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2 episodes with gameit
2 episodes with gameit
2 episodes with gameit
2 episodes with gameit
2 episodes with gameit
3 episodes with gameit
THE BIRTHDAY WEEKS HAVE BEGUN!!!First up: Nora- Spy Game (2001)Next Week: Ian- Speed Racer (2008)The Week After That: Will- ?It's time to play the gameTime to play the gameIt's all about the game and how you play itAll about control and if you can take itAll about your debt and if you can pay itIt's all about pain and who's gonna make itI am the game, you don't wanna play meI am control, no way you can change meI am heavy debt, no way you can pay meI am the pain and I know you can't take me- SPY GAME (2001) R 126mintesDirected By: Tony Scott. Starring: Robert Redford, Brad Pitt, Catherine McCormack, Stephen Dillane, Larry Bryggman, Marianne Jean-Baptiste, Michael Paul Chan, Ken Leung, Benedict Wong and Many Other Talented People!00:00: Happy Birthday NORA!!!00:01:200 First Thoughts00:16:45- Top 3 Redford Flicks00:21:30- SPY GAME (2001)00:24:45- Tasty Norsels!00:25:00- Rating/ReviewPatreon: patreon.com/THELastActionCriticsInstagram: @TheLastActionCriticsemail: Thelastactioncritics@gmail.comNext Week: Speed Racer (2008)
Meet financial advisor Eric La Manna as he breaks down what investing really means, especially for those over 50 pivoting to remote work or business ownership. He shares smart metaphors, clears up the mystery around cryptocurrency & explains how to approach retirement planning when you're self-employed.You'll learn:Why picking investments is like choosing how you get to workWhat cryptocurrency actually is—and why younger investors are drawn to itThe difference between short-term fear and long-term market trendsRetirement planning tips for freelancers and small business ownersThe one thing more important than your investment choices: having a planSome Key Takeaways:1. Start Where You Are, Even If You're Late to the Game It's never too late to start planning for retirement. 2. Know Your Risk Tolerance and Time Horizon Understanding how much risk you're comfortable with and how much time you have until retirement is critical3. Diversify, Don't Gamble Cryptocurrency and individual stocks can play a role, but Eric stresses the importance of diversification and caution. 4. Plan with Purpose Retirement isn't just about money — it's about the lifestyle you want. You don't need to be a financial expert to get started but you do need clarity on where you're headed. If you want a companion on that road Eric's someone who brings wisdom without the jargon.Click here to get the full show notes: Investing in Uncertain Times for Folks 50+Want to connect with Eric La Manna?Visit: http://www.edwardjones.com/eric-lamannaCall: (832) 592-0041Eric La Manna is a financial advisor with Edward Jones in The Woodlands, TX. He began his career in financial services in 2006 in California, and in 2019 opened his personal practice with Edward Jones. Eric holds the Accredited Asset Management Specialist designation. He focuses on helping individuals, families, and business owners simplify and organize their financial lives, along with financial goal planning.Host Camille Attell is a remote work strategist, career coach, and the host of The Remote Work Retirement Show. After leaving a 20-year corporate career, she transitioned to a flexible, location-independent lifestyle and has since helped thousands of professionals do the same. Through her Remote Work School program, Camille empowers mid-career professionals and retirees to find meaningful remote work opportunities, build financial security, and design a work-life on their own terms.Take her FREE remote work training: www.camilleattell.com/remote-trainingLearn how to leverage your digital products or service:www.camilleattell.com/remoteworkschoolClick below to connect with Camille online:Instagram: @camille.attellLinkedin: Camille Attell, MARead more about the RV and Remote Work Lifestyle at https://www.morethanawheelin.com/
Lynda and Tim, co-devs of D'Avekki Studios, lend their game-making expertise and total lack of mushroom knowledge with the prompts:wildmushroom huntingphone gameIt may seem like a simple mushroom-identifying phone app, but "Professor Morel's Bad Trip" has so much more going on. Delve into the mysterious mushroom that killed Professor Morel and pinpoint who could have done the deed. Was it the celebrity chef hoping to cook up the greatest culinary delight? Or the rival professor who has their eye on the discovery? And just what does this mythical mushroom do to you anyway??Check out Lynda and Tim on Steam at D'Avekki Studios! I can particularly recommend playing The Shapeshifting Detective, and you should wishlist The Infectious Madness of Doctor Dekker 2. Follow them on Bsky @Davekki, and join the audition newsletter blast here!Visit the DFTBA Big Game Hunger merch shop at bit.ly/jennamerch. Support this show, and submit your OWN random prompts, by subscribing at Patreon.com/TheJenna. Gift subscriptions are now available at Patreon.com/TheJenna/Gift.Email the show at BigGameHungerPod@gmail.com.Big Game Hunger is part of the Multitude Collective of podcasts. Created and hosted by Jenna Stoeber.Big Game Hunger is a weekly video game podcast where Jenna Stoeber and a guest get three random prompts and have to make the big next game based on them.See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.
The Game - It's another hyped match-up between QBs. This time Jayden Daniels takes on the only player drafted higher than he was, Caleb Williams. Will Kliff Kingsbury keep this offense rolling against a stingy Chicago defense? How will the Commanders hold up against the Bears' offense that's starting to find its legs with a young QB?
It's a Reaction Monday on SDH where we look back at the weekend in soccerIt's ATLUTD and a 1-0 loss in Montreal as Abe Gordon drops by from 929 The GameIt's the 2's and a PK win at home as Jarrett drops by to discussIt's a lot about the Copa America and the Euros
Today we have on Bryce Johnson. Bryce is a serial entrepreneur with a particular interest in blowing up small companies. One of Bryce's most notable ventures was Zarbee's, where he acted as CEO from 2010-2014. He remained on the board until 2018. Bryce has also been involved in a handful of other ventures including Cafe Scribe, Zarbee's, GameIt, Thuma, Owlet Baby Care, etc. He is currently running a new air care brand called LooLoo, and automated toilet freshener. Tune in to learn about startup life, the importance of pivoting, how to know when to get out of a venture, and much more. Bryce Johnson - https://www.linkedin.com/in/bryceljohnson/ LooLoo - https://getlooloo.com/
Imagine you have a big puzzle to solve. It's so big that it might feel overwhelming to finish it all at once. So, instead of trying to put all the pieces together in one go, you decide to break it into smaller parts — so smart!That's what a 90-day plan is like! It's like breaking the big puzzle (a year) into smaller puzzles that you can solve one at a time. In this minisode, I dive into why this is such a win for women.Here's why it's super cool:Less Scary: Just like solving a smaller puzzle feels easier, focusing on smaller goals for 90 days makes big goals feel less scary.Flexibility: 90 days provides enough time to make significant progress, yet it's short enough to adjust your plans based on changing circumstances or feedback. Easier to Focus: When you know you have 90 days to finish something, you can focus better because you don't have to worry about what will happen far in the future. As some, we hold so much. Achieving goals within a shorter time frame boosts motivation and confidence, encouraging you to continue working towards your long-term objectives.Feels Like a Game: It's like playing a video game with levels. Each 90-day period is like a level. When you finish one level, you feel awesome and ready to tackle the next one. Learning to Plan: You learn how to make plans and stick to them. This skill is super important because it helps you achieve your dreams, just like beating levels in a game gets you closer to winning.Makes Big Goals Possible: Sometimes, big goals seem impossible. But when you break them into smaller pieces with a 90-day plan, you realize that every step gets you closer to your big dream. Evaluation and Adaptation: At the end of each 90-day period, you can review your progress, evaluate what worked and what didn't, and make adjustments accordingly. So, a 90-day plan is like your secret weapon for making big dreams come true, one small step at a time!
Do you dream of trying out being a dungeon master, but are unsure of yourself or your abilities? Do currently DM but wish some parts of it weren't as hard or complicated? Today's episode is filled with 20 tips to help you skip some of the mistakes that we've made in our DMing journey. With these tips, you can gain the confidence to DM like you never have before. More importantly, with these tips, you'll know that you are a good DM right now and that with some practice you can get even better.TLDR:The tips can be boiled down into a couple of META tips:Relax and Play the Game (It's just a Game)Everything you Do can be improved even just 1%Practice is what will improve your game.Feel free to read the tips below, or read the full episode transcript if you want to dig in deeper.The tips:IntroGo Slow and DeliberateFollow the FunLet your Players Do Some of the WorkDo Homebrew Early and OftenRead Everything You CanSpend Some Time Everyday WritingFoundation FirstDetails Make It IncredibleAlways Be Meeting PeopleMake Your Player Characters the StarsKnow What You Are Good AtDon't Try to Have Your Best Session EverSteal Ideas (Except When Making Money)It's Ok to Look Things UpSuccess Is Measured by People's EnjoymentYou Will Get BetterYou Make the RulesCommitListen to Podcasts and Watch Youtube VideosMentioned in this episode:Signup for Our Email NewsletterDo you love the show but can't always listen to it? Do you prefer written content? Go to session0studios.com/newsletter/ and sign up to get weekly tips and tricks sent to your inbox so you can become the greatest DM the world has ever seen.Introducing WolfgangMeet Wolfgang. This is who Tanner will be playing in our upcoming Actual Play Show, Pact and Boon. Go to Session0studios.com/pactnboon to learn more information.
Want to learn how to identify and deal with all the difficult people in your life? Be sure to grab your FREE Toxic People Survival Guidehttps://krisreece.com/toxic-people-survival-guideAre you tired of falling victim to the emotional and psychological manipulation of a narcissist? Do you worry that long-term exposure to this devil-sent individual will negatively impact your faith? Narcissists are self-centered, egotistical, fragile individuals who only care about meeting their own need—often at your expense. They are excellent at playing mind games to gain the upper hand and get what they want in relationships. They don't see you as an individual with feelings. They see you as a pawn for their purpose and they don't care how their behavior impacts you. In fact, it doesn't even occur to them. They are demonically inspired and often dangerous. 1 Peter 5:8 reminds us that the devil prowls around like a roaring lion seeking someone to devour. I would argue that if we need to be alert to the devil, we also need to be alert to the people he's using. Let's take a look at the demonic mind games they'll use to manipulate you. Demonic mind game #1: The blame gameIt's easy to forget, but narcissists are very fragile individuals. You may have fallen for their false facade but behind that phony exterior is an empty shallow parasite who needs to feed off of you for validation. When that validation dries up and you try to have a healthy relationship with healthy confrontation, you will see a wounded soul. And this is where it goes from broken to bad. Narcissists can skillfully play the victim to garner sympathy and shift blame. They may exaggerate or entirely fabricate situations where they appear to be the innocent party, diverting attention from their own harmful actions. Whether referring to past “failures” or current problems, narcissists will rarely accept responsibility for their actions. They'll blame all the relationship issues on you. They never feel like anything is their fault. They'll even make things up, so that you'll be the one to fix their mess, all while they play the victim.This behavior dates back to the beginning of time when God called out Adam for eating from the tree of the knowledge of good and evil. What did he say? “The woman YOU gave made me do it.” Now, I'm not saying that Adam was a narcissist, but you see how cunning the devil was right from the start. Demonic mind game #2: The trigger gameDo you ever wonder how the narcissist seems to know ALL of your pain points? That's because they studied you like a book. Not with the intent to truly get to know you, but for the sheer purpose of gathering information for the future. That's why they work so hard with love bombing to win you over, break down your guard, and get you vulnerable. This can really throw you for a loop, especially if you've been in a relationship with a narcissist who doesn't seem to care or listen, but suddenly when you're arguing or they're trying to get their way, they seem to have amazing recall. Every mistake you've made, every little thing you've said can and will be used against you. Demonic mind game #3: The coercion gameIf narcissists don't get what they want from you, they will use various forms of manipulation, guilt, shame, and triangulation all to get you to feel bad about yourself, second guess your boundaries, and ultimately give them what they want. If you think the narcissist only uses coercion with big ticket items, think again. This tactic is their go-to with EVERYTHING, which is why narcissists can be so exhausting to be in relationship with.
Huddle up, running crew! We're going long and deep into the end zone this week with a full-on blitz about Bart Oates, the gridiron great… and the Aqua Teen episode, too! Dave Willis, Bob Pettitt, and Jay Wade Edwards are bringing their A-game (via e-mail) to the podcast, tackling this story-heavy episode of ATHF like a quarterback sack. We're going to break down the play-by-play of the working title of this episode, an audible that's easy to miss if you're not listening for the snap count-- and don't forget about the background artwork that didn't quite make it past the goal line. Other topics on the scrimmage line include how other games are pulling an offsides by ripping off Garry's Mod, some Hail Mary attempts to deal with your rap set being cut 15 minutes short, and in a matchup as mismatched as a linebacker versus a kicker, we're comparing Carl and Maya Angelou. So strap on your helmets and cinch up your chinstraps, because we're about to kick off this discussion. Hut, hut, hike! References: ♫ (Carey Means Cameo) DrxQuinnx - Initial 頭文字 Q: https://bittaperecords.bandcamp.com/album/initial-q ♫ The Game - It's Okay (One Blood) ft. Junior Reid: https://www.youtube.com/watch?v=q0ZUbFVgZpc ♫ Akon - I Wanna Love You (ft. Snoop Dogg): https://www.youtube.com/watch?v=F_g8yLOMpG4&ab_channel=SuperrRickie • Adult Swim commercials from December 3rd, 2006: https://www.youtube.com/watch?v=pxigO08eY2o&ab_channel=CBZVHS • Bob Pettitt on Instagram: https://instagram.com/pettitt_art • Bob Pettitt on Twitter: https://twitter.com/Pettitt_Art ♫ Chicago - 25 or 6 to 4: https://www.youtube.com/watch?v=8A3HZvGN0qs ♫ The Paladins - Daddy Yar: https://www.youtube.com/watch?v=0jWhQTOFmQA • 2006 Forum Thread on Bart Oates: https://animesuperhero.com/forums/threads/c-c-aqua-teen-hunger-force-bart-oates-12-1.4248051/ ★ Support The Show + Get Extra Episodes • Patreon: patreon.com/dancingisforbidden ★ Amazon Affiliate Links - Support The Podcast At No Extra Cost! • Aqua Teen Forever Plantasm 4K: https://amzn.to/3Svy2ea • Aqua Teen Forever Plantasm BluRay: https://amzn.to/3dLcKKS • Aqua Teen Forever Plantasm Digital: https://amzn.to/3t8cqtv • Baffler Meal 20 Disc DVD Box Set: https://amzn.to/3fmznWf Timestamps: (coming soon) [00:00:00] Intro [00:07:03] December 3rd, 2006 Pop Culture [00:28:21] Bart Oates Deep Dive Contacts: Leave a voice message: speakpipe.com/dancingisforbidden Discord: https://discord.gg/NpjSXPECw6 Instagram: @AquaTeenPod Email: DancingIsForbiddenPod@gmail.com YouTube Channel: https://www.youtube.com/channel/UC9yseLj27npIZlEnM8ooBaQ Listen on YouTube: https://www.youtube.com/channel/UCe5gFb5eAYH3nyF3DZ5jwhQ Website: dancingisforbidden.com Twitch: twitch.tv/ronnieneeley
Kenny walks us through the evolution of starting passively with 100K then moving into active syndications, capital raising and going into multiple asset classes for his diverse database of investors. On the full episode we explored the following topics: Developments, multifamily syndications and lots of funds It is a lot of work to be a full time syndicator You have to have 50K to Play in the Game It's recommended to go passive first before syndicating As a passive investor, it can help to go on site to learn the ropes Take copies of your passive checks around with you to show potential investors Evolving into 4 asset classes and funds People like one stop shops of where to go to place money Rinsing and repeating with the same lawyer made sense Scaling into large debt funds Doing ground up developments and office to multifamily conversions Market Selection When starting, pick one offering type and get good to scale capital Working with Family Offices Find Kenny at wolfe-investments.com Book a call with Ruben at calendly.com/rubengreth Hang out with other capital raisers, fund managers and family offices every Thursday at 11:00 AM PST at our nationwide virtual capital raising meetup. Register at capitalraisingmeetup.com If you would like to find out more about Family Office Capital Raising events you can visit https://familyoffices.com/ Get The Family Office Club membership for $2,000 off by mentioning the Capital Raiser Show to holly@familyoffices.com or feel free to pay full price.
Kenny was a blast and easy to talk to. Hard to believe he owns so much real estate and has evolved into so many asset classes to own over $1B of Assets Under Management. If you want to learn capital raising, tune is as he has raised over $200M! some topics we explored include: Developments, multifamily syndications and lots of funds It is a lot of work to be a full time syndicator You have to have 50K to Play in the Game It's recommended to go passive first before syndicating As a passive investor, it can help to go on site to learn the ropes Take copies of your passive checks around with you to show potential investors Evolving into 4 asset classes and funds People like one stop shops of where to go to place money Rinsing and repeating with the same lawyer made sense Scaling into large debt funds Doing ground up developments and office to multifamily conversions Market Selection When starting, pick one offering type and get good to scale capital Working with Family Offices Find Kenny at wolfe-investments.com Book a call with Ruben at calendly.com/rubengreth Hang out with other capital raisers, fund managers and family offices every Thursday at 11:00 AM PST at our nationwide virtual capital raising meetup. Register at capitalraisingmeetup.com If you would like to find out more about Family Office Capital Raising events you can visit https://familyoffices.com/ Get The Family Office Club membership for $2,000 off by mentioning the Capital Raiser Show to holly@familyoffices.com or feel free to pay full price.
“ … it's really fascinating actually like the human, at the biological level at the psychological level, we are built to tolerate pain, and we're built to grow stronger from enduring difficulty, we're actually made for it. That's like how it works. Joy matters too - don't get me wrong, you know, but the difficult stuff is always there. So, we might as well get good at utilizing that end of the spectrum as well.” Ralph De La Rosa Music with kind permission from Krishna Das https://www.krishnadas.com/ Gathering in the light-Om-Narayani. Krishna Das. https://krishnadasmusic.com/collections/music/products/gathering-in-the-light What is this and why read or listen? What follows is an exploration of my journey of living with chronic pain and accompanying mental health challenges. I now understand, the experience of mental ill health has contributed to the degree and severity with which I have felt this pain. I started collating my thoughts around the idea of exploring chronic physical pain, and how meditation might help as an intervention to assist people living with these conditions, to experience less suffering. As we will discuss in a bit, pain, whether is physical, emotional, or social, is experienced in similar parts of the brain. So is you know someone who experiences any of these challenges, there may be something in here that might help. So primarily, we will look at how using a meditative practice might help to reduce suffering, reclaim access to moments of joy and openness and foster the ability to be able to pursue a life worth living, in the presence of pain. Someone once sent me a post on social media with a picture and a quote saying “Life is not about waiting for the storm to pass. It's about learning to dance in the rain.” I was near vomiting with a migraine at the time, so there was no dancing to be done and the message was not received with the love it was sent with. I think it's important to mention that there is no part of my life that living with chronic pain has not affected. I remember sitting in a psychologist's office on the North Side of Brisbane, and I was quiet for quite a while, trying to curate the thoughts so that I could adequately relay how desperate I felt, but not so much so that I have a short involuntary time in hospital. The words that came out of my mouth spoke to the total sense of loss that I felt as a result of living with chronic pain and the ‘things' that I was not able to do or participate in as a result – “Am I even lovable?” I choked out, in tears. I am not sure what my psychologist answered. In mental health circles they often talk about the biopsychosocial contributors to understanding mental ill health, and that a clear understanding of these can be the bedrock to solid recovery. It's fair to say and not at all dramatic to say that living with chronic pain for the last 14 years has nearly cost me my life, my marriage, and my grip on sanity. So, the fact that I am writing this, and that this episode is being produced is testament to the fact that recovery is definitely possible. Recovery as I've come to understand it is a concept which is defined by each person as to how they might like to live despite the challenges they face, be they mental health, chronic physical health or other challenge. Having a living experience of chronic and persistent pain, has also come with many gifts. This is one of the reasons for this episode - I would like to be able to pass these gifts forward so that hopefully, wherever you are on your journey, whether it's living with chronic pain, mental health or other challenge, that you may find a point of resonance here and maybe a tool that you can add to your toolkit. The second reason is that this forms part of an assessment for an advanced diploma in meditation. Having skin in the game as it were, I feel like I may have a bit of an advantage, by way of lived experience. However this works meets you, may you be well, play be happy may you be safe and may you live at ease of heart with whatever comes to you in life. “What counts in battle is what you do when the pain sets in.” John Short The quote above comes from a book that I read about 14 years ago from Dean Karnases called Ultra Marathon Man. In the book Dean talks about nearing the end of one of the ultra marathons, that he ran, with several injuries and nothing left in the tank. Dean's dad offers some advice and empathy, but as he's about to walk away he says “what counts in battle is what you do when the pain sets in”. This has become somewhat of a guidepost for me, as I explored the terrain chronic physical and emotional pain. Towards the end, I will include a selection of resources and links. In hosting the Don't Quit on Me podcast, I have spoken with a variety of subject matter experts, in an effort to understand ways to navigate intense stress and pain, in the most intelligently, i.e with the least amount of suffering possible. A key point from the show comes to mind, talked about by Dr Dan Harvey and Insight Meditation teacher Sebene Selassie, about the experience of emotional, social pain and physical pain being processed in similar parts of the brain. In my very limited understanding, this means that tools that help to reduce suffering for physical pain, may also be useful for the experience of social and emotional pain. Skin in the Game “It is indeed a radical act of love just to sit down and be quiet for a time by yourself”. Jon Kabat-Zinn It's just after 4am and the birds are starting to sing. First one … then another… during the dawn chorus their songs seem louder, livelier and more urgent than during the day. Maybe they seize this space to sing, before the noise of the day can interrupt their beautiful, melodic songs that call each day in to being. I am awake at this time most mornings. This morning a sequence of experiences; a conjoined blur - pain from a decent tension headache that has been hanging around for days, coupled with pain from fibromyalgia, panic and it's cousin a dense cognitive fog – the residue of a nightmare – I still sense, something dark, very close, too close to see, temporarily I can't move. As consciousness returns, and with-it, limited movement, I go through the morning ritual, an attempt to ease the pain and fog, and see how much I am able to function and extract from the day. Off to the loo, two bottles of water and then into a portable infrared sauna, to warm up the heaviness living in the muscles and connective tissue, and with any luck subdue the constant companion. Infrared Sauna is also starting to be looked at as a tool for living with chronic pain conditions. (Tsagkaris et al., 2022) I have a living experience with chronic migraines, tension headaches and fibromyalgia, something that has been around for roughly the last 14 years. Each day is a balancing act between the pain, the anxiety caused by the pain, my energy levels, and as I am beginning to understand and will touch on later, any sense of imminent danger that I may perceive. Each day, an attempt to balance accomplishment without overtaxing a system in survival mode, so much that I pay for it for the coming days. There are a couple of reasons why the pain may have become such a permanent fixture in my life, and I'll explore them briefly, but one thing I have noticed, is that focusing on why is nowhere near as helpful as what now. If I look back for a point of origin with the physical pain several things happened around the time it started; my mom's passed away, I also trained for a marathon, before which I came down with a respiratory virus. Post race I had blood work done which showed Ross River virus and another virus had been present in my system but were not currently active. I am also a survivor childhood trauma which in and of itself heightens someone's baseline perception of threat and as we'll explore can accentuate and amplify the body's attempt to report pain signals. There is also a strong correlation between trauma survivors and chronic pain sufferers (Asmundson, PTSD and the experience of pain: Research and clinical implications of shared vulnerability and mutual maintenance models). In 1994 Dr Paul brand wrote the book Pain the Gift That Nobody Wants, describing his work with leprosy patients in India, and the essential role that pain has in keeping us safe. Without , he argues, we would be exposed to an unacceptable level of danger, leaving us devoid of mechanisms to warn us of impending threat. If I think about my own experience, this is certainly a truism - pain by its very nature, and the way we experience it, is deeply unpleasant, very real, and is designed to get our attention and cause us to recoil. It is a message for us to act, to protect ourselves from the perceived threat. What happens through, when these signals fall out of calibration, when they report pain too loudly or for too long - when there is no longer a present threat that requires us to act, or the message we are receiving is disproportionate to the threat? This is something I have sat with and worked through for many years, leading to this exploration of how the practice of meditation may be helpful to those, like me, who live with chronic pain. As I said earlier, through hosting the Don't Quit on Me podcast I have had the opportunity to ask many people for their insights about the nature of pain, and why creating mental space around the experience of pain can reduce suffering. I have also looked at the links between how we experience physical pain and emotional pain, and how they are felt in similar parts of the brain. Can meditation really help with pain? An article published in May 2023 on Healthline.com, looked at exactly this, Meditation for Chronic Pain Management and, spoiler alert, they found, amongst other things, the following three key points: “A 2018 study of meditation, mindfulness, and the brain suggested that in the long term, meditation can change the structure of your brain. The resulting change in cortical thickness in some brain areas makes you less pain-sensitive. The neural mechanisms meditation uses to modify pain are different from those used by other techniques. For example, a 2012 studyTrusted Source determined that meditation promoted cognitive disengagement and an increased sensory processing of the actual pain. Meditation also induces the body's own opioid system. A very small, randomized, double-blind study from 2016 used the opioid blocker naloxone or a placebo and studied pain reduction with meditation. The group with the placebo experienced significantly less pain than the group that had the opioid blocker. Research is ongoing to look at the exact physiological mechanisms involved with meditation.” (Hecht, 2020) That Sounds Painful What is Pain? Dr Dan Harvey is a Lecturer in Musculoskeletal Physiotherapy and a pain scientist at the University of South Australia. Along with Dr Lorimer Moseley, Dan is an author of the book 'Pain and The Nature of Perception: A New Way to Look at Pain' which uses visual illusions to describe features of perception that are relevant to understanding and treating pain. Dan holds a Masters of Musculoskeletal and Sports Physiotherapy, a chronic pain focussed PhD, and serves on the education committees for the Australian Pain Society and Pain Revolution. Below is and excerpt from my interview with Dan (Coriat, Dr Daniel Harvey - The path through pain 2022): I asked Dan about his preferred definition for pain. Dan said “ the official definition from the international association for the study of pain, “Pain is an unpleasant, sensory and emotional experience associated with actual or potential tissue damage.”” He went on to say: “... I prefer a simpler definition, which is just something that's unpleasant that has a location to it. The location part is what distinguishes pain from other unpleasant experiences. I guess anxiety for example is very unpleasant, but you can't point to it. You know, you could simplify my definition even further … It's (pain) something unpleasant you can point to. Because it's certainly unpleasant, but it's unique from other unpleasant experiences, in that it actually has a location, usually in the body, but obviously the exception to that is something like phantom limb pain. You can still point to the pain, but you are effectively pointing in mid air. Because you're experiencing it in a location of the body which no longer exists.” The Mental and Psychological Experience of Pain I asked Dan about the similarities between psychological and physical pain. “There's a lot of overlap. … one of the early discoveries when we started using imaging techniques to see what was happening in the brain of people in pain, was that we discovered that there is no one pain area, but rather it's many different areas that seem to be active. And there's something about that combination of brain areas that gives rise to the experience. Many of those areas that are active overlap with areas associated with anxiety and fear and other unpleasant experiences. And I guess that's one reason why we might see a higher prevalence of persistent pain problems in people who tend to be higher in trait, anxiety and depression, and maybe even have clinical levels of anxiety and depression. We think there's some sense in which brain areas that are active, and resulting in anxiety, facilitate the networks associated with pain and sort of have this facilitating effect. On this point, when I spoke with much loved Insight Meditation teacher Sebene Selassie, I asked her the following question (Coriat, Dr Daniel Harvey - The path through pain 2022): Nick: “I've heard you say in an interview. You were talking about the pain you experienced during cancer, and how it started to become a predictive response, you would feel some pain and you would assume that that would continue, and it would be without break. However, when you deepened your practice, you discovered that you could find spaces between the pain. Could you talk about this. And also, I think if there's a link to how many of us are experiencing pain, and when we do feel pain, obviously there's an instinctual response to assume it's going to be ongoing and be to kind of self-medicate...” Sebene: “I could talk about physical pain, and just to name that this is true for social pain as well, because actually, our brains process them in the same way. So physical pain and social pain are processed in the same parts of the brain. So, you know, our perceptions of them are really similar and so predicated on what's happened in the past. You know, we build kind of our perceptual reality based on what we've seen before. So, you know, I have a mic in front of me, if I've never seen a mic before, you know, but then I learned what it is every time I see something shaped like this, I'm going to assume it's a mic, and I don't have to kind of go through the relearning process to figure it out. Our brain kind of builds up that knowing something, and that's useful for a lot of things, but it's not very useful in kind of a moment-to-moment sensory experience of a sensation or emotion, or, other people's emotions or speech or relationship with us. And so again, whether it's physical pain or social pain, like our interactions with others, we really want to develop, through this capacity of mindfulness, of embodied awareness of what's happening, the capacity to sense what's happening moment to moment. Instead of, you know, I see Nick and the last time Nick and I met, you know, we had a little bit of a misunderstanding, and now I'm going to interpret every different look of his as some kind of critique of me. Rather than meeting you fresh and deciding, you know, Nick has bad days too, and I'm gonna see what today brings rather than the assumption of, you know, what my experience has been in the past. And that's what I experienced with physical pain that I went through some periods of really, really painful surgeries or treatments or emergency conditions that emerged in my body and even lying in the hospital or at home experiencing this pain, I could kind of predictably assume, oh, there's that sensation in my belly. I know what that's going to lead to. And so, start to kind of almost anticipate and tense and create more tension and pain and not really have a moment to moment kind of intimate experience of what was happening. And when I could slow down, actually connect to this embodied awareness, feel the sensation in my belly, I could see that, Oh yeah, it's this throbbing strong pain, but now it's actually dissipated. When I breathe really deeply, actually it creates some space there and now my foot's going numb. I actually don't even really feel this pain in my belly right now. So, rather than having kind of this fixated fear, tense attention to things there internally our own physical or emotional experience, or externally what's going on with someone, we kind of create more spaciousness, create kind of more awareness, bring some relaxation and ease to what's happening, and that can often change everything for us.” The Mechanisms of Pain Back to the chat with Dan, I asked him if there was a simple way to understand the mechanisms that drive or report the experience of pain. “I'm not sure if there's a simple way, but a way we like to break it down in the physio program is thinking about inputs, processing and outputs. So, what this does is just let you think about the different components that might be happening in the background that lead to an experience of pain. The input is (comprises) the information that arrives at the brain, so some of that information comes through nerves in the body. Some of it also comes through our eyes and ears, because our brain is always gathering data, about what's happening in our bodies and what's happening in the world. So, we can refer to those things as inputs. Of course, information from the body is really important, particularly in acute pain. But the other inputs are also really important. I could give an example there. A paper cut might hurt extraordinarily, but someone could actually fracture a bone in their foot, in a football game and not notice it. So, there's something about the totality of data, not just the information itself from the body, but what it's combined with at a given time. So that's the inputs. The processing is about what's happening in the brain. So, how is the brain interpreting that data, and how's it making sense of it. In order to make sense of it, the brain considers not just the inputs, but also, what those inputs mean with respect to information that's already stored in the brain, from past experience, from knowledge, from what the doctor told you, from what you read on a scan, all of these things are also influential, when the brain is interpreting what's happening in the body. So, all of those things can potentially have an influence as well. So that's inputs and processing. Then we can think about outputs. And these days we actually think about pain as an output because anatomical textbooks used to describe pain as an input from the body in the quote unquote pain nerves, which we now call nociceptors or danger detectors. But the pain isn't pain until we experience it. And so, because of that fact, we tend to think of it as an output. My physio students always say an output to where though? And I think that the best way to phrase that is it's an output from our brains into our conscious awareness - and that's much more philosophical than it is scientific, but I think we know so little about the brain that sometimes philosophy is the best way to explain and articulate these sort of things. You know, pain exists amongst a range of outputs. So often when you have pain, you also have some level of fear about it. You might have muscle tension associated with it, along with stress responses, go hormonal responses like cortisol, and then that can interact with the immune system. And so what's happening there can then feed back into the system in a sort of circular way.” Reality leaves a lot to the imagination. I asked Dan about a quote that iI heard him make in a lecture “Reality leaves a lot to the imagination. ” I think some background to this is that the brain is bombarded with so much sensory information at a given time, that it needs some sort of method to make sense of all that data, because there remember what comes to the brain from our sensors is merely electrical impulses. It's (the brain's) task is to filter out the irrelevant ones and make sense of the relevant ones. What seems to seems to be happening is the brain uses its past experience and knowledge that it already has stored to determine what's the irrelevant information that it can filter out, and how it might make sense of the relevant information and give us feelings and perceptions that help us make sense of the world and our bodies and help to guide our actions in a way that you know, helps us to flourish and promotes our survival and all that. So again, it's quite, it's quite philosophical … I think there's still a lot to be drawn out of that way of thinking that can help people with pain. I think we are really just at the start of that. I guess it's only fairly recently that we've moved from continuing to look for some ‘Magic bullet' or some specific problem in the body. We've started to open our minds to looking more broadly about what's happening in the immune system and in the brain and our perceptual system more broadly.” A New Reality? Based on what Dan was saying it's interesting to also note that a study in 2018 at Harvard showed that short daily doses of meditation can literally grow the grey matter in the areas of the brain associated with self-awareness and self-compassion, and can reduce the grey matter in the parts of the brain associated with stress. This to me and, obviously to the researchers is incredibly promising for those who are walking a path accompanied by pain of any kind - that a no/low cost intervention, that is simple to instigate, with little known side effects, can have this profound an effect. (Powell, Harvard researchers study how mindfulness may change the brain in depressed patients 2018) What is Meditation? Meditation sort of hit me in the face in the late ‘90s. I was working at a bank at the time, as a technical writer, and was experiencing what I have now come to understand as early signs of a severe depression episode. I wondered up the Queen Street mall in Brisbane, and there was a Virgin Music Store off to left. In there they had listening stations with a selection of some of the newest CDs to have a listen to. This lunch break I felt like I was about to break. I made my way in to the classical room which was sectioned off from the rest of the store by a glass wall. On one stand was a CD by a fella called Robert Gass, singing, with his choir, Om. The primordial syllable over and over for about 30 minutes. As I pushed passed the initial boredom, I was transported to a world where things were calm, still and all that was present was this moment. What is meditation? Well, it depends on who you ask. After having asked many people for definitions of what meditation and mindfulness are one definition of Mindfulness shared by Dr Christine Runyan I loved for it's simplicity and humanness. Christine is a clinical health psychologist, Professor in the Department of Family Medicine and Community Health at the University of Massachusetts Medical School, and the Co-Founder of Tend Health. Christine is also a mindfulness teacher at the University of Massachusetts Centre for Mindfulness. I asked Christine during the show how she defines Mindfulness, and what it meant to her: (Coriat, Dr Christine Runyan - Mental Health and covid - On Forgiveness and Healing 2021) Christine: “So, I define mindfulness both as present moment awareness, but I add the quality of compassion, if you will. You know compassion is often a term we think of around the presence of suffering. All our present moment experiences don't include suffering, so in moments where there are, I would say present moment with awareness with compassion, and maybe if there's not suffering, present moment awareness with kindness. I think that standard Jon Kabat-Zinn definition is without judgment. I find that whether you're parenting a child or sort of teaching an animal something, offering something to do rather than not to do can be a little more helpful right? So instead of don't do this, rather offer an instruction of something to do, and I've really come to that. And in my work, MBCT is a treatment for people who have recurrent depression and there is amount of judgment and self-judgment that comes alongside recurrent depression and experiencing that phenomenon. And so it can be a hard stop, cause it's sort of like they don't have a frame for how to be in a way that doesn't include self-judgment, so instead kind of an invitation to sort of have that present moment awareness with kindness can be an invitation of something to add rather than something not to do, because as soon as you sort of have that without judgment and people notice that they judge, you know then you start down the rabbit hole of judgment. So that's how I define it.” Another description about what meditation is, comes from one of my favourite Buddhist teachers Pema Chodron. “Meditation is a process of lightning up, of trusting the basic goodness of what we have and who we are, and of realising that any wisdom that exists, exists in what we already have. We can lead our life so as to become more awake to who we are and what we're doing rather than trying to improve or change or get rid of who we are or what we're doing. The key is to wake up, to become more alert, more inquisitive and curious about ourselves.” There are a couple of points that I particularly like about what Pema said: 1) We are already wise, despite what our inner monologue may tell us, and the limitations that the experience of being in pain has led us to believe. 2) Many of us are sort of asleep to what's going on in our lives. This is understandable in the presence of persistent pain. One of the initial ways to deal with the constant onslaught of noxious stimuli is to literally disassociate from what's going on in the body. A critical part of the healing journey Is to become aware of the sensations in our body and learn to meet them with curiosity instead of an inbuilt narrative and catastrophizing. 3) Curiosity and not self-condemnation is one of the keys to loosening the shackles of self-imposed suffering. And lastly, I feel that no discussion on a definition of meditation would be complete without a word from one of the founders of insight meditation in the West. Sharon Salzberg is a meditation pioneer, world-renowned teacher, and New York Times bestselling author. She is one of the first to bring mindfulness and lovingkindness meditation to mainstream American culture over 45 years ago, inspiring generations of meditation teachers and wellness influencers. I spoke with Sharon in November of last year and asked her what is the invitation that meditation offers. “Well, right from the beginning, I am going to introduce the idea of meditation as a skills training. And the first night of the first retreat, (that Sharon attended) which is 10 days long, he said, the Buddha did not teach Buddhism. The Buddha taught way of life. And that's exactly what I was looking for. You know, he said, this is open to anybody. Maybe you belong to a different faith tradition. Maybe you don't really, feel drawn to faith traditions. Doesn't matter, it's a practice and, and it's like a muscle group. You exercise, you know, So the first skill is really concentration or stabilizing attention somewhat. Most of us would say we're kind of all over the place. You sit down to think something through, and you're gone, you're just gone. And our minds jump to the past, or the future and we're anxious and we're just all over the place. And what we do in concentration training, as we gather our attention, we bring it together and we rest, we settle. So, there's a very different sense of centeredness and settledness and just kind of stability in awareness. And then there's mindfulness training, which is kind of like the word of the hour, which can mean many different things. It does mean many things. And I like to think of mindfulness as a quality of awareness where our attention to what's happening in the present moment, our perception of what's happening in the present moment is not so distorted by bias, like old fears - I should never let myself feel this thing. Or many times something happens, especially let's say, it's discomfort in the body, or we feel a shattered expectation, or we feel disappointment, or heartache. We start projecting it into the future. Like, what's it gonna feel like tomorrow? It'll be even worse. What's gonna feel like next week? What's gonna feel like next month? And before we knew it, we've got like a whole lifetime of anticipated struggle as well as what's actually going on right now - that makes it of course, much harder. So, there are a lot of ways in which we have filters or we have distortions of our perception and what we learn to do is relinquish the hold of those things so we're left with what's actually happening and that's why mindfulness is set to be the vehicle for inside understanding. You know, instead of being all caught up in like fighting our experience or being overwhelmed by our experience, we can take a look at our experience and have a very different view of it and mixed up in there always both as a kind of a constituent element and later as a fruition or a benefit is loving kindness or kindness. I don't think you can actually do these practices well without, in a sneaky way, developing some loving kindness, even if it's never talked about. It's like, the fundamental exercise in many systems. Even if they grow and they change and it becomes a much more elaborate kind of practice. The foundational note, which we keep coming back to again and again, is usually choosing an object of awareness, like I'd say the feeling of the breath, the sensation of the in and out breath, resting our attention on that object, and then when our attention wanders, which it will, learning how to gently let go and come back. That sounds easy. Isn't that easy? You know? Because the great temptation as soon as we realize, oh, I'm not with the breath, is to judge ourselves and be down on ourselves, and berate ourselves and feel like a failure. You know, to actually let go and start over means there's a good degree of self-compassion that's developing also, even if we never name it that, even if we didn't even realize that it's happening, and so, to do any of these things well means that's cooking also. So, it will be there, it has to be there. And then of course it is like a fruition because the more we see, yeah, this is not just me, you know, it's like that sense of isolation was another addon. There was something else I plopped on top of what was going on. I don't need to do that. The more we see this is the human condition we're all trying, we're all kind of a mess, you know? Uh, and we wish ourselves well. We wish others well. That starts to get more and more natural.” My Journey with Meditation I first started a meditation practice through attending a yoga class. I was having a chat with the teacher at the end of the class, and I asked her for some tips on navigating the pain and suffering that I was going through, without overdoing it. She asked if I had experienced Kirtan before. I hadn't but heard in her explanation the word meditation, and this was something I wanted to explore more, as my sister had sent me a copy of the Jon Kabbat Zin book Full Catastrophy Living a few years earlier and the promise of stillness or calm inside stressful moments was very appealing. At the time I had an orange VW bus which I drove up to a yoga school just on the outskirts of Eumundi and enjoyed one of the strangest and yet most profound evenings that I've ever had. I was both fearful and intrigued, and at one point was wondering whether it should be experienced closed or eyes open, so as not to miss what was going on. As I closed my eyes, I could see a white light connecting all of our foreheads together. Powerful and strange. Given that this was my first ‘go' at it, I made my excuses and jumped in the van to go home, a little bit freaked out but pleasantly so. In retrospect I wonder what might have happened if I'd stayed. However I listened to a CD that I had bought from the studio at the beginning of the chant, all the way home and was instantly hooked. I bought a couple of yoga magazines and found out that Krishna Das was coming to Australia, immediately booked in for a workshop and Kirtan on two separate days at Palmwoods on the sunshine coast in QLD. Again I started the weekend in a decent amount of pain and experiencing very high levels of anxiety and severe depression, however by the end of the weekend I was beaming and felt such a strong bond to the people who I had been chanting with. It was quite unfathomable. I have a beautiful picture of myself with Krishna Das at the end the weekend. For many years mantra repetition became my default meditation. Something that I could pull out of my back pocket whether I was at work at home or out and about, a non pharmaceutical intervention that helped to center me and bring me out of the tyrany of cascading thoughts and more in to this moment – the only moment in which we have any say about what goes on. Many years later I interviewed KD for a book and he mentioned a quote by the Indian sage Ramana Maharishi; He said ‘“The only freedom we have is in the moment. How we meet each moment, how we meet each experience.” All the practices we do, bring us more into the moment, give us more of a sense of confidence in ourselves, and in just being. And from that deeper place, we can meet all the difficult things that come to us in life and all of the wonderful things that come to us in life, without being totally washed away by them or absorbed in them or lost in them. We can enjoy the beautiful things and we can allow the unhappy things to exist and pass away again.' Now it's probably imprtant to clarify, mostly for my own understanding as I mix the two up, the difference between Kirtan and bhakti. Kirtan and bhakti are both related to the devotional singing of mantras, sacred names or praises of the divine. However, they are not exactly the same. Kirtan is a form of call-and-response chanting that involves a leader and a group of participants. The leader sings a line of a mantra, and the group repeats it back. Kirtan is usually accompanied by musical instruments such as harmonium, tabla, mridanga, etc. Kirtan is a way of expressing love and devotion to the divine through sound and music. Kirtan can also help to cut through the illusion of separation and connect to the heart and the present moment. Bhakti is a Sanskrit word that means “love, devotion, faith, loyalty, attachment”. Bhakti is one of the paths of yoga that focuses on cultivating a personal relationship with the divine through various practices such as kirtan, bhajan, japa, puja, etc. Bhakti is also a philosophical and theological concept that describes the nature of devotion and surrender to the supreme reality. One of the differences between kirtan and bhakti is that kirtan is a specific practice or technique of bhakti, while bhakti is a broader term that encompasses various forms of devotion. Another difference is that kirtan is usually performed in a group setting, while bhakti can be practiced individually or collectively. A third difference is that kirtan follows a structured format of call-and-response, while bhakti can be more spontaneous and creative in expressing one's feelings and emotions. KD also says of chant more generally ““It's like an older, deeper, bigger being. It's a space, a presence, a feeling. These names are the names of that place inside of us that is love, pure being, pure awareness, pure joy.” Kirtan—and other forms of mantra practice, such as seated meditation—help us uncover that place inside of us, he says: “our true nature.” (Kripalu Centre for Yoga and Health, 2021) Over the follwing years I have adopted a fluid approach to meditation, utilising practices from Vedic, Buddhist and some secular Mindfulness traditions, and varying types of breathwork grounding and awareness of sound meditations. The important point to mention here is, I feel that, as a person living with pain, the last thing you probably need in your life is another stick to beat yourself with about what you should be doing. I think if the promise of a clamer mind, less catastrophising and less pain resonates with you, look for and try something that makes sense, or feels good you. Or more eloquently from the Buddha's teachings: “Do not believe in anything simply because you have heard it. Do not believe in anything simply because it is spoken and rumoured by many. Do not believe in anything simply because it is found written in your religious books. Do not believe in anything merely on the authority of your teachers and elders. Do not believe in traditions because they have been handed down for many generations. But after observation and analysis, when you find that anything agrees with reason and is conducive to the good and benefit of one and all, then accept it and live up to it.” Self Compassion Before we have a go at a practice to draw this to a close, it's essential to add a point that I touched on very briefly before, and that's the point of self-compassion. The most succinct way I've heard described, was by Liz Stanley: “I would just say it's really important (for listeners) to recognize that one of the ways we actually make things worse for ourselves, is when we let our thinking brains judgments about what might be going on in our mind and body, kind of get stuck because those judgements actually make things worse. So, to give an example, if somebody is experiencing chronic pain, and they're feeling self-judgment, or shame, or impatience, or anger, about the fact that they are feeling chronic pain, that kind of judgment and any narrative that the thinking brain might be kicking up around it ‘it shouldn't be this way', you know it was doing better, I should have done my exercises, any sort of stories that might be there, when the thinking brain does that, the survival brain perceives those thinking brain judgements as threatening. And so, it turns on even more stress arousal. So, if someone's experiencing discomfort and then they're judging it, they're actually making that stress arousal. Likewise, we often have habits to compare what's going on in us with someone else. Like we might experience a wave of anxiety about an upcoming test or something. And then the thinking brain's like, well, I shouldn't be anxious about that, that's not really a big deal. You know, this other person, well, they're dealing with this and this and this and this in comparison, what I'm dealing with is really not a problem. You can hear the judgment in that. And when the thinking brain starts, those kinds of comparing thoughts that devalue what's going on in our body, again, the survival brain finds that challenging, and it will turn on more stress arousal. So as much as possible, if someone is experiencing a wave of emotion or a wave of stress or defaulting to engage in a coping mechanism that they might not want to be engaging in, a habit they wish they could break - as much as possible just meet that experience with some kindness, and see if you can set that judging aside, because the judging is only making it worse. It's only making the, the survival brain that much more amped up.” (Coriat, Dr Christine Runyan - Mental Health and covid - on forgiveness and healing 2021) That's the last thing I really wanted to say, Nick, because I know it's something I really struggled with” Practice References Music throughout the podcast Das, K. (2007). Gathering in the light-Om-Narayani. Krishna Das. https://krishnadasmusic.com/collections/music/products/gathering-in-the-light Other References Haggai et al, S. (2016, July). Mindfulness meditation modulates pain through endogenous opioids. The American Journal of Medicine. https://www.amjmed.com/article/S0002-9343(16)30302-3/fulltext Zeidan et al., F. (2023, February). Disentangling self from pain: mindfulness meditation–induced pain relief is driven by thalamic–default mode network decoupling. Journal for the International Association for Pain. https://journals.lww.com/pain/Fulltext/2023/02000/Disentangling_self_from_pain__mindfulness.8.aspx Powell, A. (2018, August 27). Harvard researchers study how mindfulness may change the brain in depressed patients. Harvard Gazette. https://news.harvard.edu/gazette/story/2018/04/harvard-researchers-study-how-mindfulness-may-change-the-brain-in-depressed-patients/ Tsagkaris, C., Papazoglou, A. S., Eleftheriades, A., Tsakopoulos, S., Alexiou, A., Găman, M.-A., & Moysidis, D. V. (2022, March 14). Infrared radiation in the management of musculoskeletal conditions and chronic pain: A systematic review. European journal of investigation in health, psychology and education. https://www.ncbi.nlm.nih.gov/pmc/articles/PMC8946909/ Hecht, M. (2020, September 4). Meditation for pain relief: What to know & how to try it. Healthline. https://www.healthline.com/health/meditation-for-chronic-pain Asmundson, G. J. (2022, December 2). PTSD and the experience of pain: Research and clinical implications of shared vulnerability and mutual maintenance models. Canadian journal of psychiatry. Revue canadienne de psychiatrie. https://pubmed.ncbi.nlm.nih.gov/12553128/ Coriat, N. (2022, October 20). Dr Daniel Harvey - The path through pain. Don't Quit on Me. https://www.podpage.com/dont-quit-on-me/dr-daniel-harvey-the-path-through-pain/ Coriat, N. (2021, March 11). Sebene Selassie - belonging in an age of disconnect. Don't Quit on Me. https://www.podpage.com/dont-quit-on-me/s1e3 Coriat, N. (2021, December 31). Dr Christine Runyan - Mental Health and covid - on forgiveness and healing. Don't Quit on Me. https://www.dontquiton.me/dr-christine-runyan-mental-health-and-covid-on-forgiveness-and-healing/ Center for Yoga and Health, K. (2021, July 11). The Beginners' Guide to Kirtan and Mantra. Kripalu. https://kripalu.org/resources/beginners-guide-kirtan-and-mantra
The Game - It's time to face the Atlanta Falcons. This time last week this game was seen as another gimme game for the Washington Commanders, but how's it looking after the defeat to the Chicago Bears? Well for one thing, it's still a must win early in the season.
"SC Wasted Tax Money” “Why Jan 6 Footage was Censored” “No Guts for the Game” “It's National Junk Food Day”
What a badass city we live in. We knew that. But now the world knows. The NHL Stadium Series—and all the fanfare around it—is in the rearview… and what a raging success it was as Raleigh, the Canes and NC State took center stage. Tune in as Publisher Gina Stephens and Editor-in-Chief Melissa Howsam give an insider recap of Raleigh's biggest ever week in sports. Everything You Need to Know About Stadium Series It's More Than a Game—It's Big Business Stadium Series Pullout Meet Our Sponsors:Logan's Garden ShopBluewater SpaMartin Marietta CenterGet the issue to your door! 10 issues for $10! Subscribe NowOffice Talk with Raleigh Magazine is hosted by Gina Stephens and is a production of Earfluence.
I'm on Silent Retreat! Chat soon! I love you! Love each other! *********************I asked for a sign and got an actual one! There's nothing this Love can't do. I love you,Niknikki@curlynikki.comPlease help me keep the show ad free + Get Merch!▶▶https://www.patreon.com/goodmornings________________________________Today's Quotes: Lyrics to 'All You Need is Love' by the Beatles "There's nothin' you can do that can't be doneNothin' you can sing that can't be sungNothin' you can say, but you can learn how to play the gameIt's easyNothin' you can make that can't be madeNo one you can save that can't be savedNothin' you can do, but you can learn how to be you in timeIt's easyAll you need is loveAll you need is loveAll you need is love, loveLove is all you needAll you need is loveAll you need is loveAll you need is love, loveLove is all you needThere's nothin' you can know that isn't knownNothin' you can see that isn't shownThere's nowhere you can be that isn't where you're meant to beIt's easyAll you need is loveAll you need is loveAll you need is love, loveLove is all you needAll you need is love (all together now)All you need is love (everybody)All you need is love, love."Support the show
Welcome back to ArtBeat Radio! This episode features the vocal and production talents of Able Arts Work, ART Center's Song Creation class. The students worked collaboratively to sing and record their own versions of two classic Beatles hits; Let it Be, and All You Need is Love. Jillian: Hello everyone this is the song creation class, and my name is Jillian Anderson. We voted as a class on which Beatles song to cover. The songs we chose were Let it Be and All You Need is Love. Next, we worked as a team putting the recordings together. We then picked out the instruments together. After that, we recorded vocals. Thank you for listening to our podcast episode. We hope you enjoy! Reid: Hello everyone, the song we're going to listen to is Let it Be, by the Beatles. Let it Be Lyrics: (Stephanie, Jillian, Eric)When I find myself in times of troubleMother Mary comes to meSpeaking words of wisdomLet it BeAnd in my hour of darkness She is standing right in front of meSpeaking words of wisdom Let it beLet it be, let it beLet it be, let it beWhisper words of wisdom Let it beAnd when the brokenhearted peopleLiving in the world agreeThere will be an answerLet it beFor though they may be partedThere is still a chance that they will seeThere will be an answerLet it beLet it be, let it beLet it be, let it beWhisper words of wisdom Let it beLet it be, let it beLet it be, let it beWhisper words of wisdom Let it be Rene: What you are about to hear is our cover of All You Need is Love, which is another song by the Beatles. All You Need is Love Lyrics (Performed by Jillian, Stephanie, Reid, Eric) Love, love, loveLove, love, loveLove, love, love There's nothin' you can do that can't be doneNothin' you can sing that can't be sungNothin' you can say, but you can learn how to play the gameIt's easyNothin' you can make that can't be madeNo one you can save that can't be savedNothin' you can do, but you can learn how to be you in timeIt's easy All you need is loveAll you need is loveAll you need is love, loveLove is all you need There's nothin' you can do that can't be doneNothin' you can sing that can't be sungNothin' you can say, but you can learn how to play the gameIt's easyNothin' you can make that can't be madeNo one you can save that can't be savedNothin' you can do, but you can learn how to be you in timeIt's easy All you need is loveAll you need is loveAll you need is love, loveLove is all you need Stephanie: Thank you for listening to our songs. You are amazing. Thank you for coming, and have a blessed day.
I asked for a sign and got an actual one! There's nothing this Love can't do. I love you, Niknikki@curlynikki.com Bonus episodes every week:▶▶https://www.patreon.com/goodmorningsGo(o)d Mornings merch:▶▶https://www.patreon.com/goodmornings________________________________Today's Quote:Lyrics to 'All You Need is Love' by the Beatles "There's nothin' you can do that can't be doneNothin' you can sing that can't be sungNothin' you can say, but you can learn how to play the gameIt's easyNothin' you can make that can't be madeNo one you can save that can't be savedNothin' you can do, but you can learn how to be you in timeIt's easyAll you need is loveAll you need is loveAll you need is love, loveLove is all you needAll you need is loveAll you need is loveAll you need is love, loveLove is all you needThere's nothin' you can know that isn't knownNothin' you can see that isn't shownThere's nowhere you can be that isn't where you're meant to beIt's easyAll you need is loveAll you need is loveAll you need is love, loveLove is all you needAll you need is love (all together now)All you need is love (everybody)All you need is love, love."Support the show (https://www.patreon.com/goodmornings)
Wake up ready to take charge of the day, every damn day! What you do those first few minutes after being awake can set the tone for the entire day ahead of you. Use those precious first moments to your advantage! Just wake up and hit play. Morning Motivation Affirmations to Get Your Head in the Game: It is go time! When I wake up I get up. I am ready to take full advantage of this beautiful day ahead of me- so full of potential and opportunity. I never get to live this day or this morning again. I keep that in mind as I make choices throughout the day. What can I do to make high quality choices today so that when I lay my head down tonight I feel proud and at peace? My best life, everything I want to do, become, and achieve, is on the other side of what I choose to do today. The work I put in TODAY, I make progress because today is going to create my dream future. I am ready to give it my all, because I deserve my own best effort. I have all of the energy, focus, and motivation I need to be productive today. To get one day closer to success. I have the power to accomplish everything I need to do today. I show up for myself. I am consistent in my efforts, because the work now is SO worth the results. I am energized and excited by my goals. What I put in is what I'll get out. So today, I will stay focused, present and grateful, and I will use my time wisely. I have this one life to become, create and experience everything I want. Today matters, I matter, and I am READY for it all. Boost your affirmation practice with these complementary episodes: Let's get it babe! Daily Motivation Affirmations AM Motivation Affirmations: Get Your ASS UP & Make Today Count Today Will Be A GREAT Day- Morning Affirmations ---
Episode one hundred and thirty-five of A History of Rock Music in Five Hundred Songs looks at “The Sound of Silence" by Simon and Garfunkel, and the many records they made, together and apart, before their success. Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have a ten-minute bonus episode available, on "Blues Run the Game" by Jackson C. Frank. 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/ Errata I talk about a tour of Lancashire towns, but some of the towns I mention were in Cheshire at the time, and some are in Greater Manchester or Merseyside now. They're all very close together though. I say Mose Rager was Black. I was misremembering, confusing Mose Rager, a white player in the Muhlenberg style, with Arnold Schultz, a Black player who invented it. I got this right in the episode on "Bye Bye Love". Also, I couldn't track down a copy of the Paul Kane single version of “He Was My Brother” in decent quality, so I used the version on The Paul Simon Songbook instead, as they're basically identical performances. Resources As usual, I've created a Mixcloud playlist of the music excerpted here. This compilation collects all Simon and Garfunkel's studio albums, with bonus tracks, plus a DVD of their reunion concert. There are many collections of the pre-S&G recordings by the two, as these are now largely in the public domain. This one contains a good selection. I've referred to several books for this episode: Simon and Garfunkel: Together Alone by Spencer Leigh is a breezy, well-researched, biography of the duo. Paul Simon: The Life by Robert Hilburn is the closest thing there is to an authorised biography of Simon. And What is it All But Luminous? is Art Garfunkel's memoir. It's not particularly detailed, being more a collection of thoughts and poetry than a structured narrative, but gives a good idea of Garfunkel's attitude to people and events in his life. Roots, Radicals, and Rockers: How Skiffle Changed the World by Billy Bragg has some great information on the British folk scene of the fifties and sixties. And Singing From the Floor is an oral history of British folk clubs, including a chapter on Dylan's 1962 visit to London. Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript Today, we're going to take a look at a hit record that almost never happened -- a record by a duo who had already split up, twice, by the time it became a hit, and who didn't know it was going to come out. We're going to look at how a duo who started off as an Everly Brothers knockoff, before becoming unsuccessful Greenwich Village folkies, were turned into one of the biggest acts of the sixties by their producer. We're going to look at Simon and Garfunkel, and at "The Sound of Silence": [Excerpt: Simon and Garfunkel, "The Sound of Silence"] The story of Simon and Garfunkel starts with two children in a school play. Neither Paul Simon or Art Garfunkel had many friends when they met in a school performance of Alice in Wonderland, where Simon was playing the White Rabbit and Garfunkel the Cheshire Cat. Simon was well-enough liked, by all accounts, but he'd been put on an accelerated programme for gifted students which meant he was progressing through school faster than his peers. He had a small social group, mostly based around playing baseball, but wasn't one of the popular kids. Art Garfunkel, another gifted student, had no friends at all until he got to know Simon, who he described later as his "one and only friend" in this time period. One passage in Garfunkel's autobiography seems to me to sum up everything about Garfunkel's personality as a child -- and indeed a large part of his personality as it comes across in interviews to this day. He talks about the pleasure he got from listening to the chart rundown on the radio -- "It was the numbers that got me. I kept meticulous lists—when a new singer like Tony Bennett came onto the charts with “Rags to Riches,” I watched the record jump from, say, #23 to #14 in a week. The mathematics of the jumps went to my sense of fun." Garfunkel is, to this day, a meticulous person -- on his website he has a list of every book he's read since June 1968, which is currently up to one thousand three hundred and ten books, and he has always had a habit of starting elaborate projects and ticking off every aspect of them as he goes. Both Simon and Garfunkel were outsiders at this point, other than their interests in sport, but Garfunkel was by far the more introverted of the two, and as a result he seems to have needed their friendship more than Simon did. But the two boys developed an intense, close, friendship, initially based around their shared sense of humour. Both of them were avid readers of Mad magazine, which had just started publishing when the two of them had met up, and both could make each other laugh easily. But they soon developed a new interest, when Martin Block on the middle-of-the-road radio show Make Believe Ballroom announced that he was going to play the worst record he'd ever heard. That record was "Gee" by the Crows: [Excerpt: The Crows, "Gee"] Paul Simon later said that that record was the first thing he'd ever heard on that programme that he liked, and soon he and Garfunkel had become regular listeners to Alan Freed's show on WINS, loving the new rock and roll music they were discovering. Art had already been singing in public from an early age -- his first public performance had been singing Nat "King" Cole's hit "Too Young" in a school talent contest when he was nine -- but the two started singing together. The first performance by Simon and Garfunkel was at a high school dance and, depending on which source you read, was a performance either of "Sh'Boom" or of Big Joe Turner's "Flip, Flop, and Fly": [Excerpt: Big Joe Turner, "Flip, Flop, and Fly"] The duo also wrote at least one song together as early as 1955 -- or at least Garfunkel says they wrote it together. Paul Simon describes it as one he wrote. They tried to get a record deal with the song, but it was never recorded at the time -- but Simon has later performed it: [Excerpt: Paul Simon, "The Girl For Me"] Even at this point, though, while Art Garfunkel was putting all his emotional energy into the partnership with Simon, Simon was interested in performing with other people. Al Kooper was another friend of Simon's at the time, and apparently Simon and Kooper would also perform together. Once Elvis came on to Paul's radar, he also bought a guitar, but it was when the two of them first heard the Everly Brothers that they realised what it was that they could do together. Simon fell in love with the Everly Brothers as soon as he heard "Bye Bye Love": [Excerpt: The Everly Brothers, "Bye Bye Love"] Up to this point, Paul hadn't bought many records -- he spent his money on baseball cards and comic books, and records just weren't good value. A pack of baseball cards was five cents, a comic book was ten cents, but a record was a dollar. Why buy records when you could hear music on the radio for free? But he needed that record, he couldn't just wait around to hear it on the radio. He made an hour-long two-bus journey to a record shop in Queens, bought the record, took it home, played it... and almost immediately scratched it. So he got back on the bus, travelled for another hour, bought another copy, took it home, and made sure he didn't scratch that one. Simon and Garfunkel started copying the Everlys' harmonies, and would spend hours together, singing close together watching each other's mouths and copying the way they formed words, eventually managing to achieve a vocal blend through sheer effort which would normally only come from familial closeness. Paul became so obsessed with music that he sold his baseball card collection and bought a tape recorder for two hundred dollars. They would record themselves singing, and then sing back along with it, multitracking themselves, but also critiquing the tape, refining their performances. Paul's father was a bass player -- "the family bassman", as he would later sing -- and encouraged his son in his music, even as he couldn't see the appeal in this new rock and roll music. He would critique Paul's songs, saying things like "you went from four-four to a bar of nine-eight, you can't do that" -- to which his son would say "I just did" -- but this wasn't hostile criticism, rather it was giving his son a basic grounding in song construction which would prove invaluable. But the duo's first notable original song -- and first hit -- came about more or less by accident. In early 1956, the doo-wop group the Clovers had released the hit single "Devil or Angel". Its B-side had a version of "Hey Doll Baby", a song written by the blues singer Titus Turner, and which sounds to me very inspired by Hank Williams' "Hey, Good Lookin'": [Excerpt: The Clovers, "Hey, Doll Baby"] That song was picked up by the Everly Brothers, who recorded it for their first album: [Excerpt: The Everly Brothers, "Hey Doll Baby"] Here is where the timeline gets a little confused for me, because that album wasn't released until early 1958, although the recording session for that track was in August 1957. Yet that track definitely influenced Paul Simon and Art Garfunkel to record a song that they released in November 1957. All I can imagine is that they heard the brothers perform it live, or maybe a radio station had an acetate copy. Because the way everyone has consistently told the story is that at the end of summer 1957, Simon and Garfunkel had both heard the Everly Brothers perform "Hey Doll Baby", but couldn't remember how it went. The two of them tried to remember it, and to work a version of it out together, and their hazy memories combined to reconstruct something that was completely different, and which owed at least as much to "Wake Up Little Suzie" as to "Hey Doll Baby". Their new song, "Hey Schoolgirl", was catchy enough that they thought if they recorded a demo of it, maybe the Everly Brothers themselves would record the song. At the demo studio they happened to encounter Sid Prosen, who owned a small record label named Big Records. He heard the duo perform and realised he might have his own Everly Brothers here. He signed the duo to a contract, and they went into a professional studio to rerecord "Hey Schoolgirl", this time with Paul's father on bass, and a couple of other musicians to fill out the sound: [Excerpt: Tom and Jerry, "Hey Schoolgirl"] Of course, the record couldn't be released under their real names -- there was no way anyone was going to buy a record by Simon and Garfunkel. So instead they became Tom and Jerry. Paul Simon was Jerry Landis -- a surname he chose because he had a crush on a girl named Sue Landis. Art became Tom Graff, because he liked drawing graphs. "Hey Schoolgirl" became a local hit. The two were thrilled to hear it played on Alan Freed's show (after Sid Prosen gave Freed two hundred dollars), and were even more thrilled when they got to perform on American Bandstand, on the same show as Jerry Lee Lewis. When Dick Clark asked them where they were from, Simon decided to claim he was from Macon, Georgia, where Little Richard came from, because all his favourite rock and roll singers were from the South. "Hey Schoolgirl" only made number forty-nine nationally, because the label didn't have good national distribution, but it sold over a hundred thousand copies, mostly in the New York area. And Sid Prosen seems to have been one of a very small number of independent label owners who wasn't a crook -- the two boys got about two thousand dollars each from their hit record. But while Tom and Jerry seemed like they might have a successful career, Simon and Garfunkel were soon to split up, and the reason for their split was named True Taylor. Paul had been playing some of his songs for Sid Prosen, to see what the duo's next single should be, and Prosen had noticed that while some of them were Everly Brothers soundalikes, others were Elvis soundalikes. Would Paul be interested in recording some of those, too? Obviously Art couldn't sing on those, so they'd use a different name, True Taylor. The single was released around the same time as the second Tom and Jerry record, and featured an Elvis-style ballad by Paul on one side, and a rockabilly song written by his father on the other: [Excerpt: True Taylor, "True or False"] But Paul hadn't discussed that record with Art before doing it, and the two had vastly different ideas about their relationship. Paul was Art's only friend, and Art thought they had an indissoluble bond and that they would always work together. Paul, on the other hand, thought of Art as one of his friends and someone he made music with, but he could play at being Elvis if he wanted, as well as playing at being an Everly brother. Garfunkel, in his memoir published in 2017, says "the friendship was shattered for life" -- he decided then and there that Paul Simon was a "base" person, a betrayer. But on the other hand, he still refers to Simon, over and over again, in that book as still being his friend, even as Simon has largely been disdainful of him since their last performance together in 2010. Friendships are complicated. Tom and Jerry struggled on for a couple more singles, which weren't as successful as "Hey Schoolgirl" had been, with material like "Two Teenagers", written by Rose Marie McCoy: [Excerpt: Tom and Jerry, "Two Teenagers"] But as they'd stopped being friends, and they weren't selling records, they drifted apart and didn't really speak for five years, though they would occasionally run into one another. They both went off to university, and Garfunkel basically gave up on the idea of having a career in music, though he did record a couple of singles, under the name "Artie Garr": [Excerpt: Artie Garr, "Beat Love"] But for the most part, Garfunkel concentrated on his studies, planning to become either an architect or maybe an academic. Paul Simon, on the other hand, while he was technically studying at university too, was only paying minimal attention to his studies. Instead, he was learning the music business. Every afternoon, after university had finished, he'd go around the Brill Building and its neighbouring buildings, offering his services both as a songwriter and as a demo performer. As Simon was competent on guitar, bass, and drums, could sing harmonies, and could play a bit of piano if it was in the key of C, he could use primitive multitracking to play and sing all the parts on a demo, and do it well: [Excerpt: Paul Simon, "Boys Were Made For Girls"] That's an excerpt from a demo Simon recorded for Burt Bacharach, who has said that he tried to get Simon to record as many of his demos as possible, though only a couple of them have surfaced publicly. Simon would also sometimes record demos with his friend Carole Klein, sometimes under the name The Cosines: [Excerpt: The Cosines, "Just to Be With You"] As we heard back in the episode on "Will You Love Me Tomorrow?", Carole Klein went on to change her name to Carole King, and become one of the most successful songwriters of the era -- something which spurred Paul Simon on, as he wanted to emulate her success. Simon tried to get signed up by Don Kirshner, who was publishing Goffin and King, but Kirshner turned Simon down -- an expensive mistake for Kirshner, but one that would end up benefiting Simon, who eventually figured out that he should own his own publishing. Simon was also getting occasional work as a session player, and played lead guitar on "The Shape I'm In" by Johnny Restivo, which made the lower reaches of the Hot One Hundred: [Excerpt: Johnny Restivo, "The Shape I'm In"] Between 1959 and 1963 Simon recorded a whole string of unsuccessful pop singles. including as a member of the Mystics: [Excerpt: The Mystics, "All Through the Night"] He even had a couple of very minor chart hits -- he got to number 99 as Tico and the Triumphs: [Excerpt: Tico and the Triumphs, "Motorcycle"] and number ninety-seven as Jerry Landis: [Excerpt: Jerry Landis, "The Lone Teen Ranger"] But he was jumping around, hopping onto every fad as it passed, and not getting anywhere. And then he started to believe that he could do something more interesting in music. He first became aware that the boundaries of what could be done in music extended further than "ooh-bop-a-loochy-ba" when he took a class on modern music at university, which included a trip to Carnegie Hall to hear a performance of music by the avant-garde composer Edgard Varese: [Excerpt: Edgard Varese, "Ionisation"] Simon got to meet Varese after the performance, and while he would take his own music in a very different, and much more commercial, direction than Varese's, he was nonetheless influenced by what Varese's music showed about the possibilities that existed in music. The other big influence on Simon at this time was when he heard The Freewheelin' Bob Dylan: [Excerpt: Bob Dylan, "Girl From the North Country"] Simon immediately decided to reinvent himself as a folkie, despite at this point knowing very little about folk music other than the Everly Brothers' Songs Our Daddy Taught Us album. He tried playing around Greenwich Village, but found it an uncongenial atmosphere, and inspired by the liner notes to the Dylan album, which talked about Dylan's time in England, he made what would be the first of several trips to the UK, where he was given a rapturous reception simply on the grounds of being an American and owning a better acoustic guitar -- a Martin -- than most British people owned. He had the showmanship that he'd learned from watching his father on stage and sometimes playing with him, and from his time in Tom and Jerry and working round the studios, and so he was able to impress the British folk-club audiences, who were used to rather earnest, scholarly, people, not to someone like Simon who was clearly ambitious and very showbiz. His repertoire at this point consisted mostly of songs from the first two Dylan albums, a Joan Baez record, Little Willie John's "Fever", and one song he'd written himself, an attempt at a protest song called "He Was My Brother", which he would release on his return to the US under yet another stage name, Paul Kane: [Excerpt: Paul Kane, "He Was My Brother"] Simon has always stated that that song was written about a friend of his who was murdered when he went down to Mississippi with the Freedom Riders -- but while Simon's friend was indeed murdered, it wasn't until about a year after he wrote the song, and Simon has confused the timelines in his subsequent recollections. At the time he recorded that, when he had returned to New York at the end of the summer, Simon had a job as a song plugger for a publishing company, and he gave the publishing company the rights to that song and its B-side, which led to that B-side getting promoted by the publisher, and ending up covered on one of the biggest British albums of 1964, which went to number two in the UK charts: [Excerpt: Val Doonican, "Carlos Dominguez"] Oddly, that may not end up being the only time we feature a Val Doonican track on this podcast. Simon continued his attempts to be a folkie, even teaming up again with Art Garfunkel, with whom he'd re-established contact, to perform in Greenwich Village as Kane and Garr, but they went down no better as a duo than Simon had as a solo artist. Simon went back to the UK again over Christmas 1963, and while he was there he continued work on a song that would become such a touchstone for him that of the first six albums he would be involved in, four would feature the song while a fifth would include a snippet of it. "The Sound of Silence" was apparently started in November 1963, but not finished until February 1964, by which time he was once again back in the USA, and back working as a song plugger. It was while working as a song plugger that Simon first met Tom Wilson, Bob Dylan's producer at Columbia. Simon met up with Wilson trying to persuade him to use some of the songs that the publishing company were putting out. When Wilson wasn't interested, Simon played him a couple of his own songs. Wilson took one of them, "He Was My Brother", for the Pilgrims, a group he was producing who were supposed to be the Black answer to Peter, Paul, and Mary: [Excerpt: The Pilgrims, "He Was My Brother"] Wilson was also interested in "The Sound of Silence", but Simon was more interested in getting signed as a performer than in having other acts perform his songs. Wilson was cautious, though -- he was already producing one folkie singer-songwriter, and he didn't really need a second one. But he *could* probably do with a vocal group... Simon mentioned that he had actually made a couple of records before, as part of a duo. Would Wilson be at all interested in a vocal *duo*? Wilson would be interested. Simon and Garfunkel auditioned for him, and a few days later were in the Columbia Records studio on Seventh Avenue recording their first album as a duo, which was also the first time either of them would record under their own name. Wednesday Morning, 3AM, the duo's first album, was a simple acoustic album, and the only instrumentation was Simon and Barry Kornfeld, a Greenwich Village folkie, on guitars, and Bill Lee, the double bass player who'd played with Dylan and others, on bass. Tom Wilson guided the duo in their song selection, and the eventual album contained six cover versions and six originals written by Simon. The cover versions were a mixture of hootenanny staples like "Go Tell it on the Mountain", plus Dylan's "The Times They Are A-Changin'", included to cross-promote Dylan's new album and to try to link the duo with the more famous writer, and one unusual one, "The Sun is Burning", written by Ian Campbell, a Scottish folk singer who Simon had got to know on his trips to the UK: [Excerpt: Simon and Garfunkel, "The Sun is Burning"] But the song that everyone was keenest on was "The Sound of Silence", the first song that Simon had written that he thought would stand up in comparison with the sort of song that Dylan was writing: [Excerpt: Simon and Garfunkel, "The Sound of Silence (Wednesday Morning 3AM version)"] In between sessions for the album, Simon and Garfunkel also played a high-profile gig at Gerde's Folk City in the Village, and a couple of shows at the Gaslight Cafe. The audiences there, though, regarded them as a complete joke -- Dave Van Ronk would later relate that for weeks afterwards, all anyone had to do was sing "Hello darkness, my old friend", for everyone around to break into laughter. Bob Dylan was one of those who laughed at the performance -- though Robert Shelton later said that Dylan hadn't been laughing at them, specifically, he'd just had a fit of the giggles -- and this had led to a certain amount of anger from Simon towards Dylan. The album was recorded in March 1964, and was scheduled for release in October. In the meantime, they both made plans to continue with their studies and their travels. Garfunkel was starting to do postgraduate work towards his doctorate in mathematics, while Simon was now enrolled in Brooklyn Law School, but was still spending most of his time travelling, and would drop out after one semester. He would spend much of the next eighteen months in the UK. While he was occasionally in the US between June 1964 and November 1965, Simon now considered himself based in England, where he made several acquaintances that would affect his life deeply. Among them were a young woman called Kathy Chitty, with whom he would fall in love and who would inspire many of his songs, and an older woman called Judith Piepe (and I apologise if I'm mispronouncing her name, which I've only ever seen written down, never heard) who many people believed had an unrequited crush on Simon. Piepe ran her London flat as something of a commune for folk musicians, and Simon lived there for months at a time while in the UK. Among the other musicians who stayed there for a time were Sandy Denny, Cat Stevens, and Al Stewart, whose bedroom was next door to Simon's. Piepe became Simon's de facto unpaid manager and publicist, and started promoting him around the British folk scene. Simon also at this point became particularly interested in improving his guitar playing. He was spending a lot of time at Les Cousins, the London club that had become the centre of British acoustic guitar. There are, roughly, three styles of acoustic folk guitar -- to be clear, I'm talking about very broad-brush categorisations here, and there are people who would disagree and say there are more, but these are the main ones. Two of these are American styles -- there's the simple style known as Carter scratching, popularised by Mother Maybelle Carter of the Carter family, and for this all you do is alternate bass notes with your thumb while scratching the chord on the treble strings with one finger, like this: [Excerpt: Carter picking] That's the style played by a lot of country and folk players who were primarily singers accompanying themselves. In the late forties and fifties, though, another style had become popularised -- Travis picking. This is named after Merle Travis, the most well-known player in the style, but he always called it Muhlenberg picking, after Muhlenberg County, where he'd learned the style from Ike Everly -- the Everly Brothers' father -- and Mose Rager, a Black guitarist. In Travis picking, the thumb alternates between two bass notes, but rather than strumming a chord, the index and middle fingers play simple patterns on the treble strings, like this: [Excerpt: Travis picking] That's, again, a style primarily used for accompaniment, but it can also be used to play instrumentals by oneself. As well as Travis and Ike Everly, it's also the style played by Donovan, Chet Atkins, James Taylor, and more. But there's a third style, British baroque folk guitar, which was largely the invention of Davey Graham. Graham, you might remember, was a folk guitarist who had lived in the same squat as Lionel Bart when Bart started working with Tommy Steele, and who had formed a blues duo with Alexis Korner. Graham is now best known for one of his simpler pieces, “Anji”, which became the song that every British guitarist tried to learn: [Excerpt: Davey Graham, "Anji"] Dozens of people, including Paul Simon, would record versions of that. Graham invented an entirely new style of guitar playing, influenced by ragtime players like Blind Blake, but also by Bach, by Moroccan oud music, and by Celtic bagpipe music. While it was fairly common for players to retune their guitar to an open major chord, allowing them to play slide guitar, Graham retuned his to a suspended fourth chord -- D-A-D-G-A-D -- which allowed him to keep a drone going on some strings while playing complex modal counterpoints on others. While I demonstrated the previous two styles myself, I'm nowhere near a good enough guitarist to demonstrate British folk baroque, so here's an excerpt of Davey Graham playing his own arrangement of the traditional ballad "She Moved Through the Fair", recast as a raga and retitled "She Moved Thru' the Bizarre": [Excerpt: Davey Graham, "She Moved Thru' the Bizarre"] Graham's style was hugely influential on an entire generation of British guitarists, people who incorporated world music and jazz influences into folk and blues styles, and that generation of guitarists was coming up at the time and playing at Les Cousins. People who started playing in this style included Jimmy Page, Bert Jansch, Roy Harper, John Renbourn, Richard Thompson, Nick Drake, and John Martyn, and it also had a substantial influence on North American players like Joni Mitchell, Tim Buckley, and of course Paul Simon. Simon was especially influenced at this time by Martin Carthy, the young British guitarist whose style was very influenced by Graham -- but while Graham applied his style to music ranging from Dave Brubeck to Lutheran hymns to Big Bill Broonzy songs, Carthy mostly concentrated on traditional English folk songs. Carthy had a habit of taking American folk singers under his wing, and he taught Simon several songs, including Carthy's own arrangement of the traditional "Scarborough Fair": [Excerpt: Martin Carthy, "Scarborough Fair"] Simon would later record that arrangement, without crediting Carthy, and this would lead to several decades of bad blood between them, though Carthy forgave him in the 1990s, and the two performed the song together at least once after that. Indeed, Simon seems to have made a distinctly negative impression on quite a few of the musicians he knew in Britain at this time, who seem to, at least in retrospect, regard him as having rather used and discarded them as soon as his career became successful. Roy Harper has talked in liner notes to CD reissues of his work from this period about how Simon used to regularly be a guest in his home, and how he has memories of Simon playing with Harper's baby son Nick (now himself one of the greats of British guitar) but how as soon as he became successful he never spoke to Harper again. Similarly, in 1965 Simon started a writing partnership with Bruce Woodley of the Seekers, an Australian folk-pop band based in the UK, best known for "Georgy Girl". The two wrote "Red Rubber Ball", which became a hit for the Cyrkle: [Excerpt: The Cyrke, "Red Rubber Ball"] and also "Cloudy", which the Seekers recorded as an album track: [Excerpt: The Seekers, "Cloudy"] When that was recorded by Simon and Garfunkel, Woodley's name was removed from the writing credits, though Woodley still apparently received royalties for it. But at this point there *was* no Simon and Garfunkel. Paul Simon was a solo artist working the folk clubs in Britain, and Simon and Garfunkel's one album had sold a minuscule number of copies. They did, when Simon briefly returned to the US in March, record two tracks for a prospective single, this time with an electric backing band. One was a rewrite of the title track of their first album, now titled "Somewhere They Can't Find Me" and with a new chorus and some guitar parts nicked from Davey Graham's "Anji"; the other a Twist-beat song that could almost be Manfred Mann or Georgie Fame -- "We Got a Groovy Thing Goin'". That was also influenced by “Anji”, though by Bert Jansch's version rather than Graham's original. Jansch rearranged the song and stuck in this phrase: [Excerpt: Bert Jansch, “Anji”] Which became the chorus to “We Got a Groovy Thing Goin'”: [Excerpt: Simon and Garfunkel, "We Got a Groovy Thing Goin'"] But that single was never released, and as far as Columbia were concerned, Simon and Garfunkel were a defunct act, especially as Tom Wilson, who had signed them, was looking to move away from Columbia. Art Garfunkel did come to visit Simon in the UK a couple of times, and they'd even sing together occasionally, but it was on the basis of Paul Simon the successful club act occasionally inviting his friend on stage during the encore, rather than as a duo, and Garfunkel was still seeing music only as a sideline while Simon was now utterly committed to it. He was encouraged in this commitment by Judith Piepe, who considered him to be the greatest songwriter of his generation, and who started a letter-writing campaign to that effect, telling the BBC they needed to put him on the radio. Eventually, after a lot of pressure, they agreed -- though they weren't exactly sure what to do with him, as he didn't fit into any of the pop formats they had. He was given his own radio show -- a five-minute show in a religious programming slot. Simon would perform a song, and there would be an introduction tying the song into some religious theme or other. Two series of four episodes of this were broadcast, in a plum slot right after Housewives' Choice, which got twenty million listeners, and the BBC were amazed to find that a lot of people phoned in asking where they could get hold of the records by this Paul Simon fellow. Obviously he didn't have any out yet, and even the Simon and Garfunkel album, which had been released in the US, hadn't come out in Britain. After a little bit of negotiation, CBS, the British arm of Columbia Records, had Simon come in and record an album of his songs, titled The Paul Simon Songbook. The album, unlike the Simon and Garfunkel album, was made up entirely of Paul Simon originals. Two of them were songs that had previously been recorded for Wednesday Morning 3AM -- "He Was My Brother" and a new version of "The Sound of Silence": [Excerpt: Paul Simon, "The Sound of Silence"] The other ten songs were newly-written pieces like "April Come She Will", "Kathy's Song", a parody of Bob Dylan entitled "A Simple Desultory Philippic", and the song that was chosen as the single, "I am a Rock": [Excerpt: Paul Simon, "I am a Rock"] That song was also the one that was chosen for Simon's first TV appearance since Tom and Jerry had appeared on Bandstand eight years earlier. The appearance on Ready, Steady, Go, though, was not one that anyone was happy with. Simon had been booked to appear on a small folk music series, Heartsong, but that series was cancelled before he could appear. Rediffusion, the company that made the series, also made Ready, Steady, Go, and since they'd already paid Simon they decided they might as well stick him on that show and get something for their money. Unfortunately, the episode in question was already running long, and it wasn't really suited for introspective singer-songwriter performances -- the show was geared to guitar bands and American soul singers. Michael Lindsay-Hogg, the director, insisted that if Simon was going to do his song, he had to cut at least one verse, while Simon was insistent that he needed to perform the whole thing because "it's a story". Lindsay-Hogg got his way, but nobody was happy with the performance. Simon's album was surprisingly unsuccessful, given the number of people who'd called the BBC asking about it -- the joke went round that the calls had all been Judith Piepe doing different voices -- and Simon continued his round of folk clubs, pubs, and birthday parties, sometimes performing with Garfunkel, when he visited for the summer, but mostly performing on his own. One time he did perform with a full band, singing “Johnny B Goode” at a birthday party, backed by a band called Joker's Wild who a couple of weeks later went into the studio to record their only privately-pressed five-song record, of them performing recent hits: [Excerpt: Joker's Wild, "Walk Like a Man"] The guitarist from Joker's Wild would later join the other band who'd played at that party, but the story of David Gilmour joining Pink Floyd is for another episode. During this time, Simon also produced his first record for someone else, when he was responsible for producing the only album by his friend Jackson C Frank, though there wasn't much production involved as like Simon's own album it was just one man and his guitar. Al Stewart and Art Garfunkel were also in the control room for the recording, but the notoriously shy Frank insisted on hiding behind a screen so they couldn't see him while he recorded: [Excerpt: Jackson C Frank, "Blues Run the Game"] It seemed like Paul Simon was on his way to becoming a respected mid-level figure on the British folk scene, releasing occasional albums and maybe having one or two minor hits, but making a steady living. Someone who would be spoken of in the same breath as Ralph McTell perhaps. Meanwhile, Art Garfunkel would be going on to be a lecturer in mathematics whose students might be surprised to know he'd had a minor rock and roll hit as a kid. But then something happened that changed everything. Wednesday Morning 3AM hadn't sold at all, and Columbia hadn't promoted it in the slightest. It was too collegiate and polite for the Greenwich Village folkies, and too intellectual for the pop audience that had been buying Peter, Paul, and Mary, and it had come out just at the point that the folk boom had imploded. But one DJ in Boston, Dick Summer, had started playing one song from it, "The Sound of Silence", and it had caught on with the college students, who loved the song. And then came spring break 1965. All those students went on holiday, and suddenly DJs in places like Cocoa Beach, Florida, were getting phone calls requesting "The Sound of Silence" by Simon and Garfunkel. Some of them with contacts at Columbia got in touch with the label, and Tom Wilson had an idea. On the first day of what turned out to be his last session with Dylan, the session for "Like a Rolling Stone", Wilson asked the musicians to stay behind and work on something. He'd already experimented with overdubbing new instruments on an acoustic recording with his new version of Dylan's "House of the Rising Sun", now he was going to try it with "The Sound of Silence". He didn't bother asking the duo what they thought -- record labels messed with people's records all the time. So "The Sound of Silence" was released as an electric folk-rock single: [Excerpt: Simon and Garfunkel, "The Sound of Silence"] This is always presented as Wilson massively changing the sound of the duo without their permission or knowledge, but the fact is that they had *already* gone folk-rock, back in March, so they were already thinking that way. The track was released as a single with “We Got a Groovy Thing Going” on the B-side, and was promoted first in the Boston market, and it did very well. Roy Harper later talked about Simon's attitude at this time, saying "I can remember going into the gents in The Three Horseshoes in Hempstead during a gig, and we're having a pee together. He was very excited, and he turns round to me and and says, “Guess what, man? We're number sixteen in Boston with The Sound of Silence'”. A few days later I was doing another gig with him and he made a beeline for me. “Guess what?” I said “You're No. 15 in Boston”. He said, “No man, we're No. 1 in Boston”. I thought, “Wow. No. 1 in Boston, eh?” It was almost a joke, because I really had no idea what that sort of stuff meant at all." Simon was even more excited when the record started creeping up the national charts, though he was less enthused when his copy of the single arrived from America. He listened to it, and thought the arrangement was a Byrds rip-off, and cringed at the way the rhythm section had to slow down and speed up in order to stay in time with the acoustic recording: [Excerpt: Simon and Garfunkel, "The Sound of Silence"] I have to say that, while the tempo fluctuations are noticeable once you know to look for them, it's a remarkably tight performance given the circumstances. As the record went up the charts, Simon was called back to America, to record an album to go along with it. The Paul Simon Songbook hadn't been released in the US, and they needed an album *now*, and Simon was a slow songwriter, so the duo took six songs from that album and rerecorded them in folk-rock versions with their new producer Bob Johnston, who was also working with Dylan now, since Tom Wilson had moved on to Verve records. They filled out the album with "The Sound of Silence", the two electric tracks from March, one new song, "Blessed", and a version of "Anji", which came straight after "Somewhere They Can't Find Me", presumably to acknowledge Simon lifting bits of it. That version of “Anji” also followed Jansch's arrangement, and so included the bit that Simon had taken for “We Got a Groovy Thing Going” as well. They also recorded their next single, which was released on the British version of the album but not the American one, a song that Simon had written during a thoroughly depressing tour of Lancashire towns (he wrote it in Widnes, but a friend of Simon's who lived in Widnes later said that while it was written in Widnes it was written *about* Birkenhead. Simon has also sometimes said it was about Warrington or Wigan, both of which are so close to Widnes and so similar in both name and atmosphere that it would be the easiest thing in the world to mix them up.) [Excerpt: Simon and Garfunkel, "Homeward Bound"] These tracks were all recorded in December 1965, and they featured the Wrecking Crew -- Bob Johnston wanted the best, and didn't rate the New York players that Wilson had used, and so they were recorded in LA with Glen Campbell, Joe South, Hal Blaine, Larry Knechtel, and Joe Osborne. I've also seen in some sources that there were sessions in Nashville with A-team players Fred Carter and Charlie McCoy. By January, "The Sound of Silence" had reached number one, knocking "We Can Work it Out" by the Beatles off the top spot for two weeks, before the Beatles record went back to the top. They'd achieved what they'd been trying for for nearly a decade, and I'll give the last word here to Paul Simon, who said of the achievement: "I had come back to New York, and I was staying in my old room at my parents' house. Artie was living at his parents' house, too. I remember Artie and I were sitting there in my car one night, parked on a street in Queens, and the announcer said, "Number one, Simon & Garfunkel." And Artie said to me, "That Simon & Garfunkel, they must be having a great time.""
We are back from our summer break & are delighted to announce that 19 year old Jack Draper is our first guest back
A new episode of The Footy Phil is here as Phil re-caps a special win, discusses the cohesion between the MRO and Tribunal and reveals Connor Idun's stellar nickname.0:00: Welcome to the Footy PhilWhat Phil was thinking heading to the gameAn update on puppy parenthoodFun facts about the ‘new-car smell' and methane4:51: From the West of the town“It's all about the sum of the parts”Sticking to taskThe rise and rise of Jack BuckleyBeating the Eagles at their own gameIt started in the midfield again16:12: Around the GroundsThe Dees go downThe Bulldogs assert their dominanceClose resultsBuddy v Nat FyfeThe upcoming Sir Doug Nicholls Round24:37: Phil Me InThe discrepancy between the MRO and tribunalWhen and how do we protect the headHow do we find consistency?36:15: The Final CountdownBest on Ground: Nick Haynes' intercept king mantle and Nick Shipley's optimismConnor Idun's amazing nicknameTip of the week: We're having a break …
Let's be honest here cuz we are all friends - I used to go through a LOT of periods of time where I straight up hated climbing (primarily because I wasn't sending or performing close to what thought my limit was)What's the point of even doing it if you're not enjoying it?There were plenty of times I thought of just finding a different sport or finding something easier but the thought of not having climbing in my life kept me in the gameIt's not realistic (or healthy) to only enjoy climbing when you're sending, it's about loving the processUsing brain rewiring to start loving the processIdentifying the limiting beliefs keeping you from sending harderThis is how the underlying limiting beliefs manifest both in our climbing and in our lifeThe difference between mindset work and brain rewiring - this is HUGE.The biggest components of the brain rewiring rounds combine past, happy memories with future visualizations of what you want your life to look like.Most of these negative brain pathways have the same underlying theme so even if you do have quite a few (most of us do), you can use brain rewiring to tackle the underlying limiting beliefMost commonly → not feeling worthy, not feeling like you deserve good things, fear of not being loved, fear of success, fear of rejection or failureIf you haven't yet listened to episode 3 of the podcast to learn more or head over to my instagram (@ladybeta.coaching) where I'll be going LIVE every Thursday at 1pm MST all about brain rewiring for the next 6 weeks.Tera Kaia discount code: chelsea-ladybeta-20 Use code "PODCAST" at checkout for 15% off your training plan at https://www.ladybetacoaching.com/ Use code "LADYBETA" at checkout for 15% off at physivantage.com
Let’s be honest here cuz we are all friends - I used to go through a LOT of periods of time where I straight up hated climbing (primarily because I wasn’t sending or performing close to what thought my limit was)What’s the point of even doing it if you’re not enjoying it?There were plenty of times I thought of just finding a different sport or finding something easier but the thought of not having climbing in my life kept me in the gameIt’s not realistic (or healthy) to only enjoy climbing when you’re sending, it’s about loving the processUsing brain rewiring to start loving the processIdentifying the limiting beliefs keeping you from sending harderThis is how the underlying limiting beliefs manifest both in our climbing and in our lifeThe difference between mindset work and brain rewiring - this is HUGE.The biggest components of the brain rewiring rounds combine past, happy memories with future visualizations of what you want your life to look like.Most of these negative brain pathways have the same underlying theme so even if you do have quite a few (most of us do), you can use brain rewiring to tackle the underlying limiting beliefMost commonly → not feeling worthy, not feeling like you deserve good things, fear of not being loved, fear of success, fear of rejection or failureIf you haven’t yet listened to episode 3 of the podcast to learn more or head over to my instagram (@ladybet.caohcing) where I’ll be going LIVE every Thursday at 1pm MST all about brain rewiring for the next 6 weeks.Tera Kaia discount code: chelsea-ladybeta-20 Use code "PODCAST" at checkout for 15% off your training plan at https://www.ladybetacoaching.com/ Use code "LADYBETA" at checkout for 15% off at physivantage.com
In Episode 54, “The Game – It’s Completely Changed”, Blenheim Partners’ Gregory Robinson is delighted to speak to Kevin McCann AO, Chairman of Telix Pharmaceuticals Ltd and China Matters, Director of Evans Dixon Ltd and a Trustee of the Sydney Opera House Trust. He is a former Chairman of Macquarie Group Ltd and Macquarie Bank Ltd, Origin Energy Ltd, Healthscope Ltd, Citadel Group Ltd and ING Management Ltd.Kevin has had an impressive career influencing almost every business sector in Australia and along the way, has been prepared to challenge the establishment and champion new thinking. In this thought-provoking episode, Kevin shares his insights on the state of the Boardroom, Australia on the world stage, learnings from the Hayne Royal Commission, immigration and red tape.Kevin touches on the future direction of Australian business, the current economic climate and the challenge for Australia and where he sees Australia’s energy policy. He also discusses the key to business success, what a Chairman looks for in a Chief Executive Officer and his thoughts on diversity.Please note that this was recorded prior to the COVID-19 Pandemic.
.بیست و هشتمین اپیزود از پادکست آمپاژکه در اون سعی میکنیم اتفاقات و صداهایی رو که به چشم و گوش نمیان نمایان کنیم.توی این اپیزود مسئله کلیشه و تاثیرش توی موسیقی رو باز میکنیم و گریزی هم به تفاوت بین رپ و هیپ هاپ قدیم و جدید میزنیم. کلیشههای "غیرت"، "ناموس"، "مرد" و همچنین خشونت عیان و پنهان علیه زنان و نقش "مرد خیرخواه" از جمله مسائلی اند که در این اپیزود سعی کردم با اشاره به آنها موضوع "مردسالاری" در هیپ هاپ را بشکافیم...لیست آهنگ هایی که در اپیزود "فالوس" آمپاژ شنیدید:Ice Cube - Why We Thugs/Ice Cube - Check Yourself/2 Pac - How do you Want It/2 Pac - Dear Mama/Jacquees - B.E.D/Rick Ross feat Nicki Minaj - You the Boss/ Jay Z - Roc Boys/Jay Z - D.O.A/Migos feat Post Malone - Notice Me/Young M. A - OOOUUU/Peter Gabriel - Siedgehammer/Bone Thugs-n-Harmony - Bone, Bone, Bone/Eric B. & Rakim - Know The Ledge/Snoop Doggy and B-Real - Vato/rage Against the Machine - Killing In The Name/Amon Tobin - Ton Mantis/Horizon Tree - In Maa/Dam - If I Could Go Back In Time/Timecop 1983 - On the Run/Shaggy - Bombastic/Dr. Dre - Fuck you/The Game - It's Ok (one blood)/Vicetone & Tony Igy - Astronomia/DMX - F---Y all/Travis Scott - Highest in the Room/KRS-One - Hip Hop Lives/Eminem - Role Model/Mob Deep - Survival of The Fittest/Dayan - Mano Yadet Miyad/Kanye West - Heartless/The Nototious B.I.G - Hypnotize/ Waka Flocka Flame - Round Of Applause feat. Drake/Gang Starr, Total - Discipline
What are you doing in your spare time? We all have time on our hands. Stores and shops are closed, non-essential services are shut down and we are isolated from each other every day. There are a million things you could be doingDo they benefit you What about writing a story with your kidsPerhaps reading a bookTechnology opens so many doorsWe have so much information at our fingertipsWhy are we wasting time streaming movies and tv all-dayThis is not bettering or improving usEven small steps made each day will cause advancementEverything in moderationI could take some of my own advice many days and switch on the tv Taking a break from writing and prepping for the podcastNot working on another aspect of my business that day and playing a gameIt works both ways to watch a movie, enjoy some tv, practice a skill all in moderationA hard truth Now is the time to work on something that you have been putting offBegin to learn the process of starting a podcast Write a blogThere will be nobody to blame but yourself if you come out of this with no self-improvement or advancement in a dreamI didn’t have the time will no longer be a valid excuseNow is the time Grow a new skill. Practice it for an hour a day its really not that much.Study up on some processes that will make you more valuable and productive upon return to work.This will not recover overnight but I assure you just like everything that has come before it will recover.Remember that any improvement that you make in yourself now will pay dividends in some way later on down the line.Leaders stand up and are heardCreate a community with your co-workers to check up on them Your community needs you as your team did when at work. Your neighbors are your employees now serve them.People are amazingNow is an amazing time to grow family bonds and maybe even fall back in love with your spouse or partner.It is amazing what people can create with timeSome friends of mine were supposed to go on vacation recently but all the plans were canceled.They dressed up hung pictures around the house and toured the country and visited the places that they were to go.Perhaps a wine tour of the house. Post pictures and tour the countryside. Maybe a virtual spa day. Hot bath spa music from youtube the possibilities are endless.These little steps engage the imagination and we become creative in what we do. A skill many of us will have lost over the years as we age. Find a way to play.Fill your bucketAs some may know I am a firm believer in if you can dream it you can see it mindsetFocused belief and effort will find a way to manifest your dreamsThat is where the growth of skills come into play. Learning and growing puts energy in the buckets HomeworkShould only take about 10 minutesAnswer these questions and find a way to combine or enhance based on the answersWhat are your hobbies?Where would I like to be stronger when this is all over?How can I combine my hobbies with my desires?What do I need to advance myself?Who would I like to reconnect with?How can working on myself make me better in the future?Finally, why have I not started yet?Some very simple questions but they will help you to find a path towards your future and perhaps a better, healthier, more educated version of you! Try it out and I guarantee this little exercise will help you to grow.
10 Facts About Today - PodcastApril 1, 2020 - 10 Facts About April Fools.Today is April Fool’s day. Here are 10 facts about April Fools that you didn’t know, that you actually needed to know:April Fools.Scottish Celebrate April Fool’s for 2 days. 32 percent of workers say they have either initiated or been on the receiving end of an April Fools' Day prank Apparently Spaghetti Grows on treesIn 1957 the BBC broadcasted a movie where Swiss Farmers had trees filled with spaghettiThe farmers were picking the treesThey next day the BBC was flooded with requests to buy a spaghetti plantThey got so many requests that they needed to make a public statement that it was a hoax/prank Taco Bell claimed it bought the liberty bell and was renaming it thee taco liberty bell. 1996April Fools Day used to be New YearsIt started when we moved over to the Gregorian calendarNew Years was switched from April 1st to January 1stPeople who would celebrate on April 1st still were being foolishIt also has ties to Rome’s Laughing DayRoman Laughing Day is a day where people just joke aroundUsually telling jokes, and less trickingMeant to celebrate the Vernal EquinoxIn some countries April fools day is April Fish DayPeople try to stick a little paper fish on your back without you noticingKind of like a kick me sign Italy, France, Belgium, The Netherlands, and French-speaking areas of Switzerland Also in france people would publish stories in the news papers that would incorporate a fish as a prankIreland “sends the fool further”Its a prank where you give someone a sealed envelop thats very importantYou ask them to deliver it to a very important personThat person opens the envelop puts the letter back, and sends the messenger to give it to someone againThe letter just says “send the fool further”Pokemon GO was started as an April Fools JokeIn 2014 Google Maps and Pokemon released a video stating there would be an AR real world pokemon gameIt got so much hype that Nintendo actually looked for partners to make the gameThey ended up going with Niantic because of IngresPoGo is the 6th highest grossing mobile game at $4.7M a year all from a jokeIn many spanish-speaking countries and the Philippines they celebrate in DecemberIts called “Holy Innocents day”Usually december 27, 28, or 29thThey celebrate this is Syria too, but on January 10thBonus Fact:This may be the first year that New York doesn’t release an April fools day parade press release.
NewsThere is a meet and greet with Spike the dog March 2nd (Atlantic Station Team Store). This is not a drill. Time to still be announced.Pity was named to the Concacaf team of the weekMLS is opening up this weekend, the first game for Atlanta United is against Nashville.For those going to the gameIt is going to be COLD (24, feels like 10) and this is an outdoor stadium so make sure to bundleWe will be there (first away game for Brit and Ben) so hit us up if you are going and know where the party is at before the gameFor those not traveling:Second Self is hosting a rocking watch party at their taproom. They are huge Atlanta United fans and you know this is going to be a rowdy place to watch the game with other fans. The Real Mexican Vittles Food Truck will be there for food and stuff.TerrapinBeer & Bingo – Every Wednesday night starting at 6:30 – Play Bingo, Drink Beer, Win Prizes! We’ll be giving out prizes for every round and there is no cost to play, plus get 20% off of delicious Fox Bros. Smoked Wings.Thursday Trivia – Get the crew together every Thursday for Trivia at the Terrapin Taproom. Free to play with prizes each round and lots of delicious beers from the Terrapin ATL Brew Lab!SweetwaterJoin us for our 7 week outdoor spring cornhole league at SweetWater Brewing Company on Wednesday nights!Season begins on Wednesday, March 18, but you must be registered by Monday, March 9!Injury ReportBello started practicing with the teamMatheus Rossetto is not available for selection for home CCL game and unlikely Nashville because of issues with his P1-Visa.Robinson and Castillo have still not been seen practicing with ATL UTD yetHairwatch!He did it, he changed his hair again. It is still blonde (with that blue streak peaking through) but this one reminds me of the beginning of 2018 Josef. Shaved sides, medium length blonde top.“If I don’t score, another guy may score. Then he plays. So, Martinez goes to the bench. That’s why I’m a striker, no? So, I have to score, no? If you no score, you no play.” - JosefPreview (Nashville)Music City is jumping on most Saturday nights, but it will be especially rocking at Nissan Stadium when Nashville SC play their inaugural MLS match against Atlanta United.One of two expansion sides to debut in 2020, Nashville SC made waves by acquiring 2019 Best XI center back Walker Zimmerman, who joins MLS veterans Dax McCarty and Anibal Godoy in the club's spine. Hany Mukhar will be tasked with being the offensive pulse, while Dom Badji, who has struggled to score consistently, will likely be the squad's No. 9 to start.
Merry Happy Whatever. It's like fuller house without the boobs. The Irishman - Great cast. Three and a half hours. Surprise (spoiler) a bunch of mom guys whack people. Shocking. The Movies That Made Us - So far this is great. I love all the behind the scenes info. Back in the Game - It's easy to see why these people are broke. Hamilton Beach " Smokeless Indoor Grill"
Back in the Game How Nimble’s Jon Ferrara returned to the startup world to revolutionize customer relationships for a second time, all while maintaining a life he loves. Jon Ferrara was frustrated. As a young computer software salesman and son of an entrepreneur, he firmly believed that one of the most vital aspects of business was relationship building. But in the 1980s, managing those relationships was a giant pain. He was stuck fumbling with paper leads, appointment calendars, spreadsheet forecasts, and no great way to keep or share records. He wanted to fix the problem, and thought he might just be able to. Of course, he could have stayed content where he was and raked in a sweet $200,000 a year, while waiting for someone else to solve the problem. But surrounded by aging coworkers who regularly lamented the shots they didn’t take, Ferrara didn’t want to be just another guy with a good idea who didn’t chase his dream. So at 28, he quit his job to see what he could create. Three decades and two successful companies later, Ferrara changed the Customer Relationship Management (CRM) game—and then changed it again! Through his work in founding GoldMine and Nimble, Ferrara strives to boost the R in CRM by improving the way salespeople relate to each other and to their customers, first by integrating email, contacts, and calendar, and then by drawing in social media. “As I went into my career and struggled to sell in the technology arena, I found it hard to scale connections and relationships and pipeline and marketing, and I looked for a tool to do it,” he says. “I couldn’t find it, so I built it. And it turned into a gold mine for me.” The path Ferrara has traveled has not been a straight line. But thanks to a willingness to pivot, seek partnerships with high-profile businesses, and put relationships before profit, he has built businesses, and a life, he is very proud of. Striking Gold With no Windows, Outlook, or Salesforce, the life of a salesperson in the 1980s was an endless wilderness of loose scraps of paper. The salesperson was handed a lead that they would cold call, making notes on the piece of paper and scheduling further meetings in a separate-but-also-paper appointment calendar. If the paper was lost, so were the notes. Forget about other team members sharing information to build well-rounded relationships with a client. And the bigger the company got, so grew the problem. This was the root of Ferrara’s frustration. “What I wanted was a tool that integrated contacts and email and calendar with sales and marketing automation, not just for me, but for the whole team,” he says. No matter how hard he looked, he could only find pieces of the tool he sought. A marketing tool here. A calendar there. A pipeline tool way over there. But nothing that brought it all together. So, he set out to create it himself. Ferrara sketched out the idea for GoldMine, and Elan Susser, a friend from college, made it into a reality. Using the money in their savings accounts, Ferrara and Susser created a CRM that integrated every tool a sales team would need and designed it to be accessible across a network. They had created something revolutionary, and that filled a prevalent need, but they had no money to advertise and no real connections to reach out to. “There we were, two kids in an apartment with $5,000 in the bank with basically Outlook and Salesforce before either existed,” he says. “So, how do you sell that?” They say our struggles become our greatest strengths. And it’s in his past sales struggles that Ferrara found the key to GoldMine’s success. During his two-year stint as a software salesman with Banyan, Ferrara was often beaten to the punch by the local resellers of a competing company, Novell. “The Novell resellers used to kick my butt as the enterprise Banyan sales rep because I had to sell at the top level, the enterprise, all the way down to everybody in the company, and that took months if not years,” he says. “Whereas the Novell guys sold into work groups.” Rather than focusing on the top dogs at well established companies, Ferrara’s competitors got to know the small groups in coffee shops that would one day form successful startups and eventually large corporations. With their bottom-up approach, Novell representatives were becoming the trusted go-to software salespeople of small workgroups, allowing them to spread more quickly and eventually become the corporate standard in a fraction of the time it took for top-level executives to make decisions. So when Ferrara wanted to spread the word about GoldMine, he sought out his former competition. He called top Novell sellers and showed them what a difference GoldMine would make in their own businesses. As they fell in love with the software, the trusted, local reps recommended it to their customers. Ferrara says that this proto-influencer marketing tactic was the secret sauce that allowed them to reach their first $100,000 in sales. But as the business grew, so did the needs of the GoldMine customers. While Ferrara’s company initially targeted solopreneurs and small teams, they were rapidly being asked to cater to the needs of organizations with as many as 5,500 people. They needed a more scalable model. So, when Microsoft approached Ferrara with a deal, he knew it would be mutually beneficial. “They said, ‘Well, we just built NT Server, SQL Server and Exchange Server, and we want an independent software vendor to help us drive adoption because nobody’s going to buy SQL Server without a business application that calls for it and makes it sticky,’” he says. As Microsoft created new servers, the company needed to find a way to sell them to business owners who were reluctant to leave the comfortable. By partnering with up and coming business applications that would run only using their newest servers, they drove sales of both products. Ferrara decided to create a new version of GoldMine that supported the needs of larger corporations by relying on the tools provided by the Microsoft servers. In turn, Microsoft pushed GoldMine to its customers. “We became corporate standard at 50 of the Fortune 500 companies, and that’s what propelled us to $100 million a year in revenue,” Ferrara says. But as he stood on the mountaintop of success and looked down at what he had built, he began to question whether he wanted to keep climbing or if it might be time to take another path. Stepping Back The life of an entrepreneur can be tough. Building a company, particularly a large one, requires high levels of dedication, brainpower, and time. “Ten years of scaling a company to $100 million in revenue took everything I had,” Ferrara says, “and it cost me time and moments with everyone around me.” He started searching for his exit. It was 2000, the stock market was soaring, and Ferrara suspected it wouldn’t last, so when he was offered $125 million in cash to sell GoldMine, he took the deal. Four months later, Ferrara says, the dotcom bubble burst, sending stocks plummeting. But even as he sighed with the relief of a bullet dodged and settled into the stay-at-home husband and father life, another much more insidious threat was already growing. One year after Ferrara sold GoldMine, doctors found a tumor in his brain. “Life is going to hand you blessings, and it’s also going to smack you, and you can’t control that,” he says. “The only thing you can control is how you react to it.” Ferrara chose to react in the way he knew best: through research and relationships. He visited a variety of doctors while also learning about Eastern medicine, and through a combination of these treatments, he says he healed his body while also taking a deeper look at his soul. “I came to a simple conclusion about my purpose in life,” he says. “I think we are on this planet to grow our souls by helping other people grow theirs. Rinse and repeat. That’s it.” Even though he had only planned to be away from the business world for a short period, his brush with mortality caused him to reevaluate where he invested his limited time. “They don’t write on your grave, ‘kickass entrepreneur,’” Ferrara says with a laugh. “They say, 'beloved father, friend, husband.' So I decided to dedicate time to being a present father, husband, and contributor to my community…and to be able to do that at 40 years old was priceless. It was precious.” So for nearly a decade, Ferrara was almost entirely absent from the world of technology. Then in 2009, as his 50th birthday approached, the rise of a new technological power caught his attention: social media. Still with an eye for relationship building, Ferrara recognized that social media was about to reshape the way people related to one another and also how consumers related to businesses. He also knew that the current CRM options weren’t built to integrate with social media. With contacts spread across CRM software, company software, and every kind of social media platform imaginable, salespeople were once again as overwhelmed trying to manage contacts as they were in the days of pen and paper. “So I said to myself, ‘Imagine if you could build a CRM that worked for you by building itself from the disparate data you already have in your business—the email, contacts, and calendars that you have in GSuite, Twitter, Facebook and LinkedIn,’ and I built it,” he says. In 2010, Ferrara built an exploratory team. In 2011, he launched a beta test. In 2013, the paywall went up, and so Ferrara returned to the entrepreneurial world with the creation of the social CRM, Nimble. Back in the Game It was like déjà vu. Once again, Ferrara felt he had a valuable piece of software, and once again, he had no easy avenue to market it. “I’d been out of technology for 10 years,” he says. “Most people in technology have only been in technology for 10 years, let alone out of it.” No one remembered who he was, or even what GoldMine had done. But while he may have lost name recognition and connections during his absence, there is one thing that had only continued to flourish in his time away: his ability to build relationships. So, Ferrara dove into social media, sharing and commenting on the posts of thought leaders in the entrepreneurial space. “Rather than me having to go out and write my own content, I shared content that resonated with me in and around the value that my product provided, which generated eyeballs to my brand,” he says. Over time, this led to moments of interaction with the influencers whose content he shared. But he avoided diving right into a pitch for Nimble. Instead, he would hop on a call with them and ask them questions based on research about their lives and businesses. “If you let somebody talk, you’ll learn what you need to learn to add value, and they’ll love you because people love to be heard,” he says. As the connections grew, he would offer them meaningful introductions or even business ideas. Only when he was asked would he share his current venture, Nimble. And as he shared, some of those he spoke with decided to give it a try. Then those happy customers shared their experiences with their followings. And while this approach to marketing took time, Ferrara believes you can’t put a price on authenticity. “Real, solid relationships are one to one,” he says. “They’re heart to heart. They’re relevant and authentic. And when you blast, people feel it.” His patient methodology led to over 100,000 Nimble subscribers and such high-profile investors as Mark Cuban and Google Ventures, all without a single cent spent on marketing. And, after partnering with Microsoft once again, Ferrara sees explosive growth in Nimble’s future. With the rise of cloud computing, he has his eye on which businesses are finding the most success in that arena. And Ferrara points out that, according to the numbers, it’s undoubtedly Microsoft. He says that while G Suite has about 7 million users, Office 365 has 175 million. “Essentially it’s really game over in the cloud productivity wars, and Microsoft dominates and will grow from here. “Most businesses that use Microsoft products rely on their local reseller to facilitate their adoption and implementation. Microsoft has hundreds of thousands of them around the world, and nobody has that.” With Nimble’s status as the simple CRM for Office 365, Ferrara says they’ve signed up 30 of the 50 top Microsoft distributors and over 1,000 Microsoft resellers in just the last six months. And it’s only onward and upward from there. But even though lightning has struck not once but twice in Ferrara’s journey as a tech entrepreneur, he feels that his greatest achievements are those he has made as a husband, father, and member of his community. “Life isn’t about money,” he says. “It’s really more about the moments that create the memories. All you leave are the moments you’ve been truly present with the universe around you—with other human beings—and the ripples that you leave behind.” Interview by Nathan Chan, feature article reprinted from Foundr Magazine, by Erica Comitalo Key Takeaways Why Ferrara believes in valuing relationships over everything else How Ferrara pioneered the world of CRM with his first company GoldMine Why you should avoid the “shoulda, coulda, woulda” mindset The 10-year journey to scaling GoldMine and selling it for $125 million in cash How a serious illness shifted Ferrara’s perspective and led to his current life’s mission The transition from 10 years out of the tech game to building leading social CRM platform Nimble How Ferrara rebuilt his personal brand and Nimble’s brand His best advice when it comes to building strategic, high-level partnerships Why Ferrara recommends focusing on moments, not money
-선곡표- 1. Pharoahe Monch feat Talib Kweli - D.R.E.A.M. 2. Wu-Tang Clan - Wu-Tang Reunion 3. Method Man feat Mary J. Blige - All I Need (Puff Daddy Mix) 4. Eazy E - Neighborhood Sniper 5. The Game - It's Okay (One Blood) 6. Honne - Warm On A Cold Night (Embody Remix) 7. Baby Bash feat Marty Jay - So Fine 8. J Rock - Neighborhood Drug Dealer 9. Walkmen - The Countdown Theory 10. 2ruff - And It's On
今回はビデオゲームに関するお話。しかし、ゲームを「遊ぶ」話ではなく「作る」話です。 現在はゲームセンターやパソコン、専用のゲーム機に加えて、携帯電話やタブレットでも手軽にゲームが楽しめる時代です。こうしたゲームの制作は、プログラマーをはじめとする多くの人手を必要としますが、簡単なオンラインゲームであれば自分で作ることもできるようです。そういうわけで会話の男性もゲームを自作する気になっているようですが、果たしてどのぐらい本気なのでしょうか。 今回の会話ではコンピュータ関連の用語もいくつか登場しますので、そちらの方も注目してみましょう。 今回お借りした素材 写真：Wikipedia Download MP3 （20:12 11.7MB 初級～中級）How Do You Make a Game? *** It's a Good Expression *** （今回の重要表現） to presume = 想像する、思う ※guessやsupposeと同じく、自分の考えを表明するのに使われるが、以下のような意味の違いがある。 guess：よくわからないので間違いかもしれない推測 suppose：自分の知識から判断しておそらく正しいと思われること presume：確証はないが正しいと考えること ちなみにpresumeを使った最も有名なフレーズは、19世紀後半、新聞記者H.M.Stanleyが消息不明の探検家David Livingstoneをタンザニアで劇的に発見した時の言葉"Dr. Livingstone , I presume?"（リヴィングストン博士でいらっしゃいますね？）。 plot = 物語の筋 interactivity = 双方向性 Whoa-whoa = Stop, stop. ※カウボーイが馬に言う「どうどう」から来た表現 no appreciation for〜 = 〜に対する理解がない to compile = 〜を集める、（コンピュータ言語を）コンパイルする to makes use of 〜 = 〜を利用する the noble art of 〜 = 〜のすばらしいわざ Sploder, Stencyl = オンラインゲームを作成できるサイトの名前 components = 構成要素 a construction set = 組み立てセット to come with a price (of 〜) = （〜という）代償を伴う (a) bummer = （俗語）残念なこと；「参ったなあ」 warcraft = 軍用機 an exception to the rule = 規則に対する例外 a plumber = 配管工（発音注意） ..., ..., you name it! ...とか...とか、何でも a couch potato = なまけもの tacky = 安っぽい、悪趣味な intellectual property = 知的財産 Ciao! = Hello! / Good-bye! ※イタリア語の挨拶 *** Script *** (Slow speed) 02:55-05:35 (Natural speed) 16:25-18:35 How Do You Make a Game? M: Hey, Nobuko, how do you make a game? W: You mean a video game, I presume? Um, that's rather difficult. As difficult as creating a movie, maybe even more! Games contain images, sounds, plot, special effects. They also have interactivity. As well as goals, challenges, rewards… M: Whoa-whoa, cut the lecture. Can't you explain simpler? And a little closer to the actual thing? W: I see: no appreciation for the theoretical part? OK, well, basically a game is a compiled computer code together with images, sounds, and other resources it makes use of. M: Uh-huh, so I have to know how to write code? W: I see. No appreciation for the noble art of a software engineer! You don't have to know how to program. There are many game-creating software tools, such as Sploder and Stencyl. Such software already contains all the necessary game components - you only need to put it together in the way you want, like in a construction set. Of course, simplicity comes with a price of fewer possibilities. M: Oh, bummer. World of Warcraft and such are out of the question? W: Most definitely! In general, you won't be able to create anything complex or truly original unless you learn how to code. There are some exceptions to this rule, of course… Wait, actually I don't know any. M: It matters not! I will make my own game, which will be just like Super Mario, but with a cat instead of a plumber. It'll be a huge success. And being a famous game developer, I'll get money, fame, free lunches... you name it! W: I see. A couch potato with tacky dreams, and little respect for other people's intellectual property? Well, good luck! You'll need it. Ciao! M: I wonder why she would get so angry and call me names? It matters not! My fortune is just around the corner. Hey, wait! Isn't it time for my favourite TV drama? I guess I can leave game development for later! (Written by Dmitry Mamchur)
今回はビデオゲームに関するお話。しかし、ゲームを「遊ぶ」話ではなく「作る」話です。 現在はゲームセンターやパソコン、専用のゲーム機に加えて、携帯電話やタブレットでも手軽にゲームが楽しめる時代です。こうしたゲームの制作は、プログラマーをはじめとする多くの人手を必要としますが、簡単なオンラインゲームであれば自分で作ることもできるようです。そういうわけで会話の男性もゲームを自作する気になっているようですが、果たしてどのぐらい本気なのでしょうか。 今回の会話ではコンピュータ関連の用語もいくつか登場しますので、そちらの方も注目してみましょう。 今回お借りした素材 写真：Wikipedia Download MP3 （20:12 11.7MB 初級～中級）How Do You Make a Game? *** It's a Good Expression *** （今回の重要表現） to presume = 想像する、思う ※guessやsupposeと同じく、自分の考えを表明するのに使われるが、以下のような意味の違いがある。 guess：よくわからないので間違いかもしれない推測 suppose：自分の知識から判断しておそらく正しいと思われること presume：確証はないが正しいと考えること ちなみにpresumeを使った最も有名なフレーズは、19世紀後半、新聞記者H.M.Stanleyが消息不明の探検家David Livingstoneをタンザニアで劇的に発見した時の言葉"Dr. Livingstone , I presume?"（リヴィングストン博士でいらっしゃいますね？）。 plot = 物語の筋 interactivity = 双方向性 Whoa-whoa = Stop, stop. ※カウボーイが馬に言う「どうどう」から来た表現 no appreciation for〜 = 〜に対する理解がない to compile = 〜を集める、（コンピュータ言語を）コンパイルする to makes use of 〜 = 〜を利用する the noble art of 〜 = 〜のすばらしいわざ Sploder, Stencyl = オンラインゲームを作成できるサイトの名前 components = 構成要素 a construction set = 組み立てセット to come with a price (of 〜) = （〜という）代償を伴う (a) bummer = （俗語）残念なこと；「参ったなあ」 warcraft = 軍用機 an exception to the rule = 規則に対する例外 a plumber = 配管工（発音注意） ..., ..., you name it! ...とか...とか、何でも a couch potato = なまけもの tacky = 安っぽい、悪趣味な intellectual property = 知的財産 Ciao! = Hello! / Good-bye! ※イタリア語の挨拶 *** Script *** (Slow speed) 02:55-05:35 (Natural speed) 16:25-18:35 How Do You Make a Game? M: Hey, Nobuko, how do you make a game? W: You mean a video game, I presume? Um, that's rather difficult. As difficult as creating a movie, maybe even more! Games contain images, sounds, plot, special effects. They also have interactivity. As well as goals, challenges, rewards… M: Whoa-whoa, cut the lecture. Can't you explain simpler? And a little closer to the actual thing? W: I see: no appreciation for the theoretical part? OK, well, basically a game is a compiled computer code together with images, sounds, and other resources it makes use of. M: Uh-huh, so I have to know how to write code? W: I see. No appreciation for the noble art of a software engineer! You don't have to know how to program. There are many game-creating software tools, such as Sploder and Stencyl. Such software already contains all the necessary game components - you only need to put it together in the way you want, like in a construction set. Of course, simplicity comes with a price of fewer possibilities. M: Oh, bummer. World of Warcraft and such are out of the question? W: Most definitely! In general, you won't be able to create anything complex or truly original unless you learn how to code. There are some exceptions to this rule, of course… Wait, actually I don't know any. M: It matters not! I will make my own game, which will be just like Super Mario, but with a cat instead of a plumber. It'll be a huge success. And being a famous game developer, I'll get money, fame, free lunches... you name it! W: I see. A couch potato with tacky dreams, and little respect for other people's intellectual property? Well, good luck! You'll need it. Ciao! M: I wonder why she would get so angry and call me names? It matters not! My fortune is just around the corner. Hey, wait! Isn't it time for my favourite TV drama? I guess I can leave game development for later! (Written by Dmitry Mamchur)
Sumario En la primera hora os traemos la tertulia de noticias destacadas, los watafaks y los lanzamientos y recomendaciones de la última semana de noviembre y el entrado diciembre. En la segunda hora charlaremos con ToniMC que ha sido el valiente en Gameit que se ha hecho con una WiiU y nos dará sus primeras impresiones ya con ella sentadito en su sofá probando alguno de sus títulos. En el Análisis … hablamos de Wii U. Y para finalizar La Voz del Gamer y la Encuesta habituales. www.Gameit.es @Gameit_ES
De primero traemos las noticias destacadas de la semana con sus watafaks. En lanzamientos comentamos: Doom 3 Beef Fucking Gun Edition. En recomendaciones comentamos el mega post de Jonhatan para Gameit.es el que detalla los mejores juegos que llegaron para PSP siendo sometidos a votación por la redacción y por vosotros los lectores y oyentes del podcast. En la sección Indie Victor nos hablará de DARKOUT. En el análisis vaciamos: Tales of Graces para PS3 y Happy Wars para Xbox Live. Y para terminar os traemos La voz del gamer y la encuesta donde comentamos los mejores tweets de la semana pasada y os formulamos una si cabe mas peliaguda, si vives en pareja o tienes novia o novio.
En esta fase beta del nuevo podcast de GameIT contamos con la compañía del estudio indie Alchemy Games al cu al entrevistamos en uno de los apartados del programa charlando sobre su último éxito. ??Sumario ??- Noticias destacadas de la semana. ?- Sección Indie: Entrevista a Alchemy Games. Nos hablarán de su último éxito "A Wonderland Story". ?- Momentos WTF ?- Análisis: Wow Mist of Pandaria, Worms Evolution. ?- La voz del gamer: Troleadas en Twitter. ?- Conclusiones.
Jim McLean shares the secret to a better swing and a better gameIt's what every great golfer knows and every struggling player wants to know: how to find "the slot," the perfect channel through which the shaft and club head can meet the ball on the downswing for a more powerful, accurate, and consistent swing.Great ball-strikers like Ben Hogan, Sam Snead, and Jack Nicklaus were slot swingers. Today, Tiger Woods, Sergio Garcia and Jim Furyk provide dramatic examples. Now leading golf instructor Jim McLean shows you how to find the slot to take your game to the next level. With step-by-step instructions and more than eighty illustrations by leading golf illustrator Phil Franke, The Slot Swing makes it easy.There are 3 basic swing shapes and many backswing planes, but there is justone "slot" for the downswing. It's that perfect channel through which theshaft and club head can meet the ball on the downswing for a more powerful,accurate, and consistent swing. It's what every great golfer knows and everystruggling player wants to know: how to find "the slot."The Slot Swing:- Shows you how to find the perfect channel for a more powerful andconsistent swing.- Shares McLean's secrets from more than 35 years as a top instructor to thegreatest pros- Features stunning art by Phil Franke which shows the swings of TigerWoods, Sergio Garcia, Bruce Lietzke, and Jim Furyk and how they all end upin "the slot."This book will help you out of the golf rut, get locked into your "slot",and find the sweet spot in your game!The book features stunning two-color art by Phil Franke and a full-color foldout showing how the dramatically different swings of Tiger Woods, Sergio Garcia, Bruce Lietzke and Jim Furyk all end up in the slot. Written by the author of the classic book The 8-Step Swing, named one of the 20th Century's top 15 golf instructionals by Sports Illustrated,this book helps you get out of a golfing rut, get locked in to your slot, and find the sweet spot in your game.Biography- Top 10 Rated instructorJim McLean is the 1994 PGA National Teacher of the Year, owner of the Jim McLean Golf Schools which include: Doral Golf Resort & Spa in Miami, Florida, PGA WEST in La Quinta, California, La Quinta Resort in La Quinta, California, and Grand Traverse Resort in Traverse City, Michigan.Jim McLean has worked in the golf world for more than thirty years, twenty at his Jim McLean Golf School in Doral, Florida, with top touring professionals and recreational golfers. Beginning in 1977, he and his research partner, Carl Welty, pioneered the use of video in analyzing the swings of both professional and amateur golfers.www.jimmclean.comEric returns unannounced with his Top 5 after a 6-month or so layoff...it get's interesting.GolfRingliterally creates a ring around the hole to give you a larger, more realistic target. The GolfRing is made of a revolutionary material that is very durable and is so flexible that it follows the terrain of the green and in no way impedes the ball in its path towards the hole. When placed on the green it creates a target that enhances visualization towards the pin by defining the area around the hole. The GolfRing weighs less than 8 ounces, is extremely portable and is 6 feet in diameter when in use. When not in use, it easily folds down to an 18” small ring and conveniently fits inside the large pocket of your golf bag or it can hang on the outside of your golf bag.The GolfRing was developed by an attentive dad for his 5-year-old son who asked one day, "Dad show me what three feet from the pin looks like." His dad searched for a practice aid to accomplish this with no luck. Drawing upon his manufacturing resources enabled him to develop the perfect visual practice aid. The GolfRing improved the boy’s short game by providing him a visual target around the hole. That little boy is now a two-time U.S Kids Southern Ohio champion and competed the past two years in the U.S. Kids World Championship. Although The GolfRing was created by one dad for one son, a friend with two golfing sons saw something bigger. They went on to start a company they envisioned could help every golfer of every level improve their short game and even making it fun. In the mean time two of the three boys went on to qualify for the U.S. Kids Regional Championship in 2007 and U.S. Kids Europe. That's when the two dads knew they were on to something big and they were off and running with the best practice aid to hit the game in a long time. The GolfRing is being used by some of the biggest names in golf every time they practice.www.thegolfring.comAvila Beach Golf Resort - www.avilabeachresort.com Blacklake Golf Resort - www.blacklake.comInn at Avila Beach - www.avilabeachca.comAvila LaFonda Hotel - www.avilalafondahotel.comGolfland Warehouse - www.golflandwarehouse.comSlickstix - www.slickstix.comFor more information on Golf Talk Radio with Mike & Billy visit www.golftalkradio.com and visit www.centralcoasttoday.com for Golf Talk TV with Mike & Billy.
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