Podcasts about Excerpt

Excerpt from Mediator Dei by Pope Pius XIISponsored by Charity Mobilehttps://www.charitymobile.com/rtt.phpSources:https://www.returntotradition.orgContact Me:Email: return2catholictradition@gmail.comSupport My Work:Patreonhttps://www.patreon.com/AnthonyStineSubscribeStarhttps://www.subscribestar.net/return-to-traditionBuy Me A Coffeehttps://www.buymeacoffee.com/AnthonyStinePhysical Mail:Anthony StinePO Box 3048Shawnee, OK74802Follow me on the following social media:https://www.facebook.com/ReturnToCatholicTradition/https://twitter.com/pontificatormax+JMJ+

The creative diet, The Trove, and sandbox energy. Kosta Galanopoulos (RIO KOSTA, PWNT) RIO KOSTA - Ancients (Official Music Video)- https://www.youtube RIO KOSTA - It's Starting (Official Music Video)- https://www.youtube RIO KOSTA - Higher (Official Music Video)- https://www.youtube RIO KOSTA - UNICORN (Lyric Video)- https://www.youtube "The sound of RIO KOSTA, aka Mike Del Rio & Kosta Galanopoulos, echoes much of their respective heritages – with Kosta's Greek background further flavoured by time in the Bahamas, and Mike being inspired by his Spanish and Italian roots, his time growing up in New York, and especially revisiting his identity following the passing of his Puerto Rican grandmother. Just as their music breaks free from genre constraints, their journey crosses borders without the need for a metaphorical passport. You could visualise them lost in the moment as day drifts to night at Coachella, like spiritual cousins to Khruangbin, but you could just as equally imagine them amidst the psychedelic haze of the original Woodstock." Excerpt from https://twntythree.com RIO KOSTA: Bandcamp: https://riokosta.bandcamp.com Instagram: @rio.kosta Website: https://www.riokosta.tv Records: https://riokosta.redstarmerch.com PWNT: Bandcamp: https://pwnt.bandcamp.com Instagram: @playwhatsnotthere Website: https://www.playwhatsnotthere.net Records: https://shop.acrophase.com Merch: https://pwnt.bandcamp.com/merch The Vineyard: Instagram: @thevineyardpodcast Website: https://www.thevineyardpodcast.com Youtube: https://www.youtube.com/@thevineyardpodcast

In 1969, LGBTQ+ patrons at the Stonewall Inn fought back against a violent police raid — and sparked a global movement. More than 50 years later, the fight continues. Under President Donald Trump's second term, the National Park Service quietly removed “transgender” and “T” and “Q” from the Stonewall National Monument website. USA TODAY National Correspondent Michael Collins joins The Excerpt to share his reporting on Stonewall veterans who fear history is being rewritten.Let us know what you think of this episode by sending an email to podcasts@usatoday.com.See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Ishdeep joins Bailey to talk about the role of data engineers in football. Event, tracking, and physical data. The difference between what's publicly available and what the clubs are working on. *This is the first 15 minutes of the show. For the full episode, and all our other content on the 93:20 player, you can join below - for less than the price of a pint of beer each month.* ninetythreetwenty.com/9320-player/about-9320-player/ SIGN UP FOR OUR NEWSLETTER! A FREE WEEKLY UPDATE WITH NEW CONTENT GUARANTEED AND A WHOLE LOT MORE. CLICK THE LINK BELOW AND ENTER YOUR EMAIL IN THE BOX. ninetythreetwenty.com/the-9320-newsletter/

Climate change, global warming – we've all heard the steady drumbeat of doom. But a recent five-year forecast, by the World Meteorological Organization and the U.K. Meteorological Office, puts it starkly: The world will likely soon break another annual temperature record and, according to the Associated Press, the heat will be deadly. What would happen if we embraced the idea that the future still rests firmly in our hands? Is it in our nature to learn, adapt and change? And, equally important, is there still time? Author and climate scientist Kate Marvel dives into those questions in her new book “Human Nature,” on bookshelves now. She joins USA TODAY's The Excerpt to share her perspective.See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

This is an excerpt of the video episode 95, with the FULL VIDEO found here, on our Reality Test Patreon.The FULL AUDIO is wherever you get your pods, including AppleSpotify& YouTubeDr.s Kay and Ray assign superlatives to the cast of Love Island USA from the first three weeks of season 7! Using the 8 awards they give during awards episodes, Dr.s Kay & Ray each share whom they felt were the most cringe, most patriarchal (TestosterBONED award!), most grown, and much more across various moments of love, drama, and Hudamaiah (among other couplings) from episodes 1-17. They agree on the last award–do you agree with them? Which couples have been your favorites? Which castmates have been the most cringe? What changes would you make to Dr.s Kay & Ray's superlatives? -------------------------------------------------------------------Listeners! Come visit the Patreon for free at⁠⁠ ⁠patreon.com/RealityTest⁠⁠⁠ & check out some of the benefits of a free membership & the paid tier! -------------------------------------------------------------------Reality testing is when we check an emotion or thought we're having against objective reality. So, here in Reality Test, we're going to be testing the thoughts, emotions, interactions, and producer antics of reality television against what we know, as licensed psychologists, about objective reality. Come with us, let's Reality Test!Hosts: Dr. Kay & Dr. RayThank you to our sound extraordinaire, Connor!Patreon: patreon.com/RealityTestInstagram: @drkaypods @drraypodsTikTok: @dr.realitvFacebook Page: Reality Test PodYouTube Channel: @RealityTestPodEmail: realitycheckpodding@gmail.com

Send us a textEp 625: Beach House Views Erotica Excerpt, Breeding written by podcast host and author Ruan Willow. Get my erotic suspense thriller novel on Theo Reads! Chapters 1 through 7 are now live and each week a new chapter will release. On Theo Reads  you can search for EXACTLY what you want by searching by trope, kink, gender, orientation, spice level, and sub-genre.Read Beach House Views Chapter 1 for Free: https://www.theoreads.com/story/71ba59ce-badd-4472-90af-b2d324c6a332/viewRead Chapter 2: https://www.theoreads.com/story/f54de852-a529-4ee5-9764-21ea3363ae26/viewTROPES of Beach House Views:*Dark Romance *Erotic *Thriller *Suspense *Stalker *Breeding  *Open Door High spiceHeterosexual couple, she's bicuriousBeach House Views book blurb:Juniper and Bridge find their dream house. It's on the beach! The house is eerily perfect, and the couple can't help but be drawn to its charm and the allure of its famous previous owner. The house seems to be the perfect place for them to start a new chapter in their lives and maybe make a top-notch nursery for that baby they've so desperately been trying for.  During their tour, Juniper finds a mysterious object in the kitchen, a hidden key in an odd place, hinting that there may be more to this fantasy home than meets the eye. After they settle in to the house, mysteries pop up, but they dismiss them as meaningless, that is until they can't deny something odd, and devious, could be going on with the house. They continue to enjoy each other though, on their baby making breeding spree, trying out every room in their quest to create new life. When things start to go south, they find the beach views they didn't want, and the danger of the mysterious occurrences becomes villainous.Support the showSubscribe for exclusives: https://www.buzzsprout.com/1599808/subscribeSign up for Ruan's newsletters: https://subscribepage.io/ruanwillowhttps://linktr.ee/RuanWillowI Dare You book https://books.ruanwillowauthor.com/idareyouthesaturdaysexchallenge NO AI TRAINING

For those who haven't heard the announcement I posted, songs from this point on will sometimes be split among multiple episodes, so this is the second part of a two-episode look at the song “Who Knows Where The Time Goes?” by Fairport Convention, and the intertwining careers of Joe Boyd, Sandy Denny, and Richard Thompson. Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have a forty-one-minute bonus episode available, on Judy Collins’ version of this song. Tilt Araiza has assisted invaluably by editing, and will hopefully be doing so from now on. Check out Tilt's irregular podcasts at http://www.podnose.com/jaffa-cakes-for-proust and http://sitcomclub.com/ Erratum For about an hour this was uploaded with the wrong Elton John clip in place of “Saturday Sun”. This has now been fixed. Resources Because of the increasing problems with Mixcloud’s restrictions, I have decided to start sharing streaming playlists of the songs used in episodes instead of Mixcloud ones. This Tunemymusic link will let you listen to the playlist I created on your streaming platform of choice — however please note that not all the songs excerpted are currently available on streaming. The songs missing from the Tidal version are “Shanten Bells” by the Ian Campbell Folk Group, “Tom’s Gone to Hilo” by A.L. Lloyd, two by Paul McNeill and Linda Peters, three by Elton John & Linda Peters, “What Will I Do With Tomorrow” by Sandy Denny and “You Never Know” by Charlie Drake, but the other fifty-nine are there. Other songs may be missing from other services. The main books I used on Fairport Convention as a whole were Patrick Humphries' Meet On The Ledge, Clinton Heylin's What We Did Instead of Holidays, and Kevan Furbank's Fairport Convention on Track. Rob Young's Electric Eden is the most important book on the British folk-rock movement. Information on Richard Thompson comes from Patrick Humphries' Richard Thompson: Strange Affair and Thompson's own autobiography Beeswing.  Information on Sandy Denny comes from Clinton Heylin's No More Sad Refrains and Mick Houghton's I've Always Kept a Unicorn. I also used Joe Boyd's autobiography White Bicycles and Chris Blackwell's The Islander.  And this three-CD set is the best introduction to Fairport's music currently in print. Transcript Before we begin, this episode contains reference to alcohol and cocaine abuse and medical neglect leading to death. It also starts with some discussion of the fatal car accident that ended last episode. There’s also some mention of child neglect and spousal violence. If that’s likely to upset you, you might want to skip this episode or read the transcript. One of the inspirations for this podcast when I started it back in 2018 was a project by Richard Thompson, which appears (like many things in Thompson’s life) to have started out of sheer bloody-mindedness. In 1999 Playboy magazine asked various people to list their “songs of the Millennium”, and most of them, understanding the brief, chose a handful of songs from the latter half of the twentieth century. But Thompson determined that he was going to list his favourite songs *of the millennium*. He didn’t quite manage that, but he did cover seven hundred and forty years, and when Playboy chose not to publish it, he decided to turn it into a touring show, in which he covered all his favourite songs from “Sumer Is Icumen In” from 1260: [Excerpt: Richard Thompson, “Sumer is Icumen In”] Through numerous traditional folk songs, union songs like “Blackleg Miner”, pieces by early-modern composers, Victorian and Edwardian music hall songs, and songs by the Beatles, the Ink Spots, the Kinks, and the Who, all the way to “Oops! I Did It Again”: [Excerpt: Richard Thompson, “Oops! I Did it Again”] And to finish the show, and to show how all this music actually ties together, he would play what he described as a “medieval tune from Brittany”, “Marry, Ageyn Hic Hev Donne Yt”: [Excerpt: Richard Thompson, “Marry, Ageyn Hic Hev Donne Yt”] We have said many times in this podcast that there is no first anything, but there’s a reason that Liege and Lief, Fairport Convention’s third album of 1969, and the album other than Unhalfbricking on which their reputation largely rests, was advertised with the slogan “The first (literally) British folk rock album ever”. Folk-rock, as the term had come to be known, and as it is still usually used today, had very little to do with traditional folk music. Rather, the records of bands like The Byrds or Simon and Garfunkel were essentially taking the sounds of British beat groups of the early sixties, particularly the Searchers, and applying those sounds to material by contemporary singer-songwriters. People like Paul Simon and Bob Dylan had come up through folk clubs, and their songs were called folk music because of that, but they weren’t what folk music had meant up to that point — songs that had been collected after being handed down through the folk process, changed by each individual singer, with no single identifiable author. They were authored songs by very idiosyncratic writers. But over their last few albums, Fairport Convention had done one or two tracks per album that weren’t like that, that were instead recordings of traditional folk songs, but arranged with rock instrumentation. They were not necessarily the first band to try traditional folk music with electric instruments — around the same time that Fairport started experimenting with the idea, so did an Irish band named Sweeney’s Men, who brought in a young electric guitarist named Henry McCullough briefly. But they do seem to have been the first to have fully embraced the idea. They had done so to an extent with “A Sailor’s Life” on Unhalfbricking, but now they were going to go much further: [Excerpt: Fairport Convention, “Matty Groves” (from about 4:30)] There had been some doubt as to whether Fairport Convention would even continue to exist — by the time Unhalfbricking, their second album of the year, was released, they had been through the terrible car accident that had killed Martin Lamble, the band’s drummer, and Jeannie Franklyn, Richard Thompson’s girlfriend. Most of the rest of the band had been seriously injured, and they had made a conscious decision not to discuss the future of the band until they were all out of hospital. Ashley Hutchings was hospitalised the longest, and Simon Nicol, Richard Thompson, and Sandy Denny, the other three surviving members of the band, flew over to LA with their producer and manager, Joe Boyd, to recuperate there and get to know the American music scene. When they came back, the group all met up in the flat belonging to Denny’s boyfriend Trevor Lucas, and decided that they were going to continue the band. They made a few decisions then — they needed a new drummer, and as well as a drummer they wanted to get in Dave Swarbrick. Swarbrick had played violin on several tracks on Unhalfbricking as a session player, and they had all been thrilled to work with him. Swarbrick was one of the most experienced musicians on the British folk circuit. He had started out in the fifties playing guitar with Beryl Marriott’s Ceilidh Band before switching to fiddle, and in 1963, long before Fairport had formed, he had already appeared on TV with the Ian Campbell Folk Group, led by Ian Campbell, the father of Ali and Robin Campbell, later of UB40: [Excerpt: The Ian Campbell Folk Group, “Shanten Bells (medley on Hullaballoo!)”] He’d sung with Ewan MacColl and A.L. Lloyd: [Excerpt: A.L. Lloyd, “Tom’s Gone to Hilo” ] And he’d formed his hugely successful duo with Martin Carthy, releasing records like “Byker Hill” which are often considered among the best British folk music of all time: [Excerpt: Martin Carthy and Dave Swarbrick, “Byker Hill”] By the time Fairport had invited him to play on Unhalfbricking, Swarbrick had already performed on twenty albums as a core band member, plus dozens more EPs, singles, and odd tracks on compilations. They had no reason to think they could actually get him to join their band. But they had three advantages. The first was that Swarbrick was sick of the traditional folk scene at the time, saying later “I didn’t like seven-eighths of the people involved in it, and it was extremely opportune to leave. I was suddenly presented with the possibilities of exploring the dramatic content of the songs to the full.” The second was that he was hugely excited to be playing with Richard Thompson, who was one of the most innovative guitarists of his generation, and Martin Carthy remembers him raving about Thompson after their initial sessions. (Carthy himself was and is no slouch on the guitar of course, and there was even talk of getting him to join the band at this point, though they decided against it — much to the relief of rhythm guitarist Simon Nicol, who is a perfectly fine player himself but didn’t want to be outclassed by *two* of the best guitarists in Britain at the same time). And the third was that Joe Boyd told him that Fairport were doing so well — they had a single just about to hit the charts with “Si Tu Dois Partir” — that he would only have to play a dozen gigs with Fairport in order to retire. As it turned out, Swarbrick would play with the group for a decade, and would never retire — I saw him on his last tour in 2015, only eight months before he died. The drummer the group picked was also a far more experienced musician than any of the rest, though in a very different genre. Dave Mattacks had no knowledge at all of the kind of music they played, having previously been a player in dance bands. When asked by Hutchings if he wanted to join the band, Mattacks’ response was “I don’t know anything about the music. I don’t understand it… I can’t tell one tune from another, they all sound the same… but if you want me to join the group, fine, because I really like it. I’m enjoying myself musically.” Mattacks brought a new level of professionalism to the band, thanks to his different background. Nicol said of him later “He was dilligent, clean, used to taking three white shirts to a gig… The application he could bring to his playing was amazing. With us, you only played well when you were feeling well.” This distinction applied to his playing as well. Nicol would later describe the difference between Mattacks’ drumming and Lamble’s by saying “Martin’s strength was as an imaginative drummer. DM came in with a strongly developed sense of rhythm, through keeping a big band of drunken saxophone players in order. A great time-keeper.” With this new line-up and a new sense of purpose, the group did as many of their contemporaries were doing and “got their heads together in the country”. Joe Boyd rented the group a mansion, Farley House, in Farley Chamberlayne, Hampshire, and they stayed there together for three months. At the start, the group seem to have thought that they were going to make another record like Unhalfbricking, with some originals, some songs by American songwriters, and a few traditional songs. Even after their stay in Farley Chamberlayne, in fact, they recorded a few of the American songs they’d rehearsed at the start of the process, Richard Farina’s “Quiet Joys of Brotherhood” and Bob Dylan and Roger McGuinn’s “Ballad of Easy Rider”: [Excerpt: Fairport Convention, “Ballad of Easy Rider”] Indeed, the whole idea of “getting our heads together in the country” (as the cliche quickly became in the late sixties as half of the bands in Britain went through much the same kind of process as Fairport were doing — but usually for reasons more to do with drug burnout or trend following than recovering from serious life-changing trauma) seems to have been inspired by Bob Dylan and the Band getting together in Big Pink. But very quickly they decided to follow the lead of Ashley Hutchings, who had had something of a Damascene conversion to the cause of traditional English folk music. They were listening mostly to Music From Big Pink by the Band, and to the first album by Sweeney’s Men: [Excerpt: Sweeney’s Men, “The Handsome Cabin Boy”] And they decided that they were going to make something that was as English as those records were North American and Irish (though in the event there were also a few Scottish songs included on the record). Hutchings in particular was becoming something of a scholar of traditional music, regularly visiting Cecil Sharp House and having long conversations with A.L. Lloyd, discovering versions of different traditional songs he’d never encountered before. This was both amusing and bemusing Sandy Denny, who had joined a rock group in part to get away from traditional music; but she was comfortable singing the material, and knew a lot of it and could make a lot of suggestions herself. Swarbrick obviously knew the repertoire intimately, and Nicol was amenable, while Mattacks was utterly clueless about the folk tradition at this point but knew this was the music he wanted to make. Thompson knew very little about traditional music, and of all the band members except Denny he was the one who has shown the least interest in the genre in his subsequent career — but as we heard at the beginning, showing the least interest in the genre is a relative thing, and while Thompson was not hugely familiar with the genre, he *was* able to work with it, and was also more than capable of writing songs that fit in with the genre. Of the eleven songs on the album, which was titled Liege and Lief (which means, roughly, Lord and Loyalty), there were no cover versions of singer-songwriters. Eight were traditional songs, and three were originals, all written in the style of traditional songs. The album opened with “Come All Ye”, an introduction written by Denny and Hutchings (the only time the two would ever write together): [Excerpt: Fairport Convention, “Come All Ye”] The other two originals were songs where Thompson had written new lyrics to traditional melodies. On “Crazy Man Michael”, Swarbrick had said to Thompson that the tune to which he had set his new words was weaker than the lyrics, to which Thompson had replied that if Swarbrick felt that way he should feel free to write a new melody. He did, and it became the first of the small number of Thompson/Swarbrick collaborations: [Excerpt: Fairport Convention, “Crazy Man Michael”] Thompson and Swarbrick would become a brief songwriting team, but as much as anything else it was down to proximity — the two respected each other as musicians, but never got on very well. In 1981 Swarbrick would say “Richard and I never got on in the early days of FC… we thought we did, but we never did. We composed some bloody good songs together, but it was purely on a basis of “you write that and I’ll write this, and we’ll put it together.” But we never sat down and had real good chats.” The third original on the album, and by far the most affecting, is another song where Thompson put lyrics to a traditional tune. In this case he thought he was putting the lyrics to the tune of “Willie O'Winsbury”, but he was basing it on a recording by Sweeney’s Men. The problem was that Sweeney’s Men had accidentally sung the lyrics of “Willie O'Winsbury'” to the tune of a totally different song, “Fause Foodrage”: [Excerpt: Sweeney’s Men, “Willie O’Winsbury”] Thompson took that melody, and set to it lyrics about loss and separation. Thompson has never been one to discuss the meanings of his lyrics in any great detail, and in the case of this one has said “I really don't know what it means. This song came out of a dream, and I pretty much wrote it as I dreamt it (it was the sixties), and didn't spend very long analyzing it. So interpret as you wish – or replace with your own lines.” But in the context of the traffic accident that had killed his tailor girlfriend and a bandmate, and injured most of his other bandmates, the lyrics about lonely travellers, the winding road, bruised and beaten sons, saying goodbye, and never cutting cloth, seem fairly self-explanatory: [Excerpt: Fairport Convention, “Farewell, Farewell”] The rest of the album, though, was taken up by traditional tunes. There was a long medley of four different fiddle reels; a version of “Reynardine” (a song about a seductive man — or is he a fox? Or perhaps both — which had been recorded by Swarbrick and Carthy on their most recent album); a 19th century song about a deserter saved from the firing squad by Prince Albert; and a long take on “Tam Lin”, one of the most famous pieces in the Scottish folk music canon, a song that has been adapted in different ways by everyone from the experimental noise band Current 93 to the dub poet Benjamin Zephaniah to the comics writer Grant Morrison: [Excerpt: Fairport Convention, “Tam Lin”] And “Matty Groves”, a song about a man killing his cheating wife and her lover, which actually has a surprisingly similar story to that of “1921” from another great concept album from that year, the Who’s Tommy. “Matty Groves” became an excuse for long solos and shows of instrumental virtuosity: [Excerpt: Fairport Convention, “Matty Groves”] The album was recorded in September 1969, after their return from their break in the country and a triumphal performance at the Royal Festival Hall, headlining over fellow Witchseason artists John and Beverly Martyn and Nick Drake. It became a classic of the traditional folk genre — arguably *the* classic of the traditional folk genre. In 2007 BBC Radio 2’s Folk Music Awards gave it an award for most influential folk album of all time, and while such things are hard to measure, I doubt there’s anyone with even the most cursory knowledge of British folk and folk-rock music who would not at least consider that a reasonable claim. But once again, by the time the album came out in November, the band had changed lineups yet again. There was a fundamental split in the band – on one side were Sandy Denny and Richard Thompson, whose stance was, roughly, that Liege and Lief was a great experiment and a fun thing to do once, but really the band had two first-rate songwriters in themselves, and that they should be concentrating on their own new material, not doing these old songs, good as they were. They wanted to take the form of the traditional songs and use that form for new material — they wanted to make British folk-rock, but with the emphasis on the rock side of things. Hutchings, on the other hand, was equally sure that he wanted to make traditional music and go further down the rabbit hole of antiquity. With the zeal of the convert he had gone in a couple of years from being the leader of a band who were labelled “the British Jefferson Airplane” to becoming a serious scholar of traditional folk music. Denny was tired of touring, as well — she wanted to spend more time at home with Trevor Lucas, who was sleeping with other women when she was away and making her insecure. When the time came for the group to go on a tour of Denmark, Denny decided she couldn’t make it, and Hutchings was jubilant — he decided he was going to get A.L. Lloyd into the band in her place and become a *real* folk group. Then Denny reconsidered, and Hutchings was crushed. He realised that while he had always been the leader, he wasn’t going to be able to lead the band any further in the traditionalist direction, and quit the group — but not before he was delegated by the other band members to fire Denny. Until the publication of Richard Thompson’s autobiography in 2022, every book on the group or its members said that Denny quit the band again, which was presumably a polite fiction that the band agreed, but according to Thompson “Before we flew home, we decided to fire Sandy. I don't remember who asked her to leave – it was probably Ashley, who usually did the dirty work. She was reportedly shocked that we would take that step. She may have been fragile beneath the confident facade, but she still knew her worth.” Thompson goes on to explain that the reasons for kicking her out were that “I suppose we felt that in her mind she had already left” and that “We were probably suffering from post-traumatic stress disorder, though there wasn't a name for it back then.” They had considered inviting Trevor Lucas to join the band to make Denny more comfortable, but came to the (probably correct) conclusion that while he was someone they got on well with personally, he would be another big ego in a band that already had several, and that being around Denny and Lucas’ volatile relationship would, in Thompson’s phrasing, “have not always given one a feeling of peace and stability.” Hutchings originally decided he was going to join Sweeney’s Men, but that group were falling apart, and their first rehearsal with Hutchings would also be their last as a group, with only Hutchings and guitarist and mandolin player Terry Woods left in the band. They added Woods’ wife Gay, and another couple, Tim Hart and Maddy Prior, and formed a group called Steeleye Span, a name given them by Martin Carthy. That group, like Fairport, went to “get their heads together in the country” for three months and recorded an album of electric versions of traditional songs, Hark the Village Wait, on which Mattacks and another drummer, Gerry Conway, guested as Steeleye Span didn’t at the time have their own drummer: [Excerpt: Steeleye Span, “Blackleg Miner”] Steeleye Span would go on to have a moderately successful chart career in the seventies, but by that time most of the original lineup, including Hutchings, had left — Hutchings stayed with them for a few albums, then went on to form the first of a series of bands, all called the Albion Band or variations on that name, which continue to this day. And this is something that needs to be pointed out at this point — it is impossible to follow every single individual in this narrative as they move between bands. There is enough material in the history of the British folk-rock scene that someone could do a 500 Songs-style podcast just on that, and every time someone left Fairport, or Steeleye Span, or the Albion Band, or Matthews’ Southern Comfort, or any of the other bands we have mentioned or will mention, they would go off and form another band which would then fission, and some of its members would often join one of those other bands. There was a point in the mid-1970s where the Albion Band had two original members of Fairport Convention while Fairport Convention had none. So just in order to keep the narrative anything like wieldy, I’m going to keep the narrative concentrated on the two figures from Fairport — Sandy Denny and Richard Thompson — whose work outside the group has had the most influence on the wider world of rock music more broadly, and only deal with the other members when, as they often did, their careers intersected with those two. That doesn’t mean the other members are not themselves hugely important musicians, just that their importance has been primarily to the folk side of the folk-rock genre, and so somewhat outside the scope of this podcast. While Hutchings decided to form a band that would allow him to go deeper and deeper into traditional folk music, Sandy Denny’s next venture was rather different. For a long time she had been writing far more songs than she had ever played for her bandmates, like “Nothing More”, a song that many have suggested is about Thompson: [Excerpt: Fotheringay, “Nothing More”] When Joe Boyd heard that Denny was leaving Fairport Convention, he was at first elated. Fairport’s records were being distributed by A&M in the US at that point, but Island Records was in the process of opening up a new US subsidiary which would then release all future Fairport product — *but*, as far as A&M were concerned, Sandy Denny *was* Fairport Convention. They were only interested in her. Boyd, on the other hand, loved Denny’s work intensely, but from his point of view *Richard Thompson* was Fairport Convention. If he could get Denny signed directly to A&M as a solo artist before Island started its US operations, Witchseason could get a huge advance on her first solo record, while Fairport could continue making records for Island — he’d have two lucrative acts, on different labels. Boyd went over and spoke to A&M and got an agreement in principle that they would give Denny a forty-thousand-dollar advance on her first solo album — twice what they were paying for Fairport albums. The problem was that Denny didn’t want to be a solo act. She wanted to be the lead singer of a band. She gave many reasons for this — the one she gave to many journalists was that she had seen a Judy Collins show and been impressed, but noticed that Collins’ band were definitely a “backing group”, and as she put it “But that's all they were – a backing group. I suddenly thought, If you're playing together on a stage you might as well be TOGETHER.” Most other people in her life, though, say that the main reason for her wanting to be in a band was her desire to be with her boyfriend, Trevor Lucas. Partly this was due to a genuine desire to spend more time with someone with whom she was very much in love, partly it was a fear that he would cheat on her if she was away from him for long periods of time, and part of it seems to have been Lucas’ dislike of being *too* overshadowed by his talented girlfriend — he didn’t mind acknowledging that she was a major talent, but he wanted to be thought of as at least a minor one. So instead of going solo, Denny formed Fotheringay, named after the song she had written for Fairport. This new band consisted at first of Denny on vocals and occasional piano, Lucas on vocals and rhythm guitar, and Lucas’ old Eclection bandmate Gerry Conway on drums. For a lead guitarist, they asked Richard Thompson who the best guitarist in Britain was, and he told them Albert Lee. Lee in turn brought in bass player Pat Donaldson, but this lineup of the band barely survived a fortnight. Lee *was* arguably the best guitarist in Britain, certainly a reasonable candidate if you could ever have a singular best (as indeed was Thompson himself), but he was the best *country* guitarist in Britain, and his style simply didn’t fit with Fotheringay’s folk-influenced songs. He was replaced by American guitarist Jerry Donahue, who was not anything like as proficient as Lee, but who was still very good, and fit the band’s style much better. The new group rehearsed together for a few weeks, did a quick tour, and then went into the recording studio to record their debut, self-titled, album. Joe Boyd produced the album, but admitted himself that he only paid attention to those songs he considered worthwhile — the album contained one song by Lucas, “The Ballad of Ned Kelly”, and two cover versions of American singer-songwriter material with Lucas singing lead. But everyone knew that the songs that actually *mattered* were Sandy Denny’s, and Boyd was far more interested in them, particularly the songs “The Sea” and “The Pond and the Stream”: [Excerpt: Fotheringay, “The Pond and the Stream”] Fotheringay almost immediately hit financial problems, though. While other Witchseason acts were used to touring on the cheap, all packed together in the back of a Transit van with inexpensive equipment, Trevor Lucas had ambitions of being a rock star and wanted to put together a touring production to match, with expensive transport and equipment, including a speaker system that got nicknamed “Stonehenge” — but at the same time, Denny was unhappy being on the road, and didn’t play many gigs. As well as the band itself, the Fotheringay album also featured backing vocals from a couple of other people, including Denny’s friend Linda Peters. Peters was another singer from the folk clubs, and a good one, though less well-known than Denny — at this point she had only released a couple of singles, and those singles seemed to have been as much as anything else released as a novelty. The first of those, a version of Dylan’s “You Ain’t Goin’ Nowhere” had been released as by “Paul McNeill and Linda Peters”: [Excerpt: Paul McNeill and Linda Peters, “You Ain’t Goin’ Nowhere”] But their second single, a version of John D. Loudermilk’s “You’re Taking My Bag”, was released on the tiny Page One label, owned by Larry Page, and was released under the name “Paul and Linda”, clearly with the intent of confusing particularly gullible members of the record-buying public into thinking this was the McCartneys: [Excerpt: Paul and Linda, “You’re Taking My Bag”] Peters was though more financially successful than almost anyone else in this story, as she was making a great deal of money as a session singer. She actually did another session involving most of Fotheringay around this time. Witchseason had a number of excellent songwriters on its roster, and had had some success getting covers by people like Judy Collins, but Joe Boyd thought that they might possibly do better at getting cover versions if they were performed in less idiosyncratic arrangements. Donahue, Donaldson, and Conway went into the studio to record backing tracks, and vocals were added by Peters and another session singer, who according to some sources also provided piano. They cut songs by Mike Heron of the Incredible String Band: [Excerpt: Linda Peters, “You Get Brighter”] Ed Carter, formerly of The New Nadir but by this time firmly ensconced in the Beach Boys’ touring band where he would remain for the next quarter-century: [Excerpt: Linda Peters, “I Don’t Mind”] John and Beverly Martyn, and Nick Drake: [Excerpt: Elton John, “Saturday Sun”] There are different lineups of musicians credited for those sessions in different sources, but I tend to believe that it’s mostly Fotheringay for the simple reason that Donahue says it was him, Donaldson and Conway who talked Lucas and Denny into the mistake that destroyed Fotheringay because of these sessions. Fotheringay were in financial trouble already, spending far more money than they were bringing in, but their album made the top twenty and they were getting respect both from critics and from the public — in September, Sandy Denny was voted best British female singer by the readers of Melody Maker in their annual poll, which led to shocked headlines in the tabloids about how this “unknown” could have beaten such big names as Dusty Springfield and Cilla Black. Only a couple of weeks after that, they were due to headline at the Albert Hall. It should have been a triumph. But Donahue, Donaldson, and Conway had asked that singing pianist to be their support act. As Donahue said later “That was a terrible miscast. It was our fault. He asked if [he] could do it. Actually Pat, Gerry and I had to talk Sandy and Trevor into [it]… We'd done these demos and the way he was playing – he was a wonderful piano player – he was sensitive enough. We knew very little about his stage-show. We thought he'd be a really good opener for us.” Unfortunately, Elton John was rather *too* good. As Donahue continued “we had no idea what he had in mind, that he was going to do the most incredible rock & roll show ever. He pretty much blew us off the stage before we even got on the stage.” To make matters worse, Fotheringay’s set, which was mostly comprised of new material, was underrehearsed and sloppy, and from that point on no matter what they did people were counting the hours until the band split up. They struggled along for a while though, and started working on a second record, with Boyd again producing, though as Boyd later said “I probably shouldn't have been producing the record. My lack of respect for the group was clear, and couldn't have helped the atmosphere. We'd put out a record that had sold disappointingly, A&M was unhappy. Sandy's tracks on the first record are among the best things she ever did – the rest of it, who cares? And the artwork, Trevor's sister, was terrible. It would have been one thing if I'd been unhappy with it and it sold, and the group was working all the time, making money, but that wasn't the case … I knew what Sandy was capable of, and it was very upsetting to me.” The record would not be released for thirty-eight years: [Excerpt: Fotheringay, “Wild Mountain Thyme”] Witchseason was going badly into debt. Given all the fissioning of bands that we’ve already been talking about, Boyd had been stretched thin — he produced sixteen albums in 1970, and almost all of them lost money for the company. And he was getting more and more disillusioned with the people he was producing. He loved Beverly Martyn’s work, but had little time for her abusive husband John, who was dominating her recording and life more and more and would soon become a solo artist while making her stay at home (and stealing her ideas without giving her songwriting credit). The Incredible String Band were great, but they had recently converted to Scientology, which Boyd found annoying, and while he was working with all sorts of exciting artists like Vashti Bunyan and Nico, he was finding himself less and less important to the artists he mentored. Fairport Convention were a good example of this. After Denny and Hutchings had left the group, they’d decided to carry on as an electric folk group, performing an equal mix of originals by the Swarbrick and Thompson songwriting team and arrangements of traditional songs. The group were now far enough away from the “British Jefferson Airplane” label that they decided they didn’t need a female vocalist — and more realistically, while they’d been able to replace Judy Dyble, nobody was going to replace Sandy Denny. Though it’s rather surprising when one considers Thompson’s subsequent career that nobody seems to have thought of bringing in Denny’s friend Linda Peters, who was dating Joe Boyd at the time (as Denny had been before she met Lucas) as Denny’s replacement. Instead, they decided that Swarbrick and Thompson were going to share the vocals between them. They did, though, need a bass player to replace Hutchings. Swarbrick wanted to bring in Dave Pegg, with whom he had played in the Ian Campbell Folk Group, but the other band members initially thought the idea was a bad one. At the time, while they respected Swarbrick as a musician, they didn’t think he fully understood rock and roll yet, and they thought the idea of getting in a folkie who had played double bass rather than an electric rock bassist ridiculous. But they auditioned him to mollify Swarbrick, and found that he was exactly what they needed. As Joe Boyd later said “All those bass lines were great, Ashley invented them all, but he never could play them that well. He thought of them, but he was technically not a terrific bass player. He was a very inventive, melodic, bass player, but not a very powerful one technically. But having had the part explained to him once, Pegg was playing it better than Ashley had ever played it… In some rock bands, I think, ultimately, the bands that sound great, you can generally trace it to the bass player… it was at that point they became a great band, when they had Pegg.” The new lineup of Fairport decided to move in together, and found a former pub called the Angel, into which all the band members moved, along with their partners and children (Thompson was the only one who was single at this point) and their roadies. The group lived together quite happily, and one gets the impression that this was the period when they were most comfortable with each other, even though by this point they were a disparate group with disparate tastes, in music as in everything else. Several people have said that the only music all the band members could agree they liked at this point was the first two albums by The Band. With the departure of Hutchings from the band, Swarbrick and Thompson, as the strongest personalities and soloists, became in effect the joint leaders of the group, and they became collaborators as songwriters, trying to write new songs that were inspired by traditional music. Thompson described the process as “let’s take one line of this reel and slow it down and move it up a minor third and see what that does to it; let’s take one line of this ballad and make a whole song out of it. Chopping up the tradition to find new things to do… like a collage.” Generally speaking, Swarbrick and Thompson would sit by the fire and Swarbrick would play a melody he’d been working on, the two would work on it for a while, and Thompson would then go away and write the lyrics. This is how the two came up with songs like the nine-minute “Sloth”, a highlight of the next album, Full House, and one that would remain in Fairport’s live set for much of their career: [Excerpt: Fairport Convention, “Sloth”] “Sloth” was titled that way because Thompson and Swarbrick were working on two tunes, a slow one and a fast one, and they jokingly named them “Sloth” and “Fasth”, but the latter got renamed to “Walk Awhile”, while “Sloth” kept its working title. But by this point, Boyd and Thompson were having a lot of conflict in the studio. Boyd was never the most technical of producers — he was one of those producers whose job is to gently guide the artists in the studio and create a space for the music to flourish, rather than the Joe Meek type with an intimate technical knowledge of the studio — and as the artists he was working with gained confidence in their own work they felt they had less and less need of him. During the making of the Full House album, Thompson and Boyd, according to Boyd, clashed on everything — every time Boyd thought Thompson had done a good solo, Thompson would say to erase it and let him have another go, while every time Boyd thought Thompson could do better, Thompson would say that was the take to keep. One of their biggest clashes was over Thompson’s song “Poor Will and the Jolly Hangman”, which was originally intended for release on the album, and is included in current reissues of it: [Excerpt: Fairport Convention, “Poor Will and the Jolly Hangman”] Thompson had written that song inspired by what he thought was the unjust treatment of Alex Bramham, the driver in Fairport’s fatal car crash, by the courts — Bramham had been given a prison sentence of a few months for dangerous driving, while the group members thought he had not been at fault. Boyd thought it was one of the best things recorded for the album, but Thompson wasn’t happy with his vocal — there was one note at the top of the melody that he couldn’t quite hit — and insisted it be kept off the record, even though that meant it would be a shorter album than normal. He did this at such a late stage that early copies of the album actually had the title printed on the sleeve, but then blacked out. He now says in his autobiography “I could have persevered, double-tracked the voice, warmed up for longer – anything. It was a good track, and the record was lacking without it. When the album was re-released, the track was restored with a more confident vocal, and it has stayed there ever since.” During the sessions for Full House the group also recorded one non-album single, Thompson and Swarbrick’s “Now Be Thankful”: [Excerpt, Fairport Convention, “Now Be Thankful”] The B-side to that was a medley of two traditional tunes plus a Swarbrick original, but was given the deliberately ridiculous title “Sir B. McKenzie’s Daughter’s Lament For The 77th Mounted Lancers Retreat From The Straits Of Loch Knombe, In The Year Of Our Lord 1727, On The Occasion Of The Announcement Of Her Marriage To The Laird Of Kinleakie”: [Excerpt: Fairport Convention, “Sir B. McKenzie’s Daughter’s Lament For The 77th Mounted Lancers Retreat From The Straits Of Loch Knombe, In The Year Of Our Lord 1727, On The Occasion Of The Announcement Of Her Marriage To The Laird Of Kinleakie”] The B. McKenzie in the title was a reference to the comic-strip character Barry McKenzie, a stereotype drunk Australian created for Private Eye magazine by the comedian Barry Humphries (later to become better known for his Dame Edna Everage character) but the title was chosen for one reason only — to get into the Guinness Book of Records for the song with the longest title. Which they did, though they were later displaced by the industrial band Test Dept, and their song “Long Live British Democracy Which Flourishes and Is Constantly Perfected Under the Immaculate Guidance of the Great, Honourable, Generous and Correct Margaret Hilda Thatcher. She Is the Blue Sky in the Hearts of All Nations. Our People Pay Homage and Bow in Deep Respect and Gratitude to Her. The Milk of Human Kindness”. Full House got excellent reviews in the music press, with Rolling Stone saying “The music shows that England has finally gotten her own equivalent to The Band… By calling Fairport an English equivalent of the Band, I meant that they have soaked up enough of the tradition of their countryfolk that it begins to show all over, while they maintain their roots in rock.” Off the back of this, the group went on their first US tour, culminating in a series of shows at the Troubadour in LA, on the same bill as Rick Nelson, which were recorded and later released as a live album: [Excerpt: Fairport Convention, “Sloth (live)”] The Troubadour was one of the hippest venues at the time, and over their residency there the group got seen by many celebrities, some of whom joined them on stage. The first was Linda Ronstadt, who initially demurred, saying she didn’t know any of their songs. On being told they knew all of hers, she joined in with a rendition of “Silver Threads and Golden Needles”. Thompson was later asked to join Ronstadt’s backing band, who would go on to become the Eagles, but he said later of this offer “I would have hated it. I’d have hated being on the road with four or five miserable Americans — they always seem miserable. And if you see them now, they still look miserable on stage — like they don’t want to be there and they don’t like each other.” The group were also joined on stage at the Troubadour on one memorable night by some former bandmates of Pegg’s. Before joining the Ian Campbell Folk Group, Pegg had played around the Birmingham beat scene, and had been in bands with John Bonham and Robert Plant, who turned up to the Troubadour with their Led Zeppelin bandmate Jimmy Page (reports differ on whether the fourth member of Zeppelin, John Paul Jones, also came along). They all got up on stage together and jammed on songs like “Hey Joe”, “Louie Louie”, and various old Elvis tunes. The show was recorded, and the tapes are apparently still in the possession of Joe Boyd, who has said he refuses to release them in case he is murdered by the ghost of Peter Grant. According to Thompson, that night ended in a three-way drinking contest between Pegg, Bonham, and Janis Joplin, and it’s testament to how strong the drinking culture is around Fairport and the British folk scene in general that Pegg outdrank both of them. According to Thompson, Bonham was found naked by a swimming pool two days later, having missed two gigs. For all their hard rock image, Led Zeppelin were admirers of a lot of the British folk and folk-rock scene, and a few months later Sandy Denny would become the only outside vocalist ever to appear on a Led Zeppelin record when she duetted with Plant on “The Battle of Evermore” on the group’s fourth album: [Excerpt: Led Zeppelin, “The Battle of Evermore”] Denny would never actually get paid for her appearance on one of the best-selling albums of all time. That was, incidentally, not the only session that Denny was involved in around this time — she also sang on the soundtrack to a soft porn film titled Swedish Fly Girls, whose soundtrack was produced by Manfred Mann: [Excerpt: Sandy Denny, “What Will I Do With Tomorrow?”] Shortly after Fairport’s trip to America, Joe Boyd decided he was giving up on Witchseason. The company was now losing money, and he was finding himself having to produce work for more and more acts as the various bands fissioned. The only ones he really cared about were Richard Thompson, who he was finding it more and more difficult to work with, Nick Drake, who wanted to do his next album with just an acoustic guitar anyway, Sandy Denny, who he felt was wasting her talents in Fotheringay, and Mike Heron of the Incredible String Band, who was more distant since his conversion to Scientology. Boyd did make some attempts to keep the company going. On a trip to Sweden, he negotiated an agreement with the manager and publisher of a Swedish band whose songs he’d found intriguing, the Hep Stars. Boyd was going to publish their songs in the UK, and in return that publisher, Stig Anderson, would get the rights to Witchseason’s catalogue in Scandinavia — a straight swap, with no money changing hands. But before Boyd could get round to signing the paperwork, he got a better offer from Mo Ostin of Warners — Ostin wanted Boyd to come over to LA and head up Warners’ new film music department. Boyd sold Witchseason to Island Records and moved to LA with his fiancee Linda Peters, spending the next few years working on music for films like Deliverance and A Clockwork Orange, as well as making his own documentary about Jimi Hendrix, and thus missed out on getting the UK publishing rights for ABBA, and all the income that would have brought him, for no money. And it was that decision that led to the breakup of Fotheringay. Just before Christmas 1970, Fotheringay were having a difficult session, recording the track “John the Gun”: [Excerpt: Fotheringay, “John the Gun”] Boyd got frustrated and kicked everyone out of the session, and went for a meal and several drinks with Denny. He kept insisting that she should dump the band and just go solo, and then something happened that the two of them would always describe differently. She asked him if he would continue to produce her records if she went solo, and he said he would. According to Boyd’s recollection of the events, he meant that he would fly back from California at some point to produce her records. According to Denny, he told her that if she went solo he would stay in Britain and not take the job in LA. This miscommunication was only discovered after Denny told the rest of Fotheringay after the Christmas break that she was splitting the band. Jerry Donahue has described that as the worst moment of his life, and Denny felt very guilty about breaking up a band with some of her closest friends in — and then when Boyd went over to the US anyway she felt a profound betrayal. Two days before Fotheringay’s final concert, in January 1971, Sandy Denny signed a solo deal with Island records, but her first solo album would not end up produced by Joe Boyd. Instead, The North Star Grassman and the Ravens was co-produced by Denny, John Wood — the engineer who had worked with Boyd on pretty much everything he’d produced, and Richard Thompson, who had just quit Fairport Convention, though he continued living with them at the Angel, at least until a truck crashed into the building in February 1971, destroying its entire front wall and forcing them to relocate. The songs chosen for The North Star Grassman and the Ravens reflected the kind of choices Denny would make on her future albums, and her eclectic taste in music. There was, of course, the obligatory Dylan cover, and the traditional folk ballad “Blackwaterside”, but there was also a cover version of Brenda Lee’s “Let’s Jump the Broomstick”: [Excerpt: Sandy Denny, “Let’s Jump the Broomstick”] Most of the album, though, was made up of originals about various people in Denny’s life, like “Next Time Around”, about her ex-boyfriend Jackson C Frank: [Excerpt: Sandy Denny, “Next Time Around”] The album made the top forty in the UK — Denny’s only solo album to do so — and led to her once again winning the “best female singer” award in Melody Maker’s readers’ poll that year — the male singer award was won by Rod Stewart. Both Stewart and Denny appeared the next year on the London Symphony Orchestra’s all-star version of The Who’s Tommy, which had originally been intended as a vehicle for Stewart before Roger Daltrey got involved. Stewart’s role was reduced to a single song, “Pinball Wizard”, while Denny sang on “It’s a Boy”: [Excerpt: Sandy Denny, “It’s a Boy”] While Fotheringay had split up, all the band members play on The North Star Grassman and the Ravens. Guitarists Donahue and Lucas only play on a couple of the tracks, with Richard Thompson playing most of the guitar on the record. But Fotheringay’s rhythm section of Pat Donaldson and Gerry Conway play on almost every track. Another musician on the album, Ian Whiteman, would possibly have a profound effect on the future direction of Richard Thompson’s career and life. Whiteman was the former keyboard player for the mod band The Action, having joined them just before they became the blues-rock band Mighty Baby. But Mighty Baby had split up when all of the band except the lead singer had converted to Islam. Richard Thompson was on his own spiritual journey at this point, and became a Sufi – the same branch of Islam as Whiteman – soon after the session, though Thompson has said that his conversion was independent of Whiteman’s. The two did become very close and work together a lot in the mid-seventies though. Thompson had supposedly left Fairport because he was writing material that wasn’t suited to the band, but he spent more than a year after quitting the group working on sessions rather than doing anything with his own material, and these sessions tended to involve the same core group of musicians. One of the more unusual was a folk-rock supergroup called The Bunch, put together by Trevor Lucas. Richard Branson had recently bought a recording studio, and wanted a band to test it out before opening it up for commercial customers, so with this free studio time Lucas decided to record a set of fifties rock and roll covers. He gathered together Thompson, Denny, Whiteman, Ashley Hutchings, Dave Mattacks, Pat Donaldson, Gerry Conway, pianist Tony Cox, the horn section that would later form the core of the Average White Band, and Linda Peters, who had now split up with Joe Boyd and returned to the UK, and who had started dating Thompson. They recorded an album of covers of songs by Jerry Lee Lewis, the Everly Brothers, Johnny Otis and others: [Excerpt: The Bunch, “Willie and the Hand Jive”] The early seventies was a hugely productive time for this group of musicians, as they all continued playing on each other’s projects. One notable album was No Roses by Shirley Collins, which featured Thompson, Mattacks, Whiteman, Simon Nicol, Lal and Mike Waterson, and Ashley Hutchings, who was at that point married to Collins, as well as some more unusual musicians like the free jazz saxophonist Lol Coxhill: [Excerpt: Shirley Collins and the Albion Country Band, “Claudy Banks”] Collins was at the time the most respected female singer in British traditional music, and already had a substantial career including a series of important records made with her sister Dolly, work with guitarists like Davey Graham, and time spent in the 1950s collecting folk songs in the Southern US with her then partner Alan Lomax – according to Collins she did much of the actual work, but Lomax only mentioned her in a single sentence in his book on this work. Some of the same group of musicians went on to work on an album of traditional Morris dancing tunes, titled Morris On, credited to “Ashley Hutchings, Richard Thompson, Dave Mattacks, John Kirkpatrick and Barry Dransfield”, with Collins singing lead on two tracks: [Excerpt: Ashley Hutchings, Richard Thompson, Dave Mattacks, John Kirkpatrick and Barry Dransfield with Shirley Collins, “The Willow Tree”] Thompson thought that that album was the best of the various side projects he was involved in at the time, comparing it favourably to Rock On, which he thought was rather slight, saying later “Conceptually, Fairport, Ashley and myself and Sandy were developing a more fragile style of music that nobody else was particularly interested in, a British Folk Rock idea that had a logical development to it, although we all presented it our own way. Morris On was rather more true to what we were doing. Rock On was rather a retro step. I'm not sure it was lasting enough as a record but Sandy did sing really well on the Buddy Holly songs.” Hutchings used the musicians on No Roses and Morris On as the basis for his band the Albion Band, which continues to this day. Simon Nicol and Dave Mattacks both quit Fairport to join the Albion Band, though Mattacks soon returned. Nicol would not return to Fairport for several years, though, and for a long period in the mid-seventies Fairport Convention had no original members. Unfortunately, while Collins was involved in the Albion Band early on, she and Hutchings ended up divorcing, and the stress from the divorce led to Collins developing spasmodic dysphonia, a stress-related illness which makes it impossible for the sufferer to sing. She did eventually regain her vocal ability, but between 1978 and 2016 she was unable to perform at all, and lost decades of her career. Richard Thompson occasionally performed with the Albion Band early on, but he was getting stretched a little thin with all these sessions. Linda Peters said later of him “When I came back from America, he was working in Sandy’s band, and doing sessions by the score. Always with Pat Donaldson and Dave Mattacks. Richard would turn up with his guitar, one day he went along to do a session with one of those folkie lady singers — and there were Pat and DM. They all cracked. Richard smashed his amp and said “Right! No more sessions!” In 1972 he got round to releasing his first solo album, Henry the Human Fly, which featured guest appearances by Linda Peters and Sandy Denny among others: [Excerpt: Richard Thompson, “The Angels Took My Racehorse Away”] Unfortunately, while that album has later become regarded as one of the classics of its genre, at the time it was absolutely slated by the music press. The review in Melody Maker, for example, read in part “Some of Richard Thompson’s ideas sound great – which is really the saving grace of this album, because most of the music doesn’t. The tragedy is that Thompson’s “British rock music” is such an unconvincing concoction… Even the songs that do integrate rock and traditional styles of electric guitar rhythms and accordion and fiddle decoration – and also include explicit, meaningful lyrics are marred by bottle-up vocals, uninspiring guitar phrases and a general lack of conviction in performance.” Henry the Human Fly was released in the US by Warners, who had a reciprocal licensing deal with Island (and for whom Joe Boyd was working at the time, which may have had something to do with that) but according to Thompson it became the lowest-selling record that Warners ever put out (though I’ve also seen that claim made about Van Dyke Parks’ Song Cycle, another album that has later been rediscovered). Thompson was hugely depressed by this reaction, and blamed his own singing. Happily, though, by this point he and Linda had become a couple — they would marry in 1972 — and they started playing folk clubs as a duo, or sometimes in a trio with Simon Nicol. Thompson was also playing with Sandy Denny’s backing band at this point, and played on every track on her second solo album, Sandy. This album was meant to be her big commercial breakthrough, with a glamorous cover photo by David Bailey, and with a more American sound, including steel guitar by Sneaky Pete Kleinow of the Flying Burrito Brothers (whose overdubs were supervised in LA by Joe Boyd): [Excerpt: Sandy Denny, “Tomorrow is a Long Time”] The album was given a big marketing push by Island, and “Listen, Listen” was made single of the week on the Radio 1 Breakfast show: [Excerpt: Sandy Denny, “Listen, Listen”] But it did even worse than the previous album, sending her into something of a depression. Linda Thompson (as the former Linda Peters now was) said of this period “After the Sandy album, it got her down that her popularity didn't suddenly increase in leaps and bounds, and that was the start of her really fretting about the way her career was going. Things only escalated after that. People like me or Martin Carthy or Norma Waterson would think, ‘What are you on about? This is folk music.'” After Sandy’s release, Denny realised she could no longer afford to tour with a band, and so went back to performing just acoustically or on piano. The only new music to be released by either of these ex-members of Fairport Convention in 1973 was, oddly, on an album by the band they were no longer members of. After Thompson had left Fairport, the group had managed to release two whole albums with the same lineup — Swarbrick, Nicol, Pegg, and Mattacks. But then Nicol and Mattacks had both quit the band to join the Albion Band with their former bandmate Ashley Hutchings, leading to a situation where the Albion Band had two original members of Fairport plus their longtime drummer while Fairport Convention itself had no original members and was down to just Swarbrick and Pegg. Needing to fulfil their contracts, they then recruited three former members of Fotheringay — Lucas on vocals and rhythm guitar, Donahue on lead guitar, and Conway on drums. Conway was only a session player at the time, and Mattacks soon returned to the band, but Lucas and Donahue became full-time members. This new lineup of Fairport Convention released two albums in 1973, widely regarded as the group’s most inconsistent records, and on the title track of the first, “Rosie”, Richard Thompson guested on guitar, with Sandy Denny and Linda Thompson on backing vocals: [Excerpt: Fairport Convention, “Rosie”] Neither Sandy Denny nor Richard Thompson released a record themselves in 1973, but in neither case was this through the artists’ choice. The record industry was changing in the early 1970s, as we’ll see in later episodes, and was less inclined to throw good money after bad in the pursuit of art. Island Records prided itself on being a home for great artists, but it was still a business, and needed to make money. We’ll talk about the OPEC oil crisis and its effect on the music industry much more when the podcast gets to 1973, but in brief, the production of oil by the US peaked in 1970 and started to decrease, leading to them importing more and more oil from the Middle East. As a result of this, oil prices rose slowly between 1971 and 1973, then very quickly towards the end of 1973 as a result of the Arab-Israeli conflict that year. As vinyl is made of oil, suddenly producing records became much more expensive, and in this period a lot of labels decided not to release already-completed albums, until what they hoped would be a brief period of shortages passed. Both Denny and Thompson recorded albums at this point that got put to one side by Island. In the case of Thompson, it was the first album by Richard and Linda as a duo, I Want to See the Bright Lights Tonight: [Excerpt: Richard and Linda Thompson, “I Want to See the Bright Lights Tonight”] Today, I Want to See the Bright Lights Tonight is widely regarded as one of the greatest albums of all time, and as one of the two masterpieces that bookended Richard and Linda’s career as a duo and their marriage. But when they recorded the album, full of Richard’s dark songs, it was the opposite of commercial. Even a song that’s more or less a boy-girl song, like “Has He Got a Friend for Me?” has lyrics like “He wouldn’t notice me passing by/I could be in the gutter, or dangling down from a tree” [Excerpt: Richard and Linda Thompson, “Has He got a Friend For Me?”] While something like “The Calvary Cross” is oblique and haunted, and seems to cast a pall over the entire album: [Excerpt: Richard and Linda Thompson, “The Calvary Cross”] The album itself had been cheap to make — it had been recorded in only a week, with Thompson bringing in musicians he knew well and had worked with a lot previously to cut the tracks as-live in only a handful of takes — but Island didn’t think it was worth releasing. The record stayed on the shelf for nearly a year after recording, until Island got a new head of A&R, Richard Williams. Williams said of the album’s release “Muff Winwood had been doing A&R, but he was more interested in production… I had a conversation with Muff as soon as I got there, and he said there are a few hangovers, some outstanding problems. And one of them was Richard Thompson. He said there’s this album we gave him the money to make — which was I Want to See the Bright Lights Tonight — and nobody’s very interested in it. Henry the Human Fly had been a bit of a commercial disappointment, and although Island was altruistic and independent and known for only recording good stuff, success was important… Either a record had to do well or somebody had to believe in it a lot. And it seemed as if neither of those things were true at that point of Richard.” Williams, though, was hugely impressed when he listened to the album. He compared Richard Thompson’s guitar playing to John Coltrane’s sax, and called Thompson “the folk poet of the rainy streets”, but also said “Linda brightened it, made it more commercial. and I thought that “Bright Lights” itself seemed a really commercial song.” The rest of the management at Island got caught up in Williams’ enthusiasm, and even decided to release the title track as a single: [Excerpt: Richard and Linda Thompson, “I Want to See the Bright Lights Tonight”] Neither single nor album charted — indeed it would not be until 1991 that Richard Thompson would make a record that made the top forty in the UK — but the album got enough critical respect that Richard and Linda released two albums the year after. The first of these, Hokey Pokey, is a much more upbeat record than their previous one — Richard Thompson has called it “quite a music-hall influenced record” and cited the influence of George Formby and Harry Lauder. For once, the claim of music hall influence is audible in the music. Usually when a British musician is claimed to have a music ha

In May, President Donald Trump shared his vision for protecting the US from the threat of nuclear strikes by drones, and ballistic, cruise and hypersonic missiles. The idea? A Golden Dome which would cover the country with three layers of air defenses. Following the launch of missiles in Iran, the idea of having a robust defense system here at home is getting more attention. Tom Karako, Senior Fellow at the Center for Strategic & International Studies, joins USA TODAY's The Excerpt to share his insight on missile defense and nuclear deterrence.See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

If you'd like to hear the rest of this episode of PTO Extra! Please consider becoming a £5 supporter of the show on patreon at patreon.com/poltheoryother

CONTENT WARNING: Discussion of gambling. One would think that with the steely blue eyes of Steve McQueen and the highest-stakes poker game ever concocted, we'd be cooking with fire with this next film. Instead, we get one of the most boring 100-minute movies committed to celluloid. Nearly an hour of this movie is preamble and exposition and when we finally get to the poker game we might as well have just had the Kid lose in the first few hands. There are many ways to approach a good poker movie, and this movie chooses literally none of them. Join us as we yawn through 1965's The Cincinnati Kid on Have a Good Movie! You can email us with feedback at macintoshandmaud@gmail.com, or you can connect with us on BlueSky! If you like the podcast, please subscribe, rate and review the show on your favorite podcatcher, and tell your friends. Intro and outro music taken from the Second Movement of Ludwig von Beethoven's 9th Symphony. Licensed under an Attribution-NonCommercial-NoDerivs 3.0 Hong Kong (CC BY-NC-ND 3.0 HK) license. To hear the full performance or get more information, visit the song page at the Internet Archive. Excerpt taken from “The Cincinnati Kid (Instrumental)” from the soundtrack to the film The Cincinnati Kid, written and composed by Lalo Schifrin. Copyright 1965 Warner Bros. Entertainment Inc. All Rights Reserved. Excerpt taken from the end credits to the film The Stepford Wives, written and composed by Michael Small. Copyright 1975 Palomar Pictures International, Columbia Pictures.

A slew of new music documentaries recently debuted at this year's Tribeca Film Festival. The list of cultural icons with docs just released or coming soon is long – from Billy Joel to Miley Cyrus to Pearl Jam's Eddie Vedder. Beyond incredible sound, what were some of the stories captured in these docs? And what will audiences see and hear as they follow documentary filmmakers in their quest to go behind the music? USA TODAY National Music Reporter Melissa Ruggieri joins The Excerpt to share insights from some of the biggest music documentaries fans can seek out this year. See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

A few minutes from the episode 'What is Life: a Beatle with the Wall of Sound'.

We've just concluded serializing the CAN'T SPELL TREASON WITHOUT TEA audiobook by Rebecca Thorne. Now we're excited to share a sneak peek of the next book in the Tomes & Tea series— A PIRATE'S LIFE FOR TEA. You can continue the Tomes & Tea series here and get ready for the final book in the series, ALCHEMY AND A CUP OF TEA. Learn more about your ad choices. Visit megaphone.fm/adchoices

Excerpt of the 15 Jun 1936 Lux Radio Theatre broadcast of Burlesque, featuring Al Jolson and Ruby Keeler. This segment features Al Jolson singing three songs from the program, some comedy scripted between Jolson and Keeler, and even some of Ruby's tap dancing. The complete broadcast circulates with other Jolson radio shows on the Official Al Jolson Website at www.jolson.org.

This is a video excerpt of the full episode, with the full audio found here: on Spotifyon Appleon YoutubeAnd the full video episode (minus the first 20mins we neglected to video record!), found on Patreon.Dr.s Kay and Ray recap and discuss both parts of the Summer House season 9 reunion. From Ciara's vulnerable and heartfelt sharing, to the Lexi & Solomon (in matching outfits!) of it all, an abundance of sexism and a stark lacking of apologies were evident throughout. Which apologies did you find to be lacking? Which moments did you find to be sexist or patriarchal? Let's just say Dr.s Kay & Ray had more than 2 examples of “sociopolitical content” when applying their six segments to the recap! -------------------------------------------------------------------Listeners! Come visit the Patreon for free at⁠⁠ ⁠patreon.com/RealityTest⁠⁠⁠ & check out some of the benefits of a free membership & the paid tier! -------------------------------------------------------------------Reality testing is when we check an emotion or thought we're having against objective reality. So, here in Reality Test, we're going to be testing the thoughts, emotions, interactions, and producer antics of reality television against what we know, as licensed psychologists, about objective reality. Come with us, let's Reality Test!Hosts: Dr. Kay & Dr. RayThank you to our sound extraordinaire, Connor!Patreon: patreon.com/RealityTestInstagram: @drkaypods @drraypodsTikTok: @dr.realitvFacebook Page: Reality Test PodYouTube Channel: @RealityTestPodEmail: realitycheckpodding@gmail.com

Self executive producing, playing for the first time live on French Television, and the music licensing agreement for Wu-Tang: An American Saga. Jr. Thomas (Jr. Thomas, Jr. Thomas & The Volcanos) Jr. Thomas in the Eraserhood - 12" Vinyl- https://www.deepmatter.co "Jr. Thomas, who hails from Minneapolis, has spent the last 15 years building a reputation as a master of classic reggae, specializing in Jamaica's "Golden Sound." His group Jr. Thomas & The Volcanos released several critically acclaimed albums that went on to be embraced and treasured around the world. For his latest project, Jr. enlists the synth & soul wizards of Eraserhood Sound to construct a new sonic universe. His direct, uplifting songwriting pairs perfectly with a funky as hell breakbeat, sweet soul guitar licks, backup vocals smoother than honey, and a euphoric flute solo to bring things home. This single is just the tip of the artistic iceberg, as there is a lot more music to come from this dynamic duo. Stay tuned for more exciting news regarding Jr. Thomas and Eraserhood Sound." Excerpt from https://www.eraserhoodsound.com Jr. Thomas: Bandcamp: https://jrthomas1.bandcamp.com Instagram: @jrthomas_music Website: https://idol-io.ffm.to Records: https://www.deepmatter.co Merch: https://jrthomas1.bandcamp.com/merch Jr. Thomas & The Volcanos: Bandcamp: https://jrthomasandthevolcanos.bandcamp.com Instagram: @jrthomasandthevolcanos Records: https://www.coleminerecords.com Merch: https://jrthomasandthevolcanos.bandcamp.com The Vineyard: Instagram: @thevineyardpodcast Website: https://www.thevineyardpodcast.com Youtube: https://www.youtube.com/@thevineyardpodcast

Are high school graduates better off picking up a welding torch instead of a college textbook? As demand grows for skilled labor, more students—and their parents—are questioning whether the traditional college-for-all model still makes sense. Is it time to stop treating college as the default path? Steve Klein, a researcher at Education Northwest, talks to The Excerpt about the benefits and biases around trade careers, the reality of financial independence without a four-year degree, and how schools can better prepare students for the future.Read more: https://tinyurl.com/492enhtk See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Ahsan and Dom discuss the Club World Cup, the opening game against Wydad, and various other City related bits. *This is the first 15 minutes of the show. For the full episode, and all our other content on the 93:20 player, you can join below - for less than the price of a pint of beer each month.* ninetythreetwenty.com/9320-player/about-9320-player/ SIGN UP FOR OUR NEWSLETTER! A FREE WEEKLY UPDATE WITH NEW CONTENT GUARANTEED AND A WHOLE LOT MORE. CLICK THE LINK BELOW AND ENTER YOUR EMAIL IN THE BOX. ninetythreetwenty.com/the-9320-newsletter/

THE HOPE OF A RESURRECTION FOR BABIES AND CHILDREN Part 2 with comments on when human life begins in the womb AND followed (after music) by an excerpt of the eulogy given at the memorial service for Eden and Selah FowlerSend us a textSupport the showThank you for listening to our podcast!If you have any questions, subjects you would like to hear discussed, or feedback of any kind, you can contact us at:greengac@yahoo.com or through the links below, where you can find additional information about our work as well as other materials: Green Gospel Assembly Church – The Church that is Different (church website)

CONTENT WARNING: Discussion of death, knife fights, gunfire, murder, sexual misconduct, parental trauma, parental negliect, parental abuse. We weren't aware there was such a thing as being a method director, but this legendary film seems to have proven that's a thing. Because it's one thing to make a schlocky B-movie for teenagers about juvenile delinquents. It's another completely to try to reverse engineer that terrible movie into art for a budding movie star and enable his worst tendencies while also having an affair with his 16-year-old co-star, and his other co-star, and possibly him. This movie is a mess, which is actually being kind, because its director might be even more of a disaster. Somehow a bad movie with great acting gives us perhaps some of the greatest trivia of all time. We're deep in our angsty feels as we watch 1955's Rebel Without a Cause on Have a Good Movie! You can email us with feedback at macintoshandmaud@gmail.com, or you can connect with us on BlueSky! If you like the podcast, please subscribe, rate and review the show on your favorite podcatcher, and tell your friends. Intro and outro music taken from the Second Movement of Ludwig von Beethoven's 9th Symphony. Licensed under an Attribution-NonCommercial-NoDerivs 3.0 Hong Kong (CC BY-NC-ND 3.0 HK) license. To hear the full performance or get more information, visit the song page at the Internet Archive. Excerpt taken from the main title to the film Rebel Without a Cause, written and composed by Leonard Rosenman. Copyright 1955 Warner Bros. Entertainment Inc. All Rights Reserved. Excerpt taken from “The Cincinnati Kid (Instrumental)” from the soundtrack to the film The Cincinnati Kid, written and composed by Lalo Schifrin. Copyright 1965 Warner Bros. Entertainment Inc. All Rights Reserved.

This is an excerpt from a patrons episode. to hear the full thing and dozens more, visit Patreon.com/LoveMessagePod and become a patron from £3 per month.In this patrons-only episode we welcome writer and anti-fascist activist Joe Mulhall to the show to discuss his fantastic book Rebel Sounds: Music as Resistance, a survey across time and place of groups and cultures using musics as part of their resistance to forms of racism and imperialism. We hear about Irish rebel songs, Kneecap and an impromptu Irish history quiz in the toilets of a Wolftones gig; the role of Jazz, Blues and Soul in the Civil Rights Struggle; revisit Tropicalia with fresh eyes and ears; and fly to Nigeria to visit the Felabration in Lagos. Alongside these topics we consider how our personal tastes can divert from a music's political power, US cultural hegemony, music in the USSR, 'bone records', Two Tone, and bring things up to date with a trip to the trenches of Ukraine. We won't provide an order link here, but you can get the hardback of Rebel Sounds in your local bookshop, and the paperback is forthcoming in the Autumn. Thanks to Joe for joining us.

There are an estimated 11 million undocumented immigrants in the U.S. Every one of their stories is different and the broad strokes coverage you often hear can't possibly touch on everyone's reality. So Alix Dick and Antero Garcia decided to focus on the story of just one undocumented person - Alix herself. Their new book “The Cost of Being Undocumented: One Woman's Reckoning with America's Inhumane Math“ is on bookshelves now. Co-authors Alix Dick and Antero Garcia join The Excerpt to share their journey of discovery of what it means to be undocumented.Let us know what you think of this episode by sending an email to podcasts@usatoday.com.Episode Transcript available hereSee Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

God's Great Plan (1) (audio) David Eells 6/18/25 Many prophetic words are not understood in the day they are given. Just as the scriptures show, they come ahead so that warnings are taken and spiritual warfare done. Also, many more people can partake of them this way.   Now Is the Time of My Great Plan Glynda Lomax - 10/01/2012 Now is the time of My Great Plan for the people of the earth. For thousands of years, I have planned the victory of My people in great detail. Now it is time for My people to rise up and walk as I have called you to walk, talk as I have called you to talk, for I have much to accomplish through you, My people. Cast your burdens to Me and walk forth as I have called you to do. Those I have called to ministry will now be positioned to move forward as never before. A great and glorious destiny awaits you, My people, such as you cannot imagine. Great shall be the reward of all My people who serve Me in this time. Yes, there shall be many trials and much tribulation also, but My glory through My people will outshine the darkness in the final days. Look up, My people, your redemption draws near! Glynda gives these verses: Heb.12:1 Wherefore seeing we also are compassed about with so great a cloud of witnesses, let us lay aside every weight, and the sin which doth so easily beset us, and let us run with patience the race that is set before us, 1Pe.5:7 Casting all your care upon him; for he careth for you. 1Pe.4:12-13 Beloved, think it not strange concerning the fiery trial which is to try you, as though some strange thing happened unto you: 13 But rejoice, inasmuch as ye are partakers of Christ's sufferings; that, when his glory shall be revealed, ye may be glad also with exceeding joy. Rev.22:12 And, behold, I come quickly; and my reward is with me, to give every man according as his work shall be. Deu.4:29-31 But if from thence thou shalt seek the Lord thy God, thou shalt find him, if thou seek him with all thy heart and with all thy soul. 30 When thou art in tribulation, and all these things are come upon thee, even in the latter days, if thou turn to the Lord thy God, and shalt be obedient unto his voice; 31 (For the Lord thy God is a merciful God;) he will not forsake thee, neither destroy thee, nor forget the covenant of thy fathers which he sware unto them. Isa.60:1 Arise, shine; for thy light is come, and the glory of the LORD is risen upon thee. Luk.21:28 And when these things begin to come to pass, then look up, and lift up your heads; for your redemption draweth nigh.   Strategic Couplings Glynda Lomax - 09/26/2012 My children, the heat is being turned up in your lives and in your world. I will soon begin to place My devoted ones into position for battle as I have called them to stand. Some of you I will place in pairs - strategic couplings for the battles ahead. I have chosen mates for you that complement your weaknesses. They will be your rear guards on the earth as you march forth into all I have called you to do. Many of you I will pair with unlikely counterparts, of which the world around you will not approve, nor understand. Those near you cannot always see My mighty hand in all I am doing in your lives. Be careful, My children, of judging with your eyes or your hearts - judge only by My Spirit, for you walk in danger of calling My plans evil when you do this, and I do not consider lightly those who call My good evil, just as those who call evil good. Refrain your lips from speaking evil and seek Me only. Judge not what does not concern your own lives, for you shall see much around you in these end times you will not understand. The times approaching are perilous indeed, and I have a plan for each of your lives. You will not always understand what I am doing or the many ways I shall bless you through it. Many plans of the Evil One are being hatched behind the scenes, the horrors of which many are unaware. My children who have been watching and praying for My Son's soon return shall not be caught unawares. Rest now while you can, My children, for a fierce battle looms on the horizon of your lives and will soon be at your doors. Glynda gives these verses: Isa.58:8-10 (NIV) 8 and your healing will quickly appear; then your righteousness[a] will go before you, and the glory of the Lord will be your rear guard. 9 Then you will call, and the Lord will answer; you will cry for help, and he will say: Here am I. If you do away with the yoke of oppression, with the pointing finger and malicious talk, 10 and if you spend yourselves in behalf of the hungry and satisfy the needs of the oppressed, then your light will rise in the darkness, and your night will become like the noonday. Isa.55:9 For as the heavens are higher than the earth, so are my ways higher than your ways, and my thoughts than your thoughts. Isa.5:20-21 20 Woe unto them that call evil good, and good evil; that put darkness for light, and light for darkness; that put bitter for sweet, and sweet for bitter! 21 Woe unto them that are wise in their own eyes, and prudent in their own sight! 2Ti.3:1 This know also, that in the last days perilous times shall come. Mat.7:1-5 1 Judge not, that ye be not judged. 2 For with what judgment ye judge, ye shall be judged: and with what measure ye mete, it shall be measured to you again. 3 And why beholdest thou the mote that is in thy brother's eye, but considerest not the beam that is in thine own eye? 4 Or how wilt thou say to thy brother, Let me pull out the mote out of thine eye; and, behold, a beam is in thine own eye? 5 Thou hypocrite, first cast out the beam out of thine own eye; and then shalt thou see clearly to cast out the mote out of thy brother's eye. Rom.14:12-13 So then every one of us shall give account of himself to God. 13 Let us not therefore judge one another any more: but judge this rather, that no man put a stumblingblock or an occasion to fall in his brother's way.   The Master's Plan Is Given G. W. - 11/21/2010 (David's notes in red) Part 1: I went to pray on Saturday night for full reconciliation for someone who was falling away. I could not pray. As I tried, my prayer returned to me. The word came to me, “I'm moving him out of the way to make room for another from the West”. Part 2: I had a dream Sunday night. It took place in the future. David had just received this email from me, which I wrote above as Part 1. David responded to the email by handing me a master plan. (Note: The email was sent to me on Monday, 11/22/10. I responded by sharing this interpretation of the parable of the master plan. This is the David's/Man-child's mission to receive and give revelation from the throne of God's plan on earth. Moses went up the mount to receive this and came down with his face glowing. Jesus also received this master plan and gave it to the disciples.) G. W. - I knew this master plan was the work that needed to be done by the people in the ministry. The master plan appeared to me in a hologram in the shape of a square. As I looked at the square before me, I knew it to be the uncomely parts of the body. (Note: There are many, many uncomely parts now but they will change through the Word from heaven. Remember this started with a falling away in Part 1 and now we see a raising up in Part 2. Luk.2:34 ... Behold, this [child] is set for the falling and the rising of many in Israel; and for a sign which is spoken against... This is the master plan.) G. W.- The hologram began to change, like a slot machine changes its images as it goes around. Different numbers began flashing, and in my mind I knew them to be the different workings in the ministry. (Note: The falling of the old order and raising up of the new five-fold ministers, the deacons [ministries] and the gifts in the ministry.) G. W. - I also realized that the positions were growing into greater honor in the body and they started to become chess pieces. (Note: Those who are growing in the image of Christ.) G. W. - I was waiting for the hologram flashes to go up to the highest honors in God. But as I was watching it go up, it came to the Rook piece and I was taken out of the dream. That was the last thing I recall from this dream. (Note: The revelation didn't go up to the king, who is normally the highest honor, because in this dream, the King gives the highest honors to those “in God”, as the dream says. The game is centered around the King and He is never taken. The highest honor didn't go as high as the queen because the Man-child is the head of the Queen on earth, just as David was the head of Jerusalem, which is the Bride, according to Revelation 21:9,10. The Rook is the second most powerful piece on the chess board and has the highest honor, the revelation went to, and represents the Man-child. G. W. - Excerpt from Chess Rules for Movement of the Rook: The rook, shaped like a castle, is one of the more powerful pieces on the board. (Note: The rook is represented by the lookout portion of a castle. Where the “watchman” would stand and fight to protect the castle. A Man-child has power to defend the Castle of Zion.) G. W. - The rooks, grouped with the queen, are often thought of as the “major pieces”. (Note: A Man-child can be seen with the queen and has a major advantage against a foe.) G. W. - Rooks are worth a bishop or a knight plus two pawns. (Note: Man-childs are greater than bishops or overseers and knights or warriors.) G. W. - The rook can move any number of squares in a straight line along any column or row. (Note: Man-childs only move on a straight path that is not impeded.) G. W. - They CANNOT move diagonally. (Note: Never a crooked path.) G. W. - The rook can move or capture only on this straight line. (Note: One can only take leadership by walking on the straight path.) G. W. - The simplicity of the rook's movement is indeed what makes it powerful. (Note: Man-childs, like Jesus, have a simple life and walk with power.) G. W. - It can cover a significant area of the board, and there are no areas which an opponent's piece -- moving one square at a time -- can slip through. (Note: Man-childs can move supernaturally to far places. The enemy cannot deceive them or outmaneuver them.) G. W. - The rook may also make a move in conjunction with the king. (Note: Like Jesus said, “I do always those things I see of my Father”.)   Bride Prepares for Man-child Deborah Horton - 09/20/2010 (David's notes in red) As David has said, something wonderful is going to happen. :) (Looking forward to it.) In a dream, I was inside a large building, on the bottom floor, with people everywhere. They were all waiting for a Jewish man and while they were waiting, they were very busy all through the building. I have no idea what they were busy with -- can't remember. (The coming Jewish man is Jesus, Who will inhabit the Man-child as “Christ in you the hope of glory”. The building is the House of God, His people, which is being prepared for His coming habitation. I was just saying to several brethren that I hope we can prepare it ahead of time.) Then, as I looked around, I saw the Jewish man come in, along with a young woman/girl, who was his assistant somehow. I think she was setting up some audio equipment (speakers, etc.) (The Bride is making ready for the Man-child to reach many people.) Even though I saw him, no one else seemed able to do so. (He is coming in the heart of the true  House.) It wasn't that he was invisible; they could look at him and see him, but at the same time they didn't see him (this is hard to explain and doesn't make a whole lot of sense), and they kept on with whatever it was that they were doing. (We can see the body He will inhabit but many don't recognize Him to the extent He is in it now.) The next thing I can remember is that I walked over to him and he asked me to sing with him, but I told him that I couldn't because I didn't “know the language” or “speak Hebrew” (can't remember exactly how I worded it). (Singing with Him means to be in harmony with Him.) I think he was a little disappointed by that. (Reminds me of Miriam's song about Moses and the Israelites crossing the Red Sea into the wilderness tribulation and the destruction of the old man, or, as you say, the song only the 144,000 first-fruits could sing.) His assistant was still working on getting everything set up. As I looked at him, I absolutely had to give him a great big hug, which I did. I squeezed him like there was no tomorrow -- poor guy! And then I let go, although I didn't want to let go of him. He was completely ordinary-looking, about two inches taller than me, I think he was wearing a work shirt and jeans -- very informal. He was so ordinary that there was nothing you could say about him to describe him. (As Isaiah 53 says, the first individual body Jesus came in was unremarkable, so the corporate first-fruits body will be plain folks.) He had dark hair; I can't remember if he had a beard, but I don't think he did. He reminded me of a teddy bear and there was no way I could ever be afraid of him. He wasn't skinny or fat, just had a tiny bit of extra weight on his belly, so you could tell that he wasn't a very physical person. He radiated such confidence, such peace and such love! (The anointing of the latter rain is coming to manifest the attributes of Jesus in His first-fruits body, like Hosea 6:1-3 says.) The last scene I remember is that somehow pigeons were all around us and they kept landing on him. They didn't want to get off. He was petting them and let me pet them, too, and then he'd put them down where they would walk about and coo. There were three specific pigeons with beautiful markings, as gorgeous as any pigeon is ever going to get without being a specialty-breed show pigeon. He handed me one that had some dark black markings on its back and it felt like velour; it was so soft. (Maybe these are the overcomers, 30-, 60- and 100-fold. According to Romans 8, the whole creation is awaiting the manifestation of sonship or Christ in you because it too will be delivered.)   White Horse Prepared for Rider Linda L. Gray - 09/29/2016 (David's notes in red) I had this dream where I was inside my home when I noticed an unusual white cloud formation through one of my windows. To get a better look at the cloud formation, I went outside. It was a clear blue sky with no clouds elsewhere but this particular large formation in front of my house. (Nothing else will be more significant concerning changes in the world for God's people.) Within the formation of clouds, I saw a white horse. (The Bride who lives above this evil world in heavenly places by abiding IN Christ. Eph.2:4 but God, being rich in mercy, for his great love wherewith he loved us, 5 even when we were dead through our trespasses, made us alive together with Christ (by grace have ye been saved), 6 and raised us up with him, and made us to sit with him in the heavenly places, in Christ Jesus: 7 that in the ages to come he might show the exceeding riches of his grace in kindness toward us in Christ Jesus. The Bride as a cloud will water the earth with the Word of God. The rest of the Church has not arrived at this place and not chosen to be in the Bride.) There was no rider on the horse that I could see as the clouds kept going around the horse, making it difficult to get a clearer view. Psa.48:2 Beautiful for situation, the joy of the whole earth, is mount Zion, on the sides of the north, the city of the great King. (The white horse is the Bride or Zion, as John was told in Revelation. All of the horses in the seals of Revelation 6 are white (representing holiness conquering the Beast), red (war), black (famine and economic collapse) and pale (death and Hades). The hoses represent the flesh of men who serve the spirit and leadership that rides them and rules over them. All of these horses are people who bring these judgments to the world. When they are empowered, they will have riders upon them. The first rider is the Lord in His first-fruits Man-child body who will ride/rule the Bride white horse and through them the Church. At the time of this dream, this first rider is not anointed or set on the horse. When Jesus was anointed to lead the first of the disciples to recognize Him, John said, “He that hath the Bride is the Bridegroom”. But that rider is coming, according to this next verse Linda received.) Rev.1:7 Behold, he cometh with the clouds (notice, the white horse); and every eye shall see him, and they that pierced him; and all the tribes of the earth shall mourn over him. Even so, Amen. This verse has a more literal interpretation at the end of the tribulation, but it accurately describes in the spirit what will happen when the white horse rider, Jesus in the Man-child body, leads the other horse judgments in the earth, which is exactly what Moses the Man-child did. He brought the other judgments. “He cometh with clouds”. The Gematria for “clouds” here is 144 x 10. 144 is the number of the Man-child and 10 is the number of the Word or law he obeys and teaches. “Were purchased from among men to be first-fruits” is verse 14:4. Notice the verse number 144. Rev.14:1 And I saw, and behold, the Lamb standing on the mount Zion, and with him a hundred and forty and four thousand, having his name, and the name of his Father, written on their foreheads. 4 These are they that were not defiled with women (sects or denominations); for they are virgins (not having received the seed or word of man). These are they that follow the Lamb whithersoever he goeth. These were purchased from among men, to be the firstfruits unto God and unto the Lamb. Both Jesus and Jesus in the Man-child as a repeat of history fit this. Psa.118:22 The stone which the builders rejected Is become the head of the corner. Circling the outer perimeter of the cloud formation was a large plane, which apparently had seen this formation (surveillance) and was trying to get a better view. (Haman attempted to bring down the Bride before Mordecai came to leadership; before the Man-child was anointed to rule in the Book of Esther. The white horse rider is typed by Mordecai, Moses, Joseph, David, Jesus and many more. This was a judgment on Egypt, as a type of the world. Each of these men and many like them led the Bride, and through them the Church, to freedom and power. Each of these also brought judgment on the Beast body, as a type of the world Beast body of seven heads and 10 horns.) I was very excited and wanted a photo of the beautiful white horse, so I went inside my house to retrieve my cell phone. When I came back outside, the airspace was filled with war planes covering the entire field of vision, flying in a grid formation heading from south to north. It looked like a tic-tac-toe-type grid with the planes in perfect formation. Rev.12:7 And there was war in heaven: Michael and his angels going forth to war with the dragon; and the dragon warred and his angels; 8 And they prevailed not, neither was their place found any more in heaven. 9 And the great dragon was cast down, the old serpent, he that is called the Devil and Satan, the deceiver of the whole world; he was cast down to the earth, and his angels were cast down with him. 10 And I heard a great voice in heaven, saying, Now is come the salvation, and the power, and the kingdom of our God, and the authority of his Christ: for the accuser of our brethren is cast down, who accuseth them before our God day and night. 11 And they overcame him because of the blood of the Lamb, and because of the word of their testimony; and they loved not their life even unto death. And the Dragon or Satan was cast down to rule over his world body of seven heads and 10 horns, which is beaten by He who “came with the clouds”, the Man-child, and saints in whom the Lord lives. Jesus in the Man-child reformers will conquer the world beast. Dan.7:13 I saw in the night-visions, and, behold, there came with the clouds of heaven one like unto a son of man, and he came even to the ancient of days, and they brought him near before him. 14 And there was given him dominion, and glory, and a kingdom, that all the peoples, nations, and languages should serve him: his dominion is an everlasting dominion, which shall not pass away, and his kingdom that which shall not be destroyed. ... 22 until the ancient of days came, and judgment was given to the saints of the Most High, and the time came that the saints possessed the kingdom. The dream then ended. (Whatever was in the clouds, the powers that be didn't like, and they were ready to wage war against it.) (Yes, the powers that be are the head of the Dragon body on earth. They are Satanists whom we are casting down.) This preparation for the Bride to receive her head fits well with this next dream of the Wedding Feast.   Wedding and Temple Cakes M.L.- 09/22/2016 (David's notes in red) I woke up from a dream, and was taken back by it, but in a good way. I was in a huge room with many very sturdy tables. They were all square with white tablecloths. Each table had an extremely large wedding cake on it. (Time for the Wedding Feast to begin, the tribulation seven days before the bride is escorted by the virgins to the Groom's home in Heaven.) These cakes seemed to be about four feet tall and many inches round, coming to about two inches to the edge of the table all the way around. They were multi-tiered and in various designs and were all decorated white-on-white. Nothing stood out that would distract the eyes from one cake to another. Flowers in white in all sizes, small pillars of white, miniature fountains, white ribbon, white doves. Looking at all this, it was magnificent, all made according to their Creator's desire. After taking all this in, I looked to the right and saw the most magnificent of all cakes: a replica of the Temple. (The temple of God's presence is in the Jerusalem Bride, who is born from above.) It resembled light gray marble stone and was very smooth without a flaw in the icing! It stood about five feet high (representing grace), with the outside perimeters a square. And it was all cake. It was displayed on a very sturdy table with a white tablecloth draped to the floor. It had ornate gold trim work on top of the roof line. It reminded me of the points on a “king's crown”. (The Bride is a crown in Isa.62:1 For Zion's sake will I not hold my peace, and for Jerusalem's sake I will not rest, until her righteousness go forth as brightness, and her salvation as a lamp that burneth. 2 And the nations shall see thy righteousness, and all kings thy glory, and thou shalt be called by a new name, which the mouth of Jehovah shall name. 3 Thou shalt also be a crown of beauty in the hand of Jehovah, and a royal diadem in the hand of thy God. At the base of these points was a wide piece that looked like “crown molding”, the color of the building itself. In the same width of the molding above was a decorative, gold ornate area going around the top. On the two front corners were pillars, and a pillar on each side of the door. On top of each pillar were gold embellishments. Then I woke up. The wedding cakes are made ready. (For the Marriage Feast.) I didn't see any tables that were “set”. (Yet). The Bride has made herself ready. She is in fine linen, pure and white. Eph.5:27 that he might present the church to himself a glorious church, not having spot or wrinkle or any such thing; but that it should be holy and without blemish. These are the righteous acts of the saints. Obedience: Jas.1:22 But be ye doers of the word, and not hearers only, deluding your own selves. 4:17 To him therefore that knoweth to do good, and doeth it not, to him it is sin. Faith: Heb.11:6 And without faith it is impossible to be well-pleasing unto him; for he that cometh to God must believe that he is, and that he is a rewarder of them that seek after him. Fruit: Mat.7:20 Therefore by their fruits ye shall know them. Love: 1Jn.4:7 Beloved, let us love one another: for love is of God; and every one that loveth is begotten of God, and knoweth God. The temple cake: The temple is where God dwells. We are also God's temple, for He dwells in us. 1Co.3:16 Know ye not that ye are a temple of God, and that the Spirit of God dwelleth in you? If any man destroyeth the temple of God, him shall God destroy; 17 ... for the temple of God is holy, and such are ye ... 19) For the wisdom of this world is foolishness with God. For it is written, He that taketh the wise in their craftiness...   It's Not What They Thought Sandy Shaw - 09/21/2016 (David's notes in red) In a dream, I landed on my feet in a big city (Babylon/US), for I was translated there. Immediately, I felt the earth quake and I could tell by the surroundings that there had been others. (The time is the great earthquakes just before the tribulation; some will help others through translation, as happened to me.) I can see a road buckled, and the top half of a skyscraper had fallen to the ground. People were running and screaming, and I saw two little girls to the right. The five-year-old (five is grace) had long blond curly hair (1 Corinthians 11: submission to the sun/Son) and deep dimples and wore a blue dress (dressed up with heavenly works). The other little girl was black (representing walking in darkness) and seven years old. She wore a red dress and had dark pigtails with red ribbons (the color of the red Dragon body). I walked to them and asked them where their fathers were. (Fathers represent heads of churches.) They didn't know. The black-haired girl said that they were there for Daily Vacation Bible School. I asked, “Where are your mothers?” The seven-year-old black girl said, “She died a few months ago”. (The apostate Church mother is dead.) And the five-year-old very excitedly said, “Oh, my mom has already been with Jesus”. (Her mother is the early Church because she abides in Christ. 1Jn.2:24 As for you, let that abide in you which ye heard from the beginning. If that which ye heard from the beginning abide in you, ye also shall abide in the Son, and in the Father. 25 And this is the promise which he promised us, even the life eternal.) The ground started to shake some more and I knew that they were not safe. (At the time of the great earthquakes many will be helped to escape by the righteous.) So I grabbed the two little girl's wrists and started to fly over the city. (Although I have only done this instantaneously, I believe translation can happen slowly like flying. It is in the Spirit, though, and unseen by the world. It is without wings or propulsion, so it is not literally flying. Flying also represents overcoming the world and its law of sin and death, represented by gravity, to ascend into heavenly places in Christ by abiding in Jesus Who is the Word. Eph.2:4 but God, being rich in mercy, for his great love wherewith he loved us, 5 even when we were dead through our trespasses, made us alive together with Christ (by grace have ye been saved), 6 and raised us up with him, and made us to sit with him in the heavenly places, in Christ Jesus. The woman in the wilderness tribulation was given the overcoming wings of the eagle by the Man-child to escape the Dragon/serpent and his works. Rev.12:14 And there were given to the woman the two wings of the great eagle, that she might fly into the wilderness unto her place, where she is nourished for a time, and times, and half a time [by the Man-child body], from the face of the serpent.) The seven-year-old said, “I don't understand”. Then she asked, “What is this ...the tribulation?” We landed on a suspension bridge stretched out over the water. All of a sudden, the bridge became a slide (falling into the water) and before we got to the bottom, we started to fly again. (The way of escape is cut off as in Jer.25:35 And the shepherds shall have no way to flee, nor the principal of the flock to escape. But the righteous always have a way of escape, even if by flight. 1Co.10:13 There hath no temptation taken you but such as man can bear: but God is faithful, who will not suffer you to be tempted above that ye are able; but will with the temptation make also the way of escape, that ye may be able to endure it.) We flew over the city and into the country, where there was a huge red barn, and we landed. Cars were coming up on both sides of the barn. People were coming up to it because they knew it was a refuge and a safe place and all the people around were in a state of confusion. These people were Christians and yet confused. The seven-year-old said, “Hey, that looks like my church barn!” And she let go of my hand and started running. (Many of the Church are confused by their doctrines but if they have walked with the Lord in a righteous life, they will escape. Even those who are chosen to come to understanding and holiness later will escape like the seven-year-old who walks in darkness.) The blond girl said, “There's my daddy!” He was sitting down on a folding chair inside the barn, elbows on his knees and head in his hands, and he said, “I don't understand. I don't understand”. The five-year-old shook his arm and said, “Daddy! I'm here! I'm here!” He mumbled, “Yeah, yeah”. She said, “No, Daddy, she brought me here (pointing to me)! We flew! We were flying! And we were on a big slide (toward death)”. The dad reached out and touched my hand and said, “Thank you. Thank you for bringing her here”. Then he said, in a daze, “Lord, I thought my heart was right with You”. I said, “If you were waiting for the rapture, it's not going to happen now or in the way that you think”. (At the time of the great quakes, tsunamis, volcanic activity, economic collapse, chaos, many will see that they have not escaped tribulation and will repent of this deception.) I heard the seven-year-old say, “Daddy! Daddy!” And he hugged her. She asked, “This is tribulation?” She waited for him to respond and said, “Jesus didn't come yet”. He fell to his knees crying and asking the Lord, “I thought I was in right standing with You. I thought my heart was right with You. I have been preaching for 35 years”. I grabbed his hand and said, “This isn't the rapture you're waiting for. That's not happening”. I said, “You come with me”. And we walked over to the other preacher who was sitting down. (The great earthquakes are at the beginning of the tribulation, as in Rev.8:5 And the angel taketh the censer; and he filled it with the fire of the altar, and cast it upon the earth (meteors striking the earth): and there followed thunders, and voices, and lightnings, and an earthquake. Notice that this came just before the first trumpet of the tribulation. 6 And the seven angels that had the seven trumpets prepared themselves to sound.) I told the two little girls to stay in the barn. Then I took them to the corner of the barn. I reached to the floor, pulled open the door to a root cellar, and grabbed two bottles of water. There was food there also. Then I took the preacher's hands and we went up and through the roof of the barn! (Meaning not physical flight.) And we flew to Tennessee. David and Michael were standing outside. They saw that we had landed. The preachers were confused about what had just happened. Then I said, “Now these two men can answer any questions you have about the rapture or anything else you think you're going through”. Michael asked, “Sandy, where have you been? Where were you?” I said, “I don't know. I was translated.” Michael said, “I should have known that.” Then I went back and got the girls and brought them to Tennessee. Then I woke up. By faith at random I received Isa.49:1 Listen, O isles, unto me; and hearken, ye peoples, from far: JEHOVAH hath called me from the womb; from the bowels of my mother hath he made mention of my name: 2 and he hath made my mouth like a sharp sword; in the shadow of his hand hath he hid me: and he hath made me a polished shaft; in his quiver hath he kept me close: 3 and he said unto me, Thou art my servant; Israel, in whom I will be glorified. 4 But I said, I have labored in vain, I have spent my strength for nought and vanity; yet surely the justice due to me is with JEHOVAH, and my recompense with my God. The rest of this chapter tells the magnificent story of His people being used to restore those of God's people who have been in captivity to the nations. 5 And now saith Jehovah that formed me from the womb to be his servant, to bring Jacob again to him, and that Israel be gathered unto him (for I am honorable in the eyes of Jehovah, and my God is become my strength); 6 yea, he saith, It is too light a thing that thou shouldest be my servant to raise up the tribes of Jacob, and to restore the preserved of Israel: I will also give thee for a light to the Gentiles, that thou mayest be my salvation unto the end of the earth. 7 Thus saith Jehovah, the Redeemer of Israel, and his Holy One, to him whom man despiseth, to him whom the nation abhorreth, to a servant of rulers: Kings shall see and arise; princes, and they shall worship; because of Jehovah that is faithful, even the Holy One of Israel, who hath chosen thee. 8 Thus saith Jehovah, In an acceptable time have I answered thee, and in a day of salvation have I helped thee; and I will preserve thee, and give thee for a covenant of the people, to raise up the land, to make them inherit the desolate heritages: 9 saying to them that are bound, Go forth; to them that are in darkness, Show yourselves. They shall feed in the ways, and on all bare heights shall be their pasture. 10 They shall not hunger nor thirst; neither shall the heat nor sun smite them: for he that hath mercy on them will lead them, even by springs of water will he guide them. 11 And I will make all my mountains a way, and my highways shall be exalted. 12 Lo, these shall come from far; and, lo, these from the north and from the west; and these from the land of Sinim. 13 Sing, O heavens; and be joyful, O earth; and break forth into singing, O mountains: for Jehovah hath comforted his people, and will have compassion upon his afflicted. 14 But Zion said, Jehovah hath forsaken me, and the Lord hath forgotten me. 15 Can a woman forget her sucking child, that she should not have compassion on the son of her womb? yea, these may forget, yet will not I forget thee. 16 Behold, I have graven thee upon the palms of my hands; thy walls are continually before me. 17 Thy children make haste; thy destroyers and they that made thee waste shall go forth from thee. 18 Lift up thine eyes round about, and behold: all these gather themselves together, and come to thee. As I live, saith Jehovah, thou shalt surely clothe thee with them all as with an ornament, and gird thyself with them, like a bride. 19 For, as for thy waste and thy desolate places, and thy land that hath been destroyed, surely now shalt thou be too strait for the inhabitants, and they that swallowed thee up shall be far away. 20 The children of thy bereavement shall yet say in thine ears, The place is too strait for me; give place to me that I may dwell. 21 Then shalt thou say in thy heart, Who hath begotten me these, seeing I have been bereaved of my children, and am solitary, an exile, and wandering to and fro? and who hath brought up these? Behold, I was left alone; these, where were they? (Converts coming from all over the World!) 22 Thus saith the Lord Jehovah, Behold, I will lift up my hand to the nations, and set up my ensign to the peoples; and they shall bring thy sons in their bosom, and thy daughters shall be carried upon their shoulders. 23 And kings shall be thy nursing fathers, and their queens thy nursing mothers: they shall bow down to thee with their faces to the earth, and lick the dust of thy feet; and thou shalt know that I am Jehovah; and they that wait for me shall not be put to shame. 24 Shall the prey be taken from the mighty, or the lawful captives be delivered? 25 But thus saith Jehovah, Even the captives of the mighty shall be taken away, and the prey of the terrible shall be delivered; for I will contend with him that contendeth with thee, and I will save thy children. 26 And I will feed them that oppress thee with their own flesh; and they shall be drunken with their own blood, as with sweet wine: and all flesh shall know that I, Jehovah, am thy Saviour, and thy Redeemer, the Mighty One of Jacob.

Hello!On this exclusive episode for you, I'm discussing the music of the podcast, the themes written by my friend and musician Pavlos Kapralos. Over the past five years of the podcast I used a few of Pavlos's compositions, for my ancient Greek food themed episodes and for the Byzantium ones.Here we talk about his approach in creating the songs, his inspiration and what do we know of ancient Greek music: how it sounded, what instruments the ancients had and how do we recreate it today!Plus what is the Byzantine music? Both secular and church hymns, and how its the link between the ancient and modern folk music in the East.I hope you'll enjoy this different episode today!If you wanna listen to the whole episode, without adverts, then please subscribe to Supercast or Patreon:https://thedeliciouslegacy.supercast.com/#episodeshttps://www.patreon.com/thedeliciouslegacyPavlos's channel: https://www.youtube.com/@pavloskapralos3969Love,Thom & The Delicious LegacySupport this show http://supporter.acast.com/the-delicious-legacy. Hosted on Acast. See acast.com/privacy for more information.

Our friend Joel is back for another noise hang!Full episode at https://www.patreon.com/whitecentipedenoiseSupport the show

Howard and Ahsan preview the Club World Cup. Whether it is a force for good or bad, how Pep may approach it, new players, coaches, and a journey into the unknown. *This is the first 15 minutes of the show. For the full episode, and all our other content on the 93:20 player, you can join below - for less than the price of a pint of beer each month.* ninetythreetwenty.com/9320-player/about-9320-player/ SIGN UP FOR OUR NEWSLETTER! A FREE WEEKLY UPDATE WITH NEW CONTENT GUARANTEED AND A WHOLE LOT MORE. CLICK THE LINK BELOW AND ENTER YOUR EMAIL IN THE BOX. ninetythreetwenty.com/the-9320-newsletter/

התוכן [המשך] וההוראה: לפעמים מחליטים בתוקף לקיים רצון ה' ולא להתפעל מהעולם, אך כשהדברים באים בפועל ורואים הקושי שבדבר – מרגישים חלישות ורוצים "לברוח". צריכים לדעת שאין ליהודי ליפול ברוחו אלא להאחז ברצון ה', ובודאי ישלימו כל המלחמות בנצחון גדול; פעולת המרגלים שיתחרטו ולא ירצו לילך לא"י – לא היתה על הנשים שאמרו שאינן פוחדות, ועוד תבעו ודרשו "תנה לנו אחוזה"! כי אם ה' רוצה שילכו למקום נסיונות – צריך לעשותו! וההוראה: ישנם גברים שבצאתם "לרחוב" כדי לפעול שאלקות תהי' ניכרת שם ורואים את הנסיונות הכרוכות בזה, נרתעים ו"בורחים". על הנשים להראות את הדוגמא שלא נרתעים אלא מחליטים לקיים שליחות ה'. וזהו גם הוראה וחיזוק לאלו שעומדות להתמסר להדרכת ילדי ישראל במשך הקיץ, שתכליתה היא "כיבוש" עוד סביבה ועוד ילד יהודי לעשותם "ארץ ישראל" – שבודאי יעמדו בכל הנסיונות, ושליחות זו עוד תרומם אותן ואת המודרכים/כות.משיחת יום א' פ' שלח, כ"ף סיון ה'תשכ"ה, להתלמידות המסיימות ד"בית רבקה" ולהמדריכות דמחנה "אמונה" תחיינה ל"הנחה פרטית" או התרגום ללה"ק של השיחה: https://thedailysicha.com/?date=16-06-2025 Synopsis (Continued.) Sometimes a person firmly resolves to fulfill Hashem's will and to not be deterred by the world, but when it comes to actuality they feel weakened and want to run away from it. The lesson from the story of the spies is that a Jew should not lose heart, but should rather cling to Hashem's will, and then he will surely emerge from all the battles with a great victory. Additionally: the spies' report only impacted the men, in contrast to the women, who were still willing to go to Eretz Yisroel, and who asked and demanded, “Give us a portion.” The lesson is that it is up the women to set an example, by not being deterred, and by resolving to fulfill Hashem's mission to transform the land, making Hashem visible even there. This is also a lesson and source of encouragement for those preparing to spend their summer as counselors guiding Jewish children: the goal is to “conquer” yet another Jewish child and another environment, and transform it into “Eretz Yisroel.” Not only will this not bring them down, but to the contrary: they, and those under their guidance, will be lifted up.Excerpt from sichah of Sunday, parashas Shelach, 20 Sivan 5725, to the graduating students of Bais Rivkah and counselors of Camp Emunah For a transcript in English of the Sicha: https://thedailysicha.com/?date=16-06-2025 לע"נ הרב יהודה קלמן ב"ר אברהם יהושע ע"ה מארלומרא דאתרא וחבר בד"ץ דשכונת "כאן צוה ה' את הברכה", קראון הייטסליום היארצייט שלו כ' סיון. ת.נ.צ.ב.ה.

In the high-stakes world of cryptocurrency, cybercrime is no longer the only concern for investors. A rise in street crime tactics means that some wealthy crypto owners have fallen prey to physical attacks and coercion. You may have seen a recent headline regarding a crypto owner who was kidnapped and tortured in a Manhattan townhouse by criminals who were attempting to steal his bitcoin. These brazen physical attacks have come to be known as “wrench attacks.” How can crypto investors protect themselves, and their stash, from both cybercrime and violent crime? Nick Neuman, CEO of Casa, a cryptocurrency company that specializes in providing security solutions for digital assets, joins The Excerpt to share his insights.Let us know what you think of this episode by sending an email to podcasts@usatoday.com.See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Imagine for a moment what would happen if you simply get out of the way and allow God to flow through you? Imagine what would happen if His plan became your plan? Imagine what would happen if you let go and let God?Be encouraged, my dear brothers and sisters to get out of the way. Trust in God at all times, seek His presence, His divine guidance, and let God order your steps as you let go… and let God.Excerpt read from “necessary.” (Chapter 13 “Letting Go”The audiobook for “necessary.” by Zenja Glass is now available as 'Pay What You Want' exclusively at https://www.UnlockingGreatness.com Available also as a paperback worldwide via Amazon. Join the Unlocking Greatness Community at: https://www.UnlockingGreatness.comListen to Unlocking Greatness Podcast with Zenja Glass on your favorite streaming platform! Now available on Spotify, Apple Podcasts, YouTube Podcast, and Amazon Music/Audible.Much love,Z. Unlocking Greatness Podcast with Zenja GlassVisit https://www.UnlockingGreatness.com to join the “necessary. Retreat” Much love,Z.

There's new stirrings in the world of Doctor Who production, one being an official BBC search for new producers of an new animated Doctor Who series for Time Tots on CBeebies, and a much more tenuous rumour about discontent between Russell T Davies, a potential streaming suitor, and a push for a grittier, aged-up series. Join the Three Who Rule who cogitate on the possibilities of Doctor Who's future, along with Big Finish news, the improbable return of 80s laff-fest Spaceballs, and Part One of our Classic Series Commentary for The Visitation! Links: Support Radio Free Skaro on Patreon Doctor Who – The TARDIS is set to land on CBeebies Doctor Who pre-school animation: invitation to pitch Doctor Who Season 2 coming August 18 to DVD, Blu-ray and Steelbook (UK) Report: BBC and RTD at ddds with potential new Doctor Who partner Excerpt from the new Fifteenth Doctor novel ‘Shirley Jackson and the Chaos Box', available now Big Finish Fourth Doctor Adventures: The Last Queen of the Nile, due Sep 2025 What if the Classic Doctors Regenerated like Modern Day Doctors? by Rob Ritchie Spaceballs 2 announcement Pik-Sen Lim died Commentary: The Visitation Part One

In this special episode of Shoujo Sundae, Giana and Chika read excerpts of Giana's original queer story, December Riot! Grab your spoon, and let's dig in!For Giana's fanfiction, check out her Archive of our Own account:https://archiveofourown.org/users/Anayume/works CONTENTS[0:46] About December Riot![5:34] Excerpt 1[14:51] Excerpt 2[28:24] Excerpt 3[33:13] Excerpt 4[44:34] Excerpt 5[48:51] Excerpt 6[55:01] Chika's reaction[57:41] Sprinkles on Top[1:00:50] Announcements/RemindersAbout Shoujo Sundae:Shoujo Sundae is a podcast safe haven for fans that are in love with shoujo anime and manga. Hosted by Giana Luna and Chika Supreme, Shoujo Sundae aims to review and reflect on shoujo properties that deserve more attention than what they currently receive. Giana Luna is a podcaster by moonlight and a musician by daylight.Chika Supreme is a podcaster by moonlight and a social media manager by daylight.Find Shoujo Sundae wherever you listen to your podcasts: https://pod.link/1634859352If you enjoyed this episode, SHARE it with a friend and RATE/REVIEW it on Apple Podcasts and Spotify!Connect with Giana, Chika, and Shoujo Sundae!Visit our website: http://shoujosundae.com Pledge on Patreon: https://patreon.com/shoujosundae Shoujo Sundae's Social Media: https://linktr.ee/shoujosundaeSend us an email: shoujosundaepodcast@gmail.comFollow Giana Luna on BlueSky: https://bsky.app/profile/gianaluna.bsky.social Follow her on Instagram: https://www.instagram.com/giana_luna_ Follow Chika Supreme on BlueSky: https://bsky.app/profile/chika.shoujosundae.com Follow her on Instagram: https://www.instagram.com/chikasupreme A breakdown of the Shoujo Sundae segments:-A Soft Serve Summary (episode/film recap)-Sprinkles on Top (symbolism in the media)-Floats Your Boat (enjoyed moments)-Banana Split (split opinion or confusing moments)-Rocky Road (sad moments)-Nuts (shocking moments)-Hot Fudge (hot takes or angry rants)-I Scream, You Scream (disliked moments)- Cherry on Top (favorite moment)

Excerpt of the 11 Jun 1937 Hollywood Hotel, featuring Al Jolson and George Jessel. This segment features Jolson singing an earlier version of "Ma Blushin' Rosie," and Jolson and Jessel doing a duet of "Give My Regards To Broadway." The complete broadcast circulates with other Jolson radio shows on the Official Al Jolson Website at www.jolson.org.

Excerpt from Libertas, by Pope Leo XIIISponsored by Charity Mobilehttps://www.charitymobile.com/rtt.phpSources:https://www.returntotradition.orgContact Me:Email: return2catholictradition@gmail.comSupport My Work:Patreonhttps://www.patreon.com/AnthonyStineSubscribeStarhttps://www.subscribestar.net/return-to-traditionBuy Me A Coffeehttps://www.buymeacoffee.com/AnthonyStinePhysical Mail:Anthony StinePO Box 3048Shawnee, OK74802Follow me on the following social media:https://www.facebook.com/ReturnToCatholicTradition/https://twitter.com/pontificatormax+JMJ+

Update for listeners, and happy Father's Day wishes; excerpt from latest patron-only lecture on Italy between unification and the entry into the First World War. Please sign up on Patreon to hear the latest lecture and all patron-only materials! -- https://www.patreon.com/posts/italy-nation-war-131082248 Podcast website: www.historiansplaining.com Image: The Paderno D'Adda hydroelectric power plant, Lombardy, 1895-8 Music: "Nel Blu, Dipinto di Blu" / "Volare," by Domenico Modugno

Long haired souls, microphone technology, and the rich tradition of Gregorian chant mixed with the rich tradition of cannabis inhalation. Cory Hanson (Wand, Cory Hanson) Cory Hanson "I Love People" - https://www.dragcity.com "With a room fulla fine pickers and a set of Hollywood orchestral cues to kill for, Cory Hanson proclaims I Love People! His 4th solo album drills down (baby) on a dryly parallax worldview, with songs about all those people he loves and all the crazy things they get up to. As ringmaster for a circus show of classic folk and rock tropes, Cory tugs at our heartstrings with expert misdirection, embracing tradition by throwing it out into the wind." Excerpt from https://www.dragcity.com/products/i-love-people Wand: Bandcamp: https://wand.bandcamp.com Instagram: @wandband.info Website: https://wand.band Records: https://www.dragcity.com Merch: https://wandband.bigcartel.com Cory Hanson: Bandcamp: https://coryhanson.bandcamp.com Instagram: @c0ryhans0n Website: https://coryhanson.lnk.to Records: https://www.dragcity.com Merch: https://coryhanson.bandcamp.com/merch The Vineyard: Instagram: @thevineyardpodcast Website: https://www.thevineyardpodcast.com Youtube: https://www.youtube.com/@thevineyardpodcast

It's been a busy few months in the world of federal pardons. It started on day one of the Trump administration with more than 1500 people pardoned for their roles in the January 6th Capital riot. And the pardons just keep coming. The past few weeks we've seen a spate of controversial clemency grants, including a couple of reality TV stars who were found guilty of defrauding community banks out of tens of millions of dollars, a former nursing home executive whose mother recently attended a 1-million-a-plate fundraiser, and a Virginia sheriff convicted of bribery in what prosecutors called a “cash-for-badges scheme.” The pardons are all legal, but do the optics possibly show a two-tiered system of justice? Former U.S. Pardon Attorney Liz Oyer joins The Excerpt to talk about the stringent rules that most pardon attorneys follow when evaluating clemency requests and why some of Trump's pardons are so troubling.Let us know what you think of this episode by sending an email to podcasts@usatoday.com.See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

These are stressful times for human rights activists where every day, a new development may cause despondency or rage. Feminist activist and campaigner Francoise Girard explains why you really need some seventeenth century music in your life.Contact us at pod@strengthandsolidarity.org We are now publishing our newsletter on Substack, if youwould like to subscribe: ⁠https://substack.com/@strengthsolidarity⁠Contactus at pod@strengthandsolidarity.org We are now publishing our newsletter on Substack, if youwould like to subscribe: ⁠https://substack.com/@strengthsolidarity⁠

The guys kick things off debating if they're still "shoe guys" and what having a "dad vibe" really means. They talk about impulse buying, comfort spending on things like first class flights and airport parking, and how their tastes have changed over the years. There's plenty of nostalgia as they break down their favorite rap eras, argue over Jay-Z albums, and discuss why some music just doesn't age well. They also get into wild performance art, like Marina Abramović's famous table piece and Lady Gaga's meat dress, and share what advice they'd give their younger selves. All that, plus classic jokes, music deep-dives, and much more. Get the full episode plus two extra episodes every month at https://patreon.com/thegoldenhourpodcastSee Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

The story of the American alligator is one of survival. From 1967 to 1987, they were officially listed as an endangered species. But the wetlands of Louisiana, Florida's Everglades National Park and many other southern habitats are now teeming with roughly five million alligators. And their story continues to evolve. Recent studies suggest alligators shape how carbon is stored in soil. Could alligators be an unexpected ally in the fight against climate change? Christopher Murray, Associate Professor in the Department of Biological Sciences at Southeastern Louisiana University, joins The Excerpt to share insights from his recent study published in Nature. Let us know what you think of this episode by sending an email to podcasts@usatoday.com.See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Lloyd is joined by Ahsan and Lewis to discuss Viana's first mini-window and consider squad balance going into the Club World Cup. *This is the first 15 minutes of the show. For the full episode, and all our other content on the 93:20 player, you can join below - for less than the price of a pint of beer each month.* ninetythreetwenty.com/9320-player/about-9320-player/ SIGN UP FOR OUR NEWSLETTER! A FREE WEEKLY UPDATE WITH NEW CONTENT GUARANTEED AND A WHOLE LOT MORE. CLICK THE LINK BELOW AND ENTER YOUR EMAIL IN THE BOX. ninetythreetwenty.com/the-9320-newsletter/

If you'd like to hear the rest of this episode please consider becoming a £5 p/m PTO supporter at patreon.com/poltheoryother

Become a PAID member on Substack to get full episodes of Photography is Dead: https://doublenegativedispatch.substack.comThanks for listening!

John Arthur's vows to Jim Obergefell came during a unique wedding ceremony that changed the course of American history. It was 2013 and at the time, Arthur was dying of ALS. Due to the generosity of friends and family the couple were able to exchange vows from within a medical plane parked in Maryland, where gay marriage was legal. Obergefell and Arthur's fight to get their marriage recognized by their home state of Ohio went all the way to the Supreme Court, ultimately paving the way for nationwide marriage equality for same-sex couples 10 years ago. John, tragically, passed before the ruling, but the couple's story endures as a milestone for the LGBTQ+ community. Jim Obergefell joins The Excerpt to share more about his historic journey.Let us know what you think of this episode by sending an email to podcasts@usatoday.com.See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Dave from Talking Wolves joins Bailey to discuss Rayan Ait-Nouri moving to City, the qualities he'll bring & which concerns are valid. *This is the first 15 minutes of the show. For the full episode, and all our other content on the 93:20 player, you can join below - for less than the price of a pint of beer each month.* ninetythreetwenty.com/9320-player/about-9320-player/ SIGN UP FOR OUR NEWSLETTER! A FREE WEEKLY UPDATE WITH NEW CONTENT GUARANTEED AND A WHOLE LOT MORE. CLICK THE LINK BELOW AND ENTER YOUR EMAIL IN THE BOX. ninetythreetwenty.com/the-9320-newsletter/

Excerpt from Mediator Dei of Pope Pius XIISponsored by Charity Mobilehttps://www.charitymobile.com/rtt.phpSources:https://www.returntotradition.orgContact Me:Email: return2catholictradition@gmail.comSupport My Work:Patreonhttps://www.patreon.com/AnthonyStineSubscribeStarhttps://www.subscribestar.net/return-to-traditionBuy Me A Coffeehttps://www.buymeacoffee.com/AnthonyStinePhysical Mail:Anthony StinePO Box 3048Shawnee, OK74802Follow me on the following social media:https://www.facebook.com/ReturnToCatholicTradition/https://twitter.com/pontificatormax+JMJ+

Come to OUR FIRST EVER EXPERIENCE! https://brushfire.com/wholewomanco/utwwwco/603899Dr. Jenna Mountain's practice can be found here: https://www.aspenhausassociates.com/__________________________________________________________________Give us feedback on your Wide Open experience so far here: https://docs.google.com/forms/d/e/1FAIpQLSfnasZey2g7HM7D9vvugUpTsYwPQBgYvx0Y7vLolCvjRmJHFg/viewform?pli=1__________________________________________________________________Members get Eps 2 Days early, vlogs, & exclusive STREAMS! Join today!https://www.youtube.com/channel/UCqzgGwRrOLH20OIc8bM_VAg/joinCOME SEE TIM DO COMEDY - Get Tickets Here https://linktr.ee/timross(Tim's Lip Balm) - GlowSkin Care - https://www.facebook.com/AllNaturalOrganicProductsMadeWithLove/

The 2025 NATO summit will be held in The Hague later this month. Among the topics of discussion will be defense spending, strengthening the alliance, support for Ukraine and bolstering defense capabilities. With the summit fast approaching, how might European powers fill the leadership and aid vacuum left by the U.S. as the Trump administration's appetite for foreign conflict dissipates? Max Boot, senior fellow at the Council on Foreign Relations, joins The Excerpt to talk through all the issues on the table.Let us know what you think of this episode by sending an email to podcasts@usatoday.com.Episode Transcript available hereSee Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

With AI tools like ChatGPT becoming ubiquitous on college campuses, students and educators alike are navigating a rapidly shifting academic landscape. Beth McMurtrie, a senior writer at The Chronicle of Higher Education, joins The Excerpt to talk about how students are using AI—from brainstorming and revising to outright cheating—and the ethical dilemmas that follow.Let us know what you think of this episode by sending an email to podcasts@usatoday.com.Episode Transcript available hereSee Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

We've got a new book! How to Survive Against the Odds: Tales & Tips for Animal Attacks and Natural Disasters is out today from Wondery and HarperCollins. Go inside life-or-death situations where everyday people survived nature's most extreme scenarios—and learn how you can, too, with expert insights and survival tips.In this episode, we're sharing an exclusive sample chapter from the audiobook. How to Survive Against the Odds is available now in digital, print and audiobook editions from Amazon, Barnes & Noble, or wherever you get your books. Learn more at SurvivalGuidebook.com. Be the first to know about Wondery's newest podcasts, curated recommendations, and more! Sign up now at https://wondery.fm/wonderynewsletterListen to Against The Odds on the Wondery App or wherever you get your podcasts. Experience all episodes ad-free and be the first to binge the newest season. Unlock exclusive early access by joining Wondery+ in the Wondery App, Apple Podcasts or Spotify. Start your free trial today by visiting http://wondery.com/links/against-the-odds/ now.See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.