Podcasts about young james

Story #1: A CNN panelist says that she is more educated than everyone else in the room, but she is always underpaid and never given the same opportunities. Rep. Alexandria Ocasio-Cortez (D-NY) claims to that Elon Musk is the dumbest billionaire she's ever met. Inside the Left's credential signaling.   Story #2: President Donald Trump is accused of running a shadow government led by Elon Musk while he is attempting to dismantle one. Plus, breaking down the complexities of President Trump's Gaza proposal with Congressman Andy Barr (R-KY). Story #3: The Crew discusses if Luka Dončić-like trades could come to NFL quarterback rooms next. Plus, Tinfoil Pat and Young James make their case for the historical importance of former MLB All-Star, Alfonso Soriano.  Tell Will what you thought about this podcast by emailing WillCainShow@fox.com Subscribe to The Will Cain Show on YouTube here: Watch The Will Cain Show! Follow Will on Twitter: @WillCain Learn more about your ad choices. Visit podcastchoices.com/adchoices

In this episode of The Atlas Podcast, I sit down with IFBB Bikini Pro Sabra and talk about the realities of coaching, building a business, and balancing life as a mom. We cover the challenges of starting from the ground up, staying accountable post-show, and why reverse dieting is crucial for both performance and health. Sabra shares the importance of connecting with clients, building trust, and handling setbacks without letting imposter syndrome take over. Plus, we chat about some of the wild side quests that come with running a business and navigating life as competitors and coaches. Expect laughs, lessons learned, and a lot of chaos along the way! The Atlas Podcast is available on: YouTube: bit.ly/AtlasPodcastYoutubeSpotify: bit.ly/AtlasPodcastSpotifyApple Podcast: bit.ly/AtlasPodcastAppleGoogle Podcast: bit.ly/AtlasPodcastGoogle Stay Connected: Team Atlas Website: www.teamatlasfitness.comJames Ayotte's Website: www.jamesayotte.com Team Atlas on Instagram: @teamatlasmtl &@teamatlaslifestyleJames on Facebook: https://www.facebook.com/james.ayotte.79James on Instagram: @jamesxatlasAtlas Podcast on Instagram: @atlaspodcastxDiscount links: https://linktr.ee/Jamesayotte

Story #1: Will is joined by Chairman of the House Oversight Committee, James Comer (R-KY) for a conversation on his new book, All the President's Money: Investigating the Secret Foreign Schemes That Made the Biden Family Rich. Plus, Congressman Comer previews what to expect for the big agenda items and holding leaders accountable in the new Congress in 2025. Story #2: Why does Young James alternate between backwards hats and blazers and ties? Plus, previewing the College Football Playoff Semifinals with The Crew. Story #3: Will Shark Tank's 'Mr. Wonderful' buy Tik Tok? Will is joined by Chairman of O'Leary Ventures, Kevin O'Leary, himself who gives the inside details of what is about to go down later this week. Tell Will what you thought about this podcast by emailing WillCainShow@fox.com Subscribe to The Will Cain Show on YouTube here: Watch The Will Cain Show! Follow Will on Twitter: @WillCain Learn more about your ad choices. Visit podcastchoices.com/adchoices

How a Birmingham boy became best-selling thriller writer, Lee Child, and the creator of one of the literary world's most popular loners. (R)James Grant grew up in Birmingham when it was a bustling industrial city.While huge workforces would pour of the factories as men ended their shifts and headed home on bicycles, for children, there wasn't much to do.Young James often found himself at the library, and he grew up a voracious reader.He began working for Granada Television after leaving university, but after a 20-year career, Jim suddenly found himself out of a job, and with a wife and child to support.With a pragmatic sense of mission, he sat down with a pencil and wrote his first novel in longhand, under the pseudonym Lee Child.It was a thriller about a loner named Jack Reacher, and went on to become a best-seller around the world, adapted into films and a television series.Now every nine seconds, somewhere in the world, someone buys a Jack Reacher book.This episode of Conversations explores crime writing, stories, thrillers, Jack Reacher, In Too Deep, television adaptations, Lee Child's real name, origin stories, Birmingham, books, authors, best-selling books, book recommendations, Tom Cruise, Netflix, Amazon Prime, film adaption, Hollywood, Bill Clinton.

How a Birmingham boy became best-selling thriller writer, Lee Child, and the creator of one of the literary world's most popular loners. (R)James Grant grew up in Birmingham when it was a bustling industrial city.While huge workforces would pour of the factories as men ended their shifts and headed home on bicycles, for children, there wasn't much to do.Young James often found himself at the library, and he grew up a voracious reader.He began working for Granada Television after leaving university, but after a 20-year career, Jim suddenly found himself out of a job, and with a wife and child to support.With a pragmatic sense of mission, he sat down with a pencil and wrote his first novel in longhand, under the pseudonym Lee Child.It was a thriller about a loner named Jack Reacher, and went on to become a best-seller around the world, adapted into films and a television series.Now every nine seconds, somewhere in the world, someone buys a Jack Reacher book.This episode of Conversations explores crime writing, stories, thrillers, Jack Reacher, In Too Deep, television adaptations, Lee Child's real name, origin stories, Birmingham, books, authors, best-selling books, book recommendations, Tom Cruise, Netflix, Amazon Prime, film adaption, Hollywood, Bill Clinton.

NFL Trade Deadline Josh McDaniels Fired James Harden to the Clippers

MDV, James, and Max are back on the mic for this week's episode of THE INTRO:[0:00] The ins and outs of MDV's total hip replacement[8:20] The worst part of the procedure[10:50] Injuries are going to happen, that's life[12:00] Using your hip cap as a sake cup[14:42] Discipline and injuries[18:37] The recovery process... PT isn't required[21:20] What was the final straw to get the surgery?[25:43] Monkey tails and fake glasses[30:04] Benefits of talking to people in similar situations[32:48] James, let's hear the rant[34:32] The only good thing about Facebook[36:46] Max, what have you been up to?[39:20] Top 3 things members notice and bottom 3 things members complain about[43:19] Let's talk about equipment[45:30] Everything's a joke to you, isn't it?[46:32] Annual equipment fees at gyms[50:36] What is the best stationary bike brand?[53:20] Young James gets P90X from the library[54:50] Get with the times and become a robot you loser[55:38] Post-surgery nutrition (NOT Reese's animal crackers)[58:08] "I could have been better" internal dialogue[1:07:00] You're only washed up if you're still trying[1:08:25] The process becomes the outcome... 500 opportunities to get betterGrab a notebook, grab a chair, and let's learn a thing or two about fitness, nutrition, and performance from the fellas. New episodes of THE INTRO launch every Tuesday on Apple Podcasts & Spotify.Follow MDVFollow MaxFollow JamesFollow NCFITNCFIT Programming For Gym OwnersCoach Like A Pro Coaching Development Course

On the Money Café this week, Alan Kohler and James Thomson, Chanticleer columnist at the AFR, puzzle over what the governor said, a new era of the working poor, a hard, soft or no landing and who's still spending? Also: Newmont and Newcrest, bouncing around the future of financial advice, a bull or bear market rally, a smart solution for super; what Young Alan and Young James would invest in, and more.See omnystudio.com/listener for privacy information.

On this episode we talk about celebrity deaths, a grandpa wanting to keep his memory alive. Young James might have found a new defense mechanism and we talk about why some people should beat their kids --- Send in a voice message: https://podcasters.spotify.com/pod/show/lost-losers/message

The Miami Heat want another star and, according to various reports and rumors, a few could be on the move. Atlanta Hawks guard Trae Young could be the next star to request a trade. Meanwhile, James Harden's demand for a larger salary could force him to leave the Philadelphia 76ers next year and LeBron James could decide his best chance to win a championship is to leave the Los Angeles Lakers. Wes Goldberg and David Ramil ask if the Heat should target Young, Harden or LeBron, weight the pros and cons and rank the options.Support Us By Supporting Our Sponsors!Built BarBuilt Bar is a protein bar that tastes like a candy bar. Go to builtbar.com and use promo code “LOCKEDON15,” and you'll get 15% off your next order.BetOnlineBetOnline.net has you covered this season with more props, odds and lines than ever before. BetOnline – Where The Game Starts!PrizePicksFirst time users can receive a 100% instant deposit match up to $100 with promo code LOCKEDON. That's PrizePicks.com – promo code; LOCKEDONNHTSADrive sober or get pulled over. Click HERE to learn more.  Learn more about your ad choices. Visit podcastchoices.com/adchoices

The Miami Heat want another star and, according to various reports and rumors, a few could be on the move. Atlanta Hawks guard Trae Young could be the next star to request a trade. Meanwhile, James Harden's demand for a larger salary could force him to leave the Philadelphia 76ers next year and LeBron James could decide his best chance to win a championship is to leave the Los Angeles Lakers. Wes Goldberg and David Ramil ask if the Heat should target Young, Harden or LeBron, weight the pros and cons and rank the options. Support Us By Supporting Our Sponsors! Built Bar Built Bar is a protein bar that tastes like a candy bar. Go to builtbar.com and use promo code “LOCKEDON15,” and you'll get 15% off your next order. BetOnline BetOnline.net has you covered this season with more props, odds and lines than ever before. BetOnline – Where The Game Starts! PrizePicks First time users can receive a 100% instant deposit match up to $100 with promo code LOCKEDON. That's PrizePicks.com – promo code; LOCKEDON NHTSA Drive sober or get pulled over. Click HERE to learn more.  Learn more about your ad choices. Visit podcastchoices.com/adchoices

On this episode of Locked On Spurs, host Jeff Garcia welcomes Sweep The League's Rudy Campos and Two Shots Podcast's Joe Garcia to react to Las Vegas oddsmakers thinking the Spurs are in the mix to land Trae Young and James Harden.Also, a preview of the Spurs-Mavericks game.Support Us By Supporting Our Sponsors!Built BarBuilt Bar is a protein bar that tastes like a candy bar. Go to builtbar.com and use promo code “LOCKEDON15,” and you'll get 15% off your next order.BetOnlineBetOnline.net has you covered this season with more props, odds and lines than ever before. BetOnline – Where The Game Starts!PrizePicksFirst time users can receive a 100% instant deposit match up to $100 with promo code LOCKEDON. That's PrizePicks.com – promo code; LOCKEDONNHTSADrive sober or get pulled over. Click HERE to learn more.  Learn more about your ad choices. Visit podcastchoices.com/adchoices

On this episode of Locked On Spurs, host Jeff Garcia welcomes Sweep The League's Rudy Campos and Two Shots Podcast's Joe Garcia to react to Las Vegas oddsmakers thinking the Spurs are in the mix to land Trae Young and James Harden. Also, a preview of the Spurs-Mavericks game. Support Us By Supporting Our Sponsors! Built Bar Built Bar is a protein bar that tastes like a candy bar. Go to builtbar.com and use promo code “LOCKEDON15,” and you'll get 15% off your next order. BetOnline BetOnline.net has you covered this season with more props, odds and lines than ever before. BetOnline – Where The Game Starts! PrizePicks First time users can receive a 100% instant deposit match up to $100 with promo code LOCKEDON. That's PrizePicks.com – promo code; LOCKEDON NHTSA Drive sober or get pulled over. Click HERE to learn more.  Learn more about your ad choices. Visit podcastchoices.com/adchoices

Everald Compton and James Morgan talk about the inquiry into the multiple ministers scandal before having our own jobs summit and praising Joe Biden for forgiveness of the student loans

On today's show:Happy Birthday to actors, Robert DeNiro and Austin Butler!On This Day: In 2007, 'Superbad' was released.Alex Bregman Hits Inspirational Home Run.Next James Bond Film Casting for Younger Actor.Robert De Niro Will Star Opposite Himself in New Gangster Movie.Dragon Ball Z is Now Apart of Fortnite.For more details on these stories and many more, follow ONE37pm on IG, Twitter, FB and TT.See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

It was Media day and we had some fun with Kam Kinches Citizen, Tyrique and alot more of the kids IOD Squad - Invest or Dye We making investing in Crypto, NFTs, and stocks easy https://launchpass.com/iod-squad/start-here ------------------------------------------------------------------------------------------------------ Get your NFTs here : https://linktr.ee/footballvillenationNew ones set to release in April 2022 ------------------------------------------------------------------------------------------------------------------------------------------------------------ Member Join this channel to get access to perks: https://www.youtube.com/channel/UCkHZaFhlIKKGEeSvKBYLFdA/join --------------------------------------------------------------------------------------------------------------------------------------- New - Order 12 pack Energy Drink now : https://bit.ly/3gmGqeW ------------------------------------------------------------------------------------ Merch - Hoodies, T Shirts : https://www.youtube.com/channel/UCkHZaFhlIKKGEeSvKBYLFdA/store -Best Bakery in the Business https://www.synergysweets.com/ ------------------------------------------------------------------------------------------------------------------------------------------------------

James Nelson and Brandon Polakoff are Principals and Heads of Avison Young's Tri-State Investment Sales group where they lead a team of three dozen professionals, selling multi-family, office, and development deals. They have combined 30 years experience and their team is part of Avison Young's Top Sales Professionals. James has also been included on the Commercial Observer's Power 100 list and has been named as one of CoStar's Power Brokers.  James Podcast- https://jamesnelson.com/podcast (new book info can be found here) Avison Young Podcast- https://www.avisonyoung.com/podcast

Follow the newly converted James Yang as he accompanies missionary Sam Pollard on a evangelistic circuit through town. Young James might be learning much more than gospel messages from his missionary mentor...

EP#141 Featuring Jason.

New Zealand rugby author Jamie Wall rejoins the podcast to cover the All Blacks' second game of the 1987 Rugby World Cup, alongside his 9-month-old son James Wall Jr. We discuss SuperBoot, hot Ben Volavola facts and a fun interview in which David Kirk trash-talked his opposition. We also make casual plans to invade Fiji, and Jamie tells us the fascinating origin story of the Webb Ellis trophy.Thanks again to Jamie and James (@JamieWall2 on Twitter) for joining us. You can find his array of books online (https://www.amazon.co.uk/Hundred-Years-War-Blacks-Springboks/dp/1988547547/ref=sr_1_2?crid=3E2YV6J1LLUQD&keywords=jamie+wall&qid=1643384202&sprefix=jamie+%2Caps%2C325&sr=8-2) if you want to dive deeper into Jamie's fountain of All Blacks (and general rugby) knowledge. Young James hasn't published any books yet, but we'll let you know when he does.Thanks also to Tom Rosenthal for our theme music. See acast.com/privacy for privacy and opt-out information.

Todd is joined by Young James to speak on the state of the Federal Reserve, COVID, and the polarization around each party, and economics. Todd also continues the rants as we have the weekly Order Up! during the 5 PM hour. Tune in weekdays 3-6 PM EST on WTIC Newstalk 1080 ;or on the new Audacy app!

Stop us if you've heard this one before; Morbius has been delayed again. This time, however, was it for an actual legit reason? Batman Forever originally could have seen Michael Keaton return for his third portrayal of Batman, but why did he drop out? Also, the Nerds discuss the merits of not only Tom Holland potentially being a young James Bond... but what a "young James Bond" would even be!Come join the raging, nerds!Support the show (https://www.buymeacoffee.com/ragenerds)

Free Casanova 2x!!--- Support this podcast: https://anchor.fm/aaron-williams39/support

A 66 años de la partida de James Dean . un pequeño homenaje a alguien que siempre sera joven.

OAF 28 is here. Dan is hyped for lots of new music this week, including Dave, Rathbone Place, DJ Seinfeld, Lola Young, James Blake, Lil Nas X, and Low Island. Tom is hyped for new films including The Suicide Squad, Jungle Cruise, The Sparks Brothers and Limbo.Spotify playlist: https://open.spotify.com/playlist/6BOVLLad2duA31cP98rcQy?si=207bf931e03343ffTrailers: The Suicide Squad: https://youtu.be/3eD5d48t_UoJungle Cruise: https://youtu.be/hJZ82pwwJqAThe Sparks Brothers: https://youtu.be/mq_nKCIx6gcLimbo: https://youtu.be/-pdLSXjEAocSummer Of Soul (Or When The Revolution Could Not Be Televised): https://youtu.be/XINMDlDTUXYPlease like, subscribe, rate, review, share and say nice things about and to us. Thanks for listening as always. 

Young James calls in Sen Kevin Kelly joins us on the Democrats push to pass Jolly Ned's new Gas Tax, which will be the state's fourth. Plus, there's another Stop the Gas Tax Rally at 5pm today in Vernon (at the intersection of Rt 83 and Rt 30) See omnystudio.com/listener for privacy information.

Young James, our only regular guest from the 7th grade, explains why he sees Joe Biden as trying to grow the socialist state back to FDR levels, which kicks off a conversation on just how communist the Democrats want to go. Then we have a similar conversation with Eva Bermudez Zimmerman, an SEIU employee who ran for Lt. Governor 2 years ago. Tune in 3-6 PM EST weekdays on WTIC Newstalk 1080; or on the Audacy app! Thanks for listening! See omnystudio.com/listener for privacy information.

Episode 22 is here! On this episode, the boys are joined by Young James for his 2nd appearance to have his say on the concerts that are returning, we field questions from the Rounders, dive deep into the European Super League and what that all meant, and finish it off with a plea to Tottenham for Sunday's Cup Final. SUBSCRIBE TO THE PODCAST!!!YouTube Channel --> https://www.youtube.com/channel/UC32SZXnM4MaOXT6CXRqmx4gFollow us on Instagram --> @AroundWTheBoysLike our Facebook page --> Facebook.com/AroundWithTheBoyswww.AroundWithTheBoys.com

EPISODE 10! On this week's episode we welcome guest number 3, Johnny's little brother Young James. We recap last weeks picks, talk pharma, internet shenanigans, Church basketball, and make picks for this weekend's Football-less sports games. LETS GOOOOOBe sure to like and subscribe to the podcast and follow us on Instagram @AroundWTheBoys!!www.AroundWithTheBoys.com

We have an exciting hour debating topics like early voting, a conversation set ablaze from a call by Reggie, who insisted that the working poor can't vote without early voting. A fun hour ensues, which also includes young James, our 12 year old regular, and special guest Stephen Moore, a well-known conservative pundit on economic issues from the Heritage Foundation. See omnystudio.com/listener for privacy information.

James says Neo-Cons bother him for their resistance to social change, saying some have racist and anti-gay beliefs. Todd said he differed, and fleshed the issue out with the 12 year old, who is a regular on the show. See omnystudio.com/listener for privacy information.

Episode notes My guests include Paul Young, Director, Memphis Housing and Community Development. He will discuss what the city is doing to help our citizens who may be facing eviction soon, housing shortages and share information on various programs to help. James Kirkwood, newly elected Chairman of CLERB will share his thoughts on police reform, accountability and how we can all better work to curb the escalating violence in our streets. Also joining the conversation is community activist Pastor Ricky Floyd of Frayser who shares his views on how we can save our youth.

Episode notesMy guests include Paul Young, Director, Memphis Housing and Community Development. He will discuss what the city is doing to help our citizens who may be facing eviction soon, housing shortages and share information on various programs to help. James Kirkwood, newly elected Chairman of CLERB will share his thoughts on police reform, accountability and how we can all better work to curb the escalating violence in our streets. Also joining the conversation is community activist Pastor Ricky Floyd of Frayser who shares his views on how we can save our youth.

“Dubbed “The Stir-Fry Guru” by the New York Times, Grace Young has devoted her career to celebrating wok cookery through her cookbooks and videos. On March 15, 2020, she began Coronavirus: Chinatown Stories, an oral history project with videographer Dan … Continue reading → The post Show 402, December 5, 2020: Grace Young, James Beard Award-winning Author with “Coronavirus: Chinatown Stories” Part Two appeared first on SoCal Restaurant Show.

“Dubbed “The Stir-Fry Guru” by the New York Times, Grace Young has devoted her career to celebrating wok cookery through her cookbooks and videos. On March 15, 2020, she began Coronavirus: Chinatown Stories, an oral history project with videographer Dan … Continue reading → The post Show 402, December 5, 2020: Grace Young, James Beard Award-winning Author with “Coronavirus: Chinatown Stories” Part One appeared first on SoCal Restaurant Show.

James is an astute young man. At age 12, he's got a pretty good handle on politics. This week he observes that while it might be good to have third parties become competitive, it doesn't happen because the Big Two Parties have the system rigged to make sure the smaller parties don't have a chance. See omnystudio.com/listener for privacy information.

Our only regular guest who is a middle school student is James, whose topic this week is the efficacy of using herd immunity as an approach to fighting the Covid virus. James is fun to listen to! Then, we talk with State Senator Rob Sampson, a lonely beacon of liberty in the General Assembly. See omnystudio.com/listener for privacy information.

James, our 12 year old regular guest, wonders why so many news headlines are inconsistent with the stories they are supposed to represent. See omnystudio.com/listener for privacy information.

Young James is here for his weekly visit. His topic this week is the normalization of radical groups by the media, demonstrating once again why he is a rocking seventh grader! He compares news outlets like MSNBC, CNN and OANN. See omnystudio.com/listener for privacy information.

First episode of the decade and Steve G has some good news. Neil Peart was an "Animal." That wasn't the good news, but happy birthday Zach de la Rocha and Raekwon. Megan did like the SpongeBob meme ("Aiight I'm out). Music by Young James. --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app Support this podcast: https://anchor.fm/greensteve/support

An interview with Young James who attended San Diego Comic Con we talk Rick and Morty, Samurai Jack and the differences between the Cons of NY and SD. --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app

Weekly Q&A show with listeners calling in from around the globe, posting in our forum, and shooting us emails. Get in on the action! Live on Saturday from 11am to 12:30 ET, call 650-733-8334 (TFFG). Send us an email at thefantasyfootballguys@gmail.com. Join our active forum at reddit.com/r/TFFG. Watch us at twitch.tv/thefantasyfootballguys.

Twitter: https://twitter.com/smallballerpod Monmouth Video (Explicit): Link Austin Rivers' Video: Link Timestamps: Agenda (1:39), Chase Young/James Wiseman (3:10), Monmouth Player Dunks (5:19), Austin Rivers-Doc Rivers (7:30), Melo to Blazers (9:21), Kaepernick Workout (10:55), Small Talk Trivia (12:55), Randomly Ranked (16:51), CBB Parity (21:22), CFB Topics (24:55), Myles Garrett-Mason Rudolph (28:11) Go Falcons!

This week, Matt, Peter, & Ryan discuss: - MLB Award Winners + Could Ozuna Leave The Cardinals (3:16) - Chase Young & The NCAA Latest (12:40) - James Wiseman & The NCAA Latest (18:53) - What Are The Latest College Football Playoff Scenarios (30:53) - CFB Week 10 Recap Including LSU-Bama & Week 11 Predictions (43:19) - Does Kaepernick's Workout Mean Anything Anymore (54:42) - NFL Week 9 Recap Including 49ers Get Their First Loss & Week 10 Predictions (1:03:06) --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app

The hosts, joined by Joe, return from a two week hiatus and lead off with a discussion of the NFL MVP race and their Wild Card playoff predictions. The boys take a look at the NCAA, examining potential NCAAF playoff matchups and wading into the controversies surrounding Chase Young and NCAAB’s James Wiseman. PLUS, they react to the breaking news story surrounding the Houston Astros and allegations of sign stealing.

On this the last day of Pregnancy and Infant Loss Awareness month, I have a guest who understands this loss in ways that most people never will. Jessica Tosh lost her infant son, James, after just 2 months of life. Young James was never able to leave the hospital, but Jessica has been working to use her tremendous love for James in ways that spread that love to others. At Jessica's 20 week ultrasound, she and her husband learned that one of James' legs was far larger than the other. The doctors felt, that although this might give him struggles in life, it would certainly not be life-threatening. They also felt blessed to learn that Seattle Children's Hospital had experts in these sort of disorders, so they were confident that after James was born and went home, they would be able to make that roughly 3 hour drive from Portland, Oregon, for treatment as an outpatient. Unfortunately, this was not the case. Very soon after James was born, they realized that his condition was far more serious. There was an internal malformation that began to grow quickly and threatened his life. After only one week in Portland, he had to be flown to Seattle where doctors initially tried to treat his condition, and eventually, changed to comfort measures only. The medical team of doctors and nurses at Seattle Children's did a tremendous job caring for this family both physically and emotionally. In the three years since James died, Jessica has done the very intentional work of grieving. Her focus in life changed in ways other grieving parents can easily understand. We all struggle to find ways to remember our children and make sure others remember them as well. She started a blog, Rainbows in the Darkness and also a Facebook page, James' Love Project. Jessica feels that a major goal of her life is to try to break the stigma of child loss. The deaths of our children should not be something that is tucked away and not discussed publicly. We need others to learn that we want to talk about our children's lives, and about the joy they gave and still give us as parents and others who they didn't even know in life. I know you will enjoy hearing her stories of love.  

: GetInTunePodcast@gmail.com IG: @getintunepodcast @dre_staccs @imjustcue @1bigapple33

    Episode thirty-nine of A History of Rock Music in Five Hundred Songs looks at “Please Please Please” by James Brown, and at the early rock and roll career of the Godfather of Soul. Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have a ten-minute bonus episode available, on “Come Go With Me” by the Del Vikings. —-more—-  Resources As always, I’ve created a Mixcloud streaming playlist with full versions of all the songs in the episode.  I relied mostly on two books for this episode. James Brown: The Godfather of Soul, by James Brown with Bruce Tucker, is a celebrity autobiography with all that that entails, but a more interesting read than many.  Kill ‘Em and Leave: Searching for the Real James Brown, by James McBride is a more discursive, gonzo journalism piece, and well worth a read. And this two-CD compilation has all Brown’s singles from 1956 through 61.   Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript Just as the other week we talked about a country musician who had a massive impact on rock and roll, one who was originally marketed as a rock and roller, so today we’re going to talk about a funk and soul musician who got his first hits playing to the rock and roll audience.   There is a type of musician we will come across a lot as our story progresses. He is almost always a man, and he is usually regarded as a musical genius. He will be focused only on two things — his music and his money — and will have basically no friends, except maybe one from his childhood. He has employees, not friends. And he only hires the best — his employees do staggering work while being treated appallingly by him, and he takes all the credit while they do most of the work. Yet at the same time, the work those employees do ends up sounding like that genius, and when they go on to do their own stuff without him, it never sounds quite as good. That one percent he’s adding does make the difference. He’s never really liked as a person by his employees, but he’s grudgingly respected, and he’s loved by his audience.   There are people like that in every creative field — one thinks of Stan Lee in comics, or Walt Disney in film — but there are a *lot* of them in music, and they are responsible for an outsized portion of the most influential music ever made. And James Brown is almost the archetypal example of this kind of musician.   James Brown had a hard, hard childhood. His mother left his father when James was four — stories say that Brown’s father pulled a gun on her, so her wanting to get away seems entirely reasonable, but she left her son with him, and James felt abandoned and betrayed for much of his life. A few years later his father realised that he didn’t have the ability to look after a child by himself, and dumped James on a relative he always called an aunt, though she was some form of cousin, to raise. His aunt ran a brothel, and it’s safe to say that that was not the best possible environment in which to raise a young child. He later said that he was in his teens before he had any underwear that was bought from a shop rather than made out of old sacks. In later life, when other people would talk about having come from broken homes and having been abandoned by their fathers, he would say “How do you think I feel? My father *and my mother* left me!”   But he had ambition. Young James had entered — and won — talent shows from a very young age — his first one was in 1944, when he was eleven, and he performed “So Long”, the song that would a few years later become Ruth Brown’s first big hit, but was then best known in a version by the Charioteers:   [Excerpt: The Charioteers, “So Long”]   He loved music, especially jazz and gospel, and he was eager to learn anything he could about it. The one form of music he could never get into was the blues — his father played a little blues, but it wasn’t young James’ musical interest at all — but even there, when Tampa Red started dating one of the sex workers who worked at his aunt’s house, young James Brown learned what he could from the blues legend.   He learned to sing from the holiness churches, and his music would always have a gospel flavour to it. But the music he liked more than anything was that style of jazz and swing music that was blending into what was becoming R&B. He loved Count Basie, and used to try to teach himself to play “One O’Clock Jump”, Count Basie’s biggest hit, on the piano:   [Excerpt: Count Basie, “One O’Clock Jump”]   That style of music wouldn’t show up in his earlier records, which were mostly fairly standard vocal group R&B, but if you listen to his much later funk recordings, they owe a *lot* to Basie and Lionel Hampton. The music that Brown became most famous for is the logical conclusion to the style that those musicians developed — though we’ll talk more about the invention of funk, and how funk is a form of jazz, in a future episode. But his real favourite, the one he tried to emulate more than any other, was Louis Jordan. Brown didn’t get to see Jordan live as a child, but he would listen to his records on the radio and see him in film shorts, and he decided that more than anything else he wanted to be like Jordan. As soon as he started performing with small groups around town, he started singing Jordan’s songs, especially “Caldonia”, which years later he would record as a tribute to his idol:   [Excerpt: James Brown, “Caldonia”]   But as you might imagine, life for young James Brown wasn’t the easiest, and he eventually fell into robbery. This started when he was disciplined at school for not being dressed appropriately — so he went out and stole himself some better clothes. He started to do the same for his friends, and then moved on to more serious types of theft, including cars, and he ended up getting caught breaking into one.   At the age of sixteen, Brown was sent to a juvenile detention centre, on a sentence of eight to sixteen years, and this inadvertently led to the biggest piece of luck in his life, when he met the man who would be his mentor and principal creative partner for the next twenty years. There was a baseball game between inmates of the detention centre and a team of outsiders, one of whom was named Bobby Byrd, and Byrd got talking to Brown and discovered that he could sing. In fact Brown had put together a little band in the detention centre, using improvised instruments, and would often play the piano in the gym. He’d got enough of a reputation for being able to play that he’d acquired the nickname “Music Box” — and Byrd had heard about him even outside the prison.   At the time, Byrd was leading a gospel vocal group, and needed a new singer, and he was impressed enough with Brown that he put in a word for him at a parole hearing and helped him get released early. James Brown was going to devote his life to singing for the Lord, and he wasn’t going to sin any more. He got out of the detention centre after serving only three years of his sentence, though you can imagine that to a teen there was not much “only” about spending three years of your life locked up, especially in Georgia in the 1940s, a time and place when the white guards were free to be racially abusive to an even greater extent than they are today. And for the next ten years, throughout his early musical career, Brown would be on parole and in danger of being recalled to prison at any time.   Brown ended up joining Byrd’s *sister’s* gospel group, at least for a while, before moving over to Byrd’s own group, which had originally been a gospel group called the Gospel Starlighters, but by now was an R&B group called the Avons. They soon renamed themselves again, to the Flames, and later to the *Famous* Flames, the name they would stick with from then on (and a name which would cause a lot of confusion, as we’ve already talked about the Hollywood Flames, who featured a different Bobby Byrd). Brown’s friend Johnny Terry, who he had performed with in the detention centre, also joined the group. There would be many lineups of the Famous Flames, but Brown, Byrd, and Terry would be the nucleus of most of them.   Brown was massively influenced by Little Richard, to the extent that he was essentially a Little Richard tribute act early on. Brown felt an immediate kinship with Richard’s music because both of them were from Georgia, both were massively influenced by Louis Jordan, and both were inspired by church music. Brown would later go off in his own direction, of course, but in those early years he sounded more like Little Richard than like anyone else.   In fact, around this time, Little Richard’s career was doing so well that he could suddenly be booked into much bigger halls than he had been playing. He still had a few months’ worth of contracts in those old halls, though, and so his agent had a brainwave. No-one knew what Richard looked like, so the agent got Brown and the Flames to pretend to be Little Richard and the Upsetters and tour playing the gigs that Richard had been booked into. Every night Brown would go out on stage to the introduction, “Please welcome the hardest working man in showbusiness today, Little Richard!”, and when he finished ghosting for Little Richard, he liked the introduction enough that he would keep it for himself, changing it only to his own name rather than Richard’s. Brown would perform a mixture of Richard’s material, his own originals, and the R&B songs that the Flames had been performing around Georgia. They’d already been cutting some records for tiny labels, at least according to Brown’s autobiography, mostly cover versions of R&B hits. I haven’t been able to track down any of these, but one that Brown mentions in his autobiography is “So Long”, which he later rerecorded in 1961, and that version might give you some idea of what Brown sounded like at the period when he was trying to be Little Richard:   [Excerpt: James Brown, “So Long”]   Brown’s imitation of Richard went down well enough that Richard’s agent, Clint Brantley, decided to get the group to record a demo of themselves doing their own material.   They chose to do a song called “Please, Please, Please”, written by Brown and Johnny Terry. The song was based on something that Little Richard had scribbled on a napkin, which Brown decided would make a good title for a song. The song fits neatly into a particular genre of R&B ballad, typified by for example, Richard’s “Directly From My Heart to You”:   [Excerpt: Little Richard, “Directly From My Heart to You”]   Though both “Directly From My Heart” and “Please Please Please” owe more than a little to “Shake A Hand” by Faye Adams, the song that inspired almost all slow-burn blues ballads in this period:   [Excerpt: Faye Adams, “Shake a Hand”]   However, the real key to the song came when Brown heard the Orioles’ version of Big Joe Williams’ “Baby Please Don’t Go”, and used their backing vocal arrangement:   [Excerpt: The Orioles, “Baby Please Don’t Go”]   The Famous Flames were patterning themselves more and more on two groups — Billy Ward and the Dominoes, whose records with Clyde McPhatter as lead singer had paved the way for vocal group R&B as a genre, and Hank Ballard and the Midnighters, whose “Work With Me Annie” had had, for the time, a blatant sexuality that was unusual in successful records. They were going for energy, and for pure expression of visceral emotion, rather than the smooth sophisticated sounds of the Platters or Penguins.   They were signed to Federal Records, a subsidiary of King, by Ralph Bass, the visionary A&R man we’ve dealt with in many other episodes. Bass was absolutely convinced that “Please Please Please” would be a hit, and championed the Flames in the face of opposition from his boss, Syd Nathan. Nathan thought that the song just consisted of Brown screaming one word over and over again, and that there was no way on earth that it could be a hit. In Brown’s autobiography (not the most reliable of sources) he even claims that Bass was sacked for putting out the record against Nathan’s will, but then rehired when the record became a hit. I’m not sure if that’s literally true, but it’s a story that shows the emotional truth of the period — Bass was the only person at the record company with any faith in the Famous Flames.   But the song became hugely popular. The emotion in Brown’s singing was particularly effective on a particular type of woman, who would feel intensely sorry for Brown, and who would want to make that poor man feel better. Some woman had obviously hurt him terribly, and he needed the right woman to fix his hurt. It was a powerful, heartbreaking, song, and an even more powerful performance:   [Excerpt: James Brown and the Famous Flames, “Please Please Please”]   The song would eventually become one of the staples in the group’s live repertoire, and they would develop an elaborate routine about it. Brown would drop to his knees, sobbing, and the other band members would drape him in a cape — something that was inspired by a caped wrestler, Gorgeous George — and try to lead him off stage, concerned for him. Brown would pull away from them, feigning distress, and try to continue singing the song while his bandmates tried to get him off the stage.   Sometimes it would go even further — Brown talks in his autobiography about one show, supporting Little Richard, where he climbed into the rafters of the ceiling, hung from the ceiling while singing, and dropped into the waiting arms of the band members at the climax of the show.   But there was trouble in store. The record reached number six on the R&B chart and supposedly sold between one and three million copies, though record companies routinely inflated sales by orders of magnitude at this point. But it was credited to James Brown and the Famous Flames, not just to the Famous Flames as a group. When they started to be billed that way on stage shows, too, the rest of the band decided that enough was enough, and quit en masse.   Bobby Byrd and Johnny Terry would rejoin fairly shortly afterwards, and both would stay with Brown for many more years, but the rest of the group never came back, and Brown had to put together a new set of Famous Flames, starting out almost from scratch. He had that one hit, which was enough to get his new group gigs, but everything after that flopped, for three long years.   Records like “Chonnie On Chon” tried to jump on various bandwagons — you can hear that there was still a belief among R&B singers that if they namechecked “Annie” from “Work With Me Annie” by the Midnighters, they would have a hit — but despite him singing about having a rock and roll party, the record tanked:   [Excerpt: James Brown, “Chonnie On Chon”]    Brown and his new group of Flames had to build up an audience more or less from nothing. And it’s at this point — when Brown was the undisputed leader of the band — that he started his tactic of insisting on absolute discipline in his bands. Brown took on the title “the hardest working man in showbusiness”, but his band members had to work equally hard, if not harder. Any band member whose shoes weren’t shined, or who missed a dance step, or hit a wrong note on stage, would be fined. Brown took to issuing these fines on stage — he’d point at a band member and then flash five fingers in time to the music. Each time he made his hand flash, that was another five dollar fine for that musician. Audiences would assume it was part of the dance routine, but the musician would know that he was losing that money.   But while Brown’s perfectionism verged on the tyrannical (and indeed sometimes surpassed the tyrannical), it had results.   Brown knew, from a very early age, that he would have to make his success on pure hard work and determination. He didn’t have an especially good voice (though he would always defend himself as a singer — when someone said to him “all you do is grunt”, he’d respond, “Yes, but I grunt *in tune*”). And he wasn’t the physical type that was in fashion with black audiences at the time. While I am *absolutely* not the person to talk about colourism in the black community, there is a general consensus that in that time and place, black people were more likely to admire a black man if he was light-skinned, had features that didn’t fit the stereotype of black people, and was tall and thin. Brown was *very* dark, had extremely African features, and was short and stocky.   So he and his group just had to work harder than everyone else. They spent three years putting out unsuccessful singles and touring the chitlin’ circuit. We’ve mentioned the chitlin’ circuit in passing before, but now is probably the time to explain this in more detail.   The chitlin’ circuit was an informal network of clubs and theatres that stretched across the USA, catering almost exclusively to black audiences. Any black act — with the exception of a handful of acts who were aiming at white audiences, like Harry Belafonte or Nat “King” Cole — would play the chitlin’ circuit, and those audiences would be hard to impress. As with poor audiences everywhere, the audiences wanted value for their entertainment dollar, and were not prepared to tolerate anything less than the best.   The worst of these audiences was at the amateur nights at the Apollo Theatre in Harlem. The audiences there would come prepared with baskets full of rotten fruit and eggs to throw at the stage. But all of the audiences would be quick to show their disapproval.   But at the same time, that kind of audience will also, if you give them anything *more* than their money’s worth, be loyal to you forever. And Brown made sure that the Famous Flames would inspire that kind of loyalty, by making sure they worked harder than any other group on the circuit. And after three years of work, he finally had a second hit.   The new song was inspired by “For Your Precious Love” by Jerry Butler, another slow-burn ballad, though this time more obviously in the soul genre:   [Excerpt: Jerry Butler, “For Your Precious Love”]   As Brown told the story, he wrote his new song and took it to Syd Nathan at Federal, who said that he wasn’t going to waste his money putting out anything like that, and that in fact he was dropping Brown from the label. Brown was so convinced it was a hit that he recorded a demo with his own money, and took it directly to the radio stations, where it quickly became the most requested song on the stations that played it.   According to Brown, Nathan wouldn’t budge on putting the song out until he discovered that Federal had received orders for twenty-five thousand copies of the single.   Nathan then asked Brown for the tape, saying he was going to give Brown one more chance. But Brown told Nathan that if he was going to put out the new song, it was going to be done properly, in a studio paid for by Nathan. Nathan reluctantly agreed, and Brown went into the studio and cut “Try Me”:   [Excerpt: James Brown and the Famous Flames, “Try Me”]   “Try Me” became an even bigger hit than “Please Please Please” had, and went to number one on the R&B charts and number forty-eight on the pop charts.   But once again, Brown lost his group, and this time just before a big residency at the Apollo — the most prestigious, and also the most demanding, venue on the chitlin’ circuit. He still had Johnny Terry, and this was the point when Bobby Byrd rejoined the group after a couple of years away, but he was still worried about his new group and how they would fare on this residency, which also featured Little Richard’s old group the Upsetters, and was headlined by the blues star Little Willie John.   Brown needn’t have worried. The new lineup of Famous Flames went down well enough that the audiences were more impressed by them than by any of the other acts on the bill, and they were soon promoted to co-headline status, much to Little Willie John’s annoyance.   That was the first time James Brown ever played at the Apollo, a venue which in later years would become synonymous with him, and we’ll pick up in later episodes on the ways in which Brown and the Apollo were crucial in building each other’s reputation.   But for Brown himself, probably the most important thing about that residency at the Apollo came at the end of the run. And I’ll finish this episode with Brown’s own words, from his autobiography, talking about that last night:   “The day after we finished at the Apollo I was in my room at the Theresa, fixing to leave for Washington, when somebody knocked on the door.   “Come in,” I said. I was gathering up my belongings, not really watching the door. I heard it open, real slow, but that was all. After a minute, when I realized how quiet it was, I turned around. There was a small woman standing there, not young, not old. I hadn’t seen her since I was four years old, but when I looked at her I knew right away it was my mother.   I had no idea she was coming to see me that day or any day.   “I’ve been looking for you for a long time,” I said. “I’m glad to see you.”   She started to smile, and when she did I could see she’d lost all her teeth.   All I could think to say was, “I’m going to get your mouth fixed for you.”   She didn’t say anything. She just walked toward me. We hugged, and then I kissed my mother for the first time in more than twenty years.”  

    Episode thirty-nine of A History of Rock Music in Five Hundred Songs looks at "Please Please Please" by James Brown, and at the early rock and roll career of the Godfather of Soul. Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have a ten-minute bonus episode available, on "Come Go With Me" by the Del Vikings. ----more----  Resources As always, I've created a Mixcloud streaming playlist with full versions of all the songs in the episode.  I relied mostly on two books for this episode. James Brown: The Godfather of Soul, by James Brown with Bruce Tucker, is a celebrity autobiography with all that that entails, but a more interesting read than many.  Kill 'Em and Leave: Searching for the Real James Brown, by James McBride is a more discursive, gonzo journalism piece, and well worth a read. And this two-CD compilation has all Brown's singles from 1956 through 61.   Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript Just as the other week we talked about a country musician who had a massive impact on rock and roll, one who was originally marketed as a rock and roller, so today we're going to talk about a funk and soul musician who got his first hits playing to the rock and roll audience.   There is a type of musician we will come across a lot as our story progresses. He is almost always a man, and he is usually regarded as a musical genius. He will be focused only on two things -- his music and his money -- and will have basically no friends, except maybe one from his childhood. He has employees, not friends. And he only hires the best -- his employees do staggering work while being treated appallingly by him, and he takes all the credit while they do most of the work. Yet at the same time, the work those employees do ends up sounding like that genius, and when they go on to do their own stuff without him, it never sounds quite as good. That one percent he's adding does make the difference. He's never really liked as a person by his employees, but he's grudgingly respected, and he's loved by his audience.   There are people like that in every creative field -- one thinks of Stan Lee in comics, or Walt Disney in film -- but there are a *lot* of them in music, and they are responsible for an outsized portion of the most influential music ever made. And James Brown is almost the archetypal example of this kind of musician.   James Brown had a hard, hard childhood. His mother left his father when James was four -- stories say that Brown's father pulled a gun on her, so her wanting to get away seems entirely reasonable, but she left her son with him, and James felt abandoned and betrayed for much of his life. A few years later his father realised that he didn't have the ability to look after a child by himself, and dumped James on a relative he always called an aunt, though she was some form of cousin, to raise. His aunt ran a brothel, and it's safe to say that that was not the best possible environment in which to raise a young child. He later said that he was in his teens before he had any underwear that was bought from a shop rather than made out of old sacks. In later life, when other people would talk about having come from broken homes and having been abandoned by their fathers, he would say "How do you think I feel? My father *and my mother* left me!"   But he had ambition. Young James had entered -- and won -- talent shows from a very young age -- his first one was in 1944, when he was eleven, and he performed "So Long", the song that would a few years later become Ruth Brown's first big hit, but was then best known in a version by the Charioteers:   [Excerpt: The Charioteers, "So Long"]   He loved music, especially jazz and gospel, and he was eager to learn anything he could about it. The one form of music he could never get into was the blues -- his father played a little blues, but it wasn't young James' musical interest at all -- but even there, when Tampa Red started dating one of the sex workers who worked at his aunt's house, young James Brown learned what he could from the blues legend.   He learned to sing from the holiness churches, and his music would always have a gospel flavour to it. But the music he liked more than anything was that style of jazz and swing music that was blending into what was becoming R&B. He loved Count Basie, and used to try to teach himself to play "One O'Clock Jump", Count Basie's biggest hit, on the piano:   [Excerpt: Count Basie, "One O'Clock Jump"]   That style of music wouldn't show up in his earlier records, which were mostly fairly standard vocal group R&B, but if you listen to his much later funk recordings, they owe a *lot* to Basie and Lionel Hampton. The music that Brown became most famous for is the logical conclusion to the style that those musicians developed -- though we'll talk more about the invention of funk, and how funk is a form of jazz, in a future episode. But his real favourite, the one he tried to emulate more than any other, was Louis Jordan. Brown didn't get to see Jordan live as a child, but he would listen to his records on the radio and see him in film shorts, and he decided that more than anything else he wanted to be like Jordan. As soon as he started performing with small groups around town, he started singing Jordan's songs, especially "Caldonia", which years later he would record as a tribute to his idol:   [Excerpt: James Brown, "Caldonia"]   But as you might imagine, life for young James Brown wasn't the easiest, and he eventually fell into robbery. This started when he was disciplined at school for not being dressed appropriately -- so he went out and stole himself some better clothes. He started to do the same for his friends, and then moved on to more serious types of theft, including cars, and he ended up getting caught breaking into one.   At the age of sixteen, Brown was sent to a juvenile detention centre, on a sentence of eight to sixteen years, and this inadvertently led to the biggest piece of luck in his life, when he met the man who would be his mentor and principal creative partner for the next twenty years. There was a baseball game between inmates of the detention centre and a team of outsiders, one of whom was named Bobby Byrd, and Byrd got talking to Brown and discovered that he could sing. In fact Brown had put together a little band in the detention centre, using improvised instruments, and would often play the piano in the gym. He'd got enough of a reputation for being able to play that he'd acquired the nickname "Music Box" -- and Byrd had heard about him even outside the prison.   At the time, Byrd was leading a gospel vocal group, and needed a new singer, and he was impressed enough with Brown that he put in a word for him at a parole hearing and helped him get released early. James Brown was going to devote his life to singing for the Lord, and he wasn't going to sin any more. He got out of the detention centre after serving only three years of his sentence, though you can imagine that to a teen there was not much "only" about spending three years of your life locked up, especially in Georgia in the 1940s, a time and place when the white guards were free to be racially abusive to an even greater extent than they are today. And for the next ten years, throughout his early musical career, Brown would be on parole and in danger of being recalled to prison at any time.   Brown ended up joining Byrd's *sister's* gospel group, at least for a while, before moving over to Byrd's own group, which had originally been a gospel group called the Gospel Starlighters, but by now was an R&B group called the Avons. They soon renamed themselves again, to the Flames, and later to the *Famous* Flames, the name they would stick with from then on (and a name which would cause a lot of confusion, as we've already talked about the Hollywood Flames, who featured a different Bobby Byrd). Brown's friend Johnny Terry, who he had performed with in the detention centre, also joined the group. There would be many lineups of the Famous Flames, but Brown, Byrd, and Terry would be the nucleus of most of them.   Brown was massively influenced by Little Richard, to the extent that he was essentially a Little Richard tribute act early on. Brown felt an immediate kinship with Richard's music because both of them were from Georgia, both were massively influenced by Louis Jordan, and both were inspired by church music. Brown would later go off in his own direction, of course, but in those early years he sounded more like Little Richard than like anyone else.   In fact, around this time, Little Richard's career was doing so well that he could suddenly be booked into much bigger halls than he had been playing. He still had a few months' worth of contracts in those old halls, though, and so his agent had a brainwave. No-one knew what Richard looked like, so the agent got Brown and the Flames to pretend to be Little Richard and the Upsetters and tour playing the gigs that Richard had been booked into. Every night Brown would go out on stage to the introduction, "Please welcome the hardest working man in showbusiness today, Little Richard!", and when he finished ghosting for Little Richard, he liked the introduction enough that he would keep it for himself, changing it only to his own name rather than Richard's. Brown would perform a mixture of Richard's material, his own originals, and the R&B songs that the Flames had been performing around Georgia. They'd already been cutting some records for tiny labels, at least according to Brown's autobiography, mostly cover versions of R&B hits. I haven't been able to track down any of these, but one that Brown mentions in his autobiography is "So Long", which he later rerecorded in 1961, and that version might give you some idea of what Brown sounded like at the period when he was trying to be Little Richard:   [Excerpt: James Brown, "So Long"]   Brown's imitation of Richard went down well enough that Richard's agent, Clint Brantley, decided to get the group to record a demo of themselves doing their own material.   They chose to do a song called "Please, Please, Please", written by Brown and Johnny Terry. The song was based on something that Little Richard had scribbled on a napkin, which Brown decided would make a good title for a song. The song fits neatly into a particular genre of R&B ballad, typified by for example, Richard's "Directly From My Heart to You":   [Excerpt: Little Richard, "Directly From My Heart to You"]   Though both "Directly From My Heart" and "Please Please Please" owe more than a little to "Shake A Hand" by Faye Adams, the song that inspired almost all slow-burn blues ballads in this period:   [Excerpt: Faye Adams, "Shake a Hand"]   However, the real key to the song came when Brown heard the Orioles' version of Big Joe Williams' "Baby Please Don't Go", and used their backing vocal arrangement:   [Excerpt: The Orioles, "Baby Please Don't Go"]   The Famous Flames were patterning themselves more and more on two groups -- Billy Ward and the Dominoes, whose records with Clyde McPhatter as lead singer had paved the way for vocal group R&B as a genre, and Hank Ballard and the Midnighters, whose "Work With Me Annie" had had, for the time, a blatant sexuality that was unusual in successful records. They were going for energy, and for pure expression of visceral emotion, rather than the smooth sophisticated sounds of the Platters or Penguins.   They were signed to Federal Records, a subsidiary of King, by Ralph Bass, the visionary A&R man we've dealt with in many other episodes. Bass was absolutely convinced that "Please Please Please" would be a hit, and championed the Flames in the face of opposition from his boss, Syd Nathan. Nathan thought that the song just consisted of Brown screaming one word over and over again, and that there was no way on earth that it could be a hit. In Brown's autobiography (not the most reliable of sources) he even claims that Bass was sacked for putting out the record against Nathan's will, but then rehired when the record became a hit. I'm not sure if that's literally true, but it's a story that shows the emotional truth of the period -- Bass was the only person at the record company with any faith in the Famous Flames.   But the song became hugely popular. The emotion in Brown's singing was particularly effective on a particular type of woman, who would feel intensely sorry for Brown, and who would want to make that poor man feel better. Some woman had obviously hurt him terribly, and he needed the right woman to fix his hurt. It was a powerful, heartbreaking, song, and an even more powerful performance:   [Excerpt: James Brown and the Famous Flames, "Please Please Please"]   The song would eventually become one of the staples in the group's live repertoire, and they would develop an elaborate routine about it. Brown would drop to his knees, sobbing, and the other band members would drape him in a cape -- something that was inspired by a caped wrestler, Gorgeous George -- and try to lead him off stage, concerned for him. Brown would pull away from them, feigning distress, and try to continue singing the song while his bandmates tried to get him off the stage.   Sometimes it would go even further -- Brown talks in his autobiography about one show, supporting Little Richard, where he climbed into the rafters of the ceiling, hung from the ceiling while singing, and dropped into the waiting arms of the band members at the climax of the show.   But there was trouble in store. The record reached number six on the R&B chart and supposedly sold between one and three million copies, though record companies routinely inflated sales by orders of magnitude at this point. But it was credited to James Brown and the Famous Flames, not just to the Famous Flames as a group. When they started to be billed that way on stage shows, too, the rest of the band decided that enough was enough, and quit en masse.   Bobby Byrd and Johnny Terry would rejoin fairly shortly afterwards, and both would stay with Brown for many more years, but the rest of the group never came back, and Brown had to put together a new set of Famous Flames, starting out almost from scratch. He had that one hit, which was enough to get his new group gigs, but everything after that flopped, for three long years.   Records like "Chonnie On Chon" tried to jump on various bandwagons -- you can hear that there was still a belief among R&B singers that if they namechecked "Annie" from "Work With Me Annie" by the Midnighters, they would have a hit -- but despite him singing about having a rock and roll party, the record tanked:   [Excerpt: James Brown, "Chonnie On Chon"]    Brown and his new group of Flames had to build up an audience more or less from nothing. And it's at this point -- when Brown was the undisputed leader of the band -- that he started his tactic of insisting on absolute discipline in his bands. Brown took on the title "the hardest working man in showbusiness", but his band members had to work equally hard, if not harder. Any band member whose shoes weren't shined, or who missed a dance step, or hit a wrong note on stage, would be fined. Brown took to issuing these fines on stage -- he'd point at a band member and then flash five fingers in time to the music. Each time he made his hand flash, that was another five dollar fine for that musician. Audiences would assume it was part of the dance routine, but the musician would know that he was losing that money.   But while Brown's perfectionism verged on the tyrannical (and indeed sometimes surpassed the tyrannical), it had results.   Brown knew, from a very early age, that he would have to make his success on pure hard work and determination. He didn't have an especially good voice (though he would always defend himself as a singer -- when someone said to him "all you do is grunt", he'd respond, "Yes, but I grunt *in tune*”). And he wasn't the physical type that was in fashion with black audiences at the time. While I am *absolutely* not the person to talk about colourism in the black community, there is a general consensus that in that time and place, black people were more likely to admire a black man if he was light-skinned, had features that didn't fit the stereotype of black people, and was tall and thin. Brown was *very* dark, had extremely African features, and was short and stocky.   So he and his group just had to work harder than everyone else. They spent three years putting out unsuccessful singles and touring the chitlin' circuit. We've mentioned the chitlin' circuit in passing before, but now is probably the time to explain this in more detail.   The chitlin' circuit was an informal network of clubs and theatres that stretched across the USA, catering almost exclusively to black audiences. Any black act -- with the exception of a handful of acts who were aiming at white audiences, like Harry Belafonte or Nat "King" Cole -- would play the chitlin' circuit, and those audiences would be hard to impress. As with poor audiences everywhere, the audiences wanted value for their entertainment dollar, and were not prepared to tolerate anything less than the best.   The worst of these audiences was at the amateur nights at the Apollo Theatre in Harlem. The audiences there would come prepared with baskets full of rotten fruit and eggs to throw at the stage. But all of the audiences would be quick to show their disapproval.   But at the same time, that kind of audience will also, if you give them anything *more* than their money's worth, be loyal to you forever. And Brown made sure that the Famous Flames would inspire that kind of loyalty, by making sure they worked harder than any other group on the circuit. And after three years of work, he finally had a second hit.   The new song was inspired by "For Your Precious Love" by Jerry Butler, another slow-burn ballad, though this time more obviously in the soul genre:   [Excerpt: Jerry Butler, "For Your Precious Love"]   As Brown told the story, he wrote his new song and took it to Syd Nathan at Federal, who said that he wasn't going to waste his money putting out anything like that, and that in fact he was dropping Brown from the label. Brown was so convinced it was a hit that he recorded a demo with his own money, and took it directly to the radio stations, where it quickly became the most requested song on the stations that played it.   According to Brown, Nathan wouldn't budge on putting the song out until he discovered that Federal had received orders for twenty-five thousand copies of the single.   Nathan then asked Brown for the tape, saying he was going to give Brown one more chance. But Brown told Nathan that if he was going to put out the new song, it was going to be done properly, in a studio paid for by Nathan. Nathan reluctantly agreed, and Brown went into the studio and cut "Try Me":   [Excerpt: James Brown and the Famous Flames, "Try Me"]   "Try Me" became an even bigger hit than "Please Please Please" had, and went to number one on the R&B charts and number forty-eight on the pop charts.   But once again, Brown lost his group, and this time just before a big residency at the Apollo -- the most prestigious, and also the most demanding, venue on the chitlin' circuit. He still had Johnny Terry, and this was the point when Bobby Byrd rejoined the group after a couple of years away, but he was still worried about his new group and how they would fare on this residency, which also featured Little Richard's old group the Upsetters, and was headlined by the blues star Little Willie John.   Brown needn't have worried. The new lineup of Famous Flames went down well enough that the audiences were more impressed by them than by any of the other acts on the bill, and they were soon promoted to co-headline status, much to Little Willie John's annoyance.   That was the first time James Brown ever played at the Apollo, a venue which in later years would become synonymous with him, and we'll pick up in later episodes on the ways in which Brown and the Apollo were crucial in building each other's reputation.   But for Brown himself, probably the most important thing about that residency at the Apollo came at the end of the run. And I'll finish this episode with Brown's own words, from his autobiography, talking about that last night:   "The day after we finished at the Apollo I was in my room at the Theresa, fixing to leave for Washington, when somebody knocked on the door.   “Come in,” I said. I was gathering up my belongings, not really watching the door. I heard it open, real slow, but that was all. After a minute, when I realized how quiet it was, I turned around. There was a small woman standing there, not young, not old. I hadn’t seen her since I was four years old, but when I looked at her I knew right away it was my mother.   I had no idea she was coming to see me that day or any day.   “I’ve been looking for you for a long time,” I said. “I’m glad to see you.”   She started to smile, and when she did I could see she’d lost all her teeth.   All I could think to say was, “I’m going to get your mouth fixed for you.”   She didn’t say anything. She just walked toward me. We hugged, and then I kissed my mother for the first time in more than twenty years."  

    Episode thirty-nine of A History of Rock Music in Five Hundred Songs looks at “Please Please Please” by James Brown, and at the early rock and roll career of the Godfather of Soul. Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have a ten-minute bonus episode available, on “Come Go With Me” by the Del Vikings. —-more—-  Resources As always, I’ve created a Mixcloud streaming playlist with full versions of all the songs in the episode.  I relied mostly on two books for this episode. James Brown: The Godfather of Soul, by James Brown with Bruce Tucker, is a celebrity autobiography with all that that entails, but a more interesting read than many.  Kill ‘Em and Leave: Searching for the Real James Brown, by James McBride is a more discursive, gonzo journalism piece, and well worth a read. And this two-CD compilation has all Brown’s singles from 1956 through 61.   Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript Just as the other week we talked about a country musician who had a massive impact on rock and roll, one who was originally marketed as a rock and roller, so today we’re going to talk about a funk and soul musician who got his first hits playing to the rock and roll audience.   There is a type of musician we will come across a lot as our story progresses. He is almost always a man, and he is usually regarded as a musical genius. He will be focused only on two things — his music and his money — and will have basically no friends, except maybe one from his childhood. He has employees, not friends. And he only hires the best — his employees do staggering work while being treated appallingly by him, and he takes all the credit while they do most of the work. Yet at the same time, the work those employees do ends up sounding like that genius, and when they go on to do their own stuff without him, it never sounds quite as good. That one percent he’s adding does make the difference. He’s never really liked as a person by his employees, but he’s grudgingly respected, and he’s loved by his audience.   There are people like that in every creative field — one thinks of Stan Lee in comics, or Walt Disney in film — but there are a *lot* of them in music, and they are responsible for an outsized portion of the most influential music ever made. And James Brown is almost the archetypal example of this kind of musician.   James Brown had a hard, hard childhood. His mother left his father when James was four — stories say that Brown’s father pulled a gun on her, so her wanting to get away seems entirely reasonable, but she left her son with him, and James felt abandoned and betrayed for much of his life. A few years later his father realised that he didn’t have the ability to look after a child by himself, and dumped James on a relative he always called an aunt, though she was some form of cousin, to raise. His aunt ran a brothel, and it’s safe to say that that was not the best possible environment in which to raise a young child. He later said that he was in his teens before he had any underwear that was bought from a shop rather than made out of old sacks. In later life, when other people would talk about having come from broken homes and having been abandoned by their fathers, he would say “How do you think I feel? My father *and my mother* left me!”   But he had ambition. Young James had entered — and won — talent shows from a very young age — his first one was in 1944, when he was eleven, and he performed “So Long”, the song that would a few years later become Ruth Brown’s first big hit, but was then best known in a version by the Charioteers:   [Excerpt: The Charioteers, “So Long”]   He loved music, especially jazz and gospel, and he was eager to learn anything he could about it. The one form of music he could never get into was the blues — his father played a little blues, but it wasn’t young James’ musical interest at all — but even there, when Tampa Red started dating one of the sex workers who worked at his aunt’s house, young James Brown learned what he could from the blues legend.   He learned to sing from the holiness churches, and his music would always have a gospel flavour to it. But the music he liked more than anything was that style of jazz and swing music that was blending into what was becoming R&B. He loved Count Basie, and used to try to teach himself to play “One O’Clock Jump”, Count Basie’s biggest hit, on the piano:   [Excerpt: Count Basie, “One O’Clock Jump”]   That style of music wouldn’t show up in his earlier records, which were mostly fairly standard vocal group R&B, but if you listen to his much later funk recordings, they owe a *lot* to Basie and Lionel Hampton. The music that Brown became most famous for is the logical conclusion to the style that those musicians developed — though we’ll talk more about the invention of funk, and how funk is a form of jazz, in a future episode. But his real favourite, the one he tried to emulate more than any other, was Louis Jordan. Brown didn’t get to see Jordan live as a child, but he would listen to his records on the radio and see him in film shorts, and he decided that more than anything else he wanted to be like Jordan. As soon as he started performing with small groups around town, he started singing Jordan’s songs, especially “Caldonia”, which years later he would record as a tribute to his idol:   [Excerpt: James Brown, “Caldonia”]   But as you might imagine, life for young James Brown wasn’t the easiest, and he eventually fell into robbery. This started when he was disciplined at school for not being dressed appropriately — so he went out and stole himself some better clothes. He started to do the same for his friends, and then moved on to more serious types of theft, including cars, and he ended up getting caught breaking into one.   At the age of sixteen, Brown was sent to a juvenile detention centre, on a sentence of eight to sixteen years, and this inadvertently led to the biggest piece of luck in his life, when he met the man who would be his mentor and principal creative partner for the next twenty years. There was a baseball game between inmates of the detention centre and a team of outsiders, one of whom was named Bobby Byrd, and Byrd got talking to Brown and discovered that he could sing. In fact Brown had put together a little band in the detention centre, using improvised instruments, and would often play the piano in the gym. He’d got enough of a reputation for being able to play that he’d acquired the nickname “Music Box” — and Byrd had heard about him even outside the prison.   At the time, Byrd was leading a gospel vocal group, and needed a new singer, and he was impressed enough with Brown that he put in a word for him at a parole hearing and helped him get released early. James Brown was going to devote his life to singing for the Lord, and he wasn’t going to sin any more. He got out of the detention centre after serving only three years of his sentence, though you can imagine that to a teen there was not much “only” about spending three years of your life locked up, especially in Georgia in the 1940s, a time and place when the white guards were free to be racially abusive to an even greater extent than they are today. And for the next ten years, throughout his early musical career, Brown would be on parole and in danger of being recalled to prison at any time.   Brown ended up joining Byrd’s *sister’s* gospel group, at least for a while, before moving over to Byrd’s own group, which had originally been a gospel group called the Gospel Starlighters, but by now was an R&B group called the Avons. They soon renamed themselves again, to the Flames, and later to the *Famous* Flames, the name they would stick with from then on (and a name which would cause a lot of confusion, as we’ve already talked about the Hollywood Flames, who featured a different Bobby Byrd). Brown’s friend Johnny Terry, who he had performed with in the detention centre, also joined the group. There would be many lineups of the Famous Flames, but Brown, Byrd, and Terry would be the nucleus of most of them.   Brown was massively influenced by Little Richard, to the extent that he was essentially a Little Richard tribute act early on. Brown felt an immediate kinship with Richard’s music because both of them were from Georgia, both were massively influenced by Louis Jordan, and both were inspired by church music. Brown would later go off in his own direction, of course, but in those early years he sounded more like Little Richard than like anyone else.   In fact, around this time, Little Richard’s career was doing so well that he could suddenly be booked into much bigger halls than he had been playing. He still had a few months’ worth of contracts in those old halls, though, and so his agent had a brainwave. No-one knew what Richard looked like, so the agent got Brown and the Flames to pretend to be Little Richard and the Upsetters and tour playing the gigs that Richard had been booked into. Every night Brown would go out on stage to the introduction, “Please welcome the hardest working man in showbusiness today, Little Richard!”, and when he finished ghosting for Little Richard, he liked the introduction enough that he would keep it for himself, changing it only to his own name rather than Richard’s. Brown would perform a mixture of Richard’s material, his own originals, and the R&B songs that the Flames had been performing around Georgia. They’d already been cutting some records for tiny labels, at least according to Brown’s autobiography, mostly cover versions of R&B hits. I haven’t been able to track down any of these, but one that Brown mentions in his autobiography is “So Long”, which he later rerecorded in 1961, and that version might give you some idea of what Brown sounded like at the period when he was trying to be Little Richard:   [Excerpt: James Brown, “So Long”]   Brown’s imitation of Richard went down well enough that Richard’s agent, Clint Brantley, decided to get the group to record a demo of themselves doing their own material.   They chose to do a song called “Please, Please, Please”, written by Brown and Johnny Terry. The song was based on something that Little Richard had scribbled on a napkin, which Brown decided would make a good title for a song. The song fits neatly into a particular genre of R&B ballad, typified by for example, Richard’s “Directly From My Heart to You”:   [Excerpt: Little Richard, “Directly From My Heart to You”]   Though both “Directly From My Heart” and “Please Please Please” owe more than a little to “Shake A Hand” by Faye Adams, the song that inspired almost all slow-burn blues ballads in this period:   [Excerpt: Faye Adams, “Shake a Hand”]   However, the real key to the song came when Brown heard the Orioles’ version of Big Joe Williams’ “Baby Please Don’t Go”, and used their backing vocal arrangement:   [Excerpt: The Orioles, “Baby Please Don’t Go”]   The Famous Flames were patterning themselves more and more on two groups — Billy Ward and the Dominoes, whose records with Clyde McPhatter as lead singer had paved the way for vocal group R&B as a genre, and Hank Ballard and the Midnighters, whose “Work With Me Annie” had had, for the time, a blatant sexuality that was unusual in successful records. They were going for energy, and for pure expression of visceral emotion, rather than the smooth sophisticated sounds of the Platters or Penguins.   They were signed to Federal Records, a subsidiary of King, by Ralph Bass, the visionary A&R man we’ve dealt with in many other episodes. Bass was absolutely convinced that “Please Please Please” would be a hit, and championed the Flames in the face of opposition from his boss, Syd Nathan. Nathan thought that the song just consisted of Brown screaming one word over and over again, and that there was no way on earth that it could be a hit. In Brown’s autobiography (not the most reliable of sources) he even claims that Bass was sacked for putting out the record against Nathan’s will, but then rehired when the record became a hit. I’m not sure if that’s literally true, but it’s a story that shows the emotional truth of the period — Bass was the only person at the record company with any faith in the Famous Flames.   But the song became hugely popular. The emotion in Brown’s singing was particularly effective on a particular type of woman, who would feel intensely sorry for Brown, and who would want to make that poor man feel better. Some woman had obviously hurt him terribly, and he needed the right woman to fix his hurt. It was a powerful, heartbreaking, song, and an even more powerful performance:   [Excerpt: James Brown and the Famous Flames, “Please Please Please”]   The song would eventually become one of the staples in the group’s live repertoire, and they would develop an elaborate routine about it. Brown would drop to his knees, sobbing, and the other band members would drape him in a cape — something that was inspired by a caped wrestler, Gorgeous George — and try to lead him off stage, concerned for him. Brown would pull away from them, feigning distress, and try to continue singing the song while his bandmates tried to get him off the stage.   Sometimes it would go even further — Brown talks in his autobiography about one show, supporting Little Richard, where he climbed into the rafters of the ceiling, hung from the ceiling while singing, and dropped into the waiting arms of the band members at the climax of the show.   But there was trouble in store. The record reached number six on the R&B chart and supposedly sold between one and three million copies, though record companies routinely inflated sales by orders of magnitude at this point. But it was credited to James Brown and the Famous Flames, not just to the Famous Flames as a group. When they started to be billed that way on stage shows, too, the rest of the band decided that enough was enough, and quit en masse.   Bobby Byrd and Johnny Terry would rejoin fairly shortly afterwards, and both would stay with Brown for many more years, but the rest of the group never came back, and Brown had to put together a new set of Famous Flames, starting out almost from scratch. He had that one hit, which was enough to get his new group gigs, but everything after that flopped, for three long years.   Records like “Chonnie On Chon” tried to jump on various bandwagons — you can hear that there was still a belief among R&B singers that if they namechecked “Annie” from “Work With Me Annie” by the Midnighters, they would have a hit — but despite him singing about having a rock and roll party, the record tanked:   [Excerpt: James Brown, “Chonnie On Chon”]    Brown and his new group of Flames had to build up an audience more or less from nothing. And it’s at this point — when Brown was the undisputed leader of the band — that he started his tactic of insisting on absolute discipline in his bands. Brown took on the title “the hardest working man in showbusiness”, but his band members had to work equally hard, if not harder. Any band member whose shoes weren’t shined, or who missed a dance step, or hit a wrong note on stage, would be fined. Brown took to issuing these fines on stage — he’d point at a band member and then flash five fingers in time to the music. Each time he made his hand flash, that was another five dollar fine for that musician. Audiences would assume it was part of the dance routine, but the musician would know that he was losing that money.   But while Brown’s perfectionism verged on the tyrannical (and indeed sometimes surpassed the tyrannical), it had results.   Brown knew, from a very early age, that he would have to make his success on pure hard work and determination. He didn’t have an especially good voice (though he would always defend himself as a singer — when someone said to him “all you do is grunt”, he’d respond, “Yes, but I grunt *in tune*”). And he wasn’t the physical type that was in fashion with black audiences at the time. While I am *absolutely* not the person to talk about colourism in the black community, there is a general consensus that in that time and place, black people were more likely to admire a black man if he was light-skinned, had features that didn’t fit the stereotype of black people, and was tall and thin. Brown was *very* dark, had extremely African features, and was short and stocky.   So he and his group just had to work harder than everyone else. They spent three years putting out unsuccessful singles and touring the chitlin’ circuit. We’ve mentioned the chitlin’ circuit in passing before, but now is probably the time to explain this in more detail.   The chitlin’ circuit was an informal network of clubs and theatres that stretched across the USA, catering almost exclusively to black audiences. Any black act — with the exception of a handful of acts who were aiming at white audiences, like Harry Belafonte or Nat “King” Cole — would play the chitlin’ circuit, and those audiences would be hard to impress. As with poor audiences everywhere, the audiences wanted value for their entertainment dollar, and were not prepared to tolerate anything less than the best.   The worst of these audiences was at the amateur nights at the Apollo Theatre in Harlem. The audiences there would come prepared with baskets full of rotten fruit and eggs to throw at the stage. But all of the audiences would be quick to show their disapproval.   But at the same time, that kind of audience will also, if you give them anything *more* than their money’s worth, be loyal to you forever. And Brown made sure that the Famous Flames would inspire that kind of loyalty, by making sure they worked harder than any other group on the circuit. And after three years of work, he finally had a second hit.   The new song was inspired by “For Your Precious Love” by Jerry Butler, another slow-burn ballad, though this time more obviously in the soul genre:   [Excerpt: Jerry Butler, “For Your Precious Love”]   As Brown told the story, he wrote his new song and took it to Syd Nathan at Federal, who said that he wasn’t going to waste his money putting out anything like that, and that in fact he was dropping Brown from the label. Brown was so convinced it was a hit that he recorded a demo with his own money, and took it directly to the radio stations, where it quickly became the most requested song on the stations that played it.   According to Brown, Nathan wouldn’t budge on putting the song out until he discovered that Federal had received orders for twenty-five thousand copies of the single.   Nathan then asked Brown for the tape, saying he was going to give Brown one more chance. But Brown told Nathan that if he was going to put out the new song, it was going to be done properly, in a studio paid for by Nathan. Nathan reluctantly agreed, and Brown went into the studio and cut “Try Me”:   [Excerpt: James Brown and the Famous Flames, “Try Me”]   “Try Me” became an even bigger hit than “Please Please Please” had, and went to number one on the R&B charts and number forty-eight on the pop charts.   But once again, Brown lost his group, and this time just before a big residency at the Apollo — the most prestigious, and also the most demanding, venue on the chitlin’ circuit. He still had Johnny Terry, and this was the point when Bobby Byrd rejoined the group after a couple of years away, but he was still worried about his new group and how they would fare on this residency, which also featured Little Richard’s old group the Upsetters, and was headlined by the blues star Little Willie John.   Brown needn’t have worried. The new lineup of Famous Flames went down well enough that the audiences were more impressed by them than by any of the other acts on the bill, and they were soon promoted to co-headline status, much to Little Willie John’s annoyance.   That was the first time James Brown ever played at the Apollo, a venue which in later years would become synonymous with him, and we’ll pick up in later episodes on the ways in which Brown and the Apollo were crucial in building each other’s reputation.   But for Brown himself, probably the most important thing about that residency at the Apollo came at the end of the run. And I’ll finish this episode with Brown’s own words, from his autobiography, talking about that last night:   “The day after we finished at the Apollo I was in my room at the Theresa, fixing to leave for Washington, when somebody knocked on the door.   “Come in,” I said. I was gathering up my belongings, not really watching the door. I heard it open, real slow, but that was all. After a minute, when I realized how quiet it was, I turned around. There was a small woman standing there, not young, not old. I hadn’t seen her since I was four years old, but when I looked at her I knew right away it was my mother.   I had no idea she was coming to see me that day or any day.   “I’ve been looking for you for a long time,” I said. “I’m glad to see you.”   She started to smile, and when she did I could see she’d lost all her teeth.   All I could think to say was, “I’m going to get your mouth fixed for you.”   She didn’t say anything. She just walked toward me. We hugged, and then I kissed my mother for the first time in more than twenty years.”  

Slops back this week playing the old head role with special guest co-host Rebecca Shelby, and special guest super group Play MMB. They discuss high school exes the groups, family ties, what makes MMB Day so special and Watts & Slops debate if OJ was innocent. Plus Young James hits us with a world premiere. This Weeks Featured tracks Play MMB - Ganked (extended version) Young James ft. MMB Velli - Dopeman* WORLD PREMIERE* Stunthard MMB - No More Poems For Girl

Stan is away being a new dad so on this episode we were joined by two special guests to help fill in. We have listener Phil Wadey from the podcast "Phil's Breakfast Metal" and the band "Void Titan" as well as listener Young James who has a Youtube series going right now documenting his journey into death metal. Find all those links below. The challenge for this episode was to pick 15 albums to convince someone who isn't into black metal that they should. James was our test subject as he is not a fan of black metal at all. So hit play and see how well we did! Stay tuned for a live interview with Dave Davidson of Revocation at the end! Interview starts at the 1 hour 25 min mark if you get sick of us.  Listen here, on iTunes, Stitcher, Google Play, Spotify, or your favorite podcast app and find the rest of our episodes and social media links here: www.intothecombine.com Find more bonus content over at our Patreon: https://www.patreon.com/intothecombine   Links for our Guests: Phils Breakfast Metal Podcast: Soundcloud or iTunes Void Titan: Bandcamp James Does Death Metal: https://www.youtube.com/watch?v=Cyh-V--u4WY   Music Played on This Episode:Unearth "Incinerate" Batushka "Yekteniya III: Premudrost'Gorgoroth "The Rite of Infernal Invocation" Uada "Natus Eclipsim" Death Spell Omega "Abscission"Enslaved "Ethica Odini"Nachtmystium "Assassins" Wolves in the Throne Room "Vastness and Sorrow" Dissection "Where Dead Angels Lie"Ulver "Hymne 1"Abigail Williams "The World Beyond"Dark Funeral "The Secrets of the Black Arts"Wiegdood "Svanesang"Satyricon "Mother North"Watain "Malfeitor"Horn "Bocksfub"

Dave Winnyk Interviews Young James (James Begin) of the band, Tropidelic. Recorded after their 4/20 show at The Cubby Bear in Chicago. James chats about the band's style, writing songs, and his new clothing line. Later, he's joined by Pags and Derrick to talk about Mondays with The Sex, set lists, and falling in love on tour. All fart noises provided by Derrick's Armpit.

Mike D., TL, and guest Young James talk about the long-lasting impression left by the 1966 three issue Fantastic Four arc famously known as "The Galactus Trilogy"! The art, the impact, the outfits, and ... the Wu-Tang?! Music- "Surfing with the Alien"- by Joe Satriani

We often think of James Joyce as a man in his thirties and forties, a monkish, fanatical, eyepatch-wearing author, trapped in his hovel and his own mind, agonizing over his masterpieces, sentence by sentence, word by laborious word. But young James Joyce, the one who studied literature in college and roamed the night-time streets of Dublin with his friends, laughing and carousing and observing the characters around him, was a different person altogether – or was he? Host Jacke Wilson takes a look at the James Joyce who studied his fellow Dubliners – and then wrote a masterful collection of short stories that he named after them. Help support the show at patreon.com/literature. Learn more about the show at historyofliterature.com. Contact the host at jackewilsonauthor@gmail.com. FOR A LIMITED TIME: Special holiday news! Now for a limited time, you can purchase History of Literature swag (mugs, tote bags, and “virtual coffees” for Jacke) at historyofliterature.com/shop. Get yours today! Learn more about your ad choices. Visit megaphone.fm/adchoices

Four for the world's leading light workers join Tom Hayes, Rosemarie Young and Rebecca 'The Metaphysical Flight Attendant' Tripp, in a discussion of "'Heartfelt'; The Fifth Dimension; Freedom from Fear; and Joy. James Blacker, Rose Ferrachi, Hazel Moore and Tracy Polowich are advanced light workers skilled in their individual healing and life coaching techniques. This is a major symposium of the warmest hearts in the fields of body, mind and spirit healing. Listen or join in on the discussion as we explore the next step in humanity's shift to a New World. 

Вокал придает оригиналу новую окраску и делает его более разнообразным и интересным!

Очень не хватало вокала на этом красивом треке! 

With Mark Lawson. Former Monty Python star Terry Jones has now written 26 books. His latest, Evil Machines, is a collection of 13 short stories which explore what happens when everyday objects take on a life of their own. He discusses the inspiration for the book, life as a Python and his relationship with the group now. The young lives of James Herriot and Inspector Morse will soon arrive on our TV screens. Glasgow in the 1930s is the setting for the adventures of James Herriot as an idealistic student vet; and Endeavour turns the clock back to 1965, when the young Morse is in Oxford to hunt for a missing schoolgirl. Rebecca Nicholson and Chris Dunkley assess the new portrayals of two much-loved TV characters. And conductor Jeremy Summerly gives an illustrated guide at the keyboard to those underrated Christmas carols which deserve to be better known. Producer Jerome Weatherald.

Ben Lloyd-Hughes on Young James Herriot's Harry Potter connection This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit reelscotland.substack.com

Ben Lloyd-Hughes on Young James Herriot's Harry Potter connection

Ben Lloyd-Hughes introduces Young James Herriot's Rob McAloon

Ben Lloyd-Hughes introduces Young James Herriot's Rob McAloon This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit reelscotland.substack.com

Amy Manson on working in Scotland in Young James Herriot http://www.reelscotland.com/amy-manson-young-james-herriot-bbc-scotland/

Amy Manson on the period setting of Young James Herriot http://www.reelscotland.com/amy-manson-young-james-herriot-bbc-scotland/

Amy Manson on the period setting of Young James Herriot http://www.reelscotland.com/amy-manson-young-james-herriot-bbc-scotland/ This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit reelscotland.substack.com

Amy Manson on working in Scotland in Young James Herriot http://www.reelscotland.com/amy-manson-young-james-herriot-bbc-scotland/ This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit reelscotland.substack.com

Actor Iain De Caestecker discusses the filming of BBC Scotland's Young James Herriot.http://www.reelscotland.com/young-james-herriot-iain-de-caestecker-bbc-one/ This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit reelscotland.substack.com

Actor Iain De Caestecker discusses the filming of BBC Scotland's Young James Herriot. http://www.reelscotland.com/young-james-herriot-iain-de-caestecker-bbc-one/

TOPIC 1: NOT AS “SLY” AS HIS FATHER. Mayor James’ son, Kyle, made some news because of his involvement with disturbances in the P&L District. Young James refused to pay his restaurant bill, made rude and intemperate remarks to patrons, … Continue reading →