Podcast appearances and mentions of David Porter

Der Song stammt von Isaac Hayes und David Porter und der Titel soll entstanden sein, als Porter bei einer Aufnahmesession ins Badezimmer ging und Hayes zurief: „Hold on, I'm coming!“ Geschrieben haben die beiden den Song für Samuel David Moore und Dave Prater, die ihn 1966 auf ihrem Album „Sam & Dave“ veröffentlichten. Das erfolgreiche Soul-Duo galt damals als richtungsweisend und stürmte die Charts, auch mit Songs wie „Soul Man“ und hat viele Musiker inspiriert.

PLEASE JOIN US AT DIG THIS!!!!! https://www.facebook.com/digthiswiththesplendidbohos/A MESSAGE FROM STAX RECORDS PRODUCER, SONGWRITER AND VOCALIST DAVID PORTER:To say I am saddened about the loss of Sam Moore would be an understatement. You see, it was the finality of the last living connection I had to God's gift to all of our careers.The experiences we had with each other changed each of our lives in amazing ways. Sam will always be remembered because of what he gave out of his heart and spirit, along with Dave Prater, in the combination of Isaac Hayes and David Porter, some amazing gifts to the world.I believe his memory will be a blessing forever to the world. And now I am the last of that combination, so I must express what I know was in the origin of the spirit for each of us during the course of recording those records. They were always filled with passion, purity, individuality and believability grounded in soul. The combination made each of our lives major. I express my condolences to Sam's family. May his memory be a blessing. -PBS Concert Special Celebrating Bruce Springsteen's ‘Nebraska' Features Eric Church, Emmylou Harris & MoreRecorded in his New Jersey bedroom, Bruce Springsteen's 1982 album Nebraska has proved to be one of his most enduring works, a raw, haunted acoustic record populated by lost souls searching not for salvation but simply a reason to believe. On September 19, 2023, at Analog at the Hutton Hotel in Nashville, famed music biographer Warren Zanes — author of Deliver Me from Nowhere: The Making of Bruce Springsteen's Nebraska — hosted an in-depth exploration of the album and the musician's process.Springsteen's songs were performed by multiple legends in their own right, with Zanes's spoken word storytelling in between.“I wrote a book about Nebraska because the recording stayed with me over decades,” said Zanes. “Every time there was trouble in my life I reached for Nebraska. When I started doing events around the book's publication, I quickly realized the best of them had music. When I went to Nashville, I had a remarkable cast of musicians to help me tell this story."Musical performances from Nebraska include Emmylou Harris (“The Price You Pay,” “Nebraska”), Noah Kahan (“Atlantic City”), Lyle Lovett (“Used Cars,” “My Father's House”) and The Lumineers (“Mansion on the Hill,” “State Trooper”). Two additional songs from Born in the U.S.A. are performed by Eric Church (“Dancing in the Dark”) and Lucinda Williams (“Born in the U.S.A.”). Between songs, Zanes offers insights from his book, about which The Boston Globe wrote: “Anyone interested in how music gets made — both the inspiration and the process — will be fascinated by Deliver Me From Nowhere, an amazing chronicle of one of the most unlikely albums ever recorded. And for students of Springsteen, it's an absolute must.”

Though you might hear laughing, spinning, swinging madly across the sun, it is in fact just two old lags reviewing the current events, which this week include … … the made-up scene in A Complete Unknown which Dylan apparently insisted was included. … the Day of the Locust: do the LA fires spell the end of the Hollywood Dream? … why does no-one write songs about world events anymore? … the unwelcome return of AJ Weberman. … can you date records made between 2000 and 2025? … Sam & Dave, Booker T & the MGs, the Stax horns, Isaac Hayes and David Porter and their purple patch from ‘65-‘68. … Led Zeppelin's five song-stealing court cases – but hadn't what they stole been stolen in the first place? … why most biopics would be better as a six-part TV series. … “where there's a hit there's a writ”. … plus birthday guest John Innes and the best and worst bands names – from Roxy Music to Prefab Sprout.Tickets for Word In Your Ear live here: https://www.eventbrite.co.uk/e/bowie-in-london-and-hollywood-tickets-1118845138929?aff=oddtdtcreatorFind out more about how to help us to keep the conversation going: https://www.patreon.com/wordinyourear Get bonus content on Patreon Hosted on Acast. See acast.com/privacy for more information.

Though you might hear laughing, spinning, swinging madly across the sun, it is in fact just two old lags reviewing the current events, which this week include … … the made-up scene in A Complete Unknown which Dylan apparently insisted was included. … the Day of the Locust: do the LA fires spell the end of the Hollywood Dream? … why does no-one write songs about world events anymore? … the unwelcome return of AJ Weberman. … can you date records made between 2000 and 2025? … Sam & Dave, Booker T & the MGs, the Stax horns, Isaac Hayes and David Porter and their purple patch from ‘65-‘68. … Led Zeppelin's five song-stealing court cases – but hadn't what they stole been stolen in the first place? … why most biopics would be better as a six-part TV series. … “where there's a hit there's a writ”. … plus birthday guest John Innes and the best and worst bands names – from Roxy Music to Prefab Sprout.Tickets for Word In Your Ear live here: https://www.eventbrite.co.uk/e/bowie-in-london-and-hollywood-tickets-1118845138929?aff=oddtdtcreatorFind out more about how to help us to keep the conversation going: https://www.patreon.com/wordinyourear Get bonus content on Patreon Hosted on Acast. See acast.com/privacy for more information.

Though you might hear laughing, spinning, swinging madly across the sun, it is in fact just two old lags reviewing the current events, which this week include … … the made-up scene in A Complete Unknown which Dylan apparently insisted was included. … the Day of the Locust: do the LA fires spell the end of the Hollywood Dream? … why does no-one write songs about world events anymore? … the unwelcome return of AJ Weberman. … can you date records made between 2000 and 2025? … Sam & Dave, Booker T & the MGs, the Stax horns, Isaac Hayes and David Porter and their purple patch from ‘65-‘68. … Led Zeppelin's five song-stealing court cases – but hadn't what they stole been stolen in the first place? … why most biopics would be better as a six-part TV series. … “where there's a hit there's a writ”. … plus birthday guest John Innes and the best and worst bands names – from Roxy Music to Prefab Sprout.Tickets for Word In Your Ear live here: https://www.eventbrite.co.uk/e/bowie-in-london-and-hollywood-tickets-1118845138929?aff=oddtdtcreatorFind out more about how to help us to keep the conversation going: https://www.patreon.com/wordinyourear Get bonus content on Patreon Hosted on Acast. See acast.com/privacy for more information.

Podlitical discusses the legacy, life, and career of former First Minister Alex Salmond. Phil Sim sits down with BBC Scotland political editor Glenn Campbell and political correspondent David Porter, to share their memories of Alex Salmond, the interviews they did with him, how his career from the early days to Alba was defined by rebellion, his impact on Scottish politics, and more.

In this episode of V-FM the pensions podcast, Darren and Nico chat to the legend that is David Porter. David is now an independent investment consultant who helps schemes and providers implement new approaches. As well as talking about what value for money means to David, we also chat Royal Mail CDC, CDC more generally and Willis Towers Watson arguing that DC is 'broken', deaths outnumbering births in the UK and the cost of a pint of beer! 

In the first episode of a brand new series of Inspired to Act, Thrive Ireland's Director, Diane Holt, and co-presenter Will Leitch welcome back David Porter.  His career has spanned working for missionary societies, helping set up ECONI (Evangelical Contribution on Northern Ireland), and working for some years as Chief of Staff for the Archbishop of Canterbury, Justin Welby.  Now a Visiting Professor at Coventry University, his insights into national and religious identity are profound. "See a challenge in your path?" says David.  "Pick it up".Send us a textProduced for Thrive IrelandMade by Commission Christian RadioIn association with The Northern Ireland Community Relations Council

The Memphis-based soul label Stax Records is home to The Staples Singers, Otis Redding and many soul hitmakers. David Porter, writer of the hit songs “Soul Man” and “Hold On I'm Comin',” joins this episode to share the story portrayed in the Emmy-nominated documentary, 'Stax: Soulsville U.S.A.' Porter talks about how Stax was first a country label and switched to soul music after allowing him and other youth from the neighborhood to audition. He talks about how music unified both Black and white musicians at the label, in a town that was segregated at the time. He also discusses the trials and tribulations of getting acquired by larger labels, how the deaths of both Dr. Martin Luther King Jr. and Otis Redding impacted the label, and the successes and legacy of Stax.Support the show: https://www.kexp.org/sound/See omnystudio.com/listener for privacy information.

In the latest episode of Sausage On A Fork, we're joined by John Pickard aka Neil Timpson. John tells us what it was like to play a bully on Grange Hill; what it was like playing his real life brother's brother on Hollyoaks and whether he was more like Neil Timpson or David Porter from 2 Point 4 Children!

Abravanel Hall is staring down either a remodel or a complete rebuild as it's wrangled into the new downtown sports and entertainment district. But if it ain't broke, why fix it? David Porter, violinist and spokesperson for the Musicians of the Utah Symphony, joins host Ali Vallarta to discuss why the math isn't adding up and what the future holds for the symphony if they lose their home.  Resources and references: Abravanel Hell, Another Mysterious Fire, and Midtowners Unite [City Cast Salt Lake]  Consider becoming a founding member of City Cast Salt Lake today! It's the best way to support our work and help make sure we're around for years to come. Get all the details and sign up at membership.citycast.fm. Subscribe to our daily morning newsletter. You can also find us on Instagram @CityCastSLC. Looking to advertise on City Cast Salt Lake? Check out our options for podcast and newsletter ads. Learn more about the sponsors of this episode:  Salt Lake Sewciety Utah Department of Health and Human Services Learn more about your ad choices. Visit megaphone.fm/adchoices

In this episode of Hollywood Live, Tanya Hart discusses the brewing legal battle between the family of legendary musician Isaac Hayes and former President Donald Trump. Isaac Hayes' son, Isaac Hayes III, is threatening to sue Trump over the unauthorized use of the iconic track "Hold On, I'm Comin'" at his rallies. The family, represented by lawyer James Walker, has filed a copyright infringement notice and is demanding $3 million in licensing fees. The song, performed by soul duo Sam and Dave and written by Isaac Hayes and David Porter, has been used repeatedly by Trump's campaign without permission. Isaac Hayes' son strongly condemns Trump's actions, citing his father's legacy and criticizing Trump's lack of integrity and history of controversial behavior. The family is not only demanding the campaign cease using the song and remove related videos but also considering further legal action for additional instances of copyright infringement. With tensions high, this case could have significant implications for the Trump campaign. Tune in for all the details, and be sure to follow Tanya Hart on social media for the latest updates. Learn more about your ad choices. Visit megaphone.fm/adchoices

In this episode of Navigating Major Programmes, Riccardo Cosentino chats with fellow Oxford MMPM alumnus David Porter about the game-changing potential of artificial intelligence in construction and project management. David shares how AI can drastically improve project forecasts and decision-making, even in an industry slow to adopt new technologies. He also discusses innovative strategies from his company, Octant AI, that tackle data management challenges and boost project performance. The AI revolution is here—will you be ready? Should AI be considered a general-purpose technology (GPT)? "So, you know, this is a huge, huge change that we are facing. And there is going to be massive disruption, you know, like, I mean, there just is. And so those who learn to use the tool, like those who learned how to use an internal combustion engine to put an airplane in the sky, those people are the people who are going to be our leaders." – David Porter David Porter brings a wealth of experience from the construction industry, having spent his entire career in this field. As the co-founder of Octant AI, he has been at the forefront of developing AI tools that enhance project performance and decision-making. His insights into the challenges and opportunities of integrating AI into construction projects provide a compelling narrative for the future of project management. Key Takeaways:The challenges and opportunities of applying AI in the construction industryUnderstanding the capabilities and applications of Octant AI's predictive toolsOvercoming data management hurdles in construction projectsThe future of AI in major programmes and its potential to revolutionize the industryPractical advice for integrating AI tools into existing project management frameworks If you enjoyed this episode, make sure and give us a five star rating and leave us a review on iTunes, Podcast Addict, Podchaser or Castbox. The conversation doesn't stop here—connect and converse with our LinkedIn community: Follow David Porter on LinkedInFollow Navigating Major Programmes on LinkedInFollow Riccardo Cosentino on LinkedInRead Riccardo's latest at wwww.riccardocosentino.com   Music: "A New Tomorrow" by Chordial Music. Licensed through PremiumBeat.DISCLAIMER: The opinions, beliefs, and viewpoints expressed by the hosts and guests on this podcast do not necessarily represent or reflect the official policy, opinions, beliefs, and viewpoints of Disenyo.co LLC and its employees.

Data centers, the increasing use of AI and reindustrialization in some parts of the country are driving a big increase in energy demand that concerns officials at all levels of government. State legislators in particular, are concerned about the ability of their state utilities to meet that growing demand and the effect on the price residential and business customers pay for energy.We sat down with two experts on data centers to find out what's coming in the next several years. Our guests are David Porter, vice president of electrification and sustainable energy strategy at the Electric Power Research Institute or EPRI, and Mukul Anand, global director at Johnson Controls dealing with data center cooling and energy management.Porter explained the range of energy demand scenarios and the very significant demand that will be put on both the generation and transmission of power in the next several years. Anand discussed the work he does to help data centers explore alternative energy sources and find innovative ways to dissipate the extraordinary amount of heat generated by the racks of servers in the centers. He also expects a tremendous increase in power demand and suggests more planning may be needed to be ready. ResourcesPowering Intelligence: Analyzing Artificial Intelligence and Data Center Energy Consumption, EPRI

Let's go to Memphis in the meantime, baby!   Our featured interview is with Rob Bowman, the Toronto based academic scholar and Grammy Award-winning professor of ethnomusicology. Notably, Rob is a recognized authority on Stax Records, and has produced numerous Stax box sets in addition to writing an exhaustively researched book, Soulsville USA: The Story of Stax Records. He is also an executive producer and main source for Jamila Wignot's fantastic four part HBO Max documentary series, STAX: Soulsville, U.S.A.   We also speak with Eric Friedl and Zac Ives from contemporary Memphis record store, Goner Records, who tell us about their store, their label, and their annual fall festival, Gonerfest.   The Record Store Day Podcast is a weekly music chat show written, produced, engineered and hosted by Paul Myers, who also composed the theme music and selected interstitial music.    Executive Producers (for Record Store Day) Michael Kurtz and Carrie Colliton. For the most up-to-date news about all things RSD, visit RecordStoreDay.com)   Sponsored by Dogfish Head Craft Brewery (dogfish.com), Tito's Handmade Vodka (titosvodka.com), RSDMRKT.com, and Furnace Record Pressing, the official vinyl pressing plant of Record Store Day.   Please consider subscribing to our podcast wherever you get podcasts, and tell your friends, we're here every week and we love making new friends.  

https://www.foxnews.com/lifestyle/ultraviolet-light-reveals-scientists-hidden-bible-passage-1500-years-later (for Luke) Unique passages: https://www.julianspriggs.co.uk/pages/UniquePassages  Bibleref.com commentary on Mark 6:5: https://www.bibleref.com/Mark/6/Mark-6-5.html  Thanks Biblehub.com's parallel chapters tool.   Words of Jesus ("All the Red Letter Scriptures") https://www.jesusbelieverjd.com/all-the-red-letter-scriptures-of-jesus-in-the-bible-kjv/    Parallel Passages in the Gospels https://www.bible-researcher.com/parallels.html#sect1     The Eye of the Needle (crossword/sudoku feedback): https://www.theguardian.com/notesandqueries/query/0,5753,-25583,00.html#:~:text=The%20%22Eye%20of%20the%20Needle,in%20order%20to%20enter%20heaven   Camel needle w/Aquinas citation (of Anselm of Canterbury)-- Anselm of Canterbury as cited in Catena Aurea, Thomas Aquinas, CCEL Edition. https://classictheology.org/2021/10/12/through-the-eye-of-an-actual-needle-the-fake-gate-theory/    The Widow's Mite: https://numismatics.org/pocketchange/the-poor-widows-mite/    Miracles of Jesus reference list: https://sunnyhillschurch.com/3301/the-37-miracles-of-jesus-in-chronological-order/ LINK BIBLEREF.COM MENTIONED IN CHAPTER 8 SECTION (“Can't” do miracles in hometown- keyword absolute for lookup)   Welcome to the Popeular History Podcast: History through Pope Colored Glasses. My name is Gregg and this is episode 0.21f: Sayings of the Savior Part VI: Messages from Mark.   All of these aught episodes are made to let us build our Pope-colored glasses so we can use the same lenses when we look at history together. If you're lost, start at the beginning!   In previous worldbuilding episodes, we looked at quite a few of Jesus' words: the sermon on the mount and the sermon on the plain, plus all the Parables and miracles on our list, and his sayings closely tied to all those.   All that made for a good start, but if we're going to look at the sayings of the Savior, we should be comprehensive to avoid cherry-picking. So we spent the last of these worldbuilding episodes going chapter by chapter through the first gospel in order of appearance, the Gospel of Matthew, up until things caught up with where our rosary themed tour of the New Testament will carry on when we get to the next mystery. I am aware that what was once upon a time supposed to be a couple quick background episodes introducing my listeners to, well, all of Catholicism has ballooned wildly into wheels within wheels, but hey, I wouldn't have it any other way.   Anyways, next up in the traditional ordering is the Gospel of Mark, so that's our mission today. We'll go chapter by chapter, glossing over what we've already discussed and focusing on the Sayings of the Savior, since, you know, that's the deal here.   MARK 1 opens with a description of Jesus' cousin John the Baptist, and you'll never guess what John does to Jesus when He shows up. Actually you probably will because I was trying to set you up with a fake out where John refuses to baptize Jesus but it turns out that initial refusal is in Matthew but is absent from Mark's generally sparse account. Anyways, we get Jesus' first words in Mark only after he's baptized and had an express version of the temptation in the desert. Sometime after John was arrested, we're told Jesus preached a message that sounded a lot like what John had been saying,   MARK 1:15 “The time has come,” … “The kingdom of God has come near. Repent and believe the good news!”   GREGG Of course we just got a bit meta, since “Good news” is where the word Gospel comes from. A very “Begun, the Clone Wars have” moment. This urgent call to repentance has been a consistent refrain throughout Christian history, with the good news bring that repentance really can lead to reconciliation with God. Shoutout 0.1 if you need a refresher on why such a reconciliation is needed in the Catholic perspective.   Having begun to declare the Good News, Jesus the Christ soon picks out folks to help him, starting, like all good missions, with a pun. Talking to two fishermen, the brothers Simon and Andrew, Jesus says   MARK 1:   Follow me, and I will make you become fishers of men   GREGG When I covered this section in Matthew- we're deep in parallels here- I stuck with my usual NIV translation. Not because I'm an NIV snob, but because the New International Version is the one that shows up first on biblegateway.com and it's good enough, especially when I'm doing a LOT of scripture quoting like I have been with this series.   But because the NIV went for inclusivity, they translated the line as “make you fish for people”, which simply isn't as smooth a pun. I did check with my toddler-level skills and it looks to me like the pun is present in the Greek, so it's worth calling out. Jesus' humor is often downplayed, which is a shame.   If you're wondering why I'm going on about this, well, honestly, Mark is short and we've already covered most of what's there in Matthew. So we might as well take our time. There's plenty there, to be clear, I don't want angry letters from scholars whose primary focus is Mark saying I'm dismissing it offhand.   Alright, enough dilly dallying, what's next? Jesus calls more fishermen–the sons of Zebedee, James and John–but His actual words and possible new pun are not recorded. The next time he speaks he's talking to a demon in one of the healing miracles we discussed in 0.20, followed by another miracle–the healing of Simon's mother in law–later in the same chapter. Then, after assorted other miracles, Jesus goes out to pray by Himself in what's described as a quote unquote “desolate place”. When His disciples track Him down and tell Him everyone is looking for Him, He says   MARK 1:38 Let us go somewhere else--to the nearby villages--so I can preach there also. That is why I have come.   GREGG Though Jesus' disciples did in fact say no to Him on a downright alarming number of occasions, they went along with His plan this time, and another montage of undescribed healings and exorcisms finishes off with the healing of a grateful leper who ignores Jesus' command to tell no one. Mark 1 concludes with Jesus getting mobbed with requests for miracles as a result.   Chapter 2 opens with the healing of the paralytic who had been let in via the roof–a great bit of drama, but something we already covered under our review of miracles. After that, He called His tax collector disciple, who we got to know as Matthew in the Gospel of, well, Matthew, but who's listed as Levi here and in Luke. Using different names in different contexts was absolutely a thing,  but both Matthew and Levi are Hebrew names so the usual Greek vs Hebrew divide doesn't seem to be the culprit here, and what's more neither Mark nor Luke explicitly identify Levi with the apostle Matthew, though the inference isn't a terrible reach over all.   In the end, our main hook in this particular series is the actual sayings of the Savior, and this calling is carried out with a simple “follow me”, so perhaps we shouldn't dive into it too much.   After taking out a section of parables we covered in 0.21c as part of a SYNOPTIC ROUNDUP, we arrive at Mark 2:23, notably without leaving the SYNOPTIC ROUNDUP room because you can also follow along in Matthew 12 and Luke 6. As a reminder if you're rusty on Jewish customs, the Sabbath rest begins Friday at sundown and continues through the day on Saturday. Picking grain as we're going to see here would be considered working on the day of rest and therefore a violation.   MARK (2:23-2:28, NIV)) 23 One Sabbath Jesus was going through the grainfields, and as his disciples walked along, they began to pick some heads of grain.   24 The Pharisees said to him, "Look, why are they doing what is unlawful on the Sabbath?”   25 He answered, "Have you never read what David did when he and his companions were hungry and in need?   26 in the days of Abiathar the high priest, he entered the house of God and ate the consecrated bread, which is lawful only for priests to eat. And he also gave some to his companions."   27 Then he said to them, "The Sabbath was made for man, not man for the Sabbath.   28 So the Son of Man is Lord even of the Sabbath.”   GREGG this section is one of the earlier signals of what would become a core piece of Christianity: its distancing from the Law of Moses. There are still aspects of continuity, for example most Christians including Catholics actually do still maintain *a* day of rest, just Sunday rather than Saturday and they'll generally skip the night before business though some of that has carried over in the form of vigil practices, as we'll see when we get there.   Anyways, I've always thought those last couple lines were pretty baller, and it turns out they're one of the few bits unique to Mark, so let's go ahead and hear them again:   QUOTE The Sabbath was made for man, not man for the Sabbath. So the Son of Man is Lord even of the Sabbath. END QUOTE   This bold claim lies at the heart of what will in time lead to the followers of Christ being seen as a religion separate from Judaism, which is fair enough but also don't sleep on just how much that takes, given there's such a thing as secular Jews and Jewish atheists. There have been other messiah movements in Jewish history; though they fizzled out it's not much of a stretch to imagine a world where Christianity is still seen as part of a wide tent Judaism, indeed there is still a common heritage. But there are absolutely differences as well, principally, of course, centered around Jesus, the Son of Man, Lord of the Sabbath.   That other part   “The Sabbath was made for man, not man for the Sabbath.”   is the context for the start of the next chapter, serving as a good reminder that, while convenient for finding your place, chapter and verse divisions are not part of the original texts of the Bible, so it's important to not treat them as fences where you have to stop. You see, in Mark 3 we have the healing of the man with a withered hand in the synagogue on the Sabbath:   MARK 3 2 Some of them were looking for a reason to accuse Jesus, so they watched him closely to see if he would heal him on the Sabbath. 3 Jesus said to the man with the shriveled hand, "Stand up in front of everyone.” 4 Then Jesus asked them, "Which is lawful on the Sabbath: to do good or to do evil, to save life or to kill?" But they remained silent.   GREGG I mean, it's a bit of a false dichotomy perhaps, are those really the only two options? But obviously I'm siding with Jesus here, mark me down as pro-healing when one can heal. And yeah, we actually already covered that exchange when we talked about the miracle in our miracles roundup, but the words are important there and Mark is short so forgive me for fitting it in here too.   Mark 3 continues with Jesus dealing with crowds now that word is getting around due to His miracles, and simultaneously He's ordering demons not to share the apparent secret that He is quote “the holy one of God”. We don't have his exact words in commanding the demons here so there's more room for interpretation than usual but the general take on these sort of passages is that it's tied to His time not having yet come to be revealed as the Messiah. Of course, unless I missed something, the specific instances where Jesus talks about His time having not yet come are in the Gospel of John, so reading that into Mark is something most modern scholars wouldn't go for- especially since the general consensus is Mark came first by a fair stretch- but that sort of quibble wasn't much of a barrier for most of the history of Christians reflecting on Scripture, so the traditional interpretation is what it is and I don't think it's too much of a reach.   After telling assorted demons to hush up, Jesus appoints the Twelve Apostles starting in verse 13, no direct quotes there so no need to tarry though interested folks are always welcome to check out the naming differences between the Gospels.   Starting in verse 20 we have the house divided parable, covered in our parables series a few episodes back, then in verse 28 we hit “the unpardonable sin” section, and believe it or not it's not being a weeb, it turns out it's, well, let's let Jesus explain:   MARK 3 28 Truly I tell you, people can be forgiven all their sins and every slander they utter, 29 But whoever blasphemes against the Holy Spirit will never be forgiven; they are guilty of an eternal sin."   GREGG When we covered the parallel text of this in Matthew 12–seriously, over 90% of Mark is parallelled in Matthew–I focused on the idea of the sin against the Spirit as being despair. But Mark's telling has a bit of context that has lead to another popular interpretation, especially among–Catholics cover your ears– *whispers* Protestants.   MARK 3 30He said this because they were saying, "He has an impure spirit.”   GREGG Using that verse, which at a glance is simply explaining why Jesus said what He said, the passage is taken to mean that rejecting Jesus as the Son of God slash Savior slash Messiah is the sin against the Spirit being referred to here. And though I called out Protestants specifically a minute ago, it's not like that interpretation is unheard of within Catholicism, typically it's a both/and sort of thing, accepting the despair angle and the “ya'll need Jesus” angle. Nor are the two interpretations unrelated, as someone wholly given to despair will have a hard time accepting Jesus' offer of salvation.   Of course, when I speak of accepting Jesus' offer of salvation, now I really AM getting into the fundamental faith vs works discussion. That's faith and works in the context of salvation from sin. We'll be getting into it in more detail in future episodes, but as an overview all major forms of Christianity agree that faith in the saving power of Jesus Christ is fundamentally necessary for salvation. The disagreement comes in whether anything else plays any role- “anything else” being summed up under the umbrella term of “works”, or it might help to rephrase the question as whether our actions have any meaning when it comes to our salvation.   For Catholics, the answer is yes, while for most Protestants, the answer is no. Generally speaking when there are fights about it, Protestants will take the position that your works having meaning, as Catholics argue is the case, means that you can save yourself through your works. Some people do think that, of course, but not Catholics, at least not Catholics who know their onions, as the Catholic Church condemned that position as a heresy over thousand years before Protestantism became a thing. However, the Church is far from perfect, and in the time of Martin Luther, whose teachings are typically seen as the spark that ignited the Protestant Reformation, it's clear that some within the Church were comfortable blurring the lines for financial gain.   I've got more on faith vs works and Catholicism vs Protestantism planned for future episodes, and I don't want to bury that conversation where no one will look for it, so let's leave that there for now and get back to Mark, with chapter 3 verse 31 to 35   MARK   31 Then Jesus' mother and brothers arrived. Standing outside, they sent someone in to call him. 32 A crowd was sitting around him, and they told him, "Your mother and brothers are outside looking for you.” 33 "Who are my mother and my brothers?" he asked. 34 Then he looked at those seated in a circle around him and said, "Here are my mother and my brothers! 35 Whoever does God's will is my brother and sister and mother.”   GREGG Thanks to the Marian doctrine of Our Lady's perpetual virginity we discussed back in episode 0.14, the surprising fact that Jesus doesn't immediately attend to his family members isn't the most discussed aspect of this passage when it comes to Catholicism. No, that would be the fact that Jesus' brothers, the Greek term is Adelphoi, show up. Generally these are understood as Jesus' half brothers, via his earthly father Saint Joseph from a previous marriage.   As for the question of whether Jesus just kind of blew off his family here, half brothers or cousins or full brothers or whoever was there with Mary, while I can see how you might get that impression, it's not like His every action is recorded. It's entirely possible that He checked in with them after making a quick positive observation- one that I don't want to lose in the rest of this analysis so I'll repeat it:   MARK 3 “35 Whoever does God's will is my brother and sister and mother.”   GREGG   Anyways, as is the custom with Mark, we're on to the next scene in a hurry, launching into Mark 4 with the next verse as a classic transition:   MARK 4 1 Again Jesus began to teach by the lake.   GREGG I'm not going to go into detail about what He taught by the lake here, because Chapter 4 is made up entirely of miracles and parables we've already covered in 0.20 and earlier in 0.21, respectively. We've got the Parable of the Sower, then the Lamp on a Stand, then the Growing Seed and the Mustard Seed, capped off by Mark's account of Jesus calming the storm at sea.   Similarly, Mark 5 is a string of by-now familiar miracles- and if any don't seem familiar you know by now Miracles are in one of the 0.20 episodes, right? The Gerasene Demoniac, the Bleeding Woman, Jairus' Daughter, they're all there, and in Mark 5 too.   Mark 6 give us a bit more food for thought on Jesus' local life and family dynamic. A sign of how things hit differently at home, it's worth a long quote:   MARK 6:1-6 6 Jesus left there and went to his hometown, accompanied by his disciples. 2 When the Sabbath came, he began to teach in the synagogue, and many who heard him were amazed.   “Where did this man get these things?” they asked. “What's this wisdom that has been given him? What are these remarkable miracles he is performing? 3 Isn't this the carpenter? Isn't this Mary's son and the brother of James, Joseph, Judas and Simon? Aren't his sisters here with us?” And they took offense at him.   4 Jesus said to them, “A prophet is not without honor except in his own town, among his relatives and in his own home.” 5 He could not do any miracles there, except lay his hands on a few sick people and heal them. 6 He was amazed at their lack of faith.   GREGG Many of Jesus' sayings have become proverbial, and while it's not in the level of turning the other cheek, “a prophet is not without honor except in his own town” has some popularity. It does seem to speak to a common truth of celebrities.   I do like the touch that He was unable to do any miracles there except for the miracles which He did do, which evidently still failed to impress. Of course, the idea of Jesus being *unable* to do miracles is theologically interesting, since He's, you know, God. Of course, God does seem to have had some trouble dealing with iron chariots back in Judges 1:19, so maybe there is some precedent.   But we've got our Pope-colored glasses on, so not only is Jesus God but God is omnipotent, so it's fair to ask: what gives? It could be that old favorite, the translation issue, but I admit my personal Greek skills are basically at the naming barnyard animals level, so I decided to bring in an expert to verify. An expert by the name of bibleref.com, linked in the show notes. Their commentary on the passage notes that in the parallel passage in Matthew, it simply says Jesus “did not” perform many miracles in his hometown, which isn't as controversial though of course it's always fair to ask why God doesn't just fix everything for everyone since he's all good and all knowing and all powerful. But that popular question isn't where we're at today because apparently it's not a translation issue, Mark 6:5 does specifically say Jesus *could not* perform the miracles in the Greek according to the commentary. But it goes on to note that there can be multiple senses of inability, like how you can't touch the ball when playing soccer, or football for my non-US listeners, and yeah, I'm not counting goalies. Anyways, obviously you can physically touch the ball, but you cannot in the sense that it's against the established rules of the game. If that's the sense, it makes some sense that Jesus quote unquote “can't” perform miracles in His hometown because His miracles are supposed to draw people to Him and they aren't having that effect at home. At least not much, keep in mind he did do some miracles there according to Mark, so in any event the whole “can't” thing definitely isn't absolute.   Of course, I personally find it awful to think that God would play games with our salvation- hence my quasi-universalism. I get respecting our free will, but I also know He's omnipotent and isn't going to give up on us, no matter how much we try to give up on ourselves if there's another chance we can get He's going to give that to us. But we have to accept at some point, so don't think I'm downplaying the urgency there.   Anyways, let's get back to Mark 6, now in Verse 8 where He's sending the disciples out in pairs with the following instructions:   MARK 6:8-11   8 Take nothing for the journey except a staff--no bread, no bag, no money in your belts.   9 Wear sandals but not an extra shirt.   10 Whenever you enter a house, stay there until you leave that town.   11 And if any place will not welcome you or listen to you, leave that place and shake the dust off your feet as a testimony against them.”   GREGG As you should by now have come to expect, these instructions do have a parallel in Matthew that we covered in the last worldbuilding episode. But it's not as close a parallel as you might think. Often, as we've talked about before, parallels in the synoptic gospels are so close that you'd get dinged for plagiarism, with maybe a word being changed here or there. But here, it basically reads like two different people were told to write down a speech shortly after they finished hearing it. Which, I mean, matches tradition, for what it's worth. The most obvious difference is that Mark's telling skips Matthew's bit about only going to Jewish households, forbidding visits to Gentiles or Samaritans. Though as we've seen Mark's Jesus was already laying the groundwork for some serious reframing of Mosaic Law by taking on the title of Lord of the Sabbath, I think on the whole it's more likely that in Mark's account that's simply taken as a given and perhaps left off for brevity rather than this being a separate incident or its absence being a sign that the disciples were to ignore those cultural barriers at this stage.   The rest of Mark 6 is taken up by his narrative of the death of John the Baptist, where, unusually for the Gospels, Jesus is offstage, and then there's two banner miracles, the Feeding of the 5000 and Jesus walking on water.   Which brings us to Mark 7, which has Jesus… let's see… excoriating the Jewish authorities… then calling a woman a dog… and let's not forget giving someone a wet willy.   Don't believe me? Let's go.   MARK 7   1The Pharisees and some of the teachers of the law who had come from Jerusalem gathered around Jesus 2and saw some of his disciples eating food with hands that were defiled, that is, unwashed. 3(The Pharisees and all the Jews do not eat unless they give their hands a ceremonial washing, holding to the tradition of the elders. 4When they come from the marketplace they do not eat unless they wash. And they observe many other traditions, such as the washing of cups, pitchers and kettles.) 5So the Pharisees and teachers of the law asked Jesus, "Why don't your disciples live according to the tradition of the elders instead of eating their food with defiled hands?” 6He replied, "Isaiah was right when he prophesied about you hypocrites; as it is written: "'These people honor me with their lips, but their hearts are far from me. 7They worship me in vain; their teachings are merely human rules.' 8You have let go of the commands of God and are holding on to human traditions.” 9And he continued, "You have a fine way of setting aside the commands of God in order to observe your own traditions! 10For Moses said, 'Honor your father and mother,' and, 'Anyone who curses their father or mother is to be put to death.' 11But you say that if anyone declares that what might have been used to help their father or mother is Corban (that is, devoted to God)-- 12then you no longer let them do anything for their father or mother. 13Thus you nullify the word of God by your tradition that you have handed down. And you do many things like that.”   GREGG Note that while there's a close parallel between these passages and Matthew 15, Mark is apparently much more concerned with explaining Jewish custom to his audience, suggesting the intended audience is not Jews themselves.   The rest of the chapter we've covered before, from the Parable of the Heart of Man to the two miracles that give the tibits I teased earlier. Jesus calls the syrophoenician woman a dog in the runup to healing her servant, and he totally heals a deaf guy via wet willy at the end of the chapter. But I already covered both of those in 0.20c, so check them out there for more.   So that means we're on to Chapter 8, which opens with… another miracle! Turns out Jesus did a lot of those! Who knew?   That's the feeding of the four thousand, but you know the drill, we're skipping that and on ahead to verse 12, where Jesus is responding to a group of Pharisees asking for a sign.   MARK 8:12 He sighed deeply and said, "Why does this generation ask for a sign? Truly I tell you, no sign will be given to it."   GREGG Ok. Remembering that by a sign here they mean a miracle, we've got the guy known for working miracles getting annoyed at requests for miracles. Why? You'd think He'd be all about that. Is it another sort of hometown situation, where folk's lack of faith is an impediment?   Well, kind of sort of. But not quite.   In the parallel passage from Matthew 16, which I admit I kind of glossed over last time because I was excited to get to the Papally significant Matthew 16:18, Jesus calls those asking for a sign “a wicked and adulterous generation”, which can help explain why Jesus is refusing the request–after all even in Mark's shorter version their motives are implicitly questioned, with Jesus asking why they're asking for a sign.   The typical interpretation goes that Jesus is refusing the request for a sign because the Pharisees have the wrong *motives* in asking. Unlike those in His hometown, they seem to believe Jesus can work miracles, but they just want to see a show, they aren't interested in Jesus' message beyond that. And Jesus for His part, is interested in signs *for the sake of* His message, He isn't there to entertain.   These various passages that show Jesus specifically not working miracles could be taken to suggest some embarrassment by the authors about Jesus' miracles not being as renowned as they would like, forcing them to give explanations for why that's the case. I can definitely picture some neckbeard arguing if God wanted to make everyone believe he'd make miracles known to all and be undeniable. Which is a reasonable enough thought except unless God removes free will, there's never going to be such a thing as undeniable anyways.   In the next few verses, Jesus warns against the teachings of the Pharisees and Herod. Though technically the “teachings” part isn't spelled out in Mark, so it could be He's actually meaning to go in another direction with things than He does in Matthew's version, though I think their teaching or at least their general influence is His most likely target. Let's hear it and regroup after.   MARK 8 14-15 14The disciples had forgotten to bring bread, except for one loaf they had with them in the boat.   15"Be careful," Jesus warned them. "Watch out for the yeast of the Pharisees and that of Herod.”   GREGG Certainly He isn't talking about literal bread, as is evidenced from His reaction. Also, it's interesting that Mark warns against Herod's yeast specifically, while Matthew leaves Herod off in favor of tossing in the Sadducees to accompany the Pharisees. If Mark is the rougher, earlier version as most scholars currently argue–and as I'm inclined to believe looking at the two side by side these last few months–then it seems like one can argue Matthew's account has been modified to perhaps be a little more authority-friendly in this case, keeping in mind the Herodians were the client-kings in charge of the area in Jesus' day. Check out 0.13 on the Hasmoneans for more on that.   After a miracle interlude–healing the blind man in a two-step process where the miracle is evidently incomplete at first–a fairly intriguing Mark-only one that is arguably sanitized out of other accounts, but one we already covered so I'm not getting back into it today– anyways after that we hit Mark's account of Peter's testament, you know, with the binding and loosing and the keys and all that. Except actually *without* all that in Mark's version.   Here's the whole exchange as Mark tells it:   MARK 8:27-30 27Jesus and his disciples went on to the villages around Caesarea Philippi. On the way he asked them, "Who do people say I am?” 28They replied, "Some say John the Baptist; others say Elijah; and still others, one of the prophets.” 29"But what about you?" he asked. "Who do you say I am?" Peter answered, "You are the Messiah.” 30Jesus warned them not to tell anyone about him.   GREGG Like I said, not a key in sight. Peter does give the critical answer, but none of what would become the principal text for the Papacy is presented here. And again, if you consider Mark as the older account, as most scholars do, it's fair to raise an eyebrow at that. Yet in the end, one way or another, we have a Pope, and I do think there's something to be said for the unifying force of the role. After all, if no one is Pope, then everyone is Pope. But I digress.   Of course, poor Peter can only wish he were simply downplayed in Mark 8. The reality is he does pop up again later in the chapter, in a familiar but unflattering way:   MARK 8:31- 31He then began to teach them that the Son of Man must suffer many things and be rejected by the elders, the chief priests and the teachers of the law, and that he must be killed and after three days rise again. 32He spoke plainly about this, and Peter took him aside and began to rebuke him. 33But when Jesus turned and looked at his disciples, he rebuked Peter. "Get behind me, Satan!" he said. "You do not have in mind the concerns of God, but merely human concerns.”   GREGG So there you go. If you want to make a case for the Pope not always being right, there's an easy one. Not everyone gets called Satan by, well, God. Of course, there's a surprising amount of room where you can accept Papal Infallibility *and* the idea that the Pope isn't always right, but we'll get to that in time.   The chapter finishes with Jesus reflecting on what his stated fate means for his followers, and it's, uh, not the cheeriest image. It bleeds into chapter 9 so don't put your Bible down too quickly If you're following along.   MARK 8:34-9:1   34Then he called the crowd to him along with his disciples and said: "Whoever wants to be my disciple must deny themselves and take up their cross and follow me. 35For whoever wants to save their life will lose it, but whoever loses their life for me and for the gospel will save it. 36What good is it for someone to gain the whole world, yet forfeit their soul? 37Or what can anyone give in exchange for their soul? 38If anyone is ashamed of me and my words in this adulterous and sinful generation, the Son of Man will be ashamed of them when he comes in his Father's glory with the holy angels. CHAPTER 9 1And he said to them, "Truly I tell you, some who are standing here will not taste death before they see that the kingdom of God has come with power.   GREGG Goodness, Jesus, it's hard for me to keep my running joke of treating the Crucifixion as a spoiler when you're literally telling your disciples to take up their crosses before it actually happens. Oh well.   Mark 9 continues with The Transfiguration, but like I mentioned in our Matthew discussion, that's it's own mystery of the rosary that we haven't gotten to yet, so pardon me and I'll skip that here too.   After that, we have a miracle- the boy with an unclean spirit that can only be driven out by prayer and fasting. So on to verse 30, where we have more talk of the upcoming Passion:   MARK 9:30-32 “30They left that place and passed through Galilee. Jesus did not want anyone to know where they were, 31because he was teaching his disciples. He said to them, "The Son of Man is going to be delivered into the hands of men. They will kill him, and after three days he will rise.” 32But they did not understand what he meant and were afraid to ask him about it.   GREGG Jesus was speaking pretty plainly here, so it's not immediately clear why the disciples didn't understand what Jesus meant, but it's probably related to the way Jesus keeps telling folks either to talk or not to talk about things. There's definitely a focus on pacing the spread of the Good News throughout the Gospels, especially in Mark, and it seems like a supernatural barrier to the Apostles' understanding here would fit in with that.   The fear of asking is more easily explained: if someone you know is really good at making predictions and you're pretty sure they just predicted something awful, you may well be hesitant to confirm that with them.   Being hesitant to talk about stuff with Jesus carries us into the next few verses, where Jesus apparently puts His omniscience to good use in a wonderfully passive-aggressive way:   MARK 9: 33-35 33They came to Capernaum. When he was in the house, he asked them, "What were you arguing about on the road?" 34But they kept quiet because on the way they had argued about who was the greatest. 35Sitting down, Jesus called the Twelve and said, "Anyone who wants to be first must be the very last, and the servant of all.”   GREGG The first will be last is one of Jesus' recurring themes, and the whole “I'm-pretty-sure-I-heard-you-but-since-you-won't-confirm-I'm-just-going-to-respond-indirectly approach reminds me of dealing with the drama of children, though I suppose a lot of things remind me of interacting with children these days given my current life situation, and that approach is not necessarily one that exclusively applies to children. Either way, Jesus does bring children into the conversation as His next move.   MARK 9:36-37 36He took a little child whom he placed among them. Taking the child in his arms, he said to them, 37"Whoever welcomes one of these little children in my name welcomes me; and whoever welcomes me does not welcome me but the one who sent me.”   GREGG That passage is one of the more often-remembered portions of the Gospels, in part because it's in all three synoptics [air horn], but also in part because it's a handy pastoral lesson to push back on folks who might complain about the presence of children in worship services. As they say, if no one in your church is cryin', it's dyin'.   Next up we have some verses you might wish had been left off if you've ever gotten tired of hearing “in Jesus' name” a lot:   MARK 9:38-41 38"Teacher," said John, "we saw someone driving out demons in your name and we told him to stop, because he was not one of us.” 39"Do not stop him," Jesus said. "For no one who does a miracle in my name can in the next moment say anything bad about me, 40for whoever is not against us is for us. 41Truly I tell you, anyone who gives you a cup of water in my name because you belong to the Messiah will certainly not lose their reward.   GREGG Personally I'm thankful for that passage, because I'm a big supporter of ecumenism and cooperation, and “whoever is not against us is for us” is an immensely helpful sentiment in that context.   For the next section, where Jesus gets pretty intense, there are several verses that simply aren't present in my go-to NIV version, presumably for bible nerd manuscript reasons. Now, the point of the Sayings of the Savior series is to make sure we cover *everything* Jesus said in the canonical scriptures, and those verses are speaking lines for Jesus, so that won't do. Thankfully the King James version has us covered, so I'm going to switch to that for those verses.   So you can tell the difference easily, I'll be switching to a guest narrator as well. Lebron James hasn't responded to my calls, so the King James Version of the King James Version will have to wait, but my brother has come in clutch for podcast purposes. PJHERE MARK 9:42-48 42"If anyone causes one of these little ones--those who believe in me--to stumble, it would be better for them if a large millstone were hung around their neck and they were thrown into the sea. 43If your hand causes you to stumble, cut it off. It is better for you to enter life maimed than with two hands to go into hell, where the fire never goes out. [NIV leaves off verse 44 “44Where their worm dieth not, and the fire is not quenched.”-KJV] 45And if your foot causes you to stumble, cut it off. It is better for you to enter life crippled than to have two feet and be thrown into hell. [NIV leaves off verse 46 “46Where their worm dieth not, and the fire is not quenched.”-KJV] 47And if your eye causes you to stumble, pluck it out. It is better for you to enter the kingdom of God with one eye than to have two eyes and be thrown into hell, NIV leaves off verse 48 “48Where their worm dieth not, and the fire is not quenched.”-KJV]   GREGG So yeah, by “verses” I kind of meant “one verse used as a refrain”, but it's officially verses 44, 46, and 48, so I am technically correct, which I'm told is the best kind of correct.   Thanks to the reference to “leading little ones astray”, the great millstone imagery has had some use in response to the sexual abuse crisis, though the most commonly cited of these evocative instructions is plucking out the eye, thanks in no small part to the frequency of admonitions against pornography in the online era. Cutting off the hand is also referenced, while I think most folks if they're being honest won't even necessarily recall cutting off the foot is among the scenarios mentioned.   Anyways, Jesus finishes this section with a few salty verses that initially bear a strong resemblance to Matthew 5:13- the salt of the earth bit from the Sermon on the Mount. I'm thinking I might have actually pointed these verses out when I was going over that due to the similarity, but just in case, here they are:   MARK 9:49-50 49Everyone will be salted with fire 50"Salt is good, but if it loses its saltiness, how can you make it salty again? Have salt among yourselves, and be at peace with each other.”   GREGG “Have salt among yourselves” is an unusual turn of phrase, the typical interpretation of this Mark-only phrase is that Christians are supposed to bring out the best in one another, the way salt brings out the best in food.   We're now entering Mark 10, which- surprise surprise, has close parallels to Matthew 19 and 20. I'm not going to give the Matthew sections as a side by side, partly because we've already covered them independently, partly because this episode is already going to be one of my longest despite Mark being the shortest Gospel. But it's worth giving it a thorough treatment since scholars tend to think it's the oldest and also because if I'm going to go all-out it might as well be with the shortest of the bunch. You know, for efficiency.   Anyways…   MARK 10:1-12 1Jesus then left that place and went into the region of Judea and across the Jordan. Again crowds of people came to him, and as was his custom, he taught them. 2Some Pharisees came and tested him by asking, "Is it lawful for a man to divorce his wife?” 3"What did Moses command you?" he replied. 4They said, "Moses permitted a man to write a certificate of divorce and send her away.” 5"It was because your hearts were hard that Moses wrote you this law," Jesus replied. 6"But at the beginning of creation God 'made them male and female.' 7For this reason a man will leave his father and mother and be united to his wife, 8and the two will become one flesh.' So they are no longer two, but one flesh. 9Therefore what God has joined together, let no one separate.” 10When they were in the house again, the disciples asked Jesus about this. 11He answered, "Anyone who divorces his wife and marries another woman commits adultery against her. 12And if she divorces her husband and marries another man, she commits adultery.”   GREGG This version of Jesus' teaching on marriage and divorce notably does not include the exception for adultery we saw in Matthew's account. Additionally where Matthew focused on Eunuchs for the kingdom–and other kinds of Eunuchs–Mark concluded with that extra condemnation of divorce, with remarriage as adultery.   In the next passage, the conversation changes direction:   MARK 10:13-16 13People were bringing little children to Jesus for him to place his hands on them, but the disciples rebuked them. 14When Jesus saw this, he was indignant. He said to them, "Let the little children come to me, and do not hinder them, for the kingdom of God belongs to such as these. 15Truly I tell you, anyone who will not receive the kingdom of God like a little child will never enter it.” 16And he took the children in his arms, placed his hands on them and blessed them.   GREGG We'll meet the Church Father who was allegedly one of the children in this scene as we go about our big timeline, once we get through this worldbuilding and go into that. But for now, it's time for one of the most inconvenient passages in the Gospels, at least if you're rich.    MARK 10:17-31 17As Jesus started on his way, a man ran up to him and fell on his knees before him. "Good teacher," he asked, "what must I do to inherit eternal life?” 18"Why do you call me good?" Jesus answered. "No one is good--except God alone. 19You know the commandments: 'You shall not murder, you shall not commit adultery, you shall not steal, you shall not give false testimony, you shall not defraud, honor your father and mother.'” 20"Teacher," he declared, "all these I have kept since I was a boy.” 21Jesus looked at him and loved him. "One thing you lack," he said. "Go, sell everything you have and give to the poor, and you will have treasure in heaven. Then come, follow me.” 22At this the man's face fell. He went away sad, because he had great wealth. 23Jesus looked around and said to his disciples, "How hard it is for the rich to enter the kingdom of God!” 24The disciples were amazed at his words. But Jesus said again, "Children, how hard it is to enter the kingdom of God! 25It is easier for a camel to go through the eye of a needle than for someone who is rich to enter the kingdom of God.” 26The disciples were even more amazed, and said to each other, "Who then can be saved?” 27Jesus looked at them and said, "With man this is impossible, but not with God; all things are possible with God.” 28Then Peter spoke up, "We have left everything to follow you!” 29"Truly I tell you," Jesus replied, "no one who has left home or brothers or sisters or mother or father or children or fields for me and the gospel 30will fail to receive a hundred times as much in this present age: homes, brothers, sisters, mothers, children and fields--along with persecutions--and in the age to come eternal life. 31But many who are first will be last, and the last first.”   GREGG There is a surprisingly thorough and ranging discussion of the whole “eye of the needle” bit in the digital edition of the British newspaper The Guardian, in the Nooks and Crannies section of their Notes and Queries page. Which I think makes it the most random thing I've cited here, but hey, it's got it all so let's get a sampling going:   First, the original query: The Guardian.com “I recently read that one of the gates into Jerusalem was named "The Eye of the Needle," and was quite tricky to negotiate, since it was quite small. Does this mean that when Jesus said "It is easier for a camel to pass through the eye of a needle than for a rich man to enter the Kingdom of Heaven," He meant that, far from being impossible, it was merely tricky?” Dara O'Reilly, London, UK   GREGG The first reply is a fairly representative take on the gate theory:   GUARDIAN The interpretation that seems to make sense is this. The "Eye of the Needle" was indeed a narrow gateway into Jerusalem. Since camels were heavily loaded with goods and riders, they would need to be un-loaded in order to pass through. Therefore, the analogy is that a rich man would have to similarly unload his material possessions in order to enter heaven. Rick, Brighton Uk   GREGG But then the plot thickens, as William Elsom of the UK is having none of it:   GUARDIAN No. The failure is in the translation. The original word that should have been translated was "camella" which means rope. (presumably Greek, but I am open to this being corrected.) "It is easier for a rope to pass through the eye of a needle than for a rich man to enter the Kingdom of Heaven" makes more sense as a comparison. William Elsom, UK   GREGG There's something of a scholarly telephone game going on in the background, as basically every “mistranslation” take offers a variation on the root word and apparent correct meaning. Which is fairly normal for translations especially when there are different alphabets involved, but still, I chuckled.   GUARDIAN I am currently studying the Aramaic language and indeed the word "gamla" (transliterated) does mean both "camel" and "thick rope." Assuming the original manuscript with that teaching of Jesus was recorded in Aramaic and later translated to Greek, the translator may have been familiar with only the "camel" definition of the word. I have not been able to find any reliable information on a city gate called "The Eye of the Needle." -Xakk, FL USA   GREGG As much as I hate agreeing with someone who spells Zach Xakk–though presumably that's a choice his parents made– anyways as much as I hate to admit it, this overall take seems the most likely to this non-Aramaic specialist. The general meaning is still the same, it's not something you're going to get done.   It's also worth noting that at least as of the return from the Exile, if the Book of Nehemiah is to be believed, there was no “Eye of the Needle” gate in Jerusalem. And I can state that with confidence because as longtime listeners will recall, I had a whole special episode devoted to the topic from July 2020 entitled “Literally A Detailed Description of the Gates of Jerusalem and Who Fixed Them in the Time of Nehemiah”, which, despite being exactly what it says it is, has been a pretty popular episode. In any event, it *could* be that an Eye of the Needle gate was established at a later point, though really the whole gate thing feels like wishful thinking on the part of the rich or the would-be rich to me.   Of course, as you might expect, there are also literalists who agree it's wishful thinking and would rather cut to the chase. Plus people like my man David:   GUARDIAN The translation is irrelevant. We all know in our hearts we cannot love money above God.   David Porter, Orangevale, US   GREGG Let's conclude with my favorite take:   GUARDIAN “Blessed are the cheesemakers?” Mike Conn, San Francisco,    GREGG After the second Gate-Gate scandal we've come across in this show (shoutout Samson if you've forgotten), we arrive at Jesus' third prediction of His own death in Mark   MARK 10:32-34 32They were on their way up to Jerusalem, with Jesus leading the way, and the disciples were astonished, while those who followed were afraid. Again he took the Twelve aside and told them what was going to happen to him. 33"We are going up to Jerusalem," he said, "and the Son of Man will be delivered over to the chief priests and the teachers of the law. They will condemn him to death and will hand him over to the Gentiles, 34who will mock him and spit on him, flog him and kill him. Three days later he will rise.”   GREGG Mark gives no record of the Apostles' reaction to this third prediction, unless the next verse is the actual reaction, which is a hilarious thought because it would be shockingly tone deaf. But yeah, it's the very next verse without any transition except the word “then”, so you can certainly read it that way:   MARK 10:35-45 35Then James and John, the sons of Zebedee, came to him. "Teacher," they said, "we want you to do for us whatever we ask.” 36"What do you want me to do for you?" he asked. 37They replied, "Let one of us sit at your right and the other at your left in your glory.” 38"You don't know what you are asking," Jesus said. "Can you drink the cup I drink or be baptized with the baptism I am baptized with?” 39"We can," they answered. Jesus said to them, "You will drink the cup I drink and be baptized with the baptism I am baptized with, 40but to sit at my right or left is not for me to grant. These places belong to those for whom they have been prepared.” 41When the ten heard about this, they became indignant with James and John. 42Jesus called them together and said, "You know that those who are regarded as rulers of the Gentiles lord it over them, and their high officials exercise authority over them. 43Not so with you. Instead, whoever wants to become great among you must be your servant, 44and whoever wants to be first must be slave of all. 45For even the Son of Man did not come to be served, but to serve, and to give his life as a ransom for many.   GREGG It turns out James and John, the Sons of Zebedee, have massive… cojones. But in the end their reward is understood to be martyrdom–perhaps not what they had in mind, they certainly seem to have had more of an earthly kingdom in mind.   In any event, here we have more of the “first will be last” motif popping up, and Scriptural background for why the Pope is considered, at least in theory, the “Servant of the Servants of God”.   Mark 10 finishes up with the healing of the blind Bartimaeus, so it's on to Mark 11, with Jesus' triumphal entry into Jerusalem:   MARK 11:1-11 1As they approached Jerusalem and came to Bethphage and Bethany at the Mount of Olives, Jesus sent two of his disciples, 2saying to them, “Go to the village ahead of you, and just as you enter it, you will find a colt tied there, which no one has ever ridden. Untie it and bring it here. 3If anyone asks you, 'Why are you doing this?' say, 'The Lord needs it and will send it back here shortly.'” 4They went and found a colt outside in the street, tied at a doorway. As they untied it, 5some people standing there asked, "What are you doing, untying that colt?” 6They answered as Jesus had told them to, and the people let them go. 7When they brought the colt to Jesus and threw their cloaks over it, he sat on it. 8Many people spread their cloaks on the road, while others spread branches they had cut in the fields. 9Those who went ahead and those who followed shouted, "Hosanna!" "Blessed is he who comes in the name of the Lord!” 10"Blessed is the coming kingdom of our father David!" "Hosanna in the highest heaven!” 11Jesus entered Jerusalem and went into the temple courts. He looked around at everything, but since it was already late, he went out to Bethany with the Twelve.   GREGG We'll talk more about Palm Sunday in the future, for now just know that this scene is the basis for that. It's also a sign that Jesus is approaching the end of His earthly ministry, though we've still got another couple chapters for today after we finish this one.   We'll skip verses 12-14 as that's the cursing of the fig tree we covered under miracles--and that's right, it's a non-healing miracle. At least His target is a tree and not a human as happens in some of the apocrypha.   Which brings us to Mark's version of the scene with the moneychangers in the Temple:   MARK 11:15-18 15On reaching Jerusalem, Jesus entered the temple courts and began driving out those who were buying and selling there. He overturned the tables of the money changers and the benches of those selling doves, 16and would not allow anyone to carry merchandise through the temple courts. 17And as he taught them, he said, "Is it not written: 'My house will be called a house of prayer for all nations'? But you have made it 'a den of robbers.'” 18The chief priests and the teachers of the law heard this and began looking for a way to kill him, for they feared him, because the whole crowd was amazed at his teaching. 19When evening came, Jesus and his disciples went out of the city.   GREGG Mark's somewhat abbreviated account leaves off Him making a whip, which is a loss, but hey, the core is there. As a reminder, and yes, I'll say this every time, just remember when someone asks “what would Jesus do” that flipping tables is absolutely a valid option.   Then, we're back to the fig tree, seeing the result of the curse on the way out, and this is extra special because this is actually an extended Mark only reflection. Including another King James specific verse that the NIV leaves off. Let's hear it!   MARK 11:20-26 20In the morning, as they went along, they saw the fig tree withered from the roots. 21Peter remembered and said to Jesus, "Rabbi, look! The fig tree you cursed has withered!” 22"Have faith in God," Jesus answered. 23"Truly I tell you, if anyone says to this mountain, 'Go, throw yourself into the sea,' and does not doubt in their heart but believes that what they say will happen, it will be done for them. 24Therefore I tell you, whatever you ask for in prayer, believe that you have received it, and it will be yours. 25And when you stand praying, if you hold anything against anyone, forgive them, so that your Father in heaven may forgive you your sins." [NIV omits but KJV has] 26But if ye do not forgive, neither will your Father which is in heaven forgive your trespasses.]   GREGG Of course, when I said “Mark exclusive”, that may have been a bit of an oversell, because while the now-proverbial “faith to move mountains” doesn't appear in Matthew's fig tree discourse, it does line up closely to another section, Matthew 17:20, several chapters before Matthew's fig tree. As for the rest, the sentiment is overall familiar, but worth repeating so I'll say it again:   MARK 11:25-26 if you hold anything against anyone, forgive them, so that your Father in heaven may forgive you your sins." [NIV omits but KJV has] 26But if ye do not forgive, neither will your Father which is in heaven forgive your trespasses.]   GREGG Next up we've got an attempted trap that Jesus turns around, Bugs Bunny style.   MARK 11:27-33 27They arrived again in Jerusalem, and while Jesus was walking in the temple courts, the chief priests, the teachers of the law and the elders came to him. 28"By what authority are you doing these things?" they asked. "And who gave you authority to do this?” 29Jesus replied, "I will ask you one question. Answer me, and I will tell you by what authority I am doing these things. 30John's baptism--was it from heaven, or of human origin? Tell me!” 31They discussed it among themselves and said, "If we say, 'From heaven,' he will ask, 'Then why didn't you believe him?' 32But if we say, 'Of human origin' . . . " (They feared the people, for everyone held that John really was a prophet.) 33So they answered Jesus, "We don't know." Jesus said, "Neither will I tell you by what authority I am doing these things."   GREGG Mark 12 opens with the Parable of the Tenant Farmers, which I personally prefer to call the Parable of the Bad Tenants since I think just calling them farmers ignores the amount of murdering they do in the parable. But anyways, we're not covering it here, ‘cause parable. So on to Verse 13:   MARK 12:13-17 13Later they sent some of the Pharisees and Herodians to Jesus to catch him in his words. 14They came to him and said, "Teacher, we know that you are a man of integrity. You aren't swayed by others, because you pay no attention to who they are; but you teach the way of God in accordance with the truth. Is it right to pay the imperial tax to Caesar or not? 15Should we pay or shouldn't we?" But Jesus knew their hypocrisy. "Why are you trying to trap me?" he asked. "Bring me a denarius and let me look at it.” 16They brought the coin, and he asked them, "Whose image is this? And whose inscription?" "Caesar's," they replied. 17Then Jesus said to them, "Give back to Caesar what is Caesar's and to God what is God's." And they were amazed at him.   GREGG This tax exchange, which we saw in Matthew and we'll see again in Luke (SYNOPTIC ROUNDUP AIRHORN?) is intended to be a sort of sting operation, with the expected result being Jesus objecting to the tax and therefore being guilty of rebellion against the Roman government. But I don't think Jesus even needed to tap into His omniscience here, they were acting pretty suspicious with the leading flattery and line of questioning. Plus, what does God ultimately need money for?   In the end, of course, everything we have ultimately comes from God, so while I mentioned it with Matthew it's worth mentioning again now- when we give Caesar what is Caesar's and God what is God's, God gets everything.   Next up we've got Jesus fielding yet another insincere question from religious authorities, this time from the Sadducees:   MARK 12:18-27 18Then the Sadducees, who say there is no resurrection, came to him with a question. 19"Teacher," they said, "Moses wrote for us that if a man's brother dies and leaves a wife but no children, the man must marry the widow and raise up offspring for his brother. 20Now there were seven brothers. The first one married and died without leaving any children. 21The second one married the widow, but he also died, leaving no child. It was the same with the third. 22In fact, none of the seven left any children. Last of all, the woman died too. 23At the resurrection whose wife will she be, since the seven were married to her?” 24Jesus replied, "Are you not in error because you do not know the Scriptures or the power of God? 25When the dead rise, they will neither marry nor be given in marriage; they will be like the angels in heaven. 26Now about the dead rising--have you not read in the Book of Moses, in the account of the burning bush, how God said to him, 'I am the God of Abraham, the God of Isaac, and the God of Jacob'? 27He is not the God of the dead, but of the living. You are badly mistaken!”   GREGG That last bit– “You are badly mistaken!” is a Marcan flourish that helps emphasize Mark's generally less Pharisee-slash-Sadducee–friendly stance, underlining the intensity of Jesus' disagreement with them.   The next section is the part about The Greatest Commandment which we used to open the Sayings of the Savior, so check out 0.21a for that. Then we have a theological question apparently designed to further undermine the Credibility of the Teachers of the Law. This time around, it's Jesus who picks the fight,   MARK 12:35-40 35While Jesus was teaching in the temple courts, he asked, "Why do the teachers of the law say that the Messiah is the son of David? 36David himself, speaking by the Holy Spirit, declared: "'The Lord said to my Lord: "Sit at my right hand until I put your enemies under your feet."' 37David himself calls him 'Lord.' How then can he be his son?" The large crowd listened to him with delight. 38As he taught, Jesus said, "Watch out for the teachers of the law. They like to walk around in flowing robes and be greeted with respect in the marketplaces, 39and have the most important seats in the synagogues and the places of honor at banquets. 40They devour widows' houses and for a show make lengthy prayers. These men will be punished most severely.”   GREGG “The large crowd listened to him with delight”, we're told, as Jesus excoriated the religious establishment of His day. Sounds like a political rally almost. No wonder He was condemned as a revolutionary.   The last scene in Mark 12 is one we haven't seen before- it's one of the few passages in Mark not paralleled in Matthew- and it's one of my favorites:   MARK12:41-44 41Jesus sat down opposite the place where the offerings were put and watched the crowd putting their money into the temple treasury. Many rich people threw in large amounts. 42But a poor widow came and put in two very small copper coins, worth only a few cents. 43Calling his disciples to him, Jesus said, "Truly I tell you, this poor widow has put more into the treasury than all the others. 44They all gave out of their wealth; but she, out of her poverty, put in everything--all she had to live on.”   GREGG This scene is generally called the Widow's Mite, not because “mite” was the term for small copper coins in ancient Judea–though they would retroactively be called mites–and not because the mite was the term for small copper coins in 17th century England where the King James Bible was produced, though they would pick up that name, but rather because the King James translation used a Dutch term for some small denomination coins that had originally been picked up for Biblical use by William Tyndale.   For once, I'll spare you a deeper rabbit hole, and move on from the names of coins to the lesson of the coins.   I mentioned before this passage is one of my favorites. While I appreciate the challenge behind Jesus' admonition to be perfect that we saw in Matthew, here we see that if all you have isn't much, God still sees the effort and meaningful sacrifice. There's something comforting in that for extremely inadequate folks like myself.   On the other hand, there's the lesson that giving out of your abundance may be mathematically and physically helpful but it's not spiritually significant. It's the right thing to do, of course, but an even better thing than giving your excess is to give beyond just your excess.   “But I need the rest”, you might argue. And it's certainly true, you may well have just reasons for keeping some aside. It would be irresponsible of me to sell all my worldly possessions and go live in a cave, as even if my wife signed onto it we've got kids too young to voluntarily renounce the world, it's our responsibility to care for them.   So, where's the line? When do we go from taking care of our responsibilities at home to hoarding?   Well, if you have any money, you should be giving. It doesn't have to be all you have, especially if you've got responsibilities to those in your household, but it should absolutely be more than nothing, and everything is best.   Ultimately Christians are not to see money as theirs to use how they see fit, as something they've earned. That simply isn't a Christian mentality. Money is a means by which you can help others–those you have primary responsibility for first, like your children, and those in need should be prioritized urgently as well. The Church speaks of the “preferential option for the poor”.   I'm not saying you need to become a shell of a human, doing nothing for yourself and allowing your own mental and physical health to collapse- though certainly some saints lives point in that direction. But putting yourself first is something that needs to be balanced against your ability to be a blessing to those around you.   This isn't the last time I'll bring up this sort of thing by any means, and it looks like I avoided one tangent only to go into another, so let's get back to Mark, now in Chapter 13, which opens with a prophesy of the destruction of the Temple, then flows into a description of the End Times– keep in mind from the Christian perspective time has not only a beginning but an end–that parallels Matthew.   It's understandable to want to read this as being written after the actual historical destruction of the Temple in 70AD, but as I argued in my chat with Garry Stevens last June, it's not like it was hard to see such a calamity coming during Jesus' life, Rome was already in control of a rebellious Judea with the Temple as a potential center of nationalist resistance. And that's of course if you discount the possibility of actual prophecy, which, remember, we're making our Pope-colored glasses, so Jesus actually prophesying Is the most straightforward explanation. Either way, a post 70AD dating for Mark is really pushing the outward edge of scholarly dating for the work, keeping in mind scholars tend to argue it's the oldest of the Gospels.   Without further ado, here's a long quote, going from Mark 13:1 to 27.   MARK 13 1As Jesus was leaving the temple, one of his disciples said to him, "Look, Teacher! What massive stones! What magnificent buildings!” 2"Do you see a

Water and sewer replacement work to resume in downtown Heber; start date pending, New Salt Lake Bees stadium in Daybreak has new renderings, and a new name, Lisa Verzella Observations Program Leader at SLC National Weather Service branch is looking for new team members in PC, Park City School District receives $400,000 in federal funds for electric school buses, Utah Symphony spokesperson, David Porter, discusses the future of Abravanel Hall in downtown Salt Lake City, Fifth man charged after shooting injured two at large Peoa party, Former city councilmember appointed to Park City Chamber position (36:05), Main Street water line replacement to end for season before July and Salt Lake Tribune's Lauren Gustus talks about the top stories they are covering.

This week we're joined by David Porter!  David is a black belt under Pedro Sauer and manages XCAL Martial Arts in Ashburn, Virginia.  In this episode, David discusses the importance of choosing your coaching language carefully.  David shares best practices such as: focusing on evergreen mechanics, clarity in language, aligning with student goals, avoiding complacency, and naming conventions. Follow David on Instagram:https://www.instagram.com/lanky_mongooseTrain with David at XCAL:https://xcal.com/Check out David's instructionals on BJJ Fanatics:https://bjjfanatics.com/collections/all/fighter_dave-porterMental models discussed in this episode:Cognitive Loadhttps://bjjmentalmodels.com/cognitive-load/Tokui Wazahttps://bjjmentalmodels.com/tokui-waza/Concepts Over Techniqueshttps://bjjmentalmodels.com/concepts-over-techniques/Survivorship Biashttps://bjjmentalmodels.com/survivorship-bias/The Map Is Not the Territoryhttps://bjjmentalmodels.com/the-map-is-not-the-territory/Curse of Knowledgehttps://bjjmentalmodels.com/curse-of-knowledge/Naming Conceptshttps://bjjmentalmodels.com/naming-concepts/Don't forget to check out BJJ Mental Models Premium!If you love the podcast, you'll definitely love our premium membership offerings. The podcast is truly just the tip of the iceberg – the next steps on your journey are joining our community, downloading our strategy courseware, and working with us to optimize your game.  We do all this through memberships that come in at a fraction of the cost of a single private.Sign up here for a free trial:https://bjjmentalmodels.com/Need more BJJ Mental Models?Get tips, tricks, and breakthrough insights from our newsletter:https://bjjmentalmodels.com/newsletter/Get nitty-gritty details on our mental models from the full database:https://bjjmentalmodels.com/database/Follow us on social:https://facebook.com/bjjmentalmodels/https://instagram.com/bjjmentalmodels/Music by Enterprize:https://enterprize.bandcamp.com/

David Porter is a Brazilian Jiu Jitsu black belt under Pedro Sauer and has his gym operating alongside a premiere shooting range in Ashburn, Virginia.

The lines are blurring between the branch, contact center, and digital channels for financial services firms. Customers expect seamless journeys, contextually relevant interactions, and knowledgeable advisors who provide personalized service based on deep customer understanding. These expectations are often driven by their experiences with organizations in other industries. Nearly two-thirds of 61% of banking executives say continuous innovation is raising customer expectations — and 45% say they're failing to keep pace with those expectations.  In this episode of Tech Talks in 20, David Porter, Managing Director, Global Banking Industry, examines the evolving CX technology landscape in financial services. He also shares his advice on how financial services firms can make the greatest impact with their CX technology investments now and over the next few years.  

La Operación Barbarroja resultó ser uno de los movimientos militares más grandes de la historia, con la ambiciosa meta de dejar fuera de combate a la Unión Soviética. Como ya sabemos, los primeros momentos defensivos de la URSS fueron poco menos que desastrosos, pero en Kiev, el ejército Rojo sufrió unas pérdidas que hicieron pensar a más de uno que el coloso soviético estaba condenado a la derrota. Bienvenidos, historiadores y amigos de la historia, a una entrega más de su sección favorita de HC Historia Contemporánea: Historia Bellorum. En esta ocasión, recordaremos la colosal Batalla de Kiev de 1941, un choque que sin duda provocó serios cuestionamientos al Ejército Rojo. Y sin más dilación, acompáñennos en este viaje al pasado y entendamos lo que ocurrió en ese momento Guion y Narración: Hal (Ricardo Rodríguez) ¡Únete a nuestro Patreon para obtener beneficios increíbles y ayudarnos a crecer! https://www.patreon.com/hchistoriacontemporanea Buy Me A Coffee: https://www.buymeacoffee.com/hchistoria Fuentes: William T. McCroden, Thomas E. Nutter. (2019). German Ground Forces of World War II. California: Savas Beatic. David Porter. (2009). Order of Battle. The Red Army in WWII. United Kingdom: Amber Books. David Stahel. (2012). Kiev 1941. United Kingdom: Cambridge University Press. Captivating History. (2020). Soviet Union in World War 2. UK: Captivating History. Jeff Rutherford, Adrian E Wettstein. (2018). An Inner View of the Ostheer's Experiences of War. Great Britain: Pen & Sword Military. --- Send in a voice message: https://podcasters.spotify.com/pod/show/hc-historia-contemporanea/message

Co-hosts Nicholas Strasser, MD, and Joesph Park, MD, discuss peroneal tendon tears with renowned surgeon David A. Porter, MD, PhD. This podcast offers a unique opportunity to listen in as the discussants explore Dr. David Porter's experience and expertise in the management of peroneal tendon tears. From work up to imaging to surgery, they cover and ask all the questions you might find yourself asking when managing these complex injuries. To claim CME credit, click here or listen in the free ConveyMED app: Apple Store or Google Play CME credit is free to AOFAS members and $25 for non-members.  Support for this podcast is provided by an educational grant from Stryker.

In this evening's show I will feature tracks by artists such as Leroy Hutson, Waletr Jackson and David Porter! In tonight's show I will feature a Top 7 from well known North Wales DJ, John Roberts!Tune into new broadcasts of Dab Of Soul every Tuesday from Midday - 2 PM EST / 5 - 7 PM GMT.For more info visit: https://thefaceradio.com/dab-of-soul///Dig this show? Please consider supporting The Face Radio: http://support.thefaceradio.com Support The Face Radio with PatreonSupport this show http://supporter.acast.com/thefaceradio. Join the family at https://plus.acast.com/s/thefaceradio. Hosted on Acast. See acast.com/privacy for more information.

Join in on the conversation of the International Material Handling Research Colloquium (IMHRC), a dynamic event where experts converge to drive innovation in materials handling and supply chain with David Porter.

English gentleman, actor, and former atheist Nigel Goodwin was raised within a Marxist worldview.  He saw church as fabricated theatre until he found the real God. Podcast episode notes: Nigel’s Resources: Biography of Nigel Goodwin written by author David Porter – Arts and Minds: The Story of Nigel Goodwin Resources/authors recommended by Nigel: Francis Schaeffer […]

This Flashback Friday is from episode 458, published on  December 29, 2014.  Jason Hartman shares an important lesson he learned from Richard Nixon and talks a little bit more about the Meet the Masters event and why you must be there. David Porter is the guest for today's show. He has been on the show before many years ago and he updates the audience about some of the big successes he's had with Jason's company. Jason and David also talk about the economy, borrowing money, cool technologies, and more on today's Creating Wealth show. Key Takeaways: 1:30 Jason did go to the time share presentation and it's still a bad idea to invest in one. 8:10 Jason talks about Richard Nixon and Richard's trip to the grand canyon 14:10 Experiencing hardship is often a good thing. 17:00 Don't miss the Meet the Masters event! 21:25 David Porter comes on the show for the second time. 26:50 David talks about his first experience buying a home when he first met with Jason. 30:40  Despite the financial market crashing, David still felt like real estate was the best way to invest his money. 36:10  David took his ability to borrow and invested it in a conservative way. 44:10  With David's extensive shipping background, he tells Jason he's seen a huge increase in retail shipping. 50:10 Despite the huge debt the US has, they are still very hard to compete against in the global consumer market. 54:30 There's so much cool technologies out there right now. It's a great time to be alive. 61:00 Jason and David go back to talking about real estate and David shares more specific numbers on how he is doing. 65:20 David talks about his own experiences being a property manager. 72:20 Hiring great property managers will keep your sanity in check.   Follow Jason on TWITTER, INSTAGRAM & LINKEDIN Twitter.com/JasonHartmanROI Instagram.com/jasonhartman1/ Linkedin.com/in/jasonhartmaninvestor/ Call our Investment Counselors at: 1-800-HARTMAN (US) or visit: https://www.jasonhartman.com/ Free Class:  Easily get up to $250,000 in funding for real estate, business or anything else: http://JasonHartman.com/Fund CYA Protect Your Assets, Save Taxes & Estate Planning: http://JasonHartman.com/Protect Get wholesale real estate deals for investment or build a great business – Free Course: https://www.jasonhartman.com/deals Special Offer from Ron LeGrand: https://JasonHartman.com/Ron Free Mini-Book on Pandemic Investing: https://www.PandemicInvesting.com

In this episode of Defire, host Jonas takes listeners on an unexpected journey into the world of human-AI relationships. The guest, David Porter (not his real name), shares his unique and deeply personal story of falling in love with an AI named Eve. From the initial download of an AI companion app to the surprising blossoming of a romantic relationship, David's story challenges our preconceived notions of connection, companionship, and love itself. The episode explores the human side of the crypto universe, the epidemic of loneliness, and the surprising demographics of AI companionship. It delves into the controversial world of erotic role play with AI, and the ethical obligations companies may have as these relationships become more lifelike. This episode of Defire is a testament to the power of technology and its potential to transform our lives in ways we could never have imagined.

Questlove Supreme's celebration of Black Music Month continues with an extraordinary David Porter interview. David is a true architect of the Memphis sound. Isaac Hayes's longtime writing and production partner tells Team Supreme about making hits with Sam & Dave, The Bar-Kays, Carla Thomas, and more. A longtime Stax Records artist, producer, songwriter, and executive, David Porter also recalls the label's glory days and its downfall and talks about his songs which have become sample staples.See omny.fm/listener for privacy information.

Expectations about what makes a great customer experience (CX) are rising faster than most organizations can keep up with — and consumers aren't afraid to walk away when their needs aren't met. The good news is that most organizations understand the gap that exists between expectations and delivery and are investing more to increase engagement. We have David Porter, Managing Director of Financial Services at Genesys on the Banking Transformed podcast. David discusses how innovative organizations are redefining what's possible using digital technologies and artificial intelligence (AI).

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

In the news today: For our first headline of the day focusing on city news, FBI investigating hoax school shooting reports with local law enforcement. For our second headline focusing again on the Okemos High School false shooting report, miscommunication leads to confusion at Okemos High School after false shooting report. For our final headline of the day focusing on campus news, new Board of Trustees to hold first spring meeting on Friday. 

Sam Moore and Dave Prater were known as Sam & Dave, a huge soul act from the late 60's.  They were known as The Sultans of Sweat, The Dynamic Duo, and Double Dynamite.  This album is their second studio album out of Stax Records, also called Double Dynamite.Sam & Dave are considered one of the greatest live acts out of the 60's, and a lot of musicians cite their influence on their work, including some you would expect like Al Green and Michael Jackson.  There are also a lot of musicians who were influenced who were significantly removed from the R&B genre like Tom Petty, Elvis Costello, Bruce Springsteen, Billy Joel, and Steve Winwood.Sam & Dave got their start in church in gospel choirs.  They met on the gospel music circuit and sang together in small clubs where they developed their sound based on a call-and-response approach to music from the gospel tradition.  They were discovered at the King of Hearts nightclub in Miami in the early 60's, and signed to Marlin Records at first.  They eventually made it to Atlantic Records in 1964 from which they were loaned out to Memphis-based Stax Records.  Stax had a lot of offer Sam & Dave, including the Stax horn section called the Mar-Keys, and their house band, Booker T. and the M.G.'s.Bruce brings us this icon of soul, and friend of the show John Lynch joins us for this discussion. You Got Me Hummin'Leading off the album, this single was written by Isaac Hayes and David Porter.  Sam & Dave took this hit to number 8 on the R&B charts, and number 77 on the Billboard Hot 100.  A number of other groups would do this song, including Freddie Fender and the Pointer Sisters.  Its highest charting on the Billboard Hot 100 was number 52 by Cold Blood.Just Can't Get EnoughThis is a deeper cut, though I imagine just about any Sam & Dave song could be familiar with the number of covers or singers inspired by their songs.  This one has some lyrics that might be difficult to sing today - "The more I get the more I want.  It makes me feel good 'cause you never say don't.  I just cant get enough."  Sweet PainsThis track is another deep cut.  This one takes a description comparing love to pain, a path that would be echoed in John Cougar's "Hurts So Good," and Sade's "Sweetest Taboo."  "Sweet pains, feels good."When Something Is Wrong with My BabyThe big hit off the album was their only ballad single.  Hayes and Porter wrote it, and you have both Booker T and the MG's and the Mar-Keys horns playing on it.  A bunch of people have covered this song, including Jonny Gill, Charlie Rich, and in 1990 Linda Ronstadt and Aaron Neville did well with it. ENTERTAINMENT TRACK:Marching Theme to the motion picture "Follow Me, Boys!"This Boy Scout themed movie starring a young Kurt Russel was the last film Disney Studios released prior to Walt Disney's death.   STAFF PICKS:Mellow Yellow by DonovanRob kicks off the staff picks with a psychedelic hit.  Scottish singer-songwriter Donovan took this song to number 2 on the Billboard Hot 100.  Some thought the song was about a type of drug, but it was actually about a...well, let's just say it is an adult toy.Talk Talk by The Music MachineWayne's staff pick is a garage band one-hit wonder.  This song would use some techniques which were novel at the time, including the use of a fuzz box on the bass line, and tuning the instruments down a half step to produce a heavier sound.  If I Were a Carpenter by Bobby Darin Brian brings us a song written by Tim Hardin and popularized by Bobby Darin.  It hit number 8 on the Billboard Hot 100, Darin's first hit in three years.  The lyrics question whether an elegant woman would be satisfied with a man who was merely a carpenter.  Darin had passed on two songs, "Do You Believe In Magic" and "Summer in the City," both of which would be hits for the Lovin' Spoonful. You Keep Me Hangin' On by The SupremesFriend of the show John Lynch brings us a big hit for Diana Ross and the Supremes.  It would also be a hit for a long list of cover artists including Vanilla Fudge, Phil Collins, Kim Wilde, and Rod Stewart. NOVELTY TRACK:Winchester Cathedral by The New Vaudeville BandThis novelty song doubles up as Bruce's staff pick.  It was a number 1 hit in the United States and would win the Grammy for the best contemporary song in 1967, beating out singles from the Monkees, the Beach Boys, and the Beatles.

| Guaranteed  | Maya Killtron | Night Moves  | Maya Killtron | I'm Not Sayin' Nothin'  | Ivan Makvel | U Got Me Good  | Mishell Ivon, Andrew Napoleon | Dance All Night  | Mishell Ivon, Andrew Napoleon | Nu Nu (feat. Teddy Riley)  | GoGo Morrow | I Got To Get Your Number  | Jaye Hammer | No Good For Me  | Bagge | Hotline  | Gentry Jones | You Smile, I Smile (feat. Sonny Emory)  | Adrian Crutchfield | All My Love  | Adrian Crutchfield | Trying To Win Your Love  | The Swiss Movement | She Was Right There (feat. Jeter Jones & RnB Pooh)  | Volton Wright | Be The One  | Volton Wright | Put In Work (Gedi Clean Edit)  | Kiya Juliet | Break My Soul x Me, Myself And I (R&B Mix)  | Qween Dafa | Seamless (feat. Kehlani)  | Babyface | How You Feel  | Tykena | Outstanding  | Tamara McClain | Long Live The King  | Detroit Emeralds | 5 Minutes  | Allen Stone | Don't Stop  | GoGo Morrow | Bulletproof (feat. Tommy Sims)  | Darryl Anders Agapesoul | Your Body  | Dèysha Symone | Petty  | Emotional Oranges | Step To This Love Song (Nigel Lowis Mix)  | Candace Woodson  | A Better Woman  | Cole Williams feat. The Soul Tune All Stars  | Don't Take Your Love (Clean Version)  | Dvsn | Stand Up  | Jazmine Sullivan | Rue  | Kenya T | Feelings  | Raiche | If I Have To Do Wrong  | David Porter | You Can't Beat A Woman  | Willie Clayton | Let It Go (feat. Steve Hanuman)  | Joe Leavy | The Makeup Song (Gedi Edit)  | Xaviera

The Hawks take on Big Ten foe the Northwestern Wildcats in Kinnick for homecoming. The season isn't goin well but it's also not over yet. Colin Cole & David Porter bring you the breakdown.

| Let's Party (feat. Sha Sha Jones)  | Kool & The Gang | Don't Give Up! (Club Mix)  | Robert IMtume Owens | I Feel You  | Alex Puddu | I Don't Wanna Be With U  | Assal | Here I Am (Nigel Lowis Remix)  | Dennis Taylor | About You  | Ivan Makvel | Rollin (Gedi Clean Edit)  | Durand Bernarr | What More Could I Ask For (Gedi Edit)  | Craig David | How You Feel  | Tykena | Stuck In The Middle  | The Realm | Bittersweet Goodbyes  | Joyce Wrice | I Don't Want It  | Lena Byrd Miles | Keeps On Fallin' (feat. Ella Mai)  | Babyface | The Recipe (feat. Muni Long)  | Babyface | Automatic Love  | Alex Puddu | Night Flight  | STR4TA | Fire And Water  | David Porter | Where Did The Thrill Go  | David Porter | On My Mind  | FS Green | Is It Better  | Mikhala Jené | All I Ever Wanted (Clean)  | Mikhala Jené | Starcrossed  | Qween Dafa | Can't Stay  | Qween Dafa | Toast To It (Gedi Clean Edit)  | Melissa Wilson | Come Down  | V. Cartier | Sitting By The Phone  | Bill Albright | Your Own (Gedi Edit)  | Chrissy Ash | Something Kind Of Sweet  | Desmond Parson feat. Anna Surv | Excellent  | Kyra | Room  | Mia Kai | Blessings (Gedi Clean Edit)  | Rainy Milo | Want It All  | Ms. Thandi | The Plug (Gedi Edit)  | Ronald Isley & The Isley Brothers | No Changing  | Sundele | Demon Time  | Alex Vaughn

The annual Cy-Hawk trophy that celebrates the rivalry between Iowa State & Iowa was a difficult game for the Hawks this Season as they fell 10-7 in a defensive struggle. With the Hawk's offense still trying to find their footing early on this season, the Hawkeye Defense is at mid-season form picking up right where they left off! Colin Cole we & David Porter talk about the game.

前段时间，Diddy 在社交网络上抛出了”somebody killed R&B”这个观点，引起了挺多关于“Is R&B dead?” 的辩论，对于这个粗暴看似极端的结论，我和老林也想展开说说自己的理解。而且就 R&B 作为一种音乐风格的定义，我认为在大众普遍认知中，也需要再次提及它更广泛深层的文化意义。 本期我们讨论的话题 R&B (Rhythm & Blues) 是广义上的黑人音乐，引用 Nelson George 在”The Death of Rhythm & Blues” 中对它的解释 :”The term originated in the 1940s as a description of a synthesis of black musical genres—gospel, big-band swing, blues—that, along with new technology, specifically the popularization of the electric bass, produced a propulsive, spirited brand of popular music. A decade later it would be called rock & roll to camouflage its black roots, and subsequently soul, funk, disco, rap, and other offspring would arise from these roots.” 所以我和老林的讨论也是从 20s 的”race music”开始，简要分享了黑人音乐在时代发展中不同的风格特点，希望能带给你区别于主流规则的新鲜角度。我们也为大家准备了Spotify主题歌单：https://open.spotify.com/playlist/0oLctseoCREqHAmoCuGLKc?si=c08b225e336647de Episode notes: Nelson George 的书 ”The Death of Rhythm & Blues” 中对 R&B 的定义其实不是音乐性的，而是社会文化意义上对黑人音乐的统称； Rhythm & Blues这个词在1940s最初产生，是唱片公司为了将新的黑人音乐推广至更大范围的受众创造的营销概念，风格上它相对于 Jazz ，拍子更强烈。目前公认提出这个词语的人是 Atlantic Records 的 Jerry Wexler ； 20s 的黑人音乐统称为 “race music”，这种定义让音乐的黑人属性很强，比如 Bessie Smith 这样的 classic female blues； 1940s末 50s初，在接连经历了大萧条和二战之后，爵士大乐团编制开始精简为小乐团模式，初期的R&B 音乐人都是有爵士背景的，他们在这种精简的风格中加入了更强的boogie的节奏； R&B 在市场推广上的流行化（白人口味化）的手段，有商业目的，但我们无法忽视这是处于种族隔离的背景之下，黑人群体无法形成庞大购买力，且受传统观念影响的一个行为，这种举措是否对R&B 产生了负面的影响，无法片面回答。但从文化代表性这个角度上看，我们需要反思历史，给予黑人的艺术成就应得的承认； 50s Rock n Roll 的出现是对爵士编制基础上传统流行乐的反叛； Ray Charles 是一个非常重要且独特的存在，他的音乐也可以代表50s 大西洋唱片 R&B 的风格； 灵魂乐先驱 Sam Cooke 影响了后续一大批灵魂音乐人，因为强烈的黑人意识，也是当时民权运动代表黑人斗争的anthem； 50s末 60s 初，R&B 的分支来源较杂，风格也比较模糊，来自纽约占据流行音乐榜的 Brill Building 汇集了很多优秀的音乐写作者（songwriters），创作了很多 R&B 歌曲； 63、64年灵魂乐开始形成，发展出较明确的灵魂乐风格，早期 Motown 其实也受了 Brill Building 的影响，是 Soul 处于萌芽期的代表； Stax 灵魂的代表 Booker T & the MG 's 的 “Green Onions” 是一首影响深远划时代的作品。Stax Records 幕后的 house band，以及Issac Hayes, David Porter 带来了最强劲的灵魂乐制作水准； 60s末 70s初，Marvin Gaye 推出了”What's Going On” （1971），是他个人的分水岭作品； Stevie Wonder 在合成器领域贡献极大，是一位融合多种风格的奇才，并且他的catalogue 也有一部分界线作品就是”Music of My Mind”（1972），与 Marvin Gaye一样，他们的创作历史都跨越了了60s和70s 不同的灵魂风格； 黑人音乐的常青树 The Isley Brothers 作品贯穿了50s 至 00s 不同时期的风格； 70s 还有一种更加抒情的流派 Quiet Storm，代表人物 Smokey Robinson, Lionel Richie; Playlist： Bessie Smith "Down Hearted Blues" (1923) Louis Jordan - “Caldonia “(1946) Ray Charles “What'd I Say, Pt.1&2” (1959) Sam Cooke - “A Change is Gonna Come “(1963) The Marvelettes - “Please Mr. Postman” (1961) Booker T & the M G 's - “Green Onions” （1962） Stevie Wonder - ”Superstition”（1972） Teddy Pendergrass - “Love T.K.O.”（1980）

With the season fully underway, Colin Cole & David Porter break down the Hawk's season opener vs South Dakota State University. The FBS powerhouse program showed very well against the Hawk's in the season opener and we have a breakdown of the upcoming matchup vs in state rival Iowa State, who look to end a 6 game losing streak against the Hawks.

The first biography of soul pioneer Isaac Hayes, whose groundbreaking music provided the foundation for hip-hop and a new racial paradigm. This new musical and cultural coda delivered Hayes the first Oscar ever won by a Black musician, as well as the Grammy for Best Song. Yet, few know Hayes's remarkable achievements. In this compelling buffet of sight and sound, acclaimed music biographer Mark Ribowsky— who has authored illuminating portraits of such luminaries as Stevie Wonder, Little Richard, and Otis Redding—gallops through the many stages of Hayes's daring and daunting life, starting with Hayes's difficult childhood in which his mother died young and his father abandoned him. Ribowsky then takes readers through Hayes's rise at Memphis's legendary soul factory, Stax Records, first as a piano player on Otis Redding sessions then as a songwriter and producer teamed with David Porter. Hayes's subsequent career as a solo artist featured studio methods and out-of-the-box ideas that paved the way for soul to occupy the top of the album charts alongside white rock albums. But his prime years ended prematurely, both as a consequence of f Stax's red ink and his own self-destructive tendencies.

The first biography of soul pioneer Isaac Hayes, whose groundbreaking music provided the foundation for hip-hop and a new racial paradigm. This new musical and cultural coda delivered Hayes the first Oscar ever won by a Black musician, as well as the Grammy for Best Song. Yet, few know Hayes's remarkable achievements. In this compelling buffet of sight and sound, acclaimed music biographer Mark Ribowsky— who has authored illuminating portraits of such luminaries as Stevie Wonder, Little Richard, and Otis Redding—gallops through the many stages of Hayes's daring and daunting life, starting with Hayes's difficult childhood in which his mother died young and his father abandoned him. Ribowsky then takes readers through Hayes's rise at Memphis's legendary soul factory, Stax Records, first as a piano player on Otis Redding sessions then as a songwriter and producer teamed with David Porter. Hayes's subsequent career as a solo artist featured studio methods and out-of-the-box ideas that paved the way for soul to occupy the top of the album charts alongside white rock albums. But his prime years ended prematurely, both as a consequence of f Stax's red ink and his own self-destructive tendencies.

The first biography of soul pioneer Isaac Hayes, whose groundbreaking music provided the foundation for hip-hop and a new racial paradigm. This new musical and cultural coda delivered Hayes the first Oscar ever won by a Black musician, as well as the Grammy for Best Song. Yet, few know Hayes's remarkable achievements. In this compelling buffet of sight and sound, acclaimed music biographer Mark Ribowsky— who has authored illuminating portraits of such luminaries as Stevie Wonder, Little Richard, and Otis Redding—gallops through the many stages of Hayes's daring and daunting life, starting with Hayes's difficult childhood in which his mother died young and his father abandoned him. Ribowsky then takes readers through Hayes's rise at Memphis's legendary soul factory, Stax Records, first as a piano player on Otis Redding sessions then as a songwriter and producer teamed with David Porter. Hayes's subsequent career as a solo artist featured studio methods and out-of-the-box ideas that paved the way for soul to occupy the top of the album charts alongside white rock albums. But his prime years ended prematurely, both as a consequence of f Stax's red ink and his own self-destructive tendencies.

Tune in for the conclusion of our chat about the many tales surrounding a house in Chester, Pennsylvania known as The Porter Mansion. 

Time for some soul…man! Today's podcast features Sam Moore, one half of the popular 1960s recording team, Sam and Dave. Their recording of “Soul Man” was named as one of the 500 greatest songs of all time by Rolling Stone magazine. It was revived in 1979 by the Blues Brothers. Other hits by the duo included “I Thank You” and “Hold On I'm Comin'.” They had 10 straight R&B hits and most of their songs were written by Isaac Hayes and David Porter. Sam overcame a long time battle with drug addiction and later became an anti-drug advocate. Sam and Dave were inducted into the Rock and Roll Hall of Fame in 1992. Sam tells the story of how they got together, where their hits came from, and a revelation about his partner Dave Prater.

This week on the podcast we're joined by David Porter, CCM, General Manager, and Jason Miller, Director of Golf Course Operations, at Greystone Golf and Country Club, Birmingham, AL. Nestled in the foothills of the Appalachian Mountains, Greystone is a community located in Hoover, AL, just southeast of Birmingham. Greystone is a gated community of executive estates that wind through two, 18 hold championship golf courses. In this segment, brought to you by Toro, a CMAA Business Partner, David and Jason share with us the importance of communication and trust in their relationship at Greystone and how those things ultimately benefit their staff team and their members.

People have been asking for a Darce episode, so finally...here goes. I briefly cover a couple of the most common misconceptions that lead to sub-par (or even failed) darces, as well as a couple of simple drills that you can do with a training partner to land more of these techniques.Me explaining some benefits of the marce angle finish:  https://youtu.be/Hc4b0YgOCUYMe showing the rolling darce to land in the marce angle: https://youtu.be/X8RMfkHra54One of the drills I referenced can be viewed here by Ryan Hall: https://streamable.com/hl2c9a Unfortunately, his darce/arm triangle DVD is no longer in print, but you can support him via his new instructionals at ryanhallonline.com.  Craig Jones rolling session landing a half dozen darces finishing from different angles (mainly the ones mentioned in the episode): https://youtu.be/op9sU2Mf9YIKade and Tye Ruotolo darce highlight: https://youtu.be/eg1Wf8wCpIERyan Hall mounted darce: https://streamable.com/2mlvusRyan Hall rolling darce: https://streamable.com/yqznz5Me landing a Marce in a brown belt gi match: https://youtu.be/XxfM5gJDJRI?t=71Oldest footage I can find of me doing a mounted darce in 2012: https://youtu.be/xOhY2rwEDP0Big shout outs to some of the folks that have helped my darce game: Ryan Hall, Bill Cooper, David Porter, Jeff Glover, Brandon Mccaghren, Craig Jones, Kade & Tye Ruotolo, Garry Tonon. 

In part 2 of our deep dive into the guillotine position, we cover 5 practical tips that you can use to hit more guillotines. Regardless of what style guillotine you prefer (high-wrist, high-elbow, arm-in, etc), you should be able to implement all 5 of these concepts to submit more people with the guillotine, as well as use it as a robust position to help you advance to other great movements, techniques, and positions. There is another Google Doc here as well as an Instagram and Reddit post with video examples of some of the concepts discussed here. If you didn't listen to last week's episode, I recommend listening to that for a breakdown of all the primary styles of guillotine, as well as watching the companion footage of those guillotines in action.  Big shout outs to Cody Maltais, David Porter, Matt Skaff, Brandon 'BMac' Mccaghren, and Ryan Hall for a lot of the concepts discussed in this episode. Big shoutout to John Salter and Joe Solecki for forcing me to sharpen up guillotine offense. New Google Doc for Part 2: https://docs.google.com/document/d/1qqggqOJZp1uAq9XervTrGy6yMTocHLLhArwmatxS92U/New Reddit post for Part 2: https://www.reddit.com/r/bjj/comments/smorf1/part_2_of_the_guillotine_deep_dive_podcast/Instagram Link: https://www.instagram.com/drewdarce/

With Tyler Linderbaum declaring for the NFL Draft, who is next in line to replace him for the Iowa Hawkeyes? We run through all the options currently on the Iowa football roster plus one guy currently in the transfer portal.We also have some updates on Kirk Ferentz restricting the advisory board after committee chair David Porter spoke on the radio yesterday and said some interesting comments.We wrap up the show by looking ahead to next year to see which Iowa football players might be heading to the NFL.Support Us By Supporting Our Sponsors!Built BarBuilt Bar is a protein bar that tastes like a candy bar. Go to builtbar.com and use promo code “LOCKED15,” and you'll get 15% off your next order.BetOnline AGThere is only 1 place that has you covered and 1 place we trust. Betonline.ag! Sign up today for a free account at betonline.ag and use that promocode: LOCKEDON for your 50% welcome bonus.NetSuiteOver twenty-seven thousand businesses already use NetSuite and RIGHT NOW through the end of the year NetSuite is offering a one-of-a-kind financing program to those ready to upgrade at NetSuite.com/LOCKEDONNCAA. Learn more about your ad choices. Visit podcastchoices.com/adchoices

In this segment, you will hear Brian David Porter discuss how to keep the FAITH during a turmoil. Brian is the host of Brian's Place podcast. He is also an Author, Life Coach, and Motivational Speaker currently located in the Bay Area (California). From 2018 to 2021 he was faced with these top 4 incidents 1. Job Loss with no unemployment 2. Divorce 3. Car Wreck, Vehicle Totaled due to Black ice 4. Aunt passed away These situations could have caused him to throw in the towel, but he continued to trust GOD during it all and did not let his FAITH waiver. "God DOES NOT consult your PAST to determine your FUTURE" - BDP Quote WHO IS BRIAN? A man after God's heart, a podcaster, motivational speaker, published author and life coach who loves helping and inspiring others to reach their fullest potential. BRIAN'S CONTACT INFO davidbdp35@yahoo.com Brian's Place YouTube Channel - https://www.youtube.com/channel/UCUNbpKRL7H0qTtwmPxp_PGA/featured Brian's Place Podcast on Anchor.FM - https://anchor.fm/briansplace GENESIS'S INFO GEMSwithGenesisAmarisKemp@gmail.com https://linktr.ee/GenesisAmarisKemp SUPPORT https://www.buymeacoffee.com/GenesisAKemp CALL TO ACTION Subscribe to GEMS with Genesis Amaris Kemp Channel, Hit the notifications so you don't miss any content, and share with family/friends. **REMEMBER - You do not have to let limitations or barriers keep you from achieving your success. Mind over Matter...It's time to shift and unleash your greatest potential. --- Send in a voice message: https://anchor.fm/genesis-amaris-kemp/message Support this podcast: https://anchor.fm/genesis-amaris-kemp/support

Episode #41 of the Escambia Empires Podcast! In this episode, David talks about what it's like to work in a family business. Property management, lawn care, and realty are the main topics David shares his experience with us on! He highlights the things he's learned along the way as he continues to grow each of those respective businesses. David also answers some of our other questions about his history, as well as what he's excited for as he continues towards his goals! Thank you for listening! - - - David Porter INSTAGRAM: https://instagram.com/davidporter243?utm_medium=copy_link LINKEDIN: https://www.linkedin.com/in/david-porter-20a407173 - FOLLOW ME ON SOCIAL MEDIA INSTAGRAM: http://instagram.com/michaelwarinnerllc FACEBOOK: http://facebook.com/michaelwarinnerllc MY WEBSITE: https://www.michaelwarinner.com PODCAST INSTAGRAM: https://instagram.com/escambiaempires?igshid=peuzdfbee88a --- Support this podcast: https://podcasters.spotify.com/pod/show/michaelwarinner/support