Podcasts about five faces

John Hastings and Dylan Gott talk about the true artist that is Barry Darsow. MATCHES: Mr. Hole in One vs Mike Enos - Feb 6, 1999 WCW Saturday Night Repo Man vs Crush - Summerslam 1992 Demolition vs Andre and Haku - WrestleMania 6 The Blacktop Bully vs Dustin Rhodes WCW Uncensored 1995 NEXT WEEK IS SGT SLAUGHTER WHEN HE HATED AMERICA MATCHES: vs Ultimate Warrior Rumble 91 vs Hulk Hogan WrestleMania 7 with The Iron Sheik and Col Mustafa vs Ultimate Warrior and Hulk Hogan Summerslam 91 Chapters 00:00 Rambling 03:13 Wealth and Time 05:47 Demolition vs. Road Warriors 09:00 The Transition of Wrestlers to Hollywood 11:56 Demolition's Legacy and Gimmicks 15:01 The Five Faces of Darsow 25:55 Wrestlers With Many Gimmicks 39:11 The King of the Road Match 50:20 The Legacy of Wrestling Booking 53:39 The Role of Heels in Wrestling 01:00:57 The Evolution of Wrestling Characters 01:08:07 Ranking Darsow Characters 01:12:07 Future Topics and Closing Thoughts SOCIAL MEDIA X or Instagram - @wrestlerreview Facebook - Wrestler Review Podcast Patreon - patreon.com/wrestlerreview YouTube - @wrestlerreview

On the brand new Trap One Podcast we celebrate the 20th anniversary of New Who with a look at what a modern version of the Five Faces of Dr Who might look like. On the panel this week are Si (@sihart), Hannah (@hannahcooper), Dan (@dhollingsworth), Mark D (@markdodyk) and Chris (@chrisphnx).

Ever felt like a fraud despite your achievements? Dr. Michele Yonga joins AK and Terez on Palm Wine Central to reveal how imposter syndrome silently sabotages your success—and exactly how to fight back.From Cameroon to conquering self-doubt in America, Dr. Yonga'a journey will make you question: are your cultural roots feeding your insecurities?'The Hidden Truth About SuccessSuccess isn't just about grinding harder. AK revealed how exposure and opportunity played crucial roles in his entertainment career—a reality that applies across all industries. Hard work keeps you there, but opportunity gets you in the door. Did you know Madam C.J. Walker became America's first female self-made millionaire despite overwhelming odds? Her story echoes through today's conversation about breaking barriers.The Five Faces of Your Inner Saboteur:Dr. Yonga brilliantly breaks down imposter syndrome into five distinct personalities;• The Perfectionist: Nothing is ever good enough • The Soloist: “I must do everything alone” • The Natural Genius: If it doesn't come easily, you've failed • The Superhuman: Working harder than everyone else to prove worth• The Expert: Never knowing enough despite extensive knowledgeWhich one are you battling?

Meet Alain Pellitier who travels across Canada using a diary to explain bullying to students. He goes through emotion to reach reason. Alain uses his method to reach thousands of young people and teachers every year. Alain brings emotions to life so strongly that it is not uncommon to see young people in tears listening to him. As a driving force for change in institutions, Alain has helped bullies realize the impact of their actions. Sponsors:    Hero Soap Company-Use Code RAP for a 10% discount                    www.herosoapcompany.com                   Barefut Essential Oils                   https://barefut.com/?afmc=RAP                   Fresh Jax Organic Spices                   https://freshjax.com?sca_ref=4954151.qmR1k7RMtq                   onlinetherapy.com                  https://onlinetherapy.go2cloud.org/aff_c?offer_id=2&aff_id=3556                  Life Priority Health and Nutrition-Use code RAP for a 10% discount on first order                  https://lifepriority.com/?coupon=rap                  James Dorsey Author of Delinquent-A True Story of Homelessness, Foster Care & Addiction                 Links:        www.alainpelletier.ca                 https://itsawrapwithrap.com  

A long-distance podcast portrait of the fabulous and famously friendly firstbaseman, Freddie Freeman. In 5 parts.

April 22, 2024 ~ Lomas' picks are in! “SportsWrap” co-host Lomas Brown brings you his insights on who the hottest prospects of the NFL Draft will be! From the buzz around Caleb Williams to the strategic moves of the Cardinals and the Chargers, get the insider scoop on who Lomas projects is going where and why. Will Williams be the next big thing, or will Daniels sprint to stardom in Washington? Plus, hear why the Patriots might just snag a sleeper QB. Get the analysis, predictions, and football wisdom here!

at nearly 6 hours long, peter drives across all the lanes of techno, house and minimalism to deliver a stunningly well rounded and thoughtfully curated mix.

Jason Thompson and Steven Alexander reach the thrilling end of The Five Faces of Darkness! Then it's time for the deadliest kind of Jar... The Killing Jar! Steven now upset he didn't go a "Wreck-Jar" pun.

Jason Thompson and Steven Alexander continue Series 3 of The Transformers with the Five Faces of Darkness parts 3&4! Galvatron is back from the dead and bent on mass murder! Can the Quintessons really be the ones who invented the Transformers? No, seriously, can they? I mean, what the actual flipping heck? What even IS this?!

Jason and Steven A return for Season 3 of The Transformers, where they face The Five Faces of Darkness (Pt 1 & 2). Following on from the Cybertron-shattering events of The Movie, how will the cartoon series progress? What next for our new heroes, Ultra Magnus, Rodimus Prime, Kup, Blurr and Wheelie??? WARNING Contains Science

In this episode of Talking HealthTech, host Nathan Moore talks with Nicole Nixon, CEO of Five Faces. They discuss Nicole's diverse background in the Royal Australian Air Force, entertainment, manufacturing, and business turnaround, and how these experiences have shaped her approach to leading Five Faces. They also delve into the concept of the digital front door in healthcare and how it improves patient access to care. Nicole shares insights on how Five Faces managed the shift to focus on patient experience during the COVID-19 pandemic and the role of technology in facilitating this change. They also explore why the healthcare industry is increasingly embracing digital technologies and the driving factors behind this trend.Key Takeaways:

So we are approaching the 60th anniversary aren't we? Well then, let's have an anniversary type story now so it doesn't get swallowed up in the actual celebrations. So what better than an anniversary story that wasn't really broadcast at anniversary time? And arguably isn't even an anniversary story really, if you look at when it was on? The Three Doctors was repeated as part of the Five Faces of Doctor Who repeat season which is where your host Toby Hadoke first encountered it. Will this mean that there's a difference between his experience of it and that of his special guest, podcaster extraordinaire Siobhan Gallichan? Only one way to find out - pull them from their separate time streams a bung them together to argue about it. So long as someone has remembered to bring a recorder... Please support these podcasts on Patreon, where you will get advance releases, exclusive content (including a patron only podcast - Far Too Much information), regular AMAs and more. Tiers start form as little as £3 per month.  patreon.com/tobyhadoke   Or there is Ko-fi for the occasionally donation with no commitments: ko-fi.com/tobyhadoke   Follow Toby on Twitter @tobyhadoke And these podcasts @HadokePodcasts And his comedy club @xsmalarkey   www.tobyhadoke.com for news, blog, mailing list and more.     

FINALLY, the season 3 opening multi-parter comes to an end! And we have to ask, why does Cybertron even have that lever!?! Check out our Tumblr for episode notes and links: ⁠⁠⁠afterspark-podcast.tumblr.com⁠⁠⁠ Music: "Proof of Concept" and "Local Cluster" by Wintergatan These tracks can be downloaded for free at ⁠⁠⁠www.wintergatan.net

It's time for the origin of the species to be revealed! Check out our Tumblr for episode notes and links: ⁠⁠afterspark-podcast.tumblr.com⁠⁠ Music: "Proof of Concept" and "Local Cluster" by Wintergatan These tracks can be downloaded for free at ⁠⁠www.wintergatan.net

 Today on Soul02, we draw lessons from Annette Moser Wellman's wonderful book, “The Five Faces of Genius,” where she discusses 5 ways people dream creatively for breakthrough.  Connect with us: YouTube: YouTube.com/@soul02-oxygen Facebook: @LP.Oxygen https://www.facebook.com/LP.Oxygen Instagram: LP.Oxygen Twitter: @Soul025 Buzzsprout: Soul02-Buzzsprout Spotify: Soul02 - Spotify Apple: Soul02-Itunes Stitcher: Soul02-Stitcher

The Quintessons and Decepticons join forces, and the Autobots land on the planet of GOO as the season 3 opener continues! Check out our Tumblr for episode notes and links: ⁠afterspark-podcast.tumblr.com⁠ Music: "Proof of Concept" and "Local Cluster" by Wintergatan These tracks can be downloaded for free at ⁠www.wintergatan.net

Our five part season opener continues! Prepare yourself for the return of Galvatron! (New, but most certainly not improved.) Check out our Tumblr for episode notes and links: ⁠afterspark-podcast.tumblr.com⁠ Music: "Proof of Concept" and "Local Cluster" by Wintergatan These tracks can be downloaded for free at ⁠www.wintergatan.net

Season 3 begins! It's a toss up of which faction has it worse-- the Decepticons may be leaderless, but Rodimus really, REALLY does not want his dad's old job. Check out our Tumblr for episode notes and links: afterspark-podcast.tumblr.com Music: "Proof of Concept" and "Local Cluster" by Wintergatan These tracks can be downloaded for free at www.wintergatan.net

Join your journaling gents of the APDC as they review the season 3 episode, “The Quintesson Journal,” from the 1986 classic animated series The Transformers!Beeping Beacons!!! Toilet-related investments!! Sword swallowing!! Five Faces of F'ed Up!!! AKOM doesn't care about scale!! Rodimus and Spike: negotiations aren't going well!! Cyclonus is a cool dude! Outback is wonky!! They hate trees!! Warp gates!! Quintessons: it's a profit deal!! Through the Kool-Aid hole!! In the Real World!! Iconic moment!! Script Deviations!! Now you're on the trolley!!!COCKTAIL – 8:36SHOUT OUTS – 19:56REVIEW – 22:20REAL WORLD – 1:23:10SCRIPT DEVIATIONS – 1:40:14ICONIC MOMENT – 1:45:05

Edgar Allan Poe can be lauded as a major inspiration for many innovative artists, genres, and movements, from horror fiction to the music of Maurice Ravel. He has also been a major inspiration for Weird Studies, particularly his short story "The Fall of the House of Usher." In this episode, JF and Phil try to pinpoint just what it is about this tale that is so compelling, discovering in the process that whatever it is cannot be pinpointed. Instead, the haunting mood of the story emerges from the peculiar arrangement of all its parts, becoming something entirely new. Click here (https://www.supernormalfestival.co.uk) for more information on the Supernormal Festival, Aug 12-14, in Oxfordshire, England. Listen to volume 1 (https://pierre-yvesmartel.bandcamp.com/album/weird-studies-music-from-the-podcast-vol-1) and volume 2 (https://pierre-yvesmartel.bandcamp.com/album/weird-studies-music-from-the-podcast-vol-2) of the Weird Studies soundtrack by Pierre-Yves Martel (https://www.pymartel.com) Support us on Patreon (https://www.patreon.com/weirdstudies) Find us on Discord (https://discord.com/invite/Jw22CHfGwp) Get the new T-shirt design from Cotton Bureau (https://cottonbureau.com/products/can-o-content#/13435958/tee-men-standard-tee-vintage-black-tri-blend-s)! Get your Weird Studies merchandise (https://www.redbubble.com/people/Weird-Studies/shop?asc=u) (t-shirts, coffee mugs, etc.) Visit the Weird Studies Bookshop (https://bookshop.org/shop/weirdstudies) References Edgar Allan Poe, “The Fall of the House of Usher” (https://poestories.com/read/houseofusher) Edgar Allan Poe, “The Masque of the Red Death (https://poemuseum.org/the-masque-of-the-red-death/) Klangfarbenmelodie (https://en.wikipedia.org/wiki/Klangfarbenmelodie), musical technique Edgar Allan Poe, "The Poetic Principle" (https://www.eapoe.org/works/essays/poetprnb.htm) Graham Harman, Weird Realism: Lovecraft and Philosophy (https://bookshop.org/a/18799/9781780992525) Lovecraft without adjectives (https://boingboing.net/2015/08/24/lovecraft-with-adjectives-sim.html) Weird Studies, Development of Circle vs. Spiral: Wheel of fortune (https://www.weirdstudies.com/114), Blade Runner (https://www.weirdstudies.com/116), The Star (https://www.weirdstudies.com/122), Birhane (https://www.weirdstudies.com/122) Matei Calinescu, The Five Faces of Modernity (https://bookshop.org/a/18799/9780822307679) Weird Studies, Episode 101 on ‘In Praise of Shadows' (https://www.weirdstudies.com/101) Phanes (https://en.wikipedia.org/wiki/Phanes#:~:text=Phanes%20was%20a%20deity%20of,Phanes'%20daughter%20or%20older%20wife.z), deity James Herbert, The Dark (https://bookshop.org/a/18799/9780330522076) Joseph Adamson, “Frye and Poe” (https://macblog.mcmaster.ca/fryeblog/2012/12/16/frye-and-poe-2/) Lucien Lévy-Bruhl (https://en.wikipedia.org/wiki/Lucien_L%C3%A9vy-Bruhl), French anthropologist James Machin, Weird Fiction in Britain (https://bookshop.org/a/18799/9783030080365) Edgar Allan Poe, “Eureka” (https://www.eapoe.org/works/essays/eureka1.htm)

Join your corpse-contemplating crew of the APDC as they cover the conclusion of the “Five Faces of Darkness” mini-series from the 1986 classic animated series, The Transformers! Top 5 cremation diamond companies!!! BUY US A DRINK!! Crusty G1-ers!! New Patrons!! Trypticon smashed the Ark!!! Metroplex haiku!!! Captain Faireborn and the Dipshit Duo!!! Sky Lynx the squawky dandy-fop!!! Predaking stuttersteps!! Quintessons: The Wack Pack!!! Write some fan-fic about that, pervs!!! Iconic Moment! Script Deviations!! In the Real World!! When they bust, they BUST!!!COCKTAIL - 8:30, SHOUT-OUTS - 15:33, REVIEW - 23:00, REAL WORLD - 58:50, SCRIPT DEVIATIONS - 01:09:22, ICONIC MOMENT - 01:13:24

Join your Pretentious Pod Pals of the APDC as they review the season 3 episode, “Five Faces of Darkness IV,” from the 1986 animated classic series, The Transformers! No banter, let's drink!!! The Tootsie Roll Owl did it!! What are you watching?! Zodiac Killer = Boring!! Blue Drinks and Naked Lunches!!! Galvatron jogging in space!! Shut up and get to the ship!!! Goo!!! Rodimus kills himself!! Matrix flashback!!! Trypticon penis towers!! In the Real World! Script Deviations!! Rate the Scheme!! Iconic Moments!! Buckets of porn in the woods!!!COCKTAIL – 9:33, SHOUT OUTS – 14:10, REVIEW – 22:24, THE REAL WORLD – 1:00:28, SCRIPT DEVIATIONS – 1:12:48, ICONIC MOMENT – 1:18:22

Join your Tiki-toting Trio of the APDC as they review the season 3 episode, “Five Faces of Darkness Part III” from the 1986 classic animated series, The Transformers! Male-pattern Coolio!! 2/3 Chicago COVID!!! Prime Geeki Tiki!!! Channel 5!! Shouts Out!!! Wheelie and Blurr – Worst duo EVER!!! Docking shaft-first into station holes!! Let us…chuckle!!! GROSS!!! Io Facts!! Dallas Corner!!!COCKTAIL – 19:00, SHOUT-OUTS – 24:25, REVIEW – 38:34, REAL WORLD – 1:16:32, SCRIPT DEVIATIONS – 1:25:25, ICONIC MOMENT – 1:29:55

Join your fart-box tongue-punchers of the APDC as they review the season 3 episode, “Five Faces of Darkness Part II,” from the 1986 classic animated series, The Transformers!Do the Dew!!! Raccoons!! Tree talk!! Sand in all your foldy-folds!! It's a Decepticon stampede!!! Quintessa: Saturn on acid!! Teaspoon: Cybertron's Chief Dishwasher!! Grimlock: Bozology!! Quintessons: Space Cucks!! Plasma Bath!! In the Real World! Iconic Moment!!COCKTAIL – 18:00REVIEW – 25:08REAL WORLD – 1:05:00SCRIPT DEVIATIONS – 1:22:35

Join your Decepticon Jonestown boys from the APDC as they review the Season 3 premier, “Five Faces of Darkness, Part 1,” from the 1986 classic animated series, The Transformers! It's a Lemon Party!!! Buy Us a Drink!! Season Three!!! Spin the wheel, see the Faces!! Fuck that memo!!! Wiggidy-ass planet!! Super irresponsible butt-plug!! Munka Spanka!! Carbombya!! Mutated sick puffer-fish!! Desiccated potato!! In the Real World!! Give until it hurts!!!14:40 – Cocktail18:06 – Sunbow Memo22:53 – Episode Review1:27:24 – In the Real World1:44:30 – Script Deviations

We enter the Negative Universe, we're introduced to Death Crystals and Optimus Prime returns from the dead! But something isn't right... 00:00 Intro 02:45 Trivia notes about "The Five Faces of Darkness'" 5 part story we discussed last time 11:30 Season 3 Ep 06 "The Killing Jar" discussion 48:11 Season 3 Ep 07 "Chaos" discussion 1:16:33 Season 3 Ep 08 "Dark Awakening" (aka, Optimus Prime returns as a zombie?) discussion 2:08:56 Outro Follow us - Twitter: https://twitter.com/StarscreamsPod Instagram: https://www.instagram.com/StarscreamsPod/ YouTube: https://www.youtube.com/channel/UCTPyTFZX1Gx86DaDKeXZAAA Download the mp3 version of this podcast at - Apple Music: https://podcasts.apple.com/us/podcast/starscreams-ghost-a-transformers-podcast/id1593445811 Spotify: https://open.spotify.com/show/6tPZOXTVT7mhDDGasrh3gF Soundcloud: https://soundcloud.com/starscreamsghost You can watch the the episodes discussed in this podcast legally and completely free on the official Hasbro Pulse YouTube channel: https://www.youtube.com/hasbropulse #Transformers #Podcast

We begin our journey into events following Transformers The Movie (1986) on the podcast today as we discuss the Season 3 opening 5 part story "The Five Faces Of Darkness" 00:00 Intro 04:14 The change in animation studio for Season 3 17:48 Season 3 Ep 1 discussion 53:00 Season 3 Ep 2 discussion 1:23:05 Season 3 Ep 3 discussion 1:46:10 Season 3 Ep 4 discussion 2:13:50 Season 3 Ep 5 discussion 2:42:33 Outro Follow us - Twitter: https://twitter.com/StarscreamsPod Instagram: https://www.instagram.com/StarscreamsPod/ YouTube: https://www.youtube.com/channel/UCTPyTFZX1Gx86DaDKeXZAAA

The 5 Faces of Fear. I share 5 common ways fear can show up in your life, and then I give you a simple and easy-to-apply strategy to take back control. https://candymotzek.lpages.co/ultimate-guide-ccc1/ (Download The Ultimate Guide To Becoming A Coach Here)  Featured on The Show: https://candymotzek.lpages.co/ultimate-guide-ccc1/ (Get your copy of The Ultimate Guide To Becoming A Coach Here) https://candy-motzek.mykajabi.com/work-with-me (Click here to learn how to apply to work with me )

Joined by Snappy to talk about: www.patreon.com/apodcastwithmo https://apodcastwithmo.myspreadshop.com Jobs Christmas Family Business Betty White Cops and Laws Omicron Taxes Generations Penny Auctions Education Video Games Weed

Ken Landau talks with author Vicki Matthews about the 5 basic personality types, including those of lawyers, and how they can get along, at work, in relationships or on a jury. She is the author of "The Five Faces of Relationships."

To celebrate their 25th show the chaps discuss their memories of ‘The Five Faces of Doctor Who’, the joy of Christmas 1981 including the pain of the Winter Hill transmitter failing, and answer the burning question on everybody’s lips. Was William Rees-Mogg BBC Director General – or not?

Flint Dille, the writer of Transformers, G.I. Joe, and a host of other great series, returns to help us celebrate the 35th Anniversary of The Five Faces of Darkness, the follow-up to the 1986 Transformers: The Movie.

We were so excited to have writer and 80's geek icon Flint Dille back on the podcast to celebrate the 35th anniversary of The Transformers: Five Faces if Darkness, the follow-up to the 1986 movie. As usual, we cover a lot of ground, so if you are a fan of Flint's work, or even if you enjoy that time period, this is a great listen! #transformersthemovie #transformersfivefacesofdarkness #flintdille #80scartoons #80spopculture #deathofoptimusprime --- Support this podcast: https://anchor.fm/matt-dursin/support

We were so excited to have writer and 80's geek icon Flint Dille back on the podcast to celebrate the 35th anniversary of The Transformers: Five Faces if Darkness, the follow-up to the 1986 movie. As usual, we cover a lot of ground, so if you are a fan of Flint's work, or even if you enjoy that time period, this is a great listen! #transformersthemovie #transformersfivefacesofdarkness #flintdille #80scartoons #80spopculture #deathofoptimusprime --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app Support this podcast: https://anchor.fm/matt-dursin/support

We wrap up the TRANSFORMERS' first and ONLY 5 part miniseries right here! The QUINTESSONS have convinced the DECEPTICONS to wage war on the AUTOBOTS and their home of CYBERTRON! But secretly the QUINTESSONS chuckle to themselves as they plan to turn on the DECEPTICONS as soon as the AUTOBOTS are out of the way! And only BLITZWING can save the day! WAIT, WHAT?? All this and the final destruction of THE ARK and the AUTOBOTS' VOLCANO HEADQUARTERS! http://FourMillionYearsLater.com https://www.teepublic.com/user/fourmillionyearslater SHIRTS! STICKERS! TAPESTRIES! CELL PHONE CASES! BABY ONESIES! Befriend the FOUR MILLION YEARS LATER page on Facebook! Jerzy's comics for sale at INDYPLANET Jerzy's Patreon Jerzy's RSS Feed of all his goings on! Closing theme by Nick Mehalick : https://soundcloud.com/nicholas-mehalick/tranformative Please email us! FourMillionYearsLater@gmail.com And review us at your favorite podcatcher! Please? --- Send in a voice message: https://anchor.fm/4myl/message

Business is picking up! GALVATRON finds out where all his DECEPTICONS went, and he doesn't like the answer! The QUINTESSONS make stuff up so GALVATRON doesn't kill them! The JUNKIONS come save the day on GOO, and RODIMUS PRIME goes on a spirit quest to finally get some facts about who these new 5 faced bozos are! And JERZY recalls HOOVER pulling a similar thing during a winter visit! http://FourMillionYearsLater.com https://www.teepublic.com/user/fourmillionyearslater SHIRTS! STICKERS! TAPESTRIES! CELL PHONE CASES! BABY ONESIES! Befriend the FOUR MILLION YEARS LATER page on Facebook! Jerzy's comics for sale at INDYPLANET Jerzy's Patreon Jerzy's RSS Feed of all his goings on! Closing theme by Nick Mehalick : https://soundcloud.com/nicholas-mehalick/tranformative Please email us! FourMillionYearsLater@gmail.com And review us at your favorite podcatcher! Please? --- Send in a voice message: https://anchor.fm/4myl/message

Donate to the Hole in the Wall Gang Camp by clicking here: https://bit.ly/3fldx2L (https://bit.ly/3fldx2L) It's Part 4 of the Excelsior Journeys 5-part miniseries celebrating the 35th anniversary of TransFormers: The Movie, and host & producer George Sirois welcomes writer/producer F.J. DeSanto, the current TransFormers torchbearer as the showrunner of Netflix's War for Cybertron Trilogy. The two discuss how F.J. grew up as a fan of the franchise, including the G1 series and the 1986 movie, how he got caught up with Beast Wars and everything else that came after the original series ended, and much more. George also welcomes back TFTM Story Consultant Flint Dille, who got Season 3 of the G1 series started off the best possible way by writing the 5-part miniseries Five Faces of Darkness.  Be sure to subscribe so you don't miss the rest of this miniseries throughout August. Just go to http://www.hesgotit.com/podcasts (http://www.hesgotit.com/podcasts) Sign up for the monthly newsletter starting September 2021 by clicking here: https://bit.ly/3yfVcdP (https://bit.ly/3yfVcdP) Support this podcast at — https://redcircle.com/excelsior-journeys/donations This podcast uses the following third-party services for analysis: Chartable - https://chartable.com/privacy Support this podcast

Donate to the Hole in the Wall Gang Camp by clicking here: https://bit.ly/3fldx2L (https://bit.ly/3fldx2L) It's Part 4 of the Excelsior Journeys 5-part miniseries celebrating the 35th anniversary of TransFormers: The Movie, and host & producer George Sirois welcomes writer/producer F.J. DeSanto, the current TransFormers torchbearer as the showrunner of Netflix's War for Cybertron Trilogy. The two discuss how F.J. grew up as a fan of the franchise, including the G1 series and the 1986 movie, how he got caught up with Beast Wars and everything else that came after the original series ended, and much more. George also welcomes back TFTM Story Consultant Flint Dille, who got Season 3 of the G1 series started off the best possible way by writing the 5-part miniseries Five Faces of Darkness.  Be sure to subscribe so you don't miss the rest of this miniseries throughout August. Just go to http://www.hesgotit.com/podcasts (http://www.hesgotit.com/podcasts) Sign up for the monthly newsletter starting September 2021 by clicking here: https://bit.ly/3yfVcdP (https://bit.ly/3yfVcdP) Support this podcast at — https://redcircle.com/excelsior-journeys/donations This podcast uses the following third-party services for analysis: Chartable - https://chartable.com/privacy Support this podcast

Originally aired on March 1st, 2019 Find Paul and John on Twitter. Full episode archive

We're at the middle chapter of the series' only 5-parter, and things are heating up all over the galaxy! The AUTOBOTS find themselves in a STICKY SITUATION on the planet GOO! The DECEPTICONS get made an offer they can't refuse! And WHEELIE SHOOTS A DECEPTICON IN THE FACE?! All this, and some of the most inaccurate coloring ever seen in a TRANSFORMERS episode! http://FourMillionYearsLater.com https://www.teepublic.com/user/fourmillionyearslater SHIRTS! STICKERS! TAPESTRIES! CELL PHONE CASES! BABY ONESIES! Befriend the FOUR MILLION YEARS LATER page on Facebook! Jerzy's comics for sale at INDYPLANET Jerzy's Patreon Jerzy's RSS Feed of all his goings on! Closing theme by Nick Mehalick : https://soundcloud.com/nicholas-mehalick/tranformative Please email us! FourMillionYearsLater@gmail.com And review us at your favorite podcatcher! Please? --- Send in a voice message: https://anchor.fm/4myl/message

Originally aired on February 28th, 2019 Find Paul and John on Twitter. Full episode archive

Originally aired on February 27th, 2019 Find Paul and John on Twitter. Full episode archive

Season 3 continues as we learn more about these mysterious QUINTESSONS! They have a real beef against the AUTOBOTS, it seems! Meanwhile CYCLONUS and THE SWEEPS locate and rescue (or harass, depending on who you ask) GALVATRON in order to put him back in charge of the DECEPTICONS! All this and SPIKE threatens to turn a QUINTESSON into BLOOEY JUICE! http://FourMillionYearsLater.com https://www.teepublic.com/user/fourmillionyearslater SHIRTS! STICKERS! TAPESTRIES! CELL PHONE CASES! BABY ONESIES! Befriend the FOUR MILLION YEARS LATER page on Facebook! Jerzy's comics for sale at INDYPLANET Jerzy's Patreon Jerzy's RSS Feed of all his goings on! Closing theme by Nick Mehalick : https://soundcloud.com/nicholas-mehalick/tranformative Please email us! FourMillionYearsLater@gmail.com And review us at your favorite podcatcher! Please? --- Send in a voice message: https://anchor.fm/4myl/message

Originally aired on February 25th, 2019 Find Paul and John on Twitter. Full episode archive

Here we are BACK to the regular series, starting off SEASON 3! We see a lot of movie threads continue into the series, and the return of new friends like WHEELIE, ARCEE, KUP, and BLURR, as well as the return of a character we haven't seen in many episodes! And we see the sorry state of the DECEPTICON EMPIRE! And possibly the last speaking role of RUMBLE maybe?? Season 3 is THIRTY episodes long, so strap in and get comfy! http://FourMillionYearsLater.com https://www.teepublic.com/user/fourmillionyearslater SHIRTS! STICKERS! TAPESTRIES! CELL PHONE CASES! BABY ONESIES! Befriend the FOUR MILLION YEARS LATER page on Facebook! Jerzy's comics for sale at INDYPLANET Jerzy's Patreon Jerzy's RSS Feed of all his goings on! Closing theme by Nick Mehalick : https://soundcloud.com/nicholas-mehalick/tranformative Please email us! FourMillionYearsLater@gmail.com And review us at your favorite podcatcher! Please? --- Send in a voice message: https://anchor.fm/4myl/message

Jesus described five forms of the earthly greatness we are to beware of.-Pride of appearance-Pride of importance-Pride of place-Pride of privilege-Pride of pretense

Episode 118 of A History of Rock Music in Five Hundred Songs looks at "Do-Wah-Diddy-Diddy" by Manfred Mann, and how a jazz group with a blues singer had one of the biggest bubblegum pop hits of the sixties. Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have a thirteen-minute bonus episode available, on "Walk on By" by Dionne Warwick. Tilt Araiza has assisted invaluably by doing a first-pass edit, and will hopefully be doing so from now on. Check out Tilt's irregular podcasts at http://www.podnose.com/jaffa-cakes-for-proust and http://sitcomclub.com/ ----more---- Resources No Mixcloud this week due to the number of tracks by Manfred Mann. Information on the group comes from Mannerisms: The Five Phases of Manfred Mann, by Greg Russo, and from the liner notes of this eleven-CD box set of the group's work. For a much cheaper collection of the group's hits -- but without the jazz, blues, and baroque pop elements that made them more interesting than the average sixties singles band -- this has all the hit singles. Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript: So far, when we've looked at the British blues and R&B scene, we've concentrated on the bands who were influenced by Chicago blues, and who kept to a straightforward guitar/bass/drums lineup. But there was another, related, branch of the blues scene in Britain that was more musically sophisticated, and which while its practitioners certainly enjoyed playing songs by Howlin' Wolf or Muddy Waters, was also rooted in the jazz of people like Mose Allison. Today we're going to look at one of those bands, and at the intersection of jazz and the British R&B scene, and how a jazz band with a flute player and a vibraphonist briefly became bubblegum pop idols. We're going to look at "Do Wah Diddy Diddy" by Manfred Mann: [Excerpt: Manfred Mann, "Do Wah Diddy Diddy"] Manfred Mann is, annoyingly when writing about the group, the name of both a band and of one of its members. Manfred Mann the human being, as opposed to Manfred Mann the group, was born Manfred Lubowitz in South Africa, and while he was from a wealthy family, he was very opposed to the vicious South African system of apartheid, and considered himself strongly anti-racist. He was also a lover of jazz music, especially some of the most progressive music being made at the time -- musicians like Ornette Coleman, Charles Mingus, and John Coltrane -- and he soon became a very competent jazz pianist, playing with musicians like Hugh Masakela at a time when that kind of fraternisation between people of different races was very much frowned upon in South Africa. Manfred desperately wanted to get out of South Africa, and he took his chance in June 1961, at the last point at which he was a Commonwealth citizen. The Commonwealth, for those who don't know, is a political association of countries that were originally parts of the British Empire, and basically replaced the British Empire when the former colonies gained their independence. These days, the Commonwealth is of mostly symbolic importance, but in the fifties and sixties, as the Empire was breaking up, it was considered a real power in its own right, and in particular, until some changes to immigration law in the mid sixties, Commonwealth citizens had the right to move to the UK.  At that point, South Africa had just voted to become a republic, and there was a rule in the Commonwealth that countries with a head of state other than the Queen could only remain in the Commonwealth with the unanimous agreement of all the other members. And several of the other member states, unsurprisingly, objected to the continued membership of a country whose entire system of government was based on the most virulent racism imaginable. So, as soon as South Africa became a republic, it lost its Commonwealth membership, and that meant that its citizens lost their automatic right to emigrate to the UK. But they were given a year's grace period, and so Manfred took that chance and moved over to England, where he started playing jazz keyboards, giving piano lessons, and making some money on the side by writing record reviews. For those reviews, rather than credit himself as Manfred Lubowitz, he decided to use a pseudonym taken from the jazz drummer Shelly Manne, and he became Manfred Manne -- spelled with a silent e on the end, which he later dropped. Mann was rather desperate for gigs, and he ended up taking a job playing with a band at a Butlin's holiday camp. Graham Bond, who we've seen in several previous episodes as the leader of The Graham Bond Organisation, was at that time playing Hammond organ there, but only wanted to play a few days a week. Mann became the substitute keyboard player for that holiday camp band, and struck up a good musical rapport with the drummer and vibraphone player, Mike Hugg. When Bond went off to form his own band, Mann and Hugg decided to form their own band along the same lines, mixing the modern jazz that they liked with the more commercial R&B that Bond was playing.  They named their group the Mann-Hugg Blues Brothers, and it initially consisted of Mann on keyboards, Hugg on drums and vibraphone, Mike Vickers on guitar, flute, and saxophone, Dave Richmond on bass, Tony Roberts and Don Fay on saxophone and Ian Fenby on trumpet. As their experiences were far more in the jazz field than in blues, they decided that they needed to get in a singer who was more familiar with the blues side of things. The person they chose was a singer who was originally named Paul Pond, and who had been friends for a long time with Brian Jones, before Jones had formed the Rolling Stones. While Jones had been performing under the name Elmo Lewis, his friend had taken on Jones' surname, as he thought "Paul Pond" didn't sound like a good name for a singer. He'd first kept his initials, and performed as P.P. Jones, but then he'd presumably realised that "pee-pee" is probably not the best stage name in the world, and so he'd become just Paul Jones, the name by which he's known to this day. Jones, like his friend Brian, was a fan particularly of Chicago blues, and he had occasionally appeared with Alexis Korner. After auditioning for the group at a ska club called The Roaring 20s, Jones became the group's lead singer and harmonica player, and the group soon moved in Jones' musical direction, playing the kind of Chicago blues that was popular at the Marquee club, where they soon got a residency, rather than the soul style that was more popular at the nearby Flamingo club, and which would be more expected from a horn-centric lineup. Unsurprisingly, given this, the horn players soon left, and the group became a five-piece core of Jones, Mann, Hugg, Vickers, and Richmond. This group was signed to HMV records by John Burgess. Burgess was a producer who specialised in music of a very different style from what the Mann-Hugg Blues Brothers played. We've already heard some of his production work -- he was the producer for Adam Faith from "What Do You Want?" on: [Excerpt: Adam Faith, "What Do You Want?"] And at the time he signed the Mann-Hugg Blues Brothers, he was just starting to work with a new group, Freddie and the Dreamers, for whom he would produce several hits: [Excerpt: Freddie and the Dreamers, "If You Gotta Make a Fool of Somebody"] Burgess liked the group, but he insisted that they had to change their name -- and in fact, he insisted that the group change their name to Manfred Mann. None of the group members liked the idea -- even Mann himself thought that this seemed a little unreasonable, and Paul Jones in particular disagreed strongly with the idea, but they were all eventually mollified by the idea that all the publicity would emphasise that all five of them were equal members of the group, and that while the group might be named after their keyboard player, there were five members. The group members themselves always referred to themselves as "the Manfreds" rather than as Manfred Mann. The group's first single showed that despite having become a blues band and then getting produced by a pop producer, they were still at heart a jazz group. "Why Should We Not?" is an instrumental led by Vickers' saxophone, Mann's organ, and Jones' harmonica: [Excerpt: Manfred Mann, "Why Should We Not?"] Unsurprisingly, neither that nor the B-side, a jazz instrumental version of "Frere Jacques", charted -- Britain in 1963 wanted Gerry and the Pacemakers and Freddie and the Dreamers, not jazz instrumentals. The next single, an R&B song called "Cock-A-Hoop" written by Jones, did little better. The group's big breakthrough came from Ready, Steady, Go!, which at this point was using "Wipe Out!" by the Surfaris as its theme song: [Excerpt: The Surfaris, "Wipe Out"] We've mentioned Ready, Steady, Go! in passing in previous episodes, but it was the most important pop music show of the early and mid sixties, just as Oh Boy! had been for the late fifties. Ready, Steady, Go! was, in principle at least, a general pop music programme, but in practice it catered primarily for the emerging mod subculture. "Mod" stood for "modernist", and the mods emerged from the group of people who liked modern jazz rather than trad, but by this point their primary musical interests were in soul and R&B. Mod was a working-class subculture, based in the South-East of England, especially London, and spurred on by the newfound comparative affluence of the early sixties, when for the first time young working-class people, while still living in poverty, had a small amount of disposable income to spend on clothes, music, and drugs. The Mods had a very particular sense of style, based around sharp Italian suits, pop art and op art, and Black American music or white British imitations of it. For them, music was functional, and primarily existed for the purposes of dancing, and many of them would take large amounts of amphetamines so they could spend the entire weekend at clubs dancing to soul and R&B music. And that entire weekend would kick off on Friday with Ready, Steady, Go!, whose catchphrase was "the weekend starts here!" Ready, Steady, Go! featured almost every important pop act of the early sixties, but while groups like Gerry and the Pacemakers or the Beatles would appear on it, it became known for its promotion of Black artists, and it was the first major British TV exposure for Motown artists like the Supremes, the Temptations, and the Marvelettes, for Stax artists like Otis Redding, and for blues artists like John Lee Hooker and Sonny Boy Williamson. Ready Steady Go! was also the primary TV exposure for British groups who were inspired by those artists, and it's through Ready Steady Go! that the Animals, the Yardbirds, the Rolling Stones, Them, and the Who, among others reached national popularity -- all of them acts that were popular among the Mods in particular. But "Wipe Out" didn't really fit with this kind of music, and so the producers of Ready Steady Go were looking for something more suitable for their theme music. They'd already tried commissioning the Animals to record something, as we saw a couple of weeks back, but that hadn't worked out, and instead they turned to Manfred Mann, who came up with a song that not only perfectly fit the style of the show, but also handily promoted the group themselves: [Excerpt: Manfred Mann, "5-4-3-2-1"] That was taken on as Ready, Steady, Go!s theme song, and made the top five in the UK. But by the time it charted, the group had already changed lineup. Dave Richmond was seen by the other members of the group as a problem at this point. Richmond was a great bass player, but he was a great *jazz* bass player -- he wanted to be Charles Mingus, and play strange cross-rhythms, and what the group needed at this point was someone who would just play straightforward blues basslines without complaint -- they needed someone closer to Willie Dixon than to Mingus. Tom McGuinness, who replaced him, had already had a rather unusual career trajectory. He'd started out as a satirist, writing for the magazine Private Eye and the TV series That Was The Week That Was, one of the most important British comedy shows of the sixties, but he had really wanted to be a blues musician instead. He'd formed a blues band, The Roosters, with a guitarist who went to art school with his girlfriend, and they'd played a few gigs around London before the duo had been poached by the minor Merseybeat band Casey Jones and his Engineers, a group which had been formed by Brian Casser, formerly of Cass & The Cassanovas, the group that had become The Big Three. Casey Jones and his Engineers had just released the single "One Way Ticket": [Excerpt: Casey Jones and His Engineers, "One-Way Ticket"] However, the two guitarists soon realised, after just a handful of gigs, that they weren't right for that group, and quit. McGuinness' friend, Eric Clapton, went on to join the Yardbirds, and we'll be hearing more about him in a few weeks' time, but McGuinness was at a loose end, until he discovered that Manfred Mann were looking for a bass player. McGuinness was a guitarist, but bluffed to Paul Jones that he'd switched to bass, and got the job. He said later that the only question he'd been asked when interviewed by the group was "are you willing to play simple parts?" -- as he'd never played bass in his life until the day of his first gig with the group, he was more than happy to say yes to that. McGuinness joined only days after the recording of "5-4-3-2-1", and Richmond was out -- though he would have a successful career as a session bass player, playing on, among others, "Je t'Aime" by Serge Gainsbourg and Jane Birkin, "Your Song" by Elton John, Labi Siffre's "It Must Be Love", and the music for the long-running sitcoms Only Fools and Horses and Last of the Summer Wine. As soon as McGuinness joined, the group set out on tour, to promote their new hit, but also to act as the backing group for the Crystals, on a tour which also featured Johnny Kidd and the Pirates and Joe Brown and his Bruvvers.  The group's next single, "Hubble Bubble Toil and Trouble" was another original, and made number eleven on the charts, but the group saw it as a failure anyway, to the extent that they tried their best to forget it ever existed. In researching this episode I got an eleven-CD box set of the group's work, which contains every studio album or compilation they released in the sixties, a collection of their EPs, and a collection of their BBC sessions. In all eleven CDs, "Hubble Bubble Toil and Trouble" doesn't appear at all. Which is quite odd, as it's a perfectly serviceable, if unexceptional, piece of pop R&B: [Excerpt: Manfred Mann, "Hubble Bubble Toil and Trouble"] But it's not just the group that were unimpressed with the record. John Burgess thought that the record only getting to number eleven was proof of his hypothesis that groups should not put out their own songs as singles. From this point on, with one exception in 1968, everything they released as an A-side would be a cover version or a song brought to them by a professional songwriter. This worried Jones, who didn't want to be forced to start singing songs he disliked, which he saw as a very likely outcome of this edict. So he made it his role in the group to seek out records that the group could cover, which would be commercial enough that they could get hit singles from them, but which would be something he could sing while keeping his self-respect. His very first selection certainly met the first criterion. The song which would become their biggest hit had very little to do with the R&B or jazz which had inspired the group. Instead, it was a perfect piece of Brill Building pop. The Exciters, who originally recorded it, were one of the great girl groups of the early sixties (though they also had one male member), and had already had quite an influence on pop music. They had been discovered by Leiber and Stoller, who had signed them to Red Bird Records, a label we'll be looking at in much more detail in an upcoming episode, and they'd had a hit in 1962 with a Bert Berns song, "Tell Him", which made the top five: [Excerpt: The Exciters, "Tell Him"] That record had so excited a young British folk singer who was in the US at the time to record an album with her group The Springfields that she completely reworked her entire style, went solo, and kickstarted a solo career singing pop-soul songs under the name Dusty Springfield. The Exciters never had another top forty hit, but they became popular enough among British music lovers that the Beatles asked them to open for them on their American tour in summer 1964. Most of the Exciters' records were of songs written by the more R&B end of the Brill Building songwriters -- they would record several more Bert Berns songs, and some by Ritchie Barrett, but the song that would become their most well-known legacy was actually written by Jeff Barry and Ellie Greenwich. Like many of Barry and Greenwich's songs, it was based around a nonsense phrase, but in this case the phrase they used had something of a longer history, though it's not apparent whether they fully realised that. In African-American folklore of the early twentieth century, the imaginary town of Diddy Wah Diddy was something like a synonym for heaven, or for the Big Rock Candy Mountain of the folk song -- a place where people didn't have to work, and where food was free everywhere. This place had been sung about in many songs, like Blind Blake's "Diddie Wah Diddie": [Excerpt: Blind Blake, "Diddie Wah Diddie"] And a song written by Willie Dixon for Bo Diddley: [Excerpt: Bo Diddley, "Diddy Wah Diddy"] And "Diddy" and "Wah" had often been used by other Black artists, in various contexts, like Roy Brown and Dave Bartholomew's "Diddy-Y-Diddy-O": [Excerpt: Roy Brown and Dave Bartholomew, "Diddy-Y-Diddy-O"] And Junior and Marie's "Boom Diddy Wah Wah", a "Ko Ko Mo" knockoff produced by Johnny Otis: [Excerpt: Junior and Marie, "Boom Diddy Wah Wah"]  So when Jeff Barry and Ellie Greenwich wrote "Do-Wah-Diddy", as the song was originally called, they were, wittingly or not, tapping into a rich history of rhythm and blues music. But the song as Greenwich demoed it was one of the first examples of what would become known as "bubblegum pop", and is particularly notable in her demo for its very early use of the fuzz guitar that would be a stylistic hallmark of that subgenre: [Excerpt: Ellie Greenwich, "Do-Wah-Diddy (demo)"] The Exciters' version of the song took it into more conventional girl-group territory, with a strong soulful vocal, but with the group's backing vocal call-and-response chant showing up the song's resemblance to the kind of schoolyard chanting games which were, of course, the basis of the very first girl group records: [Excerpt: The Exciters, "Do-Wah-Diddy"] Sadly, that record only reached number seventy-eight on the charts, and the Exciters would have no more hits in the US, though a later lineup of the group would make the UK top forty in 1975 with a song written and produced by the Northern Soul DJ Ian Levine. But in 1964 Jones had picked up on "Do-Wah-Diddy", and knew it was a potential hit. Most of the group weren't very keen on "Do Wah Diddy Diddy", as the song was renamed. There are relatively few interviews with any of them about it, but from what I can gather the only member of the band who thought anything much of the song was Paul Jones. However, the group did their best with the recording, and were particularly impressed with Manfred's Hammond organ solo -- which they later discovered was cut out of the finished recording by Burgess. The result was an organ-driven stomping pop song which had more in common with the Dave Clark Five than with anything else the group were doing: [Excerpt: Manfred Mann, "Do Wah Diddy Diddy"] The record reached number one in both the UK and the US, and the group immediately went on an American tour, packaged with Peter & Gordon, a British duo who were having some success at the time because Peter Asher's sister was dating Paul McCartney, who'd given them a hit song, "World Without Love": [Excerpt: Peter and Gordon, "World Without Love"] The group found the experience of touring the US a thoroughly miserable one, and decided that they weren't going to bother going back again, so while they would continue to have big hits in Britain for the rest of the decade, they only had a few minor successes in the States. After the success of "Do Wah Diddy Diddy", EMI rushed out an album by the group, The Five Faces of Manfred Mann, which must have caused some confusion for anyone buying it in the hope of more "Do Wah Diddy Diddy" style pop songs. Half the album's fourteen tracks were covers of blues and R&B, mostly by Chess artists -- there were covers of Muddy Waters, Howlin' Wolf, Bo Diddley, Ike & Tina Turner, and more. There were also five originals, written or co-written by Jones, in the same style as those songs, plus a couple of instrumentals, one written by the group and one a cover of Cannonball Adderly's jazz classic "Sack O'Woe", arranged to show off the group's skills at harmonica, saxophone, piano and vibraphone: [Excerpt: Manfred Mann, "Sack O'Woe"] However, the group realised that the formula they'd hit on with "Do  Wah Diddy Diddy" was a useful one, and so for their next single they once again covered a girl-group track with a nonsense-word chorus and title -- their version of "Sha La La" by the Shirelles took them to number three on the UK charts, and number twelve in the US. They followed that with a ballad, "Come Tomorrow", one of the few secular songs ever recorded by Marie Knight, the gospel singer who we discussed briefly way back in episode five, who was Sister Rosetta Tharpe's duet partner, and quite possibly her partner in other senses. They released several more singles and were consistently charting, to the point that they actually managed to get a top ten hit with a self-written song despite their own material not being considered worth putting out as singles. Paul Jones had written "The One in the Middle" for his friends the Yardbirds, but when they turned it down, he rewrote the song to be about Manfred Mann, and especially about himself: [Excerpt: Manfred Mann, "The One in the Middle"] Like much of their material, that was released on an EP, and the EP was so successful that as well as making number one on the EP charts, it also made number ten on the regular charts, with "The One in the Middle" as the lead-off track. But "The One in the Middle" was a clue to something else as well -- Jones was getting increasingly annoyed at the fact that the records the group was making were hits, and he was the frontman, the lead singer, the person picking the cover versions, and the writer of much of the original material, but all the records were getting credited to the group's keyboard player.  But Jones wasn't the next member of the group to leave. That was Mike Vickers, who went off to work in arranging film music and session work, including some work for the Beatles, the music for the film Dracula AD 1972, and the opening and closing themes for This Week in Baseball. The last single the group released while Vickers was a member was the aptly-titled "If You Gotta Go, Go Now". Mann had heard Bob Dylan performing that song live, and had realised that the song had never been released. He'd contacted Dylan's publishers, got hold of a demo, and the group became the first to release a version of the song, making number two in the charts: [Excerpt: Manfred Mann, "If You Gotta Go, Go Now"] Before Vickers' departure, the group had recorded their second album, Mann Made, and that had been even more eclectic than the first album, combining versions of blues classics like "Stormy Monday Blues", Motown songs like "The Way You Do The Things You Do", country covers like "You Don't Know Me", and oddities like "Bare Hugg", an original jazz instrumental for flute and vibraphone: [Excerpt: Manfred Mann, "Bare Hugg"] McGuinness took the opportunity of Vickers leaving the group to switch from bass back to playing guitar, which had always been his preferred instrument. To fill in the gap, on Graham Bond's recommendation they hired away Jack Bruce, who had just been playing in John Mayall's Bluesbreakers with McGuinness' old friend Eric Clapton, and it's Bruce who played bass on the group's next big hit, "Pretty Flamingo", the only UK number one that Bruce ever played on: [Excerpt: Manfred Mann, "Pretty Flamingo"] Bruce stayed with the band for several months, before going off to play in another band who we'll be covering in a future episode. He was replaced in turn by Klaus Voorman. Voorman was an old friend of the Beatles from their Hamburg days, who had been taught the rudiments of bass by Stuart Sutcliffe, and had formed a trio, Paddy, Klaus, and Gibson, with two Merseybeat musicians, Paddy Chambers of the Big Three and Gibson Kemp of Kingsize Taylor and the Dominoes: [Excerpt: Paddy, Klaus, and Gibson, "No Good Without You Baby"] Like Vickers, Voorman could play the flute, and his flute playing would become a regular part of the group's later singles. These lineup changes didn't affect the group as either a chart act or as an act who were playing a huge variety of different styles of music. While the singles were uniformly catchy pop, on album tracks, B-sides or EPs you'd be likely to find versions of folk songs collected by Alan Lomax, like "John Hardy", or things like "Driva Man", a blues song about slavery in 5/4 time, originally by the jazz greats Oscar Brown and Max Roach: [Excerpt: Manfred Mann, "Driva Man"] But by the time that track was released, Paul Jones was out of the group. He actually announced his intention to quit the group at the same time that Mike Vickers left, but the group had persuaded him to stay on for almost a year while they looked for his replacement, auditioning singers like Rod Stewart and Long John Baldry with little success. They eventually decided on Mike d'Abo, who had previously been the lead singer of a group called A Band of Angels: [Excerpt: A Band of Angels, "(Accept My) Invitation"] By the point d'Abo joined, relations  between the rest of the group and Jones were so poor that they didn't tell Jones that they were thinking of d'Abo -- Jones would later recollect that the group decided to stop at a pub on the way to a gig, ostensibly to watch themselves on TV, but actually to watch A Band of Angels on the same show, without explaining to Jones that that was what they were doing – Jones actually mentioned d'Abo to his bandmates as a possible replacement, not realising he was already in the group. Mann has talked about how on the group's last show with Jones, they drove to the gig in silence, and their first single with the new singer, a version of Dylan's "Just Like a Woman", came on the radio. There was a lot of discomfort in the band at this time, because their record label had decided to stick with Jones as a solo performer, and the rest of the group had had to find another label, and were worried that without Jones their career was over. Luckily for everyone involved, "Just Like a Woman" made the top ten, and the group's career was able to continue. Meanwhile, Jones' first single as a solo artist made the top five: [Excerpt: Paul Jones, "High Time"] But after that and his follow-up, "I've Been a Bad, Bad, Boy", which made number five, the best he could do was to barely scrape the top forty. Manfred Mann, on the other hand, continued having hits, though there was a constant struggle to find new material. d'Abo was himself a songwriter, and it shows the limitations of the "no A-sides by group members" rule that while d'Abo was the lead singer of Manfred Mann, he wrote two hit singles which the group never recorded. The first, "Handbags and Gladrags", was a hit for Chris Farlowe: [Excerpt: Chris Farlowe, "Handbags and Gladrags"] That was only a minor hit, but was later recorded successfully by Rod Stewart, with d'Abo arranging, and the Stereophonics. d'Abo also co-wrote, and played piano on, "Build Me Up Buttercup" by the Foundations: [Excerpt: The Foundations, "Build Me Up Buttercup"] But the group continued releasing singles written by other people.  Their second post-Jones single, from the perspective of a spurned lover insulting their ex's new fiancee, had to have its title changed from what the writers intended, as the group felt that a song insulting "semi-detached suburban Mr. Jones" might be taken the wrong way. Lightly retitled, "Semi-Detached Suburban Mr. James" made number two, while the follow-up, "Ha Ha! Said the Clown", made number four. The two singles after that did significantly less well, though, and seemed to be quite bizarre choices -- an instrumental Hammond organ version of Tommy Roe's "Sweet Pea", which made number thirty-six, and a version of Randy Newman's bitterly cynical "So Long, Dad", which didn't make the charts at all. After this lack of success, the group decided to go back to what had worked for them before. They'd already had two hits with Dylan songs, and Mann had got hold of a copy of Dylan's Basement Tapes, a bootleg which we'll be talking about later. He picked up on one song from it, and got permission to release "The Mighty Quinn", which became the group's third number one: [Excerpt: Manfred Mann, "The Mighty Quinn"] The album from which that came, Mighty Garvey, is the closest thing the group came to an actual great album. While the group's earlier albums were mostly blues covers, this was mostly made up of original material by either Hugg or d'Abo, in a pastoral baroque pop style that invites comparisons to the Kinks or the Zombies' material of that period, but with a self-mocking comedy edge in several songs that was closer to the Bonzo Dog Doo-Dah Band. Probably the highlight of the album was the mellotron-driven "It's So Easy Falling": [Excerpt: Manfred Mann, "It's So Easy Falling"] But Mighty Garvey didn't chart, and it was the last gasp of the group as a creative entity. They had three more top-ten hits, all of them good examples of their type, but by January 1969, Tom McGuinness was interviewed saying "It's not a group any more. It's just five people who come together to make hit singles. That's the only aim of the group at the moment -- to make hit singles -- it's the only reason the group exists. Commercial success is very important to the group. It gives us financial freedom to do the things we want." The group split up in 1969, and went their separate ways. d'Abo appeared on the original Jesus Christ Superstar album, and then went into writing advertising jingles, most famously writing "a finger of fudge is just enough" for Cadbury's. McGuinness formed McGuinness Flint, with the songwriters Gallagher and Lyle, and had a big hit with "When I'm Dead and Gone": [Excerpt: McGuinness Flint, "When I'm Dead and Gone"] He later teamed up again with Paul Jones, to form a blues band imaginatively named "the Blues Band", who continue performing to this day: [Excerpt: The Blues Band, "Mean Ol' Frisco"] Jones became a born-again Christian in the eighties, and also starred in a children's TV show, Uncle Jack, and presented the BBC Radio 2 Blues Programme for thirty-two years. Manfred Mann and Mike Hugg formed another group, Manfred Mann Chapter Three, who released two albums before splitting. Hugg went on from that to write for TV and films, most notably writing the theme music to "Whatever Happened to the Likely Lads?": [Excerpt: Highly Likely, "Whatever Happened to the Likely Lads?"] Mann went on to form Manfred Mann's Earth Band, who had a number of hits, the biggest of which was the Bruce Springsteen song "Blinded by the Light": [Excerpt: Manfred Mann's Earth Band, "Blinded by the Light"] Almost uniquely for a band from the early sixties, all the members of the classic lineup of Manfred Mann are still alive. Manfred Mann continues to perform with various lineups of his Earth Band. Hugg, Jones, McGuinness, and d'Abo reunited as The Manfreds in the 1990s, with Vickers also in the band until 1999, and continue to tour together -- I still have a ticket to see them which was originally for a show in April 2020, but has just been rescheduled to 2022. McGuinness and Jones also still tour with the Blues Band. And Mike Vickers now spends his time creating experimental animations.  Manfred Mann were a band with too many musical interests to have a coherent image, and their reliance on outside songwriters and their frequent lineup changes meant that they never had the consistent sound of many of their contemporaries. But partly because of this, they created a catalogue that rewards exploration in a way that several more well-regarded bands' work doesn't, and I wouldn't be at all surprised to see a major critical reassessment of them at some point. But whether that happens or not, almost sixty years on people around the world still respond instantly to the opening bars of their biggest hit, and "Do Wah Diddy Diddy" remains one of the most fondly remembered singles of the early sixties.

Episode 118 of A History of Rock Music in Five Hundred Songs looks at “Do-Wah-Diddy-Diddy” by Manfred Mann, and how a jazz group with a blues singer had one of the biggest bubblegum pop hits of the sixties. Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have a thirteen-minute bonus episode available, on “Walk on By” by Dionne Warwick. Tilt Araiza has assisted invaluably by doing a first-pass edit, and will hopefully be doing so from now on. Check out Tilt’s irregular podcasts at http://www.podnose.com/jaffa-cakes-for-proust and http://sitcomclub.com/ —-more—- Resources No Mixcloud this week due to the number of tracks by Manfred Mann. Information on the group comes from Mannerisms: The Five Phases of Manfred Mann, by Greg Russo, and from the liner notes of this eleven-CD box set of the group’s work. For a much cheaper collection of the group’s hits — but without the jazz, blues, and baroque pop elements that made them more interesting than the average sixties singles band — this has all the hit singles. Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript: So far, when we’ve looked at the British blues and R&B scene, we’ve concentrated on the bands who were influenced by Chicago blues, and who kept to a straightforward guitar/bass/drums lineup. But there was another, related, branch of the blues scene in Britain that was more musically sophisticated, and which while its practitioners certainly enjoyed playing songs by Howlin’ Wolf or Muddy Waters, was also rooted in the jazz of people like Mose Allison. Today we’re going to look at one of those bands, and at the intersection of jazz and the British R&B scene, and how a jazz band with a flute player and a vibraphonist briefly became bubblegum pop idols. We’re going to look at “Do Wah Diddy Diddy” by Manfred Mann: [Excerpt: Manfred Mann, “Do Wah Diddy Diddy”] Manfred Mann is, annoyingly when writing about the group, the name of both a band and of one of its members. Manfred Mann the human being, as opposed to Manfred Mann the group, was born Manfred Lubowitz in South Africa, and while he was from a wealthy family, he was very opposed to the vicious South African system of apartheid, and considered himself strongly anti-racist. He was also a lover of jazz music, especially some of the most progressive music being made at the time — musicians like Ornette Coleman, Charles Mingus, and John Coltrane — and he soon became a very competent jazz pianist, playing with musicians like Hugh Masakela at a time when that kind of fraternisation between people of different races was very much frowned upon in South Africa. Manfred desperately wanted to get out of South Africa, and he took his chance in June 1961, at the last point at which he was a Commonwealth citizen. The Commonwealth, for those who don’t know, is a political association of countries that were originally parts of the British Empire, and basically replaced the British Empire when the former colonies gained their independence. These days, the Commonwealth is of mostly symbolic importance, but in the fifties and sixties, as the Empire was breaking up, it was considered a real power in its own right, and in particular, until some changes to immigration law in the mid sixties, Commonwealth citizens had the right to move to the UK.  At that point, South Africa had just voted to become a republic, and there was a rule in the Commonwealth that countries with a head of state other than the Queen could only remain in the Commonwealth with the unanimous agreement of all the other members. And several of the other member states, unsurprisingly, objected to the continued membership of a country whose entire system of government was based on the most virulent racism imaginable. So, as soon as South Africa became a republic, it lost its Commonwealth membership, and that meant that its citizens lost their automatic right to emigrate to the UK. But they were given a year’s grace period, and so Manfred took that chance and moved over to England, where he started playing jazz keyboards, giving piano lessons, and making some money on the side by writing record reviews. For those reviews, rather than credit himself as Manfred Lubowitz, he decided to use a pseudonym taken from the jazz drummer Shelly Manne, and he became Manfred Manne — spelled with a silent e on the end, which he later dropped. Mann was rather desperate for gigs, and he ended up taking a job playing with a band at a Butlin’s holiday camp. Graham Bond, who we’ve seen in several previous episodes as the leader of The Graham Bond Organisation, was at that time playing Hammond organ there, but only wanted to play a few days a week. Mann became the substitute keyboard player for that holiday camp band, and struck up a good musical rapport with the drummer and vibraphone player, Mike Hugg. When Bond went off to form his own band, Mann and Hugg decided to form their own band along the same lines, mixing the modern jazz that they liked with the more commercial R&B that Bond was playing.  They named their group the Mann-Hugg Blues Brothers, and it initially consisted of Mann on keyboards, Hugg on drums and vibraphone, Mike Vickers on guitar, flute, and saxophone, Dave Richmond on bass, Tony Roberts and Don Fay on saxophone and Ian Fenby on trumpet. As their experiences were far more in the jazz field than in blues, they decided that they needed to get in a singer who was more familiar with the blues side of things. The person they chose was a singer who was originally named Paul Pond, and who had been friends for a long time with Brian Jones, before Jones had formed the Rolling Stones. While Jones had been performing under the name Elmo Lewis, his friend had taken on Jones’ surname, as he thought “Paul Pond” didn’t sound like a good name for a singer. He’d first kept his initials, and performed as P.P. Jones, but then he’d presumably realised that “pee-pee” is probably not the best stage name in the world, and so he’d become just Paul Jones, the name by which he’s known to this day. Jones, like his friend Brian, was a fan particularly of Chicago blues, and he had occasionally appeared with Alexis Korner. After auditioning for the group at a ska club called The Roaring 20s, Jones became the group’s lead singer and harmonica player, and the group soon moved in Jones’ musical direction, playing the kind of Chicago blues that was popular at the Marquee club, where they soon got a residency, rather than the soul style that was more popular at the nearby Flamingo club, and which would be more expected from a horn-centric lineup. Unsurprisingly, given this, the horn players soon left, and the group became a five-piece core of Jones, Mann, Hugg, Vickers, and Richmond. This group was signed to HMV records by John Burgess. Burgess was a producer who specialised in music of a very different style from what the Mann-Hugg Blues Brothers played. We’ve already heard some of his production work — he was the producer for Adam Faith from “What Do You Want?” on: [Excerpt: Adam Faith, “What Do You Want?”] And at the time he signed the Mann-Hugg Blues Brothers, he was just starting to work with a new group, Freddie and the Dreamers, for whom he would produce several hits: [Excerpt: Freddie and the Dreamers, “If You Gotta Make a Fool of Somebody”] Burgess liked the group, but he insisted that they had to change their name — and in fact, he insisted that the group change their name to Manfred Mann. None of the group members liked the idea — even Mann himself thought that this seemed a little unreasonable, and Paul Jones in particular disagreed strongly with the idea, but they were all eventually mollified by the idea that all the publicity would emphasise that all five of them were equal members of the group, and that while the group might be named after their keyboard player, there were five members. The group members themselves always referred to themselves as “the Manfreds” rather than as Manfred Mann. The group’s first single showed that despite having become a blues band and then getting produced by a pop producer, they were still at heart a jazz group. “Why Should We Not?” is an instrumental led by Vickers’ saxophone, Mann’s organ, and Jones’ harmonica: [Excerpt: Manfred Mann, “Why Should We Not?”] Unsurprisingly, neither that nor the B-side, a jazz instrumental version of “Frere Jacques”, charted — Britain in 1963 wanted Gerry and the Pacemakers and Freddie and the Dreamers, not jazz instrumentals. The next single, an R&B song called “Cock-A-Hoop” written by Jones, did little better. The group’s big breakthrough came from Ready, Steady, Go!, which at this point was using “Wipe Out!” by the Surfaris as its theme song: [Excerpt: The Surfaris, “Wipe Out”] We’ve mentioned Ready, Steady, Go! in passing in previous episodes, but it was the most important pop music show of the early and mid sixties, just as Oh Boy! had been for the late fifties. Ready, Steady, Go! was, in principle at least, a general pop music programme, but in practice it catered primarily for the emerging mod subculture. “Mod” stood for “modernist”, and the mods emerged from the group of people who liked modern jazz rather than trad, but by this point their primary musical interests were in soul and R&B. Mod was a working-class subculture, based in the South-East of England, especially London, and spurred on by the newfound comparative affluence of the early sixties, when for the first time young working-class people, while still living in poverty, had a small amount of disposable income to spend on clothes, music, and drugs. The Mods had a very particular sense of style, based around sharp Italian suits, pop art and op art, and Black American music or white British imitations of it. For them, music was functional, and primarily existed for the purposes of dancing, and many of them would take large amounts of amphetamines so they could spend the entire weekend at clubs dancing to soul and R&B music. And that entire weekend would kick off on Friday with Ready, Steady, Go!, whose catchphrase was “the weekend starts here!” Ready, Steady, Go! featured almost every important pop act of the early sixties, but while groups like Gerry and the Pacemakers or the Beatles would appear on it, it became known for its promotion of Black artists, and it was the first major British TV exposure for Motown artists like the Supremes, the Temptations, and the Marvelettes, for Stax artists like Otis Redding, and for blues artists like John Lee Hooker and Sonny Boy Williamson. Ready Steady Go! was also the primary TV exposure for British groups who were inspired by those artists, and it’s through Ready Steady Go! that the Animals, the Yardbirds, the Rolling Stones, Them, and the Who, among others reached national popularity — all of them acts that were popular among the Mods in particular. But “Wipe Out” didn’t really fit with this kind of music, and so the producers of Ready Steady Go were looking for something more suitable for their theme music. They’d already tried commissioning the Animals to record something, as we saw a couple of weeks back, but that hadn’t worked out, and instead they turned to Manfred Mann, who came up with a song that not only perfectly fit the style of the show, but also handily promoted the group themselves: [Excerpt: Manfred Mann, “5-4-3-2-1”] That was taken on as Ready, Steady, Go!s theme song, and made the top five in the UK. But by the time it charted, the group had already changed lineup. Dave Richmond was seen by the other members of the group as a problem at this point. Richmond was a great bass player, but he was a great *jazz* bass player — he wanted to be Charles Mingus, and play strange cross-rhythms, and what the group needed at this point was someone who would just play straightforward blues basslines without complaint — they needed someone closer to Willie Dixon than to Mingus. Tom McGuinness, who replaced him, had already had a rather unusual career trajectory. He’d started out as a satirist, writing for the magazine Private Eye and the TV series That Was The Week That Was, one of the most important British comedy shows of the sixties, but he had really wanted to be a blues musician instead. He’d formed a blues band, The Roosters, with a guitarist who went to art school with his girlfriend, and they’d played a few gigs around London before the duo had been poached by the minor Merseybeat band Casey Jones and his Engineers, a group which had been formed by Brian Casser, formerly of Cass & The Cassanovas, the group that had become The Big Three. Casey Jones and his Engineers had just released the single “One Way Ticket”: [Excerpt: Casey Jones and His Engineers, “One-Way Ticket”] However, the two guitarists soon realised, after just a handful of gigs, that they weren’t right for that group, and quit. McGuinness’ friend, Eric Clapton, went on to join the Yardbirds, and we’ll be hearing more about him in a few weeks’ time, but McGuinness was at a loose end, until he discovered that Manfred Mann were looking for a bass player. McGuinness was a guitarist, but bluffed to Paul Jones that he’d switched to bass, and got the job. He said later that the only question he’d been asked when interviewed by the group was “are you willing to play simple parts?” — as he’d never played bass in his life until the day of his first gig with the group, he was more than happy to say yes to that. McGuinness joined only days after the recording of “5-4-3-2-1”, and Richmond was out — though he would have a successful career as a session bass player, playing on, among others, “Je t’Aime” by Serge Gainsbourg and Jane Birkin, “Your Song” by Elton John, Labi Siffre’s “It Must Be Love”, and the music for the long-running sitcoms Only Fools and Horses and Last of the Summer Wine. As soon as McGuinness joined, the group set out on tour, to promote their new hit, but also to act as the backing group for the Crystals, on a tour which also featured Johnny Kidd and the Pirates and Joe Brown and his Bruvvers.  The group’s next single, “Hubble Bubble Toil and Trouble” was another original, and made number eleven on the charts, but the group saw it as a failure anyway, to the extent that they tried their best to forget it ever existed. In researching this episode I got an eleven-CD box set of the group’s work, which contains every studio album or compilation they released in the sixties, a collection of their EPs, and a collection of their BBC sessions. In all eleven CDs, “Hubble Bubble Toil and Trouble” doesn’t appear at all. Which is quite odd, as it’s a perfectly serviceable, if unexceptional, piece of pop R&B: [Excerpt: Manfred Mann, “Hubble Bubble Toil and Trouble”] But it’s not just the group that were unimpressed with the record. John Burgess thought that the record only getting to number eleven was proof of his hypothesis that groups should not put out their own songs as singles. From this point on, with one exception in 1968, everything they released as an A-side would be a cover version or a song brought to them by a professional songwriter. This worried Jones, who didn’t want to be forced to start singing songs he disliked, which he saw as a very likely outcome of this edict. So he made it his role in the group to seek out records that the group could cover, which would be commercial enough that they could get hit singles from them, but which would be something he could sing while keeping his self-respect. His very first selection certainly met the first criterion. The song which would become their biggest hit had very little to do with the R&B or jazz which had inspired the group. Instead, it was a perfect piece of Brill Building pop. The Exciters, who originally recorded it, were one of the great girl groups of the early sixties (though they also had one male member), and had already had quite an influence on pop music. They had been discovered by Leiber and Stoller, who had signed them to Red Bird Records, a label we’ll be looking at in much more detail in an upcoming episode, and they’d had a hit in 1962 with a Bert Berns song, “Tell Him”, which made the top five: [Excerpt: The Exciters, “Tell Him”] That record had so excited a young British folk singer who was in the US at the time to record an album with her group The Springfields that she completely reworked her entire style, went solo, and kickstarted a solo career singing pop-soul songs under the name Dusty Springfield. The Exciters never had another top forty hit, but they became popular enough among British music lovers that the Beatles asked them to open for them on their American tour in summer 1964. Most of the Exciters’ records were of songs written by the more R&B end of the Brill Building songwriters — they would record several more Bert Berns songs, and some by Ritchie Barrett, but the song that would become their most well-known legacy was actually written by Jeff Barry and Ellie Greenwich. Like many of Barry and Greenwich’s songs, it was based around a nonsense phrase, but in this case the phrase they used had something of a longer history, though it’s not apparent whether they fully realised that. In African-American folklore of the early twentieth century, the imaginary town of Diddy Wah Diddy was something like a synonym for heaven, or for the Big Rock Candy Mountain of the folk song — a place where people didn’t have to work, and where food was free everywhere. This place had been sung about in many songs, like Blind Blake’s “Diddie Wah Diddie”: [Excerpt: Blind Blake, “Diddie Wah Diddie”] And a song written by Willie Dixon for Bo Diddley: [Excerpt: Bo Diddley, “Diddy Wah Diddy”] And “Diddy” and “Wah” had often been used by other Black artists, in various contexts, like Roy Brown and Dave Bartholomew’s “Diddy-Y-Diddy-O”: [Excerpt: Roy Brown and Dave Bartholomew, “Diddy-Y-Diddy-O”] And Junior and Marie’s “Boom Diddy Wah Wah”, a “Ko Ko Mo” knockoff produced by Johnny Otis: [Excerpt: Junior and Marie, “Boom Diddy Wah Wah”]  So when Jeff Barry and Ellie Greenwich wrote “Do-Wah-Diddy”, as the song was originally called, they were, wittingly or not, tapping into a rich history of rhythm and blues music. But the song as Greenwich demoed it was one of the first examples of what would become known as “bubblegum pop”, and is particularly notable in her demo for its very early use of the fuzz guitar that would be a stylistic hallmark of that subgenre: [Excerpt: Ellie Greenwich, “Do-Wah-Diddy (demo)”] The Exciters’ version of the song took it into more conventional girl-group territory, with a strong soulful vocal, but with the group’s backing vocal call-and-response chant showing up the song’s resemblance to the kind of schoolyard chanting games which were, of course, the basis of the very first girl group records: [Excerpt: The Exciters, “Do-Wah-Diddy”] Sadly, that record only reached number seventy-eight on the charts, and the Exciters would have no more hits in the US, though a later lineup of the group would make the UK top forty in 1975 with a song written and produced by the Northern Soul DJ Ian Levine. But in 1964 Jones had picked up on “Do-Wah-Diddy”, and knew it was a potential hit. Most of the group weren’t very keen on “Do Wah Diddy Diddy”, as the song was renamed. There are relatively few interviews with any of them about it, but from what I can gather the only member of the band who thought anything much of the song was Paul Jones. However, the group did their best with the recording, and were particularly impressed with Manfred’s Hammond organ solo — which they later discovered was cut out of the finished recording by Burgess. The result was an organ-driven stomping pop song which had more in common with the Dave Clark Five than with anything else the group were doing: [Excerpt: Manfred Mann, “Do Wah Diddy Diddy”] The record reached number one in both the UK and the US, and the group immediately went on an American tour, packaged with Peter & Gordon, a British duo who were having some success at the time because Peter Asher’s sister was dating Paul McCartney, who’d given them a hit song, “World Without Love”: [Excerpt: Peter and Gordon, “World Without Love”] The group found the experience of touring the US a thoroughly miserable one, and decided that they weren’t going to bother going back again, so while they would continue to have big hits in Britain for the rest of the decade, they only had a few minor successes in the States. After the success of “Do Wah Diddy Diddy”, EMI rushed out an album by the group, The Five Faces of Manfred Mann, which must have caused some confusion for anyone buying it in the hope of more “Do Wah Diddy Diddy” style pop songs. Half the album’s fourteen tracks were covers of blues and R&B, mostly by Chess artists — there were covers of Muddy Waters, Howlin’ Wolf, Bo Diddley, Ike & Tina Turner, and more. There were also five originals, written or co-written by Jones, in the same style as those songs, plus a couple of instrumentals, one written by the group and one a cover of Cannonball Adderly’s jazz classic “Sack O’Woe”, arranged to show off the group’s skills at harmonica, saxophone, piano and vibraphone: [Excerpt: Manfred Mann, “Sack O’Woe”] However, the group realised that the formula they’d hit on with “Do  Wah Diddy Diddy” was a useful one, and so for their next single they once again covered a girl-group track with a nonsense-word chorus and title — their version of “Sha La La” by the Shirelles took them to number three on the UK charts, and number twelve in the US. They followed that with a ballad, “Come Tomorrow”, one of the few secular songs ever recorded by Marie Knight, the gospel singer who we discussed briefly way back in episode five, who was Sister Rosetta Tharpe’s duet partner, and quite possibly her partner in other senses. They released several more singles and were consistently charting, to the point that they actually managed to get a top ten hit with a self-written song despite their own material not being considered worth putting out as singles. Paul Jones had written “The One in the Middle” for his friends the Yardbirds, but when they turned it down, he rewrote the song to be about Manfred Mann, and especially about himself: [Excerpt: Manfred Mann, “The One in the Middle”] Like much of their material, that was released on an EP, and the EP was so successful that as well as making number one on the EP charts, it also made number ten on the regular charts, with “The One in the Middle” as the lead-off track. But “The One in the Middle” was a clue to something else as well — Jones was getting increasingly annoyed at the fact that the records the group was making were hits, and he was the frontman, the lead singer, the person picking the cover versions, and the writer of much of the original material, but all the records were getting credited to the group’s keyboard player.  But Jones wasn’t the next member of the group to leave. That was Mike Vickers, who went off to work in arranging film music and session work, including some work for the Beatles, the music for the film Dracula AD 1972, and the opening and closing themes for This Week in Baseball. The last single the group released while Vickers was a member was the aptly-titled “If You Gotta Go, Go Now”. Mann had heard Bob Dylan performing that song live, and had realised that the song had never been released. He’d contacted Dylan’s publishers, got hold of a demo, and the group became the first to release a version of the song, making number two in the charts: [Excerpt: Manfred Mann, “If You Gotta Go, Go Now”] Before Vickers’ departure, the group had recorded their second album, Mann Made, and that had been even more eclectic than the first album, combining versions of blues classics like “Stormy Monday Blues”, Motown songs like “The Way You Do The Things You Do”, country covers like “You Don’t Know Me”, and oddities like “Bare Hugg”, an original jazz instrumental for flute and vibraphone: [Excerpt: Manfred Mann, “Bare Hugg”] McGuinness took the opportunity of Vickers leaving the group to switch from bass back to playing guitar, which had always been his preferred instrument. To fill in the gap, on Graham Bond’s recommendation they hired away Jack Bruce, who had just been playing in John Mayall’s Bluesbreakers with McGuinness’ old friend Eric Clapton, and it’s Bruce who played bass on the group’s next big hit, “Pretty Flamingo”, the only UK number one that Bruce ever played on: [Excerpt: Manfred Mann, “Pretty Flamingo”] Bruce stayed with the band for several months, before going off to play in another band who we’ll be covering in a future episode. He was replaced in turn by Klaus Voorman. Voorman was an old friend of the Beatles from their Hamburg days, who had been taught the rudiments of bass by Stuart Sutcliffe, and had formed a trio, Paddy, Klaus, and Gibson, with two Merseybeat musicians, Paddy Chambers of the Big Three and Gibson Kemp of Kingsize Taylor and the Dominoes: [Excerpt: Paddy, Klaus, and Gibson, “No Good Without You Baby”] Like Vickers, Voorman could play the flute, and his flute playing would become a regular part of the group’s later singles. These lineup changes didn’t affect the group as either a chart act or as an act who were playing a huge variety of different styles of music. While the singles were uniformly catchy pop, on album tracks, B-sides or EPs you’d be likely to find versions of folk songs collected by Alan Lomax, like “John Hardy”, or things like “Driva Man”, a blues song about slavery in 5/4 time, originally by the jazz greats Oscar Brown and Max Roach: [Excerpt: Manfred Mann, “Driva Man”] But by the time that track was released, Paul Jones was out of the group. He actually announced his intention to quit the group at the same time that Mike Vickers left, but the group had persuaded him to stay on for almost a year while they looked for his replacement, auditioning singers like Rod Stewart and Long John Baldry with little success. They eventually decided on Mike d’Abo, who had previously been the lead singer of a group called A Band of Angels: [Excerpt: A Band of Angels, “(Accept My) Invitation”] By the point d’Abo joined, relations  between the rest of the group and Jones were so poor that they didn’t tell Jones that they were thinking of d’Abo — Jones would later recollect that the group decided to stop at a pub on the way to a gig, ostensibly to watch themselves on TV, but actually to watch A Band of Angels on the same show, without explaining to Jones that that was what they were doing – Jones actually mentioned d’Abo to his bandmates as a possible replacement, not realising he was already in the group. Mann has talked about how on the group’s last show with Jones, they drove to the gig in silence, and their first single with the new singer, a version of Dylan’s “Just Like a Woman”, came on the radio. There was a lot of discomfort in the band at this time, because their record label had decided to stick with Jones as a solo performer, and the rest of the group had had to find another label, and were worried that without Jones their career was over. Luckily for everyone involved, “Just Like a Woman” made the top ten, and the group’s career was able to continue. Meanwhile, Jones’ first single as a solo artist made the top five: [Excerpt: Paul Jones, “High Time”] But after that and his follow-up, “I’ve Been a Bad, Bad, Boy”, which made number five, the best he could do was to barely scrape the top forty. Manfred Mann, on the other hand, continued having hits, though there was a constant struggle to find new material. d’Abo was himself a songwriter, and it shows the limitations of the “no A-sides by group members” rule that while d’Abo was the lead singer of Manfred Mann, he wrote two hit singles which the group never recorded. The first, “Handbags and Gladrags”, was a hit for Chris Farlowe: [Excerpt: Chris Farlowe, “Handbags and Gladrags”] That was only a minor hit, but was later recorded successfully by Rod Stewart, with d’Abo arranging, and the Stereophonics. d’Abo also co-wrote, and played piano on, “Build Me Up Buttercup” by the Foundations: [Excerpt: The Foundations, “Build Me Up Buttercup”] But the group continued releasing singles written by other people.  Their second post-Jones single, from the perspective of a spurned lover insulting their ex’s new fiancee, had to have its title changed from what the writers intended, as the group felt that a song insulting “semi-detached suburban Mr. Jones” might be taken the wrong way. Lightly retitled, “Semi-Detached Suburban Mr. James” made number two, while the follow-up, “Ha Ha! Said the Clown”, made number four. The two singles after that did significantly less well, though, and seemed to be quite bizarre choices — an instrumental Hammond organ version of Tommy Roe’s “Sweet Pea”, which made number thirty-six, and a version of Randy Newman’s bitterly cynical “So Long, Dad”, which didn’t make the charts at all. After this lack of success, the group decided to go back to what had worked for them before. They’d already had two hits with Dylan songs, and Mann had got hold of a copy of Dylan’s Basement Tapes, a bootleg which we’ll be talking about later. He picked up on one song from it, and got permission to release “The Mighty Quinn”, which became the group’s third number one: [Excerpt: Manfred Mann, “The Mighty Quinn”] The album from which that came, Mighty Garvey, is the closest thing the group came to an actual great album. While the group’s earlier albums were mostly blues covers, this was mostly made up of original material by either Hugg or d’Abo, in a pastoral baroque pop style that invites comparisons to the Kinks or the Zombies’ material of that period, but with a self-mocking comedy edge in several songs that was closer to the Bonzo Dog Doo-Dah Band. Probably the highlight of the album was the mellotron-driven “It’s So Easy Falling”: [Excerpt: Manfred Mann, “It’s So Easy Falling”] But Mighty Garvey didn’t chart, and it was the last gasp of the group as a creative entity. They had three more top-ten hits, all of them good examples of their type, but by January 1969, Tom McGuinness was interviewed saying “It’s not a group any more. It’s just five people who come together to make hit singles. That’s the only aim of the group at the moment — to make hit singles — it’s the only reason the group exists. Commercial success is very important to the group. It gives us financial freedom to do the things we want.” The group split up in 1969, and went their separate ways. d’Abo appeared on the original Jesus Christ Superstar album, and then went into writing advertising jingles, most famously writing “a finger of fudge is just enough” for Cadbury’s. McGuinness formed McGuinness Flint, with the songwriters Gallagher and Lyle, and had a big hit with “When I’m Dead and Gone”: [Excerpt: McGuinness Flint, “When I’m Dead and Gone”] He later teamed up again with Paul Jones, to form a blues band imaginatively named “the Blues Band”, who continue performing to this day: [Excerpt: The Blues Band, “Mean Ol’ Frisco”] Jones became a born-again Christian in the eighties, and also starred in a children’s TV show, Uncle Jack, and presented the BBC Radio 2 Blues Programme for thirty-two years. Manfred Mann and Mike Hugg formed another group, Manfred Mann Chapter Three, who released two albums before splitting. Hugg went on from that to write for TV and films, most notably writing the theme music to “Whatever Happened to the Likely Lads?”: [Excerpt: Highly Likely, “Whatever Happened to the Likely Lads?”] Mann went on to form Manfred Mann’s Earth Band, who had a number of hits, the biggest of which was the Bruce Springsteen song “Blinded by the Light”: [Excerpt: Manfred Mann’s Earth Band, “Blinded by the Light”] Almost uniquely for a band from the early sixties, all the members of the classic lineup of Manfred Mann are still alive. Manfred Mann continues to perform with various lineups of his Earth Band. Hugg, Jones, McGuinness, and d’Abo reunited as The Manfreds in the 1990s, with Vickers also in the band until 1999, and continue to tour together — I still have a ticket to see them which was originally for a show in April 2020, but has just been rescheduled to 2022. McGuinness and Jones also still tour with the Blues Band. And Mike Vickers now spends his time creating experimental animations.  Manfred Mann were a band with too many musical interests to have a coherent image, and their reliance on outside songwriters and their frequent lineup changes meant that they never had the consistent sound of many of their contemporaries. But partly because of this, they created a catalogue that rewards exploration in a way that several more well-regarded bands’ work doesn’t, and I wouldn’t be at all surprised to see a major critical reassessment of them at some point. But whether that happens or not, almost sixty years on people around the world still respond instantly to the opening bars of their biggest hit, and “Do Wah Diddy Diddy” remains one of the most fondly remembered singles of the early sixties.

Welcome to The Best Five Minute Wine Podcast, I'm your host, Forrest Kelly.  From the seed to the glass, wine has a past. Our aim at The Best Five Minute Wine Podcast is to look for adventure at wineries around the globe. After all, grape minds think alike. Let's start the adventure. Our featured winery is Ok, Alex. Let's get down to it at Fullarton Wines. Which wine is your most popular? So our Three Otters label is what we make the most of and three quarters Pinot Noir, which is a blend of vineyards from throughout the Willamette Valley. Again, that's our most popular wine. I guess if you look at production and that is something special about us too, is we don't make all the wines the same. We like to optimize each vineyard and we do a lot of different production techniques. We like to experiment. Sometimes the experiments work out and then we move that direction. Sometimes we don't like it as much and move away from that direction. And Three Otters really gets a huge diversity of different things while still maintaining what it is to be a lot of our work, which is a little bit lighter, easy, approachable, but still with lots of flavor, some space and the earthiness and then red tones sometimes leading into a little bit of darkness, but generally a redder aspect to the fruit profile. And that really is what we're going for obviously now. Ok, that's a little different name for wine, even by Oregon standards. So explain that to origin for me. Three Otters that does come from our family crest portion is my last name of Scottish origin, not Scandinavian. And on the old 13th century Scottish family crest for Fullerton and our three little otter heads. So our Three Otters label is named in honor of our family. Your other line is Five Faces. So Five Faces is an acronym for my family. There's five of us and our initial spell F.A.C.E.S. That's my big little brother and was six foot 10. Filip So it's spelled with an F the Scandinavian spelling. And then I'm Alex. My little sister Caroline luckily spelled non Scandinavian, otherwise we would be the F.A.K.E.S. And then Eric and Suzanne, my parents. Are your parents still active in the winery? Yes, we so we started in 2012 and they are the hardest working, hard working people that I know there. Without them, we do not have a thriving wine company. My goal is to give them more free time. As we close out our conversation. Alex, tell me about your tasting rooms and then looking at your website, I see you've been quite active with virtual tasting rooms. Our tasting rooms are all outdoors right now. So we we actually bought gazebos and we are allowed to have three of the parking spots outside of our tasting room, which I should clarify is in downtown Portland. So we're an urban tasting room setting. We do have a little dressing room set up in the winery in Corvallis. If you come to is there, it'll be me or one of my two assistants in the winery. The winery is in Corvallis and that's our old tasting room. That's where I am right now, our our vineyard and our world headquarters. So we've been doing a lot of virtual tastings, which we have. Two main options now is curate yourself, but two options for tastings that will send it out to people and then they can join on as you can go. You have actually quite a lot of success with those people are interactive. I even enjoy hosting them. Well, we're using Google. It's actually let's make sure that we get all of your contact information on the Web and phone numbers. So WWW.fullertonwines.com. If you want to reach out, you can email me at alex@fullertonwines.com or info@fullertonwines.com And if you want a call you can call 503.544.1378 Thank you for listening. I'm Forrest calling. This episode of The Best Five Minute Wine Podcast was produced by I guess if you like the show, please tell your friends and pets and subscribe until next time for the line and ponder your next adventure. This podcast uses the following third-party services for

Guests: Cal Thomas, author of "America's Expiration Date: The Fall of Empires and Superpowers" & Scott Cosenza, LibertyNation.com

The Alan Cox Show

Episode 24 sees Andy and Alex Gond joined once again by Brian Gond as they talk about Robert Holmes first Doctor Who story The Krotons. Andy remembers his first experience of it during the Five Faces of Doctor Who season in 1981, while Alex recalls the video release. Brian meanwhile just makes Kroton noises. As ever, various important questions are asked: Who is the Grumpy Elf? Why is Episode 1 so darn cosy? And, why didn't the Krotons accelerate the Gonds learning much earlier? Along the way there's a quiz for which Andy and Alex join forces, a struggle to come up with a planet that might be an anagram of Athens, and a debate about the correct spelling of Gravitron. It's Gravitron.

Oppression is incredibly complex. How do we perpetuate it and how can we do better?  Iris Marion Young’s Five Faces of Oppression https://mrdevin.files.wordpress.com/2009/06/five-faces-of-oppression.pdf Bobbie Harro's Cycle of liberation https://www.talent.wisc.edu/Home/Portals/0/Leadership%20at%20Lunch/The%20Cycle%20of%20Liberation.pdf Song: Coupe by The Grand Affair --- Support this podcast: https://anchor.fm/thismakesusuncomfortable/support

Mike and Derek are joined by special guest Kyle Benning to discuss the five-part saga that kicks off the third season of Transformers, Five Faces of Darkness!

SHOW NOTES With huge thanks to Battle bards.com Syrinscape Kevin MaCleod at Incompetech FesliyanStudios and Pedar B Heland For their excellent music and sfx Intro Theme Composed by Ninichi : ninichimusic.com Twitter : @ninichimusic You can find my new scenario "The Idol of Thoth" here http://www.drivethrurpg.com/product/229639/The-Idol-of-Thoth?src=hottest_filtered You can find us: On twitter @HWRpodcast On Facebook : https://www.facebook.com/HowWeRollPodcast/ On Discord: https://discord.gg/C7h6vuD On reddit: https://www.reddit.com/r/HowWeRollPodcast/ Check out our patrners DUNGEON FOG at www.project-deios.com Check out https://www.totalpartychill.com/ Check out Five Faces of Fear https://www.drivethrurpg.com/product/282669/Five-Faces-of-Fear

Shiuwen and Noah drink a newly roasted Charcoal Dong Ding. As the tea develops, each infusion has something new to show us. This tea is a great teacher!

Kicking off Season 3 of the original cartoon, the only 5-part story in the series: Five Faces of Darkness. Learn the origins of the Transformers as we begin new tales in the far off future of 2005! With special guest Gabriel Owens, The Salty Seaman: http://www.youtube.com/recharge138 Please subscribe to TFU.INFO on YouTube at http://www.youtube.com/tfuinfo Catch … Continue reading Episode 59 – The Transformers Cartoon – S3 Eps 1-5 – The Five Faces of Darkness →

The Autobots are helpless to stop Trypticon as it destroys Teletraan 1 and their only hope is that Metroplex is able to save them in time. Also, John spills his beer! (Apologies for the low quality of John's audio on this episode) Find Paul and John on Twitter.

Marissa rescues Blur and Wheelie from "lightpoles" on Io, while Rodimus goes on a drug fuelled trip into the Matrix... man. The Decepticons and Quintessons plan a two pronged attack against the Autobots/Human alliance. (Apologies for the low quality of John's audio on these next two episodes) Find Paul and John on Twitter.

Blur and Wheelie arrive in Earth's solar system with Metroplex's transformation cog, while the other Autobots have adventures on the planet Goo. The Quintessons also forge an alliance with the Decepticons, which is probably not good. (Apologies for the low quality of John's audio on these next three episodes) Find Paul and John on Twitter.

While Cyclonus awakens Galvatron, Rodimus enters the matrix to learn kung fu and discover the true identity of their mysterious foe. (Apologies for the low quality of John's audio on these next four episodes) Find Paul and John on Twitter.

With the Cybertron Wars over, the Autobots think everything is chill. However, Cyclonus has plans to resurrect Galvatron while a new enemy lurks in the shadows. (Apologies for the low quality of John's audio on these next five episodes) Find Paul and John on Twitter.

Greg Marcus, PhD is an innovative Mussar maven and the creator of American Mussar, a 21st century spiritual practice for an authentic and meaningful life. He is a graduate of the Mussar Institute’s facilitator training program, and has been practicing and teaching for five years. Greg offers guidance on how to lead a life of mindful harmony and spiritual integrity, drawing upon timeless Jewish teachings and contemporary wisdom alike. He has a Ph.D. from MIT, and worked for ten years as a marketer in Silicon Valley. Visit him online at AmericanMussar.com His latest book, The Spiritual Practice of Good Actions: Finding Balance Through the Soul Traits of Mussar has been praised by Rabbis, secular Jews, and people of all faiths for it’s inclusive and empowering introduction to this ancient wisdom. Today Greg is a writer, speaker, workshop facilitator, and stay-at-home dad to two teenage daughters. In 2016, he created the Mussar Parenting to help him cope.

Il Salotto di Mao

Discourse by Rev. Dr. Swami Bhajanananda Saraswati on pancāyatana pūjā (worship of the five deities); ganeśa pūjā (worship of Ganesha); and sūrya pūjā (worship of the Sun), given at Kali Mandir Ramakrishna Ashram on 1 September 2018. This is part of a series of class-talks on the theory and practice of Kali Puja, the ritualistic worship of the Divine Mother Kali.  

Blast From The Past - Transformers Season 3 Five Faces of Darkness https://youtu.be/pu6zOIzQSLQ?t=6418Infinity Gauntlet - https://youtu.be/LeMM03j6Loo?t=7756The show that covers Transformers, Third Party, other toy lines, TV shows, Movies, Comics, and everything else geeky.Also featured on the show: The Blast From the Past. A retrospect segment dedicated to older cartoon/toy series.Catch Plastic Fanatics: The Late Night Aftercast LIVE every Saturday at 5pm PST/8pm EST. https://www.youtube.com/user/victorys...And be sure to check out the other Cool Table Network shows:Realm Of Collectors - Enter The Realm, ROC Hangout, and Figgah Bangin https://www.youtube.com/channel/UCvdf...Stasis Lock - https://www.youtube.com/user/BricksOn...Shattered Cast Uncut - https://www.youtube.com/user/shattere...Nerd Rage Radio - https://www.youtube.com/channel/UCGKF...Toy Detox - https://www.youtube.com/channel/UChgY...Beer and Bolters 40K - https://www.youtube.com/user/BeerandB...

ArtResistanceSurvival The Podcast #18: 5 Fingers of Death (for a Woman’s Career in the Arts). Also known as the Five Point Palm Exploding Heart Technique or Iris Young’s Five Faces of Oppression: exploitation, marginalization, powerlessness, cultural imperialism and violence. Flossie discusses how prevalent they are, and how we resist both as survivors and allies.

Rev. Dr. Maxine Kaye, talk from December 24, 2017: - What would Jesus do? What would Ernest do? What would you do? - The Five Faces of Christ include: The Prophecy, The Person, The Principle, The Presence, and The Power (Marcia Sutton and Lloyd Strom) - Jesus was not The Great Exception but The Great Example, and we endeavor to embody the Presence and live from the Principle, as we follow Universal Wisdom and Love.

Back in 1981, then-Doctor Who producer John Nathan-Turner had a season of repeats called "The Five Faces of Doctor Who" that launched Peter Davison as fifth Doctor. So in this podcast, Ben and David suggest incoming showrunner Chris Chibnall have a summer season of the thirteen faces of Doctor Who to help launch Jodie Whittaker as the new Doctor, and being ever so helpful, they each have compiled a list of which thirteen stories to rebroadcast. Opening music is "The Axons Approach" by Brian Hodgson. Closing music is "The Mad Man in a Box" by Murray Gold.

To achieve prosperity means more than to just have money. In this episode, best selling author Kim Butler and No B.S. Money Guy Todd Strobel outline the Five Faces to Prosperity. These are the old-school values to Prosperity Economics that have continued to define the movement. Learn what it takes to live a harmonious life in just 18 minutes. Tune in to find out how to take control of your finances today. Do you have a question you would like answered on the show? Please send it to us at hello@partners4prosperity.com and we may answer it in an upcoming episode. Links in this Episode: Submit your questions: hello@partners4prosperity.com Book Recommendation: Cracking the Camouflage Ceiling Show Notes: 00:00 Intro 00:36 Old School Principles: The Five Faces of Prosperity 01:34 We believe in harmony 03:37 The first face 06:17 The second face 06:36 Everything begins with mindset 08:05 The third face 09:15 Add to your physical life, don't subtract 11:51 The fourth face 12:31 Social Capital & The Four Habits 13:51 The fifth face 14:44 Cracking the Camouflage Ceiling 15:48 Hawthorne Publishing hawthornepub.com 16:11 Spirituality is important 17:25 Give first attitude  

How do we come up with a new idea? Gert Garman facilitates brainstorming sessions and uses innovation processes to bring new ideas to light. “Gert” Garman is the owner of Broad Perspective, LLC.  Previously, she was the Director of the Collaborative Design Center at Valencia College.  Prior to that, she was a Creativity and Innovation Catalyst for Disney Destinations, where she facilitated brainstorming sessions and trained fellow Cast Members in Disney’s Innovation Toy Box for the Disney Parks and Resorts worldwide.  Gert has a long history of creating immersive experiences and breakthrough thinking results through her work with Orlando Mayor Buddy Dyer and as an Assistant Athletics Director for the University of Central Florida Knights. She is certified as a facilitator in the Creative Problem Solving (CPS), Think X, Four Sight and Five Faces of Genius processes. Show notes at http://hellotechpros.com/gert-garman-people/ Key Takeaways Innovation is a process - trust the process and trust the facilitator It takes the right people to make an innovation session productive The best ideas come from different levels of an organization or outside views - don't just bring in leadership Ego and status quo can get in the way of innovation Build a Human Library - bring in "naïve experts" and get their perspectives Don't judge people or their ideas - create an environment of trust Break groups of people up out of their comfortable units (friends) and put them with strangers Sit people in circles to create eye contact and conversation Set up brainstorming sessions online to generate ideas across the organization If an idea has merit and a lot of conversation around it, then put a group together to discuss face-to-face Name all the stakeholders and get their input on paper Watch for themes to come up and group ideas together Make sure you're working on the right problem Not trying to solve something too big that is unattainable Not so specific it is really just an actionable list of tasks Give people permissions to be creative and to have "dumb" ideas Determine what success looks like, then back into it through planning We have Rivers of Thinking and they are wide and deep due to our experience We must learn how to jump into new rivers Practice "freshness" - go for a walk, listen to different music, try new things To accomplish something new, we must do things differently Resources Mentioned Think Better: An Innovator's Guide to Productive Thinking by Tim Hurson (Listen on Audible) Sticky Wisdom: How to Start a Creative Revolution at Work by Dave Allan The Five Faces of Genius: Creative Thinking Styles to Succeed at Work by Annette Moser-Wellman Design Thinking by d.school at Stanford Creative Problem Solving (CPS) Think X Four Sight

Andy Caldwell: Proverbs 1 v 7-33 The Five Faces of a Fool

Life isn't easy. None of us was born holding a manual telling us how to make smart decisions and to make the most of the life we have. Instead, God invites us to know him as the Way of Wisdom. This first message in a new series in the book of Proverbs will help you to walk the path of true wisdom. You can also watch at: https://vimeo.com/138554499 www.everyday.org.uk/sermons/life-works-gods-way/the-five-faces-of-a-fool

This week, Dr. Patrick continues the Christmas theme of the Five Faces of Christ: Prophesy, Person, Principle, Presence, and Power. The Christ as the Universal Principle of Love has the power to change all things for good, for better, and to change them forever. For us on this planet, the combination of our physical form and our consciousness is the leading edge of creation. This is the place where Source energy is coming forward, no more exquisitely than in this dimension. Each partakes of the Christ Nature to the degree that the Christ is revealed through him, and to that degree, we become the Christ. Transformed people transform people! If we want to save the world, we save ourselves. To give birth to the Christ in this season of light, we have to invite It (the Principle) for It to show up for us.

This week, Dr. Patrick introduces the Five Faces of Christ: Prophesy, Person, Principle, Presence, and Power. Delving deeper into intuition and prophesy, we learn that intuition is the highest faculty in humanity: It comes to a point sometimes, where, with no process of reasoning at all, we instantly know. Right here, through our own nature, is the gateway and the path which leads to illumination, to realization, to inspiration, to the intuitive perception of everything. We have looked at poverty, degradation, and misery until they have assumed gigantic proportions. Now we must look at harmony, happiness, plenty, prosperity, peace, and right action until they appear.

Five Faces of Darkness, Parts 1-5 The Transformers ep 66-70 Production code #700-86 Production company Sunbow Productions Airdate September 15, 1986 Written by Flint Dille Animation studio AKOM Continuity Generation 1 cartoon continuity Source: TFWiki The post Transformers Rewind: Five Faces of Darkness appeared first on Radio Free Cybertron.

On an unnamed planet, a race called the Gonds are subject to the mysterious Krotons, unseen beings to whom they provide their brightest intelligences as “companions”. Thara, son of the Gond leader Selris, is the only one of his race to object to this practice. , and arrive in time to witness the death of one of the chosen companions and intervene to save Vana, the other selected for this fate, using her survival as a means to convince Selris and the Gonds of the malign influence of the Krotons on their society. The Doctor calls it "self-perpetuating slavery” by which the brightest in Gond society have been removed. Similarly, there are large gaps in their knowledge, especially relating to chemistry. This situation has been in existence for many years since the Krotons arrived in their spaceship, polluting the lands beyond the Gond city and killing much of the Gond population. Thara uses the disquiet of the situation to lead a rebellion and attack the Teaching Machines of the Krotons in the Hall of Learning. This prompts a crystalline probe to appear and defend the Machines, and warn the Gonds to cease their rebellion. Zoe now tries the Teaching Machines and is selected to be a “companion” of the Krotons. The Doctor elects the same fate and both are summoned into the Dynotrope where they are subjected to a mental attack. Zoe deduces that the Krotons have found a way to transfer mental power into pure energy, while the Doctor busies himself with taking chemical samples of the Kroton environment. Circumstances now trigger the creation of two Krotons from chemical vats within the Dynatrope (the Kroton spaceship). The newly created Krotons capture Jamie but are really seeking the Doctor and Zoe, the “High Brains”, who have now left the Dynatrope. It takes Jamie quite some time before he is able to make an effective escape. Eelek and Axus, two councillors previously loyal to the Krotons, who begin to rally for all-out war with the Krotons, have now seized the initiative in Gond society. The more level headed Selris is deposed, but warns that an all-out attack will not benefit his people. Instead he has decided to attack the machine from underneath by destabilising its very foundation in the underhall. Eelek has Selris arrested and also reasserts control by negotiating with the Krotons that they will leave the planet if provided with the two “High Brains” who can help them power and pilot their ship. Zoe and the Doctor are forced into the Dynatrope and Selris dies providing them with a phial of acid which the Doctor adds to the Kroton vats. Outside, Jamie and the scientist Beta launch an attack on the structure of the ship using . This two pronged assault destroys the tellurium-based Krotons and their craft. The Dynatrope dissolves away and the Gonds are free at last - choosing Thara rather than the cowardly and ambitious Eelek to lead them. Continuity The Krotons also feature in the novel by . They also appeared in the with the . Production Serial details by episode EpisodeBroadcast dateRun timeViewership (in millions)Archive "Episode One" 28 December 1968 23:00 9.0 16/35mm t/r "Episode Two" 4 January 1969 23:03 8.4 16mm t/r "Episode Three" 11 January 1969 21:47 7.5 16mm t/r "Episode Four" 18 January 1969 22:39 7.1 16mm t/r Working titles for this story included The Trap and The Space Trap. Holmes had originally submitted The Trap to the BBC as a stand-alone science-fiction serial in 1965. Head of Serials rejected the serial as being not the kind of thing the BBC was interested in making at the time, but suggested the writer pitch it to the Doctor Who production office as an idea for that series. Holmes did so, and although story editor was interested, the scripts went no further at the time. Some years later, assistant script editor found the story in the production office files when clearing a backlog, and decided to develop it with Holmes as a personal project, in case other scripts fell through. When the latter event occurred, Dick Sharples script Prison in Space a comedic dystopian tale where females rule with dollybird guards proved unworkable, Dicks was able to present the serial to his superiors as a ready production. Director agreed the serial was viable, and it went before the cameras very quickly as an emergency replacement. Several scenes were filmed at the Tank Quarry and West of England Quarry on the . Cast notes Features a guest appearance by , who would appear in a completely different role further on in the season in . See also . Broadcast and reception The serial was repeated on BBC2 in November 1981, daily (Monday–Thursday, 9–12 November 1981) at 5:40 pm as part of "The Five Faces of Doctor Who", a series of repeats to bridge the long gap between seasons 18 and 19. At the time it was the only four part Patrick Troughton serial in the BBC archive. In print book The Krotons Series Release number 99 Writer Publisher Cover artist ISBN Release date 14 November 1985 Preceded by ' Followed by ' A novelisation of this serial, written by , was published by in June 1985. VHS, CD and DVD releases Episode One of The Krotons exists as both a 16 mm film print and a 35 mm negative. Clips taken from a transfer of the high quality 35 mm negative can be seen in the restoration documentary on the DVD release of and as part of the 40th Anniversary music video on Doctor Who DVDs released in 2003. This story was released on in February 1991 The soundtrack was released on CD in November 2008. The serial will be released on in the UK on 2 July 2012. The Region 1 release is scheduled for 10 July 2012. References Shaun Lyon et al. (31 March 2007). . Outpost Gallifrey. Archived from on 18 June 2008. Retrieved 31 August 2008. . Doctor Who Reference Guide. Retrieved 31 August 2008. Sullivan, Shannon (23 June 2008). . A Brief History of Time Travel. Retrieved 31 August 2008. . . Retrieved 27 January 2011. . . Retrieved 27 January 2011. External links Wikiquote has a collection of quotations related to: at at at the - The Krotons Reviews reviews at reviews at at Target novelisation

Reprinted from wikipedia with thanks and respect The Three Doctors is the first of the of the British series , first broadcast in four weekly parts from 30 December 1972 to 20 January 1973. The serial opened the tenth anniversary year of the series. Synopsis The of the is under siege, by an unknown force that by all accounts should not even exist. The only person who can help them is , but even he will need assistance – from his previous selves. [] Plot A signal is sent to , carrying with it an unusual energy blob that seems intent on capturing the . In the meantime, the homeworld of the is under siege, with all the power sustaining it being drained through a . Trapped and desperate, the Time Lords do the unthinkable and break the First Law of Time, allowing the Doctor to aid himself by summoning his two previous from the past. Unfortunately, the is trapped in a time eddy, unable to fully materialize, and can only communicate via viewscreen, but the joins the Third in investigating the origins of the creature and the black hole, while headquarters faces an attack by the gel-like alien creatures. The First Doctor deduces the black hole is a bridge between universes, and the other two Doctors allow the TARDIS to be swallowed up by the energy creature, which transports them, Dr Tyler, , and into an universe created by the legendary Time Lord . Omega was a solar engineer who created the that powers Time Lord civilization, but was considered killed in the explosion. In actuality, he had been transported to the antimatter universe, where his will and thought turned the formless matter into physicality. Trapped, due to the fact that his will is the only thing maintaining reality, he vowed revenge on the Time Lords who left him stranded. It is clear that the exile has made Omega quite insane. Along with his revenge, he has summoned the Doctors here to take over the mental maintenance of the antimatter universe so he can escape. However, the Doctors discover that years of exposure to the corrosive effects of the black hole's have destroyed Omega's physical body – he is trapped forever. Driven over the edge by this discovery, Omega now demands that the Doctors share his exile. The Doctors escape briefly, and offer Omega a proposition. They will give him his freedom if they send the others back to the positive matter universe. Omega agrees, and when that is done, the Doctors offer Omega a force field generator containing the Second Doctor's recorder, which had fallen in it prior to the transport through the black hole. Omega knocks the generator over in a rage and the unconverted positive matter recorder falls out of the force field. When the recorder comes into contact with the antimatter universe, it annihilates everything in a flash, returning the Doctors in the TARDIS to the positive matter universe. The Third Doctor explains that death was the only freedom anyone could offer Omega. With the power now restored to the Time Lords, they are able to send the First and Second Doctors back to their respective time periods. As a reward, the Time Lords give the Third Doctor a new dematerialization circuit for the TARDIS and restore his knowledge of how to travel through . [] Continuity Omega would return in the serial, (1983), the , the novel and the gamebook . The Chancellor is portrayed by Clyde Pollitt who had also played one of the Time Lords who tried and exiled the Second Doctor. Barry Letts states in the DVD commentary that this was intentional as he meant for this to be the same character. Similarly, Graham Leaman reappears as a Time Lord having been seen in the role in , discussing 's activities and their use of the exiled Doctor as an agent. The Brigadier refers to the (), the () and the (). The novel states that the First Doctor is taken out of time between the stories and but immediately before the novel. [] Production Serial details by episode EpisodeBroadcast dateRun timeViewership (in millions)Archive "Episode One" 30 December 1972 24:39 9.6 PAL 2" colour videotape "Episode Two" 6 January 1973 24:18 10.8 PAL 2" colour videotape "Episode Three" 13 January 1973 24:22 8.8 PAL 2" colour videotape "Episode Four" 20 January 1973 25:07 11.9 PAL 2" colour videotape Working titles for this story included The Black Hole. The script was originally supposed to feature all three Doctors equally, but William Hartnell was too ill to be able to play the full role as envisioned. He was, therefore, reduced to a pre-recorded , appearing only on the TARDIS's scanner and the space-time viewer of the Time Lords. It would be the last time he played the Doctor and his last acting role before his death in 1975. Hartnell's scenes were filmed at BBC's Ealing Studios and not in a garage or a garden shed as fan myth would have it. The serial's promotional photo shoot was the only time the three actors were shown together. The production team also planned for to reprise his role of alongside the Second Doctor; however, Hines was not available, due to his work on the soap opera . Much of the role originally intended for Jamie was reassigned to Sergeant Benton. [] Outside references Jo references The ' song "". [] In print A novelisation of this serial, written by , was published by in November 1975. The novelisation provides a rationale for Omega's realm to be a : over the millennia, Omega has become weary of the mental effort required to generate a verdant landscape and now makes do with rock and soil. The Second Doctor is referred to throughout as Doctor Two. In the book, Mr Ollis is renamed Mr Hollis. book The Three Doctors Series Release number 64 Writer Publisher Cover artist ISBN Release date 20 November 1975 Preceded by ' Followed by ' [] Broadcast, VHS and DVD releases The serial was repeated on BBC2 in November 1981, daily (Monday-Thursday) (23 November 1981 to 26 November 1981) at 5.40pm as part of "The Five Faces of Doctor Who". This story was released twice on , first in August 1991 and thereafter remastered and re-released in 2002 as part of the 's The Time Lord Collection boxed set. This story was released on in the UK in November 2003 as part of the Doctor Who 40th Anniversary Celebration releases, representing the Jon Pertwee years. Some copies came in a box set housing a limited edition model of , the Third Doctor's vintage roadster. A special edition of the DVD, with new bonus features, is to be released in the uk on 13 February 2012 in the third of the ongoing Revisitations DVD box sets. [] References Shaun Lyon et al. (2007-03-31). . Outpost Gallifrey. Archived from on 2008-05-18. Retrieved 2008-08-30. . Doctor Who Reference Guide. Retrieved 2008-08-30. Sullivan, Shannon (2007-08-07). . A Brief History of Time Travel. Retrieved 2008-08-30. ; ; (1995). . Doctor Who: The Discontinuity Guide. London: . p. 141.  . Retrieved 2010-09-03. [] External links Wikiquote has a collection of quotations related to: at at at the Reviews reviews at reviews at Target novelisation reviews at

What's it take to "do" relevant, practical, not-embarrassing evangelism for the rank and file Christian today? It's not about scripts or quoting scripture or arguing or convincing. Evangelism that works begins with your faith story, and specifically with your relationship with Jesus. In this episode, Drs. Bill and Kris offer a proven process for helping churched folks find ways to articulate their personal faith without fear.

The stunning conclusion.

Part 4 of the kickass 5-parter.

Part 3 of the kickass 5-parter.

Part 2 of the kickass 5-parter.

Part 1 of the kickass 5-parter.

This is the 17th episode and after the epicness of Episode 16 Mike needed a good laugh. He gets that from his friend a cohost Michael Wilson. Where the duo go off on several rants and very disturbing subjects. They review The G1 Season 3 opening story 5 parter Five Faces Of Darkness, as well ...

This is the 17th episode and after the epicness of Episode 16 Mike needed a good laugh. He gets that from his friend a cohost Michael Wilson. Where the duo go off on several rants and very disturbing subjects. They review The G1 Season 3 opening story 5 parter Five Faces Of Darkness, as well ...

How Kabbalah explains 1) the first four commandments (especially in relation to making images of God) 2) the three Sabbaths, and 3) the four types of women. Read the lecture transcription. Lecture quote: "Parsufim is a plural Hebrew word that means “faces.” Parsuf is the singular word for face, image, or countenance. Parsufim is plural and refers to the different symbols of the Tree of Life - the way in which we can understand the different triangles and the different aspects of the ten Sephiroth that are the basis of the science of Kabbalah. In Kabbalah, we study five Parsufim, five faces, or five symbols, images, countenances. We are going to talk about these five Parsufim and to see how they are related not only with Judaism and Christianity, but also with other religions."