Podcasts about 'put

The City Attorney's race got spicy this week - and the rest of the city warmed up too. Plus, fun with time capsules.Guests: Seattle Times food and drink writer Tan Vinh and Chase Burns, editor at The Stranger

After months of assuring vaccinated Americans that they no longer need to wear masks, the CDC has suddenly reversed itself and taken the country back to early 2020: everyone must wear a mask! This time, however, there are signs of rebellion particularly among Republican governors. As the CDC has no legal authority to tell Americans what to do, many in positions of authority - for example Texas and Florida governors - have said they will ignore Fauci and his cohorts. Also today: Biden expected to demand all Federal workers take the jab. Will they stand for it?

Chain of thots --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app Support this podcast: https://anchor.fm/sparkupod/support

Despite overwhelming evidence that the vast majority of children do not become seriously ill or pass on the virus, CDC Director Rochelle Walensky testified before Congress yesterday that they must continue to wear their masks! Even as everyone else is taking masks off. Is this science...or a power trip? Or child abuse?

Alan Quinlan joined Adrian and Eoin on OTB AM to look ahead to the Pro 14 final between Leinster and Munster, and talk JJ Hanrahan's proposed move to Clermont. #OTB AM with Gillette UK | #MadeOfWhatMatters

See omnystudio.com/listener for privacy information.

Welcome back to Don’t Alert the Stans! For this week’s episode, the boys are joined by Yaw Owusu who is the Senior Manager at The PRS Foundation’s Power Up. The new initiative tackling Anti-Black racism and racial disparities within the UK Music Industry. A #RespectingLegends topic kicks off the news agenda this week. Anita Baker is telling her fans across the globe to stop streaming her music as she’s currently locked in a legal battle with her former record label about obtaining her masters (00:08:00). R&B veteran Keyshia Cole has announced that she’ll be retiring after the release of her forthcoming 8th studio album. Leading to a discussion where Sope and Nic speak on why her catalogue and previous successes are deserving of better retrospective dialogue (00:26:05). A review of the 2021 GRAMMYs closes out the news agenda. The boys offer unfiltered and unorganised thoughts on the various winners, losers and performances as their investment into the show as a whole continues to wane. (00:40:54). Rounding up this week’s episode is an in-depth interview with Yaw Owusu where they discuss the roots and origins of Power Up’s existence, its dedication to progressing conversations offline about racist practices in the music industry into tangible change, their partnership with the Black Music Coalition and targeting black creators/professionals who fall out of typical moulds (01:09:03). Not one to miss! Sope’s Listens for the Week: N/A Nic’s Listens for the Week: N/A Eden’s Listens for the Week: N/A Remember to RATE, REVIEW AND SUBSCRIBE! Enjoy! ------------------------------------------------------------------------------------------------- Intro Music by: @Jmzofficial Artwork designed by: @_manlikemike Episode audio edited by: @TonySupremeuk ---------------------------------------------------------------------------------------------- Get involved! Don't forget to tweet us your thoughts on the episode at #DATSPOD! Rate and review us on Soundcloud, Apple Music, Spotify and Anchor Follow us on: Twitter - @datspod Instagram - @datspod Anchor – @datspodcast Hashtag - #DATSPOD --- Send in a voice message: https://anchor.fm/datspodcast/message

Today's Co-Hosts: Ben Criddle (@criddlebenjamin) Subscribe to the Cougar Sports with Ben Criddle podcast:Apple Podcastshttps://itunes.apple.com/us/podcast/cougar-sports-with-ben-criddle/id996764363Google Podcastshttps://www.google.com/podcasts?feed=aHR0cHM6Ly93d3cuc3ByZWFrZXIuY29tL3Nob3cvMTM2OTkzOS9lcGlzb2Rlcy9mZWVkSpotifyhttps://open.spotify.com/show/7dZvrG1ZtKkfgqGenR3S2mPocket Castshttps://pca.st/SU8aOvercasthttps://overcast.fm/itunes996764363/cougar-sports-with-ben-criddle-byuSpreakerhttps://www.spreaker.com/show/cougar-sports-with-ben-criddleStitcherhttps://www.stitcher.com/s?fid=66416iHeartRadiohttps://www.iheart.com/podcast/966-cougar-sports-with-29418022TuneInhttps://tunein.com/podcasts/Sports-Talk--News/Cougar-Sports-with-Ben-Criddle-p731529/

Bill Pekowitz, portfolio manager for the Aberdeen Global Premier Properties Fund, says that lockdowns during the coronavirus pandemic hit brick-and-mortar retail, hotels, office space and the urban apartment sectors, but boosted cell towers, warehouses, industrial data centers and more. Now, with economic recovery, he expects some troubled areas to rebound and suggests balancing real estate investments between those that are peaking with those that are recovering.

Many sports professionals share the best qualities with people in business - they all share the will to win and the determination to push through the challenges that arise. In this week's show, Steven talks to Harlem Eubank, one of boxing's rising stars, about his own will to succeed, the remarkably successful boxing career he's carving out, and the impact of his family's renowned legacy upon his outlook on the world. KEY TAKEAWAYS  It's important to carve out your own legacy in the world. The Eubank legacy is one that has inspired many to do better and push harder, but it's important to find that one thing you're good at. There is always room for growth, no matter how high we rise in the world. We can always refine, evolve and grow to be even better if we haver the determination to succeed. Goal setting is crucial to growth. We have to aim for something, or we aim for nothing. Set goals that keep you hungry, motivated and willing to work harder. Sometimes the skills we take for granted when we learn them, are the ones that help us to pull a win out of the bag when we need it most. Never ignore the wisdom of those who can lead us higher. BEST MOMENTS 'I had the urge to test myself to my maximum and see what I've got' 'I want to get to the top. I want to fulfil my potential' 'There was a line in the sand and providing you get over it, you're going to bigger and better things' 'Put yourself in the position to learn and keep developing. The most value is how developed you are in the art form' VALUABLE RESOURCES The Steven Sulley Study    Harlem Eubank Twitter - https://twitter.com/harlemeubank?lang=en Harlem Eubank Instagram - https://www.instagram.com/harlemeubank/?hl=en ABOUT THE HOST The Steven Sulley Study is my take on success. My view is you should have multiple focuses to be a well-rounded individual. Success shouldn't be just one thing like money, for example, it should also consist of a healthy fit lifestyle and thriving relationships. As a person who has made a success in life and also made huge cock-ups I feel I can offer suggestions and tips on how to become successful or at least start your pursuit. My 'Study' has taken resources from reading and education plus being around, my perception, of successful people and I, know a lot of successful people from all walks of life. My 'Study' coming from my experiences in business, investing, sales (my core background), training, boxing and education has enabled me to become well rounded and successful and I will help you in these key areas too. CONTACT METHOD Instagram See omnystudio.com/listener for privacy information.

Nick & Neil are Off The Bench discussing the week that was in the world of sports! During the Opening Draw, they discuss the upcoming NHL season for the Edmonton Oilers and what Oscar Klefbom's injury means for the team this season (2:20). Then they share their thoughts on the first weekend of the NBA season, and their Toronto Raptors/Denver Nuggets Showdown (19:25) before reviewing their Head-to-Head Weekly Fantasy matchup powered by FanDuel (31:25), review their predictions for Week 16 (36:00), give their Shout-Outs (37:35), debut their brand new segment the Cris Collinsworth Hall of Fame Player of the Week (1:02:40), then wrap-up with predictions for Blowout, Upset, and Individual Performance for Week 17 (1:07:20)!   SUBSCRIBE on Apple Podcasts or FOLLOW on Spotify! Rate, review, and share the pod! Help us reach as many ears as possible!   Check out tmbmedia.ca for more sports and pop culture content!   Follow us on social media Instagram: 2manbooth Twitter: @2manbooth Facebook: Two-Man Booth

In this episode, Jeannette continues with her 5-part series that is aimed at helping you to cope during these uncertain times. This is part 2, which is all about presenting the best version of yourself to the world. In particular, highlighting and showcasing your transferable skills on a well-written CV and LinkedIn profile. This is essential if you want to be able to take advantage of interesting opportunities and land the roles you really want.     KEY TAKEAWAYS There is no point waiting for a good role to come up to tweak your LinkedIn profile and CV, by the time you´ve done that the role will be gone. You need to be ready instead of just thinking about getting ready. Every single person has transferable skills. You have to believe in yourself and in the fact that you have the skills the world needs. Jeannette shares 4 simple steps you can take to identify what your transferable skills are. Softer skills like being a good communicator can be applied to any business or field. If you notice gaps, get started straight away with learning what you need to fill them. Keep updating your CV. That way you will not forget anything important and always be ready when opportunities arise. The first page of your CV needs to grab attention. Jeannette shares 10 tips to enable you to create the perfect CV. Including the ideal structure. Use metrics to effectively demonstrate the impact you had in each of the roles you have held. LinkedIn is a professional forum, so you can use much of what has been included in your CV to create your profile. When creating your LinkedIn profile use the right keywords, so that you will be found when potential employers and clients carry out searches. Be active and consistent on LinkedIn. Doing this greatly improves your reach on the platform.   BEST MOMENTS 'Don't get ready, be ready!' 'Put yourself in the way of opportunity' ‘Everyone has transferable skills' ‘Recommendations are powerful on LinkedIn’   VALUABLE RESOURCES Brave, Bold, Brilliant podcast series     ABOUT THE HOST Jeannette Linfoot is a highly regarded senior executive, property investor, board advisor, and business mentor with over 25 years of global professional business experience across the travel, leisure, hospitality, and property sectors. Having bought, ran, and sold businesses all over the world, Jeannette now has a portfolio of her own businesses and also advises and mentors other business leaders to drive forward their strategies as well as their own personal development.   Jeannette is a down to earth leader, a passionate champion for diversity & inclusion, and a huge advocate of nurturing talent so every person can unleash their full potential and live their dreams.    CONTACT METHOD https://www.jeannettelinfootassociates.com/ YOUTUBE LinkedIn Facebook Instagram   Podcast Description   Jeannette Linfoot talks to incredible people about their experiences of being Brave, Bold & Brilliant, which have allowed them to unleash their full potential in business, their careers, and life in general. From the boardroom tables of ‘big’ international business to the dining room tables of entrepreneurial start-ups, how to overcome challenges, embrace opportunities and take risks, whilst staying ‘true’ to yourself is the order of the day. See omnystudio.com/listener for privacy information.

For today’s episode, Tyrell and Daphne explore the topic of environmental racism by interviewing Dr. Fushcia-Ann Hoover, the founder of EcoGreenQueen and a social-ecological systems scientist who studies the interactions between urban green spaces, environmental justice, and planning. During the conversation, they discuss Dr. Hoover’s research on green infrastructure (28:00) as well as environmental justice (33:27) and environmental racism (37:50). They then have a discussion about the unique environmental issues impacting the Black community (41:10), barriers to environmental justice (46:45), and Dr. Hoover’s perspective on how various politicians have approached environmental justice issues (57:15). They close the episode by highlighting how everyday people can engage with environmental justice issues (1:02:38) and learning more about Dr. Hoover’s organization, EcoGreenQueen(1:11:00).  Other Topics Include  00:30 - Catch Up with Tyrell and Daphne 05:45 - BhD “Oh Lawd” News  21:45 - Introduction of the Topic 24:55 - Learn More About Dr. Fushcia-Ann Hoover 1:19:58 - Tyrell and Daphne Reflect on the Interview Resources:  Twitter and Instagram - @EcoGreenQueen  EcoGreenQueen website - https://ecogreenqueen.co  BhD Patreon - https://www.patreon.com/bhdpodcast  SisterLove - https://www.sisterlove.org/support-us  Tucker Carlson apologized on-air for making a false accusation of voter fraud in Georgia - https://www.businessinsider.com/tucker-carlson-fox-news-georgia-voter-fraud-agnes-blalock-election-2020-11  California school board president resigns after wife's racist tweets about Kamala Harris surface - https://thehill.com/homenews/525334-california-school-board-president-resigns-after-wifes-racist-tweets-about-kamala Alabama police captain on social media about Biden voters: 'Put a bullet in their skull' - https://abc3340.com/news/local/alabama-police-chief-on-social-media-about-biden-voters-put-a-bullet-in-their-skull  Kentucky AG Joins Lawsuit in Pennsylvania Election Case - https://www.usnews.com/news/best-states/kentucky/articles/2020-11-09/kentucky-ag-joins-lawsuit-in-pennsylvania-election-case  UPS allows employees to wear natural Black hairstyles and beards - https://www.usatoday.com/story/news/nation/2020/11/12/ups-allows-employees-have-natural-black-hairstyles-and-facial-hair/6262112002/  New York City will send mental health teams instead of police to respond to some 911 calls - https://www.cnn.com/2020/11/11/us/new-york-city-mental-health-911-trnd/index.html  Physician predicts 'unprecedented surge' in US Covid-19 cases after Thanksgiving - https://www.cnn.com/2020/11/14/health/us-coronavirus-saturday/index.html 

- Press the PLAY button to listen to the catechesis of the day and share if you like - + A reading from the holy Gospel, according to Luke + Jesus was now near Jerusalem and the people with him thought that God's reign was about to appear. So as they were listening to him, Jesus went on to tell them a parable. He said, "A man of noble birth went to a distant place to have himself appointed king of his own people, after which he would return. Before he left, he summoned ten of his servants and gave them ten pounds. He said: 'Put this money to work until I get back.' But his compatriots who disliked him sent a delegation after him with this message: 'We do not want this man to be our king.' "He returned, however, appointed as king. At once he sent for the servants to whom he had given the money, to find out what profit each had made. The first came in and reported: 'Sir, your pound has earned ten more.' "The master replied: 'Well done, my good servant. Since you have proved yourself capable in a small matter, I can trust you to take charge of ten cities.' The second reported: 'Sir, your pound earned five more pounds.' The master replied: 'Right, take charge of five cities.' "The third came in and said: 'Sir, here is your money which I hid for safekeeping. I was afraid of you for you are an exacting person; you take up what you did not lay down and reap what you did not sow.' The master replied: 'You worthless servant, I will judge you by your own words. So you knew I was an exacting person, taking up what I did not lay down and reaping what I did not sow! Why, then, did you not put my money on loan so that when I got back I could have collected it with interest?' "Then the master said to those standing by: 'Take from him that pound, and give it to the one with ten pounds.' They objected: 'But, sir, he already has ten!' I tell you: everyone who has will be given more; but from those who have nothing, even what they have will be taken away. As for my enemies who did not want me to be king, bring them in and execute them right here in my presence.'" So Jesus spoke, and he went on ahead of them, on his way to Jerusalem. The Gospel of the Lord.

Join Jim and Greg as they enjoying watching House Democrats point fingers at each other for doing much worse than expected in Tuesday's elections. Jim tells Republicans to stop airing their arguments about election crimes or irregularities on social media and cable news and bring evidence to court if there are reasons to investigate the vote counting. And they unload on self-important New York Times columnist Thomas Friedman for suggesting Al Gore "took a bullet for the country" by conceding to George W. Bush in 2000.

Patriots Special Teams Coordinator Cameron Achord addresses the media via video conference call on Tuesday, October 20, 2020.

Patriots Head Coach Bill Belichick addresses the media via video conference on Tuesday, October 20, 2020.

In this episode, LJ and JHen introduce a new segment where they invite you to 'Put it On Wax.' J-Hen shares a disturbing video, they discuss life without Google Maps, the latest on Delonte West, fantasy football trade tactics and more!

As with much of the world, superstar Gloria Estefan has been isolating at home during the pandemic. But she hasn't remained silent during that time. In fact, Estefan has taken an old hit song of hers and converted it to a public service announcement to encourage people to wear masks. She joins Amna Nawaz to discuss avoiding political debates and maintaining family closeness during time apart. PBS NewsHour is supported by - https://www.pbs.org/newshour/about/funders

As with much of the world, superstar Gloria Estefan has been isolating at home during the pandemic. But she hasn't remained silent during that time. In fact, Estefan has taken an old hit song of hers and converted it to a public service announcement to encourage people to wear masks. She joins Amna Nawaz to discuss avoiding political debates and maintaining family closeness during time apart. PBS NewsHour is supported by - https://www.pbs.org/newshour/about/funders

As with much of the world, superstar Gloria Estefan has been isolating at home during the pandemic. But she hasn't remained silent during that time. In fact, Estefan has taken an old hit song of hers and converted it to a public service announcement to encourage people to wear masks. She joins Amna Nawaz to discuss avoiding political debates and maintaining family closeness during time apart. PBS NewsHour is supported by - https://www.pbs.org/newshour/about/funders

Dr. Fauci is back in the limelight where he likes to be. In a recent ABC interview he informs Americans that if they "really want 100 percent protection" they should not only wear masks, but also goggles on their eyes. Will he be recommending space suits next week? Also in today's Liberty Report: With the latest Depression-level drop in US GDP, the real costs of the lockdown are becoming evident. Poverty, hunger, and more death will continue the foolish policy of shutting down the US economy instead of protecting the vulnerable. Plus, Are The Netherlands, Sweden, Mumbai, and Afghanistan all on the right track?

Ger and Eoin were live with you for OTB AM this morning, as we continued our reaction to the sad passing of Jack Charlton last Friday. Full timestamps of this morning's show: 0:00 Show starts 11:00 Sports news with Shane Hannon 17:30 Kenny Cunningham on Jack Charlton; Declan Rice to Man United 45:00 Sports pages 1:11:00 Paul Rouse on Jack Charlton's place in Irish history 1:45:30 Moya Brennan on cultural impact of 'Put 'em Under Pressure' OTB AM is the sports breakfast show from Off The Ball – live weekday mornings from 7:30-10:00 am across the OTB channels. You can subscribe to the OTB AM podcast wherever you get your podcasts across the OTB Podcast Network. via iTunes via Spotify via GoLoud

"From the discovery of New France to the 1981 Referendum, all of Quebec history is based on a single fallacy: that the British actually wanted to own Quebec. In fact, nothing could be further from the truth. The British already had a surplus of colonies in the sunny Caribbean and took little interest in the Canadian icebox later dismissed by Voltaire as nothing more than 'quelques arpents de neige'... In 1759, with war raging everywhere between France and England, the British knew if would look suspicious if they didn't engage the French in North America. They placed the expedition in the hands of a thirty-two-year-old, inexperienced general, James Wolfe, and gave him strict orders: 'Put up a good fight... but lose.' Wolfe devised a clever theatrical strategy. He would choose an impossible attack-route: Arriving by boat on the St. Lawrence river then scaling the unassailable walls of the fortress of Quebec, thus guaranteeing defeat and dumping Quebec with France for good. But Wolfe's glorious defeat was snapped from the jaws of victory by Montcalm who brilliantly out-manoeuvred Wolfe and surrendered--a stroke of genius that got the colony off France's hands once and for all."-Nick Auf der Mar, "La Petite Histoire du Québec (Version Anglaise)"Games Played Last Week:01:09 -SEAL Team Flix (Pete Ruth & Mark Thomas, WizKids, 2018) 02:37 -Teotihuacan: City of Gods (Daniele Tascini & Dávid Turczi, NSKN Games, 2018)04:04 -Yokohama (Hisashi Hayashi, Tasty Minstrel Games, 2016)04:48 -Sprawlopolis (Steven Aramini, Danny Devine, & Paul Kluka, Button Shy, 2018)08:26 -Mezo (John Clowdus, Kolossal Games, 2019)13:25 -The Crew: The Quest for Planet 9 (Thomas Sing, KOSMOS, 2019)15:02 -Qwixx (Steffen Benndorf, Gamewright, 2012)16:41 -That's Pretty Clever (Wolfgang Warsch, Schmidt Spiele, 2018)17:30 -Coloretto (Michael Schacht, ABACUSSPIELE, 2003)19:32 -Orléans: Invasion (Inka Brand, Markus Brand, & Reiner Stockhausen, dlp Games, 2015)20:59 -Scythe (Jamey Stegmaier, Stonemaier Games, 2016)News (and why it doesn't matter):25:55 Expansion to Twilight Imperium 4th ed.26:44 Pandemic Legacy Season 027:20 Undaunted: Reinforcements28:39 DeepMind: An AI for Diplomacy?29:35 Lord of the Rings: Anniversary Edition31:01 Steven Universe Beach-a-Palooza on Kickstarter July 14th31:29 Pendulum by Stonemaier31:39 Lost Ruins of Arnak by CGE31:59 Documentary: Gamemaster32:42 Feature Game: Imperial Struggle (Ananda Gupta & Jason Matthews, GMT Games, 2020)

"From the discovery of New France to the 1981 Referendum, all of Quebec history is based on a single fallacy: that the British actually wanted to own Quebec. In fact, nothing could be further from the truth. The British already had a surplus of colonies in the sunny Caribbean and took little interest in the Canadian icebox later dismissed by Voltaire as nothing more than 'quelques arpents de neige'... In 1759, with war raging everywhere between France and England, the British knew if would look suspicious if they didn't engage the French in North America. They placed the expedition in the hands of a thirty-two-year-old, inexperienced general, James Wolfe, and gave him strict orders: 'Put up a good fight... but lose.' Wolfe devised a clever theatrical strategy. He would choose an impossible attack-route: Arriving by boat on the St. Lawrence river then scaling the unassailable walls of the fortress of Quebec, thus guaranteeing defeat and dumping Quebec with France for good. But Wolfe's glorious defeat was snapped from the jaws of victory by Montcalm who brilliantly out-manoeuvred Wolfe and surrendered--a stroke of genius that got the colony off France's hands once and for all."-Nick Auf der Mar, "La Petite Histoire du Québec (Version Anglaise)"Games Played Last Week:01:09 -SEAL Team Flix (Pete Ruth & Mark Thomas, WizKids, 2018) 02:37 -Teotihuacan: City of Gods (Daniele Tascini & Dávid Turczi, NSKN Games, 2018)04:04 -Yokohama (Hisashi Hayashi, Tasty Minstrel Games, 2016)04:48 -Sprawlopolis (Steven Aramini, Danny Devine, & Paul Kluka, Button Shy, 2018)08:26 -Mezo (John Clowdus, Kolossal Games, 2019)13:25 -The Crew: The Quest for Planet 9 (Thomas Sing, KOSMOS, 2019)15:02 -Qwixx (Steffen Benndorf, Gamewright, 2012)16:41 -That's Pretty Clever (Wolfgang Warsch, Schmidt Spiele, 2018)17:30 -Coloretto (Michael Schacht, ABACUSSPIELE, 2003)19:32 -Orléans: Invasion (Inka Brand, Markus Brand, & Reiner Stockhausen, dlp Games, 2015)20:59 -Scythe (Jamey Stegmaier, Stonemaier Games, 2016)News (and why it doesn't matter):25:55 Expansion to Twilight Imperium 4th ed.26:44 Pandemic Legacy Season 027:20 Undaunted: Reinforcements28:39 DeepMind: An AI for Diplomacy?29:35 Lord of the Rings: Anniversary Edition31:01 Steven Universe Beach-a-Palooza on Kickstarter July 14th31:29 Pendulum by Stonemaier31:39 Lost Ruins of Arnak by CGE31:59 Documentary: Gamemaster32:42 Feature Game: Imperial Struggle (Ananda Gupta & Jason Matthews, GMT Games, 2020)

Episode 28: 1 Key Strategy To Keep Getting Clients OnlineHello and welcome to the show today! My name is Genecia Alluora, how are you? Blessed day. Today I want to share with you that one key strategy to adopt when getting clients online. It is important to focus on your clients and their needs to achieve success online. Love your customers more than you love your product(01:32 - 01:52) I'm gonna first give you an example of this client of mine, an image consultant, something like what I used to do before and she came to me with this problem. She has this skill set that she wants to help people to look good in terms of their personal branding.(01:52 - 01:59) So she has selected engineers as her target clients to work with. (02:00 - 02:07) For many months she was selling 3000 to 5000 dollar kind of branding packages.(02:32 - 02:43) So many months she was not getting any clients. And even if she did, she was only getting paid really small packages.(02:56 - 03:08) So she came to me and I looked at her problem, so she's getting clients, yes, somewhat there's recommendations and referrals, but what is really missing? (03:09 - 03:20) First and foremost remember I always say? Love your customers more before, or love your customers more than you love your product.(03:21 - 03:33) So we'll talk about loving your customers more than loving your product, it simply means that you really need to know, are you solving that one problem for your customer or potential customer?Solve a need for your customer(04:01 - 04:10) So are you really solving a need for your customer or potential customer? Because if you want to get paid you have to be solving their problem.(04:11 - 04:20) So I looked at it and I said ‘You're not targeting the pinpoints or that one problem of the engineers correctly.'(04:22 - 04:40) So I said ‘Have you considered the relationship side of the engineers? Of those engineers because sometimes they work really long hours so you might want to take a look at how they are treating their relationship life.'(04:43 - 05:01) So then it got her thinking ‘Hey, maybe I could look into exploring the life of engineers whose love life could be compromised, or not doing so well, or could be better for them.'(05:02 - 05:18) So she restructured her package to help engineers find love. To find a partner. To look good on the first date, second date, third date, and eventually get married.(05:24 - 05:58) So eventually three months later she came back and she told me ‘Wow, Genecia. Thank you so much! I have five customers who paid me 5000 dollars for doing just their packaging, or what we call the branding for their relationship to go on dates, to take care of their first impression, social etiquette, dining etiquette, making sure that they're on-point to get the girl they want.'Put your gifts and talents in its right place at the right time(06:14 - 06:30) You see when we have a gift and a talent sometimes we don't put it in the right place at the right time. Not loving our customers first instead of loving our products first thinking that they need what you have when actually they don't need what you have. (06:31 - 06:45) So always start with this strategy of knowing what your customers want, number one. Number two, how you can solve the one problem for them immediately. (07:07 - 07:22) So it's making a positive impact in the world while making an income and I believe you can too. If you know how to solve that one problem for your client right now and to do so you must love your client more than you live your product. (07:23 - 07:41) Last but not the least, always gather feedback from your clients and see how to tweak and improve your messaging so that you can serve the next one better. So think about this strategy today. What can you do to work on improving yourself right now?(08:50 - 08:55) Solve one problem for your customer immediately and you will be paid handsomely.Key Takeaways: Love your customers more than you love your product. Solve a need for your customer and potential customers. Make a positive impact on the world while making an income. Do something to improve yourself. Ask for feedback from your clients to improve your messaging Key Resources:Subscribe to Genecia's Youtube channel: https://www.youtube.com/c/SoulRichWomanVisit SRW's website: https://www.soulrichwoman.comFollow Genecia on Instagram : (@Geneciaalluora)Follow Genecia on Facebook: https://www.facebook.com/geneciaalluora/Check Genecia's LinkedIn: https://www.linkedin.com/in/genecia/Free Resource: "Soul Why: Soul Rich Woman Blueprint" and "How to Delegate 80% of your to-do list" ---> https://be.soulrichwoman.comSecrets of Manifesting Money Quickly Online Course ---> https://shor.by/moneymindset

Episode Notes: -00:00:58 Intro for Gretchen Kay -00:01:32 Gretchen begins speaking about experience @ Wodapalooza Sanctional -00:02:18 Gretchen speaks pros and cons about competing with unfamiliar athletes -00:03:15 Personality blends a team better than physical attributes -00:03:33 Worst workout for Gretchen (lost a shoe, hold the worm, etc) -00:04:32 Workout can be considered reward for athlete -00:05:34 How did Gretchen grow up and become a crossfit athlete? -00:05:42 Desire to play more than one sport, wanted to begin body building/crossfit in college for competition (perfect mix) -00:07:30 Nicole speaks about crossfit athletes in sports excelling/not excelling -00:08:15 Biggest differences in Gretchen physically, mentally, etc -00:09:22 Gretchen tells story about volleyball tryouts (extremely sore after one practice) -00:10:28 Crossfit can change your mentality on anything in life (you can get through anything!) -1 MINUTE--00:12:00-00:13:00 Crossfit can teach you and introduce you to things that are uncomfortable (forces growth) -00:12:50 Effects from change sanctionals v. regionals -00:13:55 Pros and cons for Gretchen's training post change -00:14:48 Helpful to have a coach guide you in the right direction in times of uncertainty -00:15:33 BREAK -00:17:08 Coach setting athlete up for success in every way -00:18:54 Top priorities for Gretchen during training -00:20:15 Staying healthy is top priority! & Coach educating athlete -00:21:00 Typical training week for Gretchen (training, work, family life, rest days, two-a-days) -00:22:44 Athletes complaining about doing the same things instead of focusing on more important big picture ideas (staying healthy/fit, mobility, etc) -00:23:45 Supplements or other 'pieces of the puzzle' that Gretchen regularly consumes -00:24:48 Athlete's nowadays unable to control nutrition and sleep -00:25:57 Manage your stressors! -00:27:08 Listen to your body! (ex: rest days) Become in-tune with your body -15 SECONDS--00:28:14-00:28:29 Gretchen tells story about Wodapalooza (listening to body) -00:29:05 Biggest changes: lack of sleep and poor/different nutrition -00:31:05 Gretchen's advice for other people wanting to join crossfit -00:31:47 Crossfit is for everybody! ('Put your ego aside') -00:33:06 'Crossfit doesn't cause injuries, Your ego causes injuries' -00:34:10 'Walk through the door and be confident in what you have' (listen to your body!) -00:34:50 Advice for crossfit athlete that wants to take it to the next level (get a coach, PT, sports massage, etc) -00:35:48 Plans for the rest of the year for Gretchen (Post-Atlas Games) -00:37:10 Outside of crossfit Gretchen plans to start golfing (Another PUG!) -00:38:38 Where to find Gretchen! (Instagram, Facebook, Website) -00:40:22 Exit comments from Nicole Episode Links: https://www.keynutritionperformance.com/about-knp

This is it, Season one finale! Tune in and get support around a very important subject, making your partner a priority in your life! Receive a Love Amplifier Action that will assist you and your relationship vitality until we return for Season two! Facebook Group http://bit.ly/lilgroup Instagram @twolesbiansinlove Music Sarah Gettys www.sarahgettys.com

Ian Bremmer sits down with Jared Kushner, author of the White House's newly-unveiled Middle East peace plan. He has tough words for Palestinian leaders after they summarily rejected his proposal and he believes it's high time they stop playing "the victimhood card."

Prince's first guitarist, Dez Dickerson, talks with The Current's Andrea Swensson, taking us back to the early days, into the recording studio, and from the smallest clubs to the biggest stages. "From the very beginning, Prince had a clear idea of what he wanted, how he wanted it, how he wanted us to coalesce as a band, what he wanted to say, and what message that would send," Dickerson says. Listen to the complete interview.

Leah discusses finding hope (and the Lord) in the mundane.

Weekends are nearly ALWAYS tripping points for people when on a Diet We have a chat about why this always happens and of course how we recommend people combat it ''Put the Cookie down!'' Thanks for listening as always!

'Put on therefore, as the elect of God, holy and beloved, bowels of mercies, kindness, humbleness of mind, meekness, longsuffering; Forbearing one another, and forgiving one another, if any man have a quarrel against any: even as Christ forgave you, so also do ye. And above all these things put on charity, which is the bond of perfectness. And let the peace of God rule in your hearts, to the which also ye are called in one body; and be ye thankful. Let the word of Christ dwell in you richly in all wisdom; teaching and admonishing one another in psalms and hymns and spiritual songs, singing with grace in your hearts to the Lord. And whatsoever ye do in word or deed, do all in the name of the Lord Jesus, giving thanks to God and the Father by him. ' Colossians 3:12-17 Want to receive text updates from our church? Send the keyword VBPH to 757-665-2410. Please let us know how this message has influenced you using one of these options: Email: pastor@vbph.org Voicemail: https://anchor.fm/vbph-sermons/message Thanks for listening! Has this message been a blessing to you? Please consider giving a generous donation --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app

July 26: On this episode ... Shauna introduces another one of her wheels-off friends to the listeners ... she also takes another stab at "Alternate Lyrics" (This week's song is "Don't Mess With Texas" by Bradley Banning) ... and Drew shares his new over-the-top social media experiment. This is a "Let's Ride" segment presented by Classic Chevrolet Buick GMC in Cleburne, Texas.

" An eclipse of the sun crossed Chile and Argentina on July 2, drawing hundreds of thousands of tourists. The eclipse zone crossed Chile's desert areas, which include observatories. Though the view was clear in most areas, clouds obscured the view in Buenos Aires. The next solar eclipse will also cross through Chile and Argentina in 2020. Plus learn the English expression ""put to use."" Read the full transcript of this episode at http://www.plainenglish.com/172      Transcripts are always free and available now! ¿Hablas español? Você fala português? Parles-tu français? 你会说中文吗？日本語を話せますか？ The episode transcripts include instant translations from English to Spanish, Portuguese, French, Chinese, Italian and Japanese. Hover over or tap a highlighted word for the translation. Connect with Jeff on Twitter (@PlainEnglishPod) and Facebook (PlainEnglishPod). Or e-mail jeff@plainenglish.com **NEW** Connect with us on WhatsApp! Send a message to +1 312 967-8757 and add us to your contacts to receive messages from Jeff and JR! If you like the program, please leave a review or rating wherever you listen. It will help others discover the program. Never miss an episode! Sign up to receive updates from Plain English at http://www.plainenglish.com/mail  Subscribers get exclusive links for further reading and additional practice with common English words and phrases. Learn English the fun way: with a podcast in English! Listen to an American English podcast that you enjoy and understand -- all at a slower speed than normal. | Aprende inglés gratis en línea con nuestro curso. Se habla a una velocidad lenta para que todos entiendan. ¡Aprende ingles con nosotros ahora! | Aprenda Inglês online grátis com o Plain English, a uma velocidade menor, para que todos possam entender. "

We discuss Joc losing his cool, Scrappy feeling forgotten, Erica Dixon pregnancy problems, mom/daughter vs mom/daughter aka Karlie and Jasmine vs Pooh and Najee. Closing Song: Yung Joc - I Know You See It

The Bottom Line,  Part 1 The 2nd Coming of Christ By Louie Marsh, 6-16-2019 Pictures – last one 70 AD.   What It Is….           1) The VISIBLE/PHYSICAL return of Jesus to earth.   27  And then they will see the Son of Man coming in a cloud with power and great glory. Luke 21:27 (ESV)   What It Means….           1) God Is In CONTROL.   10  as a plan for the fullness of time, to unite all things in him, things in heaven and things on earth. Ephesians 1:10 (ESV)   9  letting us in on the plans he took such delight in making. He set it all out before us in Christ, 10  a long-range plan in which everything would be brought together and summed up in him, everything in deepest heaven, everything on planet earth. Ephesians 1:9-10 (MSG)             2) I will be held ACCOUNTABLE for everything I do. 27  For the Son of Man is going to come with his angels in the glory of his Father, and then he will repay each person according to what he has done. Matthew 16:27 (ESV)             3) God Will REWARD His Children. 4  And when the chief Shepherd appears, you will receive the unfading crown of glory. 1 Peter 5:4 (ESV)   What It Does….             1) Motivates Us To Use Our Resources WISELY.   13  So he called ten of his servants and gave them ten minas. 'Put this money to work,' he said, 'until I come back.' Luke 19:13 (NIV)             2) Motivates Us To Live a HOLY LIFE.   23  Now may the God of peace himself sanctify you completely, and may your whole spirit and soul and body be kept blameless at the coming of our Lord Jesus Christ. 1 Thessalonians 5:23 (ESV)             3) Motivates Us to Stay FAITHFUL. 28  And now, little children, abide in him, so that when he appears we may have confidence and not shrink from him in shame at his coming. 1 John 2:28 (ESV)             4) Gives Us a true and living HOPE. 13  waiting for our blessed hope, the appearing of the glory of our great God and Savior Jesus Christ, 14  who gave himself for us to redeem us from all lawlessness and to purify for himself a people for his own possession who are zealous for good works. Titus 2:13-14 (ESV)   2  Beloved, we are God’s children now, and what we will be has not yet appeared; but we know that when he appears we shall be like him, because we shall see him as he is. 1 John 3:2 (ESV)   The Bottom Line!   Jesus Is COMING BACK, but we don’t know WHEN, so we MUST be READY. 44  Therefore you also must be ready, for the Son of Man is coming at an hour you do not expect. Matthew 24:44 (ESV)  

2nd June 19 - Graeme Clark - 'Put on the Armour of God' (Ephesians 6:10-20)- Baptismal Service by Bridgnorth Baptist Church

Best wishes and warm greetings to you and may God shower you with all the great things that you deserve, for He is risen! Yet another Easter Weekend... I'v'Put together something to ease people up on the roads, holidays ...etc... You will definitely love it, just volume up, cheer up, & dance !! Ladies & Gentleman I have put a tape 3 years ago called "Jazz'd Permutation" and today I present to you the "Reloaded" version ,,,, (Jazz'd Permutation Reloaded) Keep in Mind ........ :) “The piano ain't got no wrong notes.” ― Thelonious Monk "...lets deep deeper..."

The boys are at it again as they talk about one of the biggest changes to hit Turanga Fm since moving buildings. We also talk about the controversy surrounding mainstream radio stations banning Michael Jacksons music from their stations. Rugby in on the cards along with League and some interesting 'Put the boot in' sessions. Join Rino Wilkinson, Raa Walker, Keith Niwa and JT Jason Tawhiwhirangi.

Rhys Phillips hosts the monthly podcast for the English speaking and ex-pat community in Toulouse. In this episode, he talks to Christophe Dehais about TEDx Toulouse, Vanessa C Stone finds out about the 'Put it to the People' Brexit march, Cat Rochefort from Haute Life magazine rounds up this month's local events and Jessica Hammer gives Rhys a sample of what to expect on her new Taste of Toulouse Chocolate & Pastry tour!

Welcome To THE HOE PHA$E: A Millennial Dating Experiment On This Weeks Episode: -MJ is living her best life -MJ discusses the importance of self love -Becky decides to fall back a little -Guest Shameek tells us about his journey and why he advocates for women -Shameek discusses the importance on communication and letting go of your ego -QOTW: Can you do business with someone you are sexually attracted to? Why or Why Not? CONTACT U$ Visit our Website: www.sirens.nyc Email us: info@sirens.nyc Follow us on IG: @thehoephase & @thehoephasememes Follow Becky J on IG: @everybodylovesbecky Follow MJ on IG: @mjsmokesmj Follow RB on IG: @punchlinezrb Follow Shameek on IG: @7perception Tumblr: www.sirensnyc.tumblr.com/ $PON$ORED BY PunchLine Punch IG- @slurrredwordz Gilded Gold IG- @gildedgoldny

Episode #24 'Put Me In A Porg Suit, I'm There' In this episode, we are joined by Winston McCall of Parkway Drive to chat about movie news, reviews, answer your questions, and finish up with an epic discussion in this episode's movie club STAR WARS THE LAST JEDI.

Ed and Ron talk to their producer Bill Castonzo about his Nerd GOAT: Superman! A deep dive into Neitzsche, archetypes, art, science and Ed's anti-Superman bias. Bill is the voice in the producer's chair every week on this show. He's a producer behind the BAIL BONDS MEDIA podcast network, and an on-air contributor to its podcasts SEXUAL DISORIENTATION and THE GREAT BIG LIE. He continues to develop television and has produced many canceled shows in reruns across cable. But his first and greatest love will always be comics. See Bill draw @seebilldraw on Instagram, where he flexes artistic muscles on nerdy passion projects. Follow him on Quora for intellectual musings on the DC Universe (and various other topics). Or write us at: nerdgoatshow@gmail.com, if you want to bug Bill about this very podcast! — QUOTES: "Angry swing dancing." "That's how you show that somebody's gone evil." "There is a crazy six months in late '92/early '93, where Image Comics happened, the Batman animated series started, the X-Men cartoon started, and Superman died." "He's not pulpy. He's not like 'Put him in a death trap and that's your story,' which 99% of other superheroes are." "Superman's problem is the same problem that the Punisher has." "They crack the moon f**king this dude up!" "Warren Ellis and Garth Ennis will drag any superhero through the mud that you can imagine, except for Superman." "To get Superman's character right, he's an amalgamation of three real-life people..." — SUBSCRIBE TO OUR PATREON for bonus episodes, movie reviews, and behind-the-scenes content! Coming soon: PART 2 of this very episode, wherein we tackle Superman's often-underestimated villains, more great comics stories, and the best/worst on TV and film. — See Ed MERCILESSLY DESTROY on Movie Fights, and catch him every Wednesday on the Screen Junkies News livestream! Subscribe, rate and review Nerd GOAT on Apple Podcasts, Stitcher, or your favorite podcast app. Follow Bail Bonds Media on Instagram for behind-the-scenes looks at the show, and other great content!  

The chain's US owner postpones restructuring while it considers possible bids, the BBC understands. Read more >> https://ift.tt/2rCJ4Em

​Hour 1  There's a new target audience for Planned Parenthood…branching out to middle schools...the best sex education resource for 11 year-olds...wants children to feel ‘comfortable and ready for sex’ ...Freedom fight in California...'There is something happening here'...Glenn doesn’t understand California parking lots…Rain storms are pummeling California...fun with mudslides? ...President Trump must veto this out-of-control budget bill...$1 trillion added to debt since September…outpacing Obama spending? ...China responds to Trump’s tariffs: not good ...World Record Spending = Immoral ...Bending machines in the Matrix?... if this is ‘The Matrix,’ Glenn wants it to be better   Hour 2  ‘Enough’...teens fighting for gun control are 'fed up'...Time Magazine 'will put any clown(s)' on their cover?...The typical 3 steps of the media? ...Citibank goes full anti-gun...right under our nose ...‘It's all BS' with Bill O'Reilly...Who's really behind the big anti-gun march on Saturday?...President Trump 'is not going to veto the spending bill'...Bill goes simpatico with John Bolton?...to congratulate Putin or not to congratulate Putin?...Who wins in a Trump vs. Biden fight?...Nostradamus O'Reilly? ...Chuck Schumer says the spending deal brings 'End to Era of Austerity'... ‘If Chuck Schumer is happy, then I am not happy’   Hour 3  Bad news for Silicon Valley but good news for us?... reign of tech giants is over…industry under scrutiny for sites that facilitate child sex trafficking… ‘Good job, Congress’ on this bipartisan bill ...Cafe owner faces religious persecution for playing Christian music; eviction pending...Cafe owner Carlo Mango joins the show to discuss his upcoming hearing regarding this matter...attack comes from atheist group...reach out and help Carlo at his Facebook page: 'Cafe Justice' ...Glenn says goodbye to one of his favorite producers?...after working with Glenn, horror movies aren’t scary?...Thank you, Natasha, for 10 great years ...What is a 'Russian Steve Harvey sandwich'? ...Argentine legally changes gender to retire early? ...Rep. Keith Ellison calls for more taxes and a 'maximum wage'…Pat doesn’t recognize the country he didn’t recognize? The Glenn Beck Program with Glenn Beck and Stu Burguiere, Weekdays 9am–12pm ET on TheBlaze Radio Learn more about your ad choices. Visit megaphone.fm/adchoices

Iva Davies is one of Australia's most accomplished musicians and composers with a career spanning over 30 years with his band Icehouse, and as a composer for film and theatre. I produced this feature music show with him in 2014.The number one song on the Australian pop music charts in 1980 was The Buggles 'Video Killed The Radio Star', accompanied through the year by such gems as Michael Jackson 'Don't Stop Til You Get Enough', The Village People 'You Can't Stop The Music', Split Enz 'I Got You', The Vapours 'Turning Japanese' and Queen 'Crazy Little Thing Called Love'.In May 1980, Australian radio stations started playing a song by Sydney band, Flowers. 'Can't Help Myself' made it into the Australian Top 10 and was the first song from their debut album, 'Icehouse'. I think I was first in line at my local record store to by the single and was enormously envious of my older brothers who would regularly see Flowers playing at the local pub. IVA DAVIES: We came from quite a distinct stream of music which generated by the punk movement out of Britain, but then it morphed into a strange hybrid because of technology. There was an explosion of technology, especially synthesiser technology, at that period, so we were a kind of punk band with synthesisers which was a bit odd. But clearly, these other people were not, including Michael Jackson! There were all sorts of strange things going on, strange fashions; it was a very interesting time."The first song we put out was called 'Can't Help Myself' and we'd been playing all these classic punk venues for about three years before we put out that first record. I remember being told it had become a disco hit in Melbourne and I was semi-horrified. I was very pleased it was a hit, of course, but a disco hit - we weren't a disco band!By the time we got to 1980 we'd been playing quite a few of our own songs but still had lacings of the odd cover version of things not even particularly fashionable at the time, things like T-Rex songs, but by then we'd really turned into an original band and signed with a small independent label in Sydney called Regular Records and we'd recorded our first album, and although they constitute really the first 10 songs I ever wrote, they did have a certain flavour about them that I guess was, again, a hybrid of punk with synthesizers.CAROL DUNCAN: Iva, you mustn't have been very long out of the Conservatorium by this stage?IVA DAVIES: I dropped out of the (Sydney) Conservatorium when I was about 21, so I was about 23 or 24 by this point.CAROL DUNCAN: So how did you decide to steer your songwriting and music releases in that environment at that time?IVA DAVIES: It's a terrible admission to make considering that 'Can't Help Myself' made it into the Top 10, that I was probably fairly unaware of radio except for 2JJ. That's a terrible admission for somebody who's trying to break into getting airplay on radio!CAROL DUNCAN: Something like The Vapors 'Turning Japanese' would have been all over 2SM (in Sydney) at the time. 2SM would have been the number one commercial pop music station in the late 1970s.IVA DAVIES: Indeed, and I missed a great deal of that. I think we were pretty well buried in our own world and our own world had been dominated by what I'd listened to as I grew up, quite a lot of classics, psychedelic and heavy rock bands including Pink Floyd and so on. And then when Johnny Rotten (the Sex Pistols) arrived, the world was turned upside-down quite literally.He put all of those big bands out of business overnight and London was the place to be. I remember very clearly when Keith (Welsh) and I, our bass player and co-founder of Flowers, we'd been playing almost every night of the week, sometimes nine shows a week. There were clubs all over Sydney, there were clubs all over Melbourne, there were really great bands everywhere and on any given night down the road there'd be Midnight Oil and INXS and any number of bands.When we arrived in London for our very first international tour, we looked at each other and said, 'Let's get a copy of New Musical Express (NME) and go and see a band 'cause this is where it's all coming from!' And there was nothing on!I was absolutely gobsmacked that Sydney was a hundred times more active than London on a club scene. It absolutely mystified me. All the pubs shut early, there was nowhere to go!CAROL DUNCAN: Who did you admire at the time?IVA DAVIES: I didn't buy albums of anybody, I didn't consume music. I was very curious about music but most of what I listened to was via 2JJ. 2JJ was a very progressive station; I think it's been forgotten to some degree. 2JJ were playing things that had been bought on import - they hadn't even been released in Australia yet - and so it was fascinating.We were hearing things we thought before anybody else in the world had heard them, things like Elvis Costello, XTC, mainly British bands but the odd thing coming out of America. There was a real movement of punk and new wave.CAROL DUNCAN: So you and Keith have taken off to London, you're going to see all the bands, but there's no-one home?IVA DAVIES: There's no-one home! I remember thinking at the time, 'Well where did The Cure come from and where did The Clash and The Damned and The Jam come from? Where are they all'?I had imagined that London was heaving with little clubs with all those names playing in them every night but it was really something created through the tyranny of distance, I guess. We had amplified that whole thing that had started with Carnaby Street, The Beatles, and Rolling Stones; and in my mind, and I'm sure in the minds of many other Australians, this was the mecca that we were going to visit. But it turned out it was really as much a product of BBC1 and radio and record companies than it was of an active pub music scene which was exactly what we had in Australia.CAROL DUNCAN: So, what did you do, turn around and come home?IVA DAVIES: We went off touring. We went off touring with Simple Minds who were just starting to break through in Europe. They'd a quite successful album, and we did a reciprocal deal with them where we said, 'OK, if we are your support band in Europe, that will help us, and you come to Australia and be our support band there because nobody knows you. In fact, to this day, and I'm sure Jim Kerr from Simple Minds would take credit in saying that tour we did with them really broke Simple Minds in Australia - it was off the back of that tour that they started achieving success here. Of course, many many albums and many many successes later I still catch up with Jim Kerr quite frequently.CAROL DUNCAN: I remember seeing the two bands at the Manly Vale Hotel.IVA DAVIES: Very possible! That was one of many hotels in that northern beaches area, and I ended up living on the northern beaches by accident. It was quite tribal. There was a very big pub at Narrabeen called the Royal Antler and it was our first proper gig, I guess, and almost residency. At one point we and Midnight Oil were alternating weekends. We never met them, but there was this kind of unspoken rivalry for the same audience of mad, drunken surfies.CAROL DUNCAN: It was one of Sydney's great beer barns.IVA DAVIES: It was and they were mad, of course, mad drunken surfies and probably a few other substances, as well. But they were great nights. It was a big place; I think it held something like 1500 people. And you're right, we probably did attract slightly different audiences, and certainly we also had the other side of us which was playing the inner city hotels which, of course, were very driven by the punk movement, so we'd look out on a place like the Civic Hotel and there'd been a sea of black and safety pins.CAROL DUNCAN: Why did the name change come about? Was it as simple as swapping the band name and album title?IVA DAVIES: It was, but we actually had no choice. What we hadn't realised was that while we were happily going along as Flowers in Australia and New Zealand, as soon as we signed to an international record company and they said, 'We're going to release this around the rest of the world, we need to do a little check on the name. It hadn't even occurred to me that a band name is like a company trading name and, unfortunately, there were at least three other acts around the world trading on the name 'Flowers'. One of them being the very, very famous session bass player, Herbie Flowers, who you probably know best for being the creator of that wonderful bass line that introduces Lou Reed's 'Walk On The Wild Side'.So there were objections and we simply had no choice, we had to come up with another name. This has happened to a number of Australian bands. It happened to Sherbet who became Highway, and The Angels who became Angel City. Our logic was fairly simple - people here in Australia and New Zealand only know us by two things, that is the name of the band 'Flowers' or the name of the album 'Icehouse'. So, we became Icehouse.A band name becomes its identity in a far bigger way that just a set of letters. I've had this discussion with my 17-year old son who has got a collection of friends in a band and they haven't been able to think of anything. I keep asking what the band is called and they're called something different every day. I said 'you better get it right because it will end up owning you'.CAROL DUNCAN: Your son has actually played with you?IVA DAVIES: Yes, oh you know about this! I had a fairly mad idea last year, although the idea had been around since 1983. I remember we were touring in Europe and we had a number one song in Europe so there was a lot of pressure on me. I was doing millions of interviews and we were playing very big festivals of 30,000 people.We were playing on one and I was standing on the side of the stage next to my band and Peter Tosh's band was playing - Peter Tosh was the co-founder of Bob Marley's Wailers - and it was a big band, 9 or 10 people on stage, backing singers and whatnot, and I said to my bass player, "See the guy at the back going chukka, chukka, chukka on the guitar, the laziest job in the world? I want his job. I had a conversation last year with somebody about this moment and they said, 'Why don't you do it?'Our manager thought I was mad, a number of promoters thought I was mad, too, but what we did was completely re-invent Icehouse as an eight-piece reggae band. We added some extra guys from Melbourne to give us a brass section and we re-arranged every one of the hits that we'd been playing in the classic repertoire as reggae songs.We put two shows on - one in Melbourne, one in Sydney - as a kind of Christmas party because my feeling was that the reason we were doing it is because reggae makes you want to dance and smile and laugh, and we had the best possible time, it was just fantastic. We've just released the recording of the Sydney show and re-named the band DubHOUSE - the album is DubHOUSE Live.I wanted to get my children to come. My daughter is OK because she's 20 but my son was under age, under the drinking age, and the only way I could get him in was to put him in the band. So I said to him, 'Look Evan ...' he's17 and a very good guitarist, 'I'm sorry, you're not going to get a rehearsal, you're not going to get a sound check. Here's a recording of a rehearsal of Street Cafe done in this style, you've got the guitar solo, go home and learn it and I'll see you on stage."And so the poor guy was thrown on stage with absolutely no preparation whatsoever, but fortunately, he had done his homework and had a great night.CAROL DUNCAN: How do the kids see your career, Iva?IVA DAVIES: Well the strange truth is that they didn't. I finished the last tour that we did back in the day, as it were, when my daughter was six weeks old. Effectively, we didn't play again and my children grew up.In 2009, our long-time tour manager, Larry, who works for a very big audio production company - he'd been working for with us since 1984 - came up with the idea for Sound Relief (concerts held in Sydney & Melbourne for 2009 bushfire relief) and actually volunteered us, so we were the first band on the bill for Sound Relief.By that time in 2009, my daughter would have been 14 or 13, and my son 12 or 13, and that was the first concert they ever saw me play. So they'd grown up all those years not knowing anything about it, or relatively little.CAROL DUNCAN: Did they think Icehouse was cool or were you 'just Dad' and therefore couldn't possibly be cool?IVA DAVIES: Strangely enough, I seem to have breached the cool barrier into the cool area. A very strange thing happened, before that Sound Relief show and before my daughter really got to appreciate my association with it. She came home from school one afternoon, waltzed in the door and announced, 'I LOVE THE EIGHTIES! I love EVERYTHING about the eighties!'Strangely enough, the eighties are going through a whole new generation of cool at the moment. Except for the hair, and a lot of the clothes.CAROL DUNCAN: When you look at that part of your career, the pop/rock part of your career, what do you see, Iva?IVA DAVIES: I'm proud that we worked very hard, I believe, to maintain a kind of class and a quality. That went through everything, even the recordings themselves. I went through the graduation from vinyl to CD, which was a massive turnaround, and it happened incredibly quickly.I remember having a talk to a record company about it and they said, 'Last year we manufactured 80% out of vinyl and 20% out of CD, this year we're manufacturing 80% out of CD and 20% out of vinyl, and the following year we're not making any vinyl at all. That's how fast it turned around. But 'Measure for Measure', our fourth album is one of the first three fully digital recordings ever made in the world, which was a real milestone, so it's the first completely noiseless recording that was made for the new format of CD. It's moments like that that I reflect on and think, well, that's because we really put a lot of care and attention into these things.CAROL DUNCAN: Iva, you're also seen as one of the pioneers in Australia of bringing in synthesizers, computers, the Fairlight and so on. You mentioned an interesting word there, 'noiseless', and that's perhaps where the feud happens between the vinyl purists and people who are very happy to purchase their music in a digital form whether on CD or via digital download. How do you see the vinyl vs CD war when it comes to audio quality?IVA DAVIES: I noted with some amusement touched with horror a program that Linda Mottram did on 702 in Sydney where there was this discussion about vinyl, and she spoke with a so-called expert who was out of a university, and with due respect to that professor I desperately wanted to call in and say, "Can I just tell you about what actually happens when you're making pieces of vinyl and why they sound the way they do, and how it is absolutely possible to make CDs sound exactly like vinyl IF that were the endgame that you wanted to have in mind.I won't go into it now but the fact of the matter is it's all about a process called mastering. The way that tapes, mixes, were mastered for vinyl had to be very particular because of the intolerance of vinyl - vinyl can't carry very much big bass. I found that out with the Flowers album when I insisted to the co-producer that we put lots of bottom end into it and then realised a bit later on when the mastering engineer said to me, "I can't cut this to vinyl, it's got too much bass in it." They're the sorts of mistakes that you make when you're young.I'm a firm believer in anything that doesn't have moving parts and that is digital. I'm afraid I've moved on from anything old-school quite happily.CAROL DUNCAN: Did you call in?IVA DAVIES: No, I didn't, I just thought it's probably too difficult a conversation to have in detail over the radio but it does infuriate me because I'm sure if you got any mastering engineer on to the radio they'd say to you it's mainly because people don't understand how these things are made.CAROL DUNCAN: What gave you the confidence to leap into these new technologies?IVA DAVIES: Perhaps it was more out of ignorance than anything, I certainly didn't see any risk involved, but the main driver for me was that these were new toys. Every time something new was invented, my eyes would light up and I'd think, 'Imagine the possibilities!'I remember expressly that conversation I had with our management where, out of sheer co-incidence they'd moved offices from where they were in Bondi Junction to the top storey of a two-storey building in Rushcutters Bay and the ground storey was where they made Fairlights, believe it or not. Management were oblivious to this, they had no idea what was going on down there. But I did and I came to the managers one day and said, 'I desperately want to get one of these machines, they are amazing.'Of course, I was proven correct because they revolutionised music forever. I think apart from the technology of recording, the sampler - which is what a Fairlight was - was the single most influential piece of technology ever created. I said this to my management, that I was desperate, that I'd really like one, but the catch was they were $32,000. That was in 1981 or 1982 so you can imagine how much money that was then - it was half a small house.But I got one, and interestingly enough my management were quite philosophical about it. They said, 'Well, it's a lot of money, but according to our calculations you'll pay for this with the first two projects you use it on.' And they were right. The first project I used it on was my very first film score for Russell Mulcahy's 'Razorback', which is about 95% Fairlight.The great irony of that was that I kept producing bits of music, because Russell Mulcahy was out in the desert filming scenes and he kept dragging up Peter Gabriel's fourth album, the one with Shock The Monkey on it, and they were out in the desert with this blasting away on a ghetto blaster and I got it into my head that this was what Russell likes. So I kept producing Gabriel-esque soundscapes and so on, and the producers of the movie kept coming back to me and saying, 'No, no no - that's not what we want, we don't want this.' In the end I was getting various clues from them but didn't really know, but I had another go along the lines of Stravinsky's 'Rite of Spring' - a fairly mad piece of classical music. I constructed all this with the Fairlight, it was a quasi-orchestral thing. I took it back to them and they said, 'Yes! That's exactly it!' and I said, 'Well, if you wanted that sort of thing why didn't you go and get a classical composer.'In its day, 'Rite of Spring' was a controversial piece of music, and Iva Davies shares a birthday with Stravinsky.Considering that it was 1913 when that piece first hit the stage for Diaghilev's ballet company. It wasn't just the music; it was actually the subject matter of the ballet that I think was fairly upsetting to a lot of people. It's all about primal sexualism, basically, so you can imagine that to an audience of 1913 that sort of idea was fairly horrifying.CAROL DUNCAN: In 1984, you've got Razorback, also 'Sidewalk' - the third album from Icehouse, at this point did you consider that you didn't actually have to be a pop star?IVA DAVIES: No, I had a very strange life prior to that because I had a completely Jekyll and Hyde existence. I took up the guitar when I was 13, and taught myself, and it was probably also the year that I started taking oboe lessons. I had these two parallel lives and completely separate lives. I had a set of classical people - when I was in high school I played in a wind quintet and we used to rehearse every Saturday morning. We all had our first cars at that point. They were my friends and we went off and won the City of Sydney Eisteddfod and so on. They never, ever met the guys that I was in the acoustic band with. Ever! Because I just had these two lives. So my course was fairly accidental all the way through, it was probably always going to be accidental.To this day, I keep remembering things that I did. I remembered that I was in the orchestra that was primarily made up of members of the Sydney Symphony and the senior Conservatorium orchestra, of which I was a member, for the staging of the two first Australian ballets in the Opera House. I would have been about 19 and, of course, that's a fairly big moment for the Opera House to have a night featuring Australian opera in that building, and I'd completely forgotten about it. There are things from both lives that I've forgotten about.CAROL DUNCAN: 1985, your double life really starts to change as you start working with the Sydney Dance Company.IVA DAVIES: I have to give credit to our managers to some degree who recognised - Ray Hearn was managing us from the beginning. I think he considered himself to be a very erudite individual, he was very widely read, he'd seen every movie possible, and he had a huge record collection. He wasn't a musician but I think he spotted in me the potential that if I kept on that very two-dimension wheel of 'write an album, record an album, tour an album, write an album, record an album, tour an album ...', that I would burn out, that I needed something else to do. So it was he who went and pursued the soundtrack idea with Russell Mulcahy, and it was he who introduced me to the Sydney Dance Company who were a very dangerous company at that point. People forget that they did ballets entirely naked and this was quite revolutionary stuff in its day. They had a very young, hip audience. So it was a very smart move. But it was also a move that was good for the dance company. I had also forgotten until reminded about a month ago that in the Opera House's entire history this has never been repeated, but they did a very dangerous thing. They put two shows on a Friday and a Saturday night, one at a conventional hour and then a whole other audience would turn up at 10.30 at night and we'd do it all again. The staff at the Opera House thought this was going to be an absolute disaster, 'Nobody's going to go to the Opera House at 10.30pm to see a show', but they did and they were all my audience and they were coming to see what all the fuss was about. It was the most successful season the dance company has ever had.CAROL DUNCAN: Were you worried about your pop/rock audience coming over to see what you were doing and being disappointed?IVA DAVIES: I've always utterly failed to understand what the problem is between the various tribes of music. I started of as a bagpipe player when I was six, and although I went through that very, very particular stream of classical musicians, and they are, and they are a very exclusive lot - a lot of them, and they are a very intolerant lot - a lot of them, I think things have improved. But at that time they very much looked down their nose at 'popular music' and rock and roll, but by the same token it was equally prejudiced the other way around. I've never understood why. I don't get that you have to be one or the other but not all of them. In my head, there was absolutely no problem with my audience turning up to the ballet.CAROL DUNCAN: What gave you the confidence to follow both streams?IVA DAVIES: Only because I can kind of speak both languages. I had a discussion with somebody the other night about music and it is another language. It's certainly a language when you read and write it and I learned how to do that. But my dialogue with rock and roll musicians has to be completely different because most of the people I played with all these years don't read and write music. But rock and roll musicians communicate in a different kind of way. So because I'm comfortable in both of those languages, I can happily flick between the two of them, at whim almost.CAROL DUNCAN: Which is why I don't' let my kids drop out of their violin lessons - I want them to have that other language.IVA DAVIES: From my point of view, by miles, the single biggest advantage I've had in my work and succeeding in the broad framework of popular music is the fact that I was highly trained. That is the most sure, certain way to cut every corner you can - to actually know what you're doing.CAROL DUNCAN: December 31, 1999, and Icehouse is performing at the Millennium New Years Eve concert outside the Sydney Opera House and there is a moment on your face where it's just occurred to you how very special that moment is.IVA DAVIES: The penny really didn't drop, I mean, there was such a lot of pressure involved in that. The transmission, the TV director, Greg Beness, had synchronised a whole lot of footage to be running in parallel with shooting the performance. We had backups of backups because, of course, everybody thought that every computer in the world was going to blow up at midnight being the Y2K bug and so on. It was going out to about four billion people. It's not as if you can get to the end of it and go, 'Oh, we mucked that up, can we have another go?', 'Oh, they've already counted down; we're in a new millennium'. So I was incredibly aware of all of that and actually I've watched back some of the footage and it takes me a fair old while to settle down, it's (The Ghost Of Time) a 25-minute piece and it took me a number of minutes before I was, 'OK, we're up and running, everything seems to be working, everybody knows where they are, I can hear everything ....'I got to the end of it and stepped off the stage, Frank Sartor the Lord Mayor of Sydney gave me a glass of champagne, Richard Wilkins counted down from 10 and the fireworks went off directly over my head and I went, 'Wow!'CAROL DUNCAN: From this point, your other career really takes off and you head off to work on Master and Commander.IVA DAVIES: Yes, I've said to other young bands over the years, 'Just be aware - you never know who will be listening,' and so it was with thus that one person who was listening to The Ghost of Time on the millennium eve as it was going out, one of those four billion people, was one Peter Weir - an iconic Australian film director.This is how bizarre the next few years ended up being for me in terms of things just popping out of seemingly nowhere. I was sitting in my studio one day up on the northern beaches and the phone rang. A voice said, "Iva, this is Peter Weir. I'm filming Master and Commander on location in Baja, Mexico. I've fallen in love with The Ghost of Time. I want you to reassemble your team and give me a score like that."The whole experience was incredible, to go to Hollywood. I remember I had a colleague of mine, my music editor, had worked quite a bit in Hollywood on 'Moulin Rouge' and other things. He took me to the Fox lot and was very well recognised, but the thing that became immediately apparent was how incredibly well-respected Peter Weir is in Hollywood. Even though you don't necessarily associate him with massive blockbuster success time and time again, he's respected by directors and quality people in Hollywood and that's the difference.CAROL DUNCAN: Is it difficult to do this sort of work, to create something to someone else's demands?IVA DAVIES: I was very fortunate because Peter Weir has immense respect for music. He said to me not once, but twice, 'Music is the fountainhead of the arts,' that's how important it is to him. But having said that, he uses it very sparingly and in a very subtle way. So I had the great luxury to have three months to work on what equated to, in the end, not much more than 35 minutes worth of music. If you go and see a movie like 'Lord of the Rings', the composers had to write music from end to end of the film, so we're talking two and a half hours of music. Three months to produce that amount of music meant that it could be done with care but at a fairly unstressed pace, as it were. And that was fantastic. I have no doubt that Peter Weir quite deliberately planned the whole thing that way, so that it would be NOT a stressful operation. He's a consummate film-maker and he knows exactly what he's doing, so he schedules and plans things very well.Having said that, I always knew that the brief of a score writer is to write what the director wants to hear, not what the score writer wants to hear, so that was very apparent and so be it. Very often these films are the vision of a director and music is just one component of that. It should feed into their vision.CAROL DUNCAN: What are the professional moments that you hold dearest to your heart?IVA DAVIES: In terms of recording, I had a quite surreal moment. I was very influenced by one Brian Eno who was an absolute pioneer of synthesizers and electronic music, and in fact probably invented the term 'ambient music'. Of course, he was a founding member of Roxy Music but went on later to become incredibly successful in his own right and especially as a producer, he produced almost all of the U2 albums - massive albums. But I'd been following him since he was an early member of Roxy Music and especially been guided by his approach to synthesizers, which was very esoteric and completely at odds with a lot of the nasty noises that were being produced in the 1980s, for example. And I thank him for that because it probably stopped me from making a lot of bad sonic mistakes.The producer I was using at the time was a friend of his and I found myself having a conversation with the producer about the song we were working on at the time - a song called Cross the Border - I had in mind Brian Eno's backing vocal style. I knew that the producer, Rhett Davies, had worked with Brian Eno. I turned up to Air Studios, another very famous studio in London, to do the vocal session and in came Brian Eno. So there was a moment where I was standing in the studio, standing next to Brian Eno who was singing my lyrics and my backing vocal line. That was a real moment for me because he was a real hero of mine.CAROL DUNCAN: At what point did you realise that you had been successful enough to truly pursue anything that you wanted to do?IVA DAVIES: I spent most of my career not quite believing that things would work. In fact, I remember very clearly - we'd been working for years and years, working around these pubs, the first album came out, and I remember the first royalty cheque turned up. The accountant for the management company asked me into the office and said, 'Well, here's the cheque for the Flowers album for you,' and I looked at it and I'd been broke for years. My parents had to keep paying the odd rent payment for me and so on. We weren't earning any money at all, the album had only just come out, and I saw this cheque and it was for $15,000.I looked at Gino, who I had lunch with today - same accountant, and I said, 'Gino. This is amazing. This is incredible. I know I'm just going to fritter this away. I know I'll never get any more money out of this business. What's the deposit on the cheapest, cheapest, cheapest house in Sydney? Well, I bought the cheapest house in Sydney with that deposit, but of course, it wasn't the last cent that I made out of the music business.But for many years, for a long time, I really didn't consider that it was going to last, that I was going to make any money out of it. It's that classic thing where, luckily my parents didn't call me on the phone and say, 'When are you going to get a proper job?' they were very supportive. I think I was the one secretly calling myself and saying, 'When are you going to get a proper job?'CAROL DUNCAN: What are you still learning?IVA DAVIES: I'm still learning technology because unfortunately, it won't sit still! The industry standard for recording is a system called Pro-Tools, you very possibly use it in the studio there and it's certainly in every recording studio in the world. I've been working with Pro-Tools for a very long time but, of course, like any other software, there's a new release of it every five minutes. So I'm actually getting to the stage when I really am going to have to run to catch up! So unfortunately at my age, I'm still having to learn technology because it's the basic tool of my trade and that's never going to stop.CAROL DUNCAN: Are you still as excited by it as you were in the mid-1970s when you and Keith Welsh started 'Flowers' and when you went and harassed your management to allow you to buy that first Fairlight for $32,000?IVA DAVIES: I think I take it a bit more for granted these days because things have exploded in the way that they have. You can imagine the climate in which a piece of technology like the Fairlight came out; it was just mind-numbing. It was unlike anything anybody could ever imagine, whereas I suppose every time there's a new release of Pro-Tools, it's got a couple of lovely new features but it is a development of something which has been around for much more than a decade now.However, having said that, there seems to be a whole new generation of software writers who are incredibly interested in music and incredibly interested in playing with sound, and these are the people who are coming up with all the new noise generating bits - soft synthesisers and all that sort of stuff. That's kind of where the interesting new area is.CAROL DUNCAN: And Keith Welsh has been on this whole journey with you?IVA DAVIES: Indeed. In the music industry the whole time. He and I have been working closely over the past three years and we've started playing again and we re-released the entire catalogue. We put out a compilation called 'White Heat' which is about to go platinum.CAROL DUNCAN: What would you want the young Iva Davies to know?IVA DAVIES: That's a good question! I think I probably did seize most opportunities that came my way so I wouldn't necessarily say, 'just go as fast as you can with every opportunity that you can', I probably would have said, 'Put more attention to the money and where the money is going and who's getting it!' As a forensic accountant, I'm a kind of 'overview guy' as opposed to a 'detail guy'.

Iva Davies is one of Australia's most accomplished musicians and composers with a career spanning over 30 years with his band Icehouse, and as a composer for film and theatre. I produced this feature music show with him in 2014.The number one song on the Australian pop music charts in 1980 was The Buggles 'Video Killed The Radio Star', accompanied through the year by such gems as Michael Jackson 'Don't Stop Til You Get Enough', The Village People 'You Can't Stop The Music', Split Enz 'I Got You', The Vapours 'Turning Japanese' and Queen 'Crazy Little Thing Called Love'.In May 1980, Australian radio stations started playing a song by Sydney band, Flowers. 'Can't Help Myself' made it into the Australian Top 10 and was the first song from their debut album, 'Icehouse'. I think I was first in line at my local record store to by the single and was enormously envious of my older brothers who would regularly see Flowers playing at the local pub. IVA DAVIES: We came from quite a distinct stream of music which generated by the punk movement out of Britain, but then it morphed into a strange hybrid because of technology. There was an explosion of technology, especially synthesiser technology, at that period, so we were a kind of punk band with synthesisers which was a bit odd. But clearly, these other people were not, including Michael Jackson! There were all sorts of strange things going on, strange fashions; it was a very interesting time."The first song we put out was called 'Can't Help Myself' and we'd been playing all these classic punk venues for about three years before we put out that first record. I remember being told it had become a disco hit in Melbourne and I was semi-horrified. I was very pleased it was a hit, of course, but a disco hit - we weren't a disco band!By the time we got to 1980 we'd been playing quite a few of our own songs but still had lacings of the odd cover version of things not even particularly fashionable at the time, things like T-Rex songs, but by then we'd really turned into an original band and signed with a small independent label in Sydney called Regular Records and we'd recorded our first album, and although they constitute really the first 10 songs I ever wrote, they did have a certain flavour about them that I guess was, again, a hybrid of punk with synthesizers.CAROL DUNCAN: Iva, you mustn't have been very long out of the Conservatorium by this stage?IVA DAVIES: I dropped out of the (Sydney) Conservatorium when I was about 21, so I was about 23 or 24 by this point.CAROL DUNCAN: So how did you decide to steer your songwriting and music releases in that environment at that time?IVA DAVIES: It's a terrible admission to make considering that 'Can't Help Myself' made it into the Top 10, that I was probably fairly unaware of radio except for 2JJ. That's a terrible admission for somebody who's trying to break into getting airplay on radio!CAROL DUNCAN: Something like The Vapors 'Turning Japanese' would have been all over 2SM (in Sydney) at the time. 2SM would have been the number one commercial pop music station in the late 1970s.IVA DAVIES: Indeed, and I missed a great deal of that. I think we were pretty well buried in our own world and our own world had been dominated by what I'd listened to as I grew up, quite a lot of classics, psychedelic and heavy rock bands including Pink Floyd and so on. And then when Johnny Rotten (the Sex Pistols) arrived, the world was turned upside-down quite literally.He put all of those big bands out of business overnight and London was the place to be. I remember very clearly when Keith (Welsh) and I, our bass player and co-founder of Flowers, we'd been playing almost every night of the week, sometimes nine shows a week. There were clubs all over Sydney, there were clubs all over Melbourne, there were really great bands everywhere and on any given night down the road there'd be Midnight Oil and INXS and any number of bands.When we arrived in London for our very first international tour, we looked at each other and said, 'Let's get a copy of New Musical Express (NME) and go and see a band 'cause this is where it's all coming from!' And there was nothing on!I was absolutely gobsmacked that Sydney was a hundred times more active than London on a club scene. It absolutely mystified me. All the pubs shut early, there was nowhere to go!CAROL DUNCAN: Who did you admire at the time?IVA DAVIES: I didn't buy albums of anybody, I didn't consume music. I was very curious about music but most of what I listened to was via 2JJ. 2JJ was a very progressive station; I think it's been forgotten to some degree. 2JJ were playing things that had been bought on import - they hadn't even been released in Australia yet - and so it was fascinating.We were hearing things we thought before anybody else in the world had heard them, things like Elvis Costello, XTC, mainly British bands but the odd thing coming out of America. There was a real movement of punk and new wave.CAROL DUNCAN: So you and Keith have taken off to London, you're going to see all the bands, but there's no-one home?IVA DAVIES: There's no-one home! I remember thinking at the time, 'Well where did The Cure come from and where did The Clash and The Damned and The Jam come from? Where are they all'?I had imagined that London was heaving with little clubs with all those names playing in them every night but it was really something created through the tyranny of distance, I guess. We had amplified that whole thing that had started with Carnaby Street, The Beatles, and Rolling Stones; and in my mind, and I'm sure in the minds of many other Australians, this was the mecca that we were going to visit. But it turned out it was really as much a product of BBC1 and radio and record companies than it was of an active pub music scene which was exactly what we had in Australia.CAROL DUNCAN: So, what did you do, turn around and come home?IVA DAVIES: We went off touring. We went off touring with Simple Minds who were just starting to break through in Europe. They'd a quite successful album, and we did a reciprocal deal with them where we said, 'OK, if we are your support band in Europe, that will help us, and you come to Australia and be our support band there because nobody knows you. In fact, to this day, and I'm sure Jim Kerr from Simple Minds would take credit in saying that tour we did with them really broke Simple Minds in Australia - it was off the back of that tour that they started achieving success here. Of course, many many albums and many many successes later I still catch up with Jim Kerr quite frequently.CAROL DUNCAN: I remember seeing the two bands at the Manly Vale Hotel.IVA DAVIES: Very possible! That was one of many hotels in that northern beaches area, and I ended up living on the northern beaches by accident. It was quite tribal. There was a very big pub at Narrabeen called the Royal Antler and it was our first proper gig, I guess, and almost residency. At one point we and Midnight Oil were alternating weekends. We never met them, but there was this kind of unspoken rivalry for the same audience of mad, drunken surfies.CAROL DUNCAN: It was one of Sydney's great beer barns.IVA DAVIES: It was and they were mad, of course, mad drunken surfies and probably a few other substances, as well. But they were great nights. It was a big place; I think it held something like 1500 people. And you're right, we probably did attract slightly different audiences, and certainly we also had the other side of us which was playing the inner city hotels which, of course, were very driven by the punk movement, so we'd look out on a place like the Civic Hotel and there'd been a sea of black and safety pins.CAROL DUNCAN: Why did the name change come about? Was it as simple as swapping the band name and album title?IVA DAVIES: It was, but we actually had no choice. What we hadn't realised was that while we were happily going along as Flowers in Australia and New Zealand, as soon as we signed to an international record company and they said, 'We're going to release this around the rest of the world, we need to do a little check on the name. It hadn't even occurred to me that a band name is like a company trading name and, unfortunately, there were at least three other acts around the world trading on the name 'Flowers'. One of them being the very, very famous session bass player, Herbie Flowers, who you probably know best for being the creator of that wonderful bass line that introduces Lou Reed's 'Walk On The Wild Side'.So there were objections and we simply had no choice, we had to come up with another name. This has happened to a number of Australian bands. It happened to Sherbet who became Highway, and The Angels who became Angel City. Our logic was fairly simple - people here in Australia and New Zealand only know us by two things, that is the name of the band 'Flowers' or the name of the album 'Icehouse'. So, we became Icehouse.A band name becomes its identity in a far bigger way that just a set of letters. I've had this discussion with my 17-year old son who has got a collection of friends in a band and they haven't been able to think of anything. I keep asking what the band is called and they're called something different every day. I said 'you better get it right because it will end up owning you'.CAROL DUNCAN: Your son has actually played with you?IVA DAVIES: Yes, oh you know about this! I had a fairly mad idea last year, although the idea had been around since 1983. I remember we were touring in Europe and we had a number one song in Europe so there was a lot of pressure on me. I was doing millions of interviews and we were playing very big festivals of 30,000 people.We were playing on one and I was standing on the side of the stage next to my band and Peter Tosh's band was playing - Peter Tosh was the co-founder of Bob Marley's Wailers - and it was a big band, 9 or 10 people on stage, backing singers and whatnot, and I said to my bass player, "See the guy at the back going chukka, chukka, chukka on the guitar, the laziest job in the world? I want his job. I had a conversation last year with somebody about this moment and they said, 'Why don't you do it?'Our manager thought I was mad, a number of promoters thought I was mad, too, but what we did was completely re-invent Icehouse as an eight-piece reggae band. We added some extra guys from Melbourne to give us a brass section and we re-arranged every one of the hits that we'd been playing in the classic repertoire as reggae songs.We put two shows on - one in Melbourne, one in Sydney - as a kind of Christmas party because my feeling was that the reason we were doing it is because reggae makes you want to dance and smile and laugh, and we had the best possible time, it was just fantastic. We've just released the recording of the Sydney show and re-named the band DubHOUSE - the album is DubHOUSE Live.I wanted to get my children to come. My daughter is OK because she's 20 but my son was under age, under the drinking age, and the only way I could get him in was to put him in the band. So I said to him, 'Look Evan ...' he's17 and a very good guitarist, 'I'm sorry, you're not going to get a rehearsal, you're not going to get a sound check. Here's a recording of a rehearsal of Street Cafe done in this style, you've got the guitar solo, go home and learn it and I'll see you on stage."And so the poor guy was thrown on stage with absolutely no preparation whatsoever, but fortunately, he had done his homework and had a great night.CAROL DUNCAN: How do the kids see your career, Iva?IVA DAVIES: Well the strange truth is that they didn't. I finished the last tour that we did back in the day, as it were, when my daughter was six weeks old. Effectively, we didn't play again and my children grew up.In 2009, our long-time tour manager, Larry, who works for a very big audio production company - he'd been working for with us since 1984 - came up with the idea for Sound Relief (concerts held in Sydney & Melbourne for 2009 bushfire relief) and actually volunteered us, so we were the first band on the bill for Sound Relief.By that time in 2009, my daughter would have been 14 or 13, and my son 12 or 13, and that was the first concert they ever saw me play. So they'd grown up all those years not knowing anything about it, or relatively little.CAROL DUNCAN: Did they think Icehouse was cool or were you 'just Dad' and therefore couldn't possibly be cool?IVA DAVIES: Strangely enough, I seem to have breached the cool barrier into the cool area. A very strange thing happened, before that Sound Relief show and before my daughter really got to appreciate my association with it. She came home from school one afternoon, waltzed in the door and announced, 'I LOVE THE EIGHTIES! I love EVERYTHING about the eighties!'Strangely enough, the eighties are going through a whole new generation of cool at the moment. Except for the hair, and a lot of the clothes.CAROL DUNCAN: When you look at that part of your career, the pop/rock part of your career, what do you see, Iva?IVA DAVIES: I'm proud that we worked very hard, I believe, to maintain a kind of class and a quality. That went through everything, even the recordings themselves. I went through the graduation from vinyl to CD, which was a massive turnaround, and it happened incredibly quickly.I remember having a talk to a record company about it and they said, 'Last year we manufactured 80% out of vinyl and 20% out of CD, this year we're manufacturing 80% out of CD and 20% out of vinyl, and the following year we're not making any vinyl at all. That's how fast it turned around. But 'Measure for Measure', our fourth album is one of the first three fully digital recordings ever made in the world, which was a real milestone, so it's the first completely noiseless recording that was made for the new format of CD. It's moments like that that I reflect on and think, well, that's because we really put a lot of care and attention into these things.CAROL DUNCAN: Iva, you're also seen as one of the pioneers in Australia of bringing in synthesizers, computers, the Fairlight and so on. You mentioned an interesting word there, 'noiseless', and that's perhaps where the feud happens between the vinyl purists and people who are very happy to purchase their music in a digital form whether on CD or via digital download. How do you see the vinyl vs CD war when it comes to audio quality?IVA DAVIES: I noted with some amusement touched with horror a program that Linda Mottram did on 702 in Sydney where there was this discussion about vinyl, and she spoke with a so-called expert who was out of a university, and with due respect to that professor I desperately wanted to call in and say, "Can I just tell you about what actually happens when you're making pieces of vinyl and why they sound the way they do, and how it is absolutely possible to make CDs sound exactly like vinyl IF that were the endgame that you wanted to have in mind.I won't go into it now but the fact of the matter is it's all about a process called mastering. The way that tapes, mixes, were mastered for vinyl had to be very particular because of the intolerance of vinyl - vinyl can't carry very much big bass. I found that out with the Flowers album when I insisted to the co-producer that we put lots of bottom end into it and then realised a bit later on when the mastering engineer said to me, "I can't cut this to vinyl, it's got too much bass in it." They're the sorts of mistakes that you make when you're young.I'm a firm believer in anything that doesn't have moving parts and that is digital. I'm afraid I've moved on from anything old-school quite happily.CAROL DUNCAN: Did you call in?IVA DAVIES: No, I didn't, I just thought it's probably too difficult a conversation to have in detail over the radio but it does infuriate me because I'm sure if you got any mastering engineer on to the radio they'd say to you it's mainly because people don't understand how these things are made.CAROL DUNCAN: What gave you the confidence to leap into these new technologies?IVA DAVIES: Perhaps it was more out of ignorance than anything, I certainly didn't see any risk involved, but the main driver for me was that these were new toys. Every time something new was invented, my eyes would light up and I'd think, 'Imagine the possibilities!'I remember expressly that conversation I had with our management where, out of sheer co-incidence they'd moved offices from where they were in Bondi Junction to the top storey of a two-storey building in Rushcutters Bay and the ground storey was where they made Fairlights, believe it or not. Management were oblivious to this, they had no idea what was going on down there. But I did and I came to the managers one day and said, 'I desperately want to get one of these machines, they are amazing.'Of course, I was proven correct because they revolutionised music forever. I think apart from the technology of recording, the sampler - which is what a Fairlight was - was the single most influential piece of technology ever created. I said this to my management, that I was desperate, that I'd really like one, but the catch was they were $32,000. That was in 1981 or 1982 so you can imagine how much money that was then - it was half a small house.But I got one, and interestingly enough my management were quite philosophical about it. They said, 'Well, it's a lot of money, but according to our calculations you'll pay for this with the first two projects you use it on.' And they were right. The first project I used it on was my very first film score for Russell Mulcahy's 'Razorback', which is about 95% Fairlight.The great irony of that was that I kept producing bits of music, because Russell Mulcahy was out in the desert filming scenes and he kept dragging up Peter Gabriel's fourth album, the one with Shock The Monkey on it, and they were out in the desert with this blasting away on a ghetto blaster and I got it into my head that this was what Russell likes. So I kept producing Gabriel-esque soundscapes and so on, and the producers of the movie kept coming back to me and saying, 'No, no no - that's not what we want, we don't want this.' In the end I was getting various clues from them but didn't really know, but I had another go along the lines of Stravinsky's 'Rite of Spring' - a fairly mad piece of classical music. I constructed all this with the Fairlight, it was a quasi-orchestral thing. I took it back to them and they said, 'Yes! That's exactly it!' and I said, 'Well, if you wanted that sort of thing why didn't you go and get a classical composer.'In its day, 'Rite of Spring' was a controversial piece of music, and Iva Davies shares a birthday with Stravinsky.Considering that it was 1913 when that piece first hit the stage for Diaghilev's ballet company. It wasn't just the music; it was actually the subject matter of the ballet that I think was fairly upsetting to a lot of people. It's all about primal sexualism, basically, so you can imagine that to an audience of 1913 that sort of idea was fairly horrifying.CAROL DUNCAN: In 1984, you've got Razorback, also 'Sidewalk' - the third album from Icehouse, at this point did you consider that you didn't actually have to be a pop star?IVA DAVIES: No, I had a very strange life prior to that because I had a completely Jekyll and Hyde existence. I took up the guitar when I was 13, and taught myself, and it was probably also the year that I started taking oboe lessons. I had these two parallel lives and completely separate lives. I had a set of classical people - when I was in high school I played in a wind quintet and we used to rehearse every Saturday morning. We all had our first cars at that point. They were my friends and we went off and won the City of Sydney Eisteddfod and so on. They never, ever met the guys that I was in the acoustic band with. Ever! Because I just had these two lives. So my course was fairly accidental all the way through, it was probably always going to be accidental.To this day, I keep remembering things that I did. I remembered that I was in the orchestra that was primarily made up of members of the Sydney Symphony and the senior Conservatorium orchestra, of which I was a member, for the staging of the two first Australian ballets in the Opera House. I would have been about 19 and, of course, that's a fairly big moment for the Opera House to have a night featuring Australian opera in that building, and I'd completely forgotten about it. There are things from both lives that I've forgotten about.CAROL DUNCAN: 1985, your double life really starts to change as you start working with the Sydney Dance Company.IVA DAVIES: I have to give credit to our managers to some degree who recognised - Ray Hearn was managing us from the beginning. I think he considered himself to be a very erudite individual, he was very widely read, he'd seen every movie possible, and he had a huge record collection. He wasn't a musician but I think he spotted in me the potential that if I kept on that very two-dimension wheel of 'write an album, record an album, tour an album, write an album, record an album, tour an album ...', that I would burn out, that I needed something else to do. So it was he who went and pursued the soundtrack idea with Russell Mulcahy, and it was he who introduced me to the Sydney Dance Company who were a very dangerous company at that point. People forget that they did ballets entirely naked and this was quite revolutionary stuff in its day. They had a very young, hip audience. So it was a very smart move. But it was also a move that was good for the dance company. I had also forgotten until reminded about a month ago that in the Opera House's entire history this has never been repeated, but they did a very dangerous thing. They put two shows on a Friday and a Saturday night, one at a conventional hour and then a whole other audience would turn up at 10.30 at night and we'd do it all again. The staff at the Opera House thought this was going to be an absolute disaster, 'Nobody's going to go to the Opera House at 10.30pm to see a show', but they did and they were all my audience and they were coming to see what all the fuss was about. It was the most successful season the dance company has ever had.CAROL DUNCAN: Were you worried about your pop/rock audience coming over to see what you were doing and being disappointed?IVA DAVIES: I've always utterly failed to understand what the problem is between the various tribes of music. I started of as a bagpipe player when I was six, and although I went through that very, very particular stream of classical musicians, and they are, and they are a very exclusive lot - a lot of them, and they are a very intolerant lot - a lot of them, I think things have improved. But at that time they very much looked down their nose at 'popular music' and rock and roll, but by the same token it was equally prejudiced the other way around. I've never understood why. I don't get that you have to be one or the other but not all of them. In my head, there was absolutely no problem with my audience turning up to the ballet.CAROL DUNCAN: What gave you the confidence to follow both streams?IVA DAVIES: Only because I can kind of speak both languages. I had a discussion with somebody the other night about music and it is another language. It's certainly a language when you read and write it and I learned how to do that. But my dialogue with rock and roll musicians has to be completely different because most of the people I played with all these years don't read and write music. But rock and roll musicians communicate in a different kind of way. So because I'm comfortable in both of those languages, I can happily flick between the two of them, at whim almost.CAROL DUNCAN: Which is why I don't' let my kids drop out of their violin lessons - I want them to have that other language.IVA DAVIES: From my point of view, by miles, the single biggest advantage I've had in my work and succeeding in the broad framework of popular music is the fact that I was highly trained. That is the most sure, certain way to cut every corner you can - to actually know what you're doing.CAROL DUNCAN: December 31, 1999, and Icehouse is performing at the Millennium New Years Eve concert outside the Sydney Opera House and there is a moment on your face where it's just occurred to you how very special that moment is.IVA DAVIES: The penny really didn't drop, I mean, there was such a lot of pressure involved in that. The transmission, the TV director, Greg Beness, had synchronised a whole lot of footage to be running in parallel with shooting the performance. We had backups of backups because, of course, everybody thought that every computer in the world was going to blow up at midnight being the Y2K bug and so on. It was going out to about four billion people. It's not as if you can get to the end of it and go, 'Oh, we mucked that up, can we have another go?', 'Oh, they've already counted down; we're in a new millennium'. So I was incredibly aware of all of that and actually I've watched back some of the footage and it takes me a fair old while to settle down, it's (The Ghost Of Time) a 25-minute piece and it took me a number of minutes before I was, 'OK, we're up and running, everything seems to be working, everybody knows where they are, I can hear everything ....'I got to the end of it and stepped off the stage, Frank Sartor the Lord Mayor of Sydney gave me a glass of champagne, Richard Wilkins counted down from 10 and the fireworks went off directly over my head and I went, 'Wow!'CAROL DUNCAN: From this point, your other career really takes off and you head off to work on Master and Commander.IVA DAVIES: Yes, I've said to other young bands over the years, 'Just be aware - you never know who will be listening,' and so it was with thus that one person who was listening to The Ghost of Time on the millennium eve as it was going out, one of those four billion people, was one Peter Weir - an iconic Australian film director.This is how bizarre the next few years ended up being for me in terms of things just popping out of seemingly nowhere. I was sitting in my studio one day up on the northern beaches and the phone rang. A voice said, "Iva, this is Peter Weir. I'm filming Master and Commander on location in Baja, Mexico. I've fallen in love with The Ghost of Time. I want you to reassemble your team and give me a score like that."The whole experience was incredible, to go to Hollywood. I remember I had a colleague of mine, my music editor, had worked quite a bit in Hollywood on 'Moulin Rouge' and other things. He took me to the Fox lot and was very well recognised, but the thing that became immediately apparent was how incredibly well-respected Peter Weir is in Hollywood. Even though you don't necessarily associate him with massive blockbuster success time and time again, he's respected by directors and quality people in Hollywood and that's the difference.CAROL DUNCAN: Is it difficult to do this sort of work, to create something to someone else's demands?IVA DAVIES: I was very fortunate because Peter Weir has immense respect for music. He said to me not once, but twice, 'Music is the fountainhead of the arts,' that's how important it is to him. But having said that, he uses it very sparingly and in a very subtle way. So I had the great luxury to have three months to work on what equated to, in the end, not much more than 35 minutes worth of music. If you go and see a movie like 'Lord of the Rings', the composers had to write music from end to end of the film, so we're talking two and a half hours of music. Three months to produce that amount of music meant that it could be done with care but at a fairly unstressed pace, as it were. And that was fantastic. I have no doubt that Peter Weir quite deliberately planned the whole thing that way, so that it would be NOT a stressful operation. He's a consummate film-maker and he knows exactly what he's doing, so he schedules and plans things very well.Having said that, I always knew that the brief of a score writer is to write what the director wants to hear, not what the score writer wants to hear, so that was very apparent and so be it. Very often these films are the vision of a director and music is just one component of that. It should feed into their vision.CAROL DUNCAN: What are the professional moments that you hold dearest to your heart?IVA DAVIES: In terms of recording, I had a quite surreal moment. I was very influenced by one Brian Eno who was an absolute pioneer of synthesizers and electronic music, and in fact probably invented the term 'ambient music'. Of course, he was a founding member of Roxy Music but went on later to become incredibly successful in his own right and especially as a producer, he produced almost all of the U2 albums - massive albums. But I'd been following him since he was an early member of Roxy Music and especially been guided by his approach to synthesizers, which was very esoteric and completely at odds with a lot of the nasty noises that were being produced in the 1980s, for example. And I thank him for that because it probably stopped me from making a lot of bad sonic mistakes.The producer I was using at the time was a friend of his and I found myself having a conversation with the producer about the song we were working on at the time - a song called Cross the Border - I had in mind Brian Eno's backing vocal style. I knew that the producer, Rhett Davies, had worked with Brian Eno. I turned up to Air Studios, another very famous studio in London, to do the vocal session and in came Brian Eno. So there was a moment where I was standing in the studio, standing next to Brian Eno who was singing my lyrics and my backing vocal line. That was a real moment for me because he was a real hero of mine.CAROL DUNCAN: At what point did you realise that you had been successful enough to truly pursue anything that you wanted to do?IVA DAVIES: I spent most of my career not quite believing that things would work. In fact, I remember very clearly - we'd been working for years and years, working around these pubs, the first album came out, and I remember the first royalty cheque turned up. The accountant for the management company asked me into the office and said, 'Well, here's the cheque for the Flowers album for you,' and I looked at it and I'd been broke for years. My parents had to keep paying the odd rent payment for me and so on. We weren't earning any money at all, the album had only just come out, and I saw this cheque and it was for $15,000.I looked at Gino, who I had lunch with today - same accountant, and I said, 'Gino. This is amazing. This is incredible. I know I'm just going to fritter this away. I know I'll never get any more money out of this business. What's the deposit on the cheapest, cheapest, cheapest house in Sydney? Well, I bought the cheapest house in Sydney with that deposit, but of course, it wasn't the last cent that I made out of the music business.But for many years, for a long time, I really didn't consider that it was going to last, that I was going to make any money out of it. It's that classic thing where, luckily my parents didn't call me on the phone and say, 'When are you going to get a proper job?' they were very supportive. I think I was the one secretly calling myself and saying, 'When are you going to get a proper job?'CAROL DUNCAN: What are you still learning?IVA DAVIES: I'm still learning technology because unfortunately, it won't sit still! The industry standard for recording is a system called Pro-Tools, you very possibly use it in the studio there and it's certainly in every recording studio in the world. I've been working with Pro-Tools for a very long time but, of course, like any other software, there's a new release of it every five minutes. So I'm actually getting to the stage when I really am going to have to run to catch up! So unfortunately at my age, I'm still having to learn technology because it's the basic tool of my trade and that's never going to stop.CAROL DUNCAN: Are you still as excited by it as you were in the mid-1970s when you and Keith Welsh started 'Flowers' and when you went and harassed your management to allow you to buy that first Fairlight for $32,000?IVA DAVIES: I think I take it a bit more for granted these days because things have exploded in the way that they have. You can imagine the climate in which a piece of technology like the Fairlight came out; it was just mind-numbing. It was unlike anything anybody could ever imagine, whereas I suppose every time there's a new release of Pro-Tools, it's got a couple of lovely new features but it is a development of something which has been around for much more than a decade now.However, having said that, there seems to be a whole new generation of software writers who are incredibly interested in music and incredibly interested in playing with sound, and these are the people who are coming up with all the new noise generating bits - soft synthesisers and all that sort of stuff. That's kind of where the interesting new area is.CAROL DUNCAN: And Keith Welsh has been on this whole journey with you?IVA DAVIES: Indeed. In the music industry the whole time. He and I have been working closely over the past three years and we've started playing again and we re-released the entire catalogue. We put out a compilation called 'White Heat' which is about to go platinum.CAROL DUNCAN: What would you want the young Iva Davies to know?IVA DAVIES: That's a good question! I think I probably did seize most opportunities that came my way so I wouldn't necessarily say, 'just go as fast as you can with every opportunity that you can', I probably would have said, 'Put more attention to the money and where the money is going and who's getting it!' As a forensic accountant, I'm a kind of 'overview guy' as opposed to a 'detail guy'.

The Wisecrack crew is off to the races, diving into the smarts and deeper meaning of each new episode of South Park! Join Jared, Ryan, Alec, and Lux as they explore 'Put It Down,' the latest episode of Season 21. Send us your questions and comments: southpark@wisecrack.co

Turns out that In this episode of B-Movie Trash Talk we accidentally celebrate the new release of Arrow Video Swedish cult classic Evil Ed!~ It also turns out that Steve gets caught doing the ol 'Put the sunglasses on so no one notices that you are sleeping during the podcast' gimmick, The Axl Rose/Eddie Vedder kill scene causes us to talk about 'The Pearl Jam voice'/ the dirtbag who tried to steal it for Christ band, and finally we play a wicked Evil Ed version of The Greasy Guessing Game. Also here's the polar bear link http://news.nationalgeographic.com/2016/02/160223-polar-bears-arctic-cannibals-animals-science/ Scream At the U.S.!: @Bmovietrashtalk @TrevorTurpin @SteveNormand @KeshiaTurpin www.bmovietrashtalk.com

Business of TuesdayNew CommunityView. Join us in person or Tune-in 646-595-3620 with host Apostle SB Barber & Commentator Vj Smith, CEO|President of MINNEAPOLIS MAD DADS (Men Against Destruction, Defending Against Drugs and Social-disorder). Watch our Clips on Facebook Live/GMNLiveTv & Facebook/Youtube GMNLiveTv.  URGENT Update - 5.16! Transit RALLY.  In conjunction w/ ‘Transportation Forward’ a Coalition of Transit Advocates For Equitable Transit http://tinyurl.com/ldeqwg5  GMSbuzz & Guest Contact: *5.17! Weds EverythingisPolitical Live@12N CT. Michael Kuykindall - Loc Starz Natural Hair Salon, 217 Oliver Ave S, Mpls.Email - atureofmath@gmail.com. SBBMS MusicPlaylist Credit: MaryMary "Go Get It" Send us your questions/comments before, during, after the broadcast. Join us on Twitter@GMNetwork, Facebook@GMNLiveTv, YouTube@GMNLiveTv or Instagram@GMNLiveTv -- SB Barber Morning Show with Apostle Shena SB Barber is produced by ShenaBarber.com and presented by GRACE Media Network.

Business of TuesdayNew CommunityView. Join us in person or Tune-in 646-595-3620 with host Apostle SB Barber & Commentator Vj Smith, CEO|President of MINNEAPOLIS MAD DADS (Men Against Destruction, Defending Against Drugs and Social-disorder). Watch our Clips on Facebook Live/GMNLiveTv & Facebook/Youtube GMNLiveTv.  URGENT Update - In conjunction w/ ‘Transportation Forward’ a Coalition of Transit Advocates For Equitable Transit http://tinyurl.com/ldeqwg5  -EMERGENCY COMMUNITY MEETING Thurs, May 4! 6pm at Minneapolis North High, North Minneapolis Transit Senator Bobby Joe Champion, other officials, advocates, community activists, local legislators to inform the community about the proposed cuts and where things stand. Food will be served. GMSbuzz & Guest Contact: *5.3! Weds EverythingisPolitical Live@12N CT. Michael Kuykindall - Loc Starz Natural Hair Salon, 217 Oliver Ave S, Mpls.Email - atureofmath@gmail.com. SBBMS MusicPlaylist Credit: MaryMary "Go Get It" Send us your questions/comments before, during, after the broadcast. Join us on Twitter@GMNetwork, Facebook@GMNLiveTv, YouTube@GMNLiveTv or Instagram@GMNLiveTv -- SB Barber Morning Show with Apostle Shena SB Barber is produced by ShenaBarber.com and presented by GRACE Media Network.

How to stop procrastinating and delaying things. Why you need to think of how you will feel afterwards and how this can help you take action and do the right thing for you and your business. See omnystudio.com/listener for privacy information.

Business of TuesdayNew CommunityView. Join us in person or Tune-in 646-595-3620 with host Apostle SB Barber & Commentator Vj Smith, CEO|President of MINNEAPOLIS MAD DADS (Men Against Destruction, Defending Against Drugs and Social-disorder). Watch our Clips on Facebook Live/GMNLiveTv & Facebook/Youtube GMNLiveTv.  URGENT - In conjunction w/ ‘Transportation Forward’ a Coalition of Transit Advocates For Equitable Transit http://tinyurl.com/ldeqwg5  GMSbuzz & Guest Contact: *4.25! Weds EverythingisPolitical Live@12N CT. Michael Kuykindall - Loc Starz Natural Hair Salon, 217 Oliver Ave S, Mpls.Email - atureofmath@gmail.com. SBBMS MusicPlaylist Credit: MaryMary "Go Get It" Send us your questions/comments before, during, after the broadcast. Join us on Twitter@GMNetwork, Facebook@GMNLiveTv, YouTube@GMNLiveTv or Instagram@GMNLiveTv -- SB Barber Morning Show with Apostle Shena SB Barber is produced by ShenaBarber.com and presented by GRACE Media Network.

UNIVERSITY OF EXCELLENCEWWW.UOFE.ORG Prince HandleyPresident / Regent MIRACLES AND MICROAGGRESSIONREALITY AND RACE~ A MIRACLE PODCAST PRODUCTION ~ You can listen to this message NOW. Click on the pod circle at top left. (Allow images to display.)Or, Listen NOW >> LISTEN HERE Email this message to a friend. Subscribe to this Ezine teaching by Email: princehandley@gmail.com (Type “Subscribe” in the “Subject” line.) 24/7 release of Prince Handley teachings, BLOGS and podcasts > STREAM Text: “follow princehandley” to 40404 (in USA) Or, Twitter: princehandley________________________________________ DESCRIPTION OF THIS TEACHING Why do the media and politicians use the “race” tag to stir up more angst? The answer―again: “It's the money, stupid!” Politicians get votes … the media get advertising clicks. But in this podcast teaching we will look “beyond the veil” and discover a more subtle force―a demonic agent―with an assignment direct from the pit of Hell. It is my personal belief that this assignment from Satan is threefold: 1. To escalate conflict among people groups in society; and, 2. To produce deterioration in YOUR human spirit and psyche, thereby weakening you from within and reducing your productivity, health and success. 3. To exacerbate tension among entities (including intranational and municipal) as part of the preparation for the coming world leader: the False Messiah. We will examine the sinews of “microaggression” which is the soft underbelly of socialization and political correctness―facilitating weakness―and define a more accurate and perfect solution. ________________________________________ MIRACLES AND MICROAGGRESSIONREALITY AND RACE~ A MIRACLE PODCAST PRODUCTION ~ GOD IS NOT COLOR BLIND Have you ever asked a person, “So, what are you … really?” I asked a relative to check out a property near them for a friend of mine. My friend just wanted to know the layout and condition of the property. My relative said, “Blacks have migrated there.” I told my relative, “Don't plan on going to Heaven because LOTS of Blacks have migrated there.” Having been a pastor of an all Black church years ago (I was the only White person there), I find such statements really denigrating. “Microagression” is generally defined as “Communication of hostile, derogatory, or negative racial slights and insults toward people of color.” However, I would include insults against white people, also. Microagression can sometimes be communicated in a subtle manner so that the person initiating the conversation may not realize the effect―and may actually be unaware of any hurt effected. I have found that when the LORD gives you a great love or compassion for a certain segment of society, the enemy of your soul (Satan) will always find some member of that group to hurt you or offend you in some way. It is simply an attempt to get you to stop helping―serving―that segment of society. We have to be mature enough to realize the source of the attack … to see behind the veil. Physiological color blindness is an abnormal condition characterized by the inability to clearly distinguish different colors of the spectrum. It's interesting that Scripture identifies Messiah Yeshua (Jesus) as the Son of God and as the Light of the World. The light spectrum is the band of colors produced when sunlight is passed through a prism―and from which mixing of the colors can produce any color. AN AFRICAN SAVED A PROPHET'S LIFE “Now when Ebedmelech the Ethiopian, one of the eunuchs which was in the king's house, heard that they had put Jeremiah in the dungeon; the king then sitting in the gate of Benjamin; Ebedmelech went forth out of the king's house, and spoke to the king saying, 'My lord the king, these men have done evil in all that they have done to Jeremiah the prophet, whom they have cast into the dungeon; and he is like to die for hunger in the place where he is: for there is no more bread in the city.' Then the king commanded Ebedmelech the Ethiopian, saying, 'Take from here thirty men with you, and take up Jeremiah the prophet out of the dungeon, before he dies.' So Ebedmelech took the men with him, and went into the house of the king under the treasury, and took from there old cast clouts and old rotten rags, and let them down by cords into the dungeon to Jeremiah. And Ebedmelech the Ethiopian said unto Jeremiah, 'Put now these old cast clouts and rotten rags under your armpits under the cords.' And Jeremiah did so. So they drew up Jeremiah with cords, and took him up out of the dungeon: and Jeremiah remained in the court of the prison.” (Ezekiel 38:7-13) AN AFRICAN SAVED THIS PROPHET'S LIFE When I was just about to throw in the towel―thinking my life was about over and nobody knowing about it―an African that I had ordained into the ministry contacted me from overseas and told me: “God wants you to fast for three days, eating only after 7 PM. I will fast for and with you, also. Ask God for ONE THING and tell me but do NOT tell anyone else.” At the end of three days―on the start of the fourth day I was perfectly healed. A HISPANIC MAN SAVED MY LIFE I was in the hospital after being stabbed by two men. A nurse was stationed at my bedside 24 hours while I had four tubes running in and out of my body. After coming to consciousness I asked God to send someone to lay hands on me and pray for me. A Hispanic man who did NOT know me―but had heard about me being stabbed―came into the 2500 room hospital and into my room on the ninth floor. He told me, “God raised me from the dead one time and He has sent me to pray for you that you may be healed.” He laid his hands on my head and prayed, “Lord Jesus, heal my brother.” A short while later he walked out of the room and left. I walked out of that hospital healed a few days later. (I could have left earlier but doctors wanted to observe me to make sure of the MIRACLE.) I have tried to reach Hispanics with the Good News since then. ASIANS HAVE HELPED ME I was leaving seminary during my graduate studies as I did NOT have the money to pay my tuition. On my last walk through I stopped at my mail box in the lobby to check the mail. In it was a check from Chinese Christians that covered my expenses. That was years ago but I have tried to reach China with the Good News since then. Between five to seven percent of my website hits come from China. JEWISH PEOPLE HAVE HELPED ME I have been helped in so many ways by Jewish People … with money, food, friendship, counsel, support … and in ministry. Not only in Israel but also in the USA. I have been offered great opportunities by Jewish People, not only from Israel but from other places. I have profited much from personal contact and relationships with Jews. And this does NOT even take into consideration what I have received from the Jewish Scriptures … and a Jewish Messiah: my LORD. IT IS IMPOSSIBLE THAT OFFENSE WILL NOT COME I have been blessed by all different races … and colors of people. I have also been offended by all different races … and colors of people. It's time to grow up. If we claim to be God's People, we need to SEE others as God sees them. We need to be color blind … or, conversely, to see the beauty of color: the beauty of the spectrum which God has created. We know scientifically that white is a balance of color, whereas black is the absence of light (and hence of color). However, God has created them all for His enjoyment. So … WHY do we not at times enjoy them? The answer: because of SIN. Satan is the chief hater and the father of racism. The devil is the the divider and attempts to use people AND demons to build walls between mankind. We need to be spiritually discerning―to recognize the attacks of the enemy―and to build bridges of fellowship. This is only possible through the Holy Spirit. And … it is easy to accomplish IF we CHOOSE to do so. The KEY here is CHOICE. Your choice influences your brain and your future … and the future of successive generations: in your family line as well as humankind. Jesus taught us: “It is impossible but that offenses will come: but woe unto him, through whom they come!” (Luke 17:1) Rabbi Shaul declared to the Athenians at Mars Hill: “And [God] has made of one blood all nations of men for to dwell on all the face of the earth, and has determined the times before appointed, and the bounds of their habitation; That they should seek the Lord, if haply they might feel after him, and find him, though he be not far from every one of us.” (Acts 17:26-27) IT'S A MATTER OF CHOICE So―it is easy to determine that it all depends on CHOICE―and whether we want to PLEASE our Heavenly Father. Many years ago I started publishing the Good News in several languages so that I, by God's grace, could reach “all nations of men” that dwell upon the earth. God's family is beautiful … and when we realize that it is OUR family we begin to see its beauty. The world would surely be dull if everything and everyone were the same. CHALLENGE FOR YOU Pray … make that CHOICE today: that you will be an instrument of love through whom people of every color can SEE Jesus! GOD MAY GIVE YOU IDEAS In my latest book, Real Miracles for Normal People, I share how God used—and uses―IDEAS to reach many cultures and languages with the Good News. Read it and learn from it. God may give YOU the next great IDEA which will reach the whole world for Messiah Jesus. Below I have provided four resources to help you accomplish that next IDEA God gives YOU. The world and its people―from every race―are waiting on YOU. REAL MIRACLES FOR NORMAL PEOPLE ACTION KEYS FOR SUCCESS SUCCESS CYCLES AND SECRETS HOW TO DO GREAT WORKS God can do anything through YOU … if you let Him. My friend, more important than the economy—even more important than your health—is this: If you were to die right now, do you know for sure that you would go to Heaven? If not, pray this prayer:    “God of Abraham, Isaac and Jacob, if Yeshua (Jesus) is really my Messiah, please reveal Him to me and I will serve You the rest of my life. Please forgive my sins. Help me to live for you the rest of my time on earth, and take me to Heaven when I die. Amen.” OPPORTUNITY If you would like to work with us in creative exploits for the LORD, just click the SECURE DONATE button below. A TAX DEDUCTIBLE RECEIPT WILL BE SENT TO YOU ________________________________________ Baruch haba b'Shem Adonai. Your friend, Prince Handley President / Regent University of Excellence Podcast time: 14 minutes, 43 seconds. Copyright © Prince Handley 2016 All rights reserved. ___________________________________________ Rabbinical & Biblical Studies The Believers’ Intelligentsia Prince Handley Portal (1,000’s of FREE resources) Prince Handley Books _____________________________________________________________    Scroll down for all previous messages of last 10 years (with Show Notes).Or, go to Apostle Talk - Future News Now.

Part 4 This week's instalment in the 'Put out into the Deep' series is very short but very sweet: an invitation to still our soul in the heart of Jesus. The exquisite music that accompanies it was written by Jane Horsfall from Jersey.

This is part two of in our four part series 'Put out into the Deep,' based on the story of Jesus calling the first disciples in Luke 5:1-11. As I was pondering this episode in which Jesus points Peter to a bumper shoal of fish, I suddenly had a profound sensation of drawn into the action beside the lake rather, as the Pevensey children found themselves being drawn "onto" the Dawn Treader, at the start of the one of the Narnian chronicles. I could almost hear the creaking of the rowlocks, feel the breath of the wind, and the rocking of the boat! The effect this miracle had on Peter and those who witnessed it was so remarkable that it changed their lives and priorities forever . . . . The improvisation that accompanies this piece is a great treat; it is based on an incredibly pretty theme by Vivaldi, which is followed by a "starter" theme I wrote on a somewhat more sober note to reflect the deep work the Lord Jesus was doing in Peter's heart.

This is part one of in a four part series called 'Put out into the Deep,' based on the story of Jesus calling the first disciples in Luke 5:1-11. The double blessing is the music that accompanies the teaching. First comes a Schubert Impromptu, that perfectly reflects the feel of the lake, beautifully played for us by Jo Foote. Then comes an extract from a piece of improvised music I named “Deep” – little suspecting it would end up in a presentation called Put out into the Deep! It’s always good to explore the Scriptures – especially the Gospels – as if we ourselves were inside the story, “seeing” from the perspective of the various characters. Come with us back to the shores of the Sea of Galilee as the Lord Jesus enabled the disciples to land a bumper catch of fish, and in the process set His seal on their call to follow Him. The Lord truly is going ahead of us into the deep for prepare what ever catch He knows is needed.

Love is in the air this week, as Paul, Emily and, the brand new office robot, Bob, play 'Put a Ring on It' with T M Taylor's and Sons! Could a someone pop the question!? Listen to find out!

Pastor Jason Dennett continues our verse by verse study through the book of Colossians. Today he will be teaching part 2 from Colossians 3:9-17.

Pastor Jason Dennett continues our verse by verse study through the book of Colossians. Today he will be teaching from Colossians 3:9-17.

Las Notas del Episodio Gramática: El 'past simple' y el 'present perfect' juntos I've been to Bilbao (present perfect) - Cuando hablas de tu vida hasta ahora. When did you go? (past simple) - Para hablar de las cosas en el pasado. Have you been to Cuba? (present perfect) When did you go? - I went 6 or 7 years ago (past simple) La expresión del tiempo 'AGO' se emplea con el past simple. Have you eaten anything today? (today hasn't finished yet) When did you eat it (a specific time in the past) Job interviews: Have you ever worked for a multi-national company? (present perfect) When did you work there? (past simple) How long have you been living in Valencia? (present perfect continuous) I came here 17 years ago (past simple) I came in 1997.   Estudiar sobre el Pasado (pretérito) en inglés aquí:  http://www.mansioningles.com/gram40.htm   Pronunciación: los consonantes juntos (consonant clusters) - crisps (papas, chips) / structure (edificio) / stretch (estirar, estirarse) - stretcher (camilla) / hitch hiker / crunch, crunchy (crujiente)  scrimp and save (When I'm 64....) Every summer we can rent a cottage In the Isle of Wight, if it's not too dear (expensive) We shall scrimp and save Grandchildren on your knee Vera, Chuck, and Dave Leer las letras the lyrics) a este canción de los Beatles en YouTube aquí: http://www.youtube.com/watch?v=ldIfhc1pJpk   Phrasal verb: PUT OFF - to postpone (posponer) Reza has put off re-wiring his flat. Craig has been putting off going to the optician. Flu = gripe / Las Fallas festival in Valencia puts Reza off (distraer) Music PUTS Craig OFF when he's trying to work. / Reza's experience with the girl in the cafe has PUT him OFF meeting women. The cockroach in the bar PUT Craig OFF eating in the restaurant.   Vocab Corner: COME - to come as a surprise. It came as a surprise to Craig to see we had nearly 2,000 downloads (descargas) of the podcast this month. It came as no surprise that the podcast is a success.  / to come as a relief (didn't have to pay for dinner in that expensive restaurant) - to come as a relief  - Come as a GREAT/TERRIBLE/DREADFUL shock (susto) - It came as a BIG/GREAT/COMPLETE surprise Come to power A Prime Minister comes to power / come to a decision - Craig has come to the decision to go to Disneyland. "Come off it!" ¡Venga ya!- Estas tomando el pelo - You're pulling my leg. Reza's Top Tips: Label (poner etiquetas) Pictures and photos. Also use Post-it notes to label things around the house and the office.   The music in this podcast is by Pitx. The track is called See You Later - licensed by creative commons under a by-nc license at ccmixter.org. Si quieres mandarnos un comentario sobre este podcast o una pregunta sobre la gramática, la pronunciación or el vocabulario de inglés, Mandenos un email a mansionteachers@yahoo.es.    

Singer-songwriter Jackie DeShannon joins Simon and Brian to talk about the writing of songs like 'Put a Little Love in Your Heart', 'When You Walk in the Room', 'Splendor in the Grass' and 'Bette Davis Eyes'. Jackie also discusses her work with Bacharach and David on 'What the World Needs Now is Love' and touring America with the Beatles in 1964.

Pastor Nok Moody อ. กนกอร มูดี

1 Samuel 9 1) There was a man of Benjamin whose name was Kish, the son of Abiel, son of Zeror, son of Becorath, son of Aphiah, a Benjaminite, a man of wealth. 2) And he had a son whose name was Saul, a handsome young man. There was not a man among the people of Israel more handsome than he. From his shoulders upward he was taller than any of the people. 3) Now the donkeys of Kish, Saul's father, were lost. So Kish said to Saul his son, "Take one of the young men with you, and arise, go and look for the donkeys." 4) And he passed through the hill country of Ephraim and passed through the land of Shalishah, but they did not find them. And they passed through the land of Shaalim, but they were not there. Then they passed through the land of Benjamin, but did not find them. 5) When they came to the land of Zuph, Saul said to his servant who was with him, "Come, let us go back, lest my father cease to care about the donkeys and become anxious about us." 6) But he said to him, "Behold, there is a man of God in this city, and he is a man who is held in honor; all that he says comes true. So now let us go there. Perhaps he can tell us the way we should go." 7) Then Saul said to his servant, "But if we go, what can we bring the man? For the bread in our sacks is gone, and there is no present to bring to the man of God. What do we have?" 8) The servant answered Saul again, "Here, I have with me a quarter of a shekel of silver, and I will give it to the man of God to tell us our way." 9) (Formerly in Israel, when a man went to inquire of God, he said, "Come, let us go to the seer," for today's "prophet" was formerly called a seer.) 10) And Saul said to his servant, "Well said; come, let us go." So they went to the city where the man of God was. 11) As they went up the hill to the city, they met young women coming out to draw water and said to them, "Is the seer here?" 12) They answered, "He is; behold, he is just ahead of you. Hurry. He has come just now to the city, because the people have a sacrifice today on the high place. 13) As soon as you enter the city you will find him, before he goes up to the high place to eat. For the people will not eat till he comes, since he must bless the sacrifice; afterward those who are invited will eat. Now go up, for you will meet him immediately." 14) So they went up to the city. As they were entering the city, they saw Samuel coming out toward them on his way up to the high place. 15) Now the day before Saul came, the LORD had revealed to Samuel: 16) "Tomorrow about this time I will send to you a man from the land of Benjamin, and you shall anoint him to be prince over my people Israel. He shall save my people from the hand of the Philistines. For I have seen my people, because their cry has come to me." 17) When Samuel saw Saul, the LORD told him, "Here is the man of whom I spoke to you! He it is who shall restrain my people." 18) Then Saul approached Samuel in the gate and said, "Tell me where is the house of the seer?" 19) Samuel answered Saul, "I am the seer. Go up before me to the high place, for today you shall eat with me, and in the morning I will let you go and will tell you all that is on your mind. 20) As for your donkeys that were lost three days ago, do not set your mind on them, for they have been found. And for whom is all that is desirable in Israel? Is it not for you and for all your father's house?" 21) Saul answered, "Am I not a Benjaminite, from the least of the tribes of Israel? And is not my clan the humblest of all the clans of the tribe of Benjamin? Why then have you spoken to me in this way?" 22) Then Samuel took Saul and his young man and brought them into the hall and gave them a place at the head of those who had been invited, who were about thirty persons. 23) And Samuel said to the cook, "Bring the portion I gave you, of which I said to you, 'Put it aside.'" 24) So the cook took up the leg and what was on it and set them before Saul. And Samuel said, "See, what was kept is set before you. Eat, because it was kept for you until the hour appointed, that you might eat with the guests." So Saul ate with Samuel that day. 25) And when they came down from the high place into the city, a bed was spread for Saul on the roof, and he lay down to sleep. 26) Then at the break of dawn Samuel called to Saul on the roof, "Up, that I may send you on your way." So Saul arose, and both he and Samuel went out into the street. 27) As they were going down to the outskirts of the city, Samuel said to Saul, "Tell the servant to pass on before us, and when he has passed on, stop here yourself for a while, that I may make known to you the word of God."

--{ The Guiding Causality of "Your" Reality: "World Future is Managed by Those with Verbosity, Who Also Bring Us Anticipatory Democracy, Always Gauging Future, On Patrol, So Things to Come are Under Control, Resource-Based Taxes, Systems We'll Hate, Published in 'New Age Politics,' 1978, Backed by Toffler's 'The Third Wave,' Fascii Marries Hammer-Sickle, New Rave, Public Ask 'When's All This Due?' Oblivious They've been Living Through The Greatest Changes for Many Years, Yet Sudden Understanding Fills Their Fears, All Their Lives They've been in Training, Gorging Predictive Programming, So Entertaining" © Alan Watt }-- World Management - Genetic Enhancement, Cloned Types - Biological Changes, Allergies, Asthma, Cancer - Depopulation Agenda. Futurist Society, Science Fiction, Programming for Future - Novels, Fiction - Fabian Society - Parallel Government, Newt Gingrich, Alvin Toffler, Al Gore - The Third Way, Plato. Synthesis of Communism and Capitalism - "Third Wave" Civilization - "Anticipatory Democracy" - Chretien's "Little Red Book". Bureaucracy, New Feudal System, Technocrats, Lobbying - "New Age Politics", Global Governance, Redistribution of Wealth, Resource Taxation - Kissinger, NAFTA, GATT. Al Gore, Carbon Offset Investment Scam (Buys from Himself) - "Evolved" Guardian Class - Armand Hammer. Predictive Programming - "The Happening" movie, "Too Many People" and Nature Strikes Back - TV, Hollywood, Stampeding Human Herd. Dehumanization, Medical System - Surveillance, Searches, School Training. Toffler's "Future Shock" - CIA, Employed Writers - Corporations, Consensus Building, "Going Green", Politically Correct Concepts - Nationalism, British Empire - Debasement. (Articles: ["Gingrich, Toffler, and Gore: A peculiar trio" by Steve Farrell (enterstageright.com) - July 9, 2001.] ["Media Ignore Al Gore's Financial Ties to Global Warming" by Noel Sheppard (newsbusters.org) - March 2, 2007.] [" 'Put your dead baby in the fridge': What nurse told mother who suffered miscarriage" by Daniel Bates (dailymail.co.uk) - May 1, 2009.] ["Jacqui Smith's secret plan to carry on snooping" by David Leppard and Chris Williams (timesonline.co.uk) - May 3, 2009.]) *Title/Poem and Dialogue Copyrighted Alan Watt - May 4, 2009 (Exempting Music, Literary Quotes, and Callers' Comments)