thankfully, because they did so many TV and radio sessions while they were over here, we have some idea of what these shows sounded like -- and from the recordings, even when they were in the antiseptic environment of a BBC recording studio, without an audience, they still sounded fantastic. On some shows, Cochran would start with his back to the audience, the band would start playing "Somethin' Else", the song that Sharon Sheeley had written for him that had been a minor hit, and he'd whirl round and face the audience on the opening line, "Well look-a there!" [Excerpt: Eddie Cochran and Gene Vincent, "Somethin' Else [Eddie Cochran vocals]", Saturday Club version] The shows all had a number of acts on, all of them other than the stars Larry Parnes acts, and because there were so many shows, acts would get rotated in and out as the tour went on. But some of those who played on many dates were Vince Eager, who had named himself after Gene Vincent but quickly grew more attached to Eddie Cochran, who he started to regard as his best friend as the tour went on, Tony Sheridan, who was building a solo career after leaving the Oh Boy! band, Georgie Fame, who was already more interested in being a jazz and R&B pianist in the mould of Mose Allison than he was in being a pop star, Johnny Gentle, a Liverpudlian performer who never rose to massive success, and Billy Fury, by far the most talented of Parnes' acts. Fury was another Liverpudlian, who looked enough like Cochran that they could be brothers, and who had a top ten hit at the time with "Collette", one of many hits he wrote for himself: [Excerpt: Billy Fury, "Collette"]  Fury was something of a sex symbol, aided by the fact that he would stuff his pants with the cardboard tube from a toilet roll before going on stage. This would lead the girls to scream at him -- but would also lead their violent boyfriends to try to bottle him off stage, which meant he had more reason than most to have stagefright. Cochran would joke with Fury, and try to put him at ease -- one story has him telling a nervous Fury, about to go on stage, to just say to himself "I am the greatest performer in the world". Fury repeated back "I am the greatest performer in the world", and Cochran replied, "No you're not -- I am!" This kind of joking led to Cochran becoming immensely popular among all the musicians on the tour, and to him once again falling into his old role of protecting Gene Vincent from the consequences of his own actions, when Vincent would do things like cut up a suit belonging to one of the road managers, while the road manager was inside it. While Vincent was the headliner, Cochran was clearly the one who impressed the British audiences the most. We have some stories from people who saw the tour, and they all focus on Eddie. Particularly notable is the tour's residency in Liverpool, during which time Cochran was opening his set with his version of "What'd I Say": [Excerpt: Gene Vincent and Eddie Cochran, "What'd I Say [Eddie Cochran vocals]", Saturday Club version] We have this report of Cochran's performance in Liverpool: "Eddie blew me away. He had his unwound 3rd string, looked good and sang good and he was really getting to be a good guitarist… One moment will always represent Eddie to me. He finished a tune, the crowd stopped screaming and clapping, and he stepped up to the mike and before he said something he put both his hands back, pushed his hair back, and some girl, a single voice in the audience, she went ‘Eddie!’ and he said ‘Hi honey!’… I thought, ‘Yes! That’s it – rock ’n’ roll!’" That's a quote from George Harrison in the early 1990s. He'd gone to see the show with a friend, John Lennon -- it was Lennon's first ever rock and roll gig as an audience member, and one of a very small number he ever attended. Lennon never particularly enjoyed seeing live shows -- he preferred records -- but even he couldn't resist seeing Eddie Cochran and Gene Vincent on the same bill. The Liverpool shows were massive successes, despite both American rockers being increasingly bored and turning more and more to drink as a result. Apparently the two would drink a bottle of bourbon between them before going on stage, and at one Liverpool show Cochran had to hold on to a mic stand to keep himself upright for the first two songs, before he sobered up enough to let go. The shows were successful enough that a local promoter, Allan Williams, asked if he could book Cochran and Vincent for another show, and Larry Parnes said yes -- after Liverpool, they had to play Newcastle, Manchester, London, and Bristol, taking up another month, and then Eddie Cochran was going to be going back to the US for a couple of weeks, but he could pencil them in for six weeks' time, when Cochran was going to come back. It's quite surprising that Cochran agreed to come back, because he was getting thoroughly sick of the UK. He'd asked Sharon Sheeley to fly over and join him, but other than her and Vincent he had nothing of home with him, and he liked sunshine, fast food, cold beer, and all-night TV, and hated everything about the British winter, which was far darker and wetter than anything he'd experienced. But on the other hand, he was enjoying making music with these British people. There's a great recording of Cochran, Vincent, Billy Fury, and Joe Brown jamming on the Willie Dixon blues song "My Babe" on "Boy Meets Girls": [Excerpt: Eddie Cochran, Gene Vincent, Billy Fury, Joe Brown, “My Babe”] But by the time the tour ended in Bristol, Eddie was very keen to get back. He was going to be bringing Vince Eager over to America to record, and arranged to meet him in London in the early hours of Easter Sunday. They were going to be taking the lunchtime plane from what was then London Airport but is now Heathrow. But there was a problem with getting there on time. There were very few trains between Bristol and London, and they'd have to get a car from the train station to the airport. But that Easter Sunday was the day of the annual Aldermaston March against nuclear weapons. These were massive marches which were big enough that they spawned compilation albums of songs to sing on the march, like Ewan MacColl and Peggy Seeger's "Brother Won't You Join the Line": [Excerpt: Ewan MacColl and Peggy Seeger, "Brother Won't You Join the Line?"] But the main effect the march was having on Cochran and Vincent was that it meant that to be sure of catching their plane, they would have to travel overnight by car. At first, they asked one of the other artists on the tour, Johnny Gentle, if they could go in his car, but he already had a carful, so they ended up getting a local driver, named George Martin (not the one at Parlophone Records) to drive them overnight. They got into the back seat of the car -- Cochran sitting between Vincent and Sheeley, as Sheeley couldn't stand Vincent. Vincent took a sleeping pill and went to sleep almost immediately, but Sheeley and Cochran were in a good mood, singing "California Here We Come" together, when Martin took a turn too fast and hit a lamppost. Vincent and Sheeley suffered major injuries and had to spend time in hospital. Cochran died. A short while later, Johnny Gentle's car made its way onward towards London, and ran out of fuel. As all-night garages weren't a thing in Britain then, they flagged down a policeman who told them there'd been a crash, and they could see if the breakdown vehicle would let them siphon petrol from the wrecked car. They did, and it was only the next day they realised which car it was they'd taken the fuel from. One of the police at the scene – maybe even that one – was a cadet who would later change his name to Dave Dee, and become the lead singer in Dave Dee, Dozy, Beaky, Mick and Titch. As soon as the news got out about Cochran's death, "Three Steps to Heaven", which had come out in the US, but not yet in the UK, was rush-released: [Excerpt: Eddie Cochran, "Three Steps to Heaven"] It went to number one, and became Cochran's biggest hit. Larry Parnes didn't see why Cochran's death should put a crimp in his plans, and so he immediately started promoting the shows for which Vincent and Cochran had been booked, calling them Eddie Cochran Tribute Shows, and talking to the press about how ironic it was that Cochran's last song was "Three Steps to Heaven". Vince Eager was so disgusted with Parnes that he never worked with him again. But those shows turned out to have a much bigger impact than anyone could have imagined. Allan Williams was worried that without Cochran, the show he'd got booked in Liverpool wouldn't get enough of a crowd, so he booked in a number of local bands -- Rory Storm and the Hurricanes, Cass and the Cassanovas, Nero and the Gladiators, and Gerry and the Pacemakers -- to fill out the bill. This led to all the bands and musicians in Liverpool realising, for the first time, how much talent there was in the city and how many bands there were. That one show changed Liverpool from a town where there were a few bands to a town with a music scene, and May the third 1960 can be pointed to as the day that Merseybeat started. Parnes was impressed enough by the local groups that he decided that Liverpool might be a good place to look for musicians to back his singers on the road. And we'll pick up on what happened then in a few months. Sharon Sheeley, once she'd recovered from her injuries, went on to write hits for Brenda Lee, Jackie DeShannon, the Fleetwoods, and Irma Thomas, and when Jack Good moved back to the US, she renewed her acquaintance with him, and together with Sheeley's husband they created Shindig, the most important American music show of the sixties. But by the time she died in 2002, all her obituaries talked about was that she'd been Eddie Cochran's girlfriend. And as for Gene Vincent, he was already in chronic pain, suffering mood swings, and drinking too much before the accident hospitalised him. After that, all those things intensified. He became increasingly unreliable, and the hits dried up even in Britain by mid-1961. He made some good music in the sixties, but almost nobody was listening any more, and an attempted comeback was cut short when he died, aged thirty-six, in 1971, from illnesses caused by his alcoholism. Despite their tragic deaths, Vincent and Cochran, on that 1960 UK tour, almost accidentally catalysed a revolution in British music, and the changes from that will reverberate throughout the rest of this story.

Episode eighty-five of A History of Rock Music in Five Hundred Songs looks at “Three Steps to Heaven” by Eddie Cochran, and at the British tour which changed music and ended his life. Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have a fifteen-minute bonus episode, on “Quarter to Three” by Gary US Bonds. 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/  —-more—- Resources   As usual, I have put together a Mixcloud mix with every song excerpted in this podcast. Much of the information here comes from Spencer Leigh’s book Things Do Go Wrong, which looks specifically at the 1960 tour. I also used Gene Vincent and Eddie Cochran: Rock and Roll Revolutionaries by John Collis.  While there are dozens of compilations of Cochran’s music available, many of them are flawed in one way or another (including the Real Gone Music four-CD set, which is what I would normally recommend). This one is probably the best you can get for Cochran novices. This CD contains the Saturday Club recordings by Vincent and Cochran, which are well worth listening to.   Pete Frame’s The Restless Generation is the best book available looking at British 50s rock and roll from a historical perspective. Be warned, though — his jokey and irreverent style can, when dealing with people like Larry Parnes (who was gay and Jewish) very occasionally tip over into reinforcing homophobic and anti-semitic stereotypes for an easy laugh. And a fair chunk of the background information here also comes from the extended edition of Mark Lewisohn’s Tune In, which is essential reading for anyone who is interested in the Beatles, British post-war culture, and British post-war music.   Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript There’s been a sad running theme in the episodes in recent months of rock stars dying in accidents. Sadly, in the 1950s and sixties, travelling long distances was even more dangerous than it is today, and rock musicians, who had to travel a lot more than most people, and did much of that travelling at night, were more likely to be in accidents than most. Today, we’re going to look at yet another of these tragic deaths, of someone who is thought of in the US as being something of a one-hit wonder, but who had a much bigger effect on British music. We’re going to look at what would be Eddie Cochran’s final tour, and at his UK number one single “Three Steps to Heaven”: [Excerpt: Eddie Cochran, “Three Steps to Heaven”] When we left Eddie Cochran, he had just appeared in the film “The Girl Can’t Help It”, singing “Twenty Flight Rock”, and he had also had a hit with “Sittin’ in the Balcony”. But he hadn’t yet managed to establish himself as the star he knew he could be — he was the whole package, singer, songwriter, and especially guitarist, and he hadn’t yet made a record that showed him to his best advantage as an artist. “Twenty Flight Rock” had come close, but it wasn’t a song he’d written himself, and the record hadn’t yet been released in the US. Meanwhile, Liberty Records seemed to not understand what they had in him — they were trying to push him to be another Pat Boone, and become a bland pop singer with no rock and roll in his sound. His first album, Singin’ to My Baby, had little to do with the music that he was interested in playing. So Cochran needed to find something that would really put him on the map — a song that would mean he wasn’t just one of dozens of Fabians and Frankie Avalons and interchangeable Bobbies who were starting to take over shows like American Bandstand. “Twenty Flight Rock” hadn’t ended up being a hit at all, despite its placement in a popular film — they’d left it too long between the film coming out and releasing the record, and he’d lost that momentum. At the end of 1957 he’d gone on the Australian tour with Little Richard and Gene Vincent which had led to Richard retiring from rock and roll, and he’d become much closer with Vincent, with whom he’d already struck up a friendship when making The Girl Can’t Help It. The two men bonded, particularly, over their love of guns, although they expressed that love in very different ways. Cochran had grown up in rural Minnesota, and had the same love of hunting and fishing that most men of his background did at that time (and that many still do). He was, by all accounts, an affable person, and basically well adjusted. Vincent, on the other hand, was a polite and friendly person when not drinking. Unfortunately, he was in constant pain from his leg wounds, and that meant he was drinking a lot, and when he was drunk he was an incredibly unpleasant, aggressive, person. His love of guns was mostly for threatening people with, and he seems to have latched on to Cochran as someone who could look after him when he got himself into awkward situations — Cochran was so personally charming that he could defuse the situation when Vincent had behaved appallingly towards someone. At the time, Vincent seemed like a has-been and Cochran a never-would-be. This was late 1957, and it seemed like rock and roll records with guitars on were a fad that had already passed their sell-by date. The only white guitarist/vocalist other than Elvis who’d been having hits on a regular basis was Buddy Holly, and his records were doing worse and worse with each release. Vincent hadn’t had a real hit since his first single, “Be Bop A Lula”, while Cochran had made the top twenty with “Sittin’ in the Balcony”, but the highest he’d got after that was number eighty-two. He’d recently recorded a song co-written by George Mottola, who’d written “Goodnight My Love”, but “Jeannie, Jeannie, Jeannie” stalled at number ninety-four when it was released in early 1958: [Excerpt: Eddie Cochran, “Jeannie, Jeannie, Jeannie”] So neither man was in a good place at the start of 1958, but they had very different attitudes — Vincent was depressed and angry, but Cochran knew that something would come along. He was only nineteen, he was astonishingly good looking, he was a great guitarist — if rock and roll didn’t work out, something would. In early 1958, Cochran was still hunting for that elusive big hit, as he joined the Blue Caps in the studio, to provide bass, arrangements, and backing vocals on several tracks for Vincent’s latest album. It’s Cochran singing the bass vocals at the start of “Git It”, one of Vincent’s greatest tracks: [Excerpt: Gene Vincent and the Blue Caps, “Git It”] But shortly after that recording, a major turn in Cochran’s fortunes came from an unexpected place. Liberty Records had been in financial difficulties, and part of the reason that Cochran’s records were unsuccessful was that they just didn’t have the money to promote them as much as they’d like. But then at the beginning of April a man called Ross Bagdasarian, under the name David Seville, released a novelty song called “The Witch Doctor”, featuring some mildly racist comedy and a sped-up voice. That record became a massive hit, selling over a million copies, going to number one, and becoming the fourth most successful record of 1958. Suddenly, Liberty Records was saved from bankruptcy. That made all the difference to the success of a track that Cochran had recorded on March the 28th, the same week he recorded those Gene Vincent sessions, and which came out at the tail-end of summer. Cochran had come up with a guitar riff that he liked, but he didn’t have any lyrics for it, and his friend and co-writer Jerry Capehart said “there’s never been a blues about the summer”. The two of them came up with some comedy lyrics in the style of the Coasters, who had just started to have big hits, and the result became Cochran’s only top ten hit in the US, reaching number eight, and becoming one of the best-remembered tracks of the fifties: [Excerpt: Eddie Cochran, “Summertime Blues”] That track was recorded with a minimal number of musicians — Cochran played all the guitars and sang both vocal parts, his bass player Guybo Smith played the bass part, and the great session drummer Earl Palmer played drums. There was also a fourth person on the record — Sharon Sheeley, who added handclaps, and who had written the B-side. Sheeley was a talented songwriter who also had a propensity for dating musicians. She’d dated one of the Everly Brothers for a while — different reports name different brothers, but the consensus seems to be that it was Don — and then when they’d split up, she’d written a song called “Poor Little Fool”. She’d then faked having her car break down outside Ricky Nelson’s house, and collared him when he came out to help. That sort of thing seemed to happen to Nelson a lot with songwriters — Johnny and Dorsey Burnette had sold Nelson songs by sitting on his doorstep and refusing to move until he listened to them — but it seemed to work out very well for him. The Burnettes wrote several hits for him, while Sheeley’s “Poor Little Fool” became Nelson’s first number one, as well as being the first number one ever on Billboard’s newly-renamed Hot One Hundred, and the first number one single on any chart to be written by a woman without a male cowriter: [Excerpt: Ricky Nelson, “Poor Little Fool”] Sheeley gets unfairly pigeonholed as a groupie (not that there’s anything wrong with being a groupie) because she had relationships with musicians, and at this point she was starting a relationship with Cochran. But it’s important to remember that when they got together, even though he was eighteen months older than her, she was the one who had written a number one single, and he was the one whose last record had gone to number ninety-four — and that after her relationship with Cochran, she went on to form a writing partnership with Jackie DeShannon that produced a long string of hits for people like Brenda Lee and the Fleetwoods, as well as songs that weren’t hits but probably deserved to be, like Ral Donner’s “Don’t Put Your Heart in His Hands”: [Excerpt: Ral Donner, “Don’t Put Your Heart in His Hands”] Sheeley was more invested in her relationship with Cochran than he was, but this has led rock writers to completely dismiss her as “just Eddie Cochran’s girlfriend”, when in terms of their relative statuses in the music industry, it would be more fair to define Cochran as “just Sharon Sheeley’s boyfriend”. I have to emphasise this point, because in the limited number of books about Cochran, you will see a lot of descriptions of her as “a groupie”, “a fantasist”, and worse, and very few mentions of the fact that she had a life outside her partner. “Summertime Blues” looked like it was going to be the start of Eddie Cochran’s career as a rock and roll star, but in fact it was the peak of it, at least in the US. While the song was a big hit, the follow-up, “C’mon Everybody”, which was written by Cochran and Capehart to much the same formula, but without the humour that characterised “Summertime Blues”, didn’t do so well: [Excerpt: Eddie Cochran, “C’mon Everybody”] That made only number thirty-five on the US charts, and would be Cochran’s last top forty record there — but in the UK, it was a bigger hit than “Summertime Blues”, reaching number six. “C’mon Everybody” was, though, big enough for Cochran to make some TV appearances. He’d agreed to go on tour with his friends Buddy Holly and Ritchie Valens on a tour called the Winter Dance Party tour, but had bowed out when he got some offers of TV work. He definitely appeared on a show called Town Hall Party broadcast from California on February the second 1959, and according to Sheeley he was booked to appear in New York on the Ed Sullivan Show, which was the reason he’d decided not to do the tour, a few days later. As it turned out, Cochran never made that Ed Sullivan Show appearance, as in the early hours of February the third, his friends died in a plane crash. He refused to get on the plane to New York for the show, and instead drove out to the desert in his station wagon to grieve, and from that point on he developed a fear of flying. The follow-up to “C’mon Everybody”, “Teenage Heaven”, only went to number ninety-nine on the charts, and his next two singles didn’t do much better. “Somethin’ Else”, a song that Sheeley had written for him, made number fifty-eight, while his cover version of Ray Charles’ “Hallelujah I Love Her So” didn’t chart at all. 1959 was a depressing year for Cochran personally and professionally. But while “Somethin’ Else” and “Hallelujah I Love Her So” were flops in the US, they both made the top thirty in the UK. In the US, guitar-based white rock and roll was now firmly out of fashion, with the audience split between black vocal groups singing R&B and white male solo singers called Bobby singing mid-tempo pop. But in the UK, the image of rock and roll in people’s minds was still that of the rockabillies from a couple of years earlier — while British musical trends would start to move faster than the US by the sixties, in the fifties they lagged a long way behind. And in particular, Cochran’s friend Gene Vincent was doing much better in Britain than in the US. Very few US performers had toured the UK, and with the exception of Buddy Holly, most of those who had were not particularly impressive. Because of an agreement between the two countries’ musicians’ unions, it was difficult for musicians to perform in one country if they were from the other. It wasn’t quite so difficult for solo performers, who could be backed by local musicians and were covered under a different agreement, but Lew and Leslie Grade, who had a virtual monopoly on the UK entertainment business, had had a very bad experience with Jerry Lee Lewis when his marriage to his teenage cousin had caused his UK tour to be cancelled, and anyway, Britain was an unimportant market a long way away from America, so why would Americans come all that way? For most of 1959, the closest thing to American rock and roll stars touring the UK were Connie Francis and Paul Anka, neither of whom screamed rock and roll rebellion. American rockers just didn’t come to the UK. Unless they had nowhere else to go, that is — and Gene Vincent had nowhere else to go. In the US, he was a washed-up has been who’d burned every single bridge, but in the UK he was an American Rock Star. In late 1959 he released a not-great single, “Wildcat”: [Excerpt: Gene Vincent, “Wildcat”] That single wasn’t doing particularly well, but then Larry Parnes and Jack Good hatched a plan. Good had a new TV show, “Boy Meets Girls”, based around one of Parnes’ artists, Marty Wilde, and also had a column in Disc magazine. They’d get an American rock star over to the UK, Parnes would stick him on a bill with a bunch of Parnes’ acts, Good would put him on the TV show and promote him in Disc magazine, and the tour and TV show would split the costs. Wilde was, at the time, about to go into a career slump. He’d just got married, and he and his wife were trying for their first kid — they’d decided that if it was a girl, they were going to call her Kim. It seemed likely they were going to lose his audience of teenage girls, as he was no longer available, and so Larry Parnes was trying to move him from rock and roll into musical styles that would be more suitable for adults, so his latest single was a ballad, “Bad Boy”: [Excerpt: Marty Wilde, “Bad Boy”] That meant that Wilde’s band, the Wildcats, made up at this point of Tony Belcher, Big Jim Sullivan, Licorice Locking and Brian Bennett, were no longer going to be suitable to back Wilde, as they were all rock and rollers, so they’d be fine for whichever rock star they could persuade over to the UK. Vincent was the only rock star available, and his latest single was even called “Wildcat”. That made him perfect for Parnes’ purposes, though Vincent was slightly nervous about using British musicians — he simply didn’t think that British musicians would be any good. As it turned out, Vincent had nothing to worry about on that score at least. When he got to the studios in Didsbury, in Manchester, where Boy Meets Girls was filmed, he met some of the best session musicians Britain had to offer. The house band for the show, the Flying Squad, was a smaller version of the bands that had appeared on Good’s earlier shows, a nine-piece group that included organist Cherry Wainer and session drummer Andy White, and was led by Joe Brown. Brown was a Larry Parnes artist, who at this point had released one rather uninspired single, the country-flavoured “People Gotta Talk”: [Excerpt: Joe Brown, “People Gotta Talk”] But Brown had an independent streak, which could be seen just from his name — Larry Parnes had tried to change it, as he did with all his acts, but Brown had flat-out refused to be called Elmer Twitch, the name Parnes had chosen for him. He insisted on keeping his own name, and it was under that name that he became one of Britain’s most respected guitarists. Vincent, amazingly, found these British musicians to be every bit as good as any musicians he’d worked with in the USA. But that was about all that he liked about the UK — you couldn’t get a hamburger or a pizza anywhere in the whole country, and the TV was only in black and white, and it finished at 11PM. For someone like Vincent, who liked to stay up all night watching old monster movies on TV, that was completely unacceptable. Luckily for him, at least he had his gun and knife to keep him occupied — he’d strapped them both to the leg iron he used for his damaged leg, so they wouldn’t set off the metal detectors coming into the country. But whatever his thoughts about the country as a whole, he couldn’t help loving the audience reaction. Jack Good knew how to present a rock and roll star to an audience, and he’d moved Vincent out of the slacks and sweater vests and blue caps into the kind of leather that he’d already had Vince Taylor wear. He got Vincent to emphasise his limp, and to look pained at all times. He was imagining Vincent as something along the lines of Richard III, and wanted him to appear as dangerous as possible. He used all the tricks of stagecraft that he’d used on Taylor, but with the added advantage that Vincent had a remarkable voice, unlike Taylor. Sadly, as is the case with almost all of the British TV of the period, the videotapes of the performances have long since been wiped, but we have poor-quality audio that demonstrates both how good Vincent was sounding and how well the British musicians were able to adapt to backing him: [Excerpt: Gene Vincent, “Summertime”, live on Boy Meets Girls] After making three appearances on Boy Meets Girls, Vincent was put on tour backed by the Wildcats, on a bill with acts like Wee Willie Harris and the Bachelors (the ones who recorded for Parlophone, not the later act of the same name), and “Wildcat” started going up the charts. Even though Gene Vincent hadn’t had a hit in three years, he was a massive success with the British audiences, and as a result Parnes and Good decided that it might be an idea if they got another American star over here, and the obvious choice was Eddie Cochran. Cochran had the same agent as Vincent, and so there was a working relationship there; they both knew each other and so Vincent could help persuade Cochran over; and Cochran had had a string of top thirty hits in the UK, but was commercially dead in the US. It was tempting for Cochran, too — as well as the obvious advantage of playing to people who were actually buying his record, the geography of Britain appealed. He’d been terrified of flying since Buddy Holly and Ritchie Valens had died, but the British tour would only involve the transatlantic flight — all the travel once he was in the UK would be by road or rail. Before he came over, he had to record his next single, to be released while he was over in the UK. So on January the 8th, 1960, Eddie Cochran went into Gold Star Studios with his normal bass player, Guybo, and with his friends Sonny Curtis and Jerry Allison, the guitarist and drummer of the Crickets, and they cut what turned out to be his last single, “Three Steps to Heaven”: [Excerpt: Eddie Cochran, “Three Steps to Heaven”] Two days later, he was in Britain, for the start of what was the biggest rock and roll tour in British history to that point — a hundred and eight live appearances, plus several TV and radio appearances, in a little over three months, playing two shows a night most nights. Parnes felt he had to work them hard to justify their fees — Vincent was getting $2500 a week, and Cochran $1000, while for example Billy Fury, at that point the biggest of Parnes’ acts, was on a salary of twenty pounds a week. While Vincent had made a great impression largely despite himself, Cochran was a different matter. Everyone seemed to love him. Unlike Vincent, he was a musician’s musician, and he formed close friendships with the players on the tour. Joe Brown, for example, remembers Cochran explaining to him that if you swap the G string on your guitar for a second B string, tuned down to G, you could bend a note a full tone — Brown used that trick to make himself one of the most sought-after session players in the UK before his own pop career started to take off. It was also apparent that while Jack Good had had to create a stage act for Gene Vincent, he didn’t have to do anything to make Cochran look good in front of the cameras. Marty Wilde said of him “The first thing I noticed about Eddie was his complexion. We British lads had acne and all the usual problems, and Eddie walked in with the most beautiful hair and the most beautiful skin – his skin was a light brown, beautiful colour, all that California sunshine, and I thought ‘you lucky devil’. We had Manchester white all over us. And he had the most beautiful face — the photographs never did the guy justice”. From the moment Cochran started his set in Ipswich, by saying “It’s great to be here in Hipswich” and wiggling his hips, he was utterly in command of the British audiences. Thankfully, because they did so many TV and radio sessions while they were over here, we have some idea of what these shows sounded like — and from the recordings, even when they were in the antiseptic environment of a BBC recording studio, without an audience, they still sounded fantastic. On some shows, Cochran would start with his back to the audience, the band would start playing “Somethin’ Else”, the song that Sharon Sheeley had written for him that had been a minor hit, and he’d whirl round and face the audience on the opening line, “Well look-a there!” [Excerpt: Eddie Cochran and Gene Vincent, “Somethin’ Else [Eddie Cochran vocals]”, Saturday Club version] The shows all had a number of acts on, all of them other than the stars Larry Parnes acts, and because there were so many shows, acts would get rotated in and out as the tour went on. But some of those who played on many dates were Vince Eager, who had named himself after Gene Vincent but quickly grew more attached to Eddie Cochran, who he started to regard as his best friend as the tour went on, Tony Sheridan, who was building a solo career after leaving the Oh Boy! band, Georgie Fame, who was already more interested in being a jazz and R&B pianist in the mould of Mose Allison than he was in being a pop star, Johnny Gentle, a Liverpudlian performer who never rose to massive success, and Billy Fury, by far the most talented of Parnes’ acts. Fury was another Liverpudlian, who looked enough like Cochran that they could be brothers, and who had a top ten hit at the time with “Collette”, one of many hits he wrote for himself: [Excerpt: Billy Fury, “Collette”]  Fury was something of a sex symbol, aided by the fact that he would stuff his pants with the cardboard tube from a toilet roll before going on stage. This would lead the girls to scream at him — but would also lead their violent boyfriends to try to bottle him off stage, which meant he had more reason than most to have stagefright. Cochran would joke with Fury, and try to put him at ease — one story has him telling a nervous Fury, about to go on stage, to just say to himself “I am the greatest performer in the world”. Fury repeated back “I am the greatest performer in the world”, and Cochran replied, “No you’re not — I am!” This kind of joking led to Cochran becoming immensely popular among all the musicians on the tour, and to him once again falling into his old role of protecting Gene Vincent from the consequences of his own actions, when Vincent would do things like cut up a suit belonging to one of the road managers, while the road manager was inside it. While Vincent was the headliner, Cochran was clearly the one who impressed the British audiences the most. We have some stories from people who saw the tour, and they all focus on Eddie. Particularly notable is the tour’s residency in Liverpool, during which time Cochran was opening his set with his version of “What’d I Say”: [Excerpt: Gene Vincent and Eddie Cochran, “What’d I Say [Eddie Cochran vocals]”, Saturday Club version] We have this report of Cochran’s performance in Liverpool: “Eddie blew me away. He had his unwound 3rd string, looked good and sang good and he was really getting to be a good guitarist… One moment will always represent Eddie to me. He finished a tune, the crowd stopped screaming and clapping, and he stepped up to the mike and before he said something he put both his hands back, pushed his hair back, and some girl, a single voice in the audience, she went ‘Eddie!’ and he said ‘Hi honey!’… I thought, ‘Yes! That’s it – rock ’n’ roll!’” That’s a quote from George Harrison in the early 1990s. He’d gone to see the show with a friend, John Lennon — it was Lennon’s first ever rock and roll gig as an audience member, and one of a very small number he ever attended. Lennon never particularly enjoyed seeing live shows — he preferred records — but even he couldn’t resist seeing Eddie Cochran and Gene Vincent on the same bill. The Liverpool shows were massive successes, despite both American rockers being increasingly bored and turning more and more to drink as a result. Apparently the two would drink a bottle of bourbon between them before going on stage, and at one Liverpool show Cochran had to hold on to a mic stand to keep himself upright for the first two songs, before he sobered up enough to let go. The shows were successful enough that a local promoter, Allan Williams, asked if he could book Cochran and Vincent for another show, and Larry Parnes said yes — after Liverpool, they had to play Newcastle, Manchester, London, and Bristol, taking up another month, and then Eddie Cochran was going to be going back to the US for a couple of weeks, but he could pencil them in for six weeks’ time, when Cochran was going to come back. It’s quite surprising that Cochran agreed to come back, because he was getting thoroughly sick of the UK. He’d asked Sharon Sheeley to fly over and join him, but other than her and Vincent he had nothing of home with him, and he liked sunshine, fast food, cold beer, and all-night TV, and hated everything about the British winter, which was far darker and wetter than anything he’d experienced. But on the other hand, he was enjoying making music with these British people. There’s a great recording of Cochran, Vincent, Billy Fury, and Joe Brown jamming on the Willie Dixon blues song “My Babe” on “Boy Meets Girls”: [Excerpt: Eddie Cochran, Gene Vincent, Billy Fury, Joe Brown, “My Babe”] But by the time the tour ended in Bristol, Eddie was very keen to get back. He was going to be bringing Vince Eager over to America to record, and arranged to meet him in London in the early hours of Easter Sunday. They were going to be taking the lunchtime plane from what was then London Airport but is now Heathrow. But there was a problem with getting there on time. There were very few trains between Bristol and London, and they’d have to get a car from the train station to the airport. But that Easter Sunday was the day of the annual Aldermaston March against nuclear weapons. These were massive marches which were big enough that they spawned compilation albums of songs to sing on the march, like Ewan MacColl and Peggy Seeger’s “Brother Won’t You Join the Line”: [Excerpt: Ewan MacColl and Peggy Seeger, “Brother Won’t You Join the Line?”] But the main effect the march was having on Cochran and Vincent was that it meant that to be sure of catching their plane, they would have to travel overnight by car. At first, they asked one of the other artists on the tour, Johnny Gentle, if they could go in his car, but he already had a carful, so they ended up getting a local driver, named George Martin (not the one at Parlophone Records) to drive them overnight. They got into the back seat of the car — Cochran sitting between Vincent and Sheeley, as Sheeley couldn’t stand Vincent. Vincent took a sleeping pill and went to sleep almost immediately, but Sheeley and Cochran were in a good mood, singing “California Here We Come” together, when Martin took a turn too fast and hit a lamppost. Vincent and Sheeley suffered major injuries and had to spend time in hospital. Cochran died. A short while later, Johnny Gentle’s car made its way onward towards London, and ran out of fuel. As all-night garages weren’t a thing in Britain then, they flagged down a policeman who told them there’d been a crash, and they could see if the breakdown vehicle would let them siphon petrol from the wrecked car. They did, and it was only the next day they realised which car it was they’d taken the fuel from. One of the police at the scene – maybe even that one – was a cadet who would later change his name to Dave Dee, and become the lead singer in Dave Dee, Dozy, Beaky, Mick and Titch. As soon as the news got out about Cochran’s death, “Three Steps to Heaven”, which had come out in the US, but not yet in the UK, was rush-released: [Excerpt: Eddie Cochran, “Three Steps to Heaven”] It went to number one, and became Cochran’s biggest hit. Larry Parnes didn’t see why Cochran’s death should put a crimp in his plans, and so he immediately started promoting the shows for which Vincent and Cochran had been booked, calling them Eddie Cochran Tribute Shows, and talking to the press about how ironic it was that Cochran’s last song was “Three Steps to Heaven”. Vince Eager was so disgusted with Parnes that he never worked with him again. But those shows turned out to have a much bigger impact than anyone could have imagined. Allan Williams was worried that without Cochran, the show he’d got booked in Liverpool wouldn’t get enough of a crowd, so he booked in a number of local bands — Rory Storm and the Hurricanes, Cass and the Cassanovas, Nero and the Gladiators, and Gerry and the Pacemakers — to fill out the bill. This led to all the bands and musicians in Liverpool realising, for the first time, how much talent there was in the city and how many bands there were. That one show changed Liverpool from a town where there were a few bands to a town with a music scene, and May the third 1960 can be pointed to as the day that Merseybeat started. Parnes was impressed enough by the local groups that he decided that Liverpool might be a good place to look for musicians to back his singers on the road. And we’ll pick up on what happened then in a few months. Sharon Sheeley, once she’d recovered from her injuries, went on to write hits for Brenda Lee, Jackie DeShannon, the Fleetwoods, and Irma Thomas, and when Jack Good moved back to the US, she renewed her acquaintance with him, and together with Sheeley’s husband they created Shindig, the most important American music show of the sixties. But by the time she died in 2002, all her obituaries talked about was that she’d been Eddie Cochran’s girlfriend. And as for Gene Vincent, he was already in chronic pain, suffering mood swings, and drinking too much before the accident hospitalised him. After that, all those things intensified. He became increasingly unreliable, and the hits dried up even in Britain by mid-1961. He made some good music in the sixties, but almost nobody was listening any more, and an attempted comeback was cut short when he died, aged thirty-six, in 1971, from illnesses caused by his alcoholism. Despite their tragic deaths, Vincent and Cochran, on that 1960 UK tour, almost accidentally catalysed a revolution in British music, and the changes from that will reverberate throughout the rest of this story.

In 1 Samuel, Israel pleaded Samuel for a King. They wanted someone who could protect them, simple because they suddenly became fearful of a neighboring nation. What they had forgotten is that God had gone before them and fought every battle before they went into battle. Could we be like Israel in the United States? Could the chaos, adversity, riots, disease and more simply be a people group demanding a king? In the midst of it all, how do we choose to be simple people? In this episode, we're going over it all. • • • FROM THIS EPISODE • • • 1 Samuel 8 — Israel Asks for a King Rory Feek Video — "What's Important to YOU?" •• Join me online •• FACEBOOK YOUTUBE INSTAGRAM WEBSITE --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app Support this podcast: https://anchor.fm/amy-fewell/support

Hey... How are you?? No Really... How are YOU doing?? With report after report on the COVID-19 outbreak playing on our televisions and social media, it's easy for anxiety, feelings of worry  and nervousness to weigh on us. So....Sis....How are you taking care of yourself? Not your children or your husband, How are you taking care of YOU?? Join me on today's episode of Connective Conversations Podcast as I share a few things that I'm doing to love on myself during this quarantine time. I want to hear what you're doing to care for yourself also. 

Want to learn how Alexandra Kries tripled her income during the last quarter of 2019? Check out her Coach of the Month interview on the Yoga Health Coaching podcast at the link in the comments.   What you'll get out of tuning in: Why Yogahealer Live Events are a transformative experience How upping her price point shifted her brand, internally and externally and tripled her income Why evolutionary relationships are so powerful   Links Mentioned in Episode: Have a Career Conversation with one of our Coaches! Alexandra's First Coach of the Month Interview Order Cate Stillman's new book "Master of You" Join our FREE Coaching Masterclass to EVOLVE your Career   Show Highlights: Alexandra shares her transformation during the Berlin Live Event Alexandra describes her relationship with pain during her life Alexandra and Amy discuss evolutionary relationships   Timestamps:  3:00 - 7:30 Alexandra's journey to Cate's community 7:30 - 13:00 How she upped her price point and it changed her on every level 13:00 - 23:00 Alexandra's insights from the Berlin Yogahealer Live Event 23:00 - 30:00 Alexandra and Amy discuss evolutionary relationships  31:00 - 35:20 Alexandra shares how powerful distance relationships can be 32:50 - Alexandra gives advice to Yoga Health Coaches   Favorite Quotes: “I tripled my income at this point between September and December” - Alexandra Kreis “I do not care whether they get it or not, it's the total conviction that there is a lot of value behind what we are offering with the coaching and where the whole society is heading. Seeing myself as a leader is a new thing. I feel that I can be a leader in a leadership position. That is a new embodiment for me.” - Alexandra Kreis “Since I upped my price point, people take me more seriously.” - Alexandra Kreis “It's the readiness that you come with.” -Alexandra Kreis “What is the one thing you are still turning away from that is stopping you from breaking through?” - Alexandra Kreis “The body is so precious, and we only get the gift of this body and the way we shine right now, we only get that once. We might return in a different form, but we only get the chance now.” -Alexandra Kreis “Life is full of paradoxes… The paradox is: if you don't raise your price, you are not going to get all of the people that want to spend that kind of money.” - Alexandra Kreis “It's all about perseverance and not giving up… And listening to all of the insights everybody has. To trust yourself in listening to what you need to listen to.” Alexandra Kreis   Guest BIO: Hi, my name is Alexandra, and ever since I was a little girl, I have been passionate about helping people to reconnect with their nature to understand that we all have the right to be happy and fulfilled. I believe that providing people with tools to explore themselves, gives them the power of healing that lies within us. It is, therefore, no coincidence that my professional career has brought me into the deeper layers of self-awareness and self-discovery, whilst assisting others on their own path. I'm a yoga teacher since 2002, an Ayurvedic Lifestyle consultant for 13 years and in 2016 my life changed 180 degrees when I became a Yoga Health Coach.

Tune in to the Yogahealer podcast for an Ayurvedic perspective on healing Agni for Vata types with anorexia nervosa.   What you’ll get out of tuning in: How to look at the whole individual and the nature of the disease. Why seasonal cycles matter. What Vata type digestion requires.   Links Mentioned in Episode: Order Cate Stillman's new book "Master of You" Join the Changemaker challenge!   Show Highlights: Questions Cate asks to determine someone’s constitution. Cate goes through the spice rack. Why you should avoid yellow fennel seeds.   Timestamps:  7:56 The difference between anorexia and anorexia nervosa. 21:56 The benefits of fennel seeds in warming the gut and moving air down. 24:16 The benefits of cardamom to awaken desires in the heart.   Favorite Quotes: “In Ayurveda, all imbalances arise in the digestive tract first.” - Cate Stillman “The body likes rhythm, more than anything our body loves rhythm. It loves the rhythm of eating and sleeping and pooping and doing all the things. When the body is in rhythm the body is really really happy. So when the mind starves the body of food it really disrupts all of those rhythms” - Cate Stillman “What’s helpful here, as we’re learning how to think about something that might be big and scary and life-threatening like anorexia nervosa, is that if we can see a pattern, we can start to understand it. With understanding comes a perspective change. As we start to be able to understand something that is happening it actually helps us become sympathetic or empathetic even to ourselves. And that’s part of the process of healing.” - Cate Stillman “People are intelligent. Plants are intelligent. We just want to mix the right intelligence at the right time.” - Cate Stillman

Tune into the podcast with Tim Spector for some fascinating insight on your gut microbiome and your immune health.   What you’ll get out of tuning in: Why you can justify eating dark chocolate What makes poo transplants necessary for some people Why our guts aren’t as healthy as they should be   Links Mentioned in Episode: Personalize your Nutrition! Order Cate Stillman's new book "Master of You" Join the Changemaker challenge!   Show Highlights: The diversity of microbes in our bodies is 30 per cent lower than fifty years ago Gut microbes, when disrupted, are a major cause of obesity and diabetes but they are also essential for health  Thousands of people are now having poo transplants – many with significant success Much of our food is contaminated with low levels of antibiotics used in farming, making us fat Microbes enjoy eating the polyphenols in dark chocolate which may keep us slim A diet of junk food can dramatically reduce healthy gut microbes in only two days   Increasing the diversity of our diet will increase our microbes, our health, happiness and lifespan   Timestamps:  14:47 Small batch fermented foods as personalized medicine  20:09 Fecal transplants and why they can be effective 26:29 Microbiome and epigenetic studies in identical twins 36:57 Polyphenols in dark chocolate and why it’s good for your gut   Favorite Quotes: “This is one area of science where we’re turning very much towards personalization. We’re realizing that the reason everything hasn’t added up in these nutritional guidelines and that health guidelines haven’t worked for everybody when it comes to our guts and inner health, is because we all respond in slightly different ways. We all need a different recipe, there isn’t one size fits all.” - Tim Spector “Microbes are changing over life. They’re not the same ones we were born with although we have our own signature. A forensic detective will always know whether it’s your microbes or my microbes that have been travelling around the world. They will change day to day, week to week, year to year, to some extent. Half of the microbes are fairly constant and half are changing. And so with those changes, it changes the community. They will produce different chemicals that can have an effect on our bodies in all kinds of ways.”  - Tim Spector “We need to take a more global look at this. There must be a reason why these hunter gatherers never get heart disease, diabetes or cancer. We should take a lesson from our ancestors and these other groups of people that live in very harsh environments.” - Tim Spector  “The key is variety. It’s not the same kale smoothie, it’s 30 different plants a week. And that includes nuts and seeds.” - Tim Spector   Guest BIO:  Tim Spector is Professor of Genetic Epidemiology and Director of the TwinsUK registry at King’s College London. His current work focuses on the microbiome and diet. He also runs the crowdfunded British Gut microbiome project. Having published more than 900 research articles, he is ranked in the top 1% of the world’s most cited scientists by Thomson Reuters. He is the author of three popular science books. The most recent “The Diet Myth” published in over ten languages. He is a regular blogger, with over 7 million recent downloads. He features regularly in the media.    

Nichole Banks talks about how rude behavior isn't just this time of year. How to overcome it and well what if it's coming from YOU? Join her today and don't forget you're going to want to listen to the Friday Follow up show on this one! Tips are giving on how to deal with rude behavior: 1) Don't take it personally, we didn't cause them to behave this way so remember that. 2) This one can be hard to do but don't over react to it! I know right... when that old lady flipped me the bird I wanted to flip it right back, oye I was mad. 3) Have you ever heard the term killing it with kindness... yeah that's right be postive and kind. 4) You can use humor, if you find it to be the right time. remember humor can come off as snid so tread lightly 5) Call the person out on it. not with embarassment but with kindness..your adulting here so use your best judgement but call them out. 6) Avoid that person...not engage with them periord. Nichole Banks is an Accountability Coach and shares her stories and lessons weekly. Let's get to know each other and have some fun. To chat with Nichole (with an H in her name) drop her a line here: #mce_temp_url# Website: www.nicholebanks.com Follow Nichole Banks on her Social Links; Facebook: https://www.Facebook.com/myaccountabilitypartner1/ Instagram: https://www.Instagram.com/myaccountability_partner/ Twitter: https://www.twitter.com/partner_podcast/ Youtube: https://www.youtube.com/channel/UCw7oZ6nRWC89KCoyhyRuRhA?view_as=subscriber Pinterest: https://www.pinterest.com/nicholebanks23/ Holding people accountable is love. when I'm holding YOU accountable, I'm saying, "You're capable of a bigger Game" Thanks for joining me, enjoy your week, I'm your host Nichole Banks until friday.xxo    

In this podcast episode, Coach of the Month Tania Milliken talks about how she found Yogahealer, why she will always be part of the Yogahealer community, and what's next for her in her career as a Yoga Health Coach.   What you'll get out of tuning in:  How Tania found Yogahealer and her path to personal healing to help her family heal Why Tania is an advocate of community-based programs What healing work Tania does with families with special needs children   Links Mentioned in Episode: Body Thrive Yoga Health Coaching Living Ayurveda Order Cate Stillman's new book "Master of You" Join the Changemaker challenge!   Show Highlights: Tania shares her work supporting parents of special needs children Tania and Amy discuss the importance of healing ourselves to help others heal Tania discusses her personal struggles with raising special needs children   Timestamps:  0:27-3:22 - Introduction. 3:23-6:35 - Tania explains the work that she does with adoptive families. 6:35-14:14 - Tania explains how she found Yogahealer and how it affected her and her family. 14:14-17:00 - Tania and Amy talk about the importance of community and communication.  17:00-21:15 - Tania explains how her mornings have changed with the habits of Body Thrive.  22:06-27:42 - Tania talks about her future plans and the benefits of working with a dynamic group. 27:42-34:35 - Tania talks about the book she is writing to help families like hers.  34:35-36:36 - Tania talks about what she was like before she found Yogahealer and how that informs her work with adoptive parents. 36:36-40:54 - Tania shares her advice to parents, which includes finding role models and mentors. 41:30-47:10 - Tania shares her advice to future Yoga Health Coaching course members.   Favorite Quotes: “It's so much fun. And it's been such an honor to be able to be part of the community. And that place and safety that Cate created so that as we're doing this work and learning the habits and moving into coaching, we get to grow and practice in the safety of a community and with our peers. And everybody is leading and supporting each other.” --- Tania Milliken “In Cate's community, in 17 months, I just had so many breakthroughs in my health, my emotions, communication skills . . . really finding what I really love to do in the world.” --- Tania Milliken “When I came to work with Cate, it was in the Living Ayurveda course as a family healer. And after I'd worked with her and done the Body Thrive program, I HAD to become a health coach because there are so many people who need the services that Cate's offering.” --- Tania Milliken  “I didn't want Cate's program [Living Ayurveda] for me, but I could see some of the health and wellness benefits for my kids . . . and so I joined her family healing program. And in doing so, of course, figured out that there were other things that I also needed to be doing, that there was a level of self care I thought I was doing that I wasn't. And inadvertently, I'd become part of the problem.” --- Tania Milliken   Guest BIO: Tania Milliken is a Certified Yoga Health Coach, with 20 years of experience as a family Support Specialist, who supports families with Fetal Alcohol Spectrum Disorder and similar Neurodevelopmental Disorders such as ADHD & Autism, when they are ready to focus on finding health and ease in their daily lives.

Welcome to Episode 24 of the #BigTalk podcast (BEST OF). It's time to get honest: Are you jumping ship on yourself? ie., the TRUTH of who you are? With so many up and coming digital entrepreneurs, are you poised to stand out and show up by being the fully expressed version of YOU? Join me for some #bigtalk where I reveal how 'jumping ship' on yourself shows up in business, what causes it and how you can draw a line in the sand starting today. Today's episode is for you if: - You feel like you're not allowing yourself be fully and completely SEEN. Not just 'visible'... SEEN. - You have caught yourself looking at others, comparing and wondering whether you've got what it takes to be successful too. - You have created offers based on what you 'think' will sell, not based on what your soul is truly calling you to do. - You have put a lid on your creativity, spirituality or are otherwise hiding parts of yourself in your business (life!). * Note: there is some adult language in this episode so wear earphones if you have sensitive ears around* Thanks so much for stopping by and until next time... much love. Amanda x *** On our BEST OF episodes, I share some of my best loved and most watched training, inspiration and workshop content from the past few years. This includes content taken from live events and online courses, so you may notice that I'm interacting with live viewers or referring to a 'prop' or teaching aid! Use your imagination, grab a journal and pen to take notes - there's lots of great content for you. About Amanda: Welcome. I’m Amanda Davies, business strategist and psychologist, founder of Light Purpose Living. Our mission is to directly serve and support over 1 million purpose-driven, female business leaders across the globe. My team and I believe your business needs to earn big, so you can go bigger with your message. But here’s what a lot of people miss: business growth always starts at the top. With the Founder. We can help you catapult your business using the power of social media, online growth strategies and smart, modern marketing. But we also help you develop into the leader you were born to be. You're here because your business lights you up. You're smart, motivated and fiercely committed to creating the impact you dream of. You have a clear vision for your life and your business. But one thing isn’t clear: how to get there. That's where we come in. Clients include: multi-billion dollar global brands with high public visibility; new and emerging female-led start-ups, CEOs and founders. Featured in: ▫️️ The Times ▫️️ The Guardian ▫️️ The Telegraph ▫️️ Yahoo Finance ▫️️ The Debrief ▫️️ Huffington Post ▫️️ Mind Body Green▫️️ Finalist in the National Business Awards UK - new entrepreneur of the year category Amanda's Links: Facebook: https://www.facebook.com/lightpurposeliving/ Free Facebook Group: https://www.facebook.com/groups/1716391498640985/ Instagram: https://www.instagram.com/lightpurposeliving/ Website: https://www.lightpurposeliving.com/ ------- Schedule Your Breakthrough Session with Amanda here: http://www.lightpurposeliving.com/apply -------

Episode 083. “So, all these things I learned from acting: rehearsing, relentlessly planning, thinking of your audience, inhabiting the character, bringing energy to the room… Those are all critical.” ~Rob Biesenbach Quick! How do you introduce yourself (your business, your big idea, your creative project) to the world?  Cue the impostor! If you've just broken into a cold sweat, I understand. This is one of those questions that can trigger even the most accomplished person, causing them to retreat behind ineffectual language and timid gestures. Why is it difficult for some to claim their voice? Probably because voice is more than just the noises we make. Voice is emotion and content; it's the literal and the figurative.  Rob Biesenbach has worked voice from every angle. As an actor, a corporate trainer, a speaker, and an author, he's crafted strategies that help people communicate and connect.  I imagine some of you asking, “But Andrea, I'm a tax attorney (or a dog walker or a digital illustrator, or a…). What do I need to know about voice other than when to turn it up or how to dial it down?” Well, that takes us back to the question up top. FULL SHOW NOTES: thecreativeimpostor.com/083   “I think one of the most important things in our professional and personal development is getting to a place in your life where you know your strengths and you know your weaknesses so you're not apologetic about either.” ~Rob Biesenbach   WHERE TO FIND ROB BIESENBACH Website LinkedIn Twitter YouTube   2 Invitations for YOU Join me for She Podcasts Live in Atlanta, Georgia, October 11 through 13, 2019 I will be co-facilitating a workshop on how to fall in love with the sound of your voice. I'd love to see you there -- get your ticket.* *This is an affiliate link, meaning when you buy your ticket, I'll get a little thank you commission from the organizers. Thank you! Get access to my secret podcast Craft & Culture BTS with Podcast Envy Are you podcasting? (I know SOME of this community is doing it!) Get access to my secret podcast "Craft & Culture BTS with Podcast Envy"     Connect with me! Send me an email. Share YOUR EXPERIENCE being a listener of The Creative Impostor. This will help me create episode 100!!!! You can write it or record a voice memo on your phone and attach it to the email. Join The Creative Impostor Facebook Community. We create social support for content creators with inspiring prompts, opportunities for you to share your work and more. Join me September 13, 2019 for the Chicago Creative Happy Hour! My favorite hashtags #thecreativeimpostor #creativewomen #podcastenvy Email or Voice  Facebook Group The Creative Impostor Facebook Page @andreaklunder.creative Instagram: @andreaklunder Oh HEY! I'm on LinkedIn… dropping pro podcasting tips, insights, and stories. Connect with me there and let me know you're a Creative Impostor listener.  

Episode 082. “There is a vulnerability that comes with the voice because it is a natural expression… of who we are. The sound of my voice carries with it the story of my life.” ~Davin Youngs Honestly? I shouldn't even write show notes for this one. I mean, this episode is about voice. How we use it. How we experience it. Where it comes from.  How do you summarize it with words? Davin Youngs does a great job distilling voice down to its essence. He's a singer, teacher, and sound guide with profound observations about human vocalization that reverberate in the body and in life. He's made a career helping people overcome deeply-rooted fears that block them from living fully in their voice. If you've guessed that there's a lot more than music theory being taught in one of his workshops, you're right. And whether it's learning to use your voice or uncovering your authentic selves, Davin's all about committing to the practice because that's where the magic happens.  We become stronger when we're heard and we become more compassionate when we listen. My advice to you? Listen in… then burst into spontaneous sound! FULL SHOW NOTES: thecreativeimpostor.com/082 3 Invitations for YOU Join me for She Podcasts Live in Atlanta, Georgia, October 11 through 13, 2019 I will be co-facilitating a workshop on how to fall in love with the sound of your voice. I'd love to see you there -- get your ticket.* *This is an affiliate link, meaning when you buy your ticket, I'll get a little thank you commission from the organizers. Thank you! Get access to my secret podcast Craft & Culture BTS with Podcast Envy Are you podcasting? (I know SOME of this community is doing it!) Get access to my secret podcast "Craft & Culture BTS with Podcast Envy" Creative Happy Hour in Chicago: Storytelling Event details here inside The Creative Impostor: Chicago Women's Collective meetup. Add your name to the waitlist and then message me andrea [at] thecreativeimpostor.com and let me know you heard about it on the show! Connect with me! Send me an email. Share YOUR EXPERIENCE being a listener of The Creative Impostor. This will help me create episode 100!!!! You can write it or record a voice memo on your phone and attach it to the email. Join The Creative Impostor Facebook Community. We create social support for content creators with inspiring prompts, opportunities for you to share your work and more. Join me September 13, 2019 for the Chicago Creative Happy Hour! My favorite hashtags #thecreativeimpostor #creativewomen #podcastenvy Email or Voice  Facebook Group The Creative Impostor Facebook Page @andreaklunder.creative Instagram: @andreaklunder Oh HEY! I'm on LinkedIn… dropping pro podcasting tips, insights, and stories. Connect with me there and let me know you're a Creative Impostor listener.

Many of us make summer bucket lists with our kids, but have you ever made a bucket list for YOU? Join entrepreneur and body positivity advocate, Ashley Reeves, as she talks about this practice she did this year so she can show up as a better mom and as a better person in all areas of her life. Ashley shares the thought behind the bucket list for moms, how to create it, ideas of what to put on it, and how to make it happen! Show notes can be found on the blog at BeckyHiggins.com. DIRECT LINK. Follow us on instagram — @BeckyHigginsLLC and @BeckyProudfit. Love the podcast? Please share with your friends and leave a review on iTunes!

How do you spot a liar?  How do you know if someone is really telling you the truth or they are trying to take advantage of you?  Deception and lying has been in the news lately.  How do you know who you can trust?  Who is telling the truth?  This knowledge will help every aspect of your life.  The other challenge is when you get nervous or uneasy you might be showing signs of deception.  What I am saying here is that even if you are telling the truth, you might be sending signals of deception.  Your audience can’t always identify exactly what is making them distrustful, but they feel that way and that is all that matters to them.  What happens is we all have micro expressions that happen so rapidly the conscious mind can’t see them, but the subconscious can sense them.   The Newest Way to Tell When Someone Is Lying to You Join me for this week’s podcast on How to Spot a Lie.  I will reveal the latest research on lying, deception and how to detect when someone is trying to deceive you.

It's Friday! On today's Q&A show we cover: Rental House vs. Personal House What Type of Retirement Plan for a Small Business Stocks vs. Real Estate How to Get Money That's Owed to You Join me next week for the Q&A! Go here: www.radicalpersonalfinance.com/patron Joshua

With so many nutrition bars out there, how to choose what's best (and tastiest) for YOU? Join us as Mary taste-tests and rates five different contenders for Best Bar of 2017-- judged on nutritional and yum value. PLUS: The Weekly Nutrition Challenge!  Episode Includes: Mary taste-tests 5 different leading nutrition bars Important considerations when selecting a nutrition bar Assessing a quality bar product How to scrutinize & understand nutrition labels Understanding natural vs added sugar The thing with protein Looking at fiber content The view of calories in a bar Clarification from our Intermittent Fasting episode The Weekly Nutrition Challenge! Mary Purdy, MS, RDN, dishes out easy-to-digest info, tips, and advice about nutrition & lifestyle, backed by over 10 years of clinical experience and a healthy sense of humor. Join the weekly conversation! Episodes come out weekly on Thursdays. http://marypurdy.co/ Audio recorded from a live video broadcast taped: November 20, 2017 Find out about the video broadcast: http://marypurdy.co/marys-nutrition-show/ Subscribe & Review on iTunes/Podcasts App: https://itunes.apple.com/us/podcast/marys-nutrition-show/id1245983321 Mary Purdy is a Registered Dietitian with a Masters in Clinical Nutrition from Bastyr University. Past experience: Private practice (8 yrs), Adjunct professor at Bastyr University, Clinical Supervisor at Bastyr Center for Natural Health. Mary currently works as a Registered Dietitian Coach at the Scientific Wellness company, Arivale. Mary takes an integrative/holistic approach to diet, health & wellness and believes that food is medicine! DISCLAIMERS: This podcast is intended for entertainment purposes only. Please consult your doctor before following any information you hear here. The opinions expressed here are those exclusively of Mary Purdy, the Show's producers, and guests, and do not necessarily represent the views of Arivale, Bastyr, Dietitians in Integrative and Functional Medicine, or other entities.

What are you gonna do when SONIC MANIA runs wild on YOU? Join us this week as we go crazy for all things SONIC THE HEDGEHOG!

Inspired Choices with Christine McIver Radio Show What have you decided receiving is?  Is it from others?  Is it only material items?  Are you refusing receiving from you?  Are you willing to receive YOU? Join in this week as Christine dives deep into what it is to receive ourselves with pleasure! Christine McIver is a Possibilities Coach, Inspirational Speaker, Radio Show Host and Access Consciousness Certified Facilitator who is driven to inspire individuals and organizations to make choices that will bring them greater joy, self confidence and remarkable positive change. Join Christine for her Pleasure of Business A LA Carte  program: http://www.inspiredchoices.ca/pleasure-of-business.html 21 Days of Bewitching Barriers Into Oblivion by the end of Friday, 8/25/2017 for $125 before the price goes up to $150! Click here http://eepurl.com/cY0ypv to join the mailing list and receive your PayPal link! CLASS BEGINS 9/1/17 for 21 Days! + BONUS coaching with Rhonda on 9/22/17 for 2 hours!*** http://www.inspiredchoices.ca/ ~   https://www.facebook.com/InspiredChoicesInc ~ christinemciver.accessconsciousness.com  https://www.youtube.com/user/InspiredChoicesInc

YOU Join me and my guest, Dr. Julie Chen, as we talk about some of the impacts that the Affordable Heallthcare Act will have on you now that it was declared consititutional by the Supreme Court (www.MakingHealthyEZ.com). Dr. Julie Chen is an integrative medicine physician with her own clinic in San Jose, CA. Dr. Julie incorporates many different … Read more about this episode...

"Have you ever been in or around someone or a group of people or even been to places or come in contact with things that seem to zap you of your energy?  This zapping effectively depletes and robs you of your vital life-force?"  You may well have experience the vicious bite of a vampire.  An “energy vampire!”   Being consciously aware of what it feels like having your personal energy source hacked into and slowly drained, will allow you the autonomy to make choices in the best interest of self regarding your situation. But what happens when the energy vampire turns out to be YOU!?  Not only are you sucking the life-force out of others who you come in contact with, but you are sucking the life-force out of YOU? Join us Dr Wendy Dearborne and Expression Coach Olivia Lashley as we look at YOU and the utilization of your energy.

"Have you ever been in or around someone or a group of people or even been to places or come in contact with things that seem to zap you of your energy?  This zapping effectively depletes and robs you of your vital life-force?"  You may well have experience the vicious bite of a vampire.  An “energy vampire!”   Being consciously aware of what it feels like having your personal energy source hacked into and slowly drained, will allow you the autonomy to make choices in the best interest of self regarding your situation. But what happens when the energy vampire turns out to be YOU!?  Not only are you sucking the life-force out of others who you come in contact with, but you are sucking the life-force out of YOU? Join us Dr Wendy Dearborne and Expression Coach Olivia Lashley as we look at YOU and the utilization of your energy.