Podcasts about Easley

Q: Are gifts of the Spirit as detailed in 1st Corinthians, chapters 11-13 still applicable or are they no longer relevant/needed in this day and age?  Summary In this conversation, Dr. Michael Easley and Hanna Seymour discuss the relevance of spiritual gifts as outlined in 1 Corinthians, emphasizing their purpose and application in today's church. He explores the distinction between miraculous gifts and the innate abilities individuals possess. He encourages listeners to understand and utilize their unique gifts in service to others. The discussion also touches on the importance of love as the foundation for all spiritual gifts. Takeaways: Spiritual gifts are grace gifts given for the common good. The purpose of sign gifts was authentication of the apostles. Miracles are different from the gifts of the Spirit. Spiritual gifts can align with one's natural abilities. Love is the greatest of all gifts and should underpin all actions. The lists of spiritual gifts in the Bible are not exhaustive. Each person is uniquely created and gifted by God. Understanding your gifts can enhance your service in the church. Gifts may evolve as a person grows in faith. Find more episodes of Ask Dr. E here. If you've got a question for Dr. Easley, call or text us your question at 615-281-9694 or email at question@michaelincontext.com.

From bankruptcy to Buffalo Wild Wings to building a multi-million dollar paint party business—Heidi Easley's story is one for the books.

Summary: In this conversation, Michael Easley and Dr. Calvin Beisner discuss the intersection of faith, environmental stewardship, and poverty. They explore Beisner's journey into stewardship, the founding of the Cornwall Alliance, and the importance of prioritizing human needs in environmental discussions. They also touch on the recent publication of Megan Basham's book, 'Shepherds for Sale,' which critiques the evangelical environmental movement and the influence of money in faith-based organizations. The dialogue emphasizes the need for accountability and critical engagement within the Christian community.  Dr. Beisner and Dr. Easley discuss the importance of critical thinking and reading in developing a Christian worldview. They emphasize the need for Christians to engage deeply with scripture and literature to sharpen their minds. The discussion also delves into the green agenda, exploring the implications of environmentalism from a biblical perspective, including the trade-offs involved in energy production and the impact on the poor. Takeaways: Human beings should be the top priority of all life. Poverty is a tragic reality that many have never seen. The principles of the Cornwall Declaration remain applicable today. Public figures should be held accountable for their statements. Critique should be expected in public discourse. Discipline in thought is essential for Christians. Logic is a vital tool in understanding faith. We need to pay attention to sharpening our thinking. Critical thinking skills are lost in most education. Social media contributes to a decline in reading. Reading a real Bible is essential for understanding scripture. Engaging with literature enhances critical thinking. The green agenda often overlooks human welfare. Trade-offs exist in environmental policies. Fossil fuels are crucial for modern life. Rising energy costs disproportionately affect the poor. LINKS MENTIONED: Shepherd's For Sale by Megan Basham  Climate and Energy: The Case For Realism by Cal Beisner and David Legates The Cornwall Alliance  Watch the highlights and full version of this interview on our Youtube channel. For more inContext interviews, click here.

Pantheon Resources Chairman David Hobbs and CEO Max Easley joined Steve Darling from Proactive to share preliminary flow test results from the Megrez-1 well in Alaska. The well is part of a six-interval testing program, and the first interval tested, the Topset 1 (TS1) reservoir, was fracture stimulated across 290 feet between 7,165 and 7,453 feet measured depth (MD). The well produced sustained strong liquid rates for 12 days, exceeding 1,000 barrels per day by the end of the flow-back period. However, no appreciable hydrocarbons were recovered during this initial test. Despite this, Easley noted the data reveals the TS1 reservoir is oil bearing but likely located within a transition zone that contains limited to no mobile oil or gas. Importantly, the technical data gathered from this interval has boosted the company's confidence in the five remaining, shallower intervals still to be tested. These higher zones are believed to hold greater potential for mobile hydrocarbons and increased productivity. TS1 will now be abandoned, and preparations are underway to begin testing the Lower Prince Creek interval. High-pressure pumping equipment is currently being mobilized to the Megrez pad. While the initial result may seem underwhelming at first glance, Pantheon emphasized that it strengthens their geological model and supports the likelihood of commercial success in the intervals yet to be tested. #proactiveinvestors #pantheonresourcesplc #mining #lse #panr #pthrf #OilAndGas #MEGREZ1 #FlowTesting #EnergyExploration #Hydrocarbons #AlaskaOil #OilDrilling #ResourceDevelopment #OilfieldUpdate

Q: I am a minister of music, and I've been reading through the Pentateuch to study the foundations of the Israelites' worship... and I've hit a theme I'm curious about, application-wise, for the church today. In Deut. 7:25–26, God orders the pre-conquest Israelites to completely destroy the idols of the pagans when they overtake their cities, saying, "Don't covet the silver or gold on the images and take it for yourself, or else it will ensnare you." I grew up during the "height" of the traditional/contemporary "worship wars" controversy, and while I never really took a side, I find church members on both sides can idolize styles of music (or even music itself). However, I found that those against contemporary styles usually went the farthest in their rejection, saying it's "too worldly." My question: is there anything Scripture has to say as a litmus between "redeeming" secular (or maybe even godless) things for Christ's Church, and being "ensnared by the gold and silver" of worldly standards, trends, and styles? Summary In this conversation, Dr. Michael Easley and Hanna Seymour explores the complexities of worship music, particularly the divide between contemporary and traditional styles. He highlights the importance of education in helping congregations understand and appreciate diverse musical expressions. The discussion also covers the role of songwriters, the distinction between secular and sacred music, and the impact of personal preferences on worship experiences. If you've got a question for Dr. Easley, call or text us your question at 615-281-9694 or email at question@michaelincontext.com. Takeaways: You cannot please everybody in worship. Education is essential for understanding worship music. All truth is God's truth, regardless of the source. Music is a creation of God, meant for His glory. Every songwriter has flaws, but their work can still be valuable. Congregations can sing secular songs with a different perspective. Understanding your congregation's preferences is crucial for worship leaders. Education can enhance appreciation for diverse music styles. Worship leaders have the power to shape congregational experiences. Personal preferences should not hinder worship. Find more episodes of Ask Dr. E here. If you've got a question for Dr. Easley, call or text us your question at 615-281-9694 or email at question@michaelincontext.com.

Last time we spoke about the invasion of Iwo Jima. In March 1945, as the Pacific War raged, the US Marines began and invasion of Iwo Jima while Allied forces advanced across the Philippines. The Japanese formed the 32nd Army to defend the island, but faced shortages of supplies and equipment. They mobilized Okinawan civilians for support and constructed extensive fortifications. The Americans launched Operation Iceberg, neutralizing enemy air facilities in the Ryukyus, Kyushu, and Formosa. Task Force 58 and other air forces struck Japanese targets, while Spruance's 5th Fleet prepared to land Buckner's 10th Army. Initial landings occurred in the Kerama Islands, followed by the main assault on April 1 on Okinawa's Hagushi beaches. Despite heavy bombardment, Japanese defenses remained concealed. The Americans encountered minimal resistance initially, but the stage was set for a bloody and brutal battle. This episode is Yamato's Last Stand Welcome to the Pacific War Podcast Week by Week, I am your dutiful host Craig Watson. But, before we start I want to also remind you this podcast is only made possible through the efforts of Kings and Generals over at Youtube. Perhaps you want to learn more about world war two? Kings and Generals have an assortment of episodes on world war two and much more  so go give them a look over on Youtube. So please subscribe to Kings and Generals over at Youtube and to continue helping us produce this content please check out www.patreon.com/kingsandgenerals. If you are still hungry for some more history related content, over on my channel, the Pacific War Channel you can find a few videos all the way from the Opium Wars of the 1800's until the end of the Pacific War in 1945.  As we last left off, Admirals Turner and Spruance successfully landed over 60,000 troops from General Buckner's 10th Army on the Hagushi beaches of Okinawa with minimal resistance. In response, General Ushijima's main forces remained inactive in their underground positions in the south, having effectively endured the continuous naval and air assaults from the enemy. However, under pressure from higher authorities in Tokyo and Formosa, the 32nd Army began to develop plans for a general counteroffensive aimed at the Yontan and Kadena airfields, utilizing nighttime infiltration and close combat tactics. The primary response, however, was expected to come from the air. As part of Operation Ten-Go, all Army and Navy air forces stationed in the Home Islands were to focus their efforts in the East China Sea to execute a series of coordinated mass air strikes against enemy transport and carrier task forces, collectively referred to as the Kikisui attacks. Japan's wartime terminology exploited the distinctively poetic and euphemistic nature of the Japanese language. The informal term kamikaze actually means “divine wind.” Specifically, kamikaze refers to the typhoons that miraculously wrecked Kublai Khan's Mongol–Koryo invasion fleets in 1274. Like “blitzkrieg”, the unofficial term “kamikaze” was mostly used by Allied journalists. The IJN and IJA officially called suicide attack units tokubetsu kogekitai, meaning “special attack unit.” This was usually shortened to tokkutai, with tokko both noun and adjective meaning “special” i.e. suicide. Kikisui was the codename for the ten mass kamikaze attacks off Okinawa against the Allied fleet. Kikisui means “floating chrysanthemum,” which was the war emblem of legendary 14th-century samurai Masashige Kusinoke, a national exemplar of sacrificial devotion to the Emperor. Ten-Go had been initiated on March 26, following the initial landings on the Kerama Islands; however, by the time of the invasion, Admiral Toyoda's disorganized Combined Fleet was unable to carry out any large-scale kamikaze attacks, as it was still consolidating approximately 3,000 aircraft in Kyushu. Additionally, encouraged by Emperor Hirohito, Toyoda momentarily sanctioned a dramatic, one-way suicide mission involving the superbattleship Yamato and Rear-Admiral Komura Keizo's 2nd Destroyer Squadron, aimed at destroying Spruance's invasion fleet. This surface attack mission, codenamed Ten-Ichi-Go and led by Vice-Admiral Ito Seiichi of the 2nd Fleet, vaguely suggested that if Yamato reached Okinawa, she would ground herself as an artillery platform while her crew disembarked as naval infantry. Nonetheless, the chances of success for this mission were slim; it was primarily intended for the Imperial Japanese Navy to maintain its honor. On April 2, while General Watson's 2nd Marine Division conducted another demonstration off the southeast beaches, American forces prepared to advance eastward. In the south, benefiting from ideal weather and minimal resistance, the 17th Regiment secured the highlands overlooking Nakagusuku Bay and extended its patrols to the bay's shoreline. The 32nd Regiment eliminated a strongpoint south of Koza using tanks and then aligned with the 17th. The 381st Regiment advanced through Shimabuku but faced enemy resistance in and around Momobaru. Meanwhile, the 383rd Regiment captured a hill just south of Momobaru after a fierce battle and also took a ridge northeast of Futema with support from airstrikes, artillery, and tanks. In the north, however, General Geiger's Marines faced challenging terrain and supply issues. The 1st Battalion, 29th Marines moved north to secure the unoccupied Zampa Misaki area, where Turner later established a radar station. The 22nd Marines advanced quickly eastward throughout the day against light opposition, successfully securing the Nagahama beaches alongside the 6th Reconnaissance Company. On the other hand, the 4th Marines met with steadily mounting resistance. At 1100 a platoon of 3/4, entering the mouth of a steep ravine was met by a sharp fusillade of small-arms fire, which revealed a series of mutually supporting caves on both sides of the draw. In the fire fight that ensued, 12 wounded men were isolated and not recovered for four hours. "Every means of painlessly destroying the strongpoint was unsuccessfully tried and it was finally taken by a typical 'Banzai' charge, with one platoon entering the mouth of the draw and one platoon coming down one side of the two noses that formed the pocket."  The 1st Marine Division continued its advance with little resistance to the Ishimmi-Kutoku line, also extending southward to Chatan, while the 1st Marines moved past the 5th Marines toward Chibana. With approximately 6,000 yards separating General Del Valle's main frontline units from the 7th Division, General Arnold decided to send Colonel Roy Greene's 184th Regiment to fill this significant gap. At sea, Admiral Mitscher's Task Force 58 launched a strike against Amami Oshima, sinking three vessels and damaging two others, while also witnessing four warships collide and sustain damage. In retaliation, Admiral Ugaki's Kyushu aircraft force conducted sporadic kamikaze attacks, resulting in damage to five transports. The next day, General Hodge's 24th Corps shifted its focus southward. The 17th Regiment secured the rear areas and captured Awase, while the 32nd Regiment advanced approximately 5,000 yards along Nakagusuku Bay to occupy Kuba and establish its lines in front of Hill 165. The 381st Regiment took control of Kishaba and Atanniya but failed in its assaults on Hill 165 and Unjo. Meanwhile, the 383rd Regiment swiftly occupied Isa, Chiyunna, and the Futema high ground. Looking north, Del Valle dispatched the 1st Reconnaissance Company to scout the area along the corps boundary, sweep the Katchin Peninsula, and patrol back up the east coast to the village of Hizaonna. This maneuver enabled the 1st Marines to advance quickly in formation and reach the sea wall overlooking the northern end of Nakagusuku Bay by nightfall. Concurrently, the 5th Marines moved forward and successfully occupied Agina and Tengan; the 7th Marines gained around 2,700 yards of enemy territory and ultimately reached Hizaonna, although Company K became lost and was ambushed. The 4th Marines navigated the challenging terrain and light enemy resistance to secure the significant hill mass behind Yontan airfield, located 3,000 yards short of the east coast. The 22nd Marines advanced and successfully captured Nakadomari, along with a position 400 yards south of that line. Meanwhile, the 6th Reconnaissance Company, supported by armored units, crossed the Ishikawa Isthmus to the village of Ishikawa, where they faced mortar fire. At sea, Mitscher's aircraft carriers targeted Okinawa, sinking two vessels and damaging two others. In response, Ugaki was finally able to launch a preliminary mass Ten-Go air attack, with 119 aircraft causing damage to the escort carrier Wake Island, the destroyers Bennett, Prichett, and Foreman, the minesweeper Hambelton, and two landing craft. Due to significant advancements, Geiger successfully deployed Colonel Victor Bleasdale's 29th Marines to take control of the Yontan airfield and other rear areas. To the south, Del Valle's units moved toward the eastern shore of Okinawa, with the 1st Marines occupying the Katchin Peninsula without facing any resistance, while the 5th and 7th Marine Regiments secured the coastline in their designated zones. Further south, after splitting the island in two, Hodge began advancing toward Naha, targeting the hill mass stretching from Urasoe-Mura to Hill 178 and Ouki. In response, General Bradley positioned Colonel Macey Dill's 382nd Regiment in front of Nodake, while the 184th Regiment moved through the 381st in the Attaniya-Unjo area. For the initial push toward the Uchitomari-Tsuwa line, the 383rd Regiment advanced quickly from Isa to Mashiki, where they were ultimately halted by heavy fire from the south. The 382nd advanced over two miles south from Nodake along the eastern boundary of the division, while Arnold's forward units lagged about two miles behind due to moderate resistance at a high, wooded ridge parallel to the coastline just west of Kuba. Meanwhile, at sea, Ugaki launched only sporadic kamikaze attacks, which resulted in damage to the destroyer Wilson near the Kerama Islands. Additionally, two American vessels collided while Task Force 58 targeted Okinawa, and later that night, a suicide boat attacked and sank an LCI gunboat. In the Attaniya-Unjo area, the 383rd Regiment made a swift advance from Isa to Mashiki as part of the initial push towards the Uchitomari-Tsuwa line. However, the following day marked the onset of fierce resistance on Okinawa, with the 383rd Regiment struggling to make headway against the formidable Japanese defenses on Cactus Ridge. Meanwhile, the 382nd Regiment continued its advance southward against a series of fortified positions, achieving gains of approximately 400 yards to the east and 900 yards to the west. The 184th Regiment moved through Arakachi but was halted by intense and precise fire from a rocky outcrop located about 1,000 yards southwest. The 32nd Regiment finally managed to capture Castle Hill before pushing more than two miles along the coast to a point east of Ukuma. To the north, while the 1st Marine Division shifted to a primarily defensive posture, the 6th Marine Division conducted active reconnaissance toward the Motobu Peninsula, advancing the front to the Atsutabaru-Chima line. Additionally, a patrol from the 1st Marines on the Katchin Peninsula crossed the reef to seize Yabuchi Island swiftly. At sea, there were no kamikaze attacks that day as Ugaki and Toyoda prepared to launch the main phase of Operation Ten-Go, although an Okinawa shore battery managed to hit the battleship Nevada. Unbeknownst to the Japanese, American intelligence had successfully intercepted Combined Fleet codes, allowing them to anticipate the details of the surface Ten-Ichi-Go attack. Consequently, Spruance's warships were prepared for the imminent departure of Ito's “Surface Special Attack Force,” which was executed a few hours later. Additionally, Ushijima was instructed to initiate a strong counterattack the following day to coincide with Ten-Ichi-Go and the first Kikisui attack, but he firmly rejected this order and called for the cancellation of the unnecessarily suicidal surface attack. During the night, as Admiral Blandy's minesweepers completed the perilous task of clearing the vast areas of Chimu and Nakagusuku Bays, the Fleet Marine Force Amphibious Reconnaissance Battalion landed on the northern coast of Tsugen Island to gather intelligence on enemy positions. Upon their arrival in the early hours of April 6, they encountered machine-gun and mortar fire, which ultimately compelled the battalion to retreat to the beach and reembark. Simultaneously, the 4th and 29th Marine Regiments advanced through the 22nd Marine Regiment, with the 29th Marines moving up the west coast in formation and reaching Chuda by noon, while the 4th Marines progressed along the eastern coastal road, successfully advancing seven miles toward Madaira. Further south, the 383rd Regiment continued its assault on the fortified enemy positions at Cactus Ridge, pushing forward relentlessly until they secured the western half by nightfall. The 2d Battalion, 383d Infantry, made frontal assaults through intense mortar fire to gain the ridge. "We figured," S/Sgt. Francis M. Rall later wrote, "that the way to get out of that knee mortar fire was to get to where it was coming from. So we stood up in waves, firing everything we had and throwing hand grenades by the dozen, and charged the Jap position." By such tactics the 2d Battalion gained the western half of Cactus.  Over the next two days, the 382nd Regiment advanced slowly east of the Ginowan road, facing fierce resistance from the Tombstone and Nishibaru Ridges. After a 10-minute artillery bombardment, two companies of the 1st Battalion, 184th Regiment climbed nearly to the summit of the Pinnacle but were ultimately pushed back by strong resistance from caves and underground strongholds. Undeterred, Company B continued frontal assaults while Company C maneuvered up the western approaches to surprise the determined defenders. This strategy proved effective, with Company C reaching the top without sustaining any casualties and then methodically eliminating the remaining Japanese troops using white phosphorus grenades and flamethrowers. As the Pinnacle was being captured, the 32nd Regiment advanced across the coastal flatlands with minimal resistance to maintain contact with the 184th Regiment. On this day, Task Force 58 returned to sea, launching strikes on Okinawa and the Daito Islands, while Admiral Rawlings' Task Force 57 targeted the Ishigaki and Miyako Islands. Meanwhile, Japanese aerial reconnaissance identified two American carrier groups near Okinawa, prompting Ugaki to initiate his first mass Kikisui attack, sending hundreds of Japanese aircraft to assault Mitscher's carriers. US carriers unleashed a combined 19 USN and four USMC squadrons to blunt the onslaught. Swirling, running dogfights developed around noon and lasted through sunset. April 6 may have started slow, but by evening it had developed into one of the greatest aerial confrontations of all time. American CAPs overwhelmingly massacred the poorly trained Japanese attackers; Mitscher's Task Force 58 fighters claimed 249 Japanese planes for just two lost—a staggering 125-to-1 kill ratio. Yet the kamikaze pilots' grim determination was chillingly apparent. According to VF-82's action report: “Of all the enemy planes encountered, not one returned fire, all remained on course, boring in toward the surface vessels. The only evasive action offered was jinking, and the majority of the aircraft were obsolete models as can be seen by the list [of] destroyed. Primary danger to our pilots was collision or getting in the path of a friendly plane's fire.” Essex's VF-83 (36 Hellcats) and VBF-83 (36 Corsairs) combined for 69 kills, while Belleau Wood's 24 VF-30 Hellcats shot down 47. Belleau Wood's skipper, Captain Red Tomlinson, duly signaled Task Group 58.1's Rear Admiral Joseph J. Jocko Clark: “Does this exceed the bag limit?” Clark responded, “Negative. There is no limit. This is open season. Well done.” The US carrier fighters' 275 kills was thus the war's 4th-highest 1-day total. 13 US pilots achieved ace status (scored their 5th kill) on April 6, with 4 becoming “ace-in-a-day.” 10 pilots claimed 4 kills, while another 17 shot down 3 each. Combined with anti-aircraft fire, the Americans destroyed 355 Japanese planes. However, even significant aerial victories could not prevent the devastating kamikaze assaults, with approximately 182 Japanese aircraft in 22 groups attacking Spruance's 5th Fleet that afternoon. This led to 24 kamikaze planes sinking the destroyers Bush and Colhoun, as well as three transport ships, and inflicting further damage on the light carrier San Jacinto, 12 destroyers, three destroyer minesweepers, and one minesweeper. Friendly anti-aircraft fire also caused damage to battleship North Carolina, light cruiser Pasadena, and destroyer Hutchins. Despite the extensive damage, four new escort carriers arrived off Okinawa that day, bringing the first 222 fighters of Major-General Francis Mulcahy's Tactical Air Force, stationed at Yontan airfield. Meanwhile, the Yamato force set sail at 15:24 towards Okinawa, but within 45 minutes, a B-29 spotted them in transit. Submarine Threadfin then detected Ito's strike force moving through the Bungo Strait at 17:45. As Ito's force rounded Kyushu to the southwest, it was monitored overnight by submarine Hackleback, which sent four additional contact reports and was pursued three times briefly by one of Yamato's escorting destroyers. Concerned about a potential mass Kikisui attack on April 7, Spruance ordered Mitscher's carriers to concentrate on thwarting Japanese air assaults while tasking Admiral Deyo's Task Force 54 with intercepting Ito's strike force. At 06:20, April 7, six Zeros of the 203rd Kokutai arrived over Yamato as CAP. 14 total Zeros would relay in small groups over the Yamato task force, but all would depart as scheduled by 10:00. The Americans already knew the exact CAP schedule of Yamato's fighters, a later US intelligence memo dryly observing, “They left too soon.” At 08:32, an Essex Hellcat reported the Yamato task force southwest of Koshiki Retto at a heading of 300 degrees. The Yamato group was doing 22kts and deployed in a diamond formation, with Yamato in the center and Yahagi astern. Yamato simultaneously reported that she had been sighted. Visibility was highly variable, with patchy overcast. Within minutes, two VPB-21 PBM-3 Mariner flying boats (based at Kerama Retto with seaplane tender Chandeleur) arrived and began shadowing Yamato and radioing situation reports. Meanwhile, Mitscher duly reported the Yamato sighting to Spruance, before dispatching 16 additional fighters at 09:15 to track Yamato. Shortly after Yamato's CAP had departed, at 10:14, the Japanese discovered the two shadowing PBM-3 Mariners, and simultaneously reported a US submarine stalking the task force—this was Hackleback, which had managed to catch back up with the zig-zagging Japanese. Three minutes later, at 10:17, Yamato turned towards the Mariners and opened fire with her awesome 18.1in. Sanshikidan anti-aircraft shells. Yahagi also opened fire, and additionally began jamming the Mariners' transmissions. The Mariners retreated into the clouds unharmed at 10:18, and Yamato and Yahagi ceased fire. To his chief-of-staff, Commodore Arleigh Burke, Mitscher announced: “Inform Admiral Spruance that I propose to strike the Yamato sortie group at 1200hrs unless otherwise directed.” The grizzled aviator desperately wished to sink Yamato, but he likely suspected that Spruance, riding New Mexico, intended his beloved dreadnoughts claim one last moment of glory. “Will you take them or shall I?” Mitscher pressed. Spruance's response: “You take them.” At 10:00, the carriers of Task Groups 58.1 and 58.3 launched the first wave of 282 aircraft, although only 227 managed to locate Ito's strike force as they navigated through challenging, overcast weather. At 11:07, Yamato's radars detected the large formation approaching from 63 nautical miles away, prompting Ito to increase speed to 25 knots. Within eight minutes, the formation closed to 44 nautical miles, leading the Japanese to initiate sharp evasive maneuvers. Bennington's Lieutenant-Commander Hugh Woods' airborne radar detected the Yamato task force some 25nm away from its predicted location, and the US strike altered course. Five minutes later, the Americans made visual contact through a hole in the patchy 3,000ft overcast, a Hornet pilot recalling, “Yamato looked like the Empire State Building plowing through the water.” Yamato cruised in the center, flanked by destroyers Kasumi, Suzutsuki, Hamakaze, and Yukikaze. Light cruiser Yahagi was in the van, followed by destroyers Hatsushimo, Isokaze, and Fuyutsuki. The first American aviators encountered the destroyer Asashimo, which had been experiencing machinery issues for five hours and had fallen 12 nautical miles behind the main task force to the north. San Jacinto's seven Hellcats dove against Asashimo, but the crippled destroyer threw up notably heavy flak. The Hellcats' 1,000lb bombs closely straddled Asashimo, buckling the destroyer's hull plating. The Hellcats then repeatedly strafed the destroyer, causing large fires that quickly silenced Asashimo's guns. San Jacinto's eight Avengers then made a textbook attack run at 300ft, dropping torpedoes from 1,200 to 1,600yds range. Trailing a wide oil slick, the crippled Asashimo attempted to comb the torpedoes, but one struck beneath her bridge and a second hit near her engine room. Successive explosions blew Asashimo partly out of the water and broke her in half. Asashimo sank at 1213hrs, going down with all 330 men. She had lasted three minutes against San Jacinto's attack. Twelve miles ahead, Yamato lookouts spotted the incoming aircraft at 12:32, which then spent the next five minutes circling just outside the range of Japanese anti-aircraft fire to coordinate their strike plan. Around this time, Yamato also raised Togo's iconic Tsushima flag signal: “On this one battle rests the fate of our nation. Let every man do his utmost.”At 12:37, the circling planes launched their coordinated assault on Yamato and her escorts, focusing on the superbattleship's port side in an attempt to capsize her. US fighters repeatedly strafed Yamato with their 5in. rockets and 0.50cal. machine guns, decimating Japanese antiaircraft batteries and slaughtering exposed antiaircraft crews. The intense carnage and chaos that followed suppressed careful targeting and further ravaged Japanese gunners' morale. Yamato was maneuvering hard at her flank speed of 27kts, when at 1240hrs four Bennington Helldivers from VB-82 delivered two 1,000lb bombs near Yamato's mainmast. The first bomb exploded in Yamato's crew quarters. The second detonated near Yamato's aft command station and caused serious damage, destroying one of Yamato's two air search radars, her after secondary gun director, and several 25mm antiaircraft guns. The subsequent fires shortly reached the powder handling area beneath Yamato's after 6.1in. turret and detonated the readyuse propellant. The resulting conflagration virtually exterminated the 6.1in. turret crew, but flash doors prevented the explosion from reaching the rest of the magazine. Nevertheless, the explosion killed the area's entire damage control party, meaning the resulting fire would rage uncontrolled for the rest of the battle. The Americans lost one Helldiver. At 1243hrs, eight Hornet Avengers launched torpedo attacks against Yamato's port side, covered by 14 Bunker Hill Corsairs strafing Yamato with rockets. Antiaircraft fire hit six Avengers, destroying one, but at least three torpedoes hit the water. The first two torpedoes missed, but at 1245hrs the third torpedo slammed into Yamato's port side, opening her hull to 2,235 tons of seawater. Japanese damage control counterflooded with 604 tons of water to correct the list. Attempting to draw US attackers from Yamato, Hara's light cruiser Yahagi had maneuvered away from the Japanese battleship, steaming hard at 35kts. US strafing had already ricocheted machine gun bullets around Yahagi's bridge, killing a lookout. Watching the attack unfold, Hara admitted, “The spectacle was at once thrilling and terrifying.” Meanwhile, Bennington's Lieutenant-Commander Ed De Garmo led three Avengers against Yahagi. At 1246hrs, De Garmo's Avengers delivered Yahagi her first hit and it was a devastating one. A single torpedo struck Yahagi in the engine room, killing the entire engineering crew. Yahagi was left dead in the water nine minutes into the battle. Destroyer Isokaze subsequently sped towards Yahagi to take off Rear Admiral Komura. Meanwhile, around 56 aircraft targeted Yamato's escorting destroyers, leading to multiple torpedo hits that split Hamakaze in two; Isokaze was bombarded with bombs; Fuyutsuki suffered minor damage from two dud rockets; and Suzutsuki was struck by a bomb that severed her bow. The first wave of attacks concluded at 12:50, as Ito sought to reorganize his forces and evaluate Yahagi's status. Shortly after 13:00, a second wave of 50 aircraft appeared, managing to hit Yamato's port bow with a bomb at 13:23 and inflicting several bomb hits near the battleship's bridge. Additionally, two bomb hits and several near misses critically damaged the destroyer Kasumi, leaving her dead in the water and ablaze. At 1333 the third wave of US attackers arrived, comprising 110 new Yorktown, Intrepid, and Langley aircraft from the delayed TG-58.4 strike. The Americans now overwhelmingly focused on the reeling Yamato. Twenty Avengers attacked Yamato's portside. Around 1337, the third wave saw three confirmed torpedo hits on Yamato's portside, plus a fourth probable hit, increasing her portside list to 15–16 degrees. Stationed on Yamato's bridge, Ensign Mitsuru Yoshida recalled, “I could hear the Captain vainly shouting, ‘Hold on men! Hold on men!'”. Aruga had no option but to flood Yamato's starboard machinery spaces, where hundreds of engineers toiled to keep Yamato underway. Water, both from torpedo hits and the flood valves rushed into these compartments and snuffed out the lives of the men at their posts, several hundred in all. Caught between cold sea water and steam and boiling water from the damaged boilers, they simply melted away.” Aruga's drastic measure reduced Yamato's portside list back to five degrees, but exhausted her last starboard counterflooding capacity. Having lost one shaft and gained 3,000 tons more water, Yamato's speed fell to 12kts. At 1342hrs, TG-58.4 Avengers dropped another four torpedoes. Yoshida marveled, “That these pilots repeated their attacks with such accuracy and coolness, was a sheer display of the unfathomable, undreamed-of strength of our foes!” Yamato shot down one Avenger, but two torpedoes plowed into Yamato's portside, making five torpedo hits in five minutes. The Americans had intentionally targeted Yamato's stern to wreck her steering, and the gamble paid off. Yamato's rudders were now disabled, jamming her in a permanent starboard turn. Any chance of reaching Okinawa was gone. Reduced to a speed of 8 knots and unable to maneuver, the stricken Yamato became an easy target. Around 14:02, Mitscher's relentless carrier planes inflicted at least four more bomb hits, disabling most of Yamato's remaining operational anti-aircraft guns as the battleship helplessly circled. As a result, Ito canceled the Ten-Ichi-Go attack and promptly ordered all his warships to rescue survivors and attempt to retreat to Japan. The sinking battleship was then deserted, except for Ito and Captain Aruga Kosaku, who chose to go down with their ship.  Throughout the battle, a stoic Ito had sat silently with arms crossed on Yamato's bridge, unflinching as bullets ricocheted around him, slaughtering his staff. Ensing Yoshida Mitsuru now observed that Ito “struggled to his feet. His chief of staff then arose and saluted. A prolonged silence followed during which they regarded each other solemnly.” Ito then told his staff, “Save yourselves. I shall stay with the ship.” Ito then shook hands deliberately with his officers, retired to his sea cabin one deck below, and locked it behind him. Meanwhile, with Yamato's pumps no longer functioning, alarms began to blare: temperatures in the 18.1-inch magazines were approaching dangerous levels. By 14:20, the capsizing Yamato's main deck was vertical to the ocean. Captain Aruga, eating a biscuit given to him by a rating, tied himself to a binnacle on Yamato's bridge. As Yamato capsized, surviving men clambered across her keel, a crazed, half-naked officer screaming and brandishing his samurai sword at the Americans.  Meanwhile, the Americans continued pummeling the helpless Yahagi, which “quivered and rocked as if made of paper,” recalled Captain Hara. The stricken Yahagi suffered repeated hits. “My proud cruiser,” Hara brooded, “was but a mass of junk, barely afloat.” Around 1400hrs Yahagi took the decisive torpedo hit, triggering a clearly fatal starboard roll. Hara finally ordered, “Abandon ship.” At 1405hrs, one minute after receiving her last bomb, Yahagi capsized and sank, having somehow absorbed at least 12 bombs and seven torpedoes. Captain Hara and Rear Admiral Komura calmly stepped into the water as Yahagi sank from beneath them, only barely surviving the sinking Yahagi's undertow. Now clinging to floating wreckage, the exhausted Hara observed “scores of planes swarming about [Yamato] like gnats.” By 14:20, the capsizing Yamato's main deck was vertical to the ocean, and three minutes later, the sinking dreadnought exploded catastrophically before finally disappearing beneath the East China Sea. Yamato's capsizing motion had likely forced open her 18.1in. powder room doors, allowing fires into the battleship's magazines. An American gunner described the explosion as “the prettiest sight I've ever seen … A red column of fire shot up through the clouds and when it faded Yamato was gone.” The detonation killed most Yamato survivors still struggling in the water and may have destroyed several US aircraft. The Americans' exact score will never be known, but Yamato had certainly absorbed seven bombs and nine to twelve torpedoes out of 150 torpedoes dropped. The US planes departed at 1443, but not before issuing “a few farewell strafing runs across the Yamato survivors.” Destroyers Suzutsuki, Fuyuzuki, Yukikaze, and Hatsushimo rescued 1,620 men, including Hara and Komura, before successfully returning to Japan. Additionally, the disabled destroyers Isokaze and Kasumi were scuttled by Yukikaze and Fuyuzuki, respectively. By the end of the action, the combined losses for Ten-Ichi-Go totaled 4,242 Japanese lives. Meanwhile, Ugaki had launched a second mass kamikaze attack around noon, sending 132 aircraft towards Task Force 58. Although Mitscher's fighters shot down 54 attackers, the kamikazes managed to damage the fast carrier Hancock, the battleship Maryland, the destroyers Bennett and Wesson, and a motor minesweeper. The initial Kikisui operation resulted in the deaths of 485 Americans and left 582 wounded. The significant losses over the two days hindered Ugaki from launching another large-scale Kikisui attack for five days. Meanwhile, back in Okinawa on April 7 and 8, Hodge continued his offensive in the south. In Bradley's sector, the 383rd Regiment persistently executed banzai charges against the remaining enemy strongholds on Cactus Ridge until the entire area was secured by American forces. They then advanced toward Kakazu Ridge, where they faced even stronger resistance. The 382nd Regiment made a slow but steady push forward, ultimately being halted by intense fire across a broad front just north of Kaniku and Tombstone Ridge.  The fighting in the 7th Division's sector on April 7 centered on a low, bare hill 1000 yards west of the town of Minami-Uebaru, called Red Hill because of its color. The enemy had made a fortress of the hill by constructing his usual system of caves and connecting trenches. A frontal assault on Red Hill by troops of the 3rd Battalion failed in the face of machine-gun and mortar fire. In a 2nd attempt, 3 platoons of tanks supported the attack. 10 medium and 5 light tanks advanced through a cut toward Red Hill; 2 tanks were blown up by mines and 1 was satchel-charged as the column moved toward the hill and up the sides. Intense enemy artillery and machine-gun fire drove the infantry back and disabled more tanks. Japanese swarmed in among the armor and tried to destroy the tanks with satchel charges and flaming rags. 2 medium tanks held off the attackers, the defending crews resorting to hand grenades, while the rest of the operative tanks withdrew. The 14th Independent Battalion headquarters proudly described this action as a perfect example of how to separate troops from tanks and thus break up the American infantry-tank team. The enemy dispatch stated: "The above method of isolating the troops from the tanks with surprise fire followed by close combat tactics is an example in the complete destruction of enemy tanks and will be a great factor in deciding the victories of tank warfare." After these 2 reversals the 3rd Battalion made a wide enveloping maneuver to the right. Behind fire from artillery and supporting weapons, the troops drove toward Red Hill from the west and occupied it, suffering only 2 casualties in the move. Once more a Japanese outpost had shown its strength against a frontal attack and its vulnerability to a flanking maneuver. The capture of Red Hill left another sector of enemy territory open for the taking. The troops advanced 100 yards south before digging in. A platoon of tanks conducted a remarkable 4000-yard foray almost to Hill 178 and withdrew safely, despite a bombing attack by two single-engined Japanese planes. The following day, the 184th continued its advance southward under heavy fire, managing to take Triangulation Hill after two fierce assaults. Simultaneously, the 32nd Regiment captured Tsuwa as it extended the front along the coastline. By the night of April 8, the 24th Corps had sustained 1,510 battle casualties while inflicting 4,489 Japanese fatalities and capturing 13; they had finally reached the formidable perimeter of the Shuri fortified zone. Looking north, on April 7, the Fleet Marine Force Amphibious Reconnaissance Battalion landed on Ike Island, encountering no opposition. Subsequently, Company B was dispatched to secure Takabanare Island, while Company A took control of Heanza and Hamahika Islands. During the night, Company B reembarked, maneuvered around Tsugen Island, and landed on Kutaka Island, where they also found no enemy presence. Simultaneously, the 32nd Regiment captured Tsuwa as it expanded the front along the coastline. By the evening of April 8, the 24th Corps had incurred 1,510 battle casualties. On the same day, Shepherd advanced north with minimal resistance, as the 29th Marines successfully reached Nago while the 4th Marines moved through Henoko. Ahead of the division, the 6th Reconnaissance Company traveled up the west coast road to the village of Awa and then crossed the base of the Motobu Peninsula to Nakaoshi, encountering and either destroying or scattering several enemy groups along the way. As the reconnaissance zone was extended westward on April 8, clear signs, confirmed by aerial observations and photographs, indicated that the enemy had chosen the rugged mountains of Motobu as their defensive position. As a result, the 22nd Marines were deployed across the island from Nakaoshi to Ora to protect the right flank and rear of the 29th Marines attacking westward, while the 4th Marines assembled near Ora to support either the 29th on Motobu or the 22nd in the north. The 2nd Battalion, 29th Marines probed westward, moving across the base of Motobu and occupying the village of Gagusuku. Additionally, the reserve 1st Battalion at Yofuke successfully secured Yamadadobaru and Narashido, facing heavy enemy machine-gun and rifle fire at the latter location. The following day, the 29th Marines advanced in three columns to locate the enemy's main force at Motobu; all columns encountered resistance, revealing that a significant enemy force confronted the division in the area stretching from Itomi to Toguchi. On April 10, the 2nd Battalion, 29th Marines captured Unten Ko, where the Japanese had established a submarine and torpedo boat base; the 3rd Battalion took Toguchi and sent patrols into the interior, while the 1st Battalion advanced through Itomi and uncovered well-fortified positions on the high ground north of the village. On April 9, the 184th Regiment successfully captured Tomb Hill in the south following an artillery and air bombardment, while the 32nd Regiment took control of several finger ridges to the east that oversaw the approaches to Ouki. The Japanese-held area in front of the 383rd Regiment offered the enemy an ideal combination of defensive features. A deep moat, a hill studded with natural and man-made positions, a cluster of thick-walled buildings behind the hill; these were the basic elements of Kakazu stronghold. The enemy had exploited each one of them. Moreover, Kakazu, unlike such outposts as the Pinnacle, was an integral element of the Shuri fortified zone and a vital rampart that could expect reinforcements and heavy fire support from within the ring of positions that surrounded the 32nd Army headquarters, only 4000 yards to the south. Between the Americans and Kakazu lay a deep gorge, half hidden by trees and brush, which could be crossed only with difficulty. The Kakazu hill mass itself, which was made up of two hills connected by a saddle, stretched northwest-southeast for 2000 yards, sloping on the west toward the coastal flat and ending on the east at Highway 5. Just below Kakazu Ridge on the southeast was the town of Kakazu, a compact group of tile-roofed structures, each surrounded by hedges and stone walls and somewhat in defilade to the adjoining open fields. In and around the Kakazu hills the Japanese had created one of their strongest positions on Okinawa. Mortars dug in on the reverse slope were zeroed-in on the gorge and on vulnerable areas between the gorge and the crest of Kakazu. Several spigot mortars also protected the hill. In an intricate system of coordinated pillboxes, tunnels, and caves Japanese machine-guns were sited to cover all avenues of approach. The enemy was also supported by many artillery pieces within the Shuri fortified zone. The heavy walls and the hedges of the town of Kakazu-and eventually its rubble-afforded the Japanese countless defensive positions. Concurrently, the 383rd Regiment initiated its first coordinated assault on Kakazu Ridge, with Companies A, C, and L swiftly reaching the summit by dawn without detection. However, the surprised defenders quickly launched a fierce counterattack, ultimately forcing Companies A and C to withdraw. Company L, positioned on Kakazu West, continued to fend off enemy counterattacks alone until late afternoon when the exhausted unit had no choice but to retreat. The next day, Brigadier-General Claudius Easley proposed a "powerhouse attack," where the 381st Regiment would assault Kakazu West from positions south of Uchitomari while the 383rd would press on Kakazu Ridge from positions north of the gorge. Following a heavy artillery bombardment, the assault commenced, with the 2nd Battalion of the 381st Regiment rapidly fighting through strong enemy defenses to secure the crest of Kakazu West. However, the 383rd was struggling to make headway, prompting Colonel May to direct his two battalions to execute flanking maneuvers. Although the eastern encirclement was unsuccessful, May's 3rd Battalion managed to cross the gorge at the northern base of Kakazu West to join Colonel Halloran's 2nd Battalion on the crest. Both units then attempted to advance eastward in heavy rain, but relentless Japanese counterattacks forced them back to Kakazu West. Stalemated, Easley eventually ordered Halloran's 1st Battalion to move through May's 3rd Battalion to attack southeast along Kakazu Ridge, but this assault was also repelled by the determined defenders. At the same time, the 382nd Regiment launched its primary assault on Tombstone Ridge, advancing southwest with three battalions in formation but managing to gain only a few hundred yards to the west as fierce defenders thwarted their main offensives against the hills held by the Japanese. Meanwhile, to the east, the 32nd Regiment attempted to advance into the town of Ouki without success, while the 184th Regiment on the heights defended against minor counterattacks, sealed off caves, and solidified their positions. I would like to take this time to remind you all that this podcast is only made possible through the efforts of Kings and Generals over at Youtube. Please go subscribe to Kings and Generals over at Youtube and to continue helping us produce this content please check out www.patreon.com/kingsandgenerals. If you are still hungry after that, give my personal channel a look over at The Pacific War Channel at Youtube, it would mean a lot to me. The battle for Okinawa is really heating up, showcasing to the Americans they would be paying dearly for every foot they took off the island. Meanwhile the last stand of the super battleship Yamato would form a legend encompassing the defiant spirit of Japan as well as producing one of the most bizarre science fiction animes of all time.

Q: Hello Dr. E. I've always been taught that if you have professed your faith in Christ you could participate in the communion. But recently our pastor is preaching that we have to be baptized in order to participate in the communion! Summary In this episode, Dr. Michael explores the significance of understanding the gospel, the implications of age restrictions on baptism and communion, and the nature of faith and discipleship. The conversation highlights the importance of childlike faith while cautioning against the dangers of legalism in church practices. Michael and Hanna challenge the idea of arbitrary age limits for baptism and communion, advocating instead for a grace-filled approach to faith and spiritual growth. If you've got a question for Dr. Easley, call or text us your question at 615-281-9694 or email at question@michaelincontext.com.

Q: Hello Dr. E. I've always been taught that if you have professed your faith in Christ you could participate in the communion. But recently our pastor is preaching that we have to be baptized in order to participate in the communion! Summary Dr. Michael Easley explores the complexities of baptism and communion in the church, focusing on the debate between believers' baptism and infant baptism. He examines historical perspectives, theological implications, and the emerging trend of requiring individuals to be 18 before baptism. The discussion underscores the importance of understanding the gospel and recognizing baptism as a public declaration of faith in Christ. If you've got a question for Dr. Easley, call or text us your question at 615-281-9694 or email at question@michaelincontext.com. Takeaways: Baptism is a debated topic within the church. Communion participation is often tied to baptism. Historical tensions exist over baptism practices. The age requirement for baptism is a recent trend. Baptism serves as a public identification with Christ. The concept of sacrament versus ordinance is significant. Church history shows the dangers of legalism in baptism. Articulating faith is crucial for baptism eligibility. The New Testament does not specify an age for baptism. Discipleship and grounding in faith are essential for youth. Find more episodes of Ask Dr. E here. If you've got a question for Dr. Easley, call or text us your question at 615-281-9694 or email at question@michaelincontext.com.

This sermon explores the significance of a fair trial in the context of Jesus' trial before Pilate. It delves into the allegations made against Jesus, the irony of the situation, and the historical context of Pilate's role. Dr. Easley highlights the nature of Jesus' kingdom and the responses of individuals towards Him, ultimately emphasizing the importance of truth and authority in the life of a believer. Takeaways The concept of a fair trial is a cornerstone of the American legal system. Jesus faced multiple trials that lacked fairness and justice. Pilate's historical existence was confirmed through archaeological evidence. The Jews sought to manipulate Pilate into executing Jesus without a fair trial. Jesus' kingdom is not of this world, indicating a different kind of authority. Pilate's question, 'What is truth?' reflects a common human dilemma. Many people today deny, destroy, or dismiss the truth of Christ. Believers are called to submit to the authority of Christ and His teachings. The world is not meant to be a paradise for believers; it is a place of duty. Understanding the nature of Jesus' kingship is crucial for living a faithful Christian life. This audio is originally from Michael's sermon of ‘Man's Court, God's Kingdom, Pt. 1 (John 18:28-38)' at Immanuel Bible Church.

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Q: I am studying to teach Matthew 14 and wanted to see if you could help me with this question: Was Herod Antipas (who had John the Baptist beheaded) Jewish? One of my commentaries said he was, but I'm not convinced. Please help! Summary Dr. Michael Easley delves into the complex legacy of Herod the Great and his son, Herod Antipas, particularly in relation to their actions and identities within the context of Jewish history. The discussion explores the nuances of their Jewish heritage, the political dynamics of their reign, and the implications of their actions, such as the beheading of John the Baptist. The conversation highlights the intricate relationship between personal identity, political power, and religious affiliation in the historical narrative of the Herods. If you've got a question for Dr. Easley, call or text us your question at 615-281-9694 or email at question@michaelincontext.com.   Takeaways: Herod the Great was a paranoid murderer. Herod Antipas is considered half Jewish. The actions of Herod Antipas raise questions about Jewish identity. Herod's legacy is marked by political manipulation and violence. The historical context of the Herods is complex and multifaceted. Herod the Great's building projects included synagogues and mikvahs. The relationship between Herod and Judaism is complicated. Herod Antipas's actions were influenced by his family legacy. The Herods can be compared to modern political dynasties. Understanding the Herods requires a nuanced approach to history. Find more episodes of Ask Dr. E here. If you've got a question for Dr. Easley, call or text us your question at 615-281-9694 or email at question@michaelincontext.com.

Dr. Easley explores the trials of Jesus as depicted in the Gospel of John, focusing on the courtroom drama surrounding His arrest and the subsequent denials by Peter. The sermon delves into the significance of these events in the context of salvation history, the nature of truthfulness, and the struggles of faith. Easley emphasizes the importance of understanding the trials as not just historical events but as profound lessons for believers today, highlighting the human tendency to fail and the necessity of Christ's sacrifice.

Q: Who is the gatekeeper in John 10:3 who opens the gate for the Shepherd and sheep? Takeaways The identity of the gatekeeper in John 10:3 is uncertain. Parables serve as memorable teaching tools. Cultural context is crucial for understanding parables. Many modern interpretations miss key cultural insights. The good shepherd is a protective and guiding figure. Understanding sheepfolds enhances comprehension of the parable. Jesus often used familiar imagery in his teachings. The relationship between the shepherd and sheep is intimate. Questions about biblical texts can lead to deeper understanding.   Find more episodes of Ask Dr. E here. If you've got a question for Dr. Easley, call or text us your question at 615-281-9694 or email at question@michaelincontext.com.

Dr. Easley explores control through Jesus' arrest and suffering, highlighting the irony of the moment, the nature of control freaks, and how true control is found in surrendering to God's will. Michael originally taught ‘The betrayal (John 18:1-11)' at Immanuel Bible Church. For more show notes visit the episode website link.

Q: My Bible says that John 7:53 - 8:11 isn't found in the earliest manuscripts, so why are we including this in the Bible that we say is the inerrant word of God? Takeaways Inerrancy is a complex issue, focusing on original autographs. Manuscript evidence is abundant but requires careful analysis. Textual criticism helps us understand variations in biblical texts. The ending of Mark and the story of the adulterous woman are key examples. Historical accuracy of certain passages can still hold value. Translation and tradition play crucial roles in understanding scripture. The Bible's reliability is not diminished by textual criticism. Faith and critical thinking are essential in biblical study. Understanding the context of scripture enhances its interpretation. If you've got a question for Dr. Easley, call or text us your question at 615-281-9694 or email at question@michaelincontext.com.

Pantheon Resources CEO Max Easley joined Steve Darling from Proactive to share details on the upcoming testing, which will assess multiple pay zones identified through extensive geological analysis. According to the company, data from logs, cores, cuttings, and seismic studies indicate seven distinct interpreted pay zones. Flow testing of the shallowest six is set to begin before the end of March 2025. Easley noted that analyses of comparable formations suggest potential flow rates ranging from 200 barrels per day (bpd) to 2,000 bpd, depending on reservoir quality and fluid characteristics. The company anticipates that flow rates from the deepest horizon will be on the lower end of this range, while the shallower horizons could yield the highest rates. Confirming in-place and recoverable contingent resources depends on the success of these flow tests, which will provide crucial data on fluid composition, reservoir properties, API oil gravity, gas-oil ratio, and in situ saturations. Previous guidance remains unchanged for the Upper Schrader Bluff and Prince Creek formations, with flow data set to be released at the conclusion of testing for each horizon. A key strategic goal for Pantheon is to integrate successful flow test results from the deeper zones into the broader Ahpun development plan. The company highlighted that positive results would validate the potential for future 10,000-foot lateral well completions from the Megrez Pad, leveraging existing processing infrastructure to maximize economic returns. With testing scheduled to begin in the coming weeks, Pantheon Resources is poised to gain critical insights into the production potential of Megrez-1, further advancing its development strategy in Alaska's North Slope. #proactiveinvestors #pantheonresourcesplc #mining #lse #panr #pthrf #OilExploration #Megrez1 #EnergySector #AlaskaOil #OilInvesting #NaturalResources #CEOInterview

Pantheon Resources is entering a pivotal phase as it refines its strategic direction under new leadership. Executive Chairman David Hobbs and newly appointed CEO Max Easley recently spoke with Steve Darling from Proactive, offering insights into the company's transition and future plans. Hobbs, who is shifting from executive to non-executive chairman, expressed deep appreciation for Jay Cheatham's 17 years of dedicated service to the company. Meanwhile, Easley, a seasoned industry veteran with over 30 years of experience at BP, Apache and PETRONAS, conveyed his excitement about leading Pantheon Resources at such a critical juncture. A native of Alaska, Easley is particularly drawn to the opportunity to develop Pantheon's substantial assets in his home state. “Two billion barrels in my own backyard. It's amazing,” he remarked, underscoring his confidence in the company's potential. His extensive expertise in both conventional and unconventional oil positions him well to steer the company through its next phase of growth. Looking ahead, Hobbs outlined key milestones for Pantheon and an anticipated surge in company updates. The company's Annual General Meeting (AGM) is scheduled for March 12, and stakeholders can expect a steady flow of developments. He emphasized the significant progress made over the past 18 months, from securing a path to financing through the agreement with ADC to advancing the Megrez well. As Pantheon transitions from exploration to production, Easley assured investors that momentum is building. “Expect activity followed by good results,” he said, signalling confidence in the company's trajectory. With strong leadership and a clear strategy, Pantheon Resources is poised for a dynamic and productive year ahead. #proactiveinvestors #pantheonresourcesplc #mining #lse #panr #pthrf #MaxEasley #DavidHobbs #OilAndGas #AlaskaEnergy #CEOInterview #OilProduction #InvestorNews #EnergySector #ProactiveInvestors

Q: Hi Dr. Easley! I just don't know which Bible translations to trust. I know reading your Bible is a vital part of having a relationship with God, but I don't know if the version I have been reading is the most accurate, and I worry that I've been taking verses out of context my whole life. Takeaways Translations vary, but the core message remains intact. Understanding vocabulary is crucial for accurate interpretation. Bible study methodology is essential for deeper understanding. Language issues arise from the complexity of translations. Different translations serve different audiences and purposes. Context is key to understanding the meaning of scripture. Engaging with scripture is a lifelong journey of learning. Theological understanding requires more than just vocabulary definitions. To hear Dr. E's full answer, listen to the podcast or watch on Youtube! Find more episodes of Ask Dr. E here. Call or text us your question at 615-281-9694 or email at question@michaelincontext.com.

This sermon explores the complexities and challenges of prayer within the Christian faith, emphasizing the importance of intimacy with God and the significance of Jesus' prayer life. It delves into the misuses of prayer, the high priestly prayer of Jesus in John 17, and the concept of glory in relation to prayer and eternal life. Dr. Easley encourages listeners to reflect on their own prayer practices and the ways in which they can glorify God in their daily lives.

(00:55) What if your passion project turned into a thriving business going 18 years strong? Roxanne Easley of Roxanne's Catering joins us to share her incredible journey from her roots in Pittsburgh to becoming a key player in the catering world. We delve into her diverse menu options, popular brunch selections like red velvet waffles and deep-fried French toast, and her educational pursuits in culinary etiquette. (11:31) Roxanne's fascinating experiences with 'on-camera' catering offer a unique glimpse behind the scenes, detailing her work on the sets of major films like "Fences" and "The Deliverance." Explore the hustle and creativity involved in film catering, where Roxanne's adaptability meets the high demands of Hollywood. She recounts the challenges of sourcing ingredients and collaborating with props departments to bring her authentic food to the big screen. (29:10) Later in the show, we discover the Korean dishes and flavors of Nak Won Garden with Shelly Danko Day, and Chris Fennimore of WQED provides a recipe and culinary lesson with his grandson, Tobias, in Rome. Chris not only passes down the art of making a healthier Eggplant Rollatini but also celebrates the joy of cooking across generations. Join us for an inspiring episode filled with stories of culinary innovation, and the bonds formed through food.Support the showLiked the episode? We'd love a coffee!

Angie Easley, co-host of the Resilience Reborn podcast joins me on this episode. We talk about Angie's personal story of love, tragedy, healing, the power of resilience, and more. Get connected with Angie: Website: https://www.resiliencereborn.org/  Facebook: https://www.facebook.com/aeasley1  Instagram: https://www.instagram.com/easleyah/  LinkedIn: https://www.linkedin.com/in/angie-easley-a0416415/  Listen to the Resilience Reborn podcast: https://podcasts.apple.com/us/podcast/resilience-reborn/id1744980322 Leave a 5-star review with a comment on Apple Podcasts: https://podcasts.apple.com/us/podcast/business-minds-coffee-chat/id1539014324  Subscribe to my Business Builder Newsletter: https://bit.ly/32y0YxJ  Want to learn how you can work with me to gain more clarity, build a rock-solid foundation for your business, and achieve the results and success you deserve? Visit http://jayscherrbusinessconsulting.com/ and schedule a 1:1 discovery coaching call. Enjoy, thanks for listening, and please share with a friend! To your success, Jay

The Fifth Sunday after Epiphany.

Dom Easley, Patriots Defensive Lineman joins Zach Gelb

In this podcast, veterinarian Jack Easley—one of the few boarded equine dental specialists—talks about senior horse dental care.My Senior Horse - Episode 14 Guests and Links:Guest: Jack EasleyConnect with Host: Kimberly S. Brown of Editorial Director of My Senior Horse | Email Kim (kbrown@equinenetwork.com) | Follow Kim on LinkedIn (@kimberlylsbrown)

Q: Hi Dr. Easley! I listen to your show each week with my mom. I am a 19 year old freshman in college. My question is does the bride have to take the husband's last name according to the Bible? What is the significance of the husband's last name and not the bride's last name? I look forward to hearing your response! Call or text us your question at 615-281-9694 or email at question@michaelincontext.com.

It's a spring sports preview as our podcast recorded live at Napper Tandy's in Angier features Head Baseball Coach Chris Marx, Head Women's Lacrosse Coach Dawn Easley, and Head Softball Coach Emily Carosone. The show is hosted by Evan Budrovich.

Are you focused on what matters, or just going through the motions? Jordan Easley joins us to reveal how Jesus' teachings can lead us into the abundant life God has prepared for us. (J2615)

In this episode Dennis is joined by Timothy Easley. Tim is the host of the "Church History and Theology" podcast. Tim has been teaching Church history for 15 years and has a very fair and balanced perspective on these things. In this episode they discuss various "rules" that Tim has come up with that people should remember when studying Church historyListen to the "Church History and Theology" Podcast here:https://www.sermonaudio.com/series/153474If you want to support this podcast and ministry with InFaith you can go to Infaith.org/dennis-sutherby and donate there.If you want to ask more about the ministry, ask a question, or add a comment you can email Dennis as dennissutherby@infaith.org or follow his Facebook page at https://www.facebook.com/DennisInFaithCheck out the feature of InFaith on Dennis Quaid's show "Viewpoints" and get a clearer picture of who InFaith is and what we're all about as a mission:https://www.facebook.com/share/v/MHfrTPqZ7v8yx7RY/Support the show

In this episode of Athlete Mindset, host Lisa Bonta Sumii, LCSW, CMPC, sits down with NFL veteran Dominique Easley. They discuss his journey from growing up in the projects of New York to becoming a first-round NFL draft pick, a Super Bowl champion, and eventually creating The Easley Foundation to support student-athletes in underserved and vulnerable populations. Dominique opens up about battling injuries, navigating opioid use, shifting his identity beyond football, and finding purpose in helping others.Key Takeaways from “Dominique Easley | NFL Veteran Championing Student-Athletes in Underserved Communities”Growing up in an underserved community and facing early challengesBattling injuries, chronic pain, and the complexity of pain management in pro sportsSearching for identity and purpose outside of footballUnderstanding the importance of vulnerability, honesty, and self-awarenessGuiding and mentoring future generationsLaunching The Easley Foundation to support student-athletes, especially those from underserved backgroundsFor more on Dominique and The Easley Foundation, visit: www.easleyfoundation.orgCredits: Athlete Mindset is part of the SportsE Media platform.Produced by KazCM and featured on the QuietLoud Studios podcast network.Support the Athlete Mindset Community: Click Here to contribute to the Athlete Mindset Community.By supporting the Athlete Mindset community, you will contribute directly to the mental health of athletes. With your amplification, we can ensure more voices are heard and more individuals are impacted. Thank You for making a difference!Connect with the guest, host, and podcast production team:Dom Easley: InstagramLisa Bonta Sumii, LCSW, CMPC: LinkedIn | Instagram | websiteSportsE Media: LinkedIn | XRelated episodes to “Dominique Easley | NFL Veteran Championing Student-Athletes in Underserved Communities”:Gordon Hayward | NBA Stories, FORM Basketball, and Youth Sports TodayEmpowering Women in Soccer with Grace AhrensDanita Johnson, D.C. United | Consistency, Communication, CommitmentMusic: Beat Provided By freebeats.io | Produced By White Hot

In this episode of the Equipping Pastors podcast, Ken Whitten is joined by Jordan Easley, senior pastor of First Baptist Cleveland in Tennessee; Chip Luter, senior associate pastor at Franklin Avenue Baptist Church in Louisiana; and Tara Knouse, co-founder of Loft 181, a ministry that serves teenage girls in foster care for a conversation that discusses: What it was like to grow up as the child of a pastor How their experience affected their parenting Protecting children from church disunity And more. For more resources for pastors, visit namb.net/pastors.

A new fall season has arrived, and holidays are upon us, bringing a variety of emotions and responsibilities. One topic that is being explored more concerning this time of year is Seasonal Affective Disorder, known to many of us as Seasonal Depression.Listen to my conversation with Dr. Jasmine Easley of The Wellness Social to identify symptoms of Seasonal Affective Disorder and a variety of healthy treatments to explore.View the visual recording of this episode on my YouTube channel HERE.Keep up With Dr. Jasmine Easley on Instagram at @the_wellnesssocial and her organization TheraPink for Girls, Inc. at @therapinkforgirls.*Dr. Easley is now accepting new patients in Michigan and Georgia.Websites:www.thewellnesssocial.comwww.therapinkforgirls.orgVisit vitauthority.com and use code STYLEDBYJESS for 15% off your purchase.Follow Style and Conversation:YouTube: Styled by Jessica LaurenInstagram: @style_andconversationpodcastFollow Jessica for style, beauty, and fashion tips on Instagram @styledby_jessicalaurenTikTok: @styledbyjessicalaurenFacebook: facebook.com/styledbyjl

Missionary Evangelist Robert Breaker speaks on Saturday Morning, October 26, 2024, at the BNC Ministries Jubilee Meeting at West End Baptist Church in Easley, South Carolina.

Recorded on location from a 7-Eleven Parking lot in Easley, South Carolina. Email The Hoots: Talknshopgoodbrothers@gmail.com Follow the show: https://x.com/talknshop https://www.youtube.com/c/TalkNShopPodcast https://www.instagram.com/talknshoppodcast/ Follow Karl: https://www.instagram.com/machinegunka https://x.com/machinegunka Follow Gallows: https://www.instagram.com/the_biglg https://x.com/The_BigLG Learn more about your ad choices. Visit podcastchoices.com/adchoices

On this episode of the South Carolina Lede for October 8, 2024: the latest from the federal government's response to Helene in our state, and a report from Scott Morgan on neighbors helping neighbors in the town of Easley; FEMA Administrator Deanne Criswell rebuts comments from former president Donald Trump; we hear from former Republican presidential candidate Nikki Haley; and more!

Remember, The Lords Supper w/ Dr. Michael Easley

Former Patriots and Florida Defensive Lineman joins Zach Gelb

Why Baptism Matters w/ Dr. Michael Easley

On this episode, Dr. Easley and Bennett Olupo speak with Reverend Robert Jemonde Taylor as he discusses the deep history of Environmental Justice and resilience surrounding Saint Ambrose Episcopal Church’s predominantly Black community in Raleigh, North Carolina. He also explains how he draws from a broad range of influences to steward the congregation and land … Read More Read More

This week on the show jD welcomes Vish from his own Kreative Kontrol, if you haven't checked it out get after it!Vish discusses song 18 and shares his Pavement origin story.Transcript:Track 1:[0:00] Previously on the Pavement Top 50.Track 2:[0:02] This week we're going deep on Box Elder. How are you feeling about song number 19, Kyra, from the COWI? I fucking love Box Elder so much. It's a great song. It's one of the earlier Pavement songs. I think it's a very early Pavement song, which is cool. And it's one that really holds up.Track 1:[0:25] I think, too. you. Hey, this is Westy from the Rock and Roll Band Pavement, and you're listening to The Countdown.Track 3:[0:34] Hey, it's JD here, back for another episode of our Top 50 Countdown for Seminole Indie Rock Band Pavement. Week over week, we're going to count down the 50 essential pavement tracks that you selected with your very own top 20 ballads. I then tabulated the results using an abacus, a wet towel, and some scrawny kid from 10th grade gym class. How will your favorite songs fare in the rankings? You'll need to tune in to find out. So there's that. This week I'm joined by Pavement superfan Vish from Creative Control with Vish Khanna. Dude, thanks for taking some time to do this. It means a lot. How the hell are you doing? I'm well, JD. Thanks for having me on your show. How are you doing? I'm great today. It's a little overcast here, but it's about five degrees so i'm gonna go for a walk later and uh.Track 3:[1:24] And that's a, that's, those are good times for me. Very nice. That's good. Going outside. Can't beat it. Yeah. No, you can't at all. Well, let's not beat around the bush, speaking of beat it, and get right into your Pavement Origins story.Track 3:[1:38] Talk to me about that, Vish. Well, I was trying to, you know, I knew I was coming on your show, so I figured I should try to ponder this, you know, and I, I was trying to remember. Remember, I think I first came upon the band when I read about them in Spin Magazine, like, I think before Crooked Rain came out. And I don't know what it was about that piece. This is right around the time I started getting to go to record stores. You know, I'm, what would I have been then? I would have been 15, 16. Some of us were driving so we could leave Cambridge, Ontario, where I'm from, and we could go to Kitchener and Waterloo and Toronto. They had the cooler record stores those were like uh college university towns so then we started going to record stores and then you start talking to the record store people and they tell you what they like and you respect them because they're your surrogate parents so somebody somebody somewhere along the line told me about pavement i i'm pretty sure it was the spin magazine article that i was i started devouring more and more music journalism and i think it was that so i remember owning uh slanted and enchanted and also uh the record store had the trigger cut single so i think i bought both things and i'm fairly certain about both things and uh i will say that that first single got me completely obsessed with their singles um because i think they're.Track 3:[3:07] I don't know, they're one of the greatest treasure troves of any band I can think of. I know you've probably talked about this with others, but I really value Pavement B-Sides. Like, I wasn't that surprised. I mean, I was surprised that Harness Your Hopes went kind of bonkers recently, but like, I'm not surprised. Like, Pavement B-Sides, I know some of them better than I know the album songs, to be honest with you. I just became so obsessed with how great, like, the the quality of their B-sides really spoke to me. And then, yeah, that's one of the, and then I feel like that was a gateway into like, what is Silver Jews? Like, why is this, what is Silver Jews in the pavement section? What is it? Oh, it's a, it's a project. Oh, there's Bob and Steve on the back of the album covers. So they're in this, I guess. And so, yeah, the B-side alternate pavement universe if you will really spoke to me and still does uh i find myself uh kind of you know mumbling song lyrics and and tunes and melodies from you know humming them from from all the b-side so yeah i i would i would position myself that way as someone who i get a little obsessive so it wasn't just the album uh the albums it was like i want to get all the singles so i owned every single.Track 3:[4:24] On mostly on compact disc when i was coming up of age and now i've got them all on actually you know what i ordered i ordered that thing that you ordered the box that i ordered the singles box that i have a bunch of them but i was like what the hell i'm gonna do it so the book looks good yeah everything about it looks good i love pavement so uh i just thought i would get that too and uh yeah i think that's pretty much it that's where i discovered them and then of course they blew up uh you know they're one of those bands that all your cool uh heroes were talking talking about before you even heard them you know so you'd read a interview with somebody you liked and they'd mention pavements you're like what is this pavement so really have a time and place for me word of mouth and then actually digging in i have still a sense memory of playing slanted and enchanted and hearing summer babe and you're just like what the hell so yeah i'd say that's that that that's that's got to be it i think that's it and you got to be there for the release of watery then did you as somebody who was like sort of ep and single obsessed did you pick that up when it came out i did i did pick it up i don't know if i got it right when it came out i can't say that for sure because i feel like i still came to them a little bit later um because i'm sure they were that article was 93 like i don't think it was about slanted it was just mentioned so but i got it yeah and as you may have heard me talk about it's yeah it's my it's like my favorite thing, really, in some ways. I love, and yeah, I miss Gary Young.Track 3:[5:51] I never got to meet or talk to Gary Young, but yeah, the drumming as a drummer as well, as a budding drummer, like hearing Gary's playing, that had a huge influence on me too. So yeah, that era. Put your finger on what it is, isn't it?Track 3:[6:06] Like, what it is about Gary's drumming. I love Westy. I love him. He's a great guy, and he's a great drummer. But there's something about Gary. There's something about the looseness and the showmanship of people like Gary Young. I would say here in Canada, we have Mark Gaudette, who was in Eric's trip, and his drumming, too. Like, it's punk rock, but it's a bit more technical. And it's precise, but it's loose. And it just has it. He's making an instrument. you know they have their own voice i suppose as drummers they have their own like you hear it and you're like oh that's that's that's either gary or as i mentioned mark for two examples uh or it's someone copying them you know it's someone someone kind of ripping them off so i certainly was of this learning how to play the instrument and getting into some really amazing drummers at the time uh just because i didn't take drum lessons i would just listen to things or go see bands and And certain people and their drumming had a huge impact on me. And certainly early pavement drumming, you know, I think it's an underrated facet of that band. Did you get a chance to see the Gary Dock?Track 3:[7:18] No, you know what? I haven't seen that doc. That's a good call. I've been rather swamped of late and I need to do that. Have you seen it? Yeah, it's really, it's, it's pretty fabulous. Yeah, I can imagine. You're right. I should, I don't know. I'm at a thing where I got to do so much and I process so much information and music and I can't keep up with everything. So yeah, I saw it come through and I was like, yeah, I will watch that eventually. And then before you know it, I don't think I'm alone in this where there's just so much stuff to consume, but yeah, good Good call. Good call. I'll try to track it down on, I don't know if it's on a thing, a service or whatever, a streaming service, but I'll try and watch that. Yeah, I think it is because I don't know how I would have seen it. I forgot. Yeah. Um, when, when did you finally get to, uh, see them live or did you see them live in the original sort of run? I saw them for the first time in Barrie, Ontario at Lollapalooza in 1995. This was the. Wow. Lollapalooza curated by Sonic Youth.Track 3:[8:18] So also on the bill was, it was supposed to be Sinead, or sorry, it was supposed, yeah, it was supposed to be Sinead O'Connor, but I think I attended the first show that she couldn't play because she was pregnant. And so Elastica filled in, but the day was like a mighty, mighty Boston's first time I got to see the Jesus lizard. Blizzard, uh, uh, Pavement obviously played during the day, uh, Hole played. Beck was on the lineup too, wasn't he? Yeah, I saw Beck play two sets, one on the main stage, uh, this was just ahead, uh, ahead of Odile coming up, and, um, he also did a side stage, uh, performance where I actually spoke to him, he, he came down and, uh, signed autographs, so he signed, I don't know where it is but he signed my Lollapalooza ticket stub and I asked him I actually I think I, I tripped him out a little because I'd heard that he was going to be collaborating with a Toronto musician. And when I mentioned it, he was like, oh, yeah, we have been talking about that. Like he was I kind of nardwired him.Track 3:[9:23] I didn't mean it was just a rumor. I just said it. And he was like, oh, yeah, we were talking about that. So anyway. Yeah. So, yeah. And the Far Side played and Moby played and all sorts of amazing eclectic. Yeah. Yeah, Cypress Hill was one of the headliners. Bob Nastanovich, when he was on my show, I did a little documentary about Bright in the Corners. And he talked extensively about their experiences with some of the artists and their experiences playing Lollapalooza. And Bob's amazing innovation of suggesting that instead of getting a bus, they would each get minivans. He got a great deal in some rental minivans and that way they could play and then just drive ahead to the show and not worry about the gear and all that stuff and and and they could kind of travel at their leisure and uh yeah anyway so Lollapalooza 95 is the first show then I saw them at the Phoenix in Toronto for the Bright in the Corners tour and then I saw them play uh you remember the cool house and the, sorry, for those wondering in Toronto.Track 3:[10:33] There was a venue and it had two rooms. It was called the Warehouse. And then beside it was something called the Government, a smaller room. And then the Warehouse became, it was like the RPM Warehouse or something like that. That's right. And then it changed names. It was the Cool House, but I think the Government was still there. So for Terror Twilight, as I recall, Pavement played the Government. So the smaller room on that tour. So I saw them there. And then I saw them on Toronto Island on the first reunion tour with the Broken Social scene.Track 3:[11:08] And I think that's the last time I was invited or I was supposed to go see them in Austin, Texas. And Bob hooked me up. And I think I might have even been able to attend the Austin City Limits taping. But unfortunately, I couldn't make it at the last minute. So that was a bit of a bummer. But I regret it. But, you know, it was weird, still weird pandemic times then. And I, I think there was also other stuff going on. So I didn't get to see them on this current reunion, but it still seems to be going as we're speaking. So who knows?Track 3:[11:42] Maybe I can see them somehow. now yeah yeah and we are recording this in early april so yeah there's we're not uh that's not a scoop people just in case you're listening to this in october and you're like oh christ they're coming back um they may they very may well be i just edited the bob episode and you know i sort of teased him because he's like we're done after south america and i was like come on come on yeah i'll believe you're done when i when when you're done yeah but um enough about me back to you uh i'm curious about the lola performance like so you got to see them in a government isn't intimate but it's nice um and then you got to see them in um lollapalooza in front of a big crowd what do you think of the the festival version of pavement well i mean obviously it's well documented that they didn't have the best time on that tour on some level uh in slow century there's obviously the the fracas uh you know uh where people are throwing mud at them and all sorts of a rock at steven actually uh you know i i was a kid i mean that was sensory overload i i was just going to how old was I? So 95 I was had I even turned.Track 3:[13:08] Yeah, I was not even, what was I, seven, 16 or something like that? I don't know. I was not an old, I was young. You were 76? No, wait a minute. Yeah, I was 17. So I was born, no, I was born in 77. So I hadn't yet turned 18. So I was 17. And yeah, it was just, that was a bonkers year, to be honest with you. That summer, I went to everything. I went to so many festivals.Track 3:[13:31] For all my bellyaching about my parents not letting me do stuff, they let me do a lot of stuff that summer so uh yeah i don't i think i was just overwhelmed by how many people were surrounding me and and and i got up as close as i could for pavement um and we got up really close like seeing the jesus lizard was a bit i love the jesus lizard already at that point i just love them and to see them was like they were larger than life and you know yeah for those who've never seen them or footage of them at that point, Yao would come into the crowd, you know, he would leap off the stage and crowd surf and all that kind of stuff and sing while he was doing it. So it was very immersive. And then Pavement, relatively the opposite, you know, they're on stage and the songs are great and they played well, as I recall. But on some level, I remember just making a point of getting up as close as possible and trying not to, at the same time, you know, be conscious of not bothering people as you move your way up, you know, because I was kind of annoyed at everyone running around and pushing their way forward and all that stuff. So, uh... Never made sense to me. Yeah, it just... That's my main memory of just, like, trying to... I was probably... For the Jesus Lizard and Pavement, I was probably... That was the closest I was probably, uh, to the stage. And, uh... And then otherwise, yeah, I don't know. I mean, I have...Track 3:[14:57] I have a real sense memory of the Phoenix show for Bright in the Corners for a few reasons. And I've talked about them with Bob, at least.Track 3:[15:05] Bob did an interpolation of a Cool Keith song, which I just, I was like, oh, I didn't know people knew about Cool Keith. Like I had only started listening to Cool Keith at that time. And he did. I have no clue. blue cool keith is a a really uh innovative uh underground hip-hop superstar he was in a group called ultra magnetic mcs and then he went solo as dr octagon and as cool keith has all these pseudonyms and uh to be precise uh and oh yeah black elvis like he had all these cool names so to be precise i believe as i recall bob was quoting dr the dr octagon project and he just did it in the middle of a song and then also the other thing that occurred to me and it's sort of relevant to the song today is during uh stereo when steven malcolm is saying the lines about getty lee and his voice being so high he shot his voice up super high like a comically high effect how did it get so like just pitch perfect super high i think it's i think it's documented in a much music interview that they did that day or whatever, like while they were in town. And then obviously afterwards, they interspersed some live footage of the band playing.Track 3:[16:26] And Stephen singing, you know, on this song that we're here to talk about today is so remarkable to me. And I remember that I had this sense memory of him singing that and thinking it was very amusing. I thought it was more amusing than impressive at the time. but over over time as i um have come to value steven's singing voice and his range and his ability, And just instincts as a singer, I view it as more impressive now than, I still think it's funny because I think he's got a comical element to his choices and certainly live anything can happen, but they were just, I think that Bright in the Corner show is the, it's certainly one of the best shows I've ever seen. So I would also say it's one of the, if not the, it was the best time I saw Pavement probably. Oh, that's a great venue. That's what I, that's, I think the Phoenix is phenomenal. I don't want to discount the reunion show I saw because I think with age and time away from each other, they actually have, I don't know, I don't know how many reunion shows you've seen, but often I find that these bands that, particularly for us, you know, the bands around in the 90s, when they come back, they're better. Yeah. They seem more at ease with themselves as people and as players.Track 3:[17:45] And so the absence, I don't know what it is. They just seem more relaxed. And I think when you're more relaxed, you play better. I think 20-something angst, we'll call it. I think if you're not relaxed with each other, you don't play as well. You're just a little uptight. And then as you sort of resign yourself to, well, not resign yourself, but as you sort of get, yeah, you let go of things. I guess that is a way of putting it. You kind of let go of any little grudges and you don't have that angst, whether it's your own or whether it's about yourself or whether it's interpersonal. And I think you just play better. So when I saw the Jesus Lizard on the reunion tour, having seen them several times in the 90s, I just was like, I think they're better. You know, they might be better. better and pavement as i recall from the toronto island show it felt good they played so well you know together um but up until that point yeah i would say that bright in the corners show i saw at.Track 3:[18:46] The phoenix in toronto was just like they were just on fire it was brilliant so yeah cool yeah well before we get into song number 18 i gotta ask you as one of the only people i know that has interviewed Mark Eibold, the reclusive Mark Eibold, how the hell did you do it? And that interview, by the way, was phenomenal. It was great.Track 3:[19:09] Well, that's very kind of you to say. I have to draw back on my memory for this. So the occasion was the Terror Twilight reissue from a year or two or a couple of years ago, whenever it was. Yeah, who knows? And like you, I think my social entry point into this band is Bob Mstanovich.Track 3:[19:32] Absolutely. So Bob is, uh, I've gone on record saying this to others. I think I said it maybe to him during our terror twilight discussion. Bob is the greatest podcast guest of all time. You don't even have to ask him a question and he starts. He's so funny and he's so frank and he says things that I surprised he might say. I love him so much and he's been very kind to me over the years as well. I first spoke with Bob, uh around the time of that reunion uh tour um uh and so what was that 2009 10 thank you very much yeah sorry i think the jesus lizard was 2009 so yeah i spoke to bob around that period and then we've maintained contact basically ever since that was for my college radio show actually and then so that was here in toronto yes that's right yeah well i lived when i was living in ontario at at the time. Um, I had a college radio show and would play some pavement and Bob was a guest on that show. And he's, and I probably wrote a magazine article for exclaim magazine as well. That's what I do and used to do more often. Anyway. Um.Track 3:[20:43] Yeah. So the Tara Twilight thing came about by this point, Bob and I had, he'd been on my podcast a few times. And so I just, I'm sure I went through the proper channels to get, try to figure out the interview and get the music and the, and you know, all the assets and all that. But Bob, I think I was like, Bob, like, can we get everyone? Let's just get everyone on the show. Probably like you have done, like you just, you know, you're, you're trying to do this now. You're trying to talk to as many of the members as you possibly can. Absolutely. And in the loop. So, yeah, you know, I'm emailing Stephen and I think I texted Stephen because, you know, he wasn't responding.Track 3:[21:22] And so we sort of landed on Westy and Bob and Mark and then Jesper, who was involved in the reissue for Matador, was going to take part. And then at the day of, Mark couldn't do it. He was in transit. He couldn't join us for the group call. But yeah, Bob connected us over email, I believe, and maybe text, I don't recall. And so Mark and I, Mark felt, I think, kind of badly that he couldn't do it, like that he said he would do it and that he didn't end up doing it. And uh i i assume bob vouched for me you know um and so that was kind of it uh really we corresponded uh he felt badly that he couldn't make the group call we arranged a time we had a good talk you heard it uh and then i believe i put it out the right after i had put out that that group call uh so back to back it was like pavement week on my show for terror twilight light. Um, so, uh, yeah, I don't, can't recall cause I do so many of these, uh.Track 3:[22:37] Exactly what mark and i talked about i think we talked about some of his, radio listening habits you did yes he still uses a radio yeah you might actually have a better perspective on it than me at this point because i just don't remember uh you know i jd i'm sure you're familiar with this you do so many of them uh interviews uh episodes you're just like oh yeah, i forgot i had so and so on the show what the hell did we talk about again i that happens to me all the time when i edit i'll be listening and i'll be like it sounds like a conversation between somebody who doubles my voice and my guests because i don't recall virtually anything about what we talked about well i remember realizing it was um a real kind of rarity for mark to do such a thing i think at the time um a sonic youth uh archival compilation had had just come out that mark appeared on so there's just a fair amount to talk about it was a lot of memory jogging unfortunately for him like you know trying to remember the terror twilight sessions trying to remember playing with sonic youth like all about a decade out from doing it you know or more a decade or more 20 years um so uh yeah i i he was very lovely and uh and forthcoming and um.Track 3:[23:59] I really appreciate it. I think I've spoken to everyone but Gary, I suppose. I never got a chance to speak to Gary Young. But in terms of the, I guess, whatever, core or original lineup, yeah, I've talked to all of them at some points in my life. And I hope to talk to them again.Track 3:[24:20] Yeah, I do adore them. So it's, yeah. You can tell. You can really tell. And we should have said this off the top, but Viche is, Creative Control is a podcast, if you haven't listened to it, you should listen to it. If you like music, if you're maybe a bit obsessive about music, Viche does a really phenomenal job of, you know, conversations with famous people. People uh for people who listen to this show you might want to start with some of the david berman stuff because it's it's pretty spectacular and uh and then work your way through the pavement but it's all it's all good from the stuff that i've heard for sure well thank you for the kind words and for saying so yeah i uh i do love doing the show and uh it has uh you know it's granted me access and insight, uh, to, and from people I really, truly admire and adore. And, uh, yeah, I marvel at, uh, what I've been able to, uh, accomplish and get away with, uh, it is, it is, I don't really understand it, but certain people like Bob and others, uh, uh, have a fondness for me and return to the show and all that sort of stuff. And, uh, so yeah, it means a lot. Thanks for saying that. No, no, I should have said it off the top. but uh what do you say we talk about the the song this week song number 18 let's do it okay we'll be back right after this hey.Track 1:[25:48] This is bob mistanovich from pavement uh thanks for listening and now on with a countdown 18.Track 3:[29:27] So today we're talking all about song number 18 from the masterpiece Wowie Zowie. It's the absolutely gorgeous Father to a Sister of Thought. Vish, what are your initial thoughts about this song? Well, you know, I was so happy that we landed on this as a song to talk about because I do love Wowie Zowie. I have a sense memory of picking it up when it came out. I think the day it came out. um and um obviously a strange sort of a strange record uh an eclectic record uh and this is interesting it's a really fascinating song because in some ways it's super accessible uh musically it leans with the pedal steel and some of the other moves it leans towards country music.Track 3:[30:18] I will say, as I was pondering it, I mean, I know we are in a vacuum here of people who love Pavement and who love Stephen Malcomus, but as I was listening to this in preparation for our chat, I'm like, Malcomus is like an underrated everything. I really feel that way. And in particular, I think he's a remarkable singer. And, you know.Track 3:[30:51] And this song, I think, exemplifies that. He makes super fascinating choices with his phrasing, I think, and just the notes he's going to go for on words. Like, I don't know how to put it. I'm not super adept at maybe talking about music on that level. But it's just very dynamic, the way he shoots his voice up and sort of speaks, sings one line.Track 3:[31:17] And I think aside from missing his sort of grittiness, he also is a great screamer, great yeller. He really is. Like Paul McCartney level dynamic range, I think, with Steven when he wants to. Like he can sing. I don't know if that resonates with you. Like McCartney, to me, can sing anything. He can sing a ballad. He can sing like a Little Richard Rocker and sound like a punk. Like it's bonkers, that guy's vocal range. And I think Malcomus is in that, totally in that vein. So he's not yelling on this song but i think if anyone is interested like this song is a perfect showcase for what he can do as a vocalist and before i go much further jd does that resonate with you it certainly does i when i think of this song you know the word i used right off the bat was gorgeous uh and it's gorgeous in a number of ways the vocal the melody uh like his ability as a songwriter. I don't know how much of the arranging he did, or if it was Easley who said, let's use this pedal steel.Track 3:[32:25] But nevertheless, it just works so well with the timbre of his voice. And it all comes together in a really lovely ball.Track 3:[32:36] Yeah, and I think the little contrarian aspect to, or I don't know how to describe it, this little element of, yeah, it's a little contrary, I think, you know, I don't think I'm saying anything untoward where there's an element of self-sabotage sometimes in the pavement realm where everything's going fine, and then all of a sudden, let's pull the plug and do something wild and nuts or crazy, you know what I mean? And then yeah so this song has this really jaunty country vibe and then it ends with this like, minimalist noise rock stomp damn yeah yeah yeah like it gets it suddenly becomes a little more punk after the sort of so it's kind of this and it's all part of this it's that end it has nothing to do with anything else we've heard no instrumentally nothing but it works like it works so perfectly and i think it's a way of being like all right i think i think we're getting a little saccharin here it's too gentle or something let's end a little more raucous and uh so to me i hadn't really pondered it as such before but between malchumus i think singing his ass off and and really showing his range uh the band also ends up playing very dynamically and really beautifully and and also grit like as i say there's some grit towards the end so in a weird way.Track 3:[34:03] And again i hadn't thought of it like this was a single as i recall um like there was a video for it and whatnot and they're all dressed up in like country western garb and all these sorts of things, but uh no it's a nice exemplification like this is a pretty good gateway in the pavement if you were like yeah listen to this song again you never heard of this band try this song just try it it's got humor it's enigmatic lyrically the arrangement itself is beautiful but funny uh yeah i i really think uh 18 this should be in the top five it's really wonderful wow yeah i would have it in my top 10 yeah i know you top 10 sure i don't know what these ratings mean i don't believe in ratings and awards but it's water cooler talk no it's i'm just saying as i think about it more first of all uh anyone out there listening uh once i dig into a topic i get a little excitable. So, uh, you can make the argument like, what about these other 10 songs? And I'd be like, yeah, yeah, those are also great. But this, this to me, I think, as I say, it's got a nice balance of earnestness, irreverence, beautiful singing, wonderful playing. Uh, yeah, I just think all across the board, it's beautiful. Yeah. Uh, well said.Track 3:[35:20] When you think back to buying Wowie Zowie, you said you got it on the day it came out. First of all, that's very cool.Track 3:[35:29] And second of all, I wonder, just to go on a tangent for a moment.Track 3:[35:34] I wonder if your penchant for B-sides helped you with that record. Because it's almost constructed to me where there's like a song and then more of a b-side song than a song than more of a b-side song uh you know i'm thinking like brink's job and and and stuff like that um yeah you know so that that would have really helped but what were you thinking the first time and this is asking you to really stretch your brain i apologize but what were you thinking the first time you heard this song on this wicked roller coaster ride of a record you know what it's i know this song gets come or rather the album why always how he gets compared a lot to the white album sure by the beatles um who are from liverpool uh and are no longer around but they were uh that album was um i think it's rightly regarded as this uh odd pastiche niche of sounds and ideas and somehow it it only coheres because contextually they made it cohere like it doesn't really make a ton of sense as an album but it's one of those albums where like i couldn't tell you what the best song on it is because i almost view it conceptually as a whole Oh, wow. Wow. So, there's some of it, like, you can, there are singles from it and whatnot.Track 3:[37:01] But I have a weird, this is more about me, I suppose, JD, than maybe most people, but like, I'm an albums person. So, when an artist or a band puts out an album, I assume, rightly or wrongly, in some cases it's not the case, but I assume it's a unified statement that they're making of a time, of.Track 3:[37:25] Rolling Stones, certain bands, you'll be like, yeah, this album is actually like odds and sods from the previous couple of albums that they just reworked or whatever, revisited. Um, and they still count as albums, you know, certainly Stones in the seventies, you can make that argument. There's a few records where, yeah, like just what I'm describing, it's an album, but it's really like leftovers from some ideas they had. Um, I would put Wowie Zowie in that white album category of like, it's a whole thing. Like, the way it's sequenced, the way songs blend together.Track 3:[38:04] As soon as you hear an artist do that, where the songs kind of barely, there's barely any air between them. Right. That's a sequencing choice. That's a mastering choice. That's all sorts of choices they're making. but there's then tends to be this coherence between them this isn't the case all across wowie zowie but there are songs as you know where it's just the next one just starts you're just right into another song um so it becomes a sort of sweet like thing all this to say uh i might be stalling to answer your question because i haven't listened to the whole album in some time this is going to prompt me to i listened to this song on its own and i will say it was a bit weird.Track 3:[38:48] To hear it on its own because i don't listen to pavement sorry as i've tried to just maybe exemplify i generally don't listen to um bands i got a friend pointed out to me a few years ago he was we were in a band together and he said yeah you once said you don't like greatest hits compilations i said i said that said yeah we were driving we were listening to like acdc or something and you were just it came up in conversation and you said you don't like greatest hits compilations because the context of the music is all out of order and i said right that makes sense to me yeah you're i said yeah okay i don't remember saying that sometimes i say things and i don't remember that i said them and i said oh yeah well i mean i said i said it and it stuck with him like he said yeah i've started to listen that way now because you're right like the context of an album is so important to it so when you asked me to be on the show and and suggested uh you know that we were going to talk about this particular song i just listened to it on its own.Track 3:[39:52] Totally weird. Totally weird to hear it out of the album context. So I think going back to my sense memory, I don't know. I mean, it starts with We Dance, which is weird. And then you're right. Some of the songs seem, I mean, to some people, they would seem like half finished ideas. That's right. Right. Or just like little jabs of things, you know. So you're absolutely right too, like Serpentine Pad, Brink's Job, those sound like they could be B-sides, but I would argue that the pavement B-sides are never really, they don't feel like throwaways to me. I agree. Sometimes they're a little looser and more fun, like things happen and that you wouldn't really hear. No I don't even you know what I'm just going to retract that I think they are all fully.Track 3:[40:48] Realized songs that stand on their own but yeah Wowie Zowie I suppose might have been the first sort of inkling that this band could do anything and they weren't afraid to try anything, I'm sure some people were disappointed after Crooked Rain Crooked Rain to hear this, band be a little more punk but also as we're talking about a song that like I say who knows I don't know I I've not really thought about this in a long time but I'm sure making the construction of wowie zowie and the sequencing was potentially a reaction to how much success and how they broke through with crooked rain.Track 3:[41:34] Yeah, I can get behind that thought because, I mean, it's almost outlined in Cut Your Hair, right? Yeah. That's sort of the blueprint for Wowie Zowie in a way. Yeah, like not deliberately self-sabotaging themselves, but being like, we're maybe a little too big. Let's do something a little less accessible. Like, let's do something a little more. I just want to be clear. I think it's brilliant. I don't find it confusing. But if you got into Cut Your Hair or Gold Sounds or got into that band that you saw freak out on The Tonight Show, you know... And then listen to Pueblo. Yeah, yeah. I think you're kind of like... Yeah. You would just be like, as a band, I doubt it was even conscious, but maybe it was. Maybe we should do something that's a little more like wild. And if that was the case, I'm not sure it was, I'm sure there's literature and I should have maybe revisited some of the liner notes and reissues and things to read about where their mindset was at. But, you know, even describing father to a sister of thought, it has that mix of totally, totally accessible. I could play this for my country music loving grandfather, but then it ends with like, Hey, grandpa, we're still kind of a punk band. You know what I mean? Yeah. Yeah.Track 3:[43:02] Oh, that's great. Going back to the theory of potentially sabotaging themselves, which I'm with you, I don't think they did it on purpose.Track 3:[43:13] I almost think it's like a sound and style change. You're right, Crooked Rain, Crooked Rain was so accessible, and it had a familiar sound. It had sort of a California classic rock kind of vibe to it. It crooked rain is i will interject only to say that i think crooked rain is also super weird.Track 3:[43:35] It is it helped them break through but it is a weird album like it starts weird it has like a full studio sound like it sounds like i know that was made in a bit of a patchwork as well but like it sounds more like a studio record um sure they went they went to a place that that it wasn't going to be noisy and hissy and ambient even though it has elements of that like it has a warmth to it but it's a weird and wildly arranged album too but this is even well coming off a slant coming off a slanted though it seems it just seems more you know readily available i suppose to to a wider birth of people yeah but what i was going to say is it almost reminds me of what sm did when he went solo that first record is so accessible and so poppy and so hooky and so earwormy it's amazing and then he did piglib after that which i fucking adore but it's so off the wall compared to the self-titled debut yeah and if we're viewing malcolm as you know uh obviously obviously the main driver of of their songs then yeah it's it's his whims and it's his.Track 3:[44:50] His notions for a batch of songs like you know i think bright in the corners is uh on some level it's the cleanest sounding pavement album but it's also the most esoteric and and you know i the songs sprawl and they're all over the place as well but it's also somehow more coherent and contained than wowie zowie like but but the songs stretch out that's their what did we talk about with somebody recently uh maybe it was with the pavement guys uh grateful dead type stuff yeah sure yeah like it it has a it's it's a little more zen it's less frenetic even though the imagery and whatnot is pretty intense and some of the arrangements are too so yeah i think it's just modes again this goes back to my argument i love albums i love knowing that we're hearing where a band was at, at that given time. Uh, and, and that, that batch of songs, however, like wowie zowie, however disparate the songs might be from one another, that's what they were into. Like, that's what was going on with them at the time, whether it had anything to do with external considerations or perceptions about who they were, uh, how successful they wanted to be. Like Like, that might just be all bullshit I'm making up. It could just be that's just what he had, what Malcomus and what the band had going.Track 3:[46:18] And this is it. You know, why waste it? This is, it's all over the place. Let's put it out as one thing. The next album, a little, like, I think it's, it's fair to say, uh, Bright in the Corners. Well, you know, maybe it's not fair to say, I'll ask you. Bright in the Corners, probably safe to say a more coherent sounding album than Why We Sowie. Absolutely. Yeah. It's, it's a more album-y album. Right. In a sense. But I also think Slanton and Enchanted all sounds like it's from the same expression, too. Sure, I guess I mean album to album. I just love the way it opens. There's a middle, and then there's an end. There's a finite end with Finn. Yeah yeah well i mean maybe i don't know like we we mentioned lollapalooza uh there was something going on in the in the moment in the cultural moment where you it was really cool to be an open-ended music listener it was really cool to be like yes we're playing with a folk musician we're playing with shanae o'connor and cypress hill on the same day bonkers and the jesus lizard like on some level that is a culture saying everyone is welcome every sound has merit.Track 3:[47:34] We're sick of the orthodoxies we're sick of there being camps um and so maybe wowie zowie reflects that too uh on a musical level it can be noise damaged it can be a beautiful if strange folk song, it can be a country song, it can be a goddamn screamer where Malcolm clearly loses his voice you know, on Half a Canyon or whatever. Like, it's.Track 3:[48:01] Yeah, as we speak of it, I love that album. And like I say, though, I'm having trouble decontextualizing this song from the whole. Right. And that's more about me. But if we really dial into it, when I say this is a good exemplification of Pavement as a whole, maybe it's a good exemplification of Wowie Zowie as a whole. It has that beauty and thoughtful lyricism where you're like, what's he talking about? What's going on? this is really interesting imagery. Is he talking about Corpus Christi, Texas? Or is he talking about Corpus Christi, the kind of event? Like, I remember just thinking right away, why is he singing about Texas? Like, I have that sense memory. And I have this song and some, I'm just a man. Like, I have just little bits of lyrics that are just always with me that I just hum to myself. And yeah, I, this is one of those songs where I just have sort of mindlessly sung it out loud to myself as i'm sort of tooling around my my life you know i don't know if you have that where you just have these lyrical lyrical fragments but this is definitely one of those songs.Track 3:[49:08] And uh i think um yeah it exemplifies both the band and the album in a really fascinating way for me cool well is there anything you want to say uh more about father to a sister of thought or, well you know i'm a lyrics guy and we didn't uh have a chance to get too far into it but i also i know that i mean it's on the surface it seems to be about spirituality and uh people's relationships to that but with malcolm is also you never really know um on some level i think he's spoken about this song and whatnot but um no i don't know all i'll say is i marvel at the guy and i don't think uh he's one of these people i don't think we marvel at enough as a guitar player as a musician as a as a lyricist and particularly on this song as a singer and i hope uh this isn't uh some people don't find this to be a hyperbole but you know i think we take him for granted as He's a vocalist, and this is a great example of what he can do.Track 3:[50:15] Agreed. Well, Vish, it's been dynamite to talk to you today. We went off on a few different directions, and I'm glad we got to do that. Do you want to talk a little bit more about you and the podcast? And I want to say right off the bat that I said it earlier, Creative Control, it's with K's, Creative Control. So if you're searching for it on the Google, you're going to want to spell it correctly. Correctly well thank you thank visha style of correctly well i will uh immediately say that this is a reference to a hot snake song of the same name creative control um so that's why i didn't make up the case thing and now there's like a fashion company called creative control and i think someone like fashions themselves a rapper and they call themselves creative control but they kind of show up and they don't show up i don't know what's going on but anyway yeah that's my show i mean on the internet they'll be like tweeting ramp like rabidly and then they just disappear. And then I don't know what's going on. Anyway. Yeah. Nothing to do. I, Hey, I copped the name from a band I like, so I can't really complain. Complain spelled with a K by the way.Track 3:[51:23] So, uh, yeah, I have this podcast and as we're speaking, uh, you know, it's, it's still going, uh, and it's more important to me than ever because, uh, it is now my main, job at the moment as maybe by October it won't be, but, um.Track 3:[51:41] Yeah, so all I can say is if you support the work of people like me and JD and want to support podcasters, crowdfunding, I don't know about you, JD, and we don't have to talk too much shop, but the advertising revenue is very minimal and it's honestly a little gross. No offense to your sponsors.Track 3:[52:01] I'd rather just not have it. Yeah, I'd rather not have it. But yeah, the crowdfunding and the Patreon that I have is particularly important to me at the moment. So I have different incentives and different tiers and all that kind of stuff, like pay tiers, and it's flexible and monthly and all that kind of stuff. So sorry to make this about the money. We've already talked about some of the content or whatever, like the people I talked to. Yeah, I'm proud of it. It seems to be relentless. It's never going to stop unless I do and stop making it. That sounded morbid. uh by the way if i die the show will likely die too i i just want to be clear about that but no i i love doing the show it's afforded me um some wonderful experiences and both in the conversations and then just from people like you jd reaching out wanting to talk i mean it means a lot to me so thank you for giving me a time to some time to plug and thank you for having me on this wonderful show of yours and for the the lovely conversation it means a lot yeah for me Me too. Thank you so much. All right, everybody, that's what we've got today. So be cool. Make sure you're safe and wash your goddamn hands.Track 1:[53:15] Thanks for listening to Meeting Malcolmists, a pavement podcast where we count down the top 50 pavement tracks as selected by you. If you've got questions or concerns, please shoot me an email. JD at MeetingMalcolmists.com. You.Support this podcast at — https://redcircle.com/meeting-malkmus-a-pavement-podcast/exclusive-contentAdvertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

In this episode, Therese Markow and Dr. Charles Easley IV discuss the significance of a father's lifestyle before conception and its effects on prenatal development. This comes about not by mutations in the sperm DNA, but through heritable changes in the way the father's genes are turned on and off during the development of the fetus.  THese changes are referred to as epigenetic. So it's not just about the mom, They thus explore the paternal origins of health and disease, highlight animal studies and human cohort studies that demonstrate intergenerational transmission of epigenetic changes, and discuss the dangers of toxic chemical exposure on male sperm.    Key Takeaways: To study the paternal effects on the fetus, we are able to do animal studies in the lab, however, for human studies, we can only study in cohorts after the fact, such as with the Dutch Famine, Michigan PBB, or, lately, the effects of COVID-19. Gary Miller is one of the leaders studying how paternal exposure prior to conception can have profound effects on the lifespan and healthy aging of future offspring. While we cannot pinpoint all the chemicals as having a lasting effect yet, it is important to try to be as healthy as you can. Certain chemicals, such as BPA and certain pesticides, have been studied to have an effect.  And not just the mother during pregnancy.   "We've got a lot more evidence to suggest that what the father does prior to conception can have a profound effect on the genes that are expressed during development, and can have profound effects on how these organs develop in the offspring." —  Dr. Charles Easley IV   Episode References:  The Dutch Famine Birth Cohort: https://www.ncbi.nlm.nih.gov/pmc/articles/PMC7934722/  The Michigan PBB Cohort: https://stacks.cdc.gov/view/cdc/3929/cdc_3929_DS1.pdf  The Poisoning of Michigan by Joyce Egginton: https://www.amazon.com/Poisoning-Michigan-Joyce-Egginton/dp/0870138677    Connect with Dr. Charles Easley IV: Professional Bio: https://publichealth.uga.edu/faculty-member/charles-a-easley/  Website: https://www.easleylab.com/  Email: cae25@uga.edu    Connect with Therese: Website: www.criticallyspeaking.net Threads: @critically_speaking Email: theresemarkow@criticallyspeaking.net     Audio production by Turnkey Podcast Productions. You're the expert. Your podcast will prove it. 

Please donate to help our friend Nico get top surgery here and share the link even if you can't donate!Now that the Line Bulls have learned about the ownership of the train, saved the track, and stashed away a Leviathan Tentacle, the cast of Ghosts on a Train discuss episodes 64 to 66 along with guest David. We discuss how Ditri formed in David's mind, Andrel's child development, Pip's becoming a better person through guilt, and advice for being a guest at an established table. The gang also discusses being Lawful Good in the bathroom and what Trials of the Apocalypse arcs you might enjoy!Find special guest David on Twitter @TotaPodcast, and occasionally on Twitch with https://www.twitch.tv/seroRPGGhost Lines by John Harper. Music by Sebastian Black and TJ Woods. Art by Yoshiko Agresta.Donate to an Abortion Fund. Twitter Thread with funds for Trigger Law States here. Donate to Equality Texas and Trans Texas. https://ukrainewar.carrd.co/ https://www.navajowaterproject.org/ Follow us on Twitter @ghosts_train, and if you have questions or suggestions for the train email them to ghosttrainpod@gmail.com or leave a voice message at https://anchor.fm/ghosts-on-a-train/message and you might hear yourself on the showWe are a proud member of the Faustian Nonsense Network of podcasts! Join the Faustian Nonsense Network discord here, and support us by joining the FN Patreon!Help the Show by Rating and Reviewing on Apple Podcasts

Two-time Emmy and Three-time NAACP Image Award-winning, television Executive Producer Rushion McDonald, interviewed Dominique Easley.   His company, Shedd Construction LLC, started in 2018.  The provide the following services electrical, plumbing, roofing, HVAC, flooring, custom carpentry work, and drywall. When he moved to Atlanta in 2022 he got his real estate license. He then became inspired to start fixing and flipping homes, so he asked around to meet different contractors. An associate introduced him to Hunter, which sparked his interest in potentially having ownership in a construction company.  So after working with Hunter for six months, Easley invested in the company, and now, since January 2024, they have created the company Loud 27 House LLC.  This is where they fix and flip homes to create a forever home or a dream for the next homeowner.Support the show: https://www.steveharveyfm.com/See omnystudio.com/listener for privacy information.