Podcasts about desiring

Johann Sebastian Bach - Jesu, Joy of Man's Desiring Hungarian Radio Chorus Budapest Failoni Chamber Orchestra Matyas Antal, conductor More info about today's track: Naxos 8.553751 Courtesy of Naxos of America, Inc. Subscribe You can subscribe to this podcast in Apple Podcasts, or by using the Daily Download podcast RSS feed. Purchase this recording Amazon

Gymnazo started as a childhood dream. Growing up, Michael loved sports and strength training in high school, but was always curious about how to learn to fix injuries and help people get back to what they love. He moved to Fresno State to study Kinesiology. Desiring to live in a coastal community, he graduated college, packed up his room and moved to SLO weeks later. No house, no job, one friend and a strong vision. After standing in Kennedy Club Fitness handing out business cards to generate enough clients to convince the manager to hire him as a Personal Trainer, Michael started to carve out his reputation in San Luis Obispo (SLO). Knowing that Kinesiology and a basic personal training certification wasn't nearly enough education to deliver the best service, he started seeking graduate level education. Starting with just 18 athletes, Michael began to build a small group training program which he eventually named Gymnazo. In 2010, Gymnazo was starting to grow. He started to wear the many hats of an entrepreneur and needed some help. He met Paden and initially sought to hire her to help him run his brand strategy. But after three “business dates” they started actually dating and collaborating on Gymnazo. It worked so well the same year they got married, they incorporated and moved out of Kennedy Club Fitness. Eventually, she left Collaboration Business Consulting to work full time at Gymnazo. Her passion to market and grow businesses into sustainable models allows Michael to focus on innovating new services and building a team of highly skilled coaches. Today, Michael and Paden enjoy collaborating and each focus on different aspects of the business. Both owners share a deep belief that Gymnazo innovative methodology blended with a powerful customer experience advances the fitness industry to new heights. They are determined to bring this model to the masses. https://www.gymnazo.com/

Welcome to the Go + Tell Gals Podcast! This season on the podcast, we want to join in on conversations you're already having. In this week's episode, we are providing some insight and encouragement about How to Hear From God. Jess and GATG team member, Caroline, are undoing, unwriting and untying lies placed on women when it comes to this topic. Desiring to hear from God is a beautiful thing, and we believe that all women hear from God in one way or another. This episode provides a wide view of ways we can hear from God and how we can check if what we're hearing is actually from Him.  As we grow in practice of hearing from God, remember this - even if we hear from Him wrong, that's okay. God will still love us and talk to us, even if we don't take every step exactly right. There's freedom in this truth. He is mighty in you. Don't miss:  Phylicia Masonheimer, who we had on the podcast earlier this year, shared this Instagram Reel about this same topic. Take a listen! What would it take to make a lasting change in your life? Order a copy of Reset by licensed counselor Debra Fileta to break free from unhealthy cycles that lead to burnout.   Dig in deeper in the Go + Tell Gals Community! We talk about topics shared on the podcast, we share about our products and exclusive discounts, and really - we just connect women on mission with one another. Join here!

I found that I don't often talk about my motherhood journey and I will say that postpartum was probably the toughest because I had a difficult time learning how to integrate who I was before and who I'm becoming now. I ended up having a conversation with a woman that sparked the topic I will talk about today. This is a reminder to you that no matter what happens in your life, you deserve to do the things that light you up. Get our free daily emails hereBuy:Our Happy Habits TrackerOur productivity eBookDownload:Learn about masculine and feminine energy hereMake a morning routine that feels good hereSupport us:Love this podcast and want to help us keep going? Become a member hereLET'S STAY CONNECTEDSubscribe: Apple, Spotify, StitcherFollow us on Instagram: click hereVisit our website: click hereNEW EPISODE EVERY TUESDAYNEW MINI-EPISODE EVERY THURSDAY*This affiliate link helps support the podcast at no extra cost to you!

Breaking the Chains of Dependency: Impacting underserved communities through servant leadership Underserved communities, such as those in Africa, have been the long-time recipients of outside aid, yet there is little sustainable change. Dependency on outside resources and hierarchal, foreign leadership remains. Could following the example of Jesus’ use of servant leadership be a way to break dependency and bring sustainable change to these communities? A small, community-based health clinic in Mauritania, Africa, was a traditional, non-governmental run clinic for 15 years, relying heavily on foreign staff for leadership and decision-making. Desiring to empower local leadership and encourage ownership, a new leadership style was introduced. Using a servant leader, holistic approach along with cultural contextualization, education, guiding a shared vision, and instilling dignity and hope, in less than a year a shift happened. Personal ownership, critical thinking, shared-decision making, and local leadership are replacing previous dependency.

Join the FREE Webinar In today's episode, Marley sits down and debunks some of the most common myths around money in our society. She shares some recent AHA moments that opened her eyes and gave her a new perspective on manifesting money whilst being in tune with your own emotions. Tune in for an episode full of gld nuggets, enjoy! She talks about: Thinking Positive Vs. Negative Why you should be looking at your bank account Why money is one of the easiest things to manifest Desiring money ISN'T greedy Earning money doesn't mean taking from others You DO know how to make more money Where negative money belief come from & So much more! I hope you enjoy, please don't forget to share and subscribe :) Want to get a FREE money Hypnosis? Add an honest review to Apple, what you think about the podcast and if it's helped you in any way Screenshot your review right away and send it to hello@marleyrose.ca Wait for the magic to arrive in your inbox! In case you missed her last episode! Follow along with Marley at @marleyroseharris or send her an email to Hello@marleyrose.ca!

Luke 16:19-31 “16:19. There was a certain rich man who was clothed in purple and fine linen and feasted sumptuously every day. 16:20. And there was a certain beggar, named Lazarus, who lay at his gate, full of sores, 16:21. Desiring to be filled with the crumbs that fell from the rich man's table. And no one did give him: moreover the dogs came and licked his sores. 16:22. And it came to pass that the beggar died and was carried by the angels into Abraham's bosom. And the rich man also died: and he was buried in hell. Abraham's bosom. . .The place of rest, where the souls of the saints resided, till Christ had opened heaven by his death. 16:23. And lifting up his eyes when he was in torments, he saw Abraham afar off and Lazarus in his bosom: 16:24. And he cried and said: Father Abraham, have mercy on me and send Lazarus, that he may dip the tip of his finger in water to cool my tongue: for I am tormented in this flame. 16:25. And Abraham said to him: Son, remember that thou didst receive good things “in thy lifetime, and likewise Lazarus evil things: but now he is comforted and thou art tormented. 16:26. And besides all this, between us and you, there is fixed a great chaos: so that they who would pass from hence to you cannot, nor from thence come hither. 16:27. And he said: Then, father, I beseech thee that thou wouldst send him to my father's house, for I have five brethren, 16:28. That he may testify unto them, lest they also come into this place of torments. 16:29. And Abraham said to him: They have Moses and the prophets. Let them hear them. 16:30. But he said: No, father Abraham: but if one went to them from the dead, they will do penance. 16:31. And he said to him: If they hear not Moses and the prophets, neither will they believe, if one rise again from the dead.” Excerpt From The Bible, Douay-Rheims, Complete Anonymous https://books.apple.com/us/book/the-bible-douay-rheims-complete/id955129088 This material may be protected by copyright.

"The Great Resignation" is affecting all organizations, including those in scientific communications and Medical Affairs. What are the main causes, and how can managers retain the great employees they already have? Or how can an employee determine what is right for them so they can see if it is where they are today or if a change is needed? Our guest today, Whitney Morris, has worked exclusively in the scientific communications and Medical Affairs recruiting space. As Recruiting Specialist at Medical Affairs Recruiting, she understands the field from both an employer and an employee perspective. Her practical advice and insights will help anyone involved in hiring, retaining talent, or searching for their next step in their journey. At Medical Affairs Recruiting, Whitney's focus has been in the Medical and Scientific Communications space working on roles ranging from Director to VP. Prior to her role at Medical Affairs Recruiting, Whitney worked as a full desk executive recruiter, starting the Medical Affairs team for another firm. Desiring to join a smaller, more boutique firm, she made her move to Medical Affairs Recruiting.

It is natural to want to be friends with and seek approval from our peers, but how far is too far? In today's episode, the guys discuss how to stop being “men-pleasers.” The Bible shows us that there are two fears: the fear of men and the fear of God. If you live your entire life trying to please others, it's like continually trying to hit a moving target. People's expectations are always fleeting, and this will be a never-ending battle that will leave you exhausted and empty. Men are wicked and sinful, and our love for heroes is fragile. We see this reflected in the suicide rates of celebrities, who are so accustomed to pleasing men that when the favor of fans falls apart, they lose their identity and worth. It is impossible to please both man and God. Galatians 1:10 states, “Am I now trying to win the approval of human beings, or of God? Or am I trying to please people? If I were still trying to please people, I would not be a servant of Christ.” If we are trying to please men, we can't please God. All the satisfaction that you need has been placed on the cross. God knows, loves, and accepts you because He made you, and all the approval you need is from Him.  Next, the guys discuss a hypothetical situation where something could be pleasing to both men and God. In these cases, we should examine our motive. Pleasing the Lord should be the heartbeat of everything we do. Desiring the approval of men is also a form of worship, because worship is anything that we prioritize above God. Out of a desire to “fit in,” we become imitators of those around us, which exposes us to the danger of an identity crisis. If we try to be like other people in this fallen world, we become like a fallen creature ourselves, where pleasing people prevents us from accomplishing God's purpose for our life. We must choose to be who God made us to be, so we can glorify Him and share the gospel with others.  If the apostles in the Bible tried to please men instead of God, then they would not have been martyred for their faith. The guys discuss John F. Kennedy and John Lennon who were worshiped by the world. But when they lost their lives, the big question isn't how handsome or rich or famous they were, but were their sins forgiven? People-pleasing may be seen as a “respectable sin,” but it is still a sin that creeps up secretly, unannounced and unnoticed. To keep this sin in check, we must be proactive in overcoming it. The guys suggest praying preventative prayers multiple times a day, studying and memorizing scripture, and reading books. If you don't act to change something, then that's evidence that you don't really want to overcome it. When we recognize our weakness, it drives us to God. We are not to serve ourselves or our culture—we are commanded to keep the KingdomThanks for listening! If you've been helped by this podcast, we'd be grateful if you'd consider subscribing, sharing, and leaving us a comment and 5-star rating! Visit the Living Waters website to learn more and to access helpful resources!You can find helpful counseling resources at biblicalcounseling.com.Check out The Evidence Study Bible and the Basic Training Course.You can connect with us at podcast@livingwaters.com. We're thankful for your input!Learn more about the hosts of this podcast.Ray ComfortEmeal (“E.Z.”) ZwayneMark SpenceOscar Navarro

RE.B.U.K.E.E returns from its long vacation to do a special piece about a game that will transform and change black America! The company and the board game is Ebonyopoly!!! The company was founded in 2020 during the middle of the national crisis of racial tensions after the death of George Floyd. Desiring to create an appreciation of Black History beyond the sparse facts taught in schools Dr. Ruth Pauline Plummer, CEO and Founder of Covenant Daughters Ministries International; DeWayne Washington, CEO and Founder of Facetime Studies and a myriad of other business ventures; Alicia L. Hemphill, M.S., CEO and Found of Beyond-theLimitations came together to launch EBONY-OPOLY. --- Send in a voice message: https://anchor.fm/marcus-jones07/message Support this podcast: https://anchor.fm/marcus-jones07/support

In this episode, we do our first true WILDCARD episode! We talk about what we've been Watching, Ingesting, Listening to, Doing to Stay Active, Creating, Appreciating, Releasing, and Desiring this month. (Don't worry...this will actually make sense in the episode, lol.) If you have any comments, questions, or suggestions for interviews, be sure to email them to WhatIsLifeDudeShow@gmail.com. Also, be sure to leave a review on your podcast listening app of choice. It helps the show out and we'd love to hear from you! --- Support this podcast: https://anchor.fm/whatislifedude/support

Message from Bukunmi Oyebola on February 18, 2023

How do you analyze a processing statement to give you the best chance of closing the deal? There are three key questions you need to ask. This edition of the Merchant Sales Insight is sponsored by ISO Amp, the leader in full service statement analysis. Visit https://www.getisoamp.com for more information. I do believe in having statements fully analyzed. However, there are some simple things to look for and understand which enable you to discuss a processing statement with a merchant, whether you send it to ISO Amp or not. The key is asking three questions: (1) Why am I analyzing this statement? Desiring to match the rate? Trying to maximize savings? Seeking Interchange Optimization? (2) How are they processing payments? You'll be lost if you don't realize you are looking at a high risk or an eCommerce statement, regardless of how well you categorize the fees. (3) Ask who is charging the fee? This is the key to understanding each fee on a statement. Is it charged by the issuing bank? (Interchange) One of the Card Brands? (Visa, Mastercard, Discover) The payment processor? Or, it could be charged by a technology provider. Understanding who is charging the fee is a key to understanding that fee and how it will impact your proposal.

For additional notes and resources check out Douglas' website.The 29th podcast (11 mins) in our series is "On Desiring Eternal Life" (Book 3, Chapter 49).Scripture: Phil 1:23-24; Jas 1:17; Rom 8:21; Luke 22:18; Josh 1:6; Eph 4:24; Isa 61:3; Phil 1:20.Powerful sentences: * "It's not by your own meditating and striving that you receive these gifts, but solely by the gracious mercy of my supreme grace and divine care."Help me to see you, Lord, not depending on my own strength or strategies. * "My friend, fire often burns with more smoke than flames... Sometimes you imagine you are praying earnestly and sincerely, but you are not pure or perfect, but praying out of your own selfish desires."Help me to burn with holy fire... * "You must often do what your nature doesn't want to do and not do what your desires want to do."Father, purify my heart and mind and will, thoughts and words and deeds and desires—making me a new person. * "There is scarcely anything that is harder to deny and die to yourself than seeing others be elevated while you are commanded to do things which seem of little or no importance."My God, do whatever it takes to make me humble. * "But consider, my friend, the exceeding rewards for these brief earthly labors in my eternal kingdom."Clarify and sharpen my vision of eternity, O Lord. Next: "On Not Resting on Goods and Gifts" (Book 3, Chapter 21), "On Delight Above All Things" (Book 3, Chapter 34), and "On the Free Spirit" (Book 3, Chapter 26)

Whether you are single and ready to mingle, single and frustrated, single and content or married and walking alongside singles, how do we live faithfully and really put into practice that we believe God has all things planned for our good? Join us as we chat with Lauren Poey. Lauren desires to be married...so how does she wait well? What has God taught her in the waiting? How does she think about this waiting? You won't want to miss this convo or her sweet southern accent. Craving more from Going There the Podcast? Come be our friend! Make sure you're following along on Instagram @goingtherethepodcast and subscribe to our podcast so that you never miss a new episode! If you love what you heard, we'd be so happy if you left us a rating and review on your podcast app. This way, more people can find us and join our fun convo! Resources Visit Lauren's Website Follow Lauren on Social Media: @laurenpoey

How do we become women that empower women?What does it mean to transform our mindsets and lives from the inside out?We're answering these questions as we dive into the world of self-discovery and empowerment with international best-selling author, Emotional Age and Communication Expert, and women's advocate, Crystal Andrus Morissette. With her expertise, Crystal will guide us through finding our inner truth and inner light, as well as learning how to move through feelings without labeling them.In this episode, we'll experience a live visualization with Crystal to help us break free from negative emotion loops and release our attachment to desired outcomes. We'll delve into the evolution of women's rights and freedom, uncover the truth behind male fragility, and navigate the challenges of relationships with a desire for rich and fulfilling connections. We'll also explore the art of owning our greatest fears, and how to break free from limiting beliefs. Crystal Andrus Morissette (www.instagram.com/crystal_andrus_morissette) is an international best-selling author, Emotional Age and Communication expert, and women's advocate who is teaching women all over the globe to take charge of their stories, love ALL their parts and redefine themselves as whole, healthy, and empowered. She is the author of several books.Crystal is the founder of the S.W.A.T. Institute (Simply Woman Accredited Trainer), an empowerment coach certification exclusively for women in over 45 countries. Learn more about Crystal Andrus Morissette here: https://www.swatinstitute.com/We talk about:[6:15] Finding our own inner truth and inner light[8:30] Learning how to move through feelings without labeling them[10:25] A live visualization with Crystal to help move through negative emotion loops[17:30] Learning how to release the attachment of the outcome you wanted[19:50] Looking at the stories in our lives and emotions as neutral[24:10] The evolution of women's rights and freedom[31:35] The truth behind male fragility[35:35] Navigating the sticky parts of relationships[39:25] Desiring rich and fulfilling relationships[47:40] Figuring out and owning your greatest fears[50:30] Owning the limiting beliefs we set for ourselves[57:10] How Crystal wrote her book and started her businessLoved this episode? I know, me too, friend! Me too! If this episode resonated with you, we'd love to hear from you, say hi on Instagram @shantellebisson, @withoutlosingyourcool, and for the love of all things cool, if you have a burning question you'd like answered, go to shantellebisson.com/podcast and leave us a message for your question to be featured on our upcoming episodes!Share your takeaways on social media and tag us & subscribe+rate+leave us a review on Apple Podcasts and send us a screenshot of your review to be entered to win some cool prizes!Shop my Bundles here: https://shantellebisson.com/collectionsJoin my newsletter here: https://shantellebisson.com/pages/book-shantelleUntil next time remember to keep doing the hard things, and show up like you mean it! Without Losing Your Cool!

Tune into Episode 36 of the What She Grows Through Podcast on Growing into your future self. Host Shanell Lamere discusses the power of desire, and how it can help one become the person they want to be. She recommends reading the book Personality Isn't Permanent and getting clear on what you want in life. To help with this, she provides a journal prompt exercise to help guide us to desire our future selves, so we can create incredible changes in our lives. To stay connected follow the show on Instagram: https://www.instagram.com/whatshegrowsthough 

Since today's episode falls on Valentine's Day this year, its focus is around the larger concept of loving well - of what we ought to be praying for and desiring for one another, regardless of what sort of relationship we may be in. We were designed BY Love and FOR Love, and it is imperative that we reflect that in the way we invest in each other as friends or family. We are created to exhibit the heart of God in how we interact yet sadly, most of us practice relationship on a far more superficial level than He intended. Paul's prayer for the Ephesian believers so many centuries ago still rings true as a model of how God wants us to intentionally invest and build connection with one another. Today's episode will offer a lot of perspective and motivation when it comes to going deeper with the people in your life!  Visit and subscribe to my blog at: www.graceopens.blogspot.com Twitter: @opentograce2015 Instagram: @opentogracealaska Parler: @Opentogracealaska MeWe: Katherine Singer

Message from Bukunmi Oyebola on February 14, 2023

Full Text of ReadingsFourth Sunday in Ordinary Time Lectionary: 70The Saint of the day is Servant of God Brother JuniperServant of God Brother Juniper's Story “Would to God, my brothers, I had a whole forest of such Junipers,” said Francis of this holy friar. We don't know much about Juniper before he joined the friars in 1210. Francis sent him to establish “places” for the friars in Gualdo Tadino and Viterbo. When Saint Clare was dying, Juniper consoled her. He was devoted to the passion of Jesus and was known for his simplicity. Several stories about Juniper in the Little Flowers of St. Francis illustrate his exasperating generosity. Once Juniper was taking care of a sick man who had a craving to eat pig's feet. This helpful friar went to a nearby field, captured a pig and cut off one foot, and then served this meal to the sick man. The owner of the pig was furious and immediately went to Juniper's superior. When Juniper saw his mistake, he apologized profusely. He also ended up talking this angry man into donating the rest of the pig to the friars! Another time Juniper had been commanded to quit giving part of his clothing to the half-naked people he met on the road. Desiring to obey his superior, Juniper once told a man in need that he couldn't give the man his tunic, but he wouldn't prevent the man from taking it either. In time, the friars learned not to leave anything lying around, for Juniper would probably give it away. He died in 1258 and is buried at Ara Coeli Church in Rome. Reflection What can we make of Juniper? He certainly seems to be the first of many Franciscan “characters.” No doubt some of the stories about him have improved considerably in the retelling. Although the stories about Juniper may seem a little quaint, his virtues were not. He was humble because he knew the truth about God, himself, and others. He was patient because he was willing to suffer in his following of Jesus. Saint of the Day, Copyright Franciscan Media

Struggle with understanding the Bible no more. The Readable Bible is here and moves beyond Bibles of the past. This Bible gives you an easy to follow layout, visual aides that tie into the verses and gives you the best of the literal and thought translations so you don't miss the depth of the intent yet delivered in today's understandable language.Here are the details: WHY ANOTHER TRANSLATION?Today's readers struggle with the Bible. Long, complex sentences, old fashioned “holy” words, and page after page of plain paragraphs make for difficult reading. Over the past 50 years, translators have tackled the problem by developing less literal translations. These make it easy to grasp a superficial understanding of the text, but do not offer the entry into deeper understanding that a literal translation provides.While literal translations present a higher risk that the reader may completely miss the meaning, they have a higher possible reward of showing the reader something that would not be apparent in a dynamic translation or a paraphrase. The Readable Bible translation is slightly more dynamic than the ESV and NASB, and less so than the NIV. The text is presented in modern formats to lower the risk of misunderstanding and to increase the probability of greater understanding. Readers find the text more accessible when they see it formatted as: Cascading textAgreementsNarrative paragraphsCensus tablesOutlined law codes Numbered stepsSpecification documents Assignment tablesCalloutsand other modern formats. This makes the text as readable as the New Living Translation and The Message. The modern look gives this reliable translation clarity and enables the Bible newcomer to understand the text. Faithfulness to the original text invites deeper engagement. A MAINSTREAM TRANSLATION The Readable Bible is a mainstream translation. By this, we mean the text is translated with the context of the biblical writers in mind, not the theology of the translators or editors. It does not lean toward a particular theological camp: Reformed, Wesleyan, dispensational, Lutheran, Roman Catholic, or Eastern Orthodox. It does not emphasize any peculiar or minority belief. To a certain extent, every Bible translation is affected by the theology of its translators. We strive to be aware of our own biases and either minimize them or acknowledge plausible alternative renderings in passages where there is legitimate scholarly debate. The Readable Bible's theological stance is that of traditional Protestant Christianity. It treats the text as inspired by God and given to humanity to lead us to know, serve, worship, and enjoy Him. The text is mainstream in that it does not differ significantly from the leading word-for-word or thought- for-thought translations. It is primarily a word-for-word translation, going to thought-for-thought only when the word-for-word translation would mislead a reader. The Christian Standard Bible (formerly Holman Christian Standard) uses a similar translation philosophy, calling it “optimal equivalence.” When we move to a thought-for-thought translation, we always footnote the word-for-word translation. We have not set out to break ground in translation. However, we recognize that there is an ever- increasing understanding of the original manuscripts. Our translation recognizes the latest developments. Rod Laughlin Rod Laughlin became a Christian when he was twenty-eight years old. Desiring to know more about the Bible, he earned an MDiv at Southwestern Baptist Theological Seminary. After serving the Lord as the pastor of two churches and in many other ways for thirty-seven years, he sensed God's call to put the Bible into modern formats. He has spent the last fourteen years leading a team to create The Readable Bible. Over one-hundred people have worked with him on this project. Rod's Story- “One day in 2008, I was standing in anairport bookstore looking for a book to read. I asked myself, “Why am I looking for something to read when I have a Bible in my briefcase?” The answer came quickly: “The Bible is hard to read. It can be so frustrating, and often I don't understand what I'm reading.” And I thought, “You're a seminary graduate, a pastor, a Bible teacher! Why is it so hard to read?I walked over to the how-to book section and started browsing. I noticed that the books presented information in formats that made them easy to understand. On the airplane I wondered, “What would the Bible look like if God spoke to Moses, David, and Paul today?” I went through the Bible and identified over two-dozen categories of information, all presented in paragraph form. Now I had a new mission—create a translation that presents the original text and uses modern formatting to make it clear and easy to grasp.https://www.readablebible.com/

Mixed by Kevin McMahon (Swans, Titus Andronicus), "I Taste Blood" has a dark and punchy treatment, capturing the raw and ferocious energy that Ace Of Wands can achieve in their live performance.  Exploring the genre of Dream Rock through immersive / intricate soundscapes, and captivating live performances - the band compels audiences to listen with attention and not shy away from the dreams that may reveal hidden parts of themselves. At the core of the band, multi-instrumentalist Lee Rose sings, plays violin/guitar and synth-bass foot pedals simultaneously while Anna Mernieks and Jody Brumell accompany her on swirling guitar and thunderous drums. Their instrumentation, soaring vocals, and commitment to artistically-driven visual elements explore the depths of overwhelming emotion and transcend typical pop and rock forms. "I Taste Blood" was inspired by the magnetic, electrical energy of being in the presence of someone that you desire, especially when you realize that the feeling is mutual. Exploring a gritty and sensual sound, this is the first song written for the band by guitarist Mernieks. On January 20th Toronto's Ace Of Wands will release their new single "I Taste Blood" from their upcoming album "Desiring" (set for release on March 31, via Fortune Stellar Records). Website: www.aceofwandsband.comInstagram: https://www.instagram.com/aceofwandsbandEmail: aceofwandsband@gmail.comFacebook: http://facebook.com/aceofwandstorontoTwitter: http://twitter.com/aceofwandsband TOUR DATES Long Winter at The Tranzac, Toronto, ON — February 4, 2023 Brought to you by AIXdspShop now and get up to 50% off on all plugins.Website: HEREPledge monthly with Patreon https://www.patreon.com/apologueShop Apologue products at http://apologue.ca/shop

Today's pep talk is about what's holding you back from the life that you're desiring to live. This is going to hit home especially if you are a woman in business, but can be most definitely applied to every day life as well! Join the waiting list for my brand new bookJoin the Text Community | Follow on Instagram | Join the Podcast Community on Facebook | Want to support the show? Click here to by Jer a monthly cup of coffee Be sure to leave a rating and review & don't forget Sharing is Caring! xoxo

'Saint Anthony, the Father of monks, was born in Egypt in 251 of pious parents who departed this life while he was yet young. On hearing the words of the Gospel: "If thou wilt be perfect, go and sell what thou hast, and give to the poor" (Matt. 19:21), he immediately put it into action. Distributing to the poor all he had, and fleeing from all the turmoil of the world, he departed to the desert. The manifold temptations he endured continually for the space of twenty years are incredible. His ascetical struggles by day and by night, whereby he mortified the uprisings of the passions and attained to the height of dispassion, surpass the bounds of nature; and the report of his deeds of virtue drew such a multitude to follow him, that the desert was transformed into a city, while he became, so to speak, the governor, lawgiver, and master-trainer of all the citizens of this newly-formed city. But the cities of the world also enjoyed the fruit of his virtue. When the Christians were being persecuted and put to death under Maximinus in 312, he hastened to their aid and consolation. When the Church was troubled by the Arians, he went with zeal to Alexandria in 335 and struggled against them in behalf of Orthodoxy. During this time, by the grace of his words, he also turned many unbelievers to Christ.   'He began his ascetical life outside his village of Coma in Upper Egypt, studying the ways of the ascetics and holy men there, and perfecting himself in the virtues of each until he surpassed them all. Desiring to increase his labours, he departed into the desert, and finding an abandoned fortress in the mountain, he made his dwelling in it, training himself in extreme fasting, unceasing prayer, and fierce conflicts with the demons. Here he remained, as mentioned above, about twenty years. Saint Athanasius the Great, who knew him personally and wrote his life, says that he came forth from the fortress "initiated in the mysteries and filled with the Spirit of God." Afterwards, because of the press of the faithful, who deprived him of his solitude, he was enlightened by God to journey with certain Bedouins, until he came to a mountain in the desert near the Red Sea, where he passed the remaining part of his life. Saint Athanasius says of him that "his countenance had a great and wonderful grace. This gift also he had from the Saviour. For if he were present in a great company of monks, and any one who did not know him previously wished to see him, immediately coming forward he passed by the rest, and hurried to Anthony, as though attracted by his appearance. Yet neither in height nor breadth was he conspicuous above others, but in the serenity of his manner and the purity of his soul."   'So passing his life, and becoming an example of virtue and a rule for monastics, he reposed on January 17 in the year 356, having lived together some 105 years.' (Great Horologion)   Speaking of the demonic temptations and struggles with the passions that beset those who seek their salvation, St Anthony said: "All these trials are to your advantage. Do away with temptation and no one will be saved."

How important is it to be present? Teri shares her journey of learning how to be present and addresses the challenges with distractions from notifications on our phones to overbooked schedules and multitasking. She offers valuable tips for setting boundaries and strengthening the muscle of presence such as setting timers and using the do not disturb function on phones. Teri also emphasizes how honoring and respecting others with our presence is a priceless gift and encourages us to take steps to limit distractions so that we can appreciate those around us. Don't miss this powerful conversation about nurturing relationships, taking care of ourselves, and staying on track with our goals!   [00:01 - 03:22] Nourish to Flourish: Unlocking the Power of Being Present and Why We Struggle With It One word for 2023 is flourishing A deep desire to nourish relationships and have intentional quality time with others Time is a gift that cannot be replaced or priced   [03:23 - 08:48] Overcoming Distractions to Truly Value Time and Appreciate Others Valuing someone's time and showing appreciation Being present and listening to others Celebrating with people and sharing in their joys and challenges Learning from others and truly listening to their heart Setting timers to stay focused Utilizing the do not disturb function on the phone Setting boundaries with others when communicating Not needing to respond to everything right away Setting boundaries of talking instead of being on the phone Desiring to be more present when with others   [08:49 - 09:23] Closing Segment What to expect on the next episode Quotes:   "Our time is a gift that we can't get back and that we can not put a price tag on." - Teri Johnson   "There is power in being present. It's a priceless gift that we share in giving this and receiving it with one another." - Teri Johnson

How dare Sue Duffield suggest that someone should only speak “their truth!” But what if this is “her truth?” Shouldn't she be free and able to speak “her own truth?” Your truth (and her truth) may not be the actual truth, and that is not just her truth, but the truth. How confusing…truthfully. LOL. Episode 137 dares to challenge situational ethics. What does the truth do to people? Is it motivating to hear the truth, or is it something that makes you mad? And why does it seem that absolutes have disappeared and evaporated into thin air? And why can't we talk to each other anymore without getting hot under the collar? The pun and truth of those questions stir up the realities of Sue's childhood, recalling her grandmother saying, “Well, If everybody jumps off the Walt Whitman Bridge, does that mean you will too?” (That was usually in response to Sue asking or wanting to conform to her friends' desires or wants.) Or, the truth of this saying, “Go ahead, play out in the street in traffic. Your truth will be - you'll get hit by a car!” Desiring biblical truth and living by the gospel of truth, is liberating. And if it makes you mad, there's a good chance truth has hit your last nerve of denial. There's an infinitum of scripture in this episode. It's so much better sharing the truth of God's Word, than opinion. www.sueduffield.com

This is a special message from Jacob Phillips reminds us that we need a shift in our focus from being earthly-minded to heavenly-minded as we start a new year using 2 Corinthians 5:1-10.To watch a video version of the sermon, follow this link: https://youtu.be/E73dVskyJ08

From MAtthew 2

It sounds mad to give away all your hard-earned expertise in one go … especially at a time when every business owner is opting for a subscription model! But operating in this manner is marketing of its own kind: especially if you're a teacher whose job for years has been helping students “learn” and “apply”. As teacher-entrepreneur Adalina East joins host Dori on this episode of Teacher Turned Entrepreneur, you'll get a chance to hear about a unique business model around transformational healing services that involve “teaching” the exact methodologies that retrain our brains to create profound change. During her brief multi-country stint with the UN, offering teaching help to different communities, Adalina developed a passion for understanding people's needs. Desiring to serve from a better position, she got multiple master's degrees in counseling, therapy, and neuroscience, and after her return to the US, decided to fuse her psychology and neuro health knowledge with her teaching expertise to help people learn the time-tested ways to help themselves mentally, and process and manage any trauma they're dealing with. Stay tuned for a variety of tips on self-therapy from trauma, prioritizing self-care and holistic well-being and find out how Adalina can help you. She has programs for anyone seeking help – utilize her free social media therapy posts, one-on-one coaching, or group mentorship programs, whatever works for you! If you're a teacher hoping to turn entrepreneur, wait for the end moments of the conversation where Adalina shares practical advice from her journey doing the same!Are you ready to find your true calling and walk away from your teaching job once and for all?It is your time to get a solid grasp on the potential opportunities available to you so you can get started on your entrepreneurial journey and change your life!Download your copy of this free, valuable PDF resource and access 20 different descriptive business ideas that are perfect for a teacher turning entrepreneur.The Teacher's Guide to Finding Your Perfect Business Idea (without going back to college)

Luke Mehall is the creator of The Climbing Zine and The Dirtbag State of Mind podcast. In this episode, we take turns interviewing each other. I ask Luke why he started The Climbing Zine, what lessons climbing has taught him, what themes connect the stories he selects, and how to sustain creative work. He asks me about my origin story with The Nugget, what all of these interviews have brought to my life, and the difficulties I've faced along the way.Check out The Climbing Zine!climbingzine.comCheck out Grasshopper Climbing!grasshopperclimbing.cominstagram.com/grasshopperclimbingTell them I sent you to save $500 off a fully kitted out 8'x10' Grasshopper board! Check out Rhino Skin Solutions!rhinoskinsolutions.comUse code “NUGGET” at checkout for 20% off your next order! We are supported by these amazing BIG GIVERS:Leo Franchi, Michael Roy, David Lahaie, Robert Freehill, Jeremiah Johnson, Scott Donahue, Eli Conlee, Skyler Maxwell, Craig Lee, Mark and Julie Calhoun, and Yinan Liu Become a Patron:patreon.com/thenuggetclimbingShow Notes:  thenuggetclimbing.com/episodes/luke-mehallNuggets:0:05:18 – What Luke learned from Tim (the owner of Zia Taqueria) about business0:10:48 – Why Luke started The Climbing Zine0:13:11 – What characterizes a zine?0:17:59 – The theme that connects all of the stories Luke chooses for The Climbing Zine0:20:43 – Finding authors and stories, and why Luke almost never assigns stories/topics0:22:46 – How climbing gave Luke his life and saved him from substance abuse and depression0:26:37 – Why you can't rely just on climbing for your happiness0:27:55 – Sharing vulnerable stories that others can relate to0:29:26 – Luke's vision for his brand, and how he hopes to share his personal story through film0:34:53 – How to protect the thing you love when your creative work becomes your job0:38:57 – How Luke uses therapy to talk about his goals, and having a hype man0:42:13 – Steven's origin story with The Nugget, and what I am trying to do by sharing people's stories0:50:15 – What all of these interviews have brought to my life0:55:01 – The most challenging parts of building The Nugget into a sustainable business1:02:19 – Desiring routine and seasons1:04:27 – My favorite podcasting moments1:08:19 – Sustaining the effort, paying it forward, and closing thoughts from both me and Luke

And after eight days were accomplished, that the child should be circumcised, his name was called JESUS, which was called by the angel, before he was conceived in the womb. Et postquam consummati sunt dies octo, ut circumcideretur puer, vocatum est nomen ejus Jesus, quod vocatum est ab angelo priusquam in utero conciperetur. Music: Jesu, Joy of Man's Desiring. Bach.

Series: N/AService: WednesdayType: InvitationSpeaker: Marlin Chapman

In a culture where nearly 1 in 5 of Gen Z calls themselves “LGBT,” it's crucial that parents pray hard, stay true, and remember the long game.  This Point was originally published on August 2, 2022.

My annual re-play of the walkthrough of my Mental Sauna holiday album.  Classic holiday songs re-imagined and suited for relaxing, Mental Sauna music.  Designed for relaxation, as a sleep aid, meditation or as a background for your holiday decorating and gathering.   Music Videos: Jesu Joy of Man's Desiring: https://www.youtube.com/watch?v=Vt2ietU2tgA It Came Upon A Midnight Clear https://youtu.be/Pou749HPoLE Silent Night (Feat. Eva Bukovinsky) https://www.youtube.com/watch?v=_8KST7ooXKg     Album Links: Amazon: https://www.amazon.com/Mental-Sauna-III-Christmas-Inflections/dp/B016K6CS70/ref=sr_1_8?keywords=Scott+K.+Haskin&qid=1563741604&s=dmusic&search-type=ss&sr=1-8   iTunes: https://music.apple.com/us/album/mental-sauna-iii-christmas-inflections/1048246875   BandCamp: https://scottkhaskin.bandcamp.com/album/mental-sauna-iii-christmas-inflections   My Website: www.ScottHaskin.com     HaskinCast Podcast links: Official Facebook page: https://www.facebook.com/profile.php?id=1210703585754449&ref=br_rs   #Holiday #HolidayMusic #Christmas #ChristmasMusic #Classic #Traditional #NewAge #Relaxation #Sleep #Meditation #NewAgeMusic #Santa #LasVegas #Composer #Author #AudioEngineer #Drummer #Podcast #PodcastLife #HaskincastPodcast

A Batoo Nativity: Starring Finn Morris-Young & Matt Hunt Other parts played by the ensemble Written by Matt Hunt Produced by Edmund Edmunds for Milk Media Edited by Matt Hunt Music Credited to: Jesu, Joy of Man's Desiring by Kevin MacLeod is licensed under a Creative Commons Attribution 4.0 license. https://creativecommons.org/licenses/by/4.0/ Source: http://incompetech.com/music/royalty-free/index.html?isrc=USUAN1100189 Artist: http://incompetech.com/ Away In A Manger by Audionautix is licensed under a Creative Commons Attribution 4.0 license. https://creativecommons.org/licenses/by/4.0/ Artist: http://audionautix.com/ Hark The Herald Angels Sing by Audionautix is licensed under a Creative Commons Attribution 4.0 license. https://creativecommons.org/licenses/by/4.0/ Artist: http://audionautix.com/ Carol Of The Bells by Audionautix is licensed under a Creative Commons Attribution 4.0 license. https://creativecommons.org/licenses/by/4.0/ Artist: http://audionautix.com/ Canon and Variation by Twin Musicom is licensed under a Creative Commons Attribution 4.0 license. https://creativecommons.org/licenses/by/4.0/ Artist: http://www.twinmusicom.org/ --- Support this podcast: https://anchor.fm/best-and-the-other-one/support

Episode 160 of A History of Rock Music in Five Hundred Songs looks at “Flowers in the Rain" by the Move, their transition into ELO, and the career of Roy Wood. Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have a twenty-minute bonus episode available, on "The Chipmunk Song" by Canned Heat. 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/ Note I say "And on its first broadcast, as George Martin's theme tune for the new station faded, Tony Blackburn reached for a record." -- I should point out that after Martin's theme fades, Blackburn talks over a brief snatch of a piece by Johnny Dankworth. Resources As so many of the episodes recently have had no Mixcloud due to the number of songs by one artist, I've decided to start splitting the mixes of the recordings excerpted in the podcasts into two parts. Here's part one . I had problems uploading part two, but will attempt to get that up shortly. There are not many books about Roy Wood, and I referred to both of the two that seem to exist -- this biography by John van der Kiste, and this album guide by James R Turner.  I also referred to this biography of Jeff Lynne by van der Kiste, The Electric Light Orchestra Story by Bev Bevan, and Mr Big by Don Arden with Mick Wall.  Most of the more comprehensive compilations of the Move's material are out of print, but this single-CD-plus-DVD anthology is the best compilation that's in print. This is the one collection of Wood's solo and Wizzard hits that seems currently in print, and for those who want to investigate further, this cheap box set has the last Move album, the first ELO album, the first Wizzard album, Wood's solo Boulders, and a later Wood solo album, for the price of a single CD. Transcript Before I start, a brief note. This episode deals with organised crime, and so contains some mild descriptions of violence, and also has some mention of mental illness and drug use, though not much of any of those things. And it's probably also important to warn people that towards the end there's some Christmas music, including excerpts of a song that is inescapable at this time of year in the UK, so those who work in retail environments and the like may want to listen to this later, at a point when they're not totally sick of hearing Christmas records. Most of the time, the identity of the party in government doesn't make that much of a difference to people's everyday lives.  At least in Britain, there tends to be a consensus ideology within the limits of which governments of both main parties tend to work. They will make a difference at the margins, and be more or less competent, and more or less conservative or left-wing, more or less liberal or authoritarian, but life will, broadly speaking, continue along much as before for most people. Some will be a little better or worse off, but in general steering the ship of state is a matter of a lot of tiny incremental changes, not of sudden u-turns. But there have been a handful of governments that have made big, noticeable, changes to the structure of society, reforms that for better or worse affect the lives of every person in the country. Since the end of the Second World War there have been two UK governments that made economic changes of this nature. The Labour government under Clement Atlee which came into power in 1945, and which dramatically expanded the welfare state, introduced the National Health Service, and nationalised huge swathes of major industries, created the post-war social democratic consensus which would be kept to with only minor changes by successive governments of both major parties for decades. The next government to make changes to the economy of such a radical nature was the Conservative government which came to power under Margaret Thatcher in 1979, which started the process of unravelling that social democratic consensus and replacing it with a far more hypercapitalist economic paradigm, which would last for the next several decades. It's entirely possible that the current Conservative government, in leaving the EU, has made a similarly huge change, but we won't know that until we have enough distance from the event to know what long-term changes it's caused. Those are economic changes. Arguably at least as impactful was the Labour government led by Harold Wilson that came to power in 1964, which did not do much to alter the economic consensus, but revolutionised the social order at least as much. Largely because of the influence of Roy Jenkins, the Home Secretary for much of that time, between 1964 and the end of the sixties, Britain abolished the death penalty for murder, decriminalised some sex acts between men in private, abolished corporal punishment in prisons, legalised abortion in certain circumstances, and got rid of censorship in the theatre. They also vastly increased spending on education, and made many other changes. By the end of their term, Britain had gone from being a country with laws reflecting a largely conservative, authoritarian, worldview to one whose laws were some of the most liberal in Europe, and society had started changing to match. There were exceptions, though, and that government did make some changes that were illiberal. They brought in increased restrictions on immigration, starting a worrying trend that continues to this day of governments getting ever crueler to immigrants, and they added LSD to the list of illegal drugs. And they brought in the Marine Broadcasting Offences Act, banning the pirate stations. We've mentioned pirate radio stations very briefly, but never properly explained them. In Britain, at this point, there was a legal monopoly on broadcasting. Only the BBC could run a radio station in the UK, and thanks to agreements with the Musicians' Union, the BBC could only play a very small amount of recorded music, with everything else having to be live performances or spoken word. And because it had a legal obligation to provide something for everyone, that meant the tiny amount of recorded music that was played on the radio had to cover all genres, meaning that even while Britain was going through the most important changes in its musical history, pop records were limited to an hour or two a week on British radio. Obviously, that wasn't going to last while there was money to be made, and the record companies in particular wanted to have somewhere to showcase their latest releases. At the start of the sixties, Radio Luxembourg had become popular, broadcasting from continental Europe but largely playing shows that had been pre-recorded in London. But of course, that was far enough away that it made listening to the transmissions difficult. But a solution presented itself: [Excerpt: The Fortunes, "Caroline"] Radio Caroline still continues to this day, largely as an Internet-based radio station, but in the mid-sixties it was something rather different. It was one of a handful of radio stations -- the pirate stations -- that broadcast from ships in international waters. The ships would stay three miles off the coast of Britain, close enough for their broadcasts to be clearly heard in much of the country, but outside Britain's territorial waters. They soon became hugely popular, with Radio Caroline and Radio London the two most popular, and introduced DJs like Tony Blackburn, Dave Lee Travis, Kenny Everett, and John Peel to the airwaves of Britain. The stations ran on bribery and advertising, and if you wanted a record to get into the charts one of the things you had to do was bribe one of the big pirate stations to playlist it, and with this corruption came violence, which came to a head when as we heard in the episode on “Here Comes the Night”, in 1966 Major Oliver Smedley, a failed right-wing politician and one of the directors of Radio Caroline, got a gang of people to board an abandoned sea fort from which a rival station was broadcasting and retrieve some equipment he claimed belonged to him. The next day, Reginald Calvert, the owner of the rival station, went to Smedley's home to confront him, and Smedley shot him dead, claiming self-defence. The jury in Smedley's subsequent trial took only a minute to find him not guilty and award him two hundred and fifty guineas to cover his costs. This was the last straw for the government, which was already concerned that the pirates' transmitters were interfering with emergency services transmissions, and that proper royalties weren't being paid for the music broadcast (though since much of the music was only on there because of payola, this seems a little bit of a moot point).  They introduced legislation which banned anyone in the UK from supplying the pirate ships with records or other supplies, or advertising on the stations. They couldn't do anything about the ships themselves, because they were outside British jurisdiction, but they could make sure that nobody could associate with them while remaining in the UK. The BBC was to regain its monopoly (though in later years some commercial radio stations were allowed to operate). But as well as the stick, they needed the carrot. The pirate stations *had* been filling a real need, and the biggest of them were getting millions of listeners every day. So the arrangements with the Musicians' Union and the record labels were changed, and certain BBC stations were now allowed to play a lot more recorded music per day. I haven't been able to find accurate figures anywhere -- a lot of these things were confidential agreements -- but it seems to have been that the so-called "needle time" rules were substantially relaxed, allowing the BBC to separate what had previously been the Light Programme -- a single radio station that played all kinds of popular music, much of it live performances -- into two radio stations that were each allowed to play as much as twelve hours of recorded music per day, which along with live performances and between-track commentary from DJs was enough to allow a full broadcast schedule. One of these stations, Radio 2, was aimed at older listeners, and to start with mostly had programmes of what we would now refer to as Muzak, mixed in with the pop music of an older generation -- crooners and performers like Englebert Humperdinck. But another, Radio 1, was aimed at a younger audience and explicitly modelled on the pirate stations, and featured many of the DJs who had made their names on those stations. And on its first broadcast, as George Martin's theme tune for the new station faded, Tony Blackburn reached for a record. At different times Blackburn has said either that he was just desperately reaching for whatever record came to hand or that he made a deliberate choice because the record he chose had such a striking opening that it would be the perfect way to start a new station: [Excerpt: Tony Blackburn first radio show into "Flowers in the Rain" by the Move] You may remember me talking in the episode on "Here Comes the Night" about how in 1964 Dick Rowe of Decca, the manager Larry Page, and the publicist and co-owner of Radio Caroline Phil Solomon were all trying to promote something called Brumbeat as the answer to Merseybeat – Brummies, for those who don't know, are people from Birmingham. Brumbeat never took off the way Merseybeat did, but several bands did get a chance to make records, among them Gerry Levene and the Avengers: [Excerpt: Gerry Levene and the Avengers, "Dr. Feelgood"] That was the only single the Avengers made, and the B-side wasn't even them playing, but a bunch of session musicians under the direction of Bert Berns, and the group split up soon afterwards, but several of the members would go on to have rather important careers. According to some sources, one of their early drummers was John Bohnam, who you can be pretty sure will be turning up later in the story, while the drummer on that track was Graeme Edge, who would later go on to co-found the Moody Blues.  But today it's the guitarist we'll be looking at. Roy Wood had started playing music when he was very young -- he'd had drum lessons when he was five years old, the only formal musical tuition he ever had, and he'd played harmonica around working men's clubs as a kid. And as a small child he'd loved classical music, particularly Tchaikovsky and Elgar. But it wasn't until he was twelve that he decided that he wanted to be a guitarist. He went to see the Shadows play live, and was inspired by the sound of Hank Marvin's guitar, which he later described as sounding "like it had been dipped in Dettol or something": [Excerpt: The Shadows, "Apache"] He started begging his parents for a guitar, and got one for his thirteenth birthday -- and by the time he was fourteen he was already in a band, the Falcons, whose members were otherwise eighteen to twenty years old, but who needed a lead guitarist who could play like Marvin. Wood had picked up the guitar almost preternaturally quickly, as he would later pick up every instrument he turned his hand to, and he'd also got the equipment. His friend Jeff Lynne later said "I first saw Roy playing in a church hall in Birmingham and I think his group was called the Falcons. And I could tell he was dead posh because he had a Fender Stratocaster and a Vox AC30 amplifier. The business at the time. I mean, if you've got those, that's it, you're made." It was in the Falcons that Wood had first started trying to write songs, at first instrumentals in the style of the Shadows, but then after the Beatles hit the charts he realised it was possible for band members to write their own material, and started hesitantly trying to write a few actual songs. Wood had moved on from the Falcons to Gerry Levene's band, one of the biggest local bands in Birmingham, when he was sixteen, which is also when he left formal education, dropping out from art school -- he's later said that he wasn't expelled as such, but that he and the school came to a mutual agreement that he wouldn't go back there. And when Gerry Levene and the Avengers fell apart after their one chance at success hadn't worked out, he moved on again to an even bigger band. Mike Sheridan and the Night Riders had had two singles out already, both produced by Cliff Richard's producer Norrie Paramor, and while they hadn't charted they were clearly going places. They needed a new guitarist, and Wood was by far the best of the dozen or so people who auditioned, even though Sheridan was very hesitant at first -- the Night Riders were playing cabaret, and all dressed smartly at all times, and this sixteen-year-old guitarist had turned up wearing clothes made by his sister and ludicrous pointy shoes. He was the odd man out, but he was so good that none of the other players could hold a candle to him, and he was in the Night Riders by the time of their third single, "What a Sweet Thing That Was": [Excerpt: Mike Sheridan and the Night Riders, "What a Sweet Thing That Was"] Sheridan later said "Roy was and still is, in my opinion, an unbelievable talent. As stubborn as a mule and a complete extrovert. Roy changed the group by getting us into harmonies and made us realize there was better material around with more than three chords to play. This was our turning point and we became a group's group and a bigger name." -- though there are few other people who would describe Wood as extroverted, most people describing him as painfully shy off-stage. "What a  Sweet Thing That Was" didn't have any success, and nor did its follow-up, "Here I Stand", which came out in January 1965. But by that point, Wood had got enough of a reputation that he was already starting to guest on records by other bands on the Birmingham scene, like "Pretty Things" by Danny King and the Mayfair Set: [Excerpt: Danny King and the Mayfair Set, "Pretty Things"] After their fourth single was a flop, Mike Sheridan and the Night Riders changed their name to Mike Sheridan's Lot, and the B-side of their first single under the new name was a Roy Wood song, the first time one of his songs was recorded. Unfortunately the song, modelled on "It's Not Unusual" by Tom Jones, didn't come off very well, and Sheridan blamed himself for what everyone was agreed was a lousy sounding record: [Excerpt: Mike Sheridan's Lot, "Make Them Understand"] Mike Sheridan's Lot put out one final single, but the writing was on the wall for the group. Wood left, and soon after so did Sheridan himself. The remaining members regrouped under the name The Idle Race, with Wood's friend Jeff Lynne as their new singer and guitarist. But Wood wouldn't remain without a band for long. He'd recently started hanging out with another band, Carl Wayne and the Vikings, who had also released a couple of singles, on Pye: [Excerpt: Carl Wayne and the Vikings, "What's the Matter Baby"] But like almost every band from Birmingham up to this point, the Vikings' records had done very little, and their drummer had quit, and been replaced by Bev Bevan, who had been in yet another band that had gone nowhere, Denny Laine and the Diplomats, who had released one single under the name of their lead singer Nicky James, featuring the Breakaways, the girl group who would later sing on "Hey Joe", on backing vocals: [Excerpt: Nicky James, "My Colour is Blue"] Bevan had joined Carl Wayne's group, and they'd recorded one track together, a cover version of "My Girl", which was only released in the US, and which sank without a trace: [Excerpt: Carl Wayne and the Vikings, "My Girl"] It was around this time that Wood started hanging around with the Vikings, and they would all complain about how if you were playing the Birmingham circuit you were stuck just playing cover versions, and couldn't do anything more interesting.  They were also becoming more acutely aware of how successful they *could* have been, because one of the Brumbeat bands had become really big. The Moody Blues, a supergroup of players from the best bands in Birmingham who featured Bev Bevan's old bandmate Denny Laine and Wood's old colleague Graeme Edge, had just hit number one with their version of "Go Now": [Excerpt: The Moody Blues, "Go Now"] So they knew the potential for success was there, but they were all feeling trapped. But then Ace Kefford, the bass player for the Vikings, went to see Davy Jones and the Lower Third playing a gig: [Excerpt: Davy Jones and the Lower Third, "You've Got a Habit of Leaving"] Also at the gig was Trevor Burton, the guitarist for Danny King and the Mayfair Set. The two of them got chatting to Davy Jones after the gig, and eventually the future David Bowie told them that the two of them should form their own band if they were feeling constricted in their current groups. They decided to do just that, and they persuaded Carl Wayne from Kefford's band to join them, and got in Wood.  Now they just needed a drummer. Their first choice was John Bonham, the former drummer for Gerry Levene and the Avengers who was now drumming in a band with Kefford's uncle and Nicky James from the Diplomats. But Bonham and Wayne didn't get on, and so Bonham decided to remain in the group he was in, and instead they turned to Bev Bevan, the Vikings' new drummer.  (Of the other two members of the Vikings, one went on to join Mike Sheridan's Lot in place of Wood, before leaving at the same time as Sheridan and being replaced by Lynne, while the other went on to join Mike Sheridan's New Lot, the group Sheridan formed after leaving his old group. The Birmingham beat group scene seems to have only had about as many people as there were bands, with everyone ending up a member of twenty different groups). The new group called themselves the Move, because they were all moving on from other groups, and it was a big move for all of them. Many people advised them not to get together, saying they were better off where they were, or taking on offers they'd got from more successful groups -- Carl Wayne had had an offer from a group called the Spectres, who would later become famous as Status Quo, while Wood had been tempted by Tony Rivers and the Castaways, a group who at the time were signed to Immediate Records, and who did Beach Boys soundalikes and covers: [Excerpt: Tony Rivers and the Castaways, "Girl Don't Tell Me"] Wood was a huge fan of the Beach Boys and would have fit in with Rivers, but decided he'd rather try something truly new. After their first gig, most of the people who had warned against the group changed their minds. Bevan's best friend, Bobby Davis, told Bevan that while he'd disliked all the other groups Bevan had played in, he liked this one. (Davis would later become a famous comedian, and have a top five single himself in the seventies, produced by Jeff Lynne and with Bevan on the drums, under his stage name Jasper Carrott): [Excerpt: Jasper Carrott, "Funky Moped"] Most of their early sets were cover versions, usually of soul and Motown songs, but reworked in the group's unique style. All five of the band could sing, four of them well enough to be lead vocalists in their own right (Bevan would add occasional harmonies or sing novelty numbers) and so they became known for their harmonies -- Wood talked at the time about how he wanted the band to have Beach Boys harmonies but over instruments that sounded like the Who. And while they were mostly doing cover versions live, Wood was busily writing songs. Their first recording session was for local radio, and at that session they did cover versions of songs by Brenda Lee, the Isley Brothers, the Orlons, the Marvelettes, and Betty Everett, but they also performed four songs written by Wood, with each member of the front line taking a lead vocal, like this one with Kefford singing: [Excerpt: The Move, "You're the One I Need"] The group were soon signed by Tony Secunda, the manager of the Moody Blues, who set about trying to get the group as much publicity as possible. While Carl Wayne, as the only member who didn't play an instrument, ended up the lead singer on most of the group's early records, Secunda started promoting Kefford, who was younger and more conventionally attractive than Wayne, and who had originally put the group together, as the face of the group, while Wood was doing most of the heavy lifting with the music. Wood quickly came to dislike performing live, and to wish he could take the same option as Brian Wilson and stay home and write songs and make records while the other four went out and performed, so Kefford and Wayne taking the spotlight from him didn't bother him at the time, but it set the group up for constant conflicts about who was actually the leader of the group. Wood was also uncomfortable with the image that Secunda set up for the group. Secunda decided that the group needed to be promoted as "bad boys", and so he got them to dress up as 1930s gangsters, and got them to do things like smash busts of Hitler, or the Rhodesian dictator Ian Smith, on stage. He got them to smash TVs on stage too, and in one publicity stunt he got them to smash up a car, while strippers took their clothes off nearby -- claiming that this was to show that people were more interested in violence than in sex. Wood, who was a very quiet, unassuming, introvert, didn't like this sort of thing, but went along with it. Secunda got the group a regular slot at the Marquee club, which lasted several months until, in one of Secunda's ideas for publicity, Carl Wayne let off smoke bombs on stage which set fire to the stage. The manager came up to try to stop the fire, and Wayne tossed the manager's wig into the flames, and the group were banned from the club (though the ban was later lifted). In another publicity stunt, at the time of the 1966 General Election, the group were photographed with "Vote Tory" posters, and issued an invitation to Edward Heath, the leader of the Conservative Party and a keen amateur musician, to join them on stage on keyboards. Sir Edward didn't respond to the invitation. All this publicity led to record company interest. Joe Boyd tried to sign the group to Elektra Records, but much as with The Pink Floyd around the same time, Jac Holzman wasn't interested. Instead they signed with a new production company set up by Denny Cordell, the producer of the Moody Blues' hits. The contract they signed was written on the back of a nude model, as yet another of Secunda's publicity schemes. The group's first single, "Night of Fear" was written by Wood and an early sign of his interest in incorporating classical music into rock: [Excerpt: The Move, "Night of Fear"] Secunda claimed in the publicity that that song was inspired by taking bad acid and having a bad trip, but in truth Wood was more inspired by brown ale than by brown acid -- he and Bev Bevan would never do any drugs other than alcohol. Wayne did take acid once, but didn't like it, though Burton and Kefford would become regular users of most drugs that were going. In truth, the song was not about anything more than being woken up in the middle of the night by an unexpected sound and then being unable to get back to sleep because you're scared of what might be out there. The track reached number two on the charts in the UK, being kept off the top by "I'm a Believer" by the Monkees, and was soon followed up by another song which again led to assumptions of drug use. "I Can Hear the Grass Grow" wasn't about grass the substance, but was inspired by a letter to Health and Efficiency, a magazine which claimed to be about the nudist lifestyle as an excuse for printing photos of naked people at a time before pornography laws were liberalised. The letter was from a reader saying that he listened to pop music on the radio because "where I live it's so quiet I can hear the grass grow!" Wood took that line and turned it into the group's next single, which reached number five: [Excerpt: The Move, "I Can Hear the Grass Grow"] Shortly after that, the group played two big gigs at Alexandra Palace. The first was the Fourteen-Hour Technicolor Dream, which we talked about in the Pink Floyd episode. There Wood had one of the biggest thrills of his life when he walked past John Lennon, who saluted him and then turned to a friend and said "He's brilliant!" -- in the seventies Lennon would talk about how Wood was one of his two favourite British songwriters, and would call the Move "the Hollies with balls". The other gig they played at Alexandra Palace was a "Free the Pirates" benefit show, sponsored by Radio Caroline, to protest the imposition of the Marine Broadcasting (Offences) Act.  Despite that, it was, of course, the group's next single that was the first one to be played on Radio One. And that single was also the one which kickstarted Roy Wood's musical ambitions.  The catalyst for this was Tony Visconti. Visconti was a twenty-three-year-old American who had been in the music business since he was sixteen, working the typical kind of jobs that working musicians do, like being for a time a member of a latter-day incarnation of the Crew-Cuts, the white vocal group who had had hits in the fifties with covers of "Sh'Boom" and “Earth Angel”. He'd also recorded two singles as a duo with his wife Siegrid, which had gone nowhere: [Excerpt: Tony and Siegrid, "Up Here"] Visconti had been working for the Richmond Organisation as a staff songwriter when he'd met the Move's producer Denny Cordell. Cordell was in the US to promote a new single he had released with a group called Procol Harum, "A Whiter Shade of Pale", and Visconti became the first American to hear the record, which of course soon became a massive hit: [Excerpt: Procol Harum, "A Whiter Shade of Pale"] While he was in New York, Cordell also wanted to record a backing track for one of his other hit acts, Georgie Fame. He told Visconti that he'd booked several of the best session players around, like the jazz trumpet legend Clark Terry, and thought it would be a fun session. Visconti asked to look at the charts for the song, out of professional interest, and Cordell was confused -- what charts? The musicians would just make up an arrangement, wouldn't they? Visconti asked what he was talking about, and Cordell talked about how you made records -- you just got the musicians to come into the studio, hung around while they smoked a few joints and worked out what they were going to play, and then got on with it. It wouldn't take more than about twelve hours to get a single recorded that way. Visconti was horrified, and explained that that might be how they did things in London, but if Cordell tried to make a record that way in New York, with an eight-piece group of session musicians who charged union scale, and would charge double scale for arranging work on top, then he'd bankrupt himself. Cordell went pale and said that the session was in an hour, what was he going to do? Luckily, Cordell had a copy of the demo with him, and Visconti, who unlike Cordell was a trained musician, quickly sat down and wrote an arrangement for him, sketching out parts for guitar, bass, drums, piano, sax, and trumpets. The resulting arrangement wasn't perfect -- Visconti had to write the whole thing in less than an hour with no piano to hand -- but it was good enough that Cordell's production assistant on the track, Harvey Brooks of the group Electric Flag, who also played bass on the track, could tweak it in the studio, and the track was recorded quickly, saving Cordell a fortune: [Excerpt: Georgie Fame, "Because I Love You"] One of the other reasons Cordell had been in the US was that he was looking for a production assistant to work with him in the UK to help translate his ideas into language the musicians could understand. According to Visconti he said that he was going to try asking Phil Spector to be his assistant, and Artie Butler if Spector said no.  Astonishingly, assuming he did ask them, neither Phil Spector nor Artie Butler (who was the arranger for records like "Leader of the Pack" and "I'm a Believer" among many, many, others, and who around this time was the one who suggested to Louis Armstrong that he should record "What a Wonderful World") wanted to fly over to the UK to work as Denny Cordell's assistant, and so Cordell turned back to Visconti and invited him to come over to the UK. The main reason Cordell needed an assistant was that he had too much work on his hands -- he was currently in the middle of recording albums for three major hit groups -- Procol Harum, The Move, and Manfred Mann -- and he physically couldn't be in multiple studios at once. Visconti's first work for him was on a Manfred Mann session, where they were recording the Randy Newman song "So Long Dad" for their next single. Cordell produced the rhythm track then left for a Procol Harum session, leaving Visconti to guide the group through the overdubs, including all the vocal parts and the lead instruments: [Excerpt: Manfred Mann, "So Long Dad"] The next Move single, "Flowers in the Rain", was the first one to benefit from Visconti's arrangement ideas. The band had recorded the track, and Cordell had been unhappy with both the song and performance, thinking it was very weak compared to their earlier singles -- not the first time that Cordell would have a difference of opinion with the band, who he thought of as a mediocre pop group, while they thought of themselves as a heavy rock band who were being neutered in the studio by their producer.  In particular, Cordell didn't like that the band fell slightly out of time in the middle eight of the track. He decided to scrap it, and get the band to record something else. Visconti, though, thought the track could be saved. He told Cordell that what they needed to do was to beat the Beatles, by using a combination of instruments they hadn't thought of. He scored for a quartet of wind instruments -- oboe, flute, clarinet, and French horn, in imitation of Mendelssohn: [Excerpt: The Move, "Flowers in the Rain"] And then, to cover up the slight sloppiness on the middle eight, Visconti had the wind instruments on that section recorded at half speed, so when played back at normal speed they'd sound like pixies and distract from the rhythm section: [Excerpt: The Move, "Flowers in the Rain"] Visconti's instincts were right. The single went to number two, kept off the top spot by Englebert Humperdinck, who spent 1967 keeping pretty much every major British band off number one, and thanks in part to it being the first track played on Radio 1, but also because it was one of the biggest hits of 1967, it's been the single of the Move's that's had the most airplay over the years. Unfortunately, none of the band ever saw a penny in royalties from it. It was because of another of Tony Secunda's bright ideas. Harold Wilson, the Prime Minister at the time, was very close to his advisor Marcia Williams, who started out as his secretary, rose to be his main political advisor, and ended up being elevated to the peerage as Baroness Falkender. There were many, many rumours that Williams was corrupt -- rumours that were squashed by both Wilson and Williams frequently issuing libel writs against newspapers that mentioned them -- though it later turned out that at least some of these were the work of Britain's security services, who believed Wilson to be working for the KGB (and indeed Williams had first met Wilson at a dinner with Khrushchev, though Wilson was very much not a Communist) and were trying to destabilise his government as a result. Their personal closeness also led to persistent rumours that Wilson and Williams were having an affair. And Tony Secunda decided that the best way to promote "Flowers in the Rain" was to print a postcard with a cartoon of Wilson and Williams on it, and send it out. Including sticking a copy through the door of ten Downing St, the Prime Minister's official residence. This backfired *spectacularly*. Wilson sued the Move for libel, even though none of them had known of their manager's plans, and as a result of the settlement it became illegal for any publication to print the offending image (though it can easily be found on the Internet now of course), everyone involved with the record was placed under a permanent legal injunction to never discuss the details of the case, and every penny in performance or songwriting royalties the track earned would go to charities of Harold Wilson's choice. In the 1990s newspaper reports said that the group had up to that point lost out on two hundred thousand pounds in royalties as a result of Secunda's stunt, and given the track's status as a perennial favourite, it's likely they've missed out on a similar amount in the decades since. Incidentally, while every member of the band was banned from ever describing the postcard, I'm not, and since Wilson and Williams are now both dead it's unlikely they'll ever sue me. The postcard is a cartoon in the style of Aubrey Beardsley, and shows Wilson as a grotesque naked homunculus sat on a bed, with Williams naked save for a diaphonous nightgown through which can clearly be seen her breasts and genitals, wearing a Marie Antoinette style wig and eyemask and holding a fan coquettishly, while Wilson's wife peers at them through a gap in the curtains. The text reads "Disgusting Depraved Despicable, though Harold maybe is the only way to describe "Flowers in the Rain" The Move, released Aug 23" The stunt caused huge animosity between the group and Secunda, not only because of the money they lost but also because despite Secunda's attempts to associate them with the Conservative party the previous year, Ace Kefford was upset at an attack on the Labour leader -- his grandfather was a lifelong member of the Labour party and Kefford didn't like the idea of upsetting him. The record also had a knock-on effect on another band. Wood had given the song "Here We Go Round the Lemon Tree" to his friends in The Idle Race, the band that had previously been Mike Sheridan and the Night Riders, and they'd planned to use their version as their first single: [Excerpt: The Idle Race, "Here We Go Round the Lemon Tree"] But the Move had also used the song as the B-side for their own single, and "Flowers in the Rain" was so popular that the B-side also got a lot of airplay. The Idle Race didn't want to be thought of as a covers act, and so "Lemon Tree" was pulled at the last minute and replaced by "Impostors of Life's Magazine", by the group's guitarist Jeff Lynne: [Excerpt: The Idle Race, "Impostors of Life's Magazine"] Before the problems arose, the Move had been working on another single. The A-side, "Cherry Blossom Clinic", was a song about being in a psychiatric hospital, and again had an arrangement by Visconti, who this time conducted a twelve-piece string section: [Excerpt: The Move, "Cherry Blossom Clinic"] The B-side, meanwhile, was a rocker about politics: [Excerpt: The Move, "Vote For Me"] Given the amount of controversy they'd caused, the idea of a song about mental illness backed with one about politics seemed a bad idea, and so "Cherry Blossom Clinic" was kept back as an album track while "Vote For Me" was left unreleased until future compilations. The first Wood knew about "Cherry Blossom Clinic" not being released was when after a gig in London someone -- different sources have it as Carl Wayne or Tony Secunda -- told him that they had a recording session the next morning for their next single and asked what song he planned on recording. When he said he didn't have one, he was sent up to his hotel room with a bottle of Scotch and told not to come down until he had a new song. He had one by 8:30 the next morning, and was so drunk and tired that he had to be held upright by his bandmates in the studio while singing his lead vocal on the track. The song was inspired by "Somethin' Else", a track by Eddie Cochran, one of Wood's idols: [Excerpt: Eddie Cochran, "Somethin' Else"] Wood took the bass riff from that and used it as the basis for what was the Move's most straight-ahead rock track to date. As 1967 was turning into 1968, almost universally every band was going back to basics, recording stripped down rock and roll tracks, and the Move were no exception. Early takes of "Fire Brigade" featured Matthew Fisher of Procol Harum on piano, but the final version featured just guitar, bass, drums and vocals, plus a few sound effects: [Excerpt: The Move, "Fire Brigade"] While Carl Wayne had sung lead or co-lead on all the Move's previous singles, he was slowly being relegated into the background, and for this one Wood takes the lead vocal on everything except the brief bridge, which Wayne sings: [Excerpt: The Move, "Fire Brigade"] The track went to number three, and while it's not as well-remembered as a couple of other Move singles, it was one of the most influential. Glen Matlock of the Sex Pistols has often said that the riff for "God Save the Queen" is inspired by "Fire Brigade": [Excerpt: The Sex Pistols, "God Save the Queen"] The reversion to a heavier style of rock on "Fire Brigade" was largely inspired by the group's new friend Jimi Hendrix. The group had gone on a package tour with The Pink Floyd (who were at the bottom of the bill), Amen Corner, The Nice, and the Jimi Hendrix Experience, and had become good friends with Hendrix, often jamming with him backstage. Burton and Kefford had become so enamoured of Hendrix that they'd both permed their hair in imitation of his Afro, though Burton regretted it -- his hair started falling out in huge chunks as a result of the perm, and it took him a full two years to grow it out and back into a more natural style. Burton had started sharing a flat with Noel Redding of the Jimi Hendrix Experience, and Burton and Wood had also sung backing vocals with Graham Nash of the Hollies on Hendrix's "You Got Me Floatin'", from his Axis: Bold as Love album: [Excerpt: The Jimi Hendrix Experience, "You Got Me Floatin'"] In early 1968, the group's first album came out. In retrospect it's arguably their best, but at the time it felt a little dated -- it was a compilation of tracks recorded between late 1966 and late 1967, and by early 1968 that might as well have been the nineteenth century. The album included their two most recent singles, a few more songs arranged by Visconti, and three cover versions -- versions of Eddie Cochran's "Weekend", Moby Grape's "Hey Grandma", and the old standard "Zing! Went the Strings of My Heart", done copying the Coasters' arrangement with Bev Bevan taking a rare lead vocal. By this time there was a lot of dissatisfaction among the group. Most vocal -- or least vocal, because by this point he was no longer speaking to any of the other members, had been Ace Kefford. Kefford felt he was being sidelined in a band he'd formed and where he was the designated face of the group. He'd tried writing songs, but the only one he'd brought to the group, "William Chalker's Time Machine", had been rejected, and was eventually recorded by a group called The Lemon Tree, whose recording of it was co-produced by Burton and Andy Fairweather-Low of Amen Corner: [Excerpt: The Lemon Tree, "William Chalker's Time Machine"] He was also, though the rest of the group didn't realise it at the time, in the middle of a mental breakdown, which he later attributed to his overuse of acid. By the time the album, titled Move, came out, he'd quit the group. He formed a new group, The Ace Kefford Stand, with Cozy Powell on drums, and they released one single, a cover version of the Yardbirds' "For Your Love", which didn't chart: [Excerpt: The Ace Kefford Stand, "For Your Love"] Kefford recorded a solo album in 1968, but it wasn't released until an archival release in 2003, and he spent most of the next few decades dealing with mental health problems. The group continued on as a four-piece, with Burton moving over to bass. While they thought about what to do -- they were unhappy with Secunda's management, and with the sound that Cordell was getting from their recordings, which they considered far wimpier than their live sound -- they released a live EP of cover versions, recorded at the Marquee. The choice of songs for the EP showed their range of musical influences at the time, going from fifties rockabilly to the burgeoning progressive rock scene, with versions of Cochran's "Somethin' Else", Jerry Lee Lewis' "It'll Be Me", "So You Want to Be a Rock and Roll Star" by the Byrds, "Sunshine Help Me" by Spooky Tooth, and "Stephanie Knows Who" by Love: [Excerpt: The Move, "Stephanie Knows Who"] Incidentally, later that year they headlined a gig at the Royal Albert Hall with the Byrds as the support act, and Gram Parsons, who by that time was playing guitar for the Byrds, said that the Move did "So You Want to Be a Rock and Roll Star" better than the Byrds did. The EP, titled "Something Else From the Move", didn't do well commercially, but it did do something that the band thought important -- Trevor Burton in particular had been complaining that Denny Cordell's productions "took the toughness out" of the band's sound, and was worried that the group were being perceived as a pop band, not as a rock group like his friends in the Jimi Hendrix Experience or Cream. There was an increasing tension between Burton, who wanted to be a heavy rocker, and the older Wayne, who thought there was nothing at all wrong with being a pop band. The next single, "Wild Tiger Woman", was much more in the direction that Burton wanted their music to go. It was ostensibly produced by Cordell, but for the most part he left it to the band, and as a result it ended up as a much heavier track than normal. Roy Wood had only intended the song as an album track, and Bevan and Wayne were hesitant about it being a single, but Burton was insistent -- "Wild Tiger Woman" was going to be the group's first number one record: [Excerpt: The Move, "Wild Tiger Woman"] In fact, it turned out to be the group's first single not to chart at all, after four top ten singles in a row.  The group were now in crisis. They'd lost Ace Kefford, Burton and Wayne were at odds, and they were no longer guaranteed hitmakers. They decided to stop working with Cordell and Secunda, and made a commitment that if the next single was a flop, they would split up. In any case, Roy Wood was already thinking about another project. Even though the group's recent records had gone in a guitar-rock direction, he thought maybe you could do something more interesting. Ever since seeing Tony Visconti conduct orchestral instruments playing his music, he'd been thinking about it. As he later put it "I thought 'Well, wouldn't it be great to get a band together, and rather than advertising for a guitarist how about advertising for a cellist or a French horn player or something? There must be lots of young musicians around who play the... instruments that would like to play in a rock kind of band.' That was the start of it, it really was, and I think after those tracks had been recorded with Tony doing the orchestral arrangement, that's when I started to get bored with the Move, with the band, because I thought 'there's something more to it'". He'd started sketching out plans for an expanded lineup of the group, drawing pictures of what it would look like on stage if Carl Wayne was playing timpani while there were cello and French horn players on stage with them. He'd even come up with a name for the new group -- a multi-layered pun. The group would be a light orchestra, like the BBC Light Orchestra, but they would be playing electrical instruments, and also they would have a light show when they performed live, and so he thought "the Electric Light Orchestra" would be a good name for such a group. The other band members thought this was a daft idea, but Wood kept on plotting. But in the meantime, the group needed some new management. The person they chose was Don Arden. We talked about Arden quite a bit in the last episode, but he's someone who is going to turn up a lot in future episodes, and so it's best if I give a little bit more background about him. Arden was a manager of the old school, and like several of the older people in the music business at the time, like Dick James or Larry Page, he had started out as a performer, doing an Al Jolson tribute act, and he was absolutely steeped in showbusiness -- his wife had been a circus contortionist before they got married, and when he moved from Manchester to London their first home had been owned by Winifred Atwell, a boogie piano player who became the first Black person to have a UK number one -- and who is *still* the only female solo instrumentalist to have a UK number one -- with her 1954 hit "Let's Have Another Party": [Excerpt: WInifred Atwell, "Let's Have Another Party"] That was only Atwell's biggest in a long line of hits, and she'd put all her royalties into buying properties in London, one of which became the Ardens' home. Arden had been considered quite a promising singer, and had made a few records in the early 1950s. His first recordings, of material in Yiddish aimed at the Jewish market, are sadly not findable online, but he also apparently recorded as a session singer for Embassy Records. I can't find a reliable source for what records he sang on for that label, which put out budget rerecordings of hits for sale exclusively through Woolworths, but according to Wikipedia one of them was Embassy's version of "Blue Suede Shoes", put out under the group name "The Canadians", and the lead vocal on that track certainly sounds like it could be him: [Excerpt: The Canadians, "Blue Suede Shoes"] As you can tell, rock and roll didn't really suit Arden's style, and he wisely decided to get out of performance and into behind-the-scenes work, though he would still try on occasion to make records of his own -- an acetate exists from 1967 of him singing "Sunrise, Sunset": [Excerpt: Don Arden, "Sunrise, Sunset"] But he'd moved first into promotion -- he'd been the promoter who had put together tours of the UK for Gene Vincent, Little Richard, Brenda Lee and others which we mentioned in the second year of the podcast -- and then into management. He'd first come into management with the Animals -- apparently acting at that point as the money man for Mike Jeffries, who was the manager the group themselves dealt with. According to Arden -- though his story differs from the version of the story told by others involved -- the group at some point ditched Arden for Allen Klein, and when they did, Arden's assistant Peter Grant, another person we'll be hearing a lot more of, went with them.  Arden, by his own account, flew over to see Klein and threatened to throw him out of the window of his office, which was several stories up. This was a threat he regularly made to people he believed had crossed him -- he made a similar threat to one of the Nashville Teens, the first group he managed after the Animals, after the musician asked what was happening to the group's money. And as we heard last episode, he threatened Robert Stigwood that way when Stigwood tried to get the Small Faces off him. One of the reasons he'd signed the Small Faces was that Steve Marriott had gone to the Italia Conti school, where Arden had sent his own children, Sharon and David, and David had said that Marriott was talented. And David was also a big reason the Move came over to Arden. After the Small Faces had left him, Arden had bought Galaxy Entertaimnent, the booking agency that handled bookings for Amen Corner and the Move, among many other acts. Arden had taken over management of Amen Corner himself, and had put his son David in charge of liaising with Tony Secunda about the Move.  But David Arden was sure that the Move could be an albums act, not just a singles act, and was convinced the group had more potential than they were showing, and when they left Secunda, Don Arden took them on as his clients, at least for the moment. Secunda, according to Arden (who is not the most reliable of witnesses, but is unfortunately the only one we have for a lot of this stuff) tried to hire someone to assassinate Arden, but Arden quickly let Secunda know that if anything happened to Arden, Secunda himself would be dead within the hour. As "Wild Tiger Woman" hadn't been a hit, the group decided to go back to their earlier "Flowers in the Rain" style, with "Blackberry Way": [Excerpt: The Move, "Blackberry Way"] That track was produced by Jimmy Miller, who was producing the Rolling Stones and Traffic around this time, and featured the group's friend Richard Tandy on harpsichord. It's also an example of the maxim "Good artists copy, great artists steal". There are very few more blatant examples of plagiarism in pop music than the middle eight of "Blackberry Way". Compare Harry Nilsson's "Good Old Desk": [Excerpt: Nilsson, "Good Old Desk"] to the middle eight of "Blackberry Way": [Excerpt: The Move, "Blackberry Way"] "Blackberry Way" went to number one, but that was the last straw for Trevor Burton -- it was precisely the kind of thing he *didn't* want to be doing,. He was so sick of playing what he thought of as cheesy pop music that at one show he attacked Bev Bevan on stage with his bass, while Bevan retaliated with his cymbals. He stormed off stage, saying he was "tired of playing this crap". After leaving the group, he almost joined Blind Faith, a new supergroup that members of Cream and Traffic were forming, but instead formed his own supergroup, Balls. Balls had a revolving lineup which at various times included Denny Laine, formerly of the Moody Blues, Jackie Lomax, a singer-songwriter who was an associate of the Beatles, Richard Tandy who had played on "Blackberry Way", and Alan White, who would go on to drum with the band Yes. Balls only released one single, "Fight for My Country", which was later reissued as a Trevor Burton solo single: [Excerpt: Balls, "Fight For My Country"] Balls went through many lineup changes, and eventually seemed to merge with a later lineup of the Idle Race to become the Steve Gibbons Band, who were moderately successful in the seventies and eighties. Richard Tandy covered on bass for a short while, until Rick Price came in as a permanent replacement. Before Price, though, the group tried to get Hank Marvin to join, as the Shadows had then split up, and Wood was willing to move over to bass and let Marvin play lead guitar. Marvin turned down the offer though. But even though "Blackberry Way" had been the group's biggest hit to date, it marked a sharp decline in the group's fortunes.  Its success led Peter Walsh, the manager of Marmalade and the Tremeloes, to poach the group from Arden, and even though Arden took his usual heavy-handed approach -- he describes going and torturing Walsh's associate, Clifford Davis, the manager of Fleetwood Mac, in his autobiography -- he couldn't stop Walsh from taking over. Unfortunately, Walsh put the group on the chicken-in-a-basket cabaret circuit, and in the next year they only released one record, the single "Curly", which nobody was happy with. It was ostensibly produced by Mike Hurst, but Hurst didn't turn up to the final sessions and Wood did most of the production work himself, while in the next studio over Jimmy Miller, who'd produced "Blackberry Way", was producing "Honky Tonk Women" by the Rolling Stones. The group were getting pigeonholed as a singles group, at a time when album artists were the in thing. In a three-year career they'd only released one album, though they were working on their second. Wood was by this point convinced that the Move was unsalvageable as a band, and told the others that the group was now just going to be a launchpad for his Electric Light Orchestra project. The band would continue working the chicken-in-a-basket circuit and releasing hit singles, but that would be just to fund the new project -- which they could all be involved in if they wanted, of course. Carl Wayne, on the other hand, was very, very, happy playing cabaret, and didn't see the need to be doing anything else. He made a counter-suggestion to Wood -- keep The Move together indefinitely, but let Wood do the Brian Wilson thing and stay home and write songs. Wayne would even try to get Burton and Kefford back into the band. But Wood wasn't interested. Increasingly his songs weren't even going to the Move at all. He was writing songs for people like Cliff Bennett and the Casuals. He wrote "Dance Round the Maypole" for Acid Gallery: [Excerpt: Acid Gallery, "Dance Round the Maypole"] On that, Wood and Jeff Lynne sang backing vocals. Wood and Lynne had been getting closer since Lynne had bought a home tape recorder which could do multi-tracking -- Wood had wanted to buy one of his own after "Flowers in the Rain", but even though he'd written three hit singles at that point his publishing company wouldn't give him an advance to buy one, and so he'd started using Lynne's. The two have often talked about how they'd recorded the demo for "Blackberry Way" at Lynne's parents' house, recording Wood's vocal on the demo with pillows and cushions around his head so that his singing wouldn't wake Lynne's parents. Lynne had been another person that Wood had asked to join the group when Burton left, but Lynne was happy with The Idle Race, where he was the main singer and songwriter, though their records weren't having any success: [Excerpt: The Idle Race, "I Like My Toys"] While Wood was writing material for other people, the only one of those songs to become a hit was "Hello Suzie", written for Amen Corner, which became a top five single on Immediate Records: [Excerpt: Amen Corner, "Hello Suzie"] While the Move were playing venues like Batley Variety Club in Britain, when they went on their first US tour they were able to play for a very different audience. They were unknown in the US, and so were able to do shows for hippie audiences that had no preconceptions about them, and did things like stretch "Cherry Blossom Clinic" into an eight-minute-long extended progressive rock jam that incorporated bits of "Jesu, Joy of Man's Desiring", the Nutcracker Suite, and the Sorcerer's Apprentice: [Excerpt: The Move, "Cherry Blossom Clinic Revisited (live at the Fillmore West)"] All the group were agreed that those shows were the highlight of the group's career. Even Carl Wayne, the band member most comfortable with them playing the cabaret circuit, was so proud of the show at the Fillmore West which that performance is taken from that when the tapes proved unusable he kept hold of them, hoping all his life that technology would progress to the point where they could be released and show what a good live band they'd been, though as things turned out they didn't get released until after his death. But when they got back to the UK it was back to the chicken-in-a-basket circuit, and back to work on their much-delayed second album. That album, Shazam!, was the group's attempt at compromise between their different visions. With the exception of one song, it's all heavy rock music, but Wayne, Wood, and Price all co-produced, and Wayne had the most creative involvement he'd ever had. Side two of the album was all cover versions, chosen by Wayne, and Wayne also went out onto the street and did several vox pops, asking members of the public what they thought of pop music: [Excerpt: Vox Pops from "Don't Make My Baby Blue"] There were only six songs on the album, because they were mostly extended jams. Other than the three cover versions chosen by Wayne, there was a sludge-metal remake of "Hello Suzie", the new arrangement of "Cherry Blossom Clinic" they'd been performing live, retitled "Cherry Blossom Clinic Revisited", and only one new original, "Beautiful Daughter", which featured a string arrangement by Visconti, who also played bass: [Excerpt: The Move, "Beautiful Daughter"] And Carl Wayne sang lead on five of the six tracks, which given that one of the reasons Wayne was getting unhappy with the band was that Wood was increasingly becoming the lead singer, must have been some comfort. But it wasn't enough. By the time Shazam! came out, with a cover drawn by Mike Sheridan showing the four band members as superheroes, the band was down to three -- Carl Wayne had quit the group, for a solo career. He continued playing the cabaret circuit, and made records, but never had another hit, but he managed to have a very successful career as an all-round entertainer, acting on TV and in the theatre, including a six-year run as the narrator in the musical Blood Brothers, and replacing Alan Clarke as the lead singer of the Hollies. He died in 2004. As soon as Wayne left the group, the three remaining band members quit their management and went back to Arden. And to replace Wayne, Wood once again asked Jeff Lynne to join the group. But this time the proposition was different -- Lynne wouldn't just be joining the Move, but he would be joining the Electric Light Orchestra. They would continue putting out Move records and touring for the moment, and Lynne would be welcome to write songs for the Move so that Wood wouldn't have to be the only writer, but they'd be doing it while they were planning their new group.  Lynne was in, and the first single from the new lineup was a return to the heavy riff rock style of "Wild Tiger Woman", "Brontosaurus": [Excerpt: The Move, "Brontosaurus"] But Wayne leaving the group had put Wood in a difficult position. He was now the frontman, and he hated that responsibility -- he said later "if you look at me in photos of the early days, I'm always the one hanging back with my head down, more the musician than the frontman." So he started wearing makeup, painting his face with triangles and stars, so he would be able to hide his shyness. And it worked -- and "Brontosaurus" returned the group to the top ten. But the next single, "When Alice Comes Back to the Farm", didn't chart at all. The first album for the new Move lineup, Looking On, was to finish their contract with their current record label. Many regard it as the group's "Heavy metal album", and it's often considered the worst of their four albums, with Bev Bevan calling it "plodding", but that's as much to do with Bevan's feeling about the sessions as anything else -- increasingly, after the basic rhythm tracks had been recorded, Wood and Lynne would get to work without the other two members of the band, doing immense amounts of overdubbing.  And that continued after Looking On was finished. The group signed a new contract with EMI's new progressive rock label, Harvest, and the contract stated that they were signing as "the Move performing as The Electric Light Orchestra". They started work on two albums' worth of material, with the idea that anything with orchestral instruments would be put aside for the first Electric Light Orchestra album, while anything with just guitar, bass, drums, keyboard, and horns would be for the Move. The first Electric Light Orchestra track, indeed, was intended as a Move B-side. Lynne came in with a song based around a guitar riff, and with lyrics vaguely inspired by the TV show The Prisoner, about someone with a number instead of a name running, trying to escape, and then eventually dying.  But then Wood decided that what the track really needed was cello. But not cello played in the standard orchestral manner, but something closer to what the Beatles had done on "I am the Walrus". He'd bought a cheap cello himself, and started playing Jimi Hendrix riffs on it, and Lynne loved the sound of it, so onto the Move's basic rhythm track they overdubbed fifteen cello tracks by Wood, and also two French horns, also by Wood: [Excerpt: The Electric Light Orchestra, "10538 Overture"] The track was named "10538 Overture", after they saw the serial number 1053 on the console they were using to mix the track, and added the number 8 at the end, making 10538 the number of the character in the song. Wood and Lynne were so enamoured with the sound of their new track that they eventually got told by the other two members of the group that they had to sit in the back when the Move were driving to gigs, so they couldn't reach the tape player, because they'd just keep playing the track over and over again. So they got a portable tape player and took that into the back seat with them to play it there. After finishing some pre-existing touring commitments, the Move and Electric Light Orchestra became a purely studio group, and Rick Price quit the bands -- he needed steady touring work to feed his family, and went off to form another band, Mongrel. Around this time, Wood also took part in another strange project. After Immediate Records collapsed, Andrew Oldham needed some fast money, so he and Don Arden put together a fake group they could sign to EMI for ten thousand pounds.  The photo of the band Grunt Futtock was of some random students, and that was who Arden and Oldham told EMI was on the track, but the actual performers on the single included Roy Wood, Steve Marriott, Peter Frampton, and Andy Bown, the former keyboard player of the Herd: [Excerpt: Grunt Futtock, "Rock 'n' Roll Christian"] Nobody knows who wrote the song, although it's credited to Bernard Webb, which is a pseudonym Paul McCartney had previously used -- but everyone knew he'd used the pseudonym, so it could very easily be a nod to that. The last Move album, Message From The Country, didn't chart -- just like the previous two hadn't. But Wood's song "Tonight" made number eleven, the follow-up, "Chinatown", made number twenty-three, and then the final Move single, "California Man", a fifties rock and roll pastiche, made the top ten: [Excerpt: The Move, "California Man"] In the US, that single was flipped, and the B-side, Lynne's song "Do Ya", became the only Move song ever to make the Hot One Hundred, reaching number ninety-nine: [Excerpt: The Move, "Do Ya"] By the time "California Man" was released, the Electric Light Orchestra were well underway. They'd recorded their first album, whose biggest highlights were Lynne's "10538 Overture" and Wood's "Whisper in the Night": [Excerpt: The Electric Light Orchestra, "Whisper in the Night"] And they'd formed a touring lineup, including Richard Tandy on keyboards and several orchestral instrumentalists. Unfortunately, there were problems developing between Wood and Lynne. When the Electric Light Orchestra toured, interviewers only wanted to speak to Wood, thinking of him as the band leader, even though Wood insisted that he and Lynne were the joint leaders. And both men had started arguing a lot, to the extent that at some shows they would refuse to go on stage because of arguments as to which of them should go on first. Wood has since said that he thinks most of the problems between Lynne and himself were actually caused by Don Arden, who realised that if he split the two of them into separate acts he could have two hit groups, not one. If that was the plan, it worked, because by the time "10538 Overture" was released as the Electric Light Orchestra's first single, and made the top ten -- while "California Man" was also still in the charts -- it was announced that Roy Wood was now leaving the Electric Light Orchestra, as were keyboard playe

Join us as we explore the weeks leading up to Christmas.  We will focus on Hope, Love, Peace and Joy which the four candles in the Advent wreath symbolize.  We look forward to exploring time with you all in these four short weeks. Music into info: Jesu, Joy of Man's Desiring by Kevin MacLeod is licensed under a Creative Commons Attribution 4.0 license. https://creativecommons.org/licenses/by/4.0/Source: http://incompetech.com/music/royalty-free/index.html?isrc=USUAN1100189Artist: http://incompetech.com/Check out www.stwalterchurch.com for more information about the Catholic Church community we belong to and Donna and Julie are employed by. Additionally many great ways of increasing your faith along the journey can be found on our YouTube channel, Saint Walter Roselle.Check out www.stwalterchurch.com for more information about the Catholic Church community we belong to and Donna and Julie are employed by. Additionally many great ways of increasing your faith along the journey can be found on our YouTube channel, Saint Walter Roselle.Check out www.stwalterchurch.com for more information about the Catholic Church community we belong to and Donna and Julie are employed by. Additionally many great ways of increasing your faith along the journey can be found on our YouTube channel, Saint Walter Roselle.

In this episode of CHATTIN CYBER, Marc Schein interviews Maria Colacurcio, CEO, Syndio, bringing pay equity in workplaces worldwide. Maria talks about switching from her liberal arts background to enter the tech space and eventually finding her purpose in leading the movement for pay equity in companies. A history and political science student, Maria's entry into tech happened by chance when she met a woman at a dinner party at the height of the tech boom, who suggested she move from nonprofits to tech, and even got her a referral to a marketing role at her company. Maria grabbed the opportunity and worked in the marketing division for the National Museum of American History at the Smithsonian and has over time, switched jobs and moved to technological roles at companies. At a point while she worked at Starbucks, the company was hyping about their pay equity announcement. Considering such things weren't mainstream conversation back then, it meant a lot. While exploring more about it during that time, Maria got to know the Head of the Global Employment Law at Starbucks very well, and learned the way that a typical traditional pay equity analysis is done – it wasn't good. She realized that not only was the system backward-looking and cumbersome, it also didn't reveal anything about the behaviors or practices that drive the pay gap in the first place. Desiring to make it better, Maria tried to infuse software innovation with proactive research to bridge the pay gap in organizations. She shares that this research has taught her the importance of starting pay in bridging pay gaps – you've to make sure it's done right to avoid pay disparities in the chain of employment roles. Maria also talks about the rising awareness around ESG commitments, including the perspective of institutional investors from the ESG lens and how they're trying hard to figure out what it means to have social ESG commitments as a company that has workplace equity embedded in the human capital. Another thing she talks about is how shareholder proposals requiring companies to disclose adjusted and unadjusted pay gaps have been featured in proxy season since 2015. As per statistics, 7 of the Fortune 100 companies face these pay gap disclosure proxies. And at 2 of these companies, it has succeeded. She also discusses pay transparency legislations that are forcing companies to post a good faith range for any new job position to avoid pay disparities. There are two sides to pay equity – equal pay for equal work and the median pay gap. Our litigation is largely centered around the first and there's a lot of legal risk to that. Companies also need to focus on the median pay gap, which is a reflection of opportunity – it's the averages. In California's SB 1162 – the legislation that just passed the California State Senate, it's not just about pay transparency on job ranges. It also includes disclosure of your median pay gap to the state and public reporting of your W2 earnings by EEO category. Companies need to do a full-body scan to adapt their practices to bridging the pay gap. Towards the end of the conversation, Maria also shares actionable ways to implement equal pay opportunities at workplaces. Tune in to this episode to hear all about it! Highlights: “It was this crack in the door, which has been a real consistent theme in my career, seeing sort of a door cracked open, and then just being curious, having that intellectual curiosity to say, I wonder what wonder that leads, and then kicking it open.”“The Head of Global Employment Law at Starbucks, and I started talking about, ‘Is there a way to infuse innovation in software to make this something that is more proactive to make this something that looks at for example, starting pay is the biggest factor in any pay equity analysis?'. So how do you look at starting pay, make sure at that moment in the employee lifecycle that you're getting it right so that you're not having this consistent and...

Megan Jones is a psychic medium, self-mastery mentor and spiritual teacher. One day, she had the realization that she was living day to day on autopilot and had no idea who she really was. Megan didn't like the stranger she had become. Desiring purpose and something more, Megan began to reconnect with her soul. Now, Megan has a passion for helping others discover their true self by recognizing limiting beliefs, healing past trauma and overcoming subconscious blockages. In this episode of A Psychic's Story, Megan and I talk about the importance and power of authenticity, and overcoming fear and self-doubt. Check out Megan's podcast  – Chasing Spirituality – where she shares her personal experiences in the hopes of empowering others to stand in their truth. Listen on Apple, Spotify or other preferred podcast player.  For more information about Megan visit her website. Follow her on Instagram @Chasing.Spirituality.A Psychic's Story wouldn't be possible without your support so THANK YOU for listening. And if you would like to help out, please:Subscribe in your favorite podcast player.FOLLOW @apsychicsstory on Instagram. BOOK a session with Nichole.SIGN-UP to receive emails, news, alerts and more from A Psychic's Story.This podcast is intended to inspire you on your personal journey toward inner peace. The podcast host, co-hosts or guests are not psychologists or medical doctors and do not offer any professional health or medical advice. If you are suffering from any psychological or medical conditions, please seek help from a qualified health professional.Support the show

Join us as we explore the weeks leading up to Christmas.  We will focus on Hope, Love, Peace and Joy which the four candles in the Advent wreath symbolize.  We look forward to exploring time with you all in these four short weeks. Music into info: Jesu, Joy of Man's Desiring by Kevin MacLeod is licensed under a Creative Commons Attribution 4.0 license. https://creativecommons.org/licenses/by/4.0/Source: http://incompetech.com/music/royalty-free/index.html?isrc=USUAN1100189Artist: http://incompetech.com/Check out www.stwalterchurch.com for more information about the Catholic Church community we belong to and Donna and Julie are employed by. Additionally many great ways of increasing your faith along the journey can be found on our YouTube channel, Saint Walter Roselle.Check out www.stwalterchurch.com for more information about the Catholic Church community we belong to and Donna and Julie are employed by. Additionally many great ways of increasing your faith along the journey can be found on our YouTube channel, Saint Walter Roselle.Episode is LiveCheck out www.stwalterchurch.com for more information about the Catholic Church community we belong to and Donna and Julie are employed by. Additionally many great ways of increasing your faith along the journey can be found on our YouTube channel, Saint Walter Roselle.

Susie Jennings, founder of Operation Care International stopped by the studio to share her own story of overcoming personal tragedy, questioning God's plan for her life, and ultimately having a deep trust in Him that only comes through true obedience.**Please note that due to a poor connection on our call with Susie, the audio quality in this episode is not the greatest. We beg your indulgence and encourage you to listen carefully as this interview was one we simply could not pass on publishing!In this episode, you'll learn:-How mom feeding the homeless planted the seeds for Susie's current ministry...04:05-The tragic death of Susie's husband and close friend puts Susie's faith in God to the ultimate test...08:00-God is still the answer even in (or especially in) the face of adversity...11:15-The "dangerously good" prayer to ask of God (but prepare yourself for the answer)...15:04-The "birthday party for Jesus" Susie hosts for the homeless...18:45-Other groups who are following Susie's lead in ministering to the homeless...24:14-Recounting the "Mountaintop Miracles" from Susie's ministry...30:10-The one word Susie would use to describe herself...34:00Resources mentioned:Operation Care Int'lMountain Top Miracles bookFaceBookYouTubeAbout the guest:Susie Yanson Jennings is Founder and President of Operation Care International. A Registered Nurse by profession since 1978, Susie stepped out in faith and obedience to God's calling leading to her resignation from a supervisory position at Baylor University Medical Center Dallas in January 2011. She then became a full time missionary to those in need. Susie continues to lead OCI with the help of a board of directors and a multitude of volunteers.Susie joined First Baptist Church Dallas in 1982, within months of arriving in the United States from her home in the Philippines. She received invaluable Biblical knowledge under the teaching of the legendary Dr. W.A. Criswell, one of the godliest men she has known. She taught preschoolers for twenty (20) years at her church.Desiring to serve God and her community after the tragic death of her husband, God called Susie to give blankets to the homeless in downtown Dallas in November 1993. The homeless called her, “The Blanket Lady.” That modest beginning was the genesis of Operation Care International (OCI), which has grown to encompass multiple ministries and major events each year in Dallas, Texas as well as missions to the homeless and destitute children in nations around the world.Her guiding principle for the vision of OCI is in Romans 8:28, “And we know that God causes all things to work together for good to those who love God, to those who are called according to His purpose.”

Maybe we are depressed and unfulfilled, simply because we are desiring less than Wisdom's ultimate desire for us. Are we settling for less, and offended at Wisdom for not being in agreement?

Lacy Wagler leads us through our next message on prayer in the Just Ask series. This week, we're talking through how our prayer rhythms and desire to connect with Jesus, reflect the orientation of our hearts.

It's the third Sunday of Advent, Gaudete Sunday-- the Sunday of joy. Why are we rejoicing? And what in the world is there to be joyful about? In this sermon, Pastor Chris sets out to "boil down" joy. Want a short description for how to have it? Join us! Along the way we listened to J.S. Bach's Jesu, Joy of Man's Desiring, too a brief look at Psalm 16, and finally landed on the Magnificat of Mary.

Desiring the Supernatural walk with Jesus

In today's episode (repurposed from a live stream training) Valerie dives into what it ACTUALLY takes to create lasting change in your life and how this very important piece is often missed when it comes to creating New Year's Resolutions.      Are you ready to walk into 2023 ALREADY clear, ALREADY feeling powerful, and ALREADY creating results in your physical 3D reality? Sign up for my FREE 2-day masterclass, The Set Up: https://themindfulbabe.lpages.co/th