Podcasts about Conley

With Jesus as our Good Shepherd, we are not faceless in a sea of people or a number on an endless list. He knows us by name and everything about us. In this message, Pastor Bayless Conley gives us seven aspects of the Good Shepherd. He shares who He is, what He does, and how He loves us. We also learn to hear His voice through His Word, by our integrity, and by the guidance of His Spirit. The enemy may come to steal, kill and destroy our lives, but we are provided with protection and personal care from the Good Shepherd.

On today's show, Dane is joined by Britt Robson from MinnPost to discuss Britt's most-recent column on the reffing disaster against Boston on Wednesday, the consistently-.500 Wolves and Rudy Gobert's play of late. Discussion today starts with the Boston game but extends to really a big picture discussion of the Wolves 70 games into the season. Topics include... — How the refs lost control of the Boston game — Rudy Gobert's play of late, and how the ways they use Gobert is constantly evolving — The differences between how Utah defended 5-out offense with Gobert versus how Minnesota is defending that offensive look — The vastly different natures of when Rudy Gobert is on the floor versus when Naz Reid is on the floor — Mike Conley as a guidance counselor — Difference between Conley and D'Angelo Russell Sign up today for a 14-day free trial of Aura's digital security at Aura.com/Dane Learn more about your ad choices. Visit podcastchoices.com/adchoices

Christy Wright BioChristy Wright is the #1 bestselling author of Business Boutique, Take Back Your Time, and Living True. She is a certified business coach and speaking coach and she loves to help people push past their fear to do things scared. Christy is the host of the new podcast, Get Your Hopes Up, where she encourages people get to know God, get closer to him and get their hopes up again. Christy has been featured on the Today show and Fox News, and in Success, Entrepreneur, and Woman's Day magazines. Whether she's running around on stage or running after her kids, Christy makes the most out of life and loves to help others do the same. Christy lives in Nashville, Tennessee with her husband, Matt, and their three children Carter, Conley, and Mary Grace.

Larry Conley, David Conley, and Elaine Kluttz talk with guest Brian Zaitz. Sponsored by Demers, ESO, and TenCate.

On this episode of The Marriage Life Coach Podcast, one of my Yummy Mummy friends comes to dive deep into all things food, relationships, anger and cupcakes. Laura Conley is a life and weight loss coach who turns your inner dialogue into your best friend and hype girl, rather than a negative energy that brings you down.   We talk about how the innocence of children is so magical and beautiful, and how we kind of lose that along the way- but more importantly how to get back to that.  You know how we check in with our spouses regularly about what's going on and what our plans are for the weekend or vacation? Why don't we do that with our own body? Or our own thoughts? In this episode we make talking about our relationship with ourselves more loving, caring and of course, delicious! Find full show notes and links to resources at http://maggiereyes.com/podcast/130

Olivia honors this Wyandot lawyer, known most for her advocacy and protests to protect Indian burial lands from being desecrated and sold as real estate. --   Learn More! Lyda Conley | 10 Native Women You Should Have Learned About in History Class -- Email us! isquaredhello@gmail.com. | Follow us!  Instagram https://www.instagram.com/isquaredpodcast/ | Twitter @I_squaredpod https://twitter.com/I_SquaredPod | Facebook page http://www.fb.me/ISquaredPod

As believers, our lives must resemble Jesus, and anyone that we come in contact should be able to know that we've been with Him. Even when it may cost something, we need the courage to stand in truth and be obedient to His Word. In this message, Pastor Harrison Conley shares the key importance that holiness gives boldness validity and what that looks like in today's world.

Text: Mark 14:66-72   A Scene of Distant Following (Mark 14:54,66) Peter cautiously follows Jesus at a distance, trying to make sense of what was unfolding. Peter's previous statements of loyalty would soon be tested.   A Sequence of Defensive Denials (Mark 14:67-71) Peter's loyalty is placed on trial with three different encounters. At each encounter, Peter chose self-preservation over being identified with Christ.   A Sight of Deep Despair (Mark 14:72) Peter remembered Jesus' prediction of failure. Peter responded by weeping bitterly over his failure.   A Scene of Dramatic Compassion and Restoration (Luke 22:61; John 21:15-19) Jesus predicted Peter's failure, but prayed for his faith to be strengthened Jesus lovingly looked at Peter in the midst of his failure. Jesus powerfully restored Peter to usefulness.   Heart Application When your life is put on trial, self-sufficiency is your enemy. When your life is put on trial, repentance is the way forward. When your life is put on trial, Christ will be faithful.

As children, most of us are born into the world with two happy and healthy feet. They move, bend, and push just like they were designed to. But over the years, whether it's through bad shoes, lack of motion, or flat out weakness, we tend to lose those ideal foot mechanics – and the downside […] The post Dr. Courtney Conley on Assessing, Treating and Training the Foot appeared first on Robertson Training Systems.

In this episode of A Smaller Life, Marshall Conley of Slø Jeans, joins the show to discuss how this sustainable fashion brand started. The values and steps they had to make before they could start selling inclusive and sustainable jeans. Marshall discusses the challenges of starting a sustainable fashion brand and the importance of creating a positive impact in the fashion industry. He emphasizes the role of education and awareness in driving sustainable fashion forward and encourages listeners to think more critically about their clothing choices. He also shares some tips for small businesses looking to incorporate sustainability into their practices and explains the way they used social media and how they build a brand using ‘community'. In addition to discussing sustainability, Marshall highlights Slø Jeans' commitment to inclusivity, with a range of sizes and styles available for all body types. Overall, this episode provides valuable insights for listeners interested in sustainable fashion and highlights the importance of creating a more sustainable and inclusive fashion brand.FULL SHOWNOTEShttps://www.asmallerlife.com/blog/podcast/56BEST QUOTE FROM THE EPISODE"We're about creating real, inclusive fashion that everybody can wear." - Marshal Cohen"Sustainable fashion isn't just a trend, it's a necessity for the future of our planet." - Marshall Conley"Inclusivity is at the core of Slø Jeans because fashion should be for everyone, not just a select few." - Marshall Conley"Pockets are essential for functionality and practicality in fashion. It's important to prioritize practical design." - Marshall Conley"We want people to feel comfortable and confident in their jeans, and that means having pockets that actually work for them." - Marshal CohenCONNECT WITH SLØ JEANSWebsiteInstagram: https://www.instagram.com/slojeans/Facebook: https://www.facebook.com/Slojeans/Website: https://slojeans.com/Tick Tok: https://www.tiktok.com/@kristianfrommntn?is_from_webapp=1&sender_device=pcalso mentioned: fakepocketssuck.comCONNECT WITH SASKIA @ A SMALLER LIFE + JA, WOLwebsite: www.asmallerlife.comcommunity: http://jawolcommunity.come-mail: info@ja-wol.comSUBSCRIBE TO A SMALLER LIFEget notified every time a new episode dropsSupport the show☞ PATREON SUPPORT by becoming a patron here and Pay-What-You-Can. ☞ JOIN OUR COMMUNITY jawolcommunity.com (free plan available) ☞ SUBSCRIBE TO THE BUSINESS CIRCLE ☞ SUBSCRIBE TO THE Journey to Wardrobe Consciousness Membership☞ NO BUDGET SUPPORT Simply rate, review and subscribe to the podcast. Or point a friend in our direction!

Chew on this: It's not the divorce that hurts the children; it's the conflict.   Coparenting can be REALLY hard, everybody knows that. But coparenting with someone who's really difficult, and someone who gave you hell during your divorce process is reaaaaallllly hard, believe me, we know. We have heard it all.    So what the hell can you do to make this situation work? Well, we are going to tell you! Today, on the show we have Deb Conley, a therapist who specializes in high conflict coparenting.   Here are three ways you can reframe your mindset to help you BEGIN to coparent with someone who's not easy to coparent with: 1) Don't live in the past. (Look, we know they sucked when you were married to them, but not EVERYTHING they do as a coparent is sucking. Try your best to separate.) 2)Speak to them the way you would speak to a boss or a coworker. Take the emotion out of it. (Easier said that done, we know, but you have to reframe your mind to view this as a business relationship: the relationship of being effective coparents.  3) Let IT GO (of control) This one sucks, but it's important. You can't control everything. You just can't. You've got help yourself determine the issues that are MAJOR that warrant bringing up your concern to your coparent and things that you need to just LET GO OF. (If you are rolling your eyes and you want to scream, Andrea is with you. Having control is probably her favorite hobby) But wait, there's more!!   Deb Conley offers a course you can take to help you be a better coparent. It's done virutally and not both you and your ex have to take it! (Although it does work better if you both take it!) To sign up for the course, email: paralegal.petrichlaw@gmail.com Subject Line: CoParenting Course In the body of the text, mention you heard Deb speak on How Not to Suck at Divorce and they'll be extra nice to you! Course is available to everyone.  BONUS EPISODE on this topic over on our PATREON channel- go listen NOW!   Aside from that, Morgan loves girls' trips, Andrea does not.  Andrea is heading to Vegas this weekend with her kids to teach them how to gamble and party all night. (THAT'S A JOKE< CALM DOWN)   love you guys! Hang in there!!  

John 20:30-31And truly Jesus did many other signs in the presence of His disciples, which are not written in this book; but these are written that you may believe that Jesus is the Christ, the Son of God, and that believing you may have life in His name.John 4:45-54So when He came to Galilee, the Galileans received Him, having seen all the things He did in Jerusalem at the feast; for they also had gone to the feast. So Jesus came again to Cana of Galilee where He had made the water wine. And there was a certain nobleman whose son was sick at Capernaum. When he heard that Jesus had come out of Judea into Galilee, he went to Him and implored Him to come down and heal his son, for he was at the point of death. Then Jesus said to him, “Unless you people see signs and wonders, you will by no means believe.” The nobleman said to Him, “Sir, come down before my child dies!” Jesus said to him, “Go your way; your son lives.” So the man believed the word that Jesus spoke to him, and he went his way. And as he was now going down, his servants met him and told him, saying, “Your son lives!” Then he inquired of them the hour when he got better. And they said to him, “Yesterday at the seventh hour the fever left him.” So the father knew that it was at the same hour in which Jesus said to him, “Your son lives.” And he himself believed, and his whole household. This again is the second sign Jesus did when He had come out of Judea into Galilee.Psalm 119:67Before I was afflicted I went astray,But now I keep Your word.Psalm 107:17-20Fools, because of their transgression, And because of their iniquities, were afflicted.Their soul abhorred all manner of food, And they drew near to the gates of death.Then they cried out to the Lord in their trouble, And He saved them out of their distresses.He sent His word and healed them, And delivered them from their destructions

On today's show, Dane is joined by Kyle Theige from SKORNorth to discuss the Wolves beating the Kings on Saturday night to extend their recent winning streak to three games. Now eight games into the post-DLo era of the Wolves, Dane and Kyle review the trade and take a look at how the pre-trade Wolves compare to the post-trade Wolves. Topics today include... — Recapping the Wolves' California road trip — Noting the offense has been the same pre-trade vs. post-trade — Reviewing the trade, not in only the DLo-for-Conley swap but also the value of Nickeil Alexander-Walker's presence, in addition to the draft capital they brought back — How it seems to always take a little while to acclimate to Finch — A “clutch” time win over the Kings — What's behind Ant's individual numbers dipping since the trade? — The Philly matchup and Rudy vs. elite bigs If you'd like to register for Dane's class on the evolution of sports media on March 9th, you can do so here: https://hopkins.ce.eleyo.com/course/11468/adult-winter-spring-2023/the-evolution-of-sports-media Sign up today for a 14-day free trial of Aura's digital security at Aura.com/Dane Learn more about your ad choices. Visit podcastchoices.com/adchoices

Text:  Mark 14:53-65   A Secret Trial of Conspiracy (Mark 14:53-60)  The trial was shrouded in deception and injustice at every level. The religious leaders assembled the evidence from false witnesses to get their intended verdict. Jesus' intentional silence during the trial fulfills prophecy (Isaiah 53:7)   A Startling Revelation of Lordship (Mark 14:61-62) Jesus breaks His silence to answer the question about His identity. Jesus declares Himself to be the Son of God and Lord of all.   A Scornful Condemnation of Death (Mark 14:63-65) Jesus' declaration of Lordship is met with accusations of blasphemy. Jesus' death sentence is followed by merciless mocking, spitting, and beatings.

Colton Conley is the current Louisiana FFA president, a two time state champion and National Silver Emblem Finalist in Extemporaneous Public Speaking, a state finalist in the Beef Production Proficiency area, and a former Area II Secretary. He is a graduate of the Natchitoches Central FFA and a current freshman at Louisiana Tech University majoring in Agricultural Business . You can find him on Instagram @laffapresident

3 - 3-23 20 OUTSTANDING WOMEN- ELIZA CONLEY - LEPENE by Maine's Coast 93.1

Community Outreach with Black Veterans Project Panelist: Richard Brookshire  - is a Co-Founder of Black Veterans Project a non-partisan 501c3 non-profit elevating Public Education around the unique History of Black Veterans in the United States Gary Monk - is Vietnam Veteran Conley Monk Jr younger brother 

Episode 163 of A History of Rock Music in Five Hundred Songs looks at “(Sittin' on) The Dock of the Bay", Stax Records, and the short, tragic, life of Otis Redding. Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have a twenty-three minute bonus episode available, on "Soul Man" by Sam and Dave. 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/ Resources No Mixcloud this week, as there are too many songs by Redding, even if I split into multiple parts. The main resource I used for the biographical details of Redding was Dreams to Remember: Otis Redding, Stax Records, and the Transformation of Southern Soul by Mark Ribowsky. Ribowsky is usually a very good, reliable, writer, but in this case there are a couple of lapses in editing which make it not a book I can wholeheartedly recommend, but the research on the biographical details of Redding seems to be the best. Information about Stax comes primarily from two books: Soulsville USA: The Story of Stax by Rob Bowman, and Respect Yourself: Stax Records and the Soul Explosion by Robert Gordon. Country Soul by Charles L Hughes is a great overview of the soul music made in Muscle Shoals, Memphis, and Nashville in the sixties. There are two Original Album Series box sets which between them contain all the albums Redding released in his life plus his first few posthumous albums, for a low price. Volume 1, volume 2. Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript A quick note before I begin -- this episode ends with a description of a plane crash, which some people may find upsetting. There's also a mention of gun violence. In 2019 the film Summer of Soul came out. If you're unfamiliar with this film, it's a documentary of an event, the Harlem Cultural Festival, which gets called the "Black Woodstock" because it took place in the summer of 1969, overlapping the weekend that Woodstock happened. That event was a series of weekend free concerts in New York, performed by many of the greatest acts in Black music at that time -- people like Stevie Wonder, David Ruffin, Mahalia Jackson, B.B. King, the Staple Singers, Sly and the Family Stone, Nina Simone, and the Fifth Dimension. One thing that that film did was to throw into sharp relief a lot of the performances we've seen over the years by legends of white rock music of the same time. If you watch the film of Woodstock, or the earlier Monterey Pop festival, it's apparent that a lot of the musicians are quite sloppy. This is easy to dismiss as being a product of the situation -- they're playing outdoor venues, with no opportunity to soundcheck, using primitive PA systems, and often without monitors. Anyone would sound a bit sloppy in that situation, right? That is until you listen to the performances on the Summer of Soul soundtrack. The performers on those shows are playing in the same kind of circumstances, and in the case of Woodstock literally at the same time, so it's a fair comparison, and there really is no comparison. Whatever you think of the quality of the *music* (and some of my very favourite artists played at Monterey and Woodstock), the *musicianship* is orders of magnitude better at the Harlem Cultural Festival [Excerpt: Gladys Knight and the Pips “I Heard it Through the Grapevine (live)”] And of course there's a reason for this. Most of the people who played at those big hippie festivals had not had the same experiences as the Black musicians. The Black players were mostly veterans of the chitlin' circuit, where you had to play multiple shows a day, in front of demanding crowds who wanted their money's worth, and who wanted you to be able to play and also put on a show at the same time. When you're playing for crowds of working people who have spent a significant proportion of their money to go to the show, and on a bill with a dozen other acts who are competing for that audience's attention, you are going to get good or stop working. The guitar bands at Woodstock and Monterey, though, hadn't had the same kind of pressure. Their audiences were much more forgiving, much more willing to go with the musicians, view themselves as part of a community with them. And they had to play far fewer shows than the chitlin' circuit veterans, so they simply didn't develop the same chops before becoming famous (the best of them did after fame, of course). And so it's no surprise that while a lot of bands became more famous as a result of the Monterey Pop Festival, only three really became breakout stars in America as a direct result of it. One of those was the Who, who were already the third or fourth biggest band in the UK by that point, either just behind or just ahead of the Kinks, and so the surprise is more that it took them that long to become big in America. But the other two were themselves veterans of the chitlin' circuit. If you buy the Criterion Collection Blu-Ray of Monterey Pop, you get two extra discs along with the disc with the film of the full festival on it -- the only two performances that were thought worth turning into their own short mini-films. One of them is Jimi Hendrix's performance, and we will talk about that in a future episode. The other is titled Shake! Otis at Monterey: [Excerpt: Otis Redding, "Shake! (live at Monterey Pop Festival)"] Otis Redding came from Macon, Georgia, the home town of Little Richard, who became one of his biggest early influences, and like Richard he was torn in his early years between religion and secular music -- though in most other ways he was very different from Richard, and in particular he came from a much more supportive family. While his father, Otis senior, was a deacon in the church, and didn't approve much of blues, R&B, or jazz music or listen to it himself, he didn't prevent his son from listening to it, so young Otis grew up listening to records by Richard -- of whom he later said "If it hadn't been for Little Richard I would not be here... Richard has soul too. My present music has a lot of him in it" -- and another favourite, Clyde McPhatter: [Excerpt: Billy Ward and the Dominoes, "Have Mercy Baby"] Indeed, it's unclear exactly how much Otis senior *did* disapprove of those supposedly-sinful kinds of music. The biography I used as a source for this, and which says that Otis senior wouldn't listen to blues or jazz music at all, also quotes his son as saying that when he was a child his mother and father used to play him "a calypso song out then called 'Run Joe'" That will of course be this one: [Excerpt: Louis Jordan, "Run Joe"] I find it hard to reconcile the idea of someone who refused to listen to the blues or jazz listening to Louis Jordan, but then people are complex. Whatever Otis senior's feelings about secular music, he recognised from a very early age that his son had a special talent, and encouraged him to become a gospel singer. And at the same time he was listening to Little Richard, young Otis was also listening to gospel singers. One particular influence was a blind street singer, Reverend Pearly Brown: [Excerpt: Reverend Pearly Brown, "Ninety Nine and a Half Won't Do"] Redding was someone who cared deeply about his father's opinion, and it might well have been that he would eventually have become a gospel performer, because he started his career with a foot in both camps. What seems to have made the difference is that when he was sixteen, his father came down with tuberculosis. Even a few years earlier this would have been a terminal diagnosis, but thankfully by this point antibiotics had been invented, and the deacon eventually recovered. But it did mean that Otis junior had to become the family breadwinner while his father was sick, and so he turned decisively towards the kind of music that could make more money. He'd already started performing secular music. He'd joined a band led by Gladys Williams, who was the first female bandleader in the area. Williams sadly doesn't seem to have recorded anything -- discogs has a listing of a funk single by a Gladys Williams on a tiny label which may or may not be the same person, but in general she avoided recording studios, only wanting to play live -- but she was a very influential figure in Georgia music. According to her former trumpeter Newton Collier, who later went on to play with Redding and others, she trained both Fats Gonder and Lewis Hamlin, who went on to join the lineup of James Brown's band that made Live at the Apollo, and Collier says that Hamlin's arrangements for that album, and the way the band would segue from one track to another, were all things he'd been taught by Miss Gladys. Redding sang with Gladys Williams for a while, and she took him under her wing, trained him, and became his de facto first manager. She got him to perform at local talent shows, where he won fifteen weeks in a row, before he got banned from performing to give everyone else a chance. At all of these shows, the song he performed was one that Miss Gladys had rehearsed with him, Little Richard's "Heeby Jeebies": [Excerpt: Little Richard, "Heeby Jeebies"] At this time, Redding's repertoire was largely made up of songs by the two greats of fifties Georgia R&B -- Little Richard and James Brown -- plus some by his other idol Sam Cooke, and those singers would remain his greatest influences throughout his career. After his stint with Williams, Redding went on to join another band, Pat T Cake and the Mighty Panthers, whose guitarist Johnny Jenkins would be a major presence in his life for several years. The Mighty Panthers were soon giving Redding top billing, and advertising gigs as featuring Otis "Rockin' Robin" Redding -- presumably that was another song in his live repertoire. By this time Redding was sounding enough like Little Richard that when Richard's old backing band, The Upsetters, were looking for a new singer after Richard quit rock and roll for the ministry, they took Redding on as their vocalist for a tour. Once that tour had ended, Redding returned home to find that Johnny Jenkins had quit the Mighty Panthers and formed a new band, the Pinetoppers. Redding joined that band, who were managed by a white teenager named Phil Walden, who soon became Redding's personal manager as well. Walden and Redding developed a very strong bond, to the extent that Walden, who was studying at university, spent all his tuition money promoting Redding and almost got kicked out. When Redding found this out, he actually went round to everyone he knew and got loans from everyone until he had enough to pay for Walden's tuition -- much of it paid in coins. They had a strong enough bond that Walden would remain his manager for the rest of Redding's life, and even when Walden had to do two years in the Army in Germany, he managed Redding long-distance, with his brother looking after things at home. But of course, there wasn't much of a music industry in Georgia, and so with Walden's blessing and support, he moved to LA in 1960 to try to become a star. Just before he left, his girlfriend Zelma told him she was pregnant. He assured her that he was only going to be away for a few months, and that he would be back in time for the birth, and that he intended to come back to Georgia rich and marry her. Her response was "Sure you is". In LA, Redding met up with a local record producer, James "Jimmy Mack" McEachin, who would later go on to become an actor, appearing in several films with Clint Eastwood. McEachin produced a session for Redding at Gold Star studios, with arrangements by Rene Hall and using several of the musicians who later became the Wrecking Crew. "She's All Right", the first single that came from that session, was intended to sound as much like Jackie Wilson as possible, and was released under the name of The Shooters, the vocal group who provided the backing vocals: [Excerpt: The Shooters, "She's All Right"] "She's All Right" was released on Trans World, a small label owned by Morris Bernstein, who also owned Finer Arts records (and "She's All Right" seems to have been released on both labels). Neither of Bernstein's labels had any great success -- the biggest record they put out was a single by the Hollywood Argyles that came out after they'd stopped having hits -- and they didn't have any connection to the R&B market. Redding and McEachin couldn't find any R&B labels that wanted to pick up their recordings, and so Redding did return to Georgia and marry Zelma a few days before the birth of their son Dexter. Back in Georgia, he hooked up again with the Pinetoppers, and he and Jenkins started trying local record labels, attempting to get records put out by either of them. Redding was the first, and Otis Redding and the Pinetoppers put out a single, "Shout Bamalama", a slight reworking of a song that he'd recorded as "Gamma Lamma" for McEachin, which was obviously heavily influenced by Little Richard: [Excerpt: Otis Redding and the Pinetoppers, "Shout Bamalama"] That single was produced by a local record company owner, Bobby Smith, who signed Redding to a contract which Redding didn't read, but which turned out to be a management contract as well as a record contract. This would later be a problem, as Redding didn't have an actual contract with Phil Walden -- one thing that comes up time and again in stories about music in the Deep South at this time is people operating on handshake deals and presuming good faith on the part of each other. There was a problem with the record which nobody had foreseen though -- Redding was the first Black artist signed to Smith's label, which was called Confederate Records, and its logo was the Southern Cross. Now Smith, by all accounts, was less personally racist than most white men in Georgia at the time, and hadn't intended that as any kind of statement of white supremacy -- he'd just used a popular local symbol, without thinking through the implications. But as the phrase goes, intent isn't magic, and while Smith didn't intend it as racist, rather unsurprisingly Black DJs and record shops didn't see things in the same light. Smith was told by several DJs that they wouldn't play the record while it was on that label, and he started up a new subsidiary label, Orbit, and put the record out on that label. Redding and Smith continued collaborating, and there were plans for Redding to put out a second single on Orbit. That single was going to be "These Arms of Mine", a song Redding had originally given to another Confederate artist, a rockabilly performer called Buddy Leach (who doesn't seem to be the same Buddy Leach as the Democratic politician from Louisiana, or the saxophone player with George Thorogood and the Destroyers). Leach had recorded it as a B-side, with the slightly altered title "These Arms Are Mine". Sadly I can't provide an excerpt of that, as the record is so rare that even websites I've found by rockabilly collectors who are trying to get everything on Confederate Records haven't managed to get hold of copies. Meanwhile, Johnny Jenkins had been recording on another label, Tifco, and had put out a single called "Pinetop": [Excerpt: Johnny Jenkins and the Pinetoppers, "Pinetop"] That record had attracted the attention of Joe Galkin. Galkin was a semi-independent record promoter, who had worked for Atlantic in New York before moving back to his home town of Macon. Galkin had proved himself as a promoter by being responsible for the massive amounts of airplay given to Solomon Burke's "Just Out of Reach (of My Two Open Arms)": [Excerpt: Solomon Burke, "Just Out of Reach (of My Two Open Arms)"] After that, Jerry Wexler had given Galkin fifty dollars a week and an expense account, and Galkin would drive to all the Black radio stations in the South and pitch Atlantic's records to them. But Galkin also had his own record label, Gerald Records, and when he went to those stations and heard them playing something from a smaller label, he would quickly negotiate with that smaller label, buy the master and the artist's contract, and put the record out on Gerald Records -- and then he would sell the track and the artist on to Atlantic, taking ten percent of the record's future earnings and a finder's fee. This is what happened with Johnny Jenkins' single, which was reissued on Gerald and then on Atlantic. Galkin signed Jenkins to a contract -- another of those contracts which also made him Jenkins' manager, and indeed the manager of the Pinetops. Jenkins' record ended up selling about twenty-five thousand records, but when Galkin saw the Pinetoppers performing live, he realised that Otis Redding was the real star. Since he had a contract with Jenkins, he came to an agreement with Walden, who was still Jenkins' manager as well as Redding's -- Walden would get fifty percent of Jenkins' publishing and they would be co-managers of Jenkins. But Galkin had plans for Redding, which he didn't tell anyone about, not even Redding himself. The one person he did tell was Jerry Wexler, who he phoned up and asked for two thousand dollars, explaining that he wanted to record Jenkins' follow-up single at Stax, and he also wanted to bring along a singer he'd discovered, who sang with Jenkins' band. Wexler agreed -- Atlantic had recently started distributing Stax's records on a handshake deal of much the same kind that Redding had with Walden. As far as everyone else was concerned, though, the session was just for Johnny Jenkins, the known quantity who'd already released a single for Atlantic. Otis Redding, meanwhile, was having to work a lot of odd jobs to feed his rapidly growing family, and one of those jobs was to work as Johnny Jenkins' driver, as Jenkins didn't have a driving license. So Galkin suggested that, given that Memphis was quite a long drive, Redding should drive Galkin and Jenkins to Stax, and carry the equipment for them. Bobby Smith, who still thought of himself as Redding's manager, was eager to help his friend's bandmate with his big break (and to help Galkin, in the hope that maybe Atlantic would start distributing Confederate too), and so he lent Redding the company station wagon to drive them to the session.The other Pinetoppers wouldn't be going -- Jenkins was going to be backed by Booker T and the MGs, the normal Stax backing band. Phil Walden, though, had told Redding that he should try to take the opportunity to get himself heard by Stax, and he pestered the musicians as they recorded Jenkins' "Spunky": [Excerpt: Johnny Jenkins, "Spunky"] Cropper later remembered “During the session, Al Jackson says to me, ‘The big tall guy that was driving Johnny, he's been bugging me to death, wanting me to hear him sing,' Al said, ‘Would you take some time and get this guy off of my back and listen to him?' And I said, ‘After the session I'll try to do it,' and then I just forgot about it.” What Redding didn't know, though Walden might have, is that Galkin had planned all along to get Redding to record while he was there. Galkin claimed to be Redding's manager, and told Jim Stewart, the co-owner of Stax who acted as main engineer and supervising producer on the sessions at this point, that Wexler had only funded the session on the basis that Redding would also get a shot at recording. Stewart was unimpressed -- Jenkins' session had not gone well, and it had taken them more than two hours to get two tracks down, but Galkin offered Stewart a trade -- Galkin, as Redding's manager, would take half of Stax's mechanical royalties for the records (which wouldn't be much) but in turn would give Stewart half the publishing on Redding's songs. That was enough to make Stewart interested, but by this point Booker T. Jones had already left the studio, so Steve Cropper moved to the piano for the forty minutes that was left of the session, with Jenkins remaining on guitar, and they tried to get two sides of a single cut. The first track they cut was "Hey Hey Baby", which didn't impress Stewart much -- he simply said that the world didn't need another Little Richard -- and so with time running out they cut another track, the ballad Redding had already given to Buddy Leach. He asked Cropper, who didn't play piano well, to play "church chords", by which he meant triplets, and Cropper said "he started singing ‘These Arms of Mine' and I know my hair lifted about three inches and I couldn't believe this guy's voice": [Excerpt: Otis Redding, "These Arms of Mine"] That was more impressive, though Stewart carefully feigned disinterest. Stewart and Galkin put together a contract which signed Redding to Stax -- though they put the single out on the less-important Volt subsidiary, as they did for much of Redding's subsequent output -- and gave Galkin and Stewart fifty percent each of the publishing rights to Redding's songs. Redding signed it, not even realising he was signing a proper contract rather than just one for a single record, because he was just used to signing whatever bit of paper was put in front of him at the time. This one was slightly different though, because Redding had had his twenty-first birthday since the last time he'd signed a contract, and so Galkin assumed that that meant all his other contracts were invalid -- not realising that Redding's contract with Bobby Smith had been countersigned by Redding's mother, and so was also legal. Walden also didn't realise that, but *did* realise that Galkin representing himself as Redding's manager to Stax might be a problem, so he quickly got Redding to sign a proper contract, formalising the handshake basis they'd been operating on up to that point. Walden was at this point in the middle of his Army service, but got the signature while he was home on leave. Walden then signed a deal with Galkin, giving Walden half of Galkin's fifty percent cut of Redding's publishing in return for Galkin getting a share of Walden's management proceeds. By this point everyone was on the same page -- Otis Redding was going to be a big star, and he became everyone's prime focus. Johnny Jenkins remained signed to Walden's agency -- which quickly grew to represent almost every big soul star that wasn't signed to Motown -- but he was regarded as a footnote. His record came out eventually on Volt, almost two years later, but he didn't release another record until 1968. Jenkins did, though, go on to have some influence. In 1970 he was given the opportunity to sing lead on an album backed by Duane Allman and the members of the Muscle Shoals studio band, many of whom went on to form the Allman Brothers Band. That record contained a cover of Dr. John's "I Walk on Guilded Splinters" which was later sampled by Beck for "Loser", the Wu-Tang Clan for "Gun Will Go" and Oasis for their hit "Go Let it Out": [Excerpt: Johnny Jenkins, "I Walk on Guilded Splinters"] Jenkins would play guitar on several future Otis Redding sessions, but would hold a grudge against Redding for the rest of his life for taking the stardom he thought was rightfully his, and would be one of the few people to have anything negative to say about Redding after his early death. When Bobby Smith heard about the release of "These Arms of Mine", he was furious, as his contract with Redding *was* in fact legally valid, and he'd been intending to get Redding to record the song himself. However, he realised that Stax could call on the resources of Atlantic Records, and Joe Galkin also hinted that if he played nice Atlantic might start distributing Confederate, too. Smith signed away all his rights to Redding -- again, thinking that he was only signing away the rights to a single record and song, and not reading the contract closely enough. In this case, Smith only had one working eye, and that wasn't good enough to see clearly -- he had to hold paper right up to his face to read anything on it -- and he simply couldn't read the small print on the contract, and so signed over Otis Redding's management, record contract, and publishing, for a flat seven hundred dollars. Now everything was legally -- if perhaps not ethically -- in the clear. Phil Walden was Otis Redding's manager, Stax was his record label, Joe Galkin got a cut off the top, and Walden, Galkin, and Jim Stewart all shared Redding's publishing. Although, to make it a hit, one more thing had to happen, and one more person had to get a cut of the song: [Excerpt: Otis Redding, "These Arms of Mine"] That sound was becoming out of fashion among Black listeners at the time. It was considered passe, and even though the Stax musicians loved the record, Jim Stewart didn't, and put it out not because he believed in Otis Redding, but because he believed in Joe Galkin. As Stewart later said “The Black radio stations were getting out of that Black country sound, we put it out to appease and please Joe.” For the most part DJs ignored the record, despite Galkin pushing it -- it was released in October 1962, that month which we have already pinpointed as the start of the sixties, and came out at the same time as a couple of other Stax releases, and the one they were really pushing was Carla Thomas' "I'll Bring it Home to You", an answer record to Sam Cooke's "Bring it On Home to Me": [Excerpt: Carla Thomas, "I'll Bring it Home to You"] "These Arms of Mine" wasn't even released as the A-side -- that was "Hey Hey Baby" -- until John R came along. John R was a Nashville DJ, and in fact he was the reason that Bobby Smith even knew that Redding had signed to Stax. R had heard Buddy Leach's version of the song, and called Smith, who was a friend of his, to tell him that his record had been covered, and that was the first Smith had heard of the matter. But R also called Jim Stewart at Stax, and told him that he was promoting the wrong side, and that if they started promoting "These Arms of Mine", R would play the record on his radio show, which could be heard in twenty-eight states. And, as a gesture of thanks for this suggestion -- and definitely not as payola, which would be very illegal -- Stewart gave R his share of the publishing rights to the song, which eventually made the top twenty on the R&B charts, and slipped into the lower end of the Hot One Hundred. "These Arms of Mine" was actually recorded at a turning point for Stax as an organisation. By the time it was released, Booker T Jones had left Memphis to go to university in Indiana to study music, with his tuition being paid for by his share of the royalties for "Green Onions", which hit the charts around the same time as Redding's first session: [Excerpt: Booker T. and the MGs, "Green Onions"] Most of Stax's most important sessions were recorded at weekends -- Jim Stewart still had a day job as a bank manager at this point, and he supervised the records that were likely to be hits -- so Jones could often commute back to the studio for session work, and could play sessions during his holidays. The rest of the time, other people would cover the piano parts, often Cropper, who played piano on Redding's next sessions, with Jenkins once again on guitar. As "These Arms of Mine" didn't start to become a hit until March, Redding didn't go into the studio again until June, when he cut the follow-up, "That's What My Heart Needs", with the MGs, Jenkins, and the horn section of the Mar-Keys. That made number twenty-seven on the Cashbox R&B chart -- this was in the period when Billboard had stopped having one. The follow-up, "Pain in My Heart", was cut in September and did even better, making number eleven on the Cashbox R&B chart: [Excerpt: Otis Redding, "Pain in My Heart"] It did well enough in fact that the Rolling Stones cut a cover version of the track: [Excerpt: The Rolling Stones, "Pain in My Heart"] Though Redding didn't get the songwriting royalties -- by that point Allen Toussaint had noticed how closely it resembled a song he'd written for Irma Thomas, "Ruler of My Heart": [Excerpt: Irma Thomas, "Ruler of My Heart"] And so the writing credit was changed to be Naomi Neville, one of the pseudonyms Toussaint used. By this point Redding was getting steady work, and becoming a popular live act. He'd put together his own band, and had asked Jenkins to join, but Jenkins didn't want to play second fiddle to him, and refused, and soon stopped being invited to the recording sessions as well. Indeed, Redding was *eager* to get as many of his old friends working with him as he could. For his second and third sessions, as well as bringing Jenkins, he'd brought along a whole gang of musicians from his touring show, and persuaded Stax to put out records by them, too. At those sessions, as well as Redding's singles, they also cut records by his valet (which was the term R&B performers in those years used for what we'd now call a gofer or roadie) Oscar Mack: [Excerpt: Oscar Mack, "Don't Be Afraid of Love"] For Eddie Kirkland, the guitarist in his touring band, who had previously played with John Lee Hooker and whose single was released under the name "Eddie Kirk": [Excerpt: Eddie Kirk, "The Hawg, Part 1"] And Bobby Marchan, a singer and female impersonator from New Orleans who had had some massive hits a few years earlier both on his own and as the singer with Huey "Piano" Smith and the Clowns, but had ended up in Macon without a record deal and been taken under Redding's wing: [Excerpt: Bobby Marchan, "What Can I Do?"] Redding would continue, throughout his life, to be someone who tried to build musical careers for his friends, though none of those singles was successful. The changes in Stax continued. In late autumn 1963, Atlantic got worried by the lack of new product coming from Stax. Carla Thomas had had a couple of R&B hits, and they were expecting a new single, but every time Jerry Wexler phoned Stax asking where the new single was, he was told it would be coming soon but the equipment was broken. After a couple of weeks of this, Wexler decided something fishy was going on, and sent Tom Dowd, his genius engineer, down to Stax to investigate. Dowd found when he got there that the equipment *was* broken, and had been for weeks, and was a simple fix. When Dowd spoke to Stewart, though, he discovered that they didn't know where to source replacement parts from. Dowd phoned his assistant in New York, and told him to go to the electronics shop and get the parts he needed. Then, as there were no next-day courier services at that time, Dowd's assistant went to the airport, found a flight attendant who was flying to Memphis, and gave her the parts and twenty-five dollars, with a promise of twenty-five more if she gave them to Dowd at the other end. The next morning, Dowd had the equipment fixed, and everyone involved became convinced that Dowd was a miracle worker, especially after he showed Steve Cropper some rudimentary tape-manipulation techniques that Cropper had never encountered before. Dowd had to wait around in Memphis for his flight, so he went to play golf with the musicians for a bit, and then they thought they might as well pop back to the studio and test the equipment out. When they did, Rufus Thomas -- Carla Thomas' father, who had also had a number of hits himself on Stax and Sun -- popped his head round the door to see if the equipment was working now. They told him it was, and he said he had a song if they were up for a spot of recording. They were, and so when Dowd flew back that night, he was able to tell Wexler not only that the next Carla Thomas single would soon be on its way, but that he had the tapes of a big hit single with him right there: [Excerpt: Rufus Thomas, "Walking the Dog"] "Walking the Dog" was a sensation. Jim Stewart later said “I remember our first order out of Chicago. I was in New York in Jerry Wexler's office at the time and Paul Glass, who was our distributor in Chicago, called in an order for sixty-five thousand records. I said to Jerry, ‘Do you mean sixty-five hundred?' And he said, ‘Hell no, he wants sixty-five thousand.' That was the first order! He believed in the record so much that we ended up selling about two hundred thousand in Chicago alone.” The record made the top ten on the pop charts, but that wasn't the biggest thing that Dowd had taken away from the session. He came back raving to Wexler about the way they made records in Memphis, and how different it was from the New York way. In New York, there was a strict separation between the people in the control room and the musicians in the studio, the musicians were playing from written charts, and everyone had a job and did just that job. In Memphis, the musicians were making up the arrangements as they went, and everyone was producing or engineering all at the same time. Dowd, as someone with more technical ability than anyone at Stax, and who was also a trained musician who could make musical suggestions, was soon regularly commuting down to Memphis to be part of the production team, and Jerry Wexler was soon going down to record with other Atlantic artists there, as we heard about in the episode on "Midnight Hour". Shortly after Dowd's first visit to Memphis, another key member of the Stax team entered the picture. Right at the end of 1963, Floyd Newman recorded a track called "Frog Stomp", on which he used his own band rather than the MGs and Mar-Keys: [Excerpt: Floyd Newman, "Frog Stomp"] The piano player and co-writer on that track was a young man named Isaac Hayes, who had been trying to get work at Stax for some time. He'd started out as a singer, and had made a record, "Laura, We're On Our Last Go-Round", at American Sound, the studio run by the former Stax engineer and musician Chips Moman: [Excerpt: Isaac Hayes, "Laura, We're On Our Last Go-Round"] But that hadn't been a success, and Hayes had continued working a day job at a slaughterhouse -- and would continue doing so for much of the next few years, even after he started working at Stax (it's truly amazing how many of the people involved in Stax were making music as what we would now call a side-hustle). Hayes had become a piano player as a way of getting a little extra money -- he'd been offered a job as a fill-in when someone else had pulled out at the last minute on a gig on New Year's Eve, and took it even though he couldn't actually play piano, and spent his first show desperately vamping with two fingers, and was just lucky the audience was too drunk to care. But he had a remarkable facility for the instrument, and while unlike Booker T Jones he would never gain a great deal of technical knowledge, and was embarrassed for the rest of his life by both his playing ability and his lack of theory knowledge, he was as great as they come at soul, at playing with feel, and at inventing new harmonies on the fly. They still didn't have a musician at Stax that could replace Booker T, who was still off at university, so Isaac Hayes was taken on as a second session keyboard player, to cover for Jones when Jones was in Indiana -- though Hayes himself also had to work his own sessions around his dayjob, so didn't end up playing on "In the Midnight Hour", for example, because he was at the slaughterhouse. The first recording session that Hayes played on as a session player was an Otis Redding single, either his fourth single for Stax, "Come to Me", or his fifth, "Security": [Excerpt: Otis Redding, "Security"] "Security" is usually pointed to by fans as the point at which Redding really comes into his own, and started directing the musicians more. There's a distinct difference, in particular, in the interplay between Cropper's guitar, the Mar-Keys' horns, and Redding's voice. Where previously the horns had tended to play mostly pads, just holding chords under Redding's voice, now they were starting to do answering phrases. Jim Stewart always said that the only reason Stax used a horn section at all was because he'd been unable to find a decent group of backing vocalists, and the function the horns played on most of the early Stax recordings was somewhat similar to the one that the Jordanaires had played for Elvis, or the Picks for Buddy Holly, basically doing "oooh" sounds to fatten out the sound, plus the odd sax solo or simple riff. The way Redding used the horns, though, was more like the way Ray Charles used the Raelettes, or the interplay of a doo-wop vocal group, with call and response, interjections, and asides. He also did something in "Security" that would become a hallmark of records made at Stax -- instead of a solo, the instrumental break is played by the horns as an ensemble: [Excerpt: Otis Redding, "Security"] According to Wayne Jackson, the Mar-Keys' trumpeter, Redding was the one who had the idea of doing these horn ensemble sections, and the musicians liked them enough that they continued doing them on all the future sessions, no matter who with. The last Stax single of 1964 took the "Security" sound and refined it, and became the template for every big Stax hit to follow. "Mr. Pitiful" was the first collaboration between Redding and Steve Cropper, and was primarily Cropper's idea. Cropper later remembered “There was a disc jockey here named Moohah. He started calling Otis ‘Mr. Pitiful' 'cause he sounded so pitiful singing his ballads. So I said, ‘Great idea for a song!' I got the idea for writing about it in the shower. I was on my way down to pick up Otis. I got down there and I was humming it in the car. I said, ‘Hey, what do you think about this?' We just wrote the song on the way to the studio, just slapping our hands on our legs. We wrote it in about ten minutes, went in, showed it to the guys, he hummed a horn line, boom—we had it. When Jim Stewart walked in we had it all worked up. Two or three cuts later, there it was.” [Excerpt: Otis Redding, "Mr. Pitiful"] Cropper would often note later that Redding would never write about himself, but that Cropper would put details of Redding's life and persona into the songs, from "Mr. Pitiful" right up to their final collaboration, in which Cropper came up with lines about leaving home in Georgia. "Mr Pitiful" went to number ten on the R&B chart and peaked at number forty-one on the hot one hundred, and its B-side, "That's How Strong My Love Is", also made the R&B top twenty. Cropper and Redding soon settled into a fruitful writing partnership, to the extent that Cropper even kept a guitar permanently tuned to an open chord so that Redding could use it. Redding couldn't play the guitar, but liked to use one as a songwriting tool. When a guitar is tuned in standard tuning, you have to be able to make chord shapes to play it, because the sound of the open strings is a discord: [demonstrates] But you can tune a guitar so all the strings are the notes of a single chord, so they sound good together even when you don't make a chord shape: [demonstrates open-E tuning] With one of these open tunings, you can play chords with just a single finger barring a fret, and so they're very popular with, for example, slide guitarists who use a metal slide to play, or someone like Dolly Parton who has such long fingernails it's difficult to form chord shapes. Someone like Parton is of course an accomplished player, but open tunings also mean that someone who can't play well can just put their finger down on a fret and have it be a chord, so you can write songs just by running one finger up and down the fretboard: [demonstrates] So Redding could write, and even play acoustic rhythm guitar on some songs, which he did quite a lot in later years, without ever learning how to make chords. Now, there's a downside to this -- which is why standard tuning is still standard. If you tune to an open major chord, you can play major chords easily but minor chords become far more difficult. Handily, that wasn't a problem at Stax, because according to Isaac Hayes, Jim Stewart banned minor chords from being played at Stax. Hayes said “We'd play a chord in a session, and Jim would say, ‘I don't want to hear that chord.' Jim's ears were just tuned into one, four, and five. I mean, just simple changes. He said they were the breadwinners. He didn't like minor chords. Marvell and I always would try to put that pretty stuff in there. Jim didn't like that. We'd bump heads about that stuff. Me and Marvell fought all the time that. Booker wanted change as well. As time progressed, I was able to sneak a few in.” Of course, minor chords weren't *completely* banned from Stax, and some did sneak through, but even ballads would often have only major chords -- like Redding's next single, "I've Been Loving You Too Long". That track had its origins with Jerry Butler, the singer who had been lead vocalist of the Impressions before starting a solo career and having success with tracks like "For Your Precious Love": [Excerpt: Jerry Butler, "For Your Precious Love"] Redding liked that song, and covered it himself on his second album, and he had become friendly with Butler. Butler had half-written a song, and played it for Redding, who told him he'd like to fiddle with it, see what he could do. Butler forgot about the conversation, until he got a phone call from Redding, telling him that he'd recorded the song. Butler was confused, and also a little upset -- he'd been planning to finish the song himself, and record it. But then Redding played him the track, and Butler decided that doing so would be pointless -- it was Redding's song now: [Excerpt: Otis Redding, "I've Been Loving You Too Long"] "I've Been Loving You Too Long" became Redding's first really big hit, making number two on the R&B chart and twenty-one on the Hot One Hundred. It was soon being covered by the Rolling Stones and Ike & Tina Turner, and while Redding was still not really known to the white pop market, he was quickly becoming one of the biggest stars on the R&B scene. His record sales were still not matching his live performances -- he would always make far more money from appearances than from records -- but he was by now the performer that every other soul singer wanted to copy. "I've Been Loving You Too Long" came out just after Redding's second album, The Great Otis Redding Sings Soul Ballads, which happened to be the first album released on Volt Records. Before that, while Stax and Volt had released the singles, they'd licensed all the album tracks to Atlantic's Atco subsidiary, which had released the small number of albums put out by Stax artists. But times were changing and the LP market was becoming bigger. And more importantly, the *stereo* LP market was becoming bigger. Singles were still only released in mono, and would be for the next few years, but the album market had a substantial number of audiophiles, and they wanted stereo. This was a problem for Stax, because they only had a mono tape recorder, and they were scared of changing anything about their setup in case it destroyed their sound. Tom Dowd, who had been recording in eight track for years, was appalled by the technical limitations at the McLemore Ave studio, but eventually managed to get Jim Stewart, who despite -- or possibly because of -- being a white country musician was the most concerned that they keep their Black soul sound, to agree to a compromise. They would keep everything hooked up exactly the same -- the same primitive mixers, the same mono tape recorder -- and Stax would continue doing their mixes for mono, and all their singles would come directly off that mono tape. But at the same time, they would *also* have a two-track tape recorder plugged in to the mixer, with half the channels going on one track and half on the other. So while they were making the mix, they'd *also* be getting a stereo dump of that mix. The limitations of the situation meant that they might end up with drums and vocals in one channel and everything else in the other -- although as the musicians cut everything together in the studio, which had a lot of natural echo, leakage meant there was a *bit* of everything on every track -- but it would still be stereo. Redding's next album, Otis Blue, was recorded on this new equipment, with Dowd travelling down from New York to operate it. Dowd was so keen on making the album stereo that during that session, they rerecorded Redding's two most recent singles, "I've Been Loving You Too Long" and "Respect" (which hadn't yet come out but was in the process of being released) in soundalike versions so there would be stereo versions of the songs on the album -- so the stereo and mono versions of Otis Blue actually have different performances of those songs on them. It shows how intense the work rate was at Stax -- and how good they were at their jobs -- that apart from the opening track "Ole Man Trouble", which had already been recorded as a B-side, all of Otis Blue, which is often considered the greatest soul album in history, was recorded in a twenty-eight hour period, and it would have been shorter but there was a four-hour break in the middle, from 10PM to 2AM, so that the musicians on the session could play their regular local club gigs. And then after the album was finished, Otis left the session to perform a gig that evening. Tom Dowd, in particular, was astonished by the way Redding took charge in the studio, and how even though he had no technical musical knowledge, he would direct the musicians. Dowd called Redding a genius and told Phil Walden that the only two other artists he'd worked with who had as much ability in the studio were Bobby Darin and Ray Charles. Other than those singles and "Ole Man Trouble", Otis Blue was made up entirely of cover versions. There were three versions of songs by Sam Cooke, who had died just a few months earlier, and whose death had hit Redding hard -- for all that he styled himself on Little Richard vocally, he was also in awe of Cooke as a singer and stage presence. There were also covers of songs by The Temptations, William Bell, and B.B. King. And there was also an odd choice -- Steve Cropper suggested that Redding cut a cover of a song by a white band that was in the charts at the time: [Excerpt: The Rolling Stones, "(I Can't Get No) Satisfaction"] Redding had never heard the song before -- he was not paying attention to the white pop scene at the time, just to his competition on the R&B charts -- but he was interested in doing it. Cropper sat by the turntable, scribbling down what he thought the lyrics Jagger was singing were, and they cut the track. Redding starts out more or less singing the right words: [Excerpt: Otis Redding, "(I Can't Get No) Satisfaction"] But quickly ends up just ad-libbing random exclamations in the same way that he would in many of his live performances: [Excerpt: Otis Redding, "(I Can't Get No) Satisfaction"] Otis Blue made number one on the R&B album chart, and also made number six on the UK album chart -- Redding, like many soul artists, was far more popular in the UK than in the US. It only made number seventy-five on the pop album charts in the US, but it did a remarkable thing as far as Stax was concerned -- it *stayed* in the lower reaches of the charts, and on the R&B album charts, for a long time. Redding had become what is known as a "catalogue artist", something that was almost unknown in rock and soul music at this time, but which was just starting to appear. Up to 1965, the interlinked genres that we now think of as rock and roll, rock, pop, blues, R&B, and soul, had all operated on the basis that singles were where the money was, and that singles should be treated like periodicals -- they go on the shelves, stay there for a few weeks, get replaced by the new thing, and nobody's interested any more. This had contributed to the explosive rate of change in pop music between about 1954 and 1968. You'd package old singles up into albums, and stick some filler tracks on there as a way of making a tiny bit of money from tracks which weren't good enough to release as singles, but that was just squeezing the last few drops of juice out of the orange, it wasn't really where the money was. The only exceptions were those artists like Ray Charles who crossed over into the jazz and adult pop markets. But in general, your record sales in the first few weeks and months *were* your record sales. But by the mid-sixties, as album sales started to take off more, things started to change. And Otis Redding was one of the first artists to really benefit from that. He wasn't having huge hit singles, and his albums weren't making the pop top forty, but they *kept selling*. Redding wouldn't have an album make the top forty in his lifetime, but they sold consistently, and everything from Otis Blue onward sold two hundred thousand or so copies -- a massive number in the much smaller album market of the time. These sales gave Redding some leverage. His contract with Stax was coming to an end in a few months, and he was getting offers from other companies. As part of his contract renegotiation, he got Jim Stewart -- who like so many people in this story including Redding himself liked to operate on handshake deals and assumptions of good faith on the part of everyone else, and who prided himself on being totally fair and not driving hard bargains -- to rework his publishing deal. Now Redding's music was going to be published by Redwal Music -- named after Redding and Phil Walden -- which was owned as a four-way split between Redding, Walden, Stewart, and Joe Galkin. Redding also got the right as part of his contract negotiations to record other artists using Stax's facilities and musicians. He set up his own label, Jotis Records -- a portmanteau of Joe and Otis, for Joe Galkin and himself, and put out records by Arthur Conley: [Excerpt: Arthur Conley, "Who's Fooling Who?"] Loretta Williams [Excerpt: Loretta Williams, "I'm Missing You"] and Billy Young [Excerpt: Billy Young, "The Sloopy"] None of these was a success, but it was another example of how Redding was trying to use his success to boost others. There were other changes going on at Stax as well. The company was becoming more tightly integrated with Atlantic Records -- Tom Dowd had started engineering more sessions, Jerry Wexler was turning up all the time, and they were starting to make records for Atlantic, as we discussed in the episode on "In the Midnight Hour". Atlantic were also loaning Stax Sam and Dave, who were contracted to Atlantic but treated as Stax artists, and whose hits were written by the new Stax songwriting team of Isaac Hayes and David Porter: [Excerpt: Sam and Dave, "Soul Man"] Redding was not hugely impressed by Sam and Dave, once saying in an interview "When I first heard the Righteous Brothers, I thought they were colored. I think they sing better than Sam and Dave", but they were having more and bigger chart hits than him, though they didn't have the same level of album sales. Also, by now Booker T and the MGs had a new bass player. Donald "Duck" Dunn had always been the "other" bass player at Stax, ever since he'd started with the Mar-Keys, and he'd played on many of Redding's recordings, as had Lewie Steinberg, the original bass player with the MGs. But in early 1965, the Stax studio musicians had cut a record originally intending it to be a Mar-Keys record, but decided to put it out as by Booker T and the MGs, even though Booker T wasn't there at the time -- Isaac Hayes played keyboards on the track: [Excerpt: Booker T and the MGs, "Boot-Leg"] Booker T Jones would always have a place at Stax, and would soon be back full time as he finished his degree, but from that point on Duck Dunn, not Lewie Steinberg, was the bass player for the MGs. Another change in 1965 was that Stax got serious about promotion. Up to this point, they'd just relied on Atlantic to promote their records, but obviously Atlantic put more effort into promoting records on which it made all the money than ones it just distributed. But as part of the deal to make records with Sam and Dave and Wilson Pickett, Atlantic had finally put their arrangement with Stax on a contractual footing, rather than their previous handshake deal, and they'd agreed to pay half the salary of a publicity person for Stax. Stax brought in Al Bell, who made a huge impression. Bell had been a DJ in Memphis, who had gone off to work with Martin Luther King for a while, before leaving after a year because, as he put it "I was not about passive resistance. I was about economic development, economic empowerment.” He'd returned to DJing, first in Memphis, then in Washington DC, where he'd been one of the biggest boosters of Stax records in the area. While he was in Washington, he'd also started making records himself. He'd produced several singles for Grover Mitchell on Decca: [Excerpt: Grover Mitchell, "Midnight Tears"] Those records were supervised by Milt Gabler, the same Milt Gabler who produced Louis Jordan's records and "Rock Around the Clock", and Bell co-produced them with Eddie Floyd, who wrote that song, and Chester Simmons, formerly of the Moonglows, and the three of them started their own label, Safice, which had put out a few records by Floyd and others, on the same kind of deal with Atlantic that Stax had: [Excerpt: Eddie Floyd, "Make Up Your Mind"] Floyd would himself soon become a staff songwriter at Stax. As with almost every decision at Stax, the decision to hire Bell was a cause of disagreement between Jim Stewart and his sister Estelle Axton, the "Ax" in Stax, who wasn't as involved in the day-to-day studio operations as her brother, but who was often regarded by the musicians as at least as important to the spirit of the label, and who tended to disagree with her brother on pretty much everything. Stewart didn't want to hire Bell, but according to Cropper “Estelle and I said, ‘Hey, we need somebody that can liaison between the disc jockeys and he's the man to do it. Atlantic's going into a radio station with six Atlantic records and one Stax record. We're not getting our due.' We knew that. We needed more promotion and he had all the pull with all those disc jockeys. He knew E. Rodney Jones and all the big cats, the Montagues and so on. He knew every one of them.” Many people at Stax will say that the label didn't even really start until Bell joined -- and he became so important to the label that he would eventually take it over from Stewart and Axton. Bell came in every day and immediately started phoning DJs, all day every day, starting in the morning with the drivetime East Coast DJs, and working his way across the US, ending up at midnight phoning the evening DJs in California. Booker T Jones said of him “He had energy like Otis Redding, except he wasn't a singer. He had the same type of energy. He'd come in the room, pull up his shoulders and that energy would start. He would start talking about the music business or what was going on and he energized everywhere he was. He was our Otis for promotion. It was the same type of energy charisma.” Meanwhile, of course, Redding was constantly releasing singles. Two more singles were released from Otis Blue -- his versions of "My Girl" and "Satisfaction", and he also released "I Can't Turn You Loose", which was originally the B-side to "Just One More Day" but ended up charting higher than its original A-side. It's around this time that Redding did something which seems completely out of character, but which really must be mentioned given that with very few exceptions everyone in his life talks about him as some kind of saint. One of Redding's friends was beaten up, and Redding, the friend, and another friend drove to the assailant's house and started shooting through the windows, starting a gun battle in which Redding got grazed. His friend got convicted of attempted murder, and got two years' probation, while Redding himself didn't face any criminal charges but did get sued by the victims, and settled out of court for a few hundred dollars. By this point Redding was becoming hugely rich from his concert appearances and album sales, but he still hadn't had a top twenty pop hit. He needed to break the white market. And so in April 1966, Redding went to LA, to play the Sunset Strip: [Excerpt: Otis Redding, "Respect (live at the Whisky A-Go-Go)"] Redding's performance at the Whisky A-Go-Go, a venue which otherwise hosted bands like the Doors, the Byrds, the Mothers of Invention, and Love, was his first real interaction with the white rock scene, part of a process that had started with his recording of "Satisfaction". The three-day residency got rave reviews, though the plans to release a live album of the shows were scuppered when Jim Stewart listened back to the tapes and decided that Redding's horn players were often out of tune. But almost everyone on the LA scene came out to see the shows, and Redding blew them away. According to one biography of Redding I used, it was seeing how Redding tuned his guitar that inspired the guitarist from the support band, the Rising Sons, to start playing in the same tuning -- though I can't believe for a moment that Ry Cooder, one of the greatest slide guitarists of his generation, didn't already know about open tunings. But Redding definitely impressed that band -- Taj Mahal, their lead singer, later said it was "one of the most amazing performances I'd ever seen". Also at the gigs was Bob Dylan, who played Redding a song he'd just recorded but not yet released: [Excerpt: Bob Dylan, "Just Like a Woman"] Redding agreed that the song sounded perfect for him, and said he would record it. He apparently made some attempts at rehearsing it at least, but never ended up recording it. He thought the first verse and chorus were great, but had problems with the second verse: [Excerpt: Bob Dylan, "Just Like a Woman"] Those lyrics were just too abstract for him to find a way to connect with them emotionally, and as a result he found himself completely unable to sing them. But like his recording of "Satisfaction", this was another clue to him that he should start paying more attention to what was going on in the white music industry, and that there might be things he could incorporate into his own style. As a result of the LA gigs, Bill Graham booked Redding for the Fillmore in San Francisco. Redding was at first cautious, thinking this might be a step too far, and that he wouldn't go down well with the hippie crowd, but Graham persuaded him, saying that whenever he asked any of the people who the San Francisco crowds most loved -- Jerry Garcia or Paul Butterfield or Mike Bloomfield -- who *they* most wanted to see play there, they all said Otis Redding. Redding reluctantly agreed, but before he took a trip to San Francisco, there was somewhere even further out for him to go. Redding was about to head to England but before he did there was another album to make, and this one would see even more of a push for the white market, though still trying to keep everything soulful. As well as Redding originals, including "Fa-Fa-Fa-Fa (Sad Song)", another song in the mould of "Mr. Pitiful", there was another cover of a contemporary hit by a guitar band -- this time a version of the Beatles' "Day Tripper" -- and two covers of old standards; the country song "Tennessee Waltz", which had recently been covered by Sam Cooke, and a song made famous by Bing Crosby, "Try a Little Tenderness". That song almost certainly came to mind because it had recently been used in the film Dr. Strangelove, but it had also been covered relatively recently by two soul greats, Aretha Franklin: [Excerpt: Aretha Franklin, "Try a Little Tenderness"] And Sam Cooke: [Excerpt: Sam Cooke, "Live Medley: I Love You For Sentimental Reasons/Try a Little Tenderness/You Send Me"] This version had horn parts arranged by Isaac Hayes, who by this point had been elevated to be considered one of the "Big Six" at Stax records -- Hayes, his songwriting partner David Porter, Steve Cropper, Duck Dunn, Booker T. Jones, and Al Jackson, were all given special status at the company, and treated as co-producers on every record -- all the records were now credited as produced by "staff", but it was the Big Six who split the royalties. Hayes came up with a horn part that was inspired by Sam Cooke's "A Change is Gonna Come", and which dominated the early part of the track: [Excerpt: Otis Redding, "Try a Little Tenderness"] Then the band came in, slowly at first: [Excerpt: Otis Redding, "Try a Little Tenderness"] But Al Jackson surprised them when they ran through the track by deciding that after the main song had been played, he'd kick the track into double-time, and give Redding a chance to stretch out and do his trademark grunts and "got-ta"s. The single version faded out shortly after that, but the version on the album kept going for an extra thirty seconds: [Excerpt: Otis Redding, "Try a Little Tenderness"] As Booker T. Jones said “Al came up with the idea of breaking up the rhythm, and Otis just took that and ran with it. He really got excited once he found out what Al was going to do on the drums. He realized how he could finish the song. That he could start it like a ballad and finish it full of emotion. That's how a lot of our arrangements would come together. Somebody would come up with something totally outrageous.” And it would have lasted longer but Jim Stewart pushed the faders down, realising the track was an uncommercial length even as it was. Live, the track could often stretch out to seven minutes or longer, as Redding drove the crowd into a frenzy, and it soon became one of the highlights of his live set, and a signature song for him: [Excerpt: Otis Redding, "Try a Little Tenderness (live in London)"] In September 1966, Redding went on his first tour outside the US. His records had all done much better in the UK than they had in America, and they were huge favourites of everyone on the Mod scene, and when he arrived in the UK he had a limo sent by Brian Epstein to meet him at the airport. The tour was an odd one, with multiple London shows, shows in a couple of big cities like Manchester and Bristol, and shows in smallish towns in Hampshire and Lincolnshire. Apparently the shows outside London weren't particularly well attended, but the London shows were all packed to overflowing. Redding also got his own episode of Ready! Steady! Go!, on which he performed solo as well as with guest stars Eric Burdon and Chris Farlowe: [Excerpt: Otis Redding, Chris Farlowe and Eric Burdon, "Shake/Land of a Thousand Dances"] After the UK tour, he went on a short tour of the Eastern US with Sam and Dave as his support act, and then headed west to the Fillmore for his three day residency there, introducing him to the San Francisco music scene. His first night at the venue was supported by the Grateful Dead, the second by Johnny Talbot and De Thangs and the third by Country Joe and the Fish, but there was no question that it was Otis Redding that everyone was coming to see. Janis Joplin turned up at the Fillmore every day at 3PM, to make sure she could be right at the front for Redding's shows that night, and Bill Graham said, decades later, "By far, Otis Redding was the single most extraordinary talent I had ever seen. There was no comparison. Then or now." However, after the Fillmore gigs, for the first time ever he started missing shows. The Sentinel, a Black newspaper in LA, reported a few days later "Otis Redding, the rock singer, failed to make many friends here the other day when he was slated to appear on the Christmas Eve show[...] Failed to draw well, and Redding reportedly would not go on." The Sentinel seem to think that Redding was just being a diva, but it's likely that this was the first sign of a problem that would change everything about his career -- he was developing vocal polyps that were making singing painful. It's notable though that the Sentinel refers to Redding as a "rock" singer, and shows again how different genres appeared in the mid-sixties to how they appear today. In that light, it's interesting to look at a quote from Redding from a few months later -- "Everybody thinks that all songs by colored people are rhythm and blues, but that's not true. Johnny Taylor, Muddy Waters, and B.B. King are blues singers. James Brown is not a blues singer. He has a rock and roll beat and he can sing slow pop songs. My own songs "Respect" and "Mr Pitiful" aren't blues songs. I'm speaking in terms of the beat and structure of the music. A blues is a song that goes twelve bars all the way through. Most of my songs are soul songs." So in Redding's eyes, neither he nor James Brown were R&B -- he was soul, which was a different thing from R&B, while Brown was rock and roll and pop, not soul, but journalists thought that Redding was rock. But while the lines between these things were far less distinct than they are today, and Redding was trying to cross over to the white audience, he knew what genre he was in, and celebrated that in a song he wrote with his friend Art

Text:  Mark 14:43-52   The Covert Corruption of the Crowd (Mark 14:43)   Jesus is met by a crowd of over 600 under the cover of secrecy and darkness to take Him by force illegally. The crowd consisted of Judas, chief priests, scribes, elders, and soldiers.   The Unmasked Treachery of Judas (Mark 14:44-46) Jesus unmasks Judas for the hypocrite and betrayer that he was in his heart. Judas betrays Jesus as He predicted at the Passover meal. “Judas stands as a warning about the evil potential of spiritual carelessness, squandered opportunity, sinful lusts, and hardness of the heart.” (MacArthur)   The Reckless Desertion of the Disciples (Mark 14:47,50) Peter makes a bold and reckless move to prove his worth. The disciples abandon Jesus just as He predicted.   The Majestic Composure of Jesus (Mark 14:48-52) Jesus triumphantly stays calm and stands firm under pressure. Jesus is in complete control as He accomplishes His mission and fulfills the Scriptures.

In this episode, we sit down with Garrison Conley, owner of a successful lawn care business in North Georgia. Garrison shares his inspiring story of starting his lawn care business and how he's now considering going all in to make it his full-time career. We'll talk about the challenges he's faced along the way, the lessons he's learned, and the strategies he's using to grow his business. Whether you're an aspiring entrepreneur or simply curious about the lawn care industry, you won't want to miss this episode! The Resource Center at GreenIndustryPodcast.com Register for Lawn and Landscape Society Event Powered by Kohler - Save $25 off with coupon code" "LLS25OFF" Try Jobber for Free! Register for Jobber Summit Paul Jamison's Books Try Audible The Landscaping Bookkeeper - Megan and Joey Coberly CFP Sheila Chaplain's Email: screliabletax@gmail.com Paul's Audiobooks: Cut That Grass and Make That Cash 101 Proven Ways to Increase Efficiency and Make More Money in Lawn Care Best Business Practices for Landscapers

Something big happened over at Actors' Equity Association this week.

Jon Krawczynski on a horrible All-Star game, Ant's attitude, Conley's fit and a tough schedule for the Minnesota Timberwolves.From Aquarius Home Services Studio (https://aquariushomeservices.com/)Brought to you by All Energy Solar (https://www.allenergysolar.com/coach,) TSR Injury Law (612-TSR-TIME or https://www.TSRTime.com,) HeadFlyer Brewing (https://www.headflyerbrewing.com) & Manscaped (promo code "ATHLETIC" https://www.manscaped.com)

Jon Krawczynski on a horrible All-Star game, Ant's attitude, Conley's fit and a tough schedule for the Minnesota Timberwolves.From Aquarius Home Services Studio (https://aquariushomeservices.com/)Brought to you by All Energy Solar (https://www.allenergysolar.com/coach,) TSR Injury Law (612-TSR-TIME or https://www.TSRTime.com,) HeadFlyer Brewing (https://www.headflyerbrewing.com) & Manscaped (promo code "ATHLETIC" https://www.manscaped.com)

Episode 49 was an absolute blast to record. I had the honor of sitting down with THS alumnus Tony Anzaldi and talking life, and career choices. Tony is another member of the unique fraternity of THS alumni who have now come back to Tallmadge City Schools to serve as teachers. Tony is in his 5th year of teaching, and it is his 4th year at Tallmadge Elementary. He teaches science and math in a 4th grade classroom. It is in that classroom where Tony truly shines. He is an amazing teacher and mentor to the children not only in the classroom, but in the school as well. So many parts of our conversation resonated with me and I could write on and on about those parts. I definitely want to highlight the part of our conversation that centered on having a growth mindset. Years ago my then superintendent Dr. Jeff Ferguson put a book called Mindset in my mailbox. It was written by a psychologist named Carol Dweck. Little did I know that his simple gesture of gifting a book to me would radically change my teaching and my philosophy of teaching. Not only that, but it my personal mindset shifted so dramatically that I will never be the same. You can only imagine the excitement I felt with Tony started talking about the concept of a growth mindset and how he spends countless hours teaching his little ones how to embrace this and become better from it. As our conversation continued you can hear the excitement and passion in Tony's voice. It is clear that he is called to this profession and that he loves serving our community and our kids. Four individuals Mr. Anzaldi highlights as having an impact in his life are Mr. Knutty, Mr. Slivka, Mrs. Conley, and Mrs. Knutty. Four extraordinary human beings whose lives are centered on helping others. After hearing about the influence they have played in his life you will come to realize that no gesture, small or large, is ever wasted and that it can have an eternal impact on an individual. Mr. Anzaldi is a proud husband to Ally. They have been married for 3 years. They have a retriever named Dolly who keeps them busy and active. Honestly, I cannot wait for you to hear this episode so stop reading, grab some Crimson Cup coffee, and listen to this amazing young mans story. You will be impressed, moved, and just as excited as I am to hear and share his story. Please share this episode with your friends and family. Tallmadge is so blessed to have this young man, and so many other incredible educators, in our school system changing lives. And, as always, please remember that everyone has a story worth being told, even you. Books mentioned in this episode: Mindset: Carol Dweck Man's Search For Meaning: Viktor Frankl Grit: Angela Duckworth --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app --- Send in a voice message: https://anchor.fm/mark-horner/message Support this podcast: https://anchor.fm/mark-horner/support

Text:  Mark 14:32-42   The Sorrowing Savior (Mark 14:32-34) Jesus entered Gethsemane with His disciples in watchful prayer. Jesus continued in Gethsemane under pressing anguish and distress. Jesus enters our sorrow as our ultimate High priest (Hebrews 4:15; 5:7-10)     The Submissive Savior (Mark 14:35-36) Jesus displays His perfect humanity in Gethsemane. Jesus prays for the cup of God's wrath to be removed. Jesus submitted Himself to the will of His Father as our substitute and example.     The Slumbering Disciples (Mark 14:37-42) Jesus exhorts His disciples to watchful prayer amid temptation's warfare.  Jesus finds His disciples sleeping instead of praying. Jesus passes the test of Gethsemane with undaunted courage and unparalleled love. 

Tony Coley, Orange Bowl Football Showcase

Bem amigos do Bola Presa, mais um podcast no ar! Hoje falamos das novidades da Trade Deadline pisando na quadra pelos seus novos times. Como tem sido o começo de Kyrie Irving pelo Dallas Mavericks? Como D'Angelo Russell, Malik Beasley e Jarred Vanderbilt se saíram pelo LA Lakers? E como Mikal Bridges e Cam Johnson estão no novo e não mais estrelado Brooklyn Nets? Também falaremos das contratações do mercado de buyouts da NBA. ... |OS PARÇAS DO BOLA PRESA| BOLA PRESA + SHARKE Ouvinte Bola Presa tem 3 meses de consultoria de investimento gratuita e acesso a carteiras com maiores rentabilidades na Sharke! ASSINE O BOLA PRESA NO SPARKLE E RECEBA CONTEÚDO EXCLUSIVO - http://tiny.cc/BPSparkle São planos de R$14 e R$20 reais e mais de 80 podcasts para apoiadores Agora há opção de pagamento anual único via Pix - http://tiny.cc/BPAnual MOMENTO ALURA: Ganhe 10% de desconto na Alura em https://bit.ly/bolapresa_alura São mais de 1000 cursos em dezenas de áreas que podem te ajudar a CATAPULTAR sua carreira O BOLA PRESA É PARCEIRO DA KTO Receba 20% de bônus no primeiro depósito com o cupom BOLAPRESA e faça suas apostas CONHEÇA AS NOVAS ESTAMPAS DA LOJINHA BOLA PRESA NA CAPHEAD Temos camisetas, moletons e canecas inspiradas na mitologia do Bola Presa ... NESTE EPISÓDIO Sharke Investimentos + Bola Presa - 2:32 Kyrie Irving no Mavs - 5:43 D'Angelo e mais estreias do Lakers - 21:20 Bridges e outras novidades do Nets - 31:31 Momento Alura - 48:15 Hart, Poeltl, Conley e Wiseman - 49:55 Westbrook, Love e o mercado de buyouts - 1:02:51 Maldição Bola Presa KTO no All-Star Weekend - 1:09:41 Both Teams Played Hard - 1:16:44

In this episode, I talk with Chad Conley, the Owner of Complete Roofing. We discuss:ACV policyholder strategyUsing Virtual AssistantsRoofing Business strategyMuch moreBe sure to learn more about how we help reduce your cost of business with our Limitless Roofing Buying Group. www.roofinggpo.comPlease RATE and REVIEW if this was helpful to you : )

Kristian Hansen and Marshall Conley are building the slø jeans empire almost entirely on a massive TikTok platform, which provides constant crowdsourcing, propels their marketing, and accounts for over $10 million in estimated revenue potential. And their non-gendered, made-to-order denim is just the start. We talk about applying their "fash-tech" business plan into other clothing lines that need an upgrade, balancing their efforts with carbon offsets, and re-creating a time when quality merchandise was worth waiting for. --- Send in a voice message: https://anchor.fm/successfully-funded/message

Super Bowl Recap - 3:30TWolves Acquire Mike Conley - 26:33WM Open - 54:49Tiger Is Back/Genesis Invitational - 1:05:07Liv Draft Day 1 - 1:19:00Follow US:IG @please_understand_podcastTwitter @plsunderstand69TikTok @pleaseunderstandpod

This episode features the series editors, Farina King, Kiara Vigil, and Tai Edwards, of a new university press series related to Native American Studies. The University Press of Kansas is launching The Lyda Conley Series on Trailblazing Indigenous Futures, which King, Vigil, and Edwards highlight. This is one of the first press series named after a Native American woman.Lyda Conley's life and experiences are inspirational as one of the first Native American women known to argue a case before the U.S. Supreme Court, which she did in defense of her Indigenous ancestors and people. Her case was also one of the first in which “a plaintiff argued that the burying grounds of Native Americans were entitled to federal protection.” One of Farina King's students, Sarah (Wood) Fite James, brought Lyda Conley to Farina's attention in her class research project, which the Museum of Native American History features on its website.Please contact UPK senior editor David Congdon if you have any questions about the series and want to submit a proposal: dcongdon@ku.edu.Links:Press release posted on October 6, 2022 A video presentation about Lyda Conley by Sarah (Wood) Fite JamesBio of Tai EdwardsKansas Studies Institute webpage: https://www.jccc.edu/about/leadership-governance/faculty/scholarly-research/kansas-studies-institute/UPK Lyda Conley Series on Trailblazing Indigenous Futures webpage: https://kansaspress.ku.edu/search-grid/?series=lyda-conley-series-on-trailblazing-indigenous-futuresVideo Recording of the 29 March 2022 conversation with Sarah Deer, Kiara Vigil, Farina King, and Tai Edwards about the Kansas Open Books with Open Access Publishing and the Future of Native and Indigenous Studies: https://www.youtube.com/watch?v=N6X5bgFqD9A4 April 2022 article of "The Iⁿ‘zhúje‘waxóbe/Sacred Red Rock Project Receives Mellon Monuments Grant": https://www.robinsonpark1929.com/

On today's show, Dane is joined by Britt Robson from MinnPost to discuss the Wolves win in Dallas on Monday night. A win that hinted at both the additional ways the Wolves can maximize Rudy Gobert and the idea that sometimes not playing him can be okay too. An array of topics in today's show... — Gobert shows, at least for a game, that he can contribute to the Wolves' fly-around identity — How Dallas played Gobert off the floor with a 5-out look, and how the Wolves' adjusted — Why KAT will be a critical counter-punch to opponents going small against the Wolves — How much was Kyrie's 4th quarter ambush about the Wolves' defense? — Ant becoming increasingly undeniable on offense — To what extent will the Wolves miss DLo's shooting? — What is it the Wolves want out of Conley? — The Gobert-Conley pick and roll chemistry — What to do about the Gobert post ups? — How might KAT fit with Conley compared to Russell? — The jam-packed Western Conference standings Sign up today for a 14-day free trial of Aura's digital security at Aura.com/Dane Learn more about your ad choices. Visit podcastchoices.com/adchoices

The guys break down the Timberwolves big DLo for Conley trade, the Super Bowl and Half Time Shows with Special Guest Kate Beahen. 

The Minnesota Timberwolves opted to ship out D'Angelo Russell in order to acquire Mike Conley at the NBA Trade Deadline. Ben Beecken (@bbeecken) breaks down the primary reason why they made the change, as well as what portions of the Quin Snyder offense that Conley ran with the Utah Jazz might be added to Chris Finch's playbook with the Wolves. Also, a look at the Wolves-Mavericks matchup on Monday night. Support Us By Supporting Our Sponsors! Built Bar Built Bar is a protein bar that tastes like a candy bar. Go to builtbar.com and use promo code “LOCKEDON15,” and you'll get 15% off your next order. PrizePicks First time users can receive a 100% instant deposit match up to $100 with promo code LOCKEDON. That's PrizePicks.com – promo code; LOCKEDON LinkedIn LinkedIn Jobs helps you find the qualified candidates you want to talk to, faster. Post your job for free at LinkedIn.com/LOCKEDONNBA FanDuel Make Every Moment More. Place your first FIVE DOLLAR bet to get ONE HUNDRED AND FIFTY DOLLARS in Free Bets – win or lose! Visit Fanduel.com/LockedOn today to get started FANDUEL DISCLAIMER: 21+ in select states. First online real money wager only. Bonus issued as nonwithdrawable free bets that expires in 14 days. Restrictions apply. See terms at sportsbook.fanduel.com. Gambling Problem? Call 1-800-GAMBLER or visit FanDuel.com/RG (CO, IA, MD, MI, NJ, PA, IL, VA, WV), 1-800-NEXT-STEP or text NEXTSTEP to 53342 (AZ), 1-888-789-7777 or visit ccpg.org/chat (CT), 1-800-9-WITH-IT (IN), 1-800-522-4700 (WY, KS) or visit ksgamblinghelp.com (KS), 1-877-770-STOP (LA), 1-877-8-HOPENY or text HOPENY (467369) (NY), TN REDLINE 1-800-889-9789 (TN) Learn more about your ad choices. Visit podcastchoices.com/adchoices

On today's show, Dane is joined by Wolves beat writer Chris Hine from the Star Tribune, who has been on the road with the Wolves since the acquisition of Mike Conley, to discuss what Chris has gathered from his interactions with Conley thus far. Dane and Chris discuss, on and off the floor, what the roster shift from D'Angelo Russell to Conley might look like. Topics include... — Initial reactions to Conley, from his debut in Memphis to how he seems to be acclimating to his new surroundings — If Conley helps, how it will likely be on the margins — which have been a critical weak point for this Wolves team this season — What has gone into the Wolves' recent regression on defense — How Conley might fit into the Wolves' toggling defensive schemes — What do we think the rotation will look like going forward? — Chris' thoughts on Rihanna's halftime performance Sign up today for a 14-day free trial of Aura's digital security at Aura.com/Dane Learn more about your ad choices. Visit podcastchoices.com/adchoices

In this message, Pastor Harrison Conley shares from the transitional part of Paul's letter to the church in Colossians chapter two. Ritualism, hyper-spiritual Christianity, and legalism can take our eyes off Jesus today just as they did to the church in Colosse 2000 years ago. If we're not careful these things can rob us of the realization that Jesus truly is all we need. There is nothing we can do or experience that will ever be better or more important than our ultimate Savior and reward, Jesus Christ.

Text:  Mark 14:26-31     The Prophetic Words of Jesus (Mark 14:26-28) Jesus predicts the failure of each disciple. Jesus promises to be faithful to His mission and to His disciples.     The Protesting Words of Peter (Mark 14:29-31) Peter challenged Jesus' words and pledged his undying devotion. Peter underestimated his enemy and refused to admit his own weakness.     Heart Application Know that your heart will lead you astray (Prov. 16:18; Jer. 17:5-10) Submit yourself to God and His Word (Ps. 119:9-11; James 1:19-25; 4:6-10) Under the grace of Christ, failure does not mean final. (1 Thess. 5:23-24; 1 Tim. 1:12-17)

Austin and Pausha are talking everything NBA trade deadline, starting with Austin's former T-Wolves teammate D'Angelo Russell being traded back to the Lakers and veteran point guard Mike Conley coming to Minnesota. They discuss what the Lakers are getting from D-Lo and touch on how the Timberwolves can use Conley on their roster (3:49). Then, they weigh in on the two biggest trades of the deadline, Kyrie Irving heading to the Mavericks and Kevin Durant to the Suns, and discuss how these trades affect the Western Conference heading into the playoffs (17:38). Later, they highlight LeBron becoming the all-time NBA points leader (41:26) and wrap things up with another round of rapid-fire questions. Hosts: Austin Rivers and Pausha Haghighi Producer: Ben Cruz Associate Producer: Erika Cervantes Learn more about your ad choices. Visit podcastchoices.com/adchoices

Pols & Theories return to the table to discuss Lebron James' scoring record, Kyrie to the Mavs, Lakers trade Westbrook, Cardinals' head coach search, Aaron Rodgers comments on Pat McAfee, Sean Payton to the Broncos, and Mike Francesca QB comments.  NBA News: LeBron breaks Kareem's record. Does this cement LeBron's status as the GOAT? Will this record be broken? Kyrie Irving Traded to the Mavericks. Will it work? Russ traded to Jazz, Lakers get Malik Beasley, DLo, and Jarred Vanderbilt, Wolves get Conley and a second rounder. Kevin Durant traded to Suns for Mikal Bridges, Jae Crowder, Cam Johnson, and four first rounders. NFL News: Cardinals still don't have a HC- Why? Aaron Rodgers doing a a darkness retreat to decide his future? Sean Payton cuts off Russ' personal QB Coach 

Minnesota Timberwolves scoops on the NBA trade deadline involving D'Angel Russel for Mike Conley; Rudy Gobert's fit with Conley; Players on the buyout market Minnesota could be interested in and other scoops from Doogie; (32:00) Minnesota Wild lose again and are free-falling.

The Minnesota Timberwolves acquired Mike Conley from the Utah Jazz and sent D'Angelo Russell to the Los Angeles Lakers as part of a three-team deal on the eve of the NBA Trade Deadline. Ben Beecken (@bbeecken) explains why Conley is a better fit for the Wolves right now than Russell, as well as why the Wolves made the deal from a cap perspective. Support Us By Supporting Our Sponsors! Built Bar Built Bar is a protein bar that tastes like a candy bar. Go to builtbar.com and use promo code “LOCKEDON15,” and you'll get 15% off your next order. PrizePicks First time users can receive a 100% instant deposit match up to $100 with promo code LOCKEDON. That's PrizePicks.com – promo code; LOCKEDON LinkedIn LinkedIn Jobs helps you find the qualified candidates you want to talk to, faster. Post your job for free at LinkedIn.com/LOCKEDONNBA Rocket Money Stop throwing your money away. Cancel unwanted subscriptions – and manage your expenses the easy way – by going to RocketMoney.com/LOCKEDONNBA. FanDuel Make Every Moment More. Place your first FIVE DOLLAR bet to get ONE HUNDRED AND FIFTY DOLLARS in Free Bets – win or lose! Visit Fanduel.com/LockedOn today to get started FANDUEL DISCLAIMER: 21+ in select states. First online real money wager only. Bonus issued as nonwithdrawable free bets that expires in 14 days. Restrictions apply. See terms at sportsbook.fanduel.com. Gambling Problem? Call 1-800-GAMBLER or visit FanDuel.com/RG (CO, IA, MD, MI, NJ, PA, IL, VA, WV), 1-800-NEXT-STEP or text NEXTSTEP to 53342 (AZ), 1-888-789-7777 or visit ccpg.org/chat (CT), 1-800-9-WITH-IT (IN), 1-800-522-4700 (WY, KS) or visit ksgamblinghelp.com (KS), 1-877-770-STOP (LA), 1-877-8-HOPENY or text HOPENY (467369) (NY), TN REDLINE 1-800-889-9789 (TN) Learn more about your ad choices. Visit podcastchoices.com/adchoices

Taylor breaks down the 3-way trade between the Lakers, Jazz, and Timberwolves. The Jazz are getting Russell Westbrook, Juan Toscano Anderson, Damian Jones, and a lightly protected 1st. The Wolves are getting Mike Conley, Nickeil Alexander-Walker, and three 2nd round picks. The Lakers are getting D'Angelo Russell, Malik Beasley, and Jarred Vanderbilt. Learn more about your ad choices. Visit podcastchoices.com/adchoices

On today's show, Dane is joined by Kyle Theige from SKORNorth to give initial reactions to the D'Angelo Russell for Mike Conley, Nickeil Alexander-Walker and three second-round picks trade that went down Wednesday evening. Plenty of discussion on the motivations for the move. And then the Wolves also played a game Wednesday night in Utah, so Dane and Kyle got into that as well. — Detailing what the Wolves got back for DLo, outside of just Conley the player — An important difference in Conley's offensive game, and how that could benefit Gobert — How this trade changes what the Wolves might be able to do this upcoming offseason — Does this deal make a Naz Reid extension more likely — Where does Nickeil Alexander-Walker fit in, and how does that impact Jaylen Nowell? — Going through DLo's tenure in Minnesota — Recapping the Wolves win in Utah, highlighted by big performances from Jaylen Nowell and Josh Minott Sign up today for a 14-day free trial of Aura's digital security at Aura.com/Dane Learn more about your ad choices. Visit podcastchoices.com/adchoices

The fellas praise LeBron James, the NBA's all-time leading scorer. James & JP peek in on the Celtics and the Clippers, then drill down on the recent trade smorgasbord: Kyrie to the Mavs for Spencer Dinwiddieand Dorian Finney-Smith, Westbrook to the Jazz, Mike Conley to Minnesota, and D'angelo Russell, Malik Beasley, and Jared Vanderbilt to the Lakers. Who won their respective trades? Does Kyrie make the Mavs a contender? Are the Lakers legit? Tune in!

Josh Lloyd recaps the action from Wednesday in the NBA, including trades involving Russell Westbrook, D'Angelo Russell, Mike Conley, Josh Hart, and Cam Reddish, standout performances from Bam Adebayo and Jaylen Nowell, Jaylen Brown and John Wall injury updates, talks about the most added and dropped fantasy basketball waiver wire players, and more. The Locked On Fantasy Basketball Podcast is brought to you by Basketball Monster. TRADE DEADLINE LINE SHOW IS HERE FEBRUARY 9TH 1:30PM ET Join the Discord here Substack Support Us By Supporting Our Sponsors! Built Bar Built Bar is a protein bar that tastes like a candy bar. Go to builtbar.com and use promo code “LOCKEDON15,” and you'll get 15% off your next order. PrizePicks First time users can receive a 100% instant deposit match up to $100 with promo code LOCKEDON. That's PrizePicks.com – promo code; LOCKEDON LinkedIn LinkedIn Jobs helps you find the qualified candidates you want to talk to, faster. Post your job for free at LinkedIn.com/LOCKEDONNBA Rocket Money Stop throwing your money away. Cancel unwanted subscriptions – and manage your expenses the easy way – by going to RocketMoney.com/LOCKEDONNBA. FanDuel Make Every Moment More. Place your first FIVE DOLLAR bet to get ONE HUNDRED AND FIFTY DOLLARS in Free Bets – win or lose! Visit Fanduel.com/LockedOn today to get started FANDUEL DISCLAIMER: 21+ in select states. First online real money wager only. Bonus issued as nonwithdrawable free bets that expires in 14 days. Restrictions apply. See terms at sportsbook.fanduel.com. Gambling Problem? Call 1-800-GAMBLER or visit FanDuel.com/RG (CO, IA, MD, MI, NJ, PA, IL, VA, WV), 1-800-NEXT-STEP or text NEXTSTEP to 53342 (AZ), 1-888-789-7777 or visit ccpg.org/chat (CT), 1-800-9-WITH-IT (IN), 1-800-522-4700 (WY, KS) or visit ksgamblinghelp.com (KS), 1-877-770-STOP (LA), 1-877-8-HOPENY or text HOPENY (467369) (NY), TN REDLINE 1-800-889-9789 (TN) Intro Music by Ben Lloyd TikTok Instagram Learn more about your ad choices. Visit podcastchoices.com/adchoices

The Minnesota Timberwolves trade D'Angelo Russell to the LA Lakers and acquire Mike Conley from the Utah Jazz in a three-team trade with the Jazz and Lakers; Is Conley a better fit than D-Lo; Wolves also acquire multiple second-round picks in the trade; What does this trade mean for Anthony Edwards and Karl-Anthony Towns going forward; Are the Wolves a better team now with Conley over Russell.

The Minnesota Timberwolves trade D'Angelo Russell to the LA Lakers and acquire Mike Conley from the Utah Jazz in a three-team trade with the Jazz and Lakers; Is Conley a better fit than D-Lo; Wolves also acquire multiple second-round picks in the trade; What does this trade mean for Anthony Edwards and Karl-Anthony Towns going forward; Are the Wolves a better team now with Conley over Russell.

No Dunks react to the Lakers, Timberwolves and Jazz three-team trade which sends D'Angelo Russell, Malik Beasley and Jarred Vanderbilt to Los Angeles; Russell Westbrook, Juan Toscano-Anderson, Damian Jones and a 2027 first-round pick to Utah; and Mike Conley Jr., Nickeil Alexander-Walker and second-round pick compensation to Minnesota. Who won the deal? --