Podcasts about both simon

"It wasn't until I returned that I began to understand the city a little bit more and see it in a slightly different way." - Simon Wright This episode features Simon Wright and Richard Wiggins, the founders of All Flows, a creative festival in Milton Keynes. They discuss their journey from hosting Milton Keynes Geek Night to launching All Flows festival, their creative agency Ville, and their dedication to championing Milton Keynes' unique design heritage. Despite being a relatively young city, Milton Keynes has a rich history of using arts to build community, with radical approaches to urban design that attracted influential architects and designers. Simon and Richard share their passion for creating intimate, inspirational events that connect international creatives with local talent, highlighting their commitment to quality programming and community building over commercial success.TakeawaysMilton Keynes, despite being only 56 years old, has a rich design heritage that included contributions from figures like Buckminster Fuller.All Flows began as a passion project between two friends who wanted to create the kind of creative event they'd want to attend.The founders intentionally keep All Flows intimate to foster meaningful connections between speakers and attendees.Both Simon and Richard are driven more by passion than commercial interests, prioritizing quality and inspiration over profit.Their curation process involves researching speakers extensively and creating a balanced program that mixes established names with emerging talents.Student involvement through scholarships and volunteering is a key part of their mission to inspire the next generation of local creatives.The venue challenges in Milton Keynes have shaped the festival's character rather than deterring its growth.The festival has gained international recognition, with attendees traveling from as far as Michigan and New Zealand.All Flows is now included in Milton Keynes' five-year cultural and tech strategy, signifying its importance to the city.The founders see All Flows as continuing Milton Keynes' legacy of using arts and creativity to build community and create a sense of place. Mindful Creative: How to understand and deal with the highs and lows of creative life, career and business Paperback and Kindle > https://amzn.to/4biTwFcFree audiobook (with Audible trial) > https://geni.us/free-audiobookSigned books https://novemberuniverse.co.ukLux Coffee Co. https://luxcoffee.co.uk/ (Use: PODCAST for 15% off)November Universe https://novemberuniverse.co.uk (Use: PODCAST for 10% off)

Simon Kerr (pictured) is the musical driving force of "Music for a Warming World" and has had a long history in the challenges of climate change. The Melbourne-based musician/academic was reading the most recent book, "Living Hot: Surviving and Thriving on a Heating Planet", co-authored by Australian public intellectual Clive Hamilton and energy consultant, George Wilkenfeld. Simon was so impressed with what Halimton and Wilkenfeld had written that he contacted "Climate Conversations" saying: "We have to talk". Both Simon and his partner, Christine, use electric bikes to travel about the City of Melbourne. He was particularly excited to hear the "Climate Conversations" episode in which the CEO of the Melbourne-based Bicycle Network, Alison McCormack was interviewed: "Interview: 'Australia's E-Bike moment' with Bicycle Network's CEO, Alison McCormack". Hamilton has been the Professor of Public Ethics at Charles Sturt University in Canberra since 2008. --- Send in a voice message: https://podcasters.spotify.com/pod/show/robert-mclean/message

"Undercover Cop 2" unfolds as a candid conversation between Simon and Tom, offering a deep dive into the world of undercover police work. Simon shares personal anecdotes and insider perspectives, shedding light on the complexities, risks, and ethical dimensions of operating undercover. The discussion starts with lighter moments, including banter about wearing a new Crime Time Inc sweatshirt to a football game, but quickly pivots to more serious matters.A notable focus is the portrayal of undercover work's misrepresented nature in crime fiction, contrasting it with the gritty reality experienced by officers. Simon reminisces about his initiation into undercover work, not through formal selection but by slowly becoming indispensable for covert operations due to his unique skill set and mindset. He highlights the emotional and psychological challenges, notably discussing how his daughter's terminal illness affected his career and undercover role, turning his personal tragedy into a compelling part of his legend.The script is rich with stories of traditional and innovative undercover methods, stressing the paramount importance of blending in seamlessly. Both Simon and Tom reflect on the danger of becoming too entangled in the criminal world, touching upon the fine line between gathering intelligence and becoming an agent provocateur.As the conversation unfolds, they touch upon the evolution of undercover work, the intense pressure and isolation involved, and the critical need for effective management and support systems to safeguard the officers' mental well-being. The dialogue culminates in a discussion on the necessity and risks of undercover operations, acknowledging the unsung heroes who navigate this perilous balance for the greater good."Undercover Cop 2" is not just a narrative on the tactical aspects of undercover work but a profound exploration of its human elements, showcasing the sacrifices, moral dilemmas, and indelible impact on those who shoulder this burdensome yet crucial responsibility. Hosted on Acast. See acast.com/privacy for more information.

Discover exciting developments at Tembo Gold (TSXV: TEM) in this exclusive interview with the CFO, Vice President of Business Development, and Director Simon Benstead and Director Marc Cernovitch.This discussion touches upon Tembo Gold's projects in the Lake Victoria Goldfield in Tanzania, particularly their flagship Tembo Project located adjacent to Barrick Gold's 20 million-ounce Bulyanhulu Mine.Both Simon and Marc also talk about how Tembo's subsidiary, Tembo Gold Tanzania, recently acquired the Imwelo and Dora Projects located 12 km from AngloGold Ashanti's Geita Gold Mine.With the support of Taifa Mining and Civils Limited, Tembo Gold has reached its transformative moment and is well-positioned to build its presence in Tanzania.To learn more about Tembo Gold, visit: https://tembogold.comWatch the full YouTube interview here: https://www.youtube.com/watch?v=yUfNyifPiN8And follow us to stay updated: https://www.youtube.com/@GlobalOneMedia?sub_confirmation=1

In this episode Axel interviews Simon Kouperchand, a real estate investor that has been working with Axel on several projects, to talk about the importance of prospecting to find deals and why persistence is key!   Both Simon and Axel walk us through an adventurous real estate rollercoaster story. All the way from a first project that fell through to a second project now under contract.    Having spent several $$$ on documentation for the first project and realizing it was falling through, they decided to do zoning and prospecting for more than twenty properties to find another deal. They found and were able to put under contract a new property worth 1.2MM just like the first project but at a third of its price, make use of all the documentation from project one and avoid losing money.   Simon and Axel dive deep into the importance of prospecting and being persistent to find your deals. They talk about the property, the whole process of negotiation, why distressed sellers are ideal, how to deal with hoarder houses, the alternative to transform the five unit into an eight apartment building and how they structured the closing of the deal.   Many more lessons were learned that will, for sure, help you. Stay tuned to see how this project continues! Please subscribe to the show, share it with a friend and send us feedback. Visit www.realestateeffect.ca and follow me on IG @monsaxel   Connect with Axel Monsaingeon: Linkedin  Real Estate Effect Web Facebook Instagram Youtube   Topics: Welcome Simon to The Very Real Estate Effect Podcast!: (00:00:00) How Simon & Axel found a project last fall: (00:00:58)  About the property & its location: (00:01:33)   Meeting the seller & visiting the squatted property: (00:02:13)   Negotiating property with seller: (00:03:10) Why deal breaks through: (00:10:35) The concept of Landlist: (00:10:44) Process of zoning and prospecting almost 20 properties: (00:06:57) Phone call from one of the properties that Simon couldn't reach the owner: (00:09:08) About the five unit property & negotiation with the seller: (00:11:02) Getting the deal under contract for much less than first project: (00:14:34) Why distressed sellers are ideal: (00:15:34) Land & property appraisal: land worth 1.2MM and buying at a third of that price : (00:16:36) About closing & how they structured the closing: (00:18:59) First alternative: transform a five unit to 8 apartment building: (00:20:00) Another alternative: (00:21:24) Hoarder house clean up & permits fase: (00:22:18) Lessons learned in last eight months; from project 1 to project 2: (00:23:45) Wrap-up: (00:27:24)     Who is Simon? Real Estate Investor & Business Manager at RM Accounting who has been working with Axel on several projects.   Connect with Simon Kouperchand:  Linkedin Instagram  

This years SimonG has gone from 5 years of just Angular to React and Svelte, what's going on and why is he just now starting to explore more frontend frameworks? Both Simon's also have an issue with Svelte's use of the word "Cybernetically"

Murderish host Jami Rice digs deep into the most disturbing true crimes and mysteries. In episode 40, of Moving Past Murder, she and Collier dish on their cases, compare sociopaths and discuss troubles with the true-crime business. They look at financial crimes and their connection to violent crimes. As well as how the criminal minds of a murderer and a thief aren't so different. Why Collier really can't stand criminals who prey on the innocent. The woman who stole $15 million from a bank with pie and a made-up persona. Jami discusses totally bizarre, but totally true crime she's now working to crack.  Does the entertainment industry fetishize and even award certain types of criminals? Real-life con artist Anna Delvey had her story made into the Netflix special, Inventing Anna. The Tinder Swindler, Simon Leviev, tricked innocent women into giving him millions of dollars, and now he has his own TV special about his devious life. Both Simon and Anna are making lots of money off their criminal behavior. Collier and Jami share their outrage.    Are some of Collier's podcast listeners reaching out and trying to contact his dad? What happens when the subjects of true-crime podcasts and their friends and families hear what podcast hosts are saying about them? The risk that comes with the job.   Whatever happened to Collier's dog that disappeared after his mom disappeared? The moment that caused Collier to break down. Link to relevant Episode: https://www.collierlandry.com/single-post/sociopaths-side-by-side-chris-watts-vs-my-father-dr-john-f-boyle-moving-past-murder-episode-30 (https://www.collierlandry.com/single-post/sociopaths-side-by-side-chris-watts-vs-my-father-dr-john-f-boyle-moving-past-murder-episode-30) Link to Jami's website: https://murderish.com/ (https://murderish.com/) Link to Jami's Twitter: https://twitter.com/murderishpod (https://twitter.com/murderishpod) Craving more behind the scenes, extra content, and interviews? Join my Patreon today! https://www.patreon.com/collierlandry (https://www.patreon.com/collierlandry) AFTER THE EPISODE LIVE Q&A with host Collier Landry! TUESDAY'S 11 am PT/2 pm ET on IG LIVE @collierlandry Follow Collier Landry on Instagram: http://www.instagram.com/collierlandry (http://www.instagram.com/collierlandry) Subscribe to my YouTube Channel http://www.youtube.com/collierlandry (http://www.youtube.com/collierlandry) Thanks for watching! Like what you see?

We’ve been waiting for three long years, but finally the UFC octagon has returned to the UK.UFC London is all set to go down on Saturday night, with a capacity crowd of 20,000 fans expected to pack the O2 Arena for a fight card stacked with the cream of the UK’s fighting talent.Both Simon and Sandhu will be in London to work the event, and ahead of fight night, Simon flies solo to bring you a whistlestop preview of the fight card as he breaks down the key fights on the bill, and highlights some of the most interesting storylines that underpin the matchups on Saturday night’s card.Will Tom Aspinall announce himself as a legitimate heavyweight title contender with victory over Alexander Volkov in the main event?Can Arnold Allen extend his win streak by handing Dan Hooker a defeat on the Kiwi’s return to the featherweight division?Will Paddy Pimblett deliver another show-stealing performance?Can Molly McCann add another win to her resume and edge closer to a shot at the UFC women’s flyweight championship?And can Paul Craig continue his impressive run of form at light heavyweight to move towards a shot at the title at 205 pounds?We’ll learn the answers to these questions, and a whole lot more, on a packed night of fights this weekend.Enjoy the show, and enjoy the fights! This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit thebritpack.substack.com

Both Simon and Sandhu have been out on the road this past week, and the two lads recap their experiences on this week’s episode of the show.Sandhu was in St. Louis to witness two former UFC champions – Brock Lesnar and Ronda Rousey – win the men’s and women’s WWE Royal Rumble matchups, while Simon was over in Abu Dhabi to mentor young journalists at the IMMAF World Championships.The pair also look back at Bellator 273, as Ryan Bader defied the oddsmakers, and the doubters, to retain his heavyweight title and unify the championship after defeating interim champion Valentin Moldavsky via unanimous decision in Phoenix, Arizona.There’s also time to look ahead to the next UFC event, as the octagon returns to the UFC Apex for UFC Fight Night: Hermansson vs. Strickland as both men look to pick up a big win to catapult themselves toward the top five in the UFC middleweight division.Enjoy the show! This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit thebritpack.substack.com

Both Simon and the Lord are involved in judging here. Simon's prejudicial judgement of a woman's Character and motives on the one hand, and the Saviour's incisive and frankly inspiring judgement of the woman and Simon are contrasted beautifully be Luke.

Episode one hundred and thirty-five of A History of Rock Music in Five Hundred Songs looks at “The Sound of Silence" by Simon and Garfunkel, and the many records they made, together and apart, before their success. Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have a ten-minute bonus episode available, on "Blues Run the Game" by Jackson C. Frank. Tilt Araiza has assisted invaluably by doing a first-pass edit, and will hopefully be doing so from now on. Check out Tilt's irregular podcasts at http://www.podnose.com/jaffa-cakes-for-proust and http://sitcomclub.com/ Errata I talk about a tour of Lancashire towns, but some of the towns I mention were in Cheshire at the time, and some are in Greater Manchester or Merseyside now. They're all very close together though. I say Mose Rager was Black. I was misremembering, confusing Mose Rager, a white player in the Muhlenberg style, with Arnold Schultz, a Black player who invented it. I got this right in the episode on "Bye Bye Love". Also, I couldn't track down a copy of the Paul Kane single version of “He Was My Brother” in decent quality, so I used the version on The Paul Simon Songbook instead, as they're basically identical performances. Resources As usual, I've created a Mixcloud playlist of the music excerpted here. This compilation collects all Simon and Garfunkel's studio albums, with bonus tracks, plus a DVD of their reunion concert. There are many collections of the pre-S&G recordings by the two, as these are now largely in the public domain. This one contains a good selection. I've referred to several books for this episode: Simon and Garfunkel: Together Alone by Spencer Leigh is a breezy, well-researched, biography of the duo. Paul Simon: The Life by Robert Hilburn is the closest thing there is to an authorised biography of Simon. And What is it All But Luminous? is Art Garfunkel's memoir. It's not particularly detailed, being more a collection of thoughts and poetry than a structured narrative, but gives a good idea of Garfunkel's attitude to people and events in his life. Roots, Radicals, and Rockers: How Skiffle Changed the World by Billy Bragg has some great information on the British folk scene of the fifties and sixties. And Singing From the Floor is an oral history of British folk clubs, including a chapter on Dylan's 1962 visit to London. Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript Today, we're going to take a look at a hit record that almost never happened -- a record by a duo who had already split up, twice, by the time it became a hit, and who didn't know it was going to come out. We're going to look at how a duo who started off as an Everly Brothers knockoff, before becoming unsuccessful Greenwich Village folkies, were turned into one of the biggest acts of the sixties by their producer. We're going to look at Simon and Garfunkel, and at "The Sound of Silence": [Excerpt: Simon and Garfunkel, "The Sound of Silence"] The story of Simon and Garfunkel starts with two children in a school play.  Neither Paul Simon or Art Garfunkel had many friends when they met in a school performance of Alice in Wonderland, where Simon was playing the White Rabbit and Garfunkel the Cheshire Cat. Simon was well-enough liked, by all accounts, but he'd been put on an accelerated programme for gifted students which meant he was progressing through school faster than his peers. He had a small social group, mostly based around playing baseball, but wasn't one of the popular kids. Art Garfunkel, another gifted student, had no friends at all until he got to know Simon, who he described later as his "one and only friend" in this time period. One passage in Garfunkel's autobiography seems to me to sum up everything about Garfunkel's personality as a child -- and indeed a large part of his personality as it comes across in interviews to this day. He talks about the pleasure he got from listening to the chart rundown on the radio -- "It was the numbers that got me. I kept meticulous lists—when a new singer like Tony Bennett came onto the charts with “Rags to Riches,” I watched the record jump from, say, #23 to #14 in a week. The mathematics of the jumps went to my sense of fun." Garfunkel is, to this day, a meticulous person -- on his website he has a list of every book he's read since June 1968, which is currently up to one thousand three hundred and ten books, and he has always had a habit of starting elaborate projects and ticking off every aspect of them as he goes. Both Simon and Garfunkel were outsiders at this point, other than their interests in sport, but Garfunkel was by far the more introverted of the two, and as a result he seems to have needed their friendship more than Simon did. But the two boys developed an intense, close, friendship, initially based around their shared sense of humour. Both of them were avid readers of Mad magazine, which had just started publishing when the two of them had met up, and both could make each other laugh easily. But they soon developed a new interest, when Martin Block on the middle-of-the-road radio show Make Believe Ballroom announced that he was going to play the worst record he'd ever heard. That record was "Gee" by the Crows: [Excerpt: The Crows, "Gee"] Paul Simon later said that that record was the first thing he'd ever heard on that programme that he liked, and soon he and Garfunkel had become regular listeners to Alan Freed's show on WINS, loving the new rock and roll music they were discovering. Art had already been singing in public from an early age -- his first public performance had been singing Nat "King" Cole's hit "Too Young" in a school talent contest when he was nine -- but the two started singing together. The first performance by Simon and Garfunkel was at a high school dance and, depending on which source you read, was a performance either of "Sh'Boom" or of Big Joe Turner's "Flip, Flop, and Fly": [Excerpt: Big Joe Turner, "Flip, Flop, and Fly"] The duo also wrote at least one song together as early as 1955 -- or at least Garfunkel says they wrote it together. Paul Simon describes it as one he wrote. They tried to get a record deal with the song, but it was never recorded at the time -- but Simon has later performed it: [Excerpt: Paul Simon, "The Girl For Me"] Even at this point, though, while Art Garfunkel was putting all his emotional energy into the partnership with Simon, Simon was interested in performing with other people. Al Kooper was another friend of Simon's at the time, and apparently Simon and Kooper would also perform together. Once Elvis came on to Paul's radar, he also bought a guitar, but it was when the two of them first heard the Everly Brothers that they realised what it was that they could do together. Simon fell in love with the Everly Brothers as soon as he heard "Bye Bye Love": [Excerpt: The Everly Brothers, "Bye Bye Love"] Up to this point, Paul hadn't bought many records -- he spent his money on baseball cards and comic books, and records just weren't good value. A pack of baseball cards was five cents, a comic book was ten cents, but a record was a dollar. Why buy records when you could hear music on the radio for free? But he needed that record, he couldn't just wait around to hear it on the radio. He made an hour-long two-bus journey to a record shop in Queens, bought the record, took it home, played it... and almost immediately scratched it. So he got back on the bus, travelled for another hour, bought another copy, took it home, and made sure he didn't scratch that one. Simon and Garfunkel started copying the Everlys' harmonies, and would spend hours together, singing close together watching each other's mouths and copying the way they formed words, eventually managing to achieve a vocal blend through sheer effort which would normally only come from familial closeness. Paul became so obsessed with music that he sold his baseball card collection and bought a tape recorder for two hundred dollars. They would record themselves singing, and then sing back along with it, multitracking themselves, but also critiquing the tape, refining their performances. Paul's father was a bass player -- "the family bassman", as he would later sing -- and encouraged his son in his music, even as he couldn't see the appeal in this new rock and roll music. He would critique Paul's songs, saying things like "you went from four-four to a bar of nine-eight, you can't do that" -- to which his son would say "I just did" -- but this wasn't hostile criticism, rather it was giving his son a basic grounding in song construction which would prove invaluable. But the duo's first notable original song -- and first hit -- came about more or less by accident. In early 1956, the doo-wop group the Clovers had released the hit single "Devil or Angel". Its B-side had a version of "Hey Doll Baby", a song written by the blues singer Titus Turner, and which sounds to me very inspired by Hank Williams' "Hey, Good Lookin'": [Excerpt: The Clovers, "Hey, Doll Baby"] That song was picked up by the Everly Brothers, who recorded it for their first album: [Excerpt: The Everly Brothers, "Hey Doll Baby"] Here is where the timeline gets a little confused for me, because that album wasn't released until early 1958, although the recording session for that track was in August 1957. Yet that track definitely influenced Paul Simon and Art Garfunkel to record a song that they released in November 1957. All I can imagine is that they heard the brothers perform it live, or maybe a radio station had an acetate copy. Because the way everyone has consistently told the story is that at the end of summer 1957, Simon and Garfunkel had both heard the Everly Brothers perform "Hey Doll Baby", but couldn't remember how it went. The two of them tried to remember it, and to work a version of it out together, and their hazy memories combined to reconstruct something that was completely different, and which owed at least as much to "Wake Up Little Suzie" as to "Hey Doll Baby". Their new song, "Hey Schoolgirl", was catchy enough that they thought if they recorded a demo of it, maybe the Everly Brothers themselves would record the song. At the demo studio they happened to encounter Sid Prosen, who owned a small record label named Big Records. He heard the duo perform and realised he might have his own Everly Brothers here. He signed the duo to a contract, and they went into a professional studio to rerecord "Hey Schoolgirl", this time with Paul's father on bass, and a couple of other musicians to fill out the sound: [Excerpt: Tom and Jerry, "Hey Schoolgirl"] Of course, the record couldn't be released under their real names -- there was no way anyone was going to buy a record by Simon and Garfunkel. So instead they became Tom and Jerry. Paul Simon was Jerry Landis -- a surname he chose because he had a crush on a girl named Sue Landis. Art became Tom Graff, because he liked drawing graphs. "Hey Schoolgirl" became a local hit. The two were thrilled to hear it played on Alan Freed's show (after Sid Prosen gave Freed two hundred dollars), and were even more thrilled when they got to perform on American Bandstand, on the same show as Jerry Lee Lewis. When Dick Clark asked them where they were from, Simon decided to claim he was from Macon, Georgia, where Little Richard came from, because all his favourite rock and roll singers were from the South. "Hey Schoolgirl" only made number forty-nine nationally, because the label didn't have good national distribution, but it sold over a hundred thousand copies, mostly in the New York area. And Sid Prosen seems to have been one of a very small number of independent label owners who wasn't a crook -- the two boys got about two thousand dollars each from their hit record. But while Tom and Jerry seemed like they might have a successful career, Simon and Garfunkel were soon to split up, and the reason for their split was named True Taylor. Paul had been playing some of his songs for Sid Prosen, to see what the duo's next single should be, and Prosen had noticed that while some of them were Everly Brothers soundalikes, others were Elvis soundalikes. Would Paul be interested in recording some of those, too? Obviously Art couldn't sing on those, so they'd use a different name, True Taylor. The single was released around the same time as the second Tom and Jerry record, and featured an Elvis-style ballad by Paul on one side, and a rockabilly song written by his father on the other: [Excerpt: True Taylor, "True or False"] But Paul hadn't discussed that record with Art before doing it, and the two had vastly different ideas about their relationship. Paul was Art's only friend, and Art thought they had an indissoluble bond and that they would always work together. Paul, on the other hand, thought of Art as one of his friends and someone he made music with, but he could play at being Elvis if he wanted, as well as playing at being an Everly brother. Garfunkel, in his memoir published in 2017, says "the friendship was shattered for life" -- he decided then and there that Paul Simon was a "base" person, a betrayer. But on the other hand, he still refers to Simon, over and over again, in that book as still being his friend, even as Simon has largely been disdainful of him since their last performance together in 2010. Friendships are complicated. Tom and Jerry struggled on for a couple more singles, which weren't as successful as "Hey Schoolgirl" had been, with material like "Two Teenagers", written by Rose Marie McCoy: [Excerpt: Tom and Jerry, "Two Teenagers"] But as they'd stopped being friends, and they weren't selling records, they drifted apart and didn't really speak for five years, though they would occasionally run into one another. They both went off to university, and Garfunkel basically gave up on the idea of having a career in music, though he did record a couple of singles, under the name "Artie Garr": [Excerpt: Artie Garr, "Beat Love"] But for the most part, Garfunkel concentrated on his studies, planning to become either an architect or maybe an academic. Paul Simon, on the other hand, while he was technically studying at university too, was only paying minimal attention to his studies. Instead, he was learning the music business. Every afternoon, after university had finished, he'd go around the Brill Building and its neighbouring buildings, offering his services both as a songwriter and as a demo performer. As Simon was competent on guitar, bass, and drums, could sing harmonies, and could play a bit of piano if it was in the key of C, he could use primitive multitracking to play and sing all the parts on a demo, and do it well: [Excerpt: Paul Simon, "Boys Were Made For Girls"] That's an excerpt from a demo Simon recorded for Burt Bacharach, who has said that he tried to get Simon to record as many of his demos as possible, though only a couple of them have surfaced publicly. Simon would also sometimes record demos with his friend Carole Klein, sometimes under the name The Cosines: [Excerpt: The Cosines, "Just to Be With You"] As we heard back in the episode on "Will You Love Me Tomorrow?", Carole Klein went on to change her name to Carole King, and become one of the most successful songwriters of the era -- something which spurred Paul Simon on, as he wanted to emulate her success. Simon tried to get signed up by Don Kirshner, who was publishing Goffin and King, but Kirshner turned Simon down -- an expensive mistake for Kirshner, but one that would end up benefiting Simon, who eventually figured out that he should own his own publishing. Simon was also getting occasional work as a session player, and played lead guitar on "The Shape I'm In" by Johnny Restivo, which made the lower reaches of the Hot One Hundred: [Excerpt: Johnny Restivo, "The Shape I'm In"] Between 1959 and 1963 Simon recorded a whole string of unsuccessful pop singles. including as a member of the Mystics: [Excerpt: The Mystics, "All Through the Night"] He even had a couple of very minor chart hits -- he got to number 99 as Tico and the Triumphs: [Excerpt: Tico and the Triumphs, "Motorcycle"] and number ninety-seven as Jerry Landis: [Excerpt: Jerry Landis, "The Lone Teen Ranger"] But he was jumping around, hopping onto every fad as it passed, and not getting anywhere. And then he started to believe that he could do something more interesting in music. He first became aware that the boundaries of what could be done in music extended further than "ooh-bop-a-loochy-ba" when he took a class on modern music at university, which included a trip to Carnegie Hall to hear a performance of music by the avant-garde composer Edgard Varese: [Excerpt: Edgard Varese, "Ionisation"] Simon got to meet Varese after the performance, and while he would take his own music in a very different, and much more commercial, direction than Varese's, he was nonetheless influenced by what Varese's music showed about the possibilities that existed in music. The other big influence on Simon at this time was when he heard The Freewheelin' Bob Dylan: [Excerpt: Bob Dylan, "Girl From the North Country"] Simon immediately decided to reinvent himself as a folkie, despite at this point knowing very little about folk music other than the Everly Brothers' Songs Our Daddy Taught Us album. He tried playing around Greenwich Village, but found it an uncongenial atmosphere, and inspired by the liner notes to the Dylan album, which talked about Dylan's time in England, he made what would be the first of several trips to the UK, where he was given a rapturous reception simply on the grounds of being an American and owning a better acoustic guitar -- a Martin -- than most British people owned. He had the showmanship that he'd learned from watching his father on stage and sometimes playing with him, and from his time in Tom and Jerry and working round the studios, and so he was able to impress the British folk-club audiences, who were used to rather earnest, scholarly, people, not to someone like Simon who was clearly ambitious and very showbiz. His repertoire at this point consisted mostly of songs from the first two Dylan albums, a Joan Baez record, Little Willie John's "Fever", and one song he'd written himself, an attempt at a protest song called "He Was My Brother", which he would release on his return to the US under yet another stage name, Paul Kane: [Excerpt: Paul Kane, "He Was My Brother"] Simon has always stated that that song was written about a friend of his who was murdered when he went down to Mississippi with the Freedom Riders -- but while Simon's friend was indeed murdered, it wasn't until about a year after he wrote the song, and Simon has confused the timelines in his subsequent recollections. At the time he recorded that, when he had returned to New York at the end of the summer, Simon had a job as a song plugger for a publishing company, and he gave the publishing company the rights to that song and its B-side, which led to that B-side getting promoted by the publisher, and ending up covered on one of the biggest British albums of 1964, which went to number two in the UK charts: [Excerpt: Val Doonican, "Carlos Dominguez"] Oddly, that may not end up being the only time we feature a Val Doonican track on this podcast. Simon continued his attempts to be a folkie, even teaming up again with Art Garfunkel, with whom he'd re-established contact, to perform in Greenwich Village as Kane and Garr, but they went down no better as a duo than Simon had as a solo artist. Simon went back to the UK again over Christmas 1963, and while he was there he continued work on a song that would become such a touchstone for him that of the first six albums he would be involved in, four would feature the song while a fifth would include a snippet of it. "The Sound of Silence" was apparently started in November 1963, but not finished until February 1964, by which time he was once again back in the USA, and back working as a song plugger. It was while working as a song plugger that Simon first met Tom Wilson, Bob Dylan's producer at Columbia. Simon met up with Wilson trying to persuade him to use some of the songs that the publishing company were putting out. When Wilson wasn't interested, Simon played him a couple of his own songs. Wilson took one of them, "He Was My Brother", for the Pilgrims, a group he was producing who were supposed to be the Black answer to Peter, Paul, and Mary: [Excerpt: The Pilgrims, "He Was My Brother"] Wilson was also interested in "The Sound of Silence", but Simon was more interested in getting signed as a performer than in having other acts perform his songs. Wilson was cautious, though -- he was already producing one folkie singer-songwriter, and he didn't really need a second one. But he *could* probably do with a vocal group... Simon mentioned that he had actually made a couple of records before, as part of a duo. Would Wilson be at all interested in a vocal *duo*? Wilson would be interested. Simon and Garfunkel auditioned for him, and a few days later were in the Columbia Records studio on Seventh Avenue recording their first album as a duo, which was also the first time either of them would record under their own name. Wednesday Morning, 3AM, the duo's first album, was a simple acoustic album, and the only instrumentation was Simon and Barry Kornfeld, a Greenwich Village folkie, on guitars, and Bill Lee, the double bass player who'd played with Dylan and others, on bass. Tom Wilson guided the duo in their song selection, and the eventual album contained six cover versions and six originals written by Simon. The cover versions were a mixture of hootenanny staples like "Go Tell it on the Mountain", plus Dylan's "The Times They Are A-Changin'", included to cross-promote Dylan's new album and to try to link the duo with the more famous writer, and one unusual one, "The Sun is Burning", written by Ian Campbell, a Scottish folk singer who Simon had got to know on his trips to the UK: [Excerpt: Simon and Garfunkel, "The Sun is Burning"] But the song that everyone was keenest on was "The Sound of Silence", the first song that Simon had written that he thought would stand up in comparison with the sort of song that Dylan was writing: [Excerpt: Simon and Garfunkel, "The Sound of Silence (Wednesday Morning 3AM version)"] In between sessions for the album, Simon and Garfunkel also played a high-profile gig at Gerde's Folk City in the Village, and a couple of shows at the Gaslight Cafe. The audiences there, though, regarded them as a complete joke -- Dave Van Ronk would later relate that for weeks afterwards, all anyone had to do was sing "Hello darkness, my old friend", for everyone around to break into laughter. Bob Dylan was one of those who laughed at the performance -- though Robert Shelton later said that Dylan hadn't been laughing at them, specifically, he'd just had a fit of the giggles -- and this had led to a certain amount of anger from Simon towards Dylan. The album was recorded in March 1964, and was scheduled for release  in October. In the meantime, they both made plans to continue with their studies and their travels. Garfunkel was starting to do postgraduate work towards his doctorate in mathematics, while Simon was now enrolled in Brooklyn Law School, but was still spending most of his time travelling, and would drop out after one semester. He would spend much of the next eighteen months in the UK. While he was occasionally in the US between June 1964 and November 1965, Simon now considered himself based in England, where he made several acquaintances that would affect his life deeply. Among them were a young woman called Kathy Chitty, with whom he would fall in love and who would inspire many of his songs, and an older woman called Judith Piepe (and I apologise if I'm mispronouncing her name, which I've only ever seen written down, never heard) who many people believed had an unrequited crush on Simon. Piepe ran her London flat as something of a commune for folk musicians, and Simon lived there for months at a time while in the UK. Among the other musicians who stayed there for a time were Sandy Denny, Cat Stevens, and Al Stewart, whose bedroom was next door to Simon's. Piepe became Simon's de facto unpaid manager and publicist, and started promoting him around the British folk scene. Simon also at this point became particularly interested in improving his guitar playing. He was spending a lot of time at Les Cousins, the London club that had become the centre of British acoustic guitar. There are, roughly, three styles of acoustic folk guitar -- to be clear, I'm talking about very broad-brush categorisations here, and there are people who would disagree and say there are more, but these are the main ones. Two of these are American styles -- there's the simple style known as Carter scratching, popularised by Mother Maybelle Carter of the Carter family, and for this all you do is alternate bass notes with your thumb while scratching the chord on the treble strings with one finger, like this: [Excerpt: Carter picking] That's the style played by a lot of country and folk players who were primarily singers accompanying themselves. In the late forties and fifties, though, another style had become popularised -- Travis picking. This is named after Merle Travis, the most well-known player in the style, but he always called it Muhlenberg picking, after Muhlenberg County, where he'd learned the style from Ike Everly -- the Everly Brothers' father -- and Mose Rager, a Black guitarist. In Travis picking, the thumb alternates between two bass notes, but rather than strumming a chord, the index and middle fingers play simple patterns on the treble strings, like this: [Excerpt: Travis picking] That's, again, a style primarily used for accompaniment, but it can also be used to play instrumentals by oneself. As well as Travis and Ike Everly, it's also the style played by Donovan, Chet Atkins, James Taylor, and more. But there's a third style, British baroque folk guitar, which was largely the invention of Davey Graham. Graham, you might remember, was a folk guitarist who had lived in the same squat as Lionel Bart when Bart started working with Tommy Steele, and who had formed a blues duo with Alexis Korner. Graham is now best known for one of his simpler pieces, “Anji”, which became the song that every British guitarist tried to learn: [Excerpt: Davey Graham, "Anji"] Dozens of people, including Paul Simon, would record versions of that. Graham invented an entirely new style of guitar playing, influenced by ragtime players like Blind Blake, but also by Bach, by Moroccan oud music, and by Celtic bagpipe music. While it was fairly common for players to retune their guitar to an open major chord, allowing them to play slide guitar, Graham retuned his to a suspended fourth chord -- D-A-D-G-A-D -- which allowed him to keep a drone going on some strings while playing complex modal counterpoints on others. While I demonstrated the previous two styles myself, I'm nowhere near a good enough guitarist to demonstrate British folk baroque, so here's an excerpt of Davey Graham playing his own arrangement of the traditional ballad "She Moved Through the Fair", recast as a raga and retitled "She Moved Thru' the Bizarre": [Excerpt: Davey Graham, "She Moved Thru' the Bizarre"] Graham's style was hugely influential on an entire generation of British guitarists, people who incorporated world music and jazz influences into folk and blues styles, and that generation of guitarists was coming up at the time and playing at Les Cousins. People who started playing in this style included Jimmy Page, Bert Jansch, Roy Harper, John Renbourn, Richard Thompson, Nick Drake, and John Martyn, and it also had a substantial influence on North American players like Joni Mitchell, Tim Buckley, and of course Paul Simon. Simon was especially influenced at this time by Martin Carthy, the young British guitarist whose style was very influenced by Graham -- but while Graham applied his style to music ranging from Dave Brubeck to Lutheran hymns to Big Bill Broonzy songs, Carthy mostly concentrated on traditional English folk songs. Carthy had a habit of taking American folk singers under his wing, and he taught Simon several songs, including Carthy's own arrangement of the traditional "Scarborough Fair": [Excerpt: Martin Carthy, "Scarborough Fair"] Simon would later record that arrangement, without crediting Carthy, and this would lead to several decades of bad blood between them, though Carthy forgave him in the 1990s, and the two performed the song together at least once after that. Indeed, Simon seems to have made a distinctly negative impression on quite a few of the musicians he knew in Britain at this time, who seem to, at least in retrospect, regard him as having rather used and discarded them as soon as his career became successful. Roy Harper has talked in liner notes to CD reissues of his work from this period about how Simon used to regularly be a guest in his home, and how he has memories of Simon playing with Harper's baby son Nick (now himself one of the greats of British guitar) but how as soon as he became successful he never spoke to Harper again. Similarly, in 1965 Simon started a writing partnership with Bruce Woodley of the Seekers, an Australian folk-pop band based in the UK, best known for "Georgy Girl". The two wrote "Red Rubber Ball", which became a hit for the Cyrkle: [Excerpt: The Cyrke, "Red Rubber Ball"] and also "Cloudy", which the Seekers recorded as an album track: [Excerpt: The Seekers, "Cloudy"] When that was recorded by Simon and Garfunkel, Woodley's name was removed from the writing credits, though Woodley still apparently received royalties for it. But at this point there *was* no Simon and Garfunkel. Paul Simon was a solo artist working the folk clubs in Britain, and Simon and Garfunkel's one album had sold a minuscule number of copies. They did, when Simon briefly returned to the US in March, record two tracks for a prospective single, this time with an electric backing band. One was a rewrite of the title track of their first album, now titled "Somewhere They Can't Find Me" and with a new chorus and some guitar parts nicked from Davey Graham's "Anji"; the other a Twist-beat song that could almost be Manfred Mann or Georgie Fame -- "We Got a Groovy Thing Goin'". That was also influenced by “Anji”, though by Bert Jansch's version rather than Graham's original. Jansch rearranged the song and stuck in this phrase: [Excerpt: Bert Jansch, “Anji”] Which became the chorus to “We Got a Groovy Thing Goin'”: [Excerpt: Simon and Garfunkel, "We Got a Groovy Thing Goin'"] But that single was never released, and as far as Columbia were concerned, Simon and Garfunkel were a defunct act, especially as Tom Wilson, who had signed them, was looking to move away from Columbia. Art Garfunkel did come to visit Simon in the UK a couple of times, and they'd even sing together occasionally, but it was on the basis of Paul Simon the successful club act occasionally inviting his friend on stage during the encore, rather than as a duo, and Garfunkel was still seeing music only as a sideline while Simon was now utterly committed to it. He was encouraged in this commitment by Judith Piepe, who considered him to be the greatest songwriter of his generation, and who started a letter-writing campaign to that effect, telling the BBC they needed to put him on the radio. Eventually, after a lot of pressure, they agreed -- though they weren't exactly sure what to do with him, as he didn't fit into any of the pop formats they had. He was given his own radio show -- a five-minute show in a religious programming slot. Simon would perform a song, and there would be an introduction tying the song into some religious theme or other. Two series of four episodes of this were broadcast, in a plum slot right after Housewives' Choice, which got twenty million listeners, and the BBC were amazed to find that a lot of people phoned in asking where they could get hold of the records by this Paul Simon fellow. Obviously he didn't have any out yet, and even the Simon and Garfunkel album, which had been released in the US, hadn't come out in Britain. After a little bit of negotiation, CBS, the British arm of Columbia Records, had Simon come in and record an album of his songs, titled The Paul Simon Songbook. The album, unlike the Simon and Garfunkel album, was made up entirely of Paul Simon originals. Two of them were songs that had previously been recorded for Wednesday Morning 3AM -- "He Was My Brother" and a new version of "The Sound of Silence": [Excerpt: Paul Simon, "The Sound of Silence"] The other ten songs were newly-written pieces like "April Come She Will", "Kathy's Song", a parody of Bob Dylan entitled "A Simple Desultory Philippic", and the song that was chosen as the single, "I am a Rock": [Excerpt: Paul Simon, "I am a Rock"] That song was also the one that was chosen for Simon's first TV appearance since Tom and Jerry had appeared on Bandstand eight years earlier. The appearance on Ready, Steady, Go, though, was not one that anyone was happy with. Simon had been booked to appear on  a small folk music series, Heartsong, but that series was cancelled before he could appear. Rediffusion, the company that made the series, also made Ready, Steady, Go, and since they'd already paid Simon they decided they might as well stick him on that show and get something for their money. Unfortunately, the episode in question was already running long, and it wasn't really suited for introspective singer-songwriter performances -- the show was geared to guitar bands and American soul singers. Michael Lindsay-Hogg, the director, insisted that if Simon was going to do his song, he had to cut at least one verse, while Simon was insistent that he needed to perform the whole thing because "it's a story". Lindsay-Hogg got his way, but nobody was happy with the performance. Simon's album was surprisingly unsuccessful, given the number of people who'd called the BBC asking about it -- the joke went round that the calls had all been Judith Piepe doing different voices -- and Simon continued his round of folk clubs, pubs, and birthday parties, sometimes performing with Garfunkel, when he visited for the summer, but mostly performing on his own. One time he did perform with a full band, singing “Johnny B Goode” at a birthday party, backed by a band called Joker's Wild who a couple of weeks later went into the studio to record their only privately-pressed five-song record, of them performing recent hits: [Excerpt: Joker's Wild, "Walk Like a Man"] The guitarist from Joker's Wild would later join the other band who'd played at that party, but the story of David Gilmour joining Pink Floyd is for another episode. During this time, Simon also produced his first record for someone else, when he was responsible for producing the only album by his friend Jackson C Frank, though there wasn't much production involved as like Simon's own album it was just one man and his guitar. Al Stewart and Art Garfunkel were also in the control room for the recording, but the notoriously shy Frank insisted on hiding behind a screen so they couldn't see him while he recorded: [Excerpt: Jackson C Frank, "Blues Run the Game"] It seemed like Paul Simon was on his way to becoming a respected mid-level figure on the British folk scene, releasing occasional albums and maybe having one or two minor hits, but making a steady living. Someone who would be spoken of in the same breath as Ralph McTell perhaps. Meanwhile, Art Garfunkel would be going on to be a lecturer in mathematics whose students might be surprised to know he'd had a minor rock and roll hit as a kid. But then something happened that changed everything. Wednesday Morning 3AM hadn't sold at all, and Columbia hadn't promoted it in the slightest. It was too collegiate and polite for the Greenwich Village folkies, and too intellectual for the pop audience that had been buying Peter, Paul, and Mary, and it had come out just at the point that the folk boom had imploded. But one DJ in Boston, Dick Summer, had started playing one song from it, "The Sound of Silence", and it had caught on with the college students, who loved the song. And then came spring break 1965. All those students went on holiday, and suddenly DJs in places like Cocoa Beach, Florida, were getting phone calls requesting "The Sound of Silence" by Simon and Garfunkel. Some of them with contacts at Columbia got in touch with the label, and Tom Wilson had an idea. On the first day of what turned out to be his last session with Dylan, the session for "Like a Rolling Stone", Wilson asked the musicians to stay behind and work on something. He'd already experimented with overdubbing new instruments on an acoustic recording with his new version of Dylan's "House of the Rising Sun", now he was going to try it with "The Sound of Silence". He didn't bother asking the duo what they thought -- record labels messed with people's records all the time. So "The Sound of Silence" was released as an electric folk-rock single: [Excerpt: Simon and Garfunkel, "The Sound of Silence"] This is always presented as Wilson massively changing the sound of the duo without their permission or knowledge, but the fact is that they had *already* gone folk-rock, back in March, so they were already thinking that way. The track was released as a single with “We Got a Groovy Thing Going” on the B-side, and was promoted first in the Boston market, and it did very well. Roy Harper later talked about Simon's attitude at this time, saying "I can remember going into the gents in The Three Horseshoes in Hempstead during a gig, and we're having a pee together. He was very excited, and he turns round to me and and says, “Guess what, man? We're number sixteen in Boston with The Sound of Silence'”. A few days later I was doing another gig with him and he made a beeline for me. “Guess what?” I said “You're No. 15 in Boston”. He said, “No man, we're No. 1 in Boston”. I thought, “Wow. No. 1 in Boston, eh?” It was almost a joke, because I really had no idea what that sort of stuff meant at all." Simon was even more excited when the record started creeping up the national charts, though he was less enthused when his copy of the single arrived from America. He listened to it, and thought the arrangement was a Byrds rip-off, and cringed at the way the rhythm section had to slow down and speed up in order to stay in time with the acoustic recording: [Excerpt: Simon and Garfunkel, "The Sound of Silence"] I have to say that, while the tempo fluctuations are noticeable once you know to look for them, it's a remarkably tight performance given the circumstances. As the record went up the charts, Simon was called back to America, to record an album to go along with it. The Paul Simon Songbook hadn't been released in the US,  and they needed an album *now*, and Simon was a slow songwriter, so the duo took six songs from that album and rerecorded them in folk-rock versions with their new producer Bob Johnston, who was also working with Dylan now, since Tom Wilson had moved on to Verve records. They filled out the album with "The Sound of Silence", the two electric tracks from March, one new song, "Blessed", and a version of "Anji", which came straight after "Somewhere They Can't Find Me", presumably to acknowledge Simon lifting bits of it. That version of “Anji” also followed Jansch's arrangement, and so included the bit that Simon had taken for “We Got a Groovy Thing Going” as well. They also recorded their next single, which was released on the British version of the album but not the American one, a song that Simon had written during a thoroughly depressing tour of Lancashire towns (he wrote it in Widnes, but a friend of Simon's who lived in Widnes later said that while it was written in Widnes it was written *about* Birkenhead. Simon has also sometimes said it was about Warrington or Wigan, both of which are so close to Widnes and so similar in both name and atmosphere that it would be the easiest thing in the world to mix them up.) [Excerpt: Simon and Garfunkel, "Homeward Bound"] These tracks were all recorded in December 1965, and they featured the Wrecking Crew -- Bob Johnston wanted the best, and didn't rate the New York players that Wilson had used, and so they were recorded in LA with Glen Campbell, Joe South, Hal Blaine, Larry Knechtel, and Joe Osborne. I've also seen in some sources that there were sessions in Nashville with A-team players Fred Carter and Charlie McCoy. By January, "The Sound of Silence" had reached number one, knocking "We Can Work it Out" by the Beatles off the top spot for two weeks, before the Beatles record went back to the top. They'd achieved what they'd been trying for for nearly a decade, and I'll give the last word here to Paul Simon, who said of the achievement: "I had come back to New York, and I was staying in my old room at my parents' house. Artie was living at his parents' house, too. I remember Artie and I were sitting there in my car one night, parked on a street in Queens, and the announcer said, "Number one, Simon & Garfunkel." And Artie said to me, "That Simon & Garfunkel, they must be having a great time.""

The NFL Draft has come and gone and Simon and Nick take a look at the big winners and losers. Also, are the Packers doing Aaron Rogers dirty, or is he just being a jerk? Plus a look at the Browns and Steelers picks. Both Simon and Nick LOVE the Najee Harris pick... for obvious different reasons. Paperhouse Network ShowsMerch StoreSilk City Hot Sacuce Use Code: RIVALS for 15% off

In this episode, I speak with Simon from the Music on Your own Terms podcast all about making merch that actually sells and personal development. Both Simon and I are super passionate about mental health and personal development and he answers my question around whether creatives are particularly susceptible to mental health issues compared to non-creatives. The answer will surprise you! Join the Being in a Band Membership: https://bit.ly/BIABMembership Connect with Simon: musiconyourownterms.com facebook.com/musiconyourownterms instagram.com/musiconyourownterms Connect with his merch company, The Skinny Armadillo: https://theskinnyarmadillo.com

In this episode, I speak with Simon from the Music on Your own Terms podcast all about making merch that actually sells and personal development. Both Simon and I are super passionate about mental health and personal development and he answers my question around whether creatives are particularly susceptible to mental health issues compared to non-creatives.  The answer will surprise you!Join the Being in a Band Membership: https://bit.ly/BIABMembershipConnect with Simon:musiconyourownterms.comfacebook.com/musiconyourowntermsinstagram.com/musiconyourownterms Connect with his merch company, The Skinny Armadillo:https://theskinnyarmadillo.com 

Robot sex, vegan meat, pesticides, the goddamn CIA, aliens, ancient civilizations are just a few of this week's talking points. Both Simon and Kamar feel that 3 episodes a week is the new norm. Personally, I think it's just COVID making things difficult for poor ol' Joe. I guess time will tell... Let us know what you think! 0:15:31 - Jenny Kleeman 1:14:06 - Frank von Hippel 2:02:55 - Bridget Phetasy We hope you enjoy the show!! Our sponsor for this episode: www.Betterhelp.com Visit www.betterhelp.com/jree for a 10% discount today. They offer online counseling that is discreet and completely confidential. No waiting rooms, no hassle! Get help today from betterhelp.com !!! As always, you can listen to every episode of The Joe Rogan Experience here https://www.joerogan.com/ Follow us on Instagram here https://www.instagram.com/jreepodcast/ Follow Joe on Instagram here https://www.instagram.com/joerogan Follow Jamie on Instagram here https://www.instagram.com/jamievernon Follow Kamar on Instagram here https://www.instagram.com/kamar_babar/ Follow Floyd on Instagram here https://www.instagram.com/floydeeeee Send us an email here jreepodcast@gmail.com Follow the Subreddit here https://www.reddit.com/r/jreepodcast/ Subscribe to our Youtube channel here https://www.youtube.com/jreepodcast Beats by: Ghettosocks here  https://www.instagram.com/ghettosocks Support us here https://www.patreon.com/jreepodcast Free trial of Alpha Brain (US ONLY) https://www.onnit.com/jree 

In this episode we're building a half orc wizard! Those of you who have been with us since episode 1 know that we mentioned it as a comment on making interesting characters, not being bound by min maxing, so allow us to introduce our new D&D sub series... "Let's Build". This is the first of those - so, Let's build a half orc wizard! Both Simon and I have created a half orc wizard build and we'll be discussing how we did it, the process and thinking behind the choices and explaining how character creation works What should we build next?

Veteran games journalist Will Freeman hosts this special episode of Inside Indie Games.Many of the companies that we support operate remote working and as dispersed teams. But the present enforced home-working for many sectors lucky enough to have it as an option has brought the practice firmly into the spotlight and for many it’s been a new novelty.Joined by Colin Anderson (Denki) and Simon Bennett (Roll7), Will explores what opportunities and challenges remote working can have for indie games developers. Both Simon and Colin explore what does and doesn’t work well and offer advice on how to be productive.Will is joined by our very own Deborah Farley, Head of Tranzfuser. Together they discuss how a UK-wide summer programme can, and does, work successfully across a wide network of support Hubs.

Welcome to the Back Bedroom to Big Business podcast hosted by the experienced entrepreneurs Dino Tartaglia and Simon Hartley. During this weekly business podcast, Dino and Simon discuss the many route to being a successful entrepreneur. Both Simon and Dino have run successful businesses on their own. They’ve come together in this podcast with the hopes of helping you! Welcome to your new favorite podcast for entrepreneurs.   In this episode, Dino and Simon tackle the first in their series of five fatal mistakes, obsession. (See episodes 1-5 for the successful characteristics series.)  Dino advises that failure to recover from some of these mistakes can cause your business to fail miserably. Before getting started with the topic for today, our hosts give a quick rundown about this series of mistakes.    Five Fatal Mistakes: Obsession/denial My creation has life Microwave mindset - need for speed Misunderstanding urgency and mistaking it for speed Thrill of the chase - irrational exuberance Danger of overexcitement Wrong trousers Showing up as the wrong person in your business There’s no spare toilet roll Running out of cash/cashflow When asked what is different about their business people will often give a lot of emotion and not data. No one wants to hear that their business plan is the same, irrelevent, uneeded or set up to fail.  You have to let your baby (business) grow up and not be blindly and emotionally obsessed then creating a blindspot. When you are in the process of making a decision are you using rationale or emotion?   “People describe their business as their baby.” “We’re different and we care more . . . that’s exactly what every recruitment consultant I’ve ever heard says.” “We don’t often operate logic and emotion at the same time.” “Cant see the forest for the trees because you planted them.”   Visit our Website! www.successengineers.co Dino Tartaglia's LinkedIn Simon Hartley's LinkedIn Simon's website - Be World Class Simon's YouTube Channel

Simon Heseltine with Jason Barnard at Ungagged Los Angeles 2019 Simon Heseltine talks with Jason Barnard about SEO for Publishing with AOL. AOL were very very big and were going to dominate the world. Did the CD work? Yes it did. At one point, for 2 weeks, no other CDs were produced in the world. Simon Heseltine was doing SEO for TechCrunch, but the journalists didn't want to listen. So he took them out to lunch and charmed them into submission. Problem solved! Both Simon and AOL were precursors. They had a two-pronged approach – copywriting and tech. Then onto examples of extreme preciceness, then the vagueness in queries and results… and how queries change with story evolution (and articles must change too). Play on people's vanity to get them to do what you want. Sounds very creepy, but is less so than it sounds.

Simon Heseltine with Jason Barnard at Ungagged Los Angeles 2019 Simon Heseltine talks with Jason Barnard about SEO for Publishing with AOL. AOL were very very big and were going to dominate the world. Did the CD work? Yes it did. At one point, for 2 weeks, no other CDs were produced in the world. Simon Heseltine was doing SEO for TechCrunch, but the journalists didn't want to listen. So he took them out to lunch and charmed them into submission. Problem solved! Both Simon and AOL were precursors. They had a two-pronged approach – copywriting and tech. Then onto examples of extreme preciceness, then the vagueness in queries and results… and how queries change with story evolution (and articles must change too). Play on people's vanity to get them to do what you want. Sounds very creepy, but is less so than it sounds.

Simon Heseltine with Jason Barnard at Ungagged Los Angeles 2019 Simon Heseltine talks with Jason Barnard about SEO for Publishing with AOL. AOL were very very big and were going to dominate the world. Did the CD work? Yes it did. At one point, for 2 weeks, no other CDs were produced in the world. Simon Heseltine was doing SEO for TechCrunch, but the journalists didn't want to listen. So he took them out to lunch and charmed them into submission. Problem solved! Both Simon and AOL were precursors. They had a two-pronged approach – copywriting and tech. Then onto examples of extreme preciceness, then the vagueness in queries and results… and how queries change with story evolution (and articles must change too). Play on people's vanity to get them to do what you want. Sounds very creepy, but is less so than it sounds.

AOL were very very big and were going to dominate the world. Did the CD work? Yes it did. At one point, for 2 weeks, no other CDs were produced in the world. Simon was doing SEO for TechCrunch, but the journalists didn’t want to listen. So he took them out to lunch and charmed them into submission. Problem solved! Both Simon and AOL were precursors. They had a two-pronged approach – copywriting and tech. Then onto examples of extreme preciceness, then the vagueness in queries and results… and how queries change with story evolution (and articles must change too). Play on people’s vanity to get them to do what you want. Sounds very creepy, but is less so than it sounds.

In the first of a three part interview, bee experts Simon Mulvany and Ben Moore compare Australia's honey bee industry with those in Europe and New Zealand. They discuss the big problems caused by the varroa mite and welcome the banning of neonicotinoids, which are widely-used insecticides deadly to bees. Both Simon and Ben are firm believers that social media can be pivotal in raising awareness of the serious dangers facing bees and those who depend on them around the world.

In this Episode we talk about our reactions to the opening of Episode 8 The Last Jedi. Both Simon and Bella have lots of ideas about some of the big moments that happen and some of the funny scenes from the movie. BE AWARE OF SPOILERS IF YOU HAVEN'T SEEN THE MOVIE YET! We also talk about how we made it into the Kennebec Journal Newspaper article: http://www.centralmaine.com/2017/12/14/star-wars-fans-turn-out-in-force-for-opening-of-the-last-jedi/

The Transition Years 134:0.1 (1483.1) DURING the Mediterranean journey Jesus had carefully studied the people he met and the countries through which he passed, and at about this time he reached his final decision as to the remainder of his life on earth. He had fully considered and now finally approved the plan which provided that he be born of Jewish parents in Palestine, and he therefore deliberately returned to Galilee to await the beginning of his lifework as a public teacher of truth; he began to lay plans for a public career in the land of his father Joseph’s people, and he did this of his own free will. 134:0.2 (1483.2) Jesus had found out through personal and human experience that Palestine was the best place in all the Roman world wherein to set forth the closing chapters, and to enact the final scenes, of his life on earth. For the first time he became fully satisfied with the program of openly manifesting his true nature and of revealing his divine identity among the Jews and gentiles of his native Palestine. He definitely decided to finish his life on earth and to complete his career of mortal existence in the same land in which he entered the human experience as a helpless babe. His Urantia career began among the Jews in Palestine, and he chose to terminate his life in Palestine and among the Jews. 1. The Thirtieth Year (A.D. 24) 134:1.1 (1483.3) After taking leave of Gonod and Ganid at Charax (in December of A.D. 23), Jesus returned by way of Ur to Babylon, where he joined a desert caravan that was on its way to Damascus. From Damascus he went to Nazareth, stopping only a few hours at Capernaum, where he paused to call on Zebedee’s family. There he met his brother James, who had sometime previously come over to work in his place in Zebedee’s boatshop. After talking with James and Jude (who also chanced to be in Capernaum) and after turning over to his brother James the little house which John Zebedee had managed to buy, Jesus went on to Nazareth. 134:1.2 (1483.4) At the end of his Mediterranean journey Jesus had received sufficient money to meet his living expenses almost up to the time of the beginning of his public ministry. But aside from Zebedee of Capernaum and the people whom he met on this extraordinary trip, the world never knew that he made this journey. His family always believed that he spent this time in study at Alexandria. Jesus never confirmed these beliefs, neither did he make open denial of such misunderstandings. 134:1.3 (1483.5) During his stay of a few weeks at Nazareth, Jesus visited with his family and friends, spent some time at the repair shop with his brother Joseph, but devoted most of his attention to Mary and Ruth. Ruth was then nearly fifteen years old, and this was Jesus’ first opportunity to have long talks with her since she had become a young woman. 134:1.4 (1484.1) Both Simon and Jude had for some time wanted to get married, but they had disliked to do this without Jesus’ consent; accordingly they had postponed these events, hoping for their eldest brother’s return. Though they all regarded James as the head of the family in most matters, when it came to getting married, they wanted the blessing of Jesus. So Simon and Jude were married at a double wedding in early March of this year, A.D. 24. All the older children were now married; only Ruth, the youngest, remained at home with Mary. 134:1.5 (1484.2) Jesus visited with the individual members of his family quite normally and naturally, but when they were all together, he had so little to say that they remarked about it among themselves. Mary especially was disconcerted by this unusually peculiar behavior of her first-born son. 134:1.6 (1484.3) About the time Jesus was preparing to leave Nazareth, the conductor of a large caravan which was passing through the city was taken violently ill, and Jesus, being a linguist, volunteered to take his place. Since this trip would necessitate his absence for a year, and inasmuch as all his brothers were married and his mother was living at home with Ruth, Jesus called a family conference at which he proposed that his mother and Ruth go to Capernaum to live in the home which he had so recently given to James. Accordingly, a few days after Jesus left with the caravan, Mary and Ruth moved to Capernaum, where they lived for the rest of Mary’s life in the home that Jesus had provided. Joseph and his family moved into the old Nazareth home. 134:1.7 (1484.4) This was one of the more unusual years in the inner experience of the Son of Man; great progress was made in effecting working harmony between his human mind and the indwelling Adjuster. The Adjuster had been actively engaged in reorganizing the thinking and in rehearsing the mind for the great events which were in the not then distant future. The personality of Jesus was preparing for his great change in attitude toward the world. These were the in-between times, the transition stage of that being who began life as God appearing as man, and who was now making ready to complete his earth career as man appearing as God. 2. The Caravan Trip to the Caspian 134:2.1 (1484.5) It was the first of April, A.D. 24, when Jesus left Nazareth on the caravan trip to the Caspian Sea region. The caravan which Jesus joined as its conductor was going from Jerusalem by way of Damascus and Lake Urmia through Assyria, Media, and Parthia to the southeastern Caspian Sea region. It was a full year before he returned from this journey. 134:2.2 (1484.6) For Jesus this caravan trip was another adventure of exploration and personal ministry. He had an interesting experience with his caravan family — passengers, guards, and camel drivers. Scores of men, women, and children residing along the route followed by the caravan lived richer lives as a result of their contact with Jesus, to them, the extraordinary conductor of a commonplace caravan. Not all who enjoyed these occasions of his personal ministry profited thereby, but the vast majority of those who met and talked with him were made better for the remainder of their natural lives. 134:2.3 (1484.7) Of all his world travels this Caspian Sea trip carried Jesus nearest to the Orient and enabled him to gain a better understanding of the Far-Eastern peoples. He made intimate and personal contact with every one of the surviving races of Urantia excepting the red. He equally enjoyed his personal ministry to each of these varied races and blended peoples, and all of them were receptive to the living truth which he brought them. The Europeans from the Far West and the Asiatics from the Far East alike gave attention to his words of hope and eternal life and were equally influenced by the life of loving service and spiritual ministry which he so graciously lived among them. 134:2.4 (1485.1) The caravan trip was successful in every way. This was a most interesting episode in the human life of Jesus, for he functioned during this year in an executive capacity, being responsible for the material intrusted to his charge and for the safe conduct of the travelers making up the caravan party. And he most faithfully, efficiently, and wisely discharged his multiple duties. 134:2.5 (1485.2) On the return from the Caspian region, Jesus gave up the direction of the caravan at Lake Urmia, where he tarried for slightly over two weeks. He returned as a passenger with a later caravan to Damascus, where the owners of the camels besought him to remain in their service. Declining this offer, he journeyed on with the caravan train to Capernaum, arriving the first of April, A.D. 25. No longer did he regard Nazareth as his home. Capernaum had become the home of Jesus, James, Mary, and Ruth. But Jesus never again lived with his family; when in Capernaum he made his home with the Zebedees. 3. The Urmia Lectures 134:3.1 (1485.3) On the way to the Caspian Sea, Jesus had stopped several days for rest and recuperation at the old Persian city of Urmia on the western shores of Lake Urmia. On the largest of a group of islands situated a short distance offshore near Urmia was located a large building — a lecture amphitheater — dedicated to the “spirit of religion.” This structure was really a temple of the philosophy of religions. 134:3.2 (1485.4) This temple of religion had been built by a wealthy merchant citizen of Urmia and his three sons. This man was Cymboyton, and he numbered among his ancestors many diverse peoples. 134:3.3 (1485.5) The lectures and discussions in this school of religion began at ten o’clock every morning in the week. The afternoon sessions started at three o’clock, and the evening debates opened at eight o’clock. Cymboyton or one of his three sons always presided at these sessions of teaching, discussion, and debate. The founder of this unique school of religions lived and died without ever revealing his personal religious beliefs. * 134:3.4 (1485.6) On several occasions Jesus participated in these discussions, and before he left Urmia, Cymboyton arranged with Jesus to sojourn with them for two weeks on his return trip and give twenty-four lectures on “The Brotherhood of Men,” and to conduct twelve evening sessions of questions, discussions, and debates on his lectures in particular and on the brotherhood of men in general. 134:3.5 (1485.7) In accordance with this arrangement, Jesus stopped off on the return trip and delivered these lectures. This was the most systematic and formal of all the Master’s teaching on Urantia. Never before or after did he say so much on one subject as was contained in these lectures and discussions on the brotherhood of men. In reality these lectures were on the “Kingdom of God” and the “Kingdoms of Men.” 134:3.6 (1486.1) More than thirty religions and religious cults were represented on the faculty of this temple of religious philosophy. These teachers were chosen, supported, and fully accredited by their respective religious groups. At this time there were about seventy-five teachers on the faculty, and they lived in cottages each accommodating about a dozen persons. Every new moon these groups were changed by the casting of lots. Intolerance, a contentious spirit, or any other disposition to interfere with the smooth running of the community would bring about the prompt and summary dismissal of the offending teacher. He would be unceremoniously dismissed, and his alternate in waiting would be immediately installed in his place. 134:3.7 (1486.2) These teachers of the various religions made a great effort to show how similar their religions were in regard to the fundamental things of this life and the next. There was but one doctrine which had to be accepted in order to gain a seat on this faculty — every teacher must represent a religion which recognized God — some sort of supreme Deity. There were five independent teachers on the faculty who did not represent any organized religion, and it was as such an independent teacher that Jesus appeared before them. 134:3.8 (1486.3) [When we, the midwayers, first prepared the summary of Jesus’ teachings at Urmia, there arose a disagreement between the seraphim of the churches and the seraphim of progress as to the wisdom of including these teachings in the Urantia Revelation. Conditions of the twentieth century, prevailing in both religion and human governments, are so different from those prevailing in Jesus’ day that it was indeed difficult to adapt the Master’s teachings at Urmia to the problems of the kingdom of God and the kingdoms of men as these world functions are existent in the twentieth century. We were never able to formulate a statement of the Master’s teachings which was acceptable to both groups of these seraphim of planetary government. Finally, the Melchizedek chairman of the revelatory commission appointed a commission of three of our number to prepare our view of the Master’s Urmia teachings as adapted to twentieth-century religious and political conditions on Urantia. Accordingly, we three secondary midwayers completed such an adaptation of Jesus’ teachings, restating his pronouncements as we would apply them to present-day world conditions, and we now present these statements as they stand after having been edited by the Melchizedek chairman of the revelatory commission.] 4. Sovereignty — Divine and Human 134:4.1 (1486.4) The brotherhood of men is founded on the fatherhood of God. The family of God is derived from the love of God — God is love. God the Father divinely loves his children, all of them. 134:4.2 (1486.5) The kingdom of heaven, the divine government, is founded on the fact of divine sovereignty — God is spirit. Since God is spirit, this kingdom is spiritual. The kingdom of heaven is neither material nor merely intellectual; it is a spiritual relationship between God and man. 134:4.3 (1486.6) If different religions recognize the spirit sovereignty of God the Father, then will all such religions remain at peace. Only when one religion assumes that it is in some way superior to all others, and that it possesses exclusive authority over other religions, will such a religion presume to be intolerant of other religions or dare to persecute other religious believers. 134:4.4 (1487.1) Religious peace — brotherhood — can never exist unless all religions are willing to completely divest themselves of all ecclesiastical authority and fully surrender all concept of spiritual sovereignty. God alone is spirit sovereign. 134:4.5 (1487.2) You cannot have equality among religions (religious liberty) without having religious wars unless all religions consent to the transfer of all religious sovereignty to some superhuman level, to God himself. 134:4.6 (1487.3) The kingdom of heaven in the hearts of men will create religious unity (not necessarily uniformity) because any and all religious groups composed of such religious believers will be free from all notions of ecclesiastical authority — religious sovereignty. 134:4.7 (1487.4) God is spirit, and God gives a fragment of his spirit self to dwell in the heart of man. Spiritually, all men are equal. The kingdom of heaven is free from castes, classes, social levels, and economic groups. You are all brethren. 134:4.8 (1487.5) But the moment you lose sight of the spirit sovereignty of God the Father, some one religion will begin to assert its superiority over other religions; and then, instead of peace on earth and good will among men, there will start dissensions, recriminations, even religious wars, at least wars among religionists. 134:4.9 (1487.6) Freewill beings who regard themselves as equals, unless they mutually acknowledge themselves as subject to some supersovereignty, some authority over and above themselves, sooner or later are tempted to try out their ability to gain power and authority over other persons and groups. The concept of equality never brings peace except in the mutual recognition of some overcontrolling influence of supersovereignty. 134:4.10 (1487.7) The Urmia religionists lived together in comparative peace and tranquillity because they had fully surrendered all their notions of religious sovereignty. Spiritually, they all believed in a sovereign God; socially, full and unchallengeable authority rested in their presiding head — Cymboyton. They well knew what would happen to any teacher who assumed to lord it over his fellow teachers. There can be no lasting religious peace on Urantia until all religious groups freely surrender all their notions of divine favor, chosen people, and religious sovereignty. Only when God the Father becomes supreme will men become religious brothers and live together in religious peace on earth. 5. Political Sovereignty 134:5.1 (1487.8) [While the Master’s teaching concerning the sovereignty of God is a truth — only complicated by the subsequent appearance of the religion about him among the world’s religions — his presentations concerning political sovereignty are vastly complicated by the political evolution of nation life during the last nineteen hundred years and more. In the times of Jesus there were only two great world powers — the Roman Empire in the West and the Han Empire in the East — and these were widely separated by the Parthian kingdom and other intervening lands of the Caspian and Turkestan regions. We have, therefore, in the following presentation departed more widely from the substance of the Master’s teachings at Urmia concerning political sovereignty, at the same time attempting to depict the import of such teachings as they are applicable to the peculiarly critical stage of the evolution of political sovereignty in the twentieth century after Christ.] 134:5.2 (1487.9) War on Urantia will never end so long as nations cling to the illusive notions of unlimited national sovereignty. There are only two levels of relative sovereignty on an inhabited world: the spiritual free will of the individual mortal and the collective sovereignty of mankind as a whole. Between the level of the individual human being and the level of the total of mankind, all groupings and associations are relative, transitory, and of value only in so far as they enhance the welfare, well-being, and progress of the individual and the planetary grand total — man and mankind. 134:5.3 (1488.1) Religious teachers must always remember that the spiritual sovereignty of God overrides all intervening and intermediate spiritual loyalties. Someday civil rulers will learn that the Most Highs rule in the kingdoms of men. 134:5.4 (1488.2) This rule of the Most Highs in the kingdoms of men is not for the especial benefit of any especially favored group of mortals. There is no such thing as a “chosen people.” The rule of the Most Highs, the overcontrollers of political evolution, is a rule designed to foster the greatest good to the greatest number of all men and for the greatest length of time. 134:5.5 (1488.3) Sovereignty is power and it grows by organization. This growth of the organization of political power is good and proper, for it tends to encompass ever-widening segments of the total of mankind. But this same growth of political organizations creates a problem at every intervening stage between the initial and natural organization of political power — the family — and the final consummation of political growth — the government of all mankind, by all mankind, and for all mankind. 134:5.6 (1488.4) Starting out with parental power in the family group, political sovereignty evolves by organization as families overlap into consanguineous clans which become united, for various reasons, into tribal units — superconsanguineous political groupings. And then, by trade, commerce, and conquest, tribes become unified as a nation, while nations themselves sometimes become unified by empire. 134:5.7 (1488.5) As sovereignty passes from smaller groups to larger groups, wars are lessened. That is, minor wars between smaller nations are lessened, but the potential for greater wars is increased as the nations wielding sovereignty become larger and larger. Presently, when all the world has been explored and occupied, when nations are few, strong, and powerful, when these great and supposedly sovereign nations come to touch borders, when only oceans separate them, then will the stage be set for major wars, world-wide conflicts. So-called sovereign nations cannot rub elbows without generating conflicts and eventuating wars. 134:5.8 (1488.6) The difficulty in the evolution of political sovereignty from the family to all mankind, lies in the inertia-resistance exhibited on all intervening levels. Families have, on occasion, defied their clan, while clans and tribes have often been subversive of the sovereignty of the territorial state. Each new and forward evolution of political sovereignty is (and has always been) embarrassed and hampered by the “scaffolding stages” of the previous developments in political organization. And this is true because human loyalties, once mobilized, are hard to change. The same loyalty which makes possible the evolution of the tribe, makes difficult the evolution of the supertribe — the territorial state. And the same loyalty (patriotism) which makes possible the evolution of the territorial state, vastly complicates the evolutionary development of the government of all mankind. 134:5.9 (1488.7) Political sovereignty is created out of the surrender of self-determinism, first by the individual within the family and then by the families and clans in relation to the tribe and larger groupings. This progressive transfer of self-determination from the smaller to ever larger political organizations has generally proceeded unabated in the East since the establishment of the Ming and the Mogul dynasties. In the West it obtained for more than a thousand years right on down to the end of the World War, when an unfortunate retrograde movement temporarily reversed this normal trend by re-establishing the submerged political sovereignty of numerous small groups in Europe. 134:5.10 (1489.1) Urantia will not enjoy lasting peace until the so-called sovereign nations intelligently and fully surrender their sovereign powers into the hands of the brotherhood of men — mankind government. Internationalism — Leagues of Nations — can never bring permanent peace to mankind. World-wide confederations of nations will effectively prevent minor wars and acceptably control the smaller nations, but they will not prevent world wars nor control the three, four, or five most powerful governments. In the face of real conflicts, one of these world powers will withdraw from the League and declare war. You cannot prevent nations going to war as long as they remain infected with the delusional virus of national sovereignty. Internationalism is a step in the right direction. An international police force will prevent many minor wars, but it will not be effective in preventing major wars, conflicts between the great military governments of earth. 134:5.11 (1489.2) As the number of truly sovereign nations (great powers) decreases, so do both opportunity and need for mankind government increase. When there are only a few really sovereign (great) powers, either they must embark on the life and death struggle for national (imperial) supremacy, or else, by voluntary surrender of certain prerogatives of sovereignty, they must create the essential nucleus of supernational power which will serve as the beginning of the real sovereignty of all mankind. 134:5.12 (1489.3) Peace will not come to Urantia until every so-called sovereign nation surrenders its power to make war into the hands of a representative government of all mankind. Political sovereignty is innate with the peoples of the world. When all the peoples of Urantia create a world government, they have the right and the power to make such a government SOVEREIGN; and when such a representative or democratic world power controls the world’s land, air, and naval forces, peace on earth and good will among men can prevail — but not until then. 134:5.13 (1489.4) To use an important nineteenth- and twentieth-century illustration: The forty-eight states of the American Federal Union have long enjoyed peace. They have no more wars among themselves. They have surrendered their sovereignty to the federal government, and through the arbitrament of war, they have abandoned all claims to the delusions of self-determination. While each state regulates its internal affairs, it is not concerned with foreign relations, tariffs, immigration, military affairs, or interstate commerce. Neither do the individual states concern themselves with matters of citizenship. The forty-eight states suffer the ravages of war only when the federal government’s sovereignty is in some way jeopardized. 134:5.14 (1489.5) These forty-eight states, having abandoned the twin sophistries of sovereignty and self-determination, enjoy interstate peace and tranquillity. So will the nations of Urantia begin to enjoy peace when they freely surrender their respective sovereignties into the hands of a global government — the sovereignty of the brotherhood of men. In this world state the small nations will be as powerful as the great, even as the small state of Rhode Island has its two senators in the American Congress just the same as the populous state of New York or the large state of Texas. 134:5.15 (1490.1) The limited (state) sovereignty of these forty-eight states was created by men and for men. The superstate (national) sovereignty of the American Federal Union was created by the original thirteen of these states for their own benefit and for the benefit of men. Sometime the supernational sovereignty of the planetary government of mankind will be similarly created by nations for their own benefit and for the benefit of all men. 134:5.16 (1490.2) Citizens are not born for the benefit of governments; governments are organizations created and devised for the benefit of men. There can be no end to the evolution of political sovereignty short of the appearance of the government of the sovereignty of all men. All other sovereignties are relative in value, intermediate in meaning, and subordinate in status. 134:5.17 (1490.3) With scientific progress, wars are going to become more and more devastating until they become almost racially suicidal. How many world wars must be fought and how many leagues of nations must fail before men will be willing to establish the government of mankind and begin to enjoy the blessings of permanent peace and thrive on the tranquillity of good will — world-wide good will — among men? 6. Law, Liberty, and Sovereignty 134:6.1 (1490.4) If one man craves freedom — liberty — he must remember that all other men long for the same freedom. Groups of such liberty-loving mortals cannot live together in peace without becoming subservient to such laws, rules, and regulations as will grant each person the same degree of freedom while at the same time safeguarding an equal degree of freedom for all of his fellow mortals. If one man is to be absolutely free, then another must become an absolute slave. And the relative nature of freedom is true socially, economically, and politically. Freedom is the gift of civilization made possible by the enforcement of LAW. 134:6.2 (1490.5) Religion makes it spiritually possible to realize the brotherhood of men, but it will require mankind government to regulate the social, economic, and political problems associated with such a goal of human happiness and efficiency. 134:6.3 (1490.6) There shall be wars and rumors of wars — nation will rise against nation — just as long as the world’s political sovereignty is divided up and unjustly held by a group of nation-states. England, Scotland, and Wales were always fighting each other until they gave up their respective sovereignties, reposing them in the United Kingdom. 134:6.4 (1490.7) Another world war will teach the so-called sovereign nations to form some sort of federation, thus creating the machinery for preventing small wars, wars between the lesser nations. But global wars will go on until the government of mankind is created. Global sovereignty will prevent global wars — nothing else can. 134:6.5 (1490.8) The forty-eight American free states live together in peace. There are among the citizens of these forty-eight states all of the various nationalities and races that live in the ever-warring nations of Europe. These Americans represent almost all the religions and religious sects and cults of the whole wide world, and yet here in North America they live together in peace. And all this is made possible because these forty-eight states have surrendered their sovereignty and have abandoned all notions of the supposed rights of self-determination. 134:6.6 (1490.9) It is not a question of armaments or disarmament. Neither does the question of conscription or voluntary military service enter into these problems of maintaining world-wide peace. If you take every form of modern mechanical armaments and all types of explosives away from strong nations, they will fight with fists, stones, and clubs as long as they cling to their delusions of the divine right of national sovereignty. 134:6.7 (1491.1) War is not man’s great and terrible disease; war is a symptom, a result. The real disease is the virus of national sovereignty. 134:6.8 (1491.2) Urantia nations have not possessed real sovereignty; they never have had a sovereignty which could protect them from the ravages and devastations of world wars. In the creation of the global government of mankind, the nations are not giving up sovereignty so much as they are actually creating a real, bona fide, and lasting world sovereignty which will henceforth be fully able to protect them from all war. Local affairs will be handled by local governments; national affairs, by national governments; international affairs will be administered by global government. 134:6.9 (1491.3) World peace cannot be maintained by treaties, diplomacy, foreign policies, alliances, balances of power, or any other type of makeshift juggling with the sovereignties of nationalism. World law must come into being and must be enforced by world government — the sovereignty of all mankind. 134:6.10 (1491.4) The individual will enjoy far more liberty under world government. Today, the citizens of the great powers are taxed, regulated, and controlled almost oppressively, and much of this present interference with individual liberties will vanish when the national governments are willing to trustee their sovereignty as regards international affairs into the hands of global government. 134:6.11 (1491.5) Under global government the national groups will be afforded a real opportunity to realize and enjoy the personal liberties of genuine democracy. The fallacy of self-determination will be ended. With global regulation of money and trade will come the new era of world-wide peace. Soon may a global language evolve, and there will be at least some hope of sometime having a global religion — or religions with a global viewpoint. 134:6.12 (1491.6) Collective security will never afford peace until the collectivity includes all mankind. 134:6.13 (1491.7) The political sovereignty of representative mankind government will bring lasting peace on earth, and the spiritual brotherhood of man will forever insure good will among all men. And there is no other way whereby peace on earth and good will among men can be realized. ~ ~ ~ ~ ~ * 134:6.15 (1491.8) After the death of Cymboyton, his sons encountered great difficulties in maintaining a peaceful faculty. The repercussions of Jesus’ teachings would have been much greater if the later Christian teachers who joined the Urmia faculty had exhibited more wisdom and exercised more tolerance. 134:6.16 (1491.9) Cymboyton’s eldest son had appealed to Abner at Philadelphia for help, but Abner’s choice of teachers was most unfortunate in that they turned out to be unyielding and uncompromising. These teachers sought to make their religion dominant over the other beliefs. They never suspected that the oft-referred-to lectures of the caravan conductor had been delivered by Jesus himself. 134:6.17 (1491.10) As confusion increased in the faculty, the three brothers withdrew their financial support, and after five years the school closed. Later it was reopened as a Mithraic temple and eventually burned down in connection with one of their orgiastic celebrations. 7. The Thirty-First Year (A.D. 25) 134:7.1 (1492.1) When Jesus returned from the journey to the Caspian Sea, he knew that his world travels were about finished. He made only one more trip outside of Palestine, and that was into Syria. After a brief visit to Capernaum, he went to Nazareth, stopping over a few days to visit. In the middle of April he left Nazareth for Tyre. From there he journeyed on north, tarrying for a few days at Sidon, but his destination was Antioch. 134:7.2 (1492.2) This is the year of Jesus’ solitary wanderings through Palestine and Syria. Throughout this year of travel he was known by various names in different parts of the country: the carpenter of Nazareth, the boatbuilder of Capernaum, the scribe of Damascus, and the teacher of Alexandria. 134:7.3 (1492.3) At Antioch the Son of Man lived for over two months, working, observing, studying, visiting, ministering, and all the while learning how man lives, how he thinks, feels, and reacts to the environment of human existence. For t

Have you ever wondered how chicken nuggets are made? Or what propylene glycol monostearate, monocalcium phosphate, or other listed ingredients are doing in your favorite packaged snacks? Distillations hosts Michal Meyer and Robert Kenworthy certainly did, and they went to the corner deli to inspect some processed food themselves. They also spoke with experts Bryant Simon, a historian, and David Schleifer, a sociologist, about how trans fats and chicken nuggets arrived on the food scene as the healthier options, but have since turned into villains. Both Simon and Schleifer suggest that when it comes to deciding what we eat, we might have less choice than we think. Class, geography, and convenience (for both food makers and food eaters) all play a role. SHOW CLOCK: 00:03 Introduction 00:36 Michal Meyer tries her first Tastykake 03:39 Interview with Bryant Simon and David Schleifer LINKS TO CONTENT: "Afternoon Snack" - A video starring Michal Meyer and Bob Kenworthy.  CREDITS: Hosts: Michal Meyer and Robert Kenworthy Guests: David Schleifer and Bryant Simon Producer & Editor: Mariel Carr MUSIC: “Run Up”- Moby, mobygratis “Stabbings”- Moby, mobygratis “Christmas All Alone”- Candlegravity, Free Music Archive “Elsewhere”- Phonotrash, Free Music Archive “Tragic”- Semyon, Free Music Archive “Dragon’s Lair”- Thiaz Itch, Free Music Archive “The Spirit”- Waylon Thornton, Free Music Archive “Heroines”- Diablo Swing Orchestra, Free Music Archive   Check out Distillations magazine at distillations.org, where you'll find articles, videos, and our podcast.

Both Simon and Zippy have made their way to Leicester, and the lads break into Demon FM to record a movie show! 0:00:00 - Intro + Prometheus 0:23:07 - One Eyed Monster Website - www.playstationradio.co.uk Email - fishandchips@playstationradio.co.uk Twitter - @PSRadioUK Facebook - www.facebook.com/playstationradiouk Ben PSN - Confused_Dude Simon PSN - SiborgSimoSctlnd Patrick PSN - Zippyptrick Ben Twitter - @Confused_Dude Simon Twitter - @SimonSiThornton Patrick Twitter - @Zippypatrick

Presented and produced by Seán Delaney Nuala Ní Dhomhnaill interview by Barry Hennessy On this week's programme poet and multi-linguist Nuala Ní Dhomhnaill speaks about the benefits of learning Irish. Simon Lewis of Carlow Educate Together NS and of Anseo.Net describes how to create an app for your school using appmakr. Patrick Felicia from WIT discusses the educational potential of video games. Both Simon and Patrick presented workshops at the annual CESI conference in 2012.