Podcasts about all things bright

The Upper Valley Women's Choir, led by Heidi Pyper, returns for its annual spring concert themed “All Things Bright and Beautiful,” aiming to uplift the community through music. The free performance, featuring guest harpists and duets, takes place May 12 at 7:30 p.m. in the Rexburg Tabernacle Civic Center.

Covering Pokémon the Series: Ruby and Sapphire episode 625 - All Things Bright and Beautifly & Pokémon Chronicles episode 9 - The Blue Badge of Courage Join our Patreon at patreon.com/OutoftheDryingPan! Signing up can grant you access to behind-the-scenes materials, deleted scenes, exclusive bonus episodes, ways to influence what we discuss on the podcast, and at the highest tier, the option to join as a guest host!Email: outofthedryingpan@gmail.comBluesky: @outofthedryingpan.bsky.socialInstagram: https://www.instagram.com/OutoftheDryingPanLinktree: https://linktr.ee/OutoftheDryingPanNational Podcastdex Episode #178

"All Things Bright and Beautiful" (4-27-2025) - Rev. Bryce Bowers by Country Club Christian Church Sermons

Piano: 'All Things Bright and Beautiful' arranged by Gary NorianRev. Raymond G. CoffmanPodcast HostZachary SmithPianist Audio Engineer Clark CoffmanLog Cabin Community ChurchVinings Georgia

Nights In White Satin - 260 million streams on Spotify - is still the central plank in the set Justin Hayward's touring in October. He talks to us here about the first shows he ever saw and played, the ballroom circuit of the mid-'60s remembered in particularly vivid detail and involving the odd burst of song - “My kind of town, Great Yarmouth is …!”. Along with … … the appeal of “a Moody Blues crowd”. ... “Name Singer seeks guitar player”: the Melody Maker ad that got him into the Marty Wilde band, aged 17. … playing a summer season on the same bill as a water feature – aka the Waltzing Waters. … his early band All Things Bright and their Chuck Berry, Buddy Holly, Coasters setlist. … the “onerous” publishing deal he signed with Lonnie Donegan that siphoned off the profits of Nights In White Satin. … seeing Tommy Cooper at the Bournemouth Pavilion and the Barron Knights at the Locarno in Swindon. … “Terry the Pill” in Eric Burden's office. … toying with the idea of “a rock version of Dvorak”. … the uncertain fate of Nights In White Satin and the plugger who threatened to resign over it. … how Days Of Future Passed was the “Deramic Sound” demo record. … and the highpoint of the Moody Blues story and their Second Coming. Justin Hayward tickets here: https://justinhayward.com/pages/current-tour-dates https://justinhayward.com/Find out more about how to help us to keep the conversation going: https://www.patreon.com/wordinyourear Get bonus content on Patreon Hosted on Acast. See acast.com/privacy for more information.

Nights In White Satin - 260 million streams on Spotify - is still the central plank in the set Justin Hayward's touring in October. He talks to us here about the first shows he ever saw and played, the ballroom circuit of the mid-'60s remembered in particularly vivid detail and involving the odd burst of song - “My kind of town, Great Yarmouth is …!”. Along with … … the appeal of “a Moody Blues crowd”. ... “Name Singer seeks guitar player”: the Melody Maker ad that got him into the Marty Wilde band, aged 17. … playing a summer season on the same bill as a water feature – aka the Waltzing Waters. … his early band All Things Bright and their Chuck Berry, Buddy Holly, Coasters setlist. … the “onerous” publishing deal he signed with Lonnie Donegan that siphoned off the profits of Nights In White Satin. … seeing Tommy Cooper at the Bournemouth Pavilion and the Barron Knights at the Locarno in Swindon. … “Terry the Pill” in Eric Burdon's office. … toying with the idea of “a rock version of Dvorak”. … the uncertain fate of Nights In White Satin and the plugger who threatened to resign over it. … how Days Of Future Passed was the “Deramic Sound” demo record. … and the highpoint of the Moody Blues story and their Second Coming. Justin Hayward tickets here: https://justinhayward.com/pages/current-tour-dates https://justinhayward.com/Find out more about how to help us to keep the conversation going: https://www.patreon.com/wordinyourear Get bonus content on Patreon Hosted on Acast. See acast.com/privacy for more information.

Nights In White Satin - 260 million streams on Spotify - is still the central plank in the set Justin Hayward's touring in October. He talks to us here about the first shows he ever saw and played, the ballroom circuit of the mid-'60s remembered in particularly vivid detail and involving the odd burst of song - “My kind of town, Great Yarmouth is …!”. Along with … … the appeal of “a Moody Blues crowd”. ... “Name Singer seeks guitar player”: the Melody Maker ad that got him into the Marty Wilde band, aged 17. … playing a summer season on the same bill as a water feature – aka the Waltzing Waters. … his early band All Things Bright and their Chuck Berry, Buddy Holly, Coasters setlist. … the “onerous” publishing deal he signed with Lonnie Donegan that siphoned off the profits of Nights In White Satin. … seeing Tommy Cooper at the Bournemouth Pavilion and the Barron Knights at the Locarno in Swindon. … “Terry the Pill” in Eric Burdon's office. … toying with the idea of “a rock version of Dvorak”. … the uncertain fate of Nights In White Satin and the plugger who threatened to resign over it. … how Days Of Future Passed was the “Deramic Sound” demo record. … and the highpoint of the Moody Blues story and their Second Coming. Justin Hayward tickets here: https://justinhayward.com/pages/current-tour-dates https://justinhayward.com/Find out more about how to help us to keep the conversation going: https://www.patreon.com/wordinyourear Get bonus content on Patreon Hosted on Acast. See acast.com/privacy for more information.

Cecil is back with the follow up to her 1848 banger All Things Bright and Beautiful. Plus, de-socking and spinning eyeballs are among more of your evil Sibling Things.

Piano: 'All Things Bright and Beautiful' arranged by Gary NorianRev. Raymond G. CoffmanPodcast HostZachary SmithPianist Audio Engineer Clark CoffmanLog Cabin Community ChurchVinings Georgia

NOTE: This is a video podcast and can be viewed on ⁠Spotify⁠. Joanie begins this episode by thinking about the magnitude of creation. From the smallest phytoplankton in the ocean to the highest snow-covered mountaintops, our planet is full of natural wonders and living creatures that show God's marvelous design. Joanie considers how oxygen and water sustain life. She reflects on Genesis 2:15 - God's role for Adam in the creation. Next, she celebrates that our loving God, the Almighty, is present everywhere in His creation and has provided us all things. A lively version of "All Things Bright and Beautiful" can be heard in this episode. Psalm 139:14 "I will praise you because I am fearfully and wonderfully made; your works are wonderful, I know that full well."

Former educational tutor, small business owner, and part-time freelance news and feature article writer, Merrie H. Reagan resides in America, in the state of Massachusetts. She savors reading, writing, ballroom dancing, singing, homemaking, and yard work. Merrie watches varied public and network television programs, including All Things Bright and Beautiful, Call the Midwife, American Idol, Dancing with the Stars, CBS Sunday Morning, and Funny You Should Ask. Her new book is Life Flashes: A Memoir (Stillwater River Publications, February 2022). Life Flashes: A Memoir invites readers to reexamine divine existence and at the same time to reassess numerous aspects of life, both past and current. In a genre-bending memoir, Merrie Reagan weaves together her private recollections, family moments, and personal philosophies with snapshots of history, pop culture, and current events, acting as both a contemporary guide and time capsule for future readers.Journaling from January 2007 to February 2021, the various personal recollections and musings of the author cover a wide range of topics, including relationships, current events, politics, religion, spirituality, psychology, and both western and alternative medicine. In addition to being insightful, readers are inspired to think about their own personal lives and ideologies. Life Flashes: A Memoir invites readers to reexamine divine existence and at the same time to reassess numerous aspects of life, both past and current.In this episode we discuss: The process and product of memoir writingSpiritual awakening and the power of prayerWorld changing events and the changing worldEmbracing relationships and finding yourself

In this episode, Mika, Rayne, and friend of the podcast Mary Hutchinson chat with theologian Dr. Bethany Sollereder. Bethany is a lecturer in science and religion at the University of Edinburgh, and specialises in theology concerning evolution and the problem of suffering. We chat with Bethany about the intersections between science and religion, the morality of pain, and various theologies of suffering within the Christian tradition. Bethany offers us profound thoughts about suffering and the hope that God's kingdom continues to come on earth as in heaven. Show notes The Territories of Science and Religion, Peter Harrison (2015) Answers in Genesis (Creationist apologetics organisation) Evolutionary Creation: A Christian Approach to Evolution, Denis O. Lamoureux (2008) ‘Mistakes Were Made', This American Life (18 April 2008) Wandering in Darkness: Narrative and the Problem of Suffering, Eleonore Stump (2010) ‘All Things Bright and Beautiful' – hymn lyrics The Third Peacock: The Problem of God and Evil, Robert Farrar Capon (1986) The Parables of Grace, Robert Farrar Capon (1988) The Supper of the Lamb: A Culinary Reflection, Robert Farrar Capon (1989) Perfectly Human: Nine Months with Cerian, Sarah C. Williams (2005)

BAPTISM OF OUR LORD SUNDAY ORDER OF WORSHIP Pastor: Rev. Kendra Balliet Organist: Jim Ross Prelude "Prelude"-Georges Mac-Master Welcome *Call to Worship Leader: In the beginning, God… People: Swept over waters, spoke light into existence, created day and night and called it good. Leader: As the days and nights of creation filled with life, God… People: Made humanity out of the dirt to love and tend creation, to be loved and tended by God. Leader: As we lost our way, God… People: Sent Jesus, Love Incarnate, to show us the way back. Leader: On the day Jesus came to the banks of the Jordan River to be baptized, God… People: Declared, “You are my Son, the Beloved; with you I am well pleased.” Leader: Let us, then, follow Jesus into the waters, remembering our baptism in which God… People: Claims us as beloved children, the family of God. *Opening Hymn “All Things Bright and Beautiful” #147 *Unison Prayer God of redemption and new life, we focus once more this day on the greatest gift ever given -- Jesus, our Savior. As he was baptized by John in the Jordan, we were able to share in his baptism and receive the promise of sharing in Jesus’ resurrection. As we leave one year behind and look with hope to the new year ahead, help us to live and give of ourselves as those who know every day what a great gift we have been given. May it move us to give our whole selves more freely! In the name of Christ, our Savior and Redeemer, we pray! Amen. Profession of Faith: Apostles’ Creed #881 Gloria Patri Children's Chat Music Ministry and Offertory - "Voluntary"-John Zundel Doxology and Prayer of Gratitude Scripture Mark 1:4-11 Sermon: “Sacrament and Covenant” Joys/Concerns Hymn "Spirit of the Living God" #393 Pastoral Prayer/Lord's Prayer Communion Wesley’s Covenant Prayer “I am no longer my own, but thine. Put me to what thou wilt, rank me with whom thou wilt. Put me to doing, put me to suffering. Let me be employed by thee or laid aside for thee, exalted for thee or brought low for thee. Let me be full, let me be empty. Let me have all things, let me have nothing. I freely and heartily yield all things to thy pleasure and disposal. And now, O glorious and blessed God, Father, Son, and Holy Spirit, thou art mine, and I am thine. So be it. And the covenant which I have made on earth, let it be ratified in heaven. Amen.” Closing Hymn "Sent Forth by God’s Blessing" #664 Action Steps & Benediction Postlude - "Recessional in C"-Charles Stokes Thank you for sharing in this worship service. Please continue to stay in touch through our website (stoneumc.org) and/or by following us on Facebook (Stone UMC). If you have joys or concerns that you would like lifted up in prayer, please fill out the Prayer Card in the pew, on the website, share them by contacting us at 814-724-6736 or churchoffice@stoneumc.org

BAPTISM OF OUR LORD SUNDAY ORDER OF WORSHIP Pastor: Rev. Kendra Balliet Organist: Jim Ross Prelude "Prelude"-Georges Mac-Master Welcome *Call to Worship Leader: In the beginning, God… People: Swept over waters, spoke light into existence, created day and night and called it good. Leader: As the days and nights of creation filled with life, God… People: Made humanity out of the dirt to love and tend creation, to be loved and tended by God. Leader: As we lost our way, God… People: Sent Jesus, Love Incarnate, to show us the way back. Leader: On the day Jesus came to the banks of the Jordan River to be baptized, God… People: Declared, “You are my Son, the Beloved; with you I am well pleased.” Leader: Let us, then, follow Jesus into the waters, remembering our baptism in which God… People: Claims us as beloved children, the family of God. *Opening Hymn “All Things Bright and Beautiful” #147 *Unison Prayer God of redemption and new life, we focus once more this day on the greatest gift ever given -- Jesus, our Savior. As he was baptized by John in the Jordan, we were able to share in his baptism and receive the promise of sharing in Jesus’ resurrection. As we leave one year behind and look with hope to the new year ahead, help us to live and give of ourselves as those who know every day what a great gift we have been given. May it move us to give our whole selves more freely! In the name of Christ, our Savior and Redeemer, we pray! Amen. Profession of Faith: Apostles’ Creed #881 Gloria Patri Children's Chat Music Ministry and Offertory - "Voluntary"-John Zundel Doxology and Prayer of Gratitude Scripture Mark 1:4-11 Sermon: “Sacrament and Covenant” Joys/Concerns Hymn "Spirit of the Living God" #393 Pastoral Prayer/Lord's Prayer Communion Wesley’s Covenant Prayer “I am no longer my own, but thine. Put me to what thou wilt, rank me with whom thou wilt. Put me to doing, put me to suffering. Let me be employed by thee or laid aside for thee, exalted for thee or brought low for thee. Let me be full, let me be empty. Let me have all things, let me have nothing. I freely and heartily yield all things to thy pleasure and disposal. And now, O glorious and blessed God, Father, Son, and Holy Spirit, thou art mine, and I am thine. So be it. And the covenant which I have made on earth, let it be ratified in heaven. Amen.” Closing Hymn "Sent Forth by God’s Blessing" #664 Action Steps & Benediction Postlude - "Recessional in C"-Charles Stokes Thank you for sharing in this worship service. Please continue to stay in touch through our website (stoneumc.org) and/or by following us on Facebook (Stone UMC). If you have joys or concerns that you would like lifted up in prayer, please fill out the Prayer Card in the pew, on the website, share them by contacting us at 814-724-6736 or churchoffice@stoneumc.org

https://merriehreagan.com/ Former educational tutor, small business owner, and part-time freelance news and feature article writer, Merrie H. Reagan resides in America, in the state of Massachusetts. She savors reading, writing, ballroom dancing, singing, homemaking, and yard work. Merrie watches varied public and network television programs, including All Things Bright and Beautiful, Call the Midwife, American Idol, Dancing with the Stars, CBS Sunday Morning, and Funny You Should Ask. Her new book is Life Flashes: A Memoir (Stillwater River Publications, February 2022). Please see segment idea below, including key messages, bio and sample questions. I have attached a pdf. of the book, author head shot, and jpeg book cover image. Let me know you received this and are all set. Segment Idea: A Chronicle of Personal and Global Events from a Keen Observer of Life This is a segment idea about the reflections of an American woman over a 14-year timespan that provide a keen insight into both her personal life and the events of the world we all live in. The Big Story: In a genre-bending memoir, Merrie Reagan weaves together her private recollections, family moments, and personal philosophies with snapshots of history, pop culture, and current events, acting as both a contemporary guide and time capsule for future readers. The So What: Journaling from January 2007 to February 2021, the various personal recollections and musings of the author cover a wide range of topics, including relationships, current events, politics, religion, spirituality, psychology, and both western and alternative medicine. In addition to being insightful, readers are inspired to think about their own personal lives and ideologies. Key Messages: Life Flashes: A Memoir invites readers to reexamine divine existence and at the same time to reassess numerous aspects of life, both past and current. Reagan is available to discuss, among many other things: The process and product of memoir writing Spiritual awakening and the power of prayer World changing events and the changing world Embracing relationships and finding yourself Gender roles (including some interesting ideas from the Bible) Life with a canine companion The Source: Former educational tutor, small business owner, and part-time freelance news and feature article writer, Merrie H. Reagan resides in America, in the state of Massachusetts. She savors reading, writing, ballroom dancing, singing, homemaking, and yard work. Merrie watches varied public and network television programs, including All Things Bright and Beautiful, Call the Midwife, American Idol, Dancing with the Stars, CBS Sunday Morning, and Funny You Should Ask. Her new book is Life Flashes: A Memoir (Stillwater River Publications, February 2022). Sample Questions: Can you explain how your eleven-years-long writing journey has been, in your words, “character building?” How has prayer impacted your life and what can it offer other people? You talk about a lot of world-changing events in your book. Can you discuss some of them and what you see as their effect, both personally and cosmically? What tips can you offer to help people think positively and overcome self-defeating thoughts? You have worked a lot with children. What are your thoughts regarding motherhood and its relationship to being a woman? Your dog Jura has played an important part in your life (and your book). Can you talk about what it means to have a true canine companion, with an eye towards emotional wellbeing and happiness?

Ep.160 features Tunji Adeniyi-Jones (b. 1992, London, United Kingdom), an artist living and working in New York, NY. Adeniyi-Jones received a BFA from The Ruskin School of Art, University of Oxford, Oxford, United Kingdom, in 2014, and an MFA from Yale University School of Art, New Haven, CT, in 2017. Recent solo exhibitions include Deep Dive, White Cube, Hong Kong, China (2023); Tranquil Dive, Morán Morán, CDMX, Mexico (2023); Emergent Properties, Nicelle Beauchene Gallery, New York, NY (2022); Voix Intérieures, White Cube, Paris, France (2022) among others. His work has been included in numerous group exhibitions, including When We See Us: A Century of Black Figuration in Painting, Zeitz MOCAA, Cape Town (2022); In Our Time: Selections from the Singer Collection, Scottsdale Museum of Contemporary Art, AZ (2022); Out of the Fire: The 14th Dakar Biennale, Senegal (2022); Fire Figure Fantasy: Selections from the ICA Miami's Collection, ICA Miami, FL (2022); All Things Bright and Beautiful, Birmingham Museum of Art, AL (2022); among others. Adeniyi-Jones's work is included in the permanent collections of the Aishti Foundation, Lebanon; the Dallas Museum of Art, TX; the Nasher Museum of Art, Durham, NC; Institute of Contemporary Art, Miami, FL; The Studio Museum, Harlem, NY; among others. Headshot Photo © On White Wall, 2023 Artist https://www.tunjiadeniyi-jones.com/ White Cube https://www.whitecube.com/artists/tunji-adeniyi-jones David Zwirner https://www.davidzwirner.com/viewing-room/2022/utopia-editions-tunji-adeniyi-jones Flag art foundation https://www.flagartfoundation.org/exhibitions-tunji-adeniyi-jones Ocula https://ocula.com/art-galleries/white-cube/exhibitions/tunji-adeniyi-jones-deep-dive/ ARTNews https://www.artnews.com/art-news/market/phillips-london-tunji-adenjiyi-jones-jean-dubuffet-results-1234589900/ Cultured https://www.culturedmag.com/article/2021/09/20/tunji-adeniyi-jones Hypebae https://hypebae.com/2023/3/tunji-adeniyi-jones-deep-dive-exhibition-white-cube-hong-kong-about Art Asia Pacific https://artasiapacific.com/people/the-mischievous-clamoring-of-ornament-interview-with-tunji-adeniyi-jones Morán Morán https://moranmorangallery.com/artists/tunji-adeniyi-jones/ Tatler Asia https://www.tatlerasia.com/lifestyle/arts/tunji-adeniyi-jones-first-exhibition-hong-kong Guest Artists Space https://www.guestartistsspace.com/News/event-interwoven-histories Black Rock Senegal https://blackrocksenegal.org/tunji-adeniyi-jones/ Contemporary Art Daily https://www.contemporaryartdaily.com/project/tunji-adeniyi-jones-at-nicelle-beauchene-gallery-new-york-25835

Joanie begins this episode by thinking about the magnitude of creation. From the smallest phytoplankton in the ocean to the highest snow covered mountaintops our planet is full of natural wonders and living creatures that show God's marvelous design. Joanie considers how oxygen and water sustain life. She reflects on Genesis 2:15 - God's role for Adam in the creation. Next she celebrates that our loving God the Almighty is present everywhere in His creation and has provided us all things. Listen to a lively version of “All Things Bright and Beautiful” beginning at minute 8:32 . Psalm 139:14 “I will praise you because I am fearfully and wonderfully made; your works are wonderful, I know that full well.”

As we look at the The Healing at the Pool found in the gospel of John. We discuss how we too may have difficulties we have faced for a very long time. How can we move those mountains in our lives to grow and move forward? And we ask ourselves, do we have the faith as small as a grain of mustard seed to make things happen in our very lives too? Old Testament:  Isaiah 41: 8-13New Testament: John: 5: 1-9 Piano : 'All Things Bright and Beautiful' arranged by Gary NorianRev. Raymond G. CoffmanPodcast HostZachary SmithPianist Audio Engineer Clark CoffmanLog Cabin Community ChurchVinings Georgia

The 21st October 1966 dawned misty and grey in the Welsh mining town of Aberfan, with fog blanketing the village. The 240 students of Pantglas Junior School were looking forward to their half term break. At an assembly later that morning, they would sing the hymn ‘All Things Bright and Beautiful' for their teachers before school would be dismissed at midday. Ahead of them was a week off. The children were looking forward to getting outside for hours of playtime with their friends. That morning, 8-year-old Pantglas student Jeff Edwards walked to school with his best friend Robert Jones. When the boys arrived, they hung up their coats and took their seats in the classroom. It was a perfectly ordinary, drizzly autumn day, with everyone in the village going about their business. But what no one in Aberfan, Wales, or even the rest of Britain could anticipate, was that in less than an hour, the lives of the town's residents would be changed forever in the most tragic - and some would later say entirely foreseeable - of circumstances.Writer: Gemma HarrisCheck out our other podcasts: itsarclightmedia.comEpisode Sponsors:- Give Harry's a try. Just go to harrys.com/DISASTERPODCAST today to get your starter set for just $3.- Go to Talkspace.com and use the code DISASTER ​to ​get $100 off of your first month​

NOTES: This is our follow-up discussion about our interview with Lydia Schaible. We discuss why people need to read more, how reading prepares us to be better Chrisitians and better members of society, and how the church can encourage reading. GUEST INFORMATION: Check out Lydia's podcast, All Things Bright and Beautiful podcast, and her blog, OUTLINE OF OUR DISCUSSION INTRO: We all need to read more. We need to not feel guilty for making this a part of our practice. Reading is important and valuable for the Christian. -Reading trains our minds. -Reading helps us understand the ideas in the culture we live in. We need to be disciplined in our reading. -It doesn't seem like a ‘good use of our time' -We need to build it into our routine, and into the DNA of our families. -We need to set aside other things in order to make time to read. The church can foster a culture of reading. -What books are in our church libraries and book tables? -Do we talk about literature from the pulpit, when we gather for Bible study, and when we get together casually? ACKNOWLEDGEMENTS: "Music by Kabbalistic Village" and link to my website - kabbalisticvillage.com/ --- Support this podcast: https://anchor.fm/michael-belch0/support

NOTES: Christians need to be able to read and recognize great literature. GUEST INFORMATION: In this episode Lydia Schaible joins us to talk about how the church should be involved in society. Lydia is a follower of Christ, the wife to Burk, mother to four children, living in Winston-Salem, North Carolina. She fills her days educating her children, serving in her local church, co-hosting the All Things Bright and Beautiful podcast, occasionally writing for her blog, and managing her home in the hopes of making it a place of peace and welcome to all people, where the Gospel is naturally infused in dinner conversation. She can usually be found between stacks of books and half-filled coffee cups gone cold, hiking and catching bugs with her children, or playing board games with her husband. She has been greatly helped and influenced by Charlotte Mason, C.S. Lewis, Dietrich Bonhoeffer, Augustine, Elisabeth Elliot, and Alister McGrath. QUESTIONS THIS EPISODE ASKS: Here are the questions that we asked Lydia in this episode: Why is reading important for society and for Christians? What are some literary works that every American must read? This same principle is true within the Christian subculture. We gravitate towards the newest christian leader's book and seldom read the rich classics of the christian heritage. Why might this be and is it good or bad? In an age where most people primarily read articles online, and even then they only read a fraction of the entire article, why and how should we read literature? Why do you think that God gave stories and literature to us and also why did He use them in the Bible? What does literature and story tell us about who God has made us to be? We talk a lot about 'the narrative' today. How should Christians think about the stories they are absorbing through news, social media, etc? In the 1st episode of your podcast, All Things Bright and Beautiful you make several comparisons to exercise and reading. I feel like our culture is about 600 pounds overweight and we have no idea where to start. Could you talk about that a little bit and where should we start? 0ur culture has changed the definition of love. But people still respect the idea of love. This means that people still feel the weight of ‘love your neighbor' but no longer know what love is or how to do it. How does literature help us understand love and correctly define it? ACKNOWLEDGEMENTS: "Music by Kabbalistic Village" and link to my website - kabbalisticvillage.com/ --- Support this podcast: https://anchor.fm/michael-belch0/support

We are humbled to have just completed our 100th podcast. Thank you for listening and being a part of our friendly church behind the red doors. What started as a means for a congregation to stay connected  in the midst of a global pandemic has become a weekly message that now connects us to folks around our city, country and globe.  Thank you for letting us inspire you to stay positive on our mutual journey of life. Scripture:  Genesis 1:2-7                         Romans 12:1-8Piano : 'All Things Bright and Beautiful' arranged by Gary NorianRev. Raymond G. CoffmanPodcast HostZachary SmithPianist Audio Engineer Clark CoffmanLog Cabin Community ChurchVinings Georgia

The 21st October 1966 dawned misty and grey in the Welsh mining town of Aberfan, with fog blanketing the village. The 240 students of Pantglas Junior School were looking forward to their half term break. At an assembly later that morning, they would sing the hymn ‘All Things Bright and Beautiful' for their teachers before school would be dismissed at midday. Ahead of them was a week off. The children were looking forward to getting outside for hours of playtime with their friends. That morning, 8-year-old Pantglas student Jeff Edwards walked to school with his best friend Robert Jones. When the boys arrived, they hung up their coats and took their seats in the classroom. It was a perfectly ordinary, drizzly autumn day, with everyone in the village going about their business. But what no one in Aberfan, Wales, or even the rest of Britain could anticipate, was that in less than an hour, the lives of the town's residents would be changed forever in the most tragic - and some would later say entirely foreseeable - of circumstances.CW: child death, suicide-Visit us online at obscuracrimepodcast.com-Support Obscura on Patreon and unlock the exclusive Black Label episodes: www.patreon.com/obscuracrimepodcastEpisode Sponser:Download Best Fiends FREE today on the App Store or Google Play.

Join Revd Joyce Addison as she share her blog for All Things Bright & Beautiful. Discover more here at canterburydiocese.org/caring-for-creation

The 21st October 1966 dawned misty and grey in the Welsh mining town of Aberfan, with fog blanketing the village. The 240 students of Pantglas Junior School were looking forward to their half term break. At an assembly later that morning, they would sing the hymn ‘All Things Bright and Beautiful' for their teachers before school would be dismissed at midday. Ahead of them was a week off. The children were looking forward to getting outside for hours of playtime with their friends. That morning, 8-year-old Pantglas student Jeff Edwards walked to school with his best friend Robert Jones. When the boys arrived, they hung up their coats and took their seats in the classroom. It was a perfectly ordinary, drizzly autumn day, with everyone in the village going about their business. But what no one in Aberfan, Wales, or even the rest of Britain could anticipate, was that in less than an hour, the lives of the town's residents would be changed forever in the most tragic - and some would later say entirely foreseeable - of circumstances.CW: child death, suicide-Visit us online at obscuracrimepodcast.com-Support Obscura on Patreon and unlock the exclusive Black Label episodes: www.patreon.com/obscuracrimepodcastEpisode Sponser:- AdamandEve.com. Code: OBSCURA. 50% Off 1 item+ Free Shipping in the US & Canada. some exclusions apply

“All Things Bright and Beautiful” presented on the piano by Marlene Udell.

5-year old Liam Oliver reads “All Things Bright and Beautiful”

Jenna Diprima joins me today on the podcast.  She is the co-host of the All Things Bright and Beautiful podcast - about books and reading and literature.  She is also a pastor's wife, mom of 3 littles, and a talented photographer.We talk about so many books and podcasts and helpful ideas to have while reading.  Its a fast paced episode - so come join us!

This is the first in a new series of Reflections entitled "Created to Care", which will look at various environmental issues. The theme this week is "Created Good" and we are reflecting on Genesis 1:1 - 13, which has been read by Rhonda Falconer. The reflection also contains the well known hymn, "All Things Bright and Beautiful".

Welcome to Morning Prayer from the Anglican Parish of Pasadena and Cormack! Today's service is led by Rev. Joseph Pagano, Rev. Amy Richter, Kitty Rice (reading our second lesson), Kay Hounsell (leading our prayers), and Ed and Debbie Humber and Lloyd Hollett (leading our music, "If I Were a Butterfly," "Joyful, Joyful, We Adore Thee," and "All Things Bright and Beautiful"). The sermon is by Rev. Amy and is based on the lessons (2 Samuel 6:1-5, 12b-19; Ephesians 1:3-14; and Mark 6:14-29).Special thanks to Lloyd and Sandy Hollett for welcoming us to record parts of the service in the Butterfly House at the Newfoundland Insectarium in Deer Lake, NL. Some of the still photos used in the video are from their FaceBook page. You can learn more at https://www.facebook.com/nfinsectarium.You can watch a video of the service here.  Thank you for joining us today!

Our good friend Eden is back to talk collective favorite Owl City's 2011 album All Things Bright and Beautiful and how well it stacks up against Ocean Eyes (2009), which we reviewed earlier in the show. Please listen to this episode.

Julie and I love hanging out together and talking about hospitality. You will definitely want to listen - and even though its a bit longer, stay through to the end.  You will not want to miss it!We talk about hospitality, bread making, parenting, engaging our guests and our families in hospitality, date nights, Scripture, books, etc.  All Things Bright and Beautiful5 Minute Artisan BreadAnd find Julie over on Instagram

Beautifly steals the show, while Yamaki tries to reset every v-pet in Tokyo.   Thank you to all of our amazing patrons, including: Chisai236, Nicholas, Keith and Fletchy42.   Pokemon Advanced Episode 13: All Things Bright and Beautifly! Digimon Tamers Episode 13: Juggernaut   - Intro: 0:00:00 - Pokescussion: 0:02:20 - Digiscussion: 0:13:22 - Mono e Mono: 0:22:35 - Outtro: 0:32:50   Linktree: https://linktr.ee/TheMoncast Patreon: https://patreon.com/TheMoncast   Listen to us over on Lost in Translationmon covering Digimon Adventure: (2020): Episode 40: https://lostintranslationmon.com/digimon-adventure-2020-episode-40-podcast/

Ellie can be found on Twitter @Cypher_ec and Instagram @cypher_ec. Her website is elliecypher.com.Mentioned in this Episode:VCFA WCYA Virtual ResidencyGirl Gone Viral by Alisha RaiPretend It’s a CityThe Other Bennet Sister by Janice HadlowThe WildsThe Revenant - book & movieFrozenTrue Grit - book & two moviesV.E. SchwabHadestownAlpacas!Samwise Gamgee’s ponyMOMAWhen Breath Becomes Air by Paul KalanithiMexican Gothic and Certain Dark Things by Silvia Moreno-GarciaAll Creatures Great and Small, All Things Bright and Beautiful, Every Living Thing, and All Things Wise and Wonderful by James HerriotInspector LewisEndeavourVeraVan der ValkBob’s BurgersParks and RecreationRadiolabThe Exploress PodcastThe Partial HistoriansKeeping a Notebook with Nina LaCourAmie Kaufman On Writing: A PodcastDeadline City with Dhonielle Clayton and Zoraida CórdovaLet’s Talk About Myths, Baby!

The premiere showing of PBS Masterpiece’s, All Creatures Great and Small, is coming in January 2021. In celebration of Herriot’s best-selling works, his first two memoirs, All Creatures Great and Small and All Things Bright and Beautiful, are being re-released, by St. Martins Griffin publishing house. Have a listen to my accounts of the enormous impact that these two memoirs and James Herriot has had on the animal and literary world. EPISODE NOTES: James Herriot - All Creatures Great and Small & All Things Bright and Beautiful

This episode examines the role that beauty or aesthetics can play in developing an ecotheology that drives us to care for the natural world, or creation. See the paper at: https://www.academia.edu/30035805/_All_Things_Bright_and_Beautiful_Toward_an_Aesthetic_Ecotheology 

“Whispers from the Water,” the 9/6/2020 sermon by Pastor Matt Sturtevant and the 6th and final sermon in the A Season of Creation worship series. Podcast includes entire worship service. Music licensing: The following music is used by permission under CCLI streaming license #20126570. “Prelude on ‘Shall We Gather at the River'” Robert Lowery/Dennis Janzer ©2006 Wayne Leupold Editions, Inc. “All Things Bright and Beautiful” Tune: ROYAL OAK Words: Cecil F. Alexander, 1848 Music: Traditional English Melody/Arr. Michael Evers, 2008 Arr. ©2010 Celebrating Grace, Inc. “Creation Sings” Tune & Text: CREATION SINGS, by Keith Getty, Stuart Towend, & Kristyn Getty (2008). ©2008 ThankYou Music (Admin. by EMI CMG Publishing) “My Lord is Near Me All the Time” Tune: FOREST PARK Words: Barbara Fowler Gaultney, 1960 Music: Barbara Fowler Gaultney, 1960 ©1960 Ren. 1988 Broadman Press, (Admin. by LifeWay Worship.) “As The Deer” TUNE: AS THE DEER WORDS: Martin Nystrom, 1984 (Ps.42:1-2) MUSIC:  Martin Nystrom, 1984 © Maranatha Praise Music, Inc. (Admin. By Music Services) “Rain on the Lake” by Melody Bober ©2013 by Alfred Music “This Is My Father’s World” by Franklin Sheppard, arr. Roger Summers, ©2013 Lorenz Publishing Co. “Marche de Fete” By Henri Busser / Arr. Dale Wood ©1998 The Sacred Music. Press

Dr. Horace Houston   First Presbyterian Church of Rosemark Tennessee   www.rosemarkfpc.com   Video can be found at https://youtu.be/B6vI5_daDb0   Music Selections   All Things Bright and Beautiful https://youtu.be/8eNkZM1DAg0 Jesus Loves Me https://youtu.be/69-aMVrACpo

Nataly Smyntek Castillo reads All Things Bright and Beautiful by Cecil Francis Alexander

A new MP3 sermon from Heritage Reformed Congregation is now available on SermonAudio with the following details: Title: Man Subtitle: All Things Bright & Beautiful Speaker: Pastor David Lipsy Broadcaster: Heritage Reformed Congregation Event: Devotional Date: 6/5/2020 Bible: 1 John 3:2, Genesis 1:27 Length: 8 min.

A new MP3 sermon from Heritage Reformed Congregation is now available on SermonAudio with the following details: Title: Flowers Subtitle: All Things Bright & Beautiful Speaker: Pastor David Lipsy Broadcaster: Heritage Reformed Congregation Event: Devotional Date: 6/3/2020 Bible: Isaiah 35:1, Song of Solomon 2:1-2 Length: 10 min.

This week, Reverend Andy Fishburne (Methodist Minister in the west of the Island) finds that some words from St John's Gospel have a strong message for us today, as we take some more steps out of the Covid-19 lockdown. Reverend Dawn Mather (leader of the United Reformed Church on the Island) draws on her extensive experience as a hospital chaplain, to share a story that shows how helpful it is to have the conversation we all dread - the one about end of life. But when someone we love is seriously ill, and wants to talk about how they wish their death to be, we need to be willing to be 'the other half' of that conversation. Rev'd Dawn's story shows how having that conversation is not as difficult as we might imagine, and does, in the end, help everyone involved. This is Dying Matters Awareness Week, and you'll find lots of helpful resources on line - their website is dyingmatters.org When Reverend Ian Faulds was a member of the ministry team at the Cathedral in Peel, he gave many talks on the lives of the Celtic Saints. Saturday 16 May was the Feast of St Brendan - the Navigator - so this is a good moment to listen again as Rev'd Ian tells some stories of this remarkable 5th century Irishman who was both a skilled deep sea sailor and a man of great holiness. We cannot be sure whether or not he visited the Isle of Man, but we do have a link through the Parish Church of St Brendan which, for many years, was the Parish Church of Douglas. It's the church we now know as Old Kirk Braddan. Fifteen centuries later, Brendan the Navigator remains a remarkable and inspirational Celtic Saint. And we have the hymns YOU have chosen - today's music includes a very special blessing, and a lovely recording of All Things Bright and Beautiful by choirgirl Isabel Suckling who, at the age of 12, was mentored by Aled Jones. If you would like to choose a favourite hymn, chorus or sacred song, email me - judithley@manxradio.com and I'll do my very best to find it and include it in a forthcoming programme.

There are at least two tunes for All Things Bright and Beautiful. This is the tune my mother taught me from my early childhood. Words by Cecil F. Alexander. If you know the composer of the tune, please send me a message.

Today, Meredith and Mindy are discussing: Bookish Moments: the Patreon book club discussion and embracing the year of the re-read Current Reads: each host shares three books they’ve read recently and they are varied in level, theme, and setting Deep Dive: gems from the 70s, 80s, and 90s Book Presses: A few more “don’t call me a classic” backlist titles As per usual, time-stamped show notes are below with references to every book and resource we mentioned in this episode. If you’d like to listen first and not spoil the surprise, don’t scroll down!  *Please note that all book titles linked above are Amazon affiliate links. Your cost is the same, but a small portion of your purchase will come back to us to help offset the costs of the show. Thanks for your support!*   . . . . . Book of the Month Ad: (These are Goodreads links, since we hope you’ll use our Book Of The Month link to sign up if you’re interested!) 1:18 - A Good Marriage by Kimberly McCreight 1:45 - The Book of Longings by Sue Monk Kidd 1:55 - Happy & You Know It by Laura Hankin 2:54 - Use our Link and the code CURRENTLYREADING to get your first book for just $9.99! Bookish Moments: 3:58 - Bookish Friends Still Life Book Club on Patreon 5:40 - One Hundred Years of Solitude by Gabriel Garcia Marquez Current Reads: 7:41 - The Shell Seekers by Rosamunde Pilcher (Mindy) 7:44 - Wolfmuller’s Books in Kerrville, TX 7:47 - COVID(eo) number 4 10:05 - Damsel by Elana K. Arnold (Meredith) 13:25 - Navigating Early by Clare Vanderpool (Mindy) 15:53 - You Never Forget Your First by Alexis Coe (Meredith) 18:29 - The Unlikely Adventures of the Shergill Sisters by Balli Kaur Jaswal (Mindy) 21:13 - Harry’s Trees by Jon Cohen 22:34 - Echo by Pam Munoz Ryan (Meredith) Deep Dive - Books from the 70s, 80s, and 90s: Gems from the 1970s 30:53 - Judy Blume books - Otherwise Known As Sheila the Great, Are You There God? It’s Me, Margaret, Freckle Juice, Blubber, Starring Sally J Friedman As Herself 32:21 - Dumplin’ by Julie Murphy 32:55 - Shogun by James Clavell 32:57 - Roots by Alex Haley 33:02 - Helter Skelter by Vincent Bugliosi 33:14 - The Princess Bride by William Goldman 33:33 - Stephen King Books - The Shining, The Stand 33:46 - Interview with a Vampire by Anne Rice Gems from the 1980s 34:37 - Calvin and Hobbes by Bill Watterson 35:14 - James Herriot books - All Creatures Great and Small, All Things Bright and Beautiful 35:37 - Flowers in the Attic by V.C. Andrews 36:48 - The Bonfire of the Vanities by Tom Wolfe 37:05 - The Handmaid’s Tale by Margaret Atwood 37:17 - Joy Luck Club by Amy Tan 37:28 - Pillars of the Earth by Ken Follet 37:34 - Patriot Games by Tom Clancy 37:53 - Clan of the Cave Bear by Jean M. Auel 38:09 - A Prayer for Owen Meany by John Irving 38:44 - Lonesome Dove by Larry McMurtry 39:24 - Redwall by Bryan Jacques 39:43 - The Shell Seekers by Rosamunde Pilcher Gems from the 1990s 40:41 - John Grisham books - Rainmaker, Pelican Brief, The Firm 41:07 - Nelson DeMille books - The General’s Daughter 42:25 - Michael Crichton - Jurassic Park, Andromeda Strain, Timeline 43:58 - Harry Potter by JK Rowling 44:29 - Outlander by Diana Gabaldon 44:39 - Song of Ice and Fire (Game of Thrones #1) by George R.R. Martin 45:03 - A Series of Unfortunate Events by Daniel Handler 45:35 - The Poisonwood Bible by Barbara Kingsolver 46:02 - Bridget Jones’ Diary by Helen Felding 46:48 - The Red Tent by Anita Diamant 47:09 - The Notebook by Nicholas Sparks Books We Want to Press Into Your Hands: 48:20 - Watership Down by Richard Adams (Mindy) 51:02 - The Secret History by Donna Tartt (Meredith) 51:23 - The Goldfinch by Donna Tartt 52:43 - The Great Gatsby by F. Scott Fitzgerald Connect With Us: Meredith is @meredith.reads on Instagram Kaytee is @notesonbookmarks on Instagram Mindy is @gratefulforgrace on Instagram

Children in worship, “All Things Bright and Beautiful,” worship formation, Parenting in the Pew, tips for pastors, parents, and parishioners

Song and Sermon from Sunday, September 8, 2019 “All Things Bright and Beautiful” by John Rutter Choral Directors: Marisa Bradfield & Matthew A. Kessell Accompanists: Suzanne Recer & Vicente Ditto streaming permission under CCLI license #CSPL141755 Sermon by Pastor Ioan Ittu Luke 14:25-33 Jesus speaks frankly about the fearsome costs of discipleship. Those who follow him should know from the outset that completing the course of discipleship will finally mean renouncing all other allegiances. Bethlehem Lutheran Church Granada Hills, CA www.bethlehemlutheran.net

August 4, 2019 First Baptist Church of Savannah Sunday Service First Day - One Day Vacation Bible School Rev. James Richardson, organist CHORAL INTROIT "This Is My Father's World" by Franklin Sheppard Hymn: "All Things Bright and Beautifu"l First Lesson: Genesis 1:26-31 - Reader, Jacqueline Dion Hymn "The Servant Song" Second Lesson: Matthew 22:34-40 Homily: "The Good in Us" - Rev. Katie Callaway Anthem - “Look at the World” by John Rutter - Bill Gardner, tenor soloist Third Lesson - Matthew 5:13-16 Homily: “Just Some Salt and a Candle” - Rev. John Callaway Payers with Music: "Lord, Listen to Your Children Praying" by Ken Medema - Rev. John Callaway, musician Offertory: "Be Thou My Vision" by Jan Bender- John Foxx Willhite, violinist Anthem: "Let Us Talents and Tongues Employ" - Jamaican Folk Tune Hymn: The Summons Responce: "Jesus Calls Us In, Sends Us Out" - Jamaican Folk Tune Postlude: Malta Moderato by Giovanni Pergolesi For more information about First Baptist Church Savannah, GA Visit our website http://www.fbc-sav.org Katie Callaway, Co-Pastor John Callaway, Co-Pastor James Richardson, Organist Emeritus We invite you to attend our Sunday morning worship service at 11AM We are located at 223 Bull Street on Chippewa Square, downtown Savannah All are Welcome

Darla Meek shares how we can implement the Orff approach with our children's church choirs.  You'll hear how to use scripture and hymns as a guide to creating movement, speech, instrumental, and vocal pieces. Darla Meek is the Music Education Coordinator and Lecturer at Texas A&M University in Commerce.  She teaches undergraduate and graduate elementary music education classes and supervises student teachers.  She earned her Bachelor of Music Education from Dallas Baptist University and her Master of Music from Southern Methodist University.  Darla also earned a Performer’s Certificate from the Performing Artist’s Musical Theatre Conservatory in Dallas. She is currently working toward her Doctor of Education in Supervision, Curriculum, and Instruction.   Darla is certified in Kodaly and Orff Schulwerk and serves as a teacher trainer for the American Orff Schulwerk Association in both Basic Pedagogy Level I and Movement for Orff Levels Courses.  She has served as assistant conductor for the Mesquite Children’s Chorus and the Children’s Chorus of Collin County and has served as Children’s Choir Coordinator for 3 churches in the Dallas area.   Darla has written children’s choir curricula for LIfeway Christian Resources and Celebrating Grace Inc.  Her recorder method books Journey Around the Globe with Recorder and Flight 2: Another Journey Around the Globe With Recorder were published by Sweet Pipes, Inc.  Her resource for church musicians All Things Bright and Beautiful is available through Chorister’s Guild.   She is a member of AOSA, OAKE, KET, TCDA, TMEA, Dalcroze Society of America, the College Music Society, and NAfME.  She is a past President of the North Texas Chapter of AOSA. Darla is married to Keith Meek and has two children - Gregory and Aubrey. Darla's website:  www.darlameek.com  All Things Bright and Beautiful: https://www.choristersguild.org/store/cgbk74-all-things-bright-and-beautiful/7646/ TAMUC website:   http://www.tamuc.edu/academics/colleges/humanitiesSocialSciencesArts/departments/music/facultyStaff/darlaMeek.aspx   Afternoon Ti: Instagram- @highafternoonti Blog- https://afternoonti.blogspot.com/   Intro/Outro Music: Our Big Adventure by Scott Holmes www.scottholmesmusic.com

Darla Meek shares about the Kodaly and Orff approaches as well as how we can use recorders with our students. Darla Meek is the Music Education Coordinator and Lecturer at Texas A&M University in Commerce.  She teaches undergraduate and graduate elementary music education classes and supervises student teachers.  She earned her Bachelor of Music Education from Dallas Baptist University and her Master of Music from Southern Methodist University.  Darla also earned a Performer’s Certificate from the Performing Artist’s Musical Theatre Conservatory in Dallas. She is currently working toward her Doctor of Education in Supervision, Curriculum, and Instruction.   Darla is certified in Kodaly and Orff Schulwerk and serves as a teacher trainer for the American Orff Schulwerk Association in both Basic Pedagogy Level I and Movement for Orff Levels Courses.  She has served as assistant conductor for the Mesquite Children’s Chorus and the Children’s Chorus of Collin County and has served as Children’s Choir Coordinator for 3 churches in the Dallas area.   Darla has written children’s choir curricula for LIfeway Christian Resources and Celebrating Grace Inc.  Her recorder method books Journey Around the Globe with Recorder and Flight 2: Another Journey Around the Globe With Recorder were published by Sweet Pipes, Inc.  Her resource for church musicians All Things Bright and Beautiful is available through Chorister’s Guild.   She is a member of AOSA, OAKE, KET, TCDA, TMEA, Dalcroze Society of America, the College Music Society, and NAfME.  She is a past President of the North Texas Chapter of AOSA. Darla is married to Keith Meek and has two children - Gregory and Aubrey. Darla's website:  www.darlameek.com  TAMUC website:   http://www.tamuc.edu/academics/colleges/humanitiesSocialSciencesArts/departments/music/facultyStaff/darlaMeek.aspx   Afternoon Ti: Instagram- @highafternoonti Blog- https://afternoonti.blogspot.com/   Intro/Outro Music: Our Big Adventure by Scott Holmes www.scottholmesmusic.com

Join me for the last part of my conversation with author and artist, Carol Gibbs. We talk about everything from a scandalous treasure she found in her loft to an escape artist named Liza. And she reads one of my favorite excepts from her book, All Things Bright and Broken.  

Join me for the second part of my conversation with assemblage artist, author, and weaver of wonder, Carol Gibbs. Her book, All Things Bright and Broken can be ordered here.

Join me for Part 1 of my conversation with fellow Greytonian, author, artist, and weaver of wisdom, Carol Gibbs. We talk about everything from inspiring creativity in police officers to impromptu pole dancing as a cure for boredom. Click here to check out her book All Things Bright and Broken  

  Welcome to episode thirteen of A History of Rock Music in Five Hundred Songs. Today we’re looking at “(Mama) He Treats Your Daughter Mean” by Ruth Brown. Click the full post to read liner notes, links to more information, and a transcript of the episode. —-more—- Resources As always, I’ve created a Mixcloud streaming playlist with full versions of all the songs in the episode. I used a few books for this podcast. One I haven’t talked about before is Blue Rhythms: Six Lives in Rhythm and Blues by Chip Defaa. The information on “Drinking Wine Spo-De-O-Dee” comes in part from Unsung Heroes of Rock ‘n’ Roll by Nick Tosches. This book is considered a classic, but a word of caution — it was written in the 70s, and Tosches is clearly of the Lester Bangs/underground/gonzo school of rock journalism, which in modern terms means he’s a bit of an edgelord who’ll be needlessly offensive to get a laugh.  Much of the information I’ve used comes from interviews with Ruth Brown and Ahmet Ertegun in Honkers & Shouters: The Golden Years of Rhythm and Blues by Arnold Shaw, one of the most important books on early 50s rhythm and blues. Ruth Brown also wrote an autobiography. And there are many good compilations of Brown’s R&B work — this one has most of the important records on it. Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript While I’ve often made the point that fifties rhythm and blues is not the same thing as “the blues” as most people now think of it, there was still an obvious connection (as you’d expect from the name if nothing else) and sometimes the two would be more connected than you might think. So Ruth Brown, who was almost the epitome of a rhythm and blues singer, had her first hit on the pop charts with a song that couldn’t have been more blues inspired. For the story of “Mama, He Treats Your Daughter Mean”, we have to go all the way back to Blind Lemon Jefferson in the 1920s. Jefferson was a country-blues picker who was one of the most remarkable guitarists of his generation — he was a blues man first and foremost, but his guitar playing influenced almost every country player who came later. Unfortunately, he recorded for Paramount Records, notoriously the label with the worst sound quality in the 20s and thirties (which, given the general sound quality of those early recordings, is saying something). One of his songs was “One Dime Blues”, which is a very typical example of his style: [excerpt “One Dime Blues” by Blind Lemon Jefferson] See what I mean both about the great guitar playing and about the really lousy sound quality? That song was later picked up by another great blind bluesman, Blind Willie McTell. McTell is an example of how white lovers of black music would manage to miss the point of the musicians they loved and try to turn them into something they’re not. A substantial proportion of McTell’s recordings were made by John and Alan Lomax, for the Library of Congress, but if you listen to those recordings you can hear the Lomaxes persuading McTell to play music that’s very different from the songs he normally played — while he was a commercial blues singer, they wanted him to perform traditional folk songs and to sing political protest material, and basically to be another Leadbelly (a singer he did resemble slightly as a musician, largely because they both played the twelve-string guitar). He said he didn’t know any protest songs, but he did play various folk songs for them, even though they weren’t in his normal repertoire. And this is a very important thing to realise about the way the white collectors of black music distorted it — and it’s something you should also pay attention to when I talk about this stuff. I am, after all, a white man who loves a lot of black music but is disconnected from the culture that created it, just like the Lomaxes. There’s a reason why I call this podcast “A History of Rock Music…” rather than “THE History of Rock Music…” — the very last thing I want to do is give the impression that my opinion is the definitive one and that I should have the final word about these things. But what the Lomaxes were doing, when they were collecting their recordings, was taking sophisticated entertainers, who made their living from playing to rather demanding crowds, and getting them to play music that the Lomaxes *thought* was typical black music, rather than the music that those musicians would normally play and that their audiences would normally listen to. So they got McTell to perform songs he knew, like “The Boll Weevil” and “Amazing Grace”, because they thought that those songs were what they should be collecting, rather than having him perform his own material. To put this into a context which may seem a little more obvious to my audience — imagine you’re a singer-songwriter in Britain in the present day. You’ve been playing the clubs for several years, you’ve got a repertoire of songs you’ve written which the audiences love. You get your big break with a record company, you go into the studio, and the producer insists on you singing “Itsy-Bitsy Spider” and a hymn you had to sing in school assembly like “All Things Bright and Beautiful”. You probably could perform those, but you’d be wondering why they wouldn’t let you sing your own songs, and what the audiences would think of you singing this kind of stuff, and who exactly was going to buy it. But on the other hand, money is money, and you give the people paying you what they want. This was the experience of a *lot* of black musicians in the thirties, forties, and fifties, having rich white men pay them to play music that they saw as unsophisticated. It’s something we’ll see particularly in the late fifties as musicians travel from the US to the UK, and people like Muddy Waters discovered that their English audiences didn’t want to see anyone playing electric guitars and doing solos — they thought of the blues as a kind of folk music, and so wanted to see a poor black sharecropper playing an acoustic guitar, and so that’s what he gave those audiences. But McTell’s version of “One Dime Blues”, retitled “Last Dime Blues”, wasn’t like that. That was the music he played normally, and it was a minor hit: [excerpt: “Last Dime Blues” by Blind Willie McTell] And that line we just heard, “Mama, don’t treat your daughter mean”, inspired one of the most important records in early rock and roll. Ruth Brown had run away from home when she was seventeen — she’d wanted to become a singer, and she eloped with a trumpet player, Jimmy Brown, who she married and whose name she kept even though the marriage didn’t last long. She quickly joined Lucky Millinder’s band, as so many early R&B stars we’ve discussed did, but that too didn’t last long. Millinder’s band, at the time, had two singers already, and the original plan was for Brown to travel with the band for a month and learn how they did things, and then to join them on stage. She did the travelling for a month part, but soon found herself kicked out when she got on stage. She did two songs with the band on her first night performing live with them, and apparently went down well with the audience, but that was all she was meant to do on that show, so one of the other musicians asked her to go and get the band members drinks from the bar, as they were still performing. She brought them all sodas on to the stage… and Millinder said “I hired a singer, not a waitress — you’re fired. And besides, you don’t sing well anyway”. She was fired that day, and she had no money — Millinder refused to pay her, arguing that she’d had free room and board from him for a month, so if anything she owed him money. She had no way to make her way home from Washington. She was stuck. But what should have been a terrible situation for her turned out to be the thing that changed her life. She got an audition with Blanche Calloway, Cab’s sister, who was running a club at the time. Well, I say Blanche Calloway was Cab’s sister, and that’s probably how most people today would think of her if they thought of her at all, but it would really be more appropriate to say Cab Calloway happened to be her brother. Blanche Calloway had herself had a successful singing career, starting before her brother’s career, and she’d recorded songs like this: [excerpt “Just a Crazy Song”: Blanche Calloway and her Joy Boys] That was recorded several months *before* her brother’s breakout hit “Minnie The Moocher”, which popularised the “Hi de hi, ho de ho” chorus. Blanche Calloway wasn’t the first person to sing that song – Bill “Bojangles” Robinson recorded it a month before, though in a very different style – but she’s clearly the one who gave Cab the idea. She was a successful bandleader before her brother, and her band, the Joy Boys, featured musicians like Cozy Cole and Ben Webster, who later became some of the most famous names in jazz. She was the first woman to lead an otherwise all-male band, and her band was regularly listed as one of the ten or so most influential bands of the early thirties. And that wasn’t her only achievement by any means — in later years she became prominent in the Democratic Party and as a civil rights activist, she started Afram, a cosmetic company that made makeup for black women and was one of the most popular brand names of the seventies, and she was the first black woman to vote in Florida, in 1958. But while her band was popular in the thirties, it eventually broke up. There are two stories about how her band split, and possibly both are true. One story is that the Mafia, who controlled live music in the thirties, decided that there wasn’t room for two bands led by a Calloway, and put their weight behind her brother, leaving her unable to get gigs. The other story is that while on tour in Mississippi, she used a public toilet that was designated whites-only, and while she was in jail for that one of the band members ran off with all the band’s money and so she couldn’t afford to pay them. Either way, Calloway had gone into club management instead, and that was what she was doing when Ruth Brown walked into her club, desperate for a job. Calloway said that the club didn’t really need any new singers at the time, but she was sympathetic enough with Brown’s plight — and impressed enough by her talent — that she agreed that Brown could continue to sing at her club until she’d earned her fare home. And it was at that club that Willis Conover came to see her. Conover was a fascinating figure — he presented the jazz programme on Voice of America, the radio station that broadcast propaganda to the Eastern bloc during the Cold War, but by doing so he managed to raise the profile of many of the greatest jazz musicians of the time. He was also a major figure in early science fiction fandom — a book of his correspondence with H.P. Lovecraft is now available. Conover was visiting the nightclub along with his friend Duke Ellington, and he was immediately impressed by Ruth Brown’s performance — impressed enough that he ran out to call Ahmet Ertegun and Herb Abramson and tell them to sign her. Ertegun and Abramson were the founders of Atlantic Records, a new record label which had started up only a couple of years earlier. We’ve talked a bit about how the white backroom people in early R&B were usually those who were in some ways on the borderline between American conceptions of race — and this is something that will become even more important as the story goes on — but that was certainly true of Ahmet Ertegun. Ertegun was considered white by the then-prevailing standards in the US, but he was a Turkish Muslim, and so not part of what the white culture considered the default. He was also, though, extremely well off. His father had been the Turkish ambassador to the United States, and while young Ahmet had ostensibly been studying Medieval Philosophy at Georgetown University, in reality he was spending much of his time in Milt Gabler’s Commodore Music Shop. He and his brother Neshui had over fifteen thousand jazz records between them, and would travel to places like New Orleans and Harlem to see musicians. And so Ahmet decided he was going to set up his own record company, making jazz records. He got funding from his dentist, and took on Herb Abramson, one of the dentist’s proteges, as his partner in the firm. They soon switched from their initial plan of making jazz records to a new one of making blues and R&B, following the market. Atlantic’s first few records — while they were good ones, featuring people like Professor Longhair, weren’t especially successful, but then in 1949 they released “Drinking Wine Spo-De-O-Dee” by Sticks McGhee: [excerpt “Drinking Wine Spo-De-O-Dee”] That record is another of those which people refer to as “the first rock and roll record”, and it was pure good luck for Atlantic — McGhee had recorded an almost identical version two years earlier, for a label called Harlem Records. The song had originally been rather different — before McGhee recorded it for Harlem Records, instead of singing spo-de-o-dee he’d sung a four-syllable word, the first two syllables of which were mother and the latter two would get this podcast put in the adults-only section on iTunes; while instead of singing “mop mop” he’d sung “goddam”. Wisely, Harlem Records had got him to tone down the lyrics, but the record had started to take off only after the original label had gone out of business. Ertegun knew McGhee’s brother, the more famous blues musician Brownie McGhee, and called him up to get in touch with Sticks. They got Sticks to recut the record, sticking as closely as possible to his original, and rushed it out. The result was a massive success,and had cover versions by Lionel Hampton, Wynonie Harris, and many more musicians we’ve talked about here. Atlantic Records was on the map, and even though Sticks McGhee never had another hit, Atlantic now knew that the proto-rock-and-roll style of rhythm and blues was where its fortunes lay. So when Herb Abramson and Ahmet Ertegun saw Ruth Brown, they knew two things — firstly, this was a singer who had massive commercial potential, and secondly that if she was going to record for them, she’d have to change her style, from the torch songs she was singing to something more… spo-de-o-dee. Ruth Brown very nearly never made it to her first recording session at all. On her way to New York, with Blanche Calloway, who had become her manager, she ended up in a car crash and was in hospital for a year, turning twenty-one in hospital. She thought for a time that her chance had passed, but when she got well enough to use crutches she was invited along to a recording session. It wasn’t meant to be a session for her, it was just a way to ease her back into her career — Atlantic were going to show her what went on in a recording studio, so she would feel comfortable when it came to be time for her to actually make a record. The session was to record a few tracks for Cavalcade of Music, a radio show that profiled American composers. Eddie Condon’s band were recording the tracks, and all Brown was meant to do was watch. But then Ahmet Ertegun decided that while she was there, they might as well do a test recording of Brown, just to see whether her voice sounded decent when recorded. Herb Abramson — who would produce most of Brown’s early records — listed a handful of songs that she might know that they could do, and she said she knew Russ Morgan’s “So Long”. The band worked out a rough head arrangement of it, and they started recording. After a few bars, though, Sid Catlett, the drummer — one of the great jazz drummers, who had worked with Louis Armstrong, Dizzy Gillespie, Duke Ellington and Benny Goodman, among others — stopped the session and said “Wait a minute. Let’s go back and do this right. The kid can *sing*!” And she certainly could. The record, which had originally been intended just as a test or, at best, as a track to stick in the package of tracks they were recording for Cavalcade of Music, was instead released as a single, by “Ruth Brown as heard with Eddie Condon’s NBC Television Orchestra” “So Long” became a hit, and the followup “Teardrops From My Eyes” was a bigger hit, reaching number one on the R&B charts and staying there for eleven weeks. “Teardrops From My Eyes” was an uptempo song, and not really the kind of thing Brown liked — she thought of herself primarily as a torch singer — but it can’t be denied that she had a skill with that kind of material, even if it wasn’t what she’d have been singing by choice: [excerpt: Ruth Brown “Teardrops From My Eyes”] While the song was picked for her by Abramson, who continued to be in charge of Brown’s recordings until he was drafted into the Korean War, the strategy behind it was one that Ertegun had always advocated — to take black musicians who played or sang the more “sophisticated” (I don’t know if you can hear those air quotes, but they’re there…) styles and to get them instead to record in funkier, more rhythm-oriented styles. It was a strategy Atlantic would use later with many of the artists that would become popular on the label in the 1950s. In the case of “Teardrops From My Eyes”, this required a lot of work — Brown spent a week rehearsing the song with Louis Toombs, the song’s writer, and working out the arrangement — and this was in a time when most hit records were either head arrangements worked out in half an hour in the studio or songs that had been honed by months of live performance. Spending a week working out a song for a recording was extremely unusual, but it was part of Atlantic’s ethos — making sure the musicians were totally comfortable with the song and with each other before recording. It was the same reason that for the next few decades vocalists on Atlantic also played instruments on their own recordings, even if they weren’t the best instrumentalists — the idea was that the singer should be intimately involved in the rhythm of the record. But it worked even better for Ruth Brown than for most of those artists. “Teardrops From My Eyes” became a million seller — Atlantic’s first. Or at least, it was promoted as having sold a million copies — Herb Abramson would later claim that all the record labels were vastly exaggerating their sales. But then, he had a motive to claim that, just as they had a motive to exaggerate – if the artists believed they sold a million copies, then they’d want a million copies’ worth of royalties. But Brown’s biggest hit was her third number one, “Mama He Treats Your Daughter Mean”, which was also one of the few records she made to cross over to the pop charts, reaching number twenty-three. This was not a record that Brown thought at the time was particularly one of her best, but twenty years later in interviews she would talk about how she couldn’t do a show without playing it and that when she said her name people would ask “the Ruth Brown who sings ‘Mama He Treats Your Daughter Mean’?” The song also made a difference to Brown because it meant she had to join the musicians’ union. Vocalists, unlike instrumentalists, didn’t have to be union members. But “Mama, He Treats Your Daughter Mean” had a prominent tambourine part, which Brown played live. That made her an instrumentalist, not just a vocalist, and so Brown became a union member. [excerpt: “Mama He Treats Your Daughter Mean”, Ruth Brown] Johnny Wallace and Herbert Lance wrote that song after hearing a blues singer playing out on the street in Atlanta. The song the blues singer was playing was almost certainly “Last Dime Blues”, and contained a line which they heard as “Mama, he treats your daughter mean”. Brown didn’t want to record the song originally — the way the song was originally presented to her was as a much slower blues — but Herb Abramson raised the tempo to something closer to that of “Teardrops From My Eyes”, turning it into a clear example of early rock and roll. You can hear the song’s influence, for example, in “Work With Me Annie” by Hank Ballard and the Midnighters from two years later: [Excerpt: “Work With Me Annie”, Hank Ballard and the Midnighters] But Brown always claimed that the reason for the song’s greater success than her other records was down to that tambourine — or more precisely because of the way she played the tambourine live, because she used a fluorescent painted tambourine which would shine when she hit it. That apparently got the audiences worked up and made it her most popular live song. Brown continued to have hit records into the sixties, though she never became one of the most well-known artists — in the seventies she used to talk about adults telling their children “she was our Aretha Franklin”, and this was probably true. Certainly she was the most successful female rhythm and blues artist of the fifties, and was popular enough that for a while Atlantic Records became known as “the house that Ruth Brown built”, but like many of the pioneers of the rock and roll era, she was largely (though far from completely) erased from the cultural memory in favour of a view that has prehistory start in 1954 with Elvis and history proper only arrive in 1962 with the Beatles. Partly, this was because in the mid fifties, just as rock and roll was becoming huge, she had children and scaled down her touring activities to take care of them, but it was also in part because Atlantic Records was expanding. When they only had one or two big stars, it was easy for them to give each of them the attention they needed, but as the label got bigger, their star acts would have the best material divided among themselves, and their hit rate — at least for those who didn’t write their own material — got lower. So by the early sixties, Ruth Brown was something of a has-been. But she got a second wind from the late seventies onwards, after she appeared in the stage musical Selma, playing the part of Mahalia Jackson. She became a star again — not a pop star as she had been in her first career, but a star of the musical stage, and of films and TV. And she used that fame to do something remarkable. She had been unhappy for years with Atlantic Records not paying her the money she was owed for royalties on her records — like most independent labels of the fifties, Atlantic had seemed to regard honouring its contracts with its artists and actually giving them money as a sort of optional extra. But unlike those other independent labels, Atlantic had remained successful, and indeed by the eighties it was a major label itself — it had been bought in 1967 by Warner Brothers and had become one of the biggest record labels in the world. And Ruth Brown wanted the money to which she was entitled, and began a campaign to get the royalties she was owed. But she didn’t just campaign for herself. As part of the agreement she eventually reached with Atlantic, not only did she get her own money back, but dozens of other rhythm and blues artists also got their money — and the Rhythm and Blues Foundation was founded with money donated by Atlantic as compensation for them. The Rhythm and Blues Foundation now provides grants to up-and-coming black musicians and gives cash awards to older musicians who’ve fallen on hard times — often because of the way labels like Atlantic have treated them. Now of course that’s not to say that the Rhythm and Blues Foundation fixed everything — it’s very clear that Atlantic continued (and continues) to underpay the artists on whose work they built a billion-dollar business, and that the Foundation is one of those organisations that exists as much to forestall litigation as anything else, but it’s still notable that when she had the opportunity to do something just for herself, Ruth Brown chose instead to also help her friends and colleagues. Maybe her time in the union paid off… Brown spent her last decades as an elder stateswoman of the rhythm and blues field, She died in 2006.  

  Welcome to episode thirteen of A History of Rock Music in Five Hundred Songs. Today we're looking at "(Mama) He Treats Your Daughter Mean" by Ruth Brown. Click the full post to read liner notes, links to more information, and a transcript of the episode. ----more---- Resources As always, I've created a Mixcloud streaming playlist with full versions of all the songs in the episode. I used a few books for this podcast. One I haven't talked about before is Blue Rhythms: Six Lives in Rhythm and Blues by Chip Defaa. The information on "Drinking Wine Spo-De-O-Dee" comes in part from Unsung Heroes of Rock 'n' Roll by Nick Tosches. This book is considered a classic, but a word of caution -- it was written in the 70s, and Tosches is clearly of the Lester Bangs/underground/gonzo school of rock journalism, which in modern terms means he's a bit of an edgelord who'll be needlessly offensive to get a laugh.  Much of the information I've used comes from interviews with Ruth Brown and Ahmet Ertegun in Honkers & Shouters: The Golden Years of Rhythm and Blues by Arnold Shaw, one of the most important books on early 50s rhythm and blues. Ruth Brown also wrote an autobiography. And there are many good compilations of Brown's R&B work -- this one has most of the important records on it. Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript While I've often made the point that fifties rhythm and blues is not the same thing as "the blues" as most people now think of it, there was still an obvious connection (as you'd expect from the name if nothing else) and sometimes the two would be more connected than you might think. So Ruth Brown, who was almost the epitome of a rhythm and blues singer, had her first hit on the pop charts with a song that couldn't have been more blues inspired. For the story of "Mama, He Treats Your Daughter Mean", we have to go all the way back to Blind Lemon Jefferson in the 1920s. Jefferson was a country-blues picker who was one of the most remarkable guitarists of his generation -- he was a blues man first and foremost, but his guitar playing influenced almost every country player who came later. Unfortunately, he recorded for Paramount Records, notoriously the label with the worst sound quality in the 20s and thirties (which, given the general sound quality of those early recordings, is saying something). One of his songs was "One Dime Blues", which is a very typical example of his style: [excerpt "One Dime Blues" by Blind Lemon Jefferson] See what I mean both about the great guitar playing and about the really lousy sound quality? That song was later picked up by another great blind bluesman, Blind Willie McTell. McTell is an example of how white lovers of black music would manage to miss the point of the musicians they loved and try to turn them into something they're not. A substantial proportion of McTell's recordings were made by John and Alan Lomax, for the Library of Congress, but if you listen to those recordings you can hear the Lomaxes persuading McTell to play music that's very different from the songs he normally played -- while he was a commercial blues singer, they wanted him to perform traditional folk songs and to sing political protest material, and basically to be another Leadbelly (a singer he did resemble slightly as a musician, largely because they both played the twelve-string guitar). He said he didn't know any protest songs, but he did play various folk songs for them, even though they weren't in his normal repertoire. And this is a very important thing to realise about the way the white collectors of black music distorted it -- and it's something you should also pay attention to when I talk about this stuff. I am, after all, a white man who loves a lot of black music but is disconnected from the culture that created it, just like the Lomaxes. There's a reason why I call this podcast "A History of Rock Music..." rather than "THE History of Rock Music..." -- the very last thing I want to do is give the impression that my opinion is the definitive one and that I should have the final word about these things. But what the Lomaxes were doing, when they were collecting their recordings, was taking sophisticated entertainers, who made their living from playing to rather demanding crowds, and getting them to play music that the Lomaxes *thought* was typical black music, rather than the music that those musicians would normally play and that their audiences would normally listen to. So they got McTell to perform songs he knew, like "The Boll Weevil" and "Amazing Grace", because they thought that those songs were what they should be collecting, rather than having him perform his own material. To put this into a context which may seem a little more obvious to my audience -- imagine you're a singer-songwriter in Britain in the present day. You've been playing the clubs for several years, you've got a repertoire of songs you've written which the audiences love. You get your big break with a record company, you go into the studio, and the producer insists on you singing "Itsy-Bitsy Spider" and a hymn you had to sing in school assembly like "All Things Bright and Beautiful". You probably could perform those, but you'd be wondering why they wouldn't let you sing your own songs, and what the audiences would think of you singing this kind of stuff, and who exactly was going to buy it. But on the other hand, money is money, and you give the people paying you what they want. This was the experience of a *lot* of black musicians in the thirties, forties, and fifties, having rich white men pay them to play music that they saw as unsophisticated. It's something we'll see particularly in the late fifties as musicians travel from the US to the UK, and people like Muddy Waters discovered that their English audiences didn't want to see anyone playing electric guitars and doing solos -- they thought of the blues as a kind of folk music, and so wanted to see a poor black sharecropper playing an acoustic guitar, and so that's what he gave those audiences. But McTell's version of "One Dime Blues", retitled "Last Dime Blues", wasn't like that. That was the music he played normally, and it was a minor hit: [excerpt: “Last Dime Blues” by Blind Willie McTell] And that line we just heard, “Mama, don't treat your daughter mean”, inspired one of the most important records in early rock and roll. Ruth Brown had run away from home when she was seventeen -- she'd wanted to become a singer, and she eloped with a trumpet player, Jimmy Brown, who she married and whose name she kept even though the marriage didn't last long. She quickly joined Lucky Millinder's band, as so many early R&B stars we've discussed did, but that too didn't last long. Millinder's band, at the time, had two singers already, and the original plan was for Brown to travel with the band for a month and learn how they did things, and then to join them on stage. She did the travelling for a month part, but soon found herself kicked out when she got on stage. She did two songs with the band on her first night performing live with them, and apparently went down well with the audience, but that was all she was meant to do on that show, so one of the other musicians asked her to go and get the band members drinks from the bar, as they were still performing. She brought them all sodas on to the stage... and Millinder said "I hired a singer, not a waitress -- you're fired. And besides, you don't sing well anyway". She was fired that day, and she had no money -- Millinder refused to pay her, arguing that she'd had free room and board from him for a month, so if anything she owed him money. She had no way to make her way home from Washington. She was stuck. But what should have been a terrible situation for her turned out to be the thing that changed her life. She got an audition with Blanche Calloway, Cab's sister, who was running a club at the time. Well, I say Blanche Calloway was Cab's sister, and that's probably how most people today would think of her if they thought of her at all, but it would really be more appropriate to say Cab Calloway happened to be her brother. Blanche Calloway had herself had a successful singing career, starting before her brother's career, and she'd recorded songs like this: [excerpt "Just a Crazy Song": Blanche Calloway and her Joy Boys] That was recorded several months *before* her brother's breakout hit "Minnie The Moocher", which popularised the "Hi de hi, ho de ho" chorus. Blanche Calloway wasn't the first person to sing that song – Bill “Bojangles” Robinson recorded it a month before, though in a very different style – but she's clearly the one who gave Cab the idea. She was a successful bandleader before her brother, and her band, the Joy Boys, featured musicians like Cozy Cole and Ben Webster, who later became some of the most famous names in jazz. She was the first woman to lead an otherwise all-male band, and her band was regularly listed as one of the ten or so most influential bands of the early thirties. And that wasn't her only achievement by any means -- in later years she became prominent in the Democratic Party and as a civil rights activist, she started Afram, a cosmetic company that made makeup for black women and was one of the most popular brand names of the seventies, and she was the first black woman to vote in Florida, in 1958. But while her band was popular in the thirties, it eventually broke up. There are two stories about how her band split, and possibly both are true. One story is that the Mafia, who controlled live music in the thirties, decided that there wasn't room for two bands led by a Calloway, and put their weight behind her brother, leaving her unable to get gigs. The other story is that while on tour in Mississippi, she used a public toilet that was designated whites-only, and while she was in jail for that one of the band members ran off with all the band's money and so she couldn't afford to pay them. Either way, Calloway had gone into club management instead, and that was what she was doing when Ruth Brown walked into her club, desperate for a job. Calloway said that the club didn't really need any new singers at the time, but she was sympathetic enough with Brown's plight -- and impressed enough by her talent -- that she agreed that Brown could continue to sing at her club until she'd earned her fare home. And it was at that club that Willis Conover came to see her. Conover was a fascinating figure -- he presented the jazz programme on Voice of America, the radio station that broadcast propaganda to the Eastern bloc during the Cold War, but by doing so he managed to raise the profile of many of the greatest jazz musicians of the time. He was also a major figure in early science fiction fandom -- a book of his correspondence with H.P. Lovecraft is now available. Conover was visiting the nightclub along with his friend Duke Ellington, and he was immediately impressed by Ruth Brown's performance -- impressed enough that he ran out to call Ahmet Ertegun and Herb Abramson and tell them to sign her. Ertegun and Abramson were the founders of Atlantic Records, a new record label which had started up only a couple of years earlier. We've talked a bit about how the white backroom people in early R&B were usually those who were in some ways on the borderline between American conceptions of race -- and this is something that will become even more important as the story goes on -- but that was certainly true of Ahmet Ertegun. Ertegun was considered white by the then-prevailing standards in the US, but he was a Turkish Muslim, and so not part of what the white culture considered the default. He was also, though, extremely well off. His father had been the Turkish ambassador to the United States, and while young Ahmet had ostensibly been studying Medieval Philosophy at Georgetown University, in reality he was spending much of his time in Milt Gabler's Commodore Music Shop. He and his brother Neshui had over fifteen thousand jazz records between them, and would travel to places like New Orleans and Harlem to see musicians. And so Ahmet decided he was going to set up his own record company, making jazz records. He got funding from his dentist, and took on Herb Abramson, one of the dentist's proteges, as his partner in the firm. They soon switched from their initial plan of making jazz records to a new one of making blues and R&B, following the market. Atlantic's first few records -- while they were good ones, featuring people like Professor Longhair, weren't especially successful, but then in 1949 they released "Drinking Wine Spo-De-O-Dee" by Sticks McGhee: [excerpt "Drinking Wine Spo-De-O-Dee"] That record is another of those which people refer to as "the first rock and roll record", and it was pure good luck for Atlantic -- McGhee had recorded an almost identical version two years earlier, for a label called Harlem Records. The song had originally been rather different -- before McGhee recorded it for Harlem Records, instead of singing spo-de-o-dee he'd sung a four-syllable word, the first two syllables of which were mother and the latter two would get this podcast put in the adults-only section on iTunes; while instead of singing "mop mop" he'd sung "goddam". Wisely, Harlem Records had got him to tone down the lyrics, but the record had started to take off only after the original label had gone out of business. Ertegun knew McGhee's brother, the more famous blues musician Brownie McGhee, and called him up to get in touch with Sticks. They got Sticks to recut the record, sticking as closely as possible to his original, and rushed it out. The result was a massive success,and had cover versions by Lionel Hampton, Wynonie Harris, and many more musicians we've talked about here. Atlantic Records was on the map, and even though Sticks McGhee never had another hit, Atlantic now knew that the proto-rock-and-roll style of rhythm and blues was where its fortunes lay. So when Herb Abramson and Ahmet Ertegun saw Ruth Brown, they knew two things -- firstly, this was a singer who had massive commercial potential, and secondly that if she was going to record for them, she'd have to change her style, from the torch songs she was singing to something more... spo-de-o-dee. Ruth Brown very nearly never made it to her first recording session at all. On her way to New York, with Blanche Calloway, who had become her manager, she ended up in a car crash and was in hospital for a year, turning twenty-one in hospital. She thought for a time that her chance had passed, but when she got well enough to use crutches she was invited along to a recording session. It wasn't meant to be a session for her, it was just a way to ease her back into her career -- Atlantic were going to show her what went on in a recording studio, so she would feel comfortable when it came to be time for her to actually make a record. The session was to record a few tracks for Cavalcade of Music, a radio show that profiled American composers. Eddie Condon's band were recording the tracks, and all Brown was meant to do was watch. But then Ahmet Ertegun decided that while she was there, they might as well do a test recording of Brown, just to see whether her voice sounded decent when recorded. Herb Abramson -- who would produce most of Brown's early records -- listed a handful of songs that she might know that they could do, and she said she knew Russ Morgan's "So Long". The band worked out a rough head arrangement of it, and they started recording. After a few bars, though, Sid Catlett, the drummer -- one of the great jazz drummers, who had worked with Louis Armstrong, Dizzy Gillespie, Duke Ellington and Benny Goodman, among others -- stopped the session and said "Wait a minute. Let's go back and do this right. The kid can *sing*!" And she certainly could. The record, which had originally been intended just as a test or, at best, as a track to stick in the package of tracks they were recording for Cavalcade of Music, was instead released as a single, by "Ruth Brown as heard with Eddie Condon's NBC Television Orchestra" "So Long" became a hit, and the followup "Teardrops From My Eyes" was a bigger hit, reaching number one on the R&B charts and staying there for eleven weeks. "Teardrops From My Eyes" was an uptempo song, and not really the kind of thing Brown liked -- she thought of herself primarily as a torch singer -- but it can't be denied that she had a skill with that kind of material, even if it wasn't what she'd have been singing by choice: [excerpt: Ruth Brown "Teardrops From My Eyes"] While the song was picked for her by Abramson, who continued to be in charge of Brown's recordings until he was drafted into the Korean War, the strategy behind it was one that Ertegun had always advocated -- to take black musicians who played or sang the more "sophisticated" (I don't know if you can hear those air quotes, but they're there...) styles and to get them instead to record in funkier, more rhythm-oriented styles. It was a strategy Atlantic would use later with many of the artists that would become popular on the label in the 1950s. In the case of "Teardrops From My Eyes", this required a lot of work -- Brown spent a week rehearsing the song with Louis Toombs, the song's writer, and working out the arrangement -- and this was in a time when most hit records were either head arrangements worked out in half an hour in the studio or songs that had been honed by months of live performance. Spending a week working out a song for a recording was extremely unusual, but it was part of Atlantic's ethos -- making sure the musicians were totally comfortable with the song and with each other before recording. It was the same reason that for the next few decades vocalists on Atlantic also played instruments on their own recordings, even if they weren't the best instrumentalists -- the idea was that the singer should be intimately involved in the rhythm of the record. But it worked even better for Ruth Brown than for most of those artists. "Teardrops From My Eyes" became a million seller -- Atlantic's first. Or at least, it was promoted as having sold a million copies -- Herb Abramson would later claim that all the record labels were vastly exaggerating their sales. But then, he had a motive to claim that, just as they had a motive to exaggerate – if the artists believed they sold a million copies, then they'd want a million copies' worth of royalties. But Brown's biggest hit was her third number one, "Mama He Treats Your Daughter Mean", which was also one of the few records she made to cross over to the pop charts, reaching number twenty-three. This was not a record that Brown thought at the time was particularly one of her best, but twenty years later in interviews she would talk about how she couldn't do a show without playing it and that when she said her name people would ask "the Ruth Brown who sings 'Mama He Treats Your Daughter Mean'?" The song also made a difference to Brown because it meant she had to join the musicians' union. Vocalists, unlike instrumentalists, didn't have to be union members. But "Mama, He Treats Your Daughter Mean" had a prominent tambourine part, which Brown played live. That made her an instrumentalist, not just a vocalist, and so Brown became a union member. [excerpt: "Mama He Treats Your Daughter Mean", Ruth Brown] Johnny Wallace and Herbert Lance wrote that song after hearing a blues singer playing out on the street in Atlanta. The song the blues singer was playing was almost certainly “Last Dime Blues”, and contained a line which they heard as “Mama, he treats your daughter mean”. Brown didn't want to record the song originally -- the way the song was originally presented to her was as a much slower blues -- but Herb Abramson raised the tempo to something closer to that of "Teardrops From My Eyes", turning it into a clear example of early rock and roll. You can hear the song's influence, for example, in "Work With Me Annie" by Hank Ballard and the Midnighters from two years later: [Excerpt: "Work With Me Annie", Hank Ballard and the Midnighters] But Brown always claimed that the reason for the song's greater success than her other records was down to that tambourine -- or more precisely because of the way she played the tambourine live, because she used a fluorescent painted tambourine which would shine when she hit it. That apparently got the audiences worked up and made it her most popular live song. Brown continued to have hit records into the sixties, though she never became one of the most well-known artists -- in the seventies she used to talk about adults telling their children "she was our Aretha Franklin", and this was probably true. Certainly she was the most successful female rhythm and blues artist of the fifties, and was popular enough that for a while Atlantic Records became known as "the house that Ruth Brown built", but like many of the pioneers of the rock and roll era, she was largely (though far from completely) erased from the cultural memory in favour of a view that has prehistory start in 1954 with Elvis and history proper only arrive in 1962 with the Beatles. Partly, this was because in the mid fifties, just as rock and roll was becoming huge, she had children and scaled down her touring activities to take care of them, but it was also in part because Atlantic Records was expanding. When they only had one or two big stars, it was easy for them to give each of them the attention they needed, but as the label got bigger, their star acts would have the best material divided among themselves, and their hit rate -- at least for those who didn't write their own material -- got lower. So by the early sixties, Ruth Brown was something of a has-been. But she got a second wind from the late seventies onwards, after she appeared in the stage musical Selma, playing the part of Mahalia Jackson. She became a star again -- not a pop star as she had been in her first career, but a star of the musical stage, and of films and TV. And she used that fame to do something remarkable. She had been unhappy for years with Atlantic Records not paying her the money she was owed for royalties on her records -- like most independent labels of the fifties, Atlantic had seemed to regard honouring its contracts with its artists and actually giving them money as a sort of optional extra. But unlike those other independent labels, Atlantic had remained successful, and indeed by the eighties it was a major label itself -- it had been bought in 1967 by Warner Brothers and had become one of the biggest record labels in the world. And Ruth Brown wanted the money to which she was entitled, and began a campaign to get the royalties she was owed. But she didn't just campaign for herself. As part of the agreement she eventually reached with Atlantic, not only did she get her own money back, but dozens of other rhythm and blues artists also got their money -- and the Rhythm and Blues Foundation was founded with money donated by Atlantic as compensation for them. The Rhythm and Blues Foundation now provides grants to up-and-coming black musicians and gives cash awards to older musicians who've fallen on hard times -- often because of the way labels like Atlantic have treated them. Now of course that's not to say that the Rhythm and Blues Foundation fixed everything -- it's very clear that Atlantic continued (and continues) to underpay the artists on whose work they built a billion-dollar business, and that the Foundation is one of those organisations that exists as much to forestall litigation as anything else, but it's still notable that when she had the opportunity to do something just for herself, Ruth Brown chose instead to also help her friends and colleagues. Maybe her time in the union paid off... Brown spent her last decades as an elder stateswoman of the rhythm and blues field, She died in 2006.  

Chapter 149: "I Was At the Same Place" ...as ready by Chris Foley Luxury basically signed a handshake deal at Cornerstone with Tooth and Nail Records and became one of the labels more controversial bands at the time. Chris talks about how the DC punk scene was an extension of his Christian faith, the ups and downs of Luxury, the new documentary, and how orthodoxy saved his faith. Lots of Luxury albums available at https://luxury.bandcamp.com Parallel Love trailers: https://youtu.be/8Y4jIPn96Ig Chapter 149 Music: Luxury - "The Four Quartets" Minor Threat - "Stand Up" Luxury - "Pink Revenge" Luxury - "I Know What You Think About Me" Luxury - "I Know Why The Caged Bird Sings" All Things Bright and Beautiful - "Wedding Feast of the Lamb" Luxury - "The Needs ff the Many, The Needs of the Few" Luxury - "Parallel Love" As The Story Grows links: Help out at Patreon ATSG Website ATSG Music and Merch Join the Email List ATSG Facebook Email: asthestorygrows@gmail.com

Spring may not have sprung in ways we can celebrate just yet, but bright, beautiful days are sure to come! Until then, let's find some encouragement from the hymn 'All Things Bright and Beautiful' and see what kind of Hugs From Heaven it can provide in our lives today.

2017 was a trash fire at times, but the Squad found joy amongst the garbage in books, music, movies, comedy and podcasts. We each count down our top three pop culture things from 2017 and tell you why they were seriously awesome in their own special ways. (If you were looking for recommendations, you've now got 12 things. You're welcome.) In the second half of the show, Susan interviews Louisville-based author James Markert, whose newest novel, "All Things Bright and Strange," will be out on January 30. Plus, we tell you what's happening on the #BookSquadBlog (a lot!) and introduce our next fullpisode book: "The Seven Husbands of Evelyn Hugo," by Taylor Jenkins Reid. 00:30–WELCOME TO 2018, DUDES02:17–Emily-When Dimple Met Rishi06:40–Kelli-Lorde’s Melodrama09:44–Mary-The Bold Type13.33–Susan-American Vandal17:36–Emily-Coco22:00-Kelli-Kedi26:37–Mary-Phoebe Bridgers’s Stranger in the Alps31:42–Susan—Dirty John34:57–Emily—The Big Sick41:09–Kelli—Heavyweight45:11–Mary-Night in the Woods48:23–Susan-Thank God for Jokes50:55–Interview Intro51:54–Interview with author James Markert!1:22:10–what’s up next/what’s on the blog?

2017 was a trash fire at times, but the Squad found joy amongst the garbage in books, music, movies, comedy and podcasts. We each count down our top three pop culture things from 2017 and tell you why they were seriously awesome in their own special ways. (If you were looking for recommendations, you've now got 12 things. You're welcome.) In the second half of the show, Susan interviews Louisville-based author James Markert, whose newest novel, "All Things Bright and Strange," will be out on January 30. Plus, we tell you what's happening on the #BookSquadBlog (a lot!) and introduce our next fullpisode book: "The Seven Husbands of Evelyn Hugo," by Taylor Jenkins Reid. 00:30–WELCOME TO 2018, DUDES02:17–Emily-When Dimple Met Rishi06:40–Kelli-Lorde’s Melodrama09:44–Mary-The Bold Type13.33–Susan-American Vandal17:36–Emily-Coco22:00-Kelli-Kedi26:37–Mary-Phoebe Bridgers’s Stranger in the Alps31:42–Susan—Dirty John34:57–Emily—The Big Sick41:09–Kelli—Heavyweight45:11–Mary-Night in the Woods48:23–Susan-Thank God for Jokes50:55–Interview Intro51:54–Interview with author James Markert!1:22:10–what’s up next/what’s on the blog?

All Things Bright and Beautiful and Once in Royal David's City - both well-known hymns but what about their author? We hear about the life of Dublin born, Cecil Frances Alexander and Midlands Priest, Fr.Paddy Byrne talks about his hopes for renewal within the Catholic Church.

Sermon preached at St. Francis Episcopal Church, Great Falls, Virginia, on September 29, 2013, by the Rev. Penelope Bridges. Gospel is Luke 16:19-31. Sermon is intellectual property of Penelope Bridges. Verse of "All Things Bright and Beautiful" by Cecil Frances Alexander.

http://www.andystreasuretrove.com/andystreasuretrove.com/Media/ATTSF%20Episode%20%232%20Levelated.mp3.mp3 ()In Episode #2 we'll join a media preview tour of San Francisco's new http://www.thecjm.org/ (Contemporary Jewish Museum) and spend time with its architect Daniel Libeskind, museum President Rosalyn Swig, Director Connie Wolf, artists http://www.alanberliner.com/ (Alan Berliner) and http://en.wikipedia.org/wiki/Trenton_Doyle_Hancock (Trenton Doyle Hancock), and others. We'll also talk to Liam Passmore about San Francisco's own literary festival, http://www.litquake.org/ (Litquake), coming up in October, and about the horror of those yearly visitors, the Blue Angels. Then, because they got such a great response after Episode #1, we'll hear another piece from the Ernest Bloch Bell Ringers, this one entitled “All Things Bright and Beautiful.” This episode is 37 minutes long. See photos and videos below, under the keywords. Keywords for this episode: Contemporary Jewish Museum, San Francisco, Daniel Libeskind, Rosalyn (“Sissy”) Swig, Connie Wolf, Liam Passmore, Litquake, Ernest Bloch Bell Ringers, Jewish Community Foundation Building, Jessie Street Power Station, Willis Polk, Alan Berliner, Trenton Doyle Hancock, Mierle Laderman Ukeles, Matthew Richie, Kay Rosen, Ben Rubin, Shirley Shor, Genesis, Pamela Rourke Levy, “Playing God,” Blue Angels, “All Things Bright and Beautiful,”