Podcasts about Garfunkel

This week in the Screening Room, Zeth is breaking down Terry Gilliam’s 1991 film The Fisher King, starring Robin Williams, Jeff Bridges, Mercedes Ruehl, and Amanda Plummer. Plus we make a mixtape inspired by the film with songs by Simon & Garfunkel, The Smiths, Queens of the Stone Age, and more. Become an All Access member and get ad-free listening by visiting disgracelandpod.com.See omnystudio.com/listener for privacy information.

This is the Motion Church Podcast. Thanks for joining us. If you'd like more information about Motion Church, you can always visit our website at motionchurch.com. If you'd like to contribute to what God is doing here at Motion, you can do that at motionchurch.com/give. We hope you enjoyed today's message. Hey, so we're kicking off a new... There we go. Kicking off a new series today called Rock and Soul. Rock and Soul. Did you know that that's an actual genre of music? There are people that have kind of tried to... There was an album. I forget who it was. It's like in the 70s or 80s, like Simon and Garfunkel or something, you know? Anybody feel me on that? And then they came out with an album and it was called Rock and Soul. Not what we're talking about at all. We're talking about... We're gonna shift gears a little bit from kind of the format of our last series. We were very localized in terms of, you know, timeline. We're just looking at some of the stories from the life and ministry of Jesus and stories that demonstrated incredible faith and really enjoyed working. One of my favorite things to do is just kind of taking a passage of Scripture and just working through it, right? Kind of what does it say? What does it mean? How does it apply to us? What are some details that we're inclined to miss? Because we read... Sometimes I do this. Sometimes I just read it to read it and I miss some stuff, right? So I love working through a passage of Scripture like we did each week in that series. This series, we're gonna be all over the place. We are gonna be in Matthew today. We'll probably be in the book of Psalms next week and maybe the book of Exodus the next week. So we're gonna be all over the place. And the point is what we're gonna be doing is looking at in Scripture some of the references to rocks and the imagery and the symbolism and kind of the analogies that rocks have in terms of a spiritual connection to what it is that we're trying to accomplish as followers of Jesus. Makes sense? How many of you like rocks? Rocks are fun. Now, all the dudes, I promise you if we walked outside and there was a pile of rocks, we would pick it up and we would have a target competition, right? We're gonna hit... First one to hit the light pole wins. And for 30 minutes, because all of our arms are trashed these days, right? And then tomorrow we'd wake up and be like, "I don't know what's wrong with..." So we're gonna look at one of the many, some of the many, a few of the many references and illustrations pertaining to rocks in Scripture. Here's what I believe. I believe that anything that is repeated in Scripture is important. If there's a pattern that is repeated, it's for a reason. You're a parent. You know you repeat things that are important because they didn't hear it the first time or the third time or the 300th time. So you just continue to repeat things that are important. I think if there are principles that are repeated, it's there for a reason. It's important. If there is symbolism that is repeated, it also is important. There's got to be something to it, right? And I think that is very true as it relates to rocks. Did you know this... So it's funny when I was writing out my notes, I wrote offhand... This is verbatim what I said. I said, "Offhand, I would venture to say that there are over a hundred references to rocks in Scripture." So then I was like, "Well, I better fact check myself because somebody will do it if I don't." Right? I know y'all. And is somebody gonna call me out because you were wrong past... So I Googled it. And it said that there are roughly between 99 and 136 references to rocks in Scripture, depending on which translation you use. And you know, maybe this is a looser analogy or whatever the case was. So about 100, okay? About 100. And we're only gonna look at a few. You can thank me later. For the next two years, we're gonna be doing a series called Rock and Soul. Got a hundred messages lined out. We're good to go. So we're gonna kick off this week. We're gonna look at an analogy that Jesus uses that highlights the importance of rocks. Here we go. Title for today's message is a firm foundation. A firm foundation. Y'all know this. This is gonna be fun. Sometimes, I think the expectation sometimes when we go to church is like we're expecting to hear something we've never heard before. And I'll be very honest with you. Sometimes we just need to hear what we've already heard and do what we've already... Right? This is for me, right? It's not that I need to learn something new. I need to do better doing what I already know. That's what needs to happen sometimes. So the title is a firm foundation. The first point is, we're gonna call this one construction 101. Construction 101. I know a lot of you guys, guys and girls are kind of in construction industries or construction adjacent injuries. You understand injuries. It's football season. I already think about injuries, right? The construction industry connected like you understand. And if you have it, you've seen houses being built. You understand kind of some of the basic components of construction. We all probably understand how important a good foundation is to whatever it is that you're building. And that's the point that Jesus makes in Matthew chapter 7 verses 24 through 27. It says this. So just before we dive into it, it's the two paths, right? It's the two ways that you can choose to live your life. I think we think sometimes that there's a lot of different paths. And the reality is it's like, yeah, those paths may look different, but it's still the same path, right? You can take this road or you can take this road. One ends well, one not so well. Therefore, if it says therefore, preacher joke, you got to see what it's there for. Therefore, whoever hears these sayings of mine, this is Jesus talking, whoever hears these sayings of mine and does them, I will liken him to a wise man who built his house on the rock and the rain descended. The floods came and the winds blew and beat on that house and it did not fall for it was founded on the rock. Founded on the rock is another way of saying what the rock was its foundation. So it was founded on the rock. But everyone who hears these sayings of mine and does not do them will be like a foolish man who built his house on the sand and the rain descended. The floods came and the winds blew and beat on that house and it fell and great was its fall. So here's what we're going to do. We're going to break down both of those paths, right? But what does it look like when you build your house on the rock? What does it look like when you build your house on the sand? What are kind of some of the things that go into that? And ultimately, what is the outcome of that? And really, I hope through contrast, we can see which is the better path for us as if you don't know this. But sometimes again, just important to be reminded of things that we know. So we're going to break it down. You ready? Break it down. I thought you were going to start dancing. Break it down. Break it down. This is the first thing that Jesus said. Therefore, whoever hears these sayings of mine, whoever hears these sayings of mine, that's where for us, for those of us who aspire to be wise people who build their house on the rock, it starts with hearing these words of mine. Now, specifically in context, what is Jesus talking about? The words that he just said, right? So Matthew chapter five, Matthew chapter six, Matthew chapter seven, it's a sermon on the Mount. And in terms of a sermon, best sermon ever preached, ever hands down, bar none, nothing even close, right? Just maybe the modern way to say it would be bars, right? Just so good. Matthew chapter five starts with the beatitudes, blessed are the poor in spirit, blessed are the me, blessed are the peacemakers, blessed are those who hunger and thirst for righteousness. And then I'll be honest with you, like the back half of Matthew chapter five is tough. It's tough because he's like, Hey, I know this is what you've been taught, but I actually expect more of you. Like I know this is what you think about adultery, but I'm also going to teach you about lust. I know this is what you think about murder, but this is what I'm going to tell you about anger, right? Not that any of us struggle with those sorts of things, right? Not an angry person at all. Okay. Right. And so he gets into some stuff and he's like, Oh, those enemies that you've got, I'm going to teach you how to forgive them. That, that, that thing that people asked you how to do, I'm going to teach you how to go another mile. I'm like, why did you have to put all that stuff in there? Jesus, right? So it's such good, but challenging stuff, which is kind of the point. And we'll go over this a little bit more in detail at the end. The point for us, those of us who are aspiring to build our house on the rock, y'all, we don't get to pick and choose which sayings of Jesus apply to us or which ones we, we want to fit into our lives. The point is not for us to fit the teachings of Jesus into our lives. It's to fit our lives into the teachings of Jesus. Okay. And I look at, and not easy. Nobody ever said that it was, but worthwhile. It's building your house on a rock and it's something that will last. So he's specifically talking about the words that he just said, Matthew chapter six. This is how you give. This is how you pray. This is how you fast. Also stop worrying about everything. Look at the birds of the air. I take care of them. Look at the flowers of the field. I take care of them. What can you add to your life by worrying about all the things that you be out here worrying about? Right? It's good stuff. And in Matthew chapter seven, he's like, uh, you know, the, the ask, seek, knock, and then also our, our favorite, the judge, not list, you be judged, right? And then the two different paths, Matthew chapter Matthew seven, 13 and 14. He's like, Hey, there's a Broadway and there's a narrow way. And it's like your mama said, if everybody else was jumping off the bridge, would you jump off the bridge also? Right. And then he finishes with, you know, if you hear my words and you do them, you'll be like a wise man who built his house on the rock. However, I think it's safe to expand this to the other teachings, the life of Jesus, the example of Jesus. So anything that Jesus said, anything that Jesus did, I think it is safe for us to assume that when we hear that, when we see that we should do that. Okay. Very good. All right. So that's the simplest takeaway is, is the idea for us, I think bottom line, we need to be hearing the words of Jesus. Like whoever hears these words of mine, we need to hear the words of Jesus. You know why that's so important? Because we hear everything else. We hear everything else. Like just all the chatter and all the talk and all the, the criticism and all the negativity. We hear everything else. We hear the news. We, we, we read the articles, right? We hear the reels. We see the shorts. We hear the opinions. We hear the criticisms and what you better have, what you have to have, if you want to make it, if you want to build your house on something that's going to last is you better build your house on the rock. You need to hear the words of Jesus to give you framework, to understand everything else that you're hearing. I'm hearing it, but is it true? And if I hear the words of Jesus, I know what truth is. So I know that that's not truth. So that doesn't get internalized into my life. If I hear the words of Jesus and I know what's good and right and, and just in those sorts of things, then all of the other things that I hear, they don't have the same effect on me. It just gives us a framework. We need to be hearing the words of Jesus. That means we get into his word. We read the scriptures like personally, like it's not, listen, and y'all know this, but it's not the church's job to feed you. Y'all, if you're eating one time a week, like you're in trouble, you are not getting the proper nutrition. You should be eating all the time. Just eat, eat, right? Sorry, another football reference. Just like we got to be, we have to be, we have to be hearing the words of Jesus on our own. Listen to sermons. Like you're not going to hurt my feelings. I know there are better preachers out there. I listen to them too, right? Listen to people who are preaching the word of God, hear the words of Jesus, be in, come to church. Like we're going to talk about it here too. And that's amazing, but that's once a week and we need to be hearing it more than just that. Get into some small groups where it's being talked about. Have some friendships where you can, you can like break it down. And man, this is what I think it means. And what do you think it means? I have no idea. Tell me what you're thinking, how you feel, and hear the words of Jesus. We just need to hear the words of Jesus. Have you ever known someone so well that you knew what, this happens to me a lot. Everybody thinks they know what I would do. And usually they're right. I'm kind of predictable, right? So there are so many times in my life, somebody's like, yeah, I know what you would have done. So I went ahead and did it. I'm like, all right, you got me. That's right. And so what's the point of that? It's like, you know someone so well that you know what they would do even if they're not there. Why? Because you've heard their heart. You've heard, if you hear the words of Jesus, you hear his heart and you know what you're supposed to do. So the person who hears these words of mine, and then the next part of that, and this is the challenging part of that, and does them, and does them. And I know you know this, but it is not enough to hear the words of Jesus. We need to do something with the words of Jesus. We got to, listen, it's got to get deep down. It's got to penetrate deep enough into your heart that it actually affects the way that you live your life. The point is never, ever just information. The point is transformation. Like information in and of itself is fine, but it's never enough. The point is to have the information that goes in and does a work on your soul that causes you to live differently. This is how it says it in the book of James, James chapter one, verses 22 through 25. One of my favorite passages of scripture, and I say that all the time, and I mean it. I got a bunch of, like some of y'all got a bunch of best friends, which is impossible because best means best. It's my favorite passage of scripture. Here we go. It says, "But be doers of the word and not hearers only." Deceiving yourselves. Isn't that kind of interesting? Because like I think what we do sometimes is we talk ourselves into not doing it because we know it, and that's kind of good enough, right? So we deceive ourselves because we're hearers and not doers also. And then it says, "For if anyone is," this is so good, listen to this, "For if anyone is a hearer of the word and not a doer, he is like a man observing his natural face in a mirror," checking yourself out, looking at all the angles. I know you snuck in that duck face selfie. I know you did. "Is like a man observing his natural face in a mirror, for he observes himself, goes away, and immediately forgets what kind of man he was. But he who looks into the perfect law of liberty and continues in it and is not a forgetful hearer but a doer of the word, this one will be blessed in what he does." You know what I think that means? Again, when we hear the words of Jesus, we understand the heart of Jesus. When you hear the words of Jesus and you do them, you know who he is. Therefore, you know who you are. You can look in the mirror and you know who you are. And when you leave the mirror, you still know who you are because you've heard the words of Jesus and you've allowed them to get deep enough into your heart that you understand your identity. You're not going to leave and forget who you are just based on who you're with because that never happens. Like, what is it? A code switch? Is that what they call it when you get around different people and you act different? Thank you, trendy. Youth pastor, right? It keeps me in touch. It's not enough. It's not enough to be a theologian. And I think that's amazing that there are people who devote so much of their time and, you know, effort and stuff to learning more about scripture and learning about God. But listen, if you're a theologian and not a practitioner, you are wasting your time. Like, if you got all the knowledge in the world and there isn't any application of that knowledge, you are missing the point. You're missing the boat. You're wasting your time. And trust me when I say this is like, this is not an attack on knowledge. Knowledge, I think, is incredibly important. We should always be aspiring to attain a better understanding of the things of God, but never just for the sake of knowing, but for doing, right? I know it so that I know how to do it. Not just so I know it so that I know it because y'all got a lot of, there's plenty of those. You met the know-it-alls that never do anything. I'm like, that's amazing. You got all this information in your head. How about you get out there and do something with your hands? That was good preaching. Sorry. You know what the difference in my opinion is between knowledge and wisdom? Again, knowledge is incredible. Knowledge is kind of, it's the doorway. It's the step in the right direction, but knowledge is simply information. It's having the information in your head. Wisdom is when you take that information and you apply it to your life. You're a hearer and a doer also. So that's the second part, right? So he hears the words of Jesus and he does them. And then Jesus said, this is like a wise man who built his house, which means, which is to say that then we get about the business of building our house built, which is kind of another way, a clever way of saying, an illustrative way of saying, go build your life on the principles of Jesus, the teachings of Jesus, the ways of Jesus. Then go and build your life. Like we are called to be doers, not just in the sense that we're doing God's word, but doers in the sense that we are building something that matters and something that lasts. Our lives are significant. We're not just, you're not just floating through time. Like you're here for a reason. You have a purpose. Like God has called you to do something with your life. So get about building that house, right? I think someone who follows the teachings of Jesus, you feel deep in your soul that you're supposed to do something significant with your life. We use language like this, like something bigger than myself. You feel this sense of urgency to build something and be a part of something that is bigger than yourself. It's something that you can pass on to the generations to come. It's never just about you because you're building something that matters. We're called to be builders and makers, not just grifters and takers. That was a good line. You can say amen or owe me, right? We're called to be builders. We're called to be people who make things, like who creates. God is a creative God and we're made in his image. Therefore we should create. So we're called to be builders and makers, not just grifters and takers. The world and the church for that matter. We've got too many of those. We've got so many people that are always about what can you do for me? What can I get out of this? It's always this consumption thing. It's always, and you live your whole life like that and it even bleeds over into your spiritual pursuits where it's always about consumption. Here's a thought. What have you given? What have you built? What have you contributed? Make sure it's not that we don't consume. It's just also we do contribute as well. So let's get about the building part of this. We hear God's word. We do God's word and we build our lives on the rock. And when you build your life on the rock, it is good for your soul. Rock and soul. Okay, good. Now on the other hand, this I thought about calling this point shoddy craftsmanship. On the other hand, this is the person who Jesus said built his house on the sand. And I thought I was kind of working like why did Jesus choose to use sand as kind of the reference point, the imagery of the foundation of someone who is unwise, a foolish person. And we'll get there. I think there's obviously significance to that, but I think there are some other things that we should point out first. The first thing is it's interesting how the story is set up exactly the same. So he says the wise man, hears the words, does them, then he builds his house on the rock. The foolish man hears the words, doesn't do them. So it's kind of the same order. It's just a different outcome because of what he chose to do with the information that he had. So he hears them. He doesn't do them. And he builds his house on the sand. And you know what I think this, this is just maybe this is my opinion. Maybe I'm reading too much into this. You notice how Jesus directs. It seems to be a directed message at a specific audience. And I think the tendency is to think that this is a message for them. Y'all ever do that and be like, man, that's a good word preacher for my neighbor, right? My wife needed to hear that. My husband show needed to hear that, right? My kids, God bless them, they show needed to hear that. And I think this is a message because we hear that and we're like, oh yeah, yeah, they're not doing the words of Jesus. This is obviously, obviously for all those, those sinners and those pagans and those outsiders. But what does he say? He's like those who hear my words and don't do them. I think this is a message just as much for the insiders as it is for the outsiders. I think it's easy. This is the easy thing to do. It's so easy for us to look at the world and all of the craziness and all of the evil and cast dispersions and be like, oh yeah, the world. And that's fair. Like we're allowed to call things for what they are. We're beholden to truth and light so we can call evil what it is. But this specific analogy is for those who hear the words of Jesus and don't do them. And listen, that very well could be me and you. You can go to church and I hope you do. I mean, I think it's important, right? You can go to church and you can make claims that you follow Jesus, but if you hear it and don't do it, you're a person who's building your house, building your life on the sand. If you aren't doing what he said to do, then you are building your house on the sand. Okay, here's the other thing. This is another thing that's interesting about this passage. Jesus doesn't make any distinction between the fact that both groups are building, right? So one is building their house, building their life on the rock. The other is building their house, building their life on the sand, which is maybe another way to say, hey, they're busy too, right? They've got full plates too. They've got activities too. They've got crowded hearts too. It's not that they're not building something. It's not that they're not winning. It may just be that they're winning at the wrong things. I thought that was good, right? Because I think that's sometimes, sometimes the measure that we use to evaluate the success of somebody's life is like how active they are and how busy they are and how much they accomplish. And that's not the measure. The measure is, are you building your house on the rock? Are you building your house to last? Are you building your house on the foundation, the principles, the teachings, the hearings, the words of Jesus? Or are you just busy building a life that's absent of those things? And if you do, you may be building, but you're not building something that lasts. You're not building something that's going to be significant down the road. And so there's a difference between the choice and foundation, and that makes all the difference. And so here's what we do, the tendency again, because that's the way sometimes that we tend to measure things. We can win, but we can win at the wrong things. And here's what's scary about that is like, I can tell you as a fact, there's a lot of things that I cannot tell you for a fact. There are some things that I've got strong opinions on. There are some things that I've got like, you know, sometimes I make up things just to fill in the gaps. I know, you know, Shelley, when we first got married, Shelley was like, man, you just know everything. I'm like, yes, I do. And the truth is, this is before the internet was like ubiquitous. And the truth is, I just kind of made it up on a best guess, right? And it's like, and I was like, right ish a lot of times. So it just, it just happened to work out. But the truth is like, we don't, we don't know everything, right? But I can tell you this for a fact, like from personal experience, that this is a possibility of this, this building your life on the wrong foundation is a possibility for good church-going folk like me and you. I know you don't want to hear that. And I think, you know, I'm at church, I'm building my, yeah, listen, if you hear it and you don't do it, you're building your house on the sand. And that can happen to any one of us. It can happen to me. It's like there have been seasons in my life where I've been building stuff, but it's not been the right stuff, right? So this is, I'm so thankful to God for these necessary warnings along the way. We can never, we can't ever get to the end of our life and be mad at Jesus for not telling us. Because He told us on the front end, you're going to have these troubles. You're going to have these struggles. Make sure you build your life like all of the warnings that He gave us. I'm so thankful for them. And then, then we get to the foundation selection. So you've got the one who built his house on the rock and the other who built his house on the sand. What is the significance of the sand? You know how foolish that would be, right? To build your house. You've walked on sand. You've been to a beach. You know that sand gives way under pressure. You ever tried to run in the sand? You look like a slug, right? Again, in my mind, I still got it, right? There's still some athleticism there. And you get in the sand, you're like, nah, it's gone. It is gone, gone, gone. You know how foolish it would be to build your house on the sand? It's unstable. It's shifty. Does it sound like some people's lives? The instability gives weight under pressure, gives weight under pressure. There's not some stick-to-it-iveness to it. It's like shifting and moving. That's crazy. Which is exactly the point that Jesus was making, right? That's exactly the point. The people that don't follow His ways, this is what they're inclined to do. They're inclined to just shift, to just change. Just like whatever. There's no stability under pressure. So I'm just going to go on to the next thing. These are the types of people who are inclined to follow their heart. Follow their heart into the next thing, this thing, that thing, everything, whatever is the next shiny thing. There's always the volatility and the instability. And these are the types of people who are so quick to start one thing. And then when it doesn't go, how they think it should go, they're on to the next thing. And that doesn't exclude relationships. I know that's offensive. And Frank, listen, you know, I've decided at some point in my life, in the last few years, I am not going to apologize for sharing the truths about God's Word. Just not going to do it. Like if it offends you, and obviously I want to do that as lovingly, as kindly as possible, but I'm just not going to apologize for telling you what God's Word says. So these types of people, that's why we see, like, marriages dissolve so quickly. It's like, "Oh, well, it's not Cinderella. It's not a fairy tale like I thought it was going to be." So I'm out. Or you can build your house on the rock, where there's some stability and there's some persistence. What is a rock? It is resilience, right? There is some stability in that. And it's like, just because there's adversity and there's hardship doesn't mean that I'm going to dip set, which is, is that another trick? Oh, he's gone. Another trendy word, right? So here's what this starts to look like as you kind of play these two lifestyles out. The one who chooses to build his house on the rock, the one who chooses to build his house on the sand, you really start to see, over time, the difference, right? The contrast between the two. And it takes some time sometimes. I think if you have a small sample size in terms of time, you may not notice that much of a difference. But over the course of time, it will be very obvious that one person, the wise person, is living for something that matters. They're living with purpose. They're living for something bigger than themselves. They're living for something that's actually going to have some lasting value. On the other hand, you got the person who builds their life on the sand and they're just living for the next thing. They're living for the moment. They're living for the feels, right? And that is not, that is, I'm just going to help you out. That is not a way to live your life. Do you notice how, this is interesting, this is the last correlation we're going to make kind of between the two groups. And I think it's, it's one of the most important. Do you notice how each of the groups described, the wise man, the foolish man, both of them, the rains descended, the floods came, the wind blew and beat upon that house. Happened to the, the man who built his house on the, the firm foundation happened to the man who built his house on the sand, but there were two completely different outcomes. What does it say for the man who built this house on the rock? It says the rains came, the rains descended, the floods came, the wind blew and beat on his house. But because it was built on this firm foundation, because it was built on the rock, it stood. On the other hand, the one who built his house on the sand, what happened to him? The rains descended, the floods came, the winds blew and beat on his house and it fell. And it doesn't stop there. It doesn't say it just fell. And it says, and great was its fall. Here's my hope. This is my prayer for us as followers of Jesus, people that come to this church who, who as a community, we are aspiring to live a wise life and build our house on the rock. Just make, make all of these principles a routine, a staple in your life. Hear the words of Jesus, like whatever that looks like, man, if you've got a rhythm where, where you do devotionals and you get into God's word, man, that's amazing. Keep it up. If you don't, that is a great place to start. Be in environments where you're hearing the words of Jesus, but not just picking and choosing. I had an old pastor friend and he's like, some of y'all, not us, other people, other churches, other parts of the world. He was like, some of y'all are like Piccadilly Christians. And y'all don't, does anybody remember Piccadilly? Used to be in the Longview mall, like right when you walked into the right, but that was in the eighties. So disregard that reference, right? But it was a buffet. And what would you do with the buffet? You just go, Ooh, I want some of that. Do not want any of that. And I think that's kind of the tendency sometimes, isn't it? It's like, Oh, we love this Jesus that's meek and mild in this Jesus that's love and rainbows and light. But when Jesus starts telling us these hard teachings that then we have to change our life to fit into his words, not get his words to fit into our life. It gets a little more complicated, right? Build your, hear his words, hear his words, all of them and do them and do them, not just have the information, but experience transformation in your life and then get about building the life, man. Go do that thing. Go, go build your life, build your family, build your legacy, using the principles, the teachings, the words of Jesus, always as the foundation. And here's what's so beautiful about that. It is, it is transcend everything that you do. Every facet of your life should have these principles, these teaching teachings and these ways of Jesus. And that's what we should be about is building our life, building our house on the rock. It is a wise way to build your house, build your house on the rock. It is good for your soul. Amen. It's a good time to say like, Amen. Amen. Let me pray for us. Jesus, thank you so much for, this is not an easy teaching to be honest. I get scared to think that we can hear your words. We can know your words. We can be in church. We can know scripture and still be like the foolish person who builds our house on the sand. God, God helped that not to be any of us. God help us as the book of James says to be not hearers only, but doers also. Father, we don't want to just know your words that we have information. God, we desperately want to experience transformation. God, I want my life to be different because I hear your words. When I hear your words, I know your heart. And when I know your heart, I can't help but be changed. God, give me the wisdom to see the areas that I'm resistant, that I'm hesitant, that I try to make your words fit my life, not my life fit your words. Father, and give me the courage to change what needs to be changed. The humility got to break off whatever needs to be broken off. And Father, in your grace, I know that you'll do that. It says that if we ask, if we seek, if we knock, you're there, you're willing and you're able. So Father, we thank you so much for that this morning. Help us to be people who are wise, Jesus, who build our house on the rock and have this stability, this resilience in our soul. It's in Jesus name we pray. Amen.

A live recording from The Big Romance about a 2008 Sub Pop-released classic album of the 2000s. Listen on Apple | Android | Patreon | Pocketcasts | CastBox | Stitcher | Spotify | RSS Feed | Podlink Step into a world of misty melodies and cavernous echoes with Seattle band Fleet Foxes' landmark debut – a defining record of the late-2000s indie folk revival. Led by Robin Pecknold, the album blends the lush, pastoral harmonies of the 1960s with a haunting baroque-pop sensibility and lyrical themes rooted in nature, tradition, and introspection. Like the Bruegel painting on its cover, every track reveals a dense, beautiful world that evokes a timeless – almost mythic Americana sound. This podcast episode is a live recording from our listening party in The Big Romance in April, with guest journalist and Fleet Foxes fan Aoife Barry. Our next Listening Party is Smashing Pumpkins later this month and it's sold out. Listen Closely: Fleet Foxes – Fleet Foxes (2008) A Nialler9 listening party, hosted by Niall Byrne with guest Aoife Barry. Before the album Niall: Hello everyone, how are you? Welcome to the Listen Closely album listening party. I'm Niall, and this is Aoife Barry. Aoife: Hello. Niall: We're here tonight because Aoife picked this album, as she has before. You picked Jeff Buckley last year. Aoife: Yeah, and we ended up doing three of them. Niall: We did, we went to Cork. We did two here and then we went to Cork to talk about Jeff Buckley. And you were at the My Bloody Valentine listening party last year as well, back in October. Aoife: It must have been October, yeah. Niall: Well, obviously we're here for a very different album tonight: Fleet Foxes by Fleet Foxes, from 2008. As you heard there, we played a bit of the Sun Giant EP by the band, which came out a few months before this album, because we want to give the album its full due. They're a little different, and we'll talk about that. But yeah, you picked the record. Aoife: I did. I obviously must like it. And it's such an incredible record. Is there anybody here who hasn't heard it? That's really exciting, if so. I'm excited for you to hear it. You got a sneak peek there of what the vibe is going to be. I picked it because I love this record, but I also had a funny story about how I first heard them. Back in 2008, when this record came out, I'd read about this band called Fleet Foxes in a music magazine. I don't even think I'd heard a song yet, this is back in the day. And I was on holidays in Berlin, and in the tiny little hostel we were staying in, they had a sign up on the wall: "Who's playing tonight? Fleet Foxes, Café Zapata." I said to my boyfriend, "I think that's a band I read about in the magazine, will we go see them?" And he was like, "Grand." So we went, and they were unbelievable. It was so good. Beach House were supporting them. So it was 2008 smacking you in the face. Niall: Come on. Aoife: And I took photos, which I found. I have photos. Artifacts. One is terrible, the other one's not so terrible, taken on one of those little Canon digital cameras. And I still have the ticket, I kept the ticket, I'm one of those hoarders who keeps all their gig tickets. But it was so good: the venue they played in had a dragon that breathed fire out every fifteen minutes. Niall: So they'd be playing and this dragon… Aoife: I'm not even exaggerating. Fire would just shoot out of this mechanical dragon. It was so Berlin. And Fleet Foxes were so stunning, and Beach House were so stunning. I love Crosby, Stills, Nash & Young, I love all those harmony vibes, I wish I was born in the seventies, sadly I was not. So I fell in love with them immediately, and I've been a big fan ever since. Although I'll say I probably dipped a little bit around the Crack-Up era, their third album, but then I saw them when Shore came out, their most recent album, and fell right back in love with them. Niall: We're going to talk about all the albums that come afterwards, but we'll start with this one, because this is presumably your favourite, or one of them. Aoife: Shore is up there as well for me, but yeah. Niall: So what was it about Fleet Foxes at the time? For context: in 2008 there was quite a lot of this kind of music around. We previously did Bon Iver's For Emma, Forever Ago as a listening party, and the funny thing, which I only found out when we did this, is that they have the same origin story in a way. Both songwriters went to a cabin in the woods to pour their heart out and write the songs. Aoife: I think Justin Vernon just got there first in terms of the marketing. Niall: So they must have pulled back on talking about it too much, because it's basically the same thing. They never really talked about Robin Pecknold's writing process in those terms. Aoife: For Emma was such a massive moment, everybody was obsessed with this guy who broke up with a girl and went to a cabin and wrote a record about it. It was the ur indie-folk album. Niall: What was really appealing about Fleet Foxes is that they were so young, between about twenty-two and twenty-seven, and Robin Pecknold was twenty-one when he wrote the record. Which is frankly offensive, you shouldn't be allowed to be so talented at twenty-one. Aoife: I know. And they were clearly these people from Seattle, which we associate with grunge, and then it becomes this place where they're bringing out all the pastoral, outdoorsy, mountain-and-sea vibes of the Washington area. They're obviously really influenced by the seventies too, by Crosby, Stills, Nash & Young, by Laurel Canyon, but also by Appalachian folk. There's a real purity to what they're doing. The harmonies are unbelievable, there's even a bit of a gospel feeling. So these young guys made this album that was being called an iconic American record on release. The Guardian called it a landmark American album, something like that. And that's special, because you don't get that many records immediately being called landmark. Niall: It was a very exciting time for music around then. I actually brought some records. We mentioned Beach House and Teen Dream earlier, that's a bit later, 2010. I wanted to do a listening party for that at some point, that'd be good craic. Around that time you had Animal Collective and Panda Bear, Person Pitch was right there, that was the apex for that very experimental scene. A few years later we had Sufjan, our very first listening party. And Bon Iver, of course. There's also stuff like Neutral Milk Hotel very much of that vibe. Aoife: I've noticed people covering Neutral Milk Hotel more now. Niall: I think when we got to it, it was on its second go-round, and now it's getting a third, which is great. It's a great record. So, the band were from Seattle, they had a bit of the scruffy flannel-shirt look, but obviously didn't sound like that. The album was written in the woods, in the cabin, brought to the band, and recorded with Phil Ek. Aoife: Who did a lot of stuff with Built to Spill. Niall: Yeah, and he worked with The Shins, and Modest Mouse, a really long history. Aoife: Are The Shins from Seattle as well? Niall: I think they might be. Band of Horses is another one. So they recorded it themselves with Phil Ek, paid for it all themselves, and then the local major independent label Sub Pop came calling. Obviously known for a lot of grunge traditionally, but they'd clearly been releasing this kind of music around then too, The Shins had been on the label for a few years, Band of Horses. When it came to it, they signed to Sub Pop. Apparently there was a bidding war. Aoife: They'd become quite popular on MySpace. Anybody remember MySpace? Every time I do one of these I feel older and older, mentioning the top eight, the randomers you'd put in your top eight. Word could spread quite quickly once you got popular on MySpace. Niall: What I thought was really interesting, that I discovered when I was researching, is that recording the album was actually a total pain for them. They didn't have much money, so they ended up recording a lot of it in their houses, or in Robin Pecknold's family home. And he re-did all the vocals right before they mastered the record, because he'd been sick during the initial sessions and his voice wasn't in great shape. They recorded it all in one go, scrapped that, did another version, and kept moving the running order around. I'm always fascinated by albums where the creation was a total pain and they had no idea it would even work out. Robin Pecknold actually said, "I hope nobody cares about this album, because I just want to move on to the next one." And then it becomes this iconic record. Aoife: Isn't every artist sick of their album by the time it's done? You're like, "my paintings." Yeah. Niall: 2008 was an interesting time for it to land. The album draws on the Beach Boys and Brian Wilson, Crosby, Stills, Nash & Young, Nick Drake, Simon & Garfunkel, Fairport Convention, Judee Sill, very much old-timey or sixties folk and pastoral stuff. And in 2008 there's a financial crash. The album was worked on before that, but it was released into that environment, and a lot of this music seemed to catch. When things go bad, we retreat, we dream, we listen to music that's maybe the opposite of what we're feeling. There was a gentleness, an unhurriedness to it that resonated. Aoife: Grizzly Bear is another band from that time. When Jay-Z and Beyoncé went to see Grizzly Bear in Brooklyn, that was kind of where all the indie music peaked. Niall: And the other part of it, which I was involved in, was the MP3 blogs, that's where you'd hear this music. Especially the American and Canadian stuff, no one was promoting it over here yet, so you'd be months ahead. You'd hear Fleet Foxes in these MP3 formats. That was a mad period, it showed how the internet could collapse geography, a song could spread really quickly on the blogs. And in an American context, this came out post-Bush, with the Obama era coming in, a more hopeful tone. You had the Lehman Brothers crash, these global pressures, and then these hopeful times too. It's interesting to wonder whether these albums are a reaction to it, or whether they appeal to us because we want nice, happy things. I feel like Fleet Foxes have so much emotional depth: there's yearning, sadness, hope, nostalgia. Aoife: I loved Yellow House by Grizzly Bear, their first record, a complex, complicated, almost jazzy thing that sounded beautiful but had a lot going on. We weren't going for simplistic music, but we wanted music that gave us depth and beauty. Is art a solution to the world collapsing? Niall: We could be answering that in 2026. We live in a cursed timeline, as I keep saying. That's all I'm going to say. But what else happened in 2008 in the wider circle of music? Portishead returned with Third. TV on the Radio released Dear Science. MGMT released Oracular Spectacular, 'Kids' and all that. Cut Copy released In Ghost Colours, Indie Sleaze night on Saturday, folks, come on. Kanye put out 808s & Heartbreak, that was November that year. Rihanna was at the peak of her powers. Aoife: Katy Perry appeared that year. And 'American Boy'. Niall: 'American Boy', still one of the best pop songs, fire. Iron & Wine was the other one I forgot to mention. So it was a really vibrant, varied year. As you heard, there's the Sun Giant EP too. Aoife: The thing about that is it came out before the album, but was recorded after. The album was done, in the bag. Niall: They decided to go into the studio and record Sun Giant, a collection of songs intended to sell on tour. It ended up being quite popular, and for a lot of people it was their first time discovering Fleet Foxes. Aoife: It wasn't like The Coronas' 'San Diego Song', their summer-holiday anthem, or anything like that. But it came out before the album, and then the album arrives. Niall: So what was the reaction at the time? Was it immediate? Aoife: Things happened really quickly. In January that year they got all the MySpace attention, and by June the album was coming out. Really, really quick. There was so much chatter about them, which is partly why I'd seen the name, and a music blog like yours would have seen it too, and known they were one of the big bands. In a way that's harder now. Niall: These days you see bands like Geese getting a lot of attention because they use companies that help them go viral. You didn't really have that then. Now you'd dress yourself up in some gimmick, polka dots, whatever, and go viral all over the internet for it. I couldn't imagine these lads doing that. Aoife: No. But maybe in a way they were cosplaying living in the forest, on the Puget Sound. Niall: Anyway, when the album came out, people loved them, and it really hit it off. Because they sound so seventies, your parents would love the records and you'd love the records. There's almost a lullaby quality to the folk stuff too. The music is applicable to anybody of any generation, and there's something lovely about nostalgic music that reminds you of a better time. To finish on that point: I think there's something very mysterious about Fleet Foxes, they feel out of time. They're these young, scruffy lads with the beards, but there's a mystery to them. They didn't come across as the hipster end of things, they weren't leaning into anything. They were presented as the kind of band that wouldn't have had phones, would have lived off-grid, which is funny because they were a MySpace band. They're the most un-MySpace band you can imagine. Surprise people, do something a bit different, don't be exactly what people want you to be, and they'll love you for it. And then your songs are unbelievable too, soaring and stunning. Can we talk for a second about the cover? It's an original painting from 1559 by Pieter Bruegel the Elder, Netherlandish Proverbs. It depicts a densely populated Flemish village scene illustrating 126 folk proverbs. There's a lot there. Some on this side are cut off, but for example, this woman here, she's putting the blue cloak on her husband, meaning she deceives him. This guy is casting roses before swine, wasting effort on the unworthy. And right at the top there's a man running through a field with his arse on fire, chasing pigs, "he who eats fire craps sparks," do not be surprised at the outcome if you attempt a dangerous venture. There are 126 of those. Aoife: The interesting thing is that the band managed to get permission to use it. Really unusual to be allowed use it as commercial artwork. Niall: And apparently the museum that holds the artwork were delighted. A lot of stars aligned for them. It's an iconic cover because it's so different from what anybody else was doing, clearly of a particular period, and it has that Where's Wally quality. I have a quote about it. Robin said: "We were trying to figure out what we wanted to do, and my brother had been working some stuff out, when I saw this Bruegel painting in a book my girlfriend had. I liked that it had a really intriguing meaning, there's a story to each little scene, which felt fitting for the record. It was dense but unified, not a collage. It has a Where's Waldo quality, something you could look at for a long time on a vinyl sleeve and keep finding new little things. It was very easy to get the museum in Berlin that has it to say yes, they were super excited the band wanted to use it, and put it in their newsletter. When you open it up, on the inside there's a Paisley pattern traced from the back of a book that Skyler's mum got me. We wanted two very different feelings." So, what to look out for when we press play very shortly? Aoife: When I was going back to this, I had it in my head that every song was one of these big songs, because there are so many big moments. But actually there are two tracks that are pretty much acoustic, so it's interesting to notice how they go from the big sound to the small. And for me they're a real emotion-and-feeling band, so notice how you feel listening to it. I always feel this swell of emotion with Fleet Foxes, I was walking down the road listening to Shore and I was like, my God. So lean back and feel into the emotions they're bringing you. And listen to the lyrics if you can make them out, because they're so out of time, all about pack horses and this amazing imagery. Robin Pecknold said he didn't write about a lot of personal stuff because he didn't have enough life experience yet, so instead he wrote these beautifully poetic narratives about pastoral and rural life. So I'd say the lyrics and the feelings are the two things. Niall: Track two, 'White Winter Hymnal', is probably the biggest one, watch out for that. And a few other people thanked and cited as influences, for some extra context: Brian Wilson, Joanna Newsom, Bob Dylan, Noah Lennox and all the lads from Animal Collective, Levon Helm and Robbie Robertson of The Band, Blitzen Trapper, who they toured with at the time and who were bigger than them then. For some reason Joni Mitchell and Neil Young are listed together, which is fair enough. Marvin Gaye, Damien Jurado, Paul Simon and John Lennon listed together. Townes Van Zandt, a legend. Vashti Bunyan, and Van Morrison. There's a nice quote from Robin Pecknold I'll read afterwards. Let's just open it up and listen. I'll play it at full volume, it's about thirty-nine minutes, two sides. Close your eyes, whatever you want to do, vibe away in your own way. [The album plays: Fleet Foxes – Fleet Foxes, 39 minutes.] After the album Niall: It's quite an economical album, isn't it? It doesn't stick around long, thirty-nine minutes. Aoife: I like an economical album. It's also one of the first fairly short records we've done here. Niall: That's part of why I was thinking about Sun Giant in that context too. I'm going to read a bit from the liner notes, because for an album that's very much about feelings, with only a few direct songs, some of what's written here is interesting: "My first memory has always been of me and my mom on a cold grey day down at some beach in Washington, along the Puget Sound somewhere near Seattle. I would be around two or three years old, and we were with a friend of mine from the neighbourhood and his mom, walking among the driftwood looking for crabs. Even now I can remember the smell and temperature of the air, the feeling of the sand and the swaying tall grass. I can even remember looking over at my friend and how his face looked when he smiled back at me. Another memory I'll sometimes recall as my first is dressing up in the dead of summer as Jack London, with tennis rackets on my feet and wearing my dad's hiking pack, after seeing Disney's terrible version of White Fang. Or the memory of stealing my neighbour's Big Wheel and riding it halfway down the block before getting caught and having to turn around defeated. Or wearing a fireman's outfit while washing my parents' car, or eating an orange popsicle from the ice cream truck. These have always been some of my most distinct and persistent memories of childhood. So it came as a disappointment when, one day as a teenager, I opened up a photo album and found pictures of each and every one of these memories. I didn't have a single memory that didn't belong to, or somehow grow from, those pictures my parents had. I guess I've seen all these photographs at some point, forgotten they were just photographs, and over time made them into my most tangible memories. That's scary to me in a way. This leads me to something weird about the power music has: its transportability. Any time I hear a song or record that meant a lot to me at a certain moment, I'm instantly taken back to that place in full detail. Whenever I hear 'Feel Flows' by the Beach Boys, I'm taken straight to the back of my parents' car on the way to my grandparents' place, with Surf's Up in my Walkman and the Cascade Mountains going by in the window. Any song off Radiohead's Kid A brings back the airport near Seattle, from when we were on the way to Colorado for a wedding and Kid A was the only record I brought or wanted to bring. 'Crayon Angels' by Judee Sill is the whole winter of last year. And Brian Wilson's solo version of 'Surf's Up' takes me back to driving my parents' car around town alone at sixteen, windows down at night. I can't ascribe exact memories to songs by The Microphones, Joni Mitchell, Built to Spill, Dungen, Harry Nilsson and so many others, and it's a form of recall I can actually trust, there's no visual element to complicate things, no chance of a planted memory that wasn't actually supposed to be there. Maybe I should be concerned that I'm alone in almost all of these memories, but I guess I was just a private kid, and music was a private experience for me. Music activates a certain mental freedom in a way nothing else can, and that is so empowering. You can call it escapism if you like, but I see it as connecting to a deeper human feeling than the one found in the day-to-day world." Aoife: That's lovely. It's a nice addendum. And he was only twenty-one. Niall: For some reason it's signed "Warren Gamaliel Bancroft Winnipeg Harding," Warren G. Harding being the 29th president of the United States. I don't know why, he thought it was funny. Dated April 6th, 2008, Chicago, Illinois. So, any particular highlights, anything that stood out? Aoife: I was reminded how much I love 'Blue Ridge Mountains', the second-to-last song. I just love those four- and five-part harmonies so much. There's something that really gets me about beautiful harmonies stacked on each other that sound so natural. My dad was really into Neil Young and all of that era, my mum's really into Simon & Garfunkel, so I feel like I came out of the womb going, this is the music I love. Niall: There was another one I meant to mention. Aoife: I'm really bad at remembering song names, which isn't great for an arts journalist. They go in one ear and out the other. Niall: 'He Doesn't Know Why'. Aoife: That was it. I always forget the name of that one, and it's an absolute banger. It's quite a direct song, the last one on the first side. Niall: He mentions his brother Sean in 'Blue Ridge Mountains', which is interesting. And Oliver James is his younger brother, that's the last song. Aoife: His sister is Aja, after the Steely Dan album. The parents were really into them. Niall: It holds up so well. The harmonies and vocals sound incredible, there are those beautiful little flourishes, a flute on one of the tracks, the guitar is stunning, lovely little bass lines. I love the way Robin Pecknold and the band hear music. There's a really good Song Exploder episode with him talking about a song from Crack-Up, and the way he thinks about translating his thoughts and emotions into music is so illuminating. He has a beautiful melodic flow that's really similar to the flow of water and nature. There are so many nature references, it's almost parody there are so many. Aoife: You could do a Portlandia sketch about it. "Power of nature, man." "Come down from the mountain, you've been gone too long." Niall: In terms of the line-up: alongside Robin Pecknold on vocals there was Skyler Skjelset on lead guitar, his best friend from Nathan Hale High School, later joined by Casey Wescott, Christian Wargo on bass, and Nicholas Peterson on drums, who left after this album. Aoife: And who came in as the drummer? Niall: A man who's been a main character in one of these listening parties himself: Josh Tillman, Father John Misty, played drums with them. Aoife: For how long? Niall: Only a year or two, pretty short. As I said, main character, he was making his own record. Any Father John Misty fans? He writes really good songs and he's handsome, so we all love him, but he's also a bit of a pain, and he didn't get on very well with Robin Pecknold, which isn't surprising. When I was looking back at the Pitchfork interview they did in 2008, a few months after the album came out, it was a big joint interview with Robin and Josh Tillman, and Tillman is answering the questions at the start. That's confidence. Do you want to hear a quote from what Robin Pecknold said? I've written it in my little notebook, so old-school, that's the only way I remember these things. In a 2020 Reddit AMA, Pecknold said that on that tour, the Helplessness Blues tour, Tillman was supposed to bring out his own record, but his label said he could only release it after the tour. So he was on tour thinking, "I want to bring out my own record, I'm tired of Fleet Foxes." Pecknold said he "had to endure being around a lot of substance abuse, sabotaged shows, general ill treatment and shit-talking, all while paying him for songs he didn't have anything to do with. It sucked." And then Tillman left the band. Whereas in that Pitchfork interview he'd said, "I love playing in this band, these are all my friends, I'm having the best time, I'm sorry if that's a corny quote, but that's the best thing about this experience right now." Aoife: So he was lying through his teeth. I think he's the kind of person who really has to be a solo artist, too iconic a personality. You wouldn't want to wrangle him out of bed to get to the next show. Niall: Too big a price. You mentioned Pitchfork, the album was number one on their end-of-year list in 2008, and they listed Sun Giant alongside it, breaking the traditional conventions of end-of-year lists. What they said was: listing Fleet Foxes' debut album and EP together may be awkward, but it just feels right, they're two sides of a coin that equally express the band's mastery, "a catch-all Americana that takes a wide slice of our popular music spectrum and pulls it through a reverse prism to create a gorgeous and focused sound of the band's own. The threads of Brian Wilson's coastal pop, Appalachian folk, modern indie rock, Grateful Dead jams and other influences are masterfully synthesised in the band's harmonies." Robin Pecknold's sense of dynamics, they said, flows like a river, wild and free but logical, filling what needs to be filled and moving on. I swear I didn't rip that off Pitchfork, I came up with something similar on my own. Aoife: Very good. Niall: It was Uncut's album of the year too. But more than anything, and this is a strange accolade, the album was ranked number 36 on Rolling Stone's list of the greatest stoner albums. Aoife: I don't think Robin Pecknold was a stoner. It doesn't really fit. He's a reader. Niall: So what came after? Helplessness Blues, which is really difficult to say, in 2011, then Crack-Up in 2017, then Shore in 2020. Big long gaps, some personnel changes. And Robin Pecknold, as we've established, is a very literary guy, he went to Columbia to do an undergrad in English literature, because he'd left high school early and gone to a community college, and he really wanted that college experience. So that was part of the break. He's also had difficult times, he's spoken about mental health issues and suicidal ideation, many tough experiences that contributed to the gaps too. They haven't released anything since 2020, and he does a lot of cover events. There are two live records. He's actually playing a gig tonight, I think, where he covers Judee Sill. Any Judee Sill fans? Aoife: Oh my gosh, she's amazing. Nobody ever knows Judee Sill. If you listen to anything, listen to Heart Food, it's iconic. He loves her, mentions her on this record. She's the one who does 'The Kiss', people might have seen her perform it on the Old Grey Whistle Test, it's on YouTube. She had a really tragic life. Niall: One of those I've been meaning to listen to properly for years. She only has two records, so it's easy to get into. There's a documentary about her as well, which I haven't seen. Aoife: She's one of those ill-fated seventies musicians, really religious imagery, did a lot of drugs, really interesting. Niall: Did you get to see them again after your first foray in Berlin? Aoife: I saw them when they toured, though it's really bad when you can't remember what you were doing in the 2010s. Niall: Did anybody see them at that Dublin gig, the outdoor one in 2022? Wasn't it amazing. They've played here a fair bit: Vicar Street in 2008, Electric Picnic 2009, The Marquee in Cork 2011, the Iveagh Gardens in 2017. I don't know if I've missed any, maybe you can tell me. So if you were to pick, is there any further listening or reading you'd suggest to somebody, not necessarily Fleet Foxes? Aoife: Some of it is obvious. As I said, I'd definitely check out Judee Sill, because if you really like Fleet Foxes you'd really vibe with her. And he mentions Harry Nilsson, also unbelievable, more well known than Judee Sill, did the cover of 'Everybody's Talkin''. I'd also mention a guy people would have known at one point but isn't very well known now: Richard Swift. He sadly passed away a couple of years ago. He was friends with Robin Pecknold, a hugely talented musician who struggled with addiction. He has an amazing double album from around 2005 or 2006 that's brilliant, and a record called The Hex, which is referenced on 'Sunblind' on Shore, that's the song where Robin name-checks a lot of musicians he loves, like Elliott Smith, David Berman and Richard Swift. It's such a beautiful record for finding new people to listen to, and it's lovely to hear a musician pay tribute to musicians he loves. The imagery is him talking about this beautiful day where he'll go for a swim and listen to all these beautiful bands, an ecstatic kind of song. So check out all of those records, but Richard Swift deserves more fans, and The Hex is really, really good. Niall: Good shout. What we'll do now is play a tune, and then maybe give Sun Giant another go if you want to stick around. Our next listening party is on the 27th of May, and it's an indie-rock album very close to my heart: Broken Social Scene's You Forgot It in People. I've been wanting to do this one on record for a long time. They're playing here later in the year, but I want to give this record its flowers, it's incredible. My niece has just turned seventeen and I bought her a copy, because it's an anthemic record for a seventeen-year-old. I can't believe that band are still going, which is kind of mad, but it's hard to underline what Broken Social Scene meant to a certain segment of indie. Aoife: And there's four hundred of them on stage. They're from Canada, and we were all like, my God, these people are the best. Niall: For me it's the MP3 times again, we'll talk about this next month. I heard about them through the music blogs, and then I got to see them in the Button Factory, which was the Temple Bar Music Centre at the time. It was one of the first things I ever wrote about, back in 2005. A transcendental experience. Aoife: They're so good live. Niall: I once DJ'd in Galway after one of their gigs, and one of the members of the band, I'll leave him nameless, came over and turned off the decks while I was DJing. Aoife: On purpose? Niall: He was that drunk. I can't remember what I was playing, but I was like, great, DJing after Broken Social Scene and then a band member ruins it. I don't think he liked it. No, I think he was just really drunk and thought it was funny. Thumbs down to him. In a way it's surprising a man like that has managed to persist in a band with so many members. Anyway, I digress. We'll talk about it next month, May 27th. Aoife: I cannot wait. I've been listening to it a lot lately again, it's fantastic. Niall: Thank you for being here. Let's play a bit of this and see what happens. Thanks for being here, appreciate it.

This weeks program features tuneage from Earth Opera, Steely Dan, Tradewinds, Stones, Beatles, Animals, Electric Prunes, Lovin' Spoonful, Grass Roots, Supremes, Martha & The Vandellas, McKendrie Spring, Seatrain, It's A Beautiful DaySimon & Garfunkel and Jethro Tull.

The Daily Quiz - Music Today's Questions: Question 1: 'She Blinded Me With Science' was a one hit wonder in 1983 by which artist? Question 2: Who had a hit in 1992 with How Do You Talk to an Angel?? Question 3: Debby Boone had a one hit wonder in 1977 with which song? Question 4: 'Rock And Roll (Part 2)' was a hit in 1972 by which artist? Question 5: Name The Band That Had Hits With "Freedom Of Choice" "Beatiful World" and "Working In A Coalmine" Question 6: Which sportsman is mentioned in the Simon and Garfunkel song Mrs Robinson? Question 7: Which American singer released the song 'Wanna Be Startin' Somethin''? Question 8: Which musician wrote the song 'Blowin' in the Wind'? This podcast is produced by Klassic Studios Learn more about your ad choices. Visit megaphone.fm/adchoices

Rizz is packing up for his only Lake of the Ozarks trip of the summer, Rose Gold Gun hitmaker King Scott sings some Simon and Garfunkel, and the hidden financial nightmare of competitive cheerleading. Between mandatory practices, travel tournaments, fundraising, choreography week, and enough expenses to qualify as a second mortgage, parents everywhere are going to feel seen. Rizz even reveals the absolutely ridiculous amount of money he offered his daughter to quit competitive cheer... and she turned him down.The conversation somehow shifts into whether America should finally stop changing the clocks twice a year, why permanent daylight saving time already failed once in the 1970s, and whether today's world could actually handle months of kids waiting for school buses in complete darkness.Then things take a turn only this show could make entertaining.The crew dives headfirst into what may officially become "Diarrhea Summer" after thousands of reported illnesses connected to contaminated lettuce. They break down the parasite behind the outbreak, why Taco Bell voluntarily removed lettuce from restaurants, how to tell the difference between ordinary food poisoning and something much worse, and why absolutely nobody is going to Taco Bell for the lettuce anyway.Naturally, that spirals into discussions about parasite cleanses, tapeworm weight-loss schemes, and whether anyone would voluntarily host a parasite if it meant fitting into smaller jeans.Because apparently that wasn't weird enough, Rizz asks the question no one was prepared to answer: if scientists could grow meat using your own DNA, would eating it count as cannibalism? The debate quickly becomes one of the strangest conversations we've ever had as the crew imagines Rizz Burgers, Learn Nuggets, Sweet Baby Rafe barbecue sauce, and whether farting yourself after eating yourself somehow completes the circle of life.The weird science keeps rolling as the crew explores why humans stopped eating other humans in the first place, the diseases that made cannibalism one of history's worst survival strategies, and how biology—not just morality—may have shaped one of humanity's biggest taboos.As if that wasn't enough, the second half of the episode becomes one giant food argument. Ketchup on hot dogs. Pineapple on pizza. Steak temperatures. Miracle Whip versus mayonnaise. Fried pickles. Cilantro. Black licorice. Banana bread with walnuts. Tomato sandwiches. Pickle juice. Nearly every classic food debate gets thrown onto the table, and everyone has an opinion they're willing to defend.Will George Wallace officially earn his third-timer status? . The crew is hit with an unbelievable story about a dog discovered locked inside an apartment after its owners moved away, sparking a passionate conversation about animal rescue, fostering, shelters, and exactly how furious everyone becomes when people treat animals like disposable furniture.Florida once again proves reality is funnier than fiction when a 76-year-old woman receives a randomly assigned license plate that accidentally spells out "SQUEEZE ASS." Naturally, the crew spends way too much time imagining life inside a retirement community where everyone suddenly becomes interested in Nancy's new ride.The laughs continue with another packed edition of Crap on Celebrities featuring Taylor Swift and Travis Kelce wedding updates, Blink-182 collectibles, Slipknot recording dozens of new songs, Lana Del Rey's upcoming albums, Christopher Nolan's The Odyssey, celebrity birthdays, Star Wars movie memorabilia selling for millions, and an unexpectedly passionate debate ranking every Christopher Nolan film ever made.Somehow the conversation also includes Batman, Luke Skywalker's lightsaber, Matt Damon, Al Roker, grandparents, Super Troopers, George Wallace preparations, and enough random detours to remind everyone why no meeting on this show ever stays on the agenda.This episode kicks off with Kevin Smith dropping in before the crew dives headfirst into the newest airline seating experiments. Would you actually pay extra for an empty middle seat? Is Premium Economy worth it? Would Rafe really spend five grand for a business-class pod to Paris? The debate quickly becomes less about travel and more about the realities of being a large human trapped inside airplane geometry.Then the chaos truly begins.Rafe revisits some of the biggest comedy moments from the first half of the year during an unforgettable eMemorium retrospective. That means revisiting legendary fake productions like "Inner Shaft," celebrating the mysterious "Ozempic Penis" phenomenon, checking back in with the radioactive St. Louis monkeys and goat that somehow evolved into the "Lazy Entitled Millennial Monkeys," pitching Bravo's next hit dating disaster "Dukes of Haggard," and replaying Steven Tyler's heartfelt (and completely ridiculous) voicemail before Lern's surgery.As always, the crew somehow manages to make parody songs even more ridiculous than the news stories that inspired them.The episode wraps with this week's eMemorium honoring entertainment legends, remembering beloved local musician Bobby Rollins, catching a fake death rumor in real time, and teasing another round of Friday Fail Stories involving fake anatomy, bad criminals, and Instagram proving once again that some people really shouldn't have internet access.Follow The Rizzuto Show → https://linktr.ee/rizzshow for more from your favorite daily comedy show.Connect with The Rizzuto Show Comedy Podcast online → https://1057thepoint.com/RizzShowHear The Rizz Show daily on the radio at 105.7 The Point | Hubbard Radio in St. Louis, MO.America already tried permanent daylight saving time. It lasted less than a year. Could it work now?Lettuce from California's Taylor Farms investigated as possible source in multistate cyclospora outbreakCannibalism could keep people alive—so why did humans reject it almost everywhere?North Carolina woman, 82, survives nine days trapped in her bathtub after fallThis license plate has a woman's retirement community doing a double takeSee Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Entre el 16 y el 18 de junio de 1967, más de cien mil personas acudieron al Monterrey International Pop Festival en California que reunió a Jimi Hendrix, The Who, The Mamas & the Papas, Simon & Garfunkel, Jefferson Airplane, Janis Joplin con la Big Brother and the Holding Company, Otis Redding… Un heterogéneo cartel musical pero que marcó un hito en el movimiento hippie y el nacimiento del ‘The Summer of love'.

Joe is frustrated by traffic. The Pirates are even more frustrating. Joe quotes Simon and Garfunkel. Don Kelly had a nonsensical explanation about using Dennis Santana. Ben Cherington is the biggest to blame. Mitch Keller has proven to be a bad signing. The Penguins and Steelers feel stuck, and the Pirates have disappointed. Now they are stuck too. 

Joe is frustrated by traffic. The Pirates are even more frustrating. Joe quotes Simon and Garfunkel. Don Kelly had a nonsensical explanation about using Dennis Santana. Ben Cherington is the biggest to blame. Mitch Keller has proven to be a bad signing. The Penguins and Steelers feel stuck, and the Pirates have disappointed. Now they are stuck too.  Joe is losing his mind. Callers dish out the blame for the Pirates' struggles. What are the best Tom Hanks movies? Bill Murphy gets some blame from a caller.

Joe is frustrated by traffic. The Pirates are even more frustrating. Joe quotes Simon and Garfunkel. Don Kelly had a nonsensical explanation about using Dennis Santana. Ben Cherington is the biggest to blame. Mitch Keller has proven to be a bad signing. The Penguins and Steelers feel stuck, and the Pirates have disappointed. Now they are stuck too. Joe is losing his mind. Callers dish out the blame for the Pirates' struggles. What are the best Tom Hanks movies? Bill Murphy gets some blame from a caller. Ray Fittipaldo joins to discuss the last time a movie made him cry, what's the big story from Day 1 of Steelers camp, how he thinks the battle for backup QB will play out - he thinks it's Howard's job to lose, how much difference Mike McCarthy's offense will be, if Rodgers will finally trust throwing to a rookie, if Eli Heidenreich supplant Kaleb Johnson. Free association. It's time for Joe's mailbag - are soccer players better athletes than NFL players? Will the Pirates avoid a second-half collapse? Did Joe get a face lift? Leo Carlson is a loser somehow? Sean Gentille demands a proper introduction. Is this the golden era of offer sheets? Should the Pens offer Connor Bedard? Is Jason Robertson still in play? Will the Pens make the playoffs? Gentile's summer plans. Can a lake have a beach? Bechtold Breakdown with Sean - HR derby format change. Patrick Kane to the Pens, the uncertain futures of Kawhi Leonard and LeBron James, Zach Frazier is a breakout candidate? Bob Walk joins to discuss the incredible Ryan O'Hearn performance, where it ranks among the best baseball feats, Jared Jones perfect performance, the usage of Carmen Mlodzinski, the lost art of the knuckleball, how a spit ball works. Skenes vs the Miz on Sunday. This day in sports history - happy birthday AB

Get back to earth because we're talking Buffalo Sauce! We're South of North Madre as we learn the brainy and accidental origin stories of this specialized sauce for unbreaded, fried and rubbed chicken. We're visited by George Clooney and Simon and Garfunkel as we talk Mumbo sauce, genius combinations and exploding mayo. Note that Molly is recovering and Matthew failed to thread the needle so give us a break but also call in your criticism. Episode 285: Chicken Wings LIVE! Article from Chinese Cooking Demystified The Best Oven-Fried Chicken Wings Support Spilled Milk Podcast!Molly's SubstackMatthew's Bands: Early to the Airport and Twilight DinersProducer Abby's WebsiteListen to our spinoff show Dire DesiresJoin our reddit Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.

Intro: ‘One More Night' (excerpt) – Can  It's Too Hot For Words – Teddy Wilson & his Orchestra (2:46) Spirit of the Boogie – Kool and the Gang (4:51) Adagh Oyantid – Tamikrest (3:32) Upa, Neguinho – Edú e Bethânia (2:18)     Djomido Ma Dougbe Tche – Antoine Dougbé et l'Orchestre Poly-Rythmo de Cotonou (7:58)    Çiçek Açiyar – Derya Yildirim & Grup Şimşek (3:32)   The Vamp – Randy Brecker (5:11)   Omelebele – Dr Victor Olaiya's International All Stars (5:57)   Zomzibar – Barney Wilen (7:16)   Book of Rules – The Heptones (3:00) Cecilia – Simon & Garfunkel (2:54) Cæcilia – Fennesz (3:48) Lascia La Spina, Cogli La Rosa (from ‘The Triumph of Time and Truth') – Handel, Rattle/Berliner Philharmoniker/Bartoli (6:22) The Coast – Paul Simon (5:00) From Harmony (from ‘Ode to St Cecilia's Day') – Handel, Denecker/RedHerring Baroque Ensemble/New Baroque Times Voices (3:31)   Pyar Zindagi Hai (from ‘Muqaddar ka Sikandar' - Kalyanji Anandji, featuring Asha Bhosle,       Lata Mangeshkar & Mahendra Kapoor (7:22)   Sheba – Fatima Al Qadiri (3:18) The One For Whom I Chose Asceticism – Abida Parveen (5:09) To The Men With Hate Speech On Their Lips – Khasi-Cymru Collective (2:46) Jos Embalar O Menino – Montserrat Figueras, with Hespèrion XXI, Anon. (5:28)  Jangari – Maalem Houssam Guinia (6:09) The House Carpenter – Clarence Ashley (3:15) Ogod Anno 2000 – Tom Zé (3:55) Hypersonic Super-Asterid – Mandrake Handshake (8:34)   Playout: ‘Pogles Walk' (excerpt) – Vernon Elliott Ensemble

This week we look at the 250th anniversary of the founding of the US - its culture, religion and population; Angela Mackenzie on the Founding Fathers;  Muslims at the World Cup; Trump's Red Card;  Taylor Swift's Marriage; German influence in the US;  Germany's sick economy;  NY Pride goes after Children; The BBC and Trans athletes in the US; Yanis Varoufakis on AI; Feedback; King Charles stops defending the faith;  Stephen Furtick preaches a different faith;  and the Final Word - Revelation 3:7-10. with music from. Jimi Hendrix; Simon and Garfunkel; Taylor Swift;  Duke Ellington;  BB King; Connie Francis; and the Mississippi Mass Choir 

This week's show, after a Simon & Garfunkel garroting: brand new Royal Blunder, Dinosaur Jr., Thermals, City Gates, Kristin Hersh, Junipers, Disappearing Act, and Antietam, plus Jimmie & Vella Cameron, Standells, Graham Nash (with David Crosby & Stephe...

Geborgenheit und Glück genießen mit Gesang und grenzenlosen Genres. Gänzlich gemütlich!Diese Musikstücke hörst Du in dieser Folge:Grieg, Edvard - "Der letzte Frühling" //Garfunkel, Art - "Bright Eyes" //Gluck, Willibald - "Reigen seilger Geister" //Gonzales, José - "Heartbeats" //Glasunow, Alexander - "Romanze für Horn" // "Gerichtssaal 237. True Crime aus dem Strafgericht" vom NDR findest Du hier: https://1.ard.de/237?cpWenn Du eine Idee oder einen Wunsch zu einem musikalischen Thema hast, dann schreib mir eine Mail: playlist@ndr.de

A school district is still grappling with being in the bullseye during Operation Metro Surge. We'll hear from them. Plus, a year after being federally charged for anti-ICE actions, Isavela Lopez has taken a plea deal. We'll talk to her about how the case impacted her life.A new kind of disaster recovery insurance uses sensors and AI to track wind speeds and flood levels. We'll learn about how cities along the Mississippi River are planning to use it.The United States is turning 250 this weekend. We'll hear from Minnesotans on how they think the nation fares and what America means to them.And veterans are celebrating 100 years of a campground in Minnesota made just for them.Our Minnesota Music Minute was “Willow Weep For Me” by Bob Davis Quartet and our Song of the Day was “America” by Simon and Garfunkel.

This spring, Radiohead guitarist Ed O'Brien released a beautiful and soul-stirring album called Blue Morpho, and in this episode, he shares with great depth and candor what inspired the album, his approach to recording it, and the transformative self exploration required to make it. One of the elements of the project was his desire to capture sounds at 432 Hz, and you'll hear him explain the idea behind that, right at the beginning of the interview. But from there, we go way back into his history as an artist, to his early childhood listening to Simon & Garfunkel with his mom while she sewed, singing in the boys choir, discovering guitar music and freaking out over bands like The Jam and The Police and The Smiths, and while still a teenager meeting and forming a band with the group of school friends who would become Radiohead. Honestly, this interview is one of those occasions, when I can't believe what an honor it was to hear from an artist whose music has been so important to me personally, and for him to share about the artists that had similar impact on his life. There's an incredible story right near the end of the episode where Ed talks about being on tour with Radiohead in the US in 1995, and having all of their gear stolen. So they took a fateful trip to San Francisco to get some new guitars and things, but they only had one audio cassette to listen to during the road trip, and the music that was on it ended up inspiring some of their approach to OK Computer. You'll have to listen all the way through to find out what was on that tape. 

Why do certain songs stay with us for decades?In this episode, Gunter Swoboda explores the psychological power of music through Simon & Garfunkel's timeless classic The Boxer. More than a song, it becomes a lens through which to examine shame, endurance, dignity, and the quiet resilience that so often defines the human experience.Drawing on decades of clinical work, Gunter reflects on the difference between strength and endurance, why shame sits at the center of so much suffering, and how music can give language to emotions we struggle to express ourselves. Ultimately, this episode is about recognizing our own stories in the art that has helped generations endure life's hardest moments.Key Topics• Why music helps us understand ourselves• The psychological meaning of The Boxer• Strength versus endurance• Shame versus guilt• The hidden burden many men carry• Dignity as an expression of intrinsic worth• Finding ourselves through art and storytelling• Recognizing the quiet courage of everyday lifeTakeaways• Music often gives language to experiences we cannot express ourselves.• Strength and endurance are not the same thing.• Shame attacks identity while guilt addresses behavior.• Healing is not becoming invulnerable—it is remaining honest with yourself through suffering.• Dignity comes from knowing your worth is not determined by circumstance.• Sometimes simply recognizing another person's endurance is an act of healing.Sound Bites“Strength is visible. Endurance often looks like nothing at all.”“You have not failed.”“Dignity is knowing your worth is not determined by circumstance.”Inside This Episode• Why songs become emotional companions• Cats in the Cradle and generational patterns• The psychology behind The Boxer• Understanding shame and dignity• Why endurance often goes unnoticed• Recognizing yourself in music• Questions worth carrying into your own lifeGratitudeWe want to extend a huge thank you to our listeners in Pittsburgh, Drexel Hill, Johnstown, and Philadelphia for bringing Pennsylvania (all the way) to #2 on the Top 10 USA listeners list.And to our Global Listeners, we extend our gratitude to our listeners in Ryazan (ree-uh-zan) for bringing Russia to #19 on our Global listeners list! And a special shoutout to Asuncion (a-soon-syown) for bringing Paraguay in South America to #18! CONGRATULATIONS!! you made the Top Listeners List.Become a supporter of this podcast: https://www.spreaker.com/podcast/inspire-change-with-gunter--3633478/support.PatreonIf this episode resonates with you and you'd like to go deeper into practical exercises and guided reflection, Gunter offers extended self-development resources and exercises through our Patreon community: www.patreon.com/inspirechangeSponsorDistil UnionThis episode of Inspire Change with Gunter is brought to you by Distil Union, creators of beautifully designed, functional everyday carry accessories that help bring organization, simplicity, and intention into your daily life.Distil Union blends craftsmanship with thoughtful design to help you carry what matters most — without the clutter.

Des and Paul talk about their own collaborations and how serendipitous connections can lead to remarkable results. Examples range from Gilbert and Sullivan to Jobs and Wozniak to Simon and Garfunkel. Books mentioned include the Art of Unexpected Solutions by Paul Sloane, 1234 Wacky, Witty and Wonderful Words by Paul Sloane and Des MacHal,e and the new book Beautiful Things in Mathematics by Des MacHale. Hosted on Acast. See acast.com/privacy for more information.

Cindy Pearlman Gaber, senior writer for the New York Times and entertainment columnist for the Las Vegas Review-Journal, joins Bob Sirott to share details about who could possibly be performing at the Taylor and Travis wedding, as well as the recent reunion of Paul Simon and Art Garfunkel. She also talks about John Oliver’s role […]

Gary Graff on how Lionel Richie is doing, remembers Clive Davis and David Clayon Thomas, talks about Simon & Garfunkel dinner by 102.9 The Hog

On today's episode: Do we hear silence? Simon and Garfunkel may have been on to something. And we finally close the book on the four fundamental forces by talking about gravity. All that and more today on All Around Science...CREDITS:Writing - Bobby Frankenberger & Maura ArmstrongBooking - September McCrady THEME MUSIC by Andrew Allenhttps://twitter.com/KEYSwithSOULhttp://andrewallenmusic.com Hosted on Acast. See acast.com/privacy for more information.

Charlie Puth has been busy. In 2026 alone, the Grammy-nominated and multi-platinum singer has had his first child, released his fourth album, ‘Whatever's Clever!', and begun touring said album. He's just wrapped up the US leg of his tour, which included a performance at the iconic Madison Square Garden, and is now preparing to hop on a plane to start the European leg. And that's not where it ends, as Puth will be bringing the show to New Zealand's shores in November of this year. Performing at Madison Square Garden is widely considered to be a pinnacle moment in an artist's career, and according to Puth, it is definitely all it's cracked up to be. “For me especially, just because I'm basically from here, so it's very full circle,” he told Mike Hosking. “The first show I ever played was in the West Village for 100 people, and we sold out Madison Square Garden, which is a little over 16,000 people.” “It's very full circle for me.” Adding to the feeling were the guests Puth brought out on stage during the performance, Art Garfunkel, Jimmy Fallon, Busta Rhymes, and Kirk Franklin – all people who inspired him musically. Performing with Art Garfunkel, of Simon & Garfunkel, seems to be a particular highlight, as Puth's a big fan. “It was an honour to bring them back out there, and everybody, there was such roaring applause from everybody – kids to adults. His music is so universal.” And while his visit to New Zealand is still a while away, Puth says it's definitely on his radar. “I'm really excited to come back.” LISTEN ABOVE See omnystudio.com/listener for privacy information.

Everyone needs a good wingman, like Batman and Robin or Simon and Garfunkel. A good wingman is key to winning. They may not be the superstar or the focal point of the team, but without them the team wouldn't have been successful. So on this episode we look at some of these forgotten supporting cast guys - really good players who aren't often remembered as Pittsburgh sports legends.REWIND is a series of our favorite Pittsburgh Sports Memories episodes that we will be dropping in between new episodesGet our Steelers-Ravens book here! E-Book | HardcoverConnect with the show:Visit us on the webFollow us on FacebookFollow us on Instagram

This episode is a unique blend of sports analysis and British charm, as the speaker chats with Giants Insider Susan Slusser about the latest developments in the world of baseball. From the Giants' surprising comeback to the potential trades that could shape their future, this conversation has something for every baseball fan. Susan Slusser joins the show from England, where she's waiting in line for a Paul Weller concert with her friends. But don't worry, she's still got her finger on the pulse of the Giants, and she shares her insights on the team's recent performance. The conversation covers everything from Bryce Eldridge's impressive grand slam to the potential trade of Logan Webb. With her trademark bluntness, Susan shares her thoughts on the Giants' current situation and what it might mean for their future. One of the highlights of the episode is Susan's discussion of Matt Chapman's resurgence, which has been a topic of much debate among fans. She also talks about the emergence of Dylan Smith, a young player who's been making waves in the Giants' bullpen. And, of course, no episode would be complete without some fun conversation about music - in this case, the classic tunes of Simon and Garfunkel. See omnystudio.com/listener for privacy information.

This episode is a unique blend of sports analysis and British charm, as the speaker chats with Giants Insider Susan Slusser about the latest developments in the world of baseball. From the Giants' surprising comeback to the potential trades that could shape their future, this conversation has something for every baseball fan. Susan Slusser joins the show from England, where she's waiting in line for a Paul Weller concert with her friends. But don't worry, she's still got her finger on the pulse of the Giants, and she shares her insights on the team's recent performance. The conversation covers everything from Bryce Eldridge's impressive grand slam to the potential trade of Logan Webb. With her trademark bluntness, Susan shares her thoughts on the Giants' current situation and what it might mean for their future. One of the highlights of the episode is Susan's discussion of Matt Chapman's resurgence, which has been a topic of much debate among fans. She also talks about the emergence of Dylan Smith, a young player who's been making waves in the Giants' bullpen. And, of course, no episode would be complete without some fun conversation about music - in this case, the classic tunes of Simon and Garfunkel. See omnystudio.com/listener for privacy information.

This week, our friend and resident reviewer, Dr. Rob Fisher, launches a new recurring series entitled Progressive Resonances. In each installment, Rob will explore a universal human theme through the power and emotional resonance of music. The inaugural episode explores loneliness, drawing on music from artists as diverse as Simon & Garfunkel, Fleetwood Mac, Steven […]

This week, our friend and resident reviewer, Dr. Rob Fisher, launches a new recurring series entitled Progressive Resonances. In each installment, Rob will explore a universal human theme through the power and emotional resonance of music. The inaugural episode explores loneliness, drawing on music from artists as diverse as Simon & Garfunkel, Fleetwood Mac, Steven Wilson, and Black Sabbath.

Episode 190: What Should I Name This One? June 8, 2026 I hope I caught you at a good time. After all, this is a program about the great album cuts of the 60s and 70s. This is Tales Vinyl Tells and I am Brian Hallgren. Today we continue to feature a lot of the songs from the year 1969, in particular. These cuts may not be what you expect to hear from the album and we'll hear from the Kinks, The Mothers of Invention, Simon and Garfunkel and more this time. I'm glad you're here and I hope you'll stay with me for this hour of some of the greatest music ever recorded. And thanks for listening today.  My email is talesvinyltells@gmail.com.  If you want to hear a Tales Vinyl Tells when it streams live on RadioFreeNashville.org, we do that at 5 PM central time Wednesdays. The program can also be played and downloaded anytime at podbean.com, iHeart podcasts, Player FM podcasts, Listen Notes podcasts and many other podcast places. And of course you can count on hearing the Tales on studiomillswellness.com/tales-vinyl-tells anytime. PLAYLIST: 190.1 She's so heavy (nibble), You Never Give Me Your Money-Abbey Road Yummies 190.2 Absolutely Free-The Mothers of Invention 190.3 Fakin' It-Simon and Garfunkel 190.4 Last of the Steam Powered Trains-The Kinks 190.5 Pretty Polly-The Byrds 190.6 Chest Fever-The Band 190.7 Astral Weeks-Van Morrison 190.8 Nowhere Man-Beatles 190.9 Rainy Day, Dream Away-Jimi Hendrix Experience 190.10 Mr. Moonshine- Fat Mattress w/Noel Redding, Hendrix' bassist 190.11 No Expectations- Rolling Stones 190.12 Sally Go ‘Round The Roses- Pentangle 190.13 Dark Eyed Woman-Spirit

“Hello darkness my old friend I've come to talk with you again”. How many of you remember "The Sounds of Silence” by Simon and Garfunkel? We are showing our age on this one!Art Garfunkel (yes, that's his real name) said, “the song is fundamentally about the inability to communicate and, consequently, the inability to genuinely love one another.”Joseph experienced his own “Sounds of Silence” and darkness, his old friend. Nearly killed, thrown in the pit, sold into slavery, tossed into prison, and then the “sound of silence” waiting 2 years for a former prisoner to remember him before Pharaoh. Can you imagine the level of frustration? I mean we get frustrated when someone doesn't respond to our text right away. The nerve of some people!What was Joseph's response to the “sound of silence” he endured? Hmmmm. It's amazing how God had a plan and a purpose through it all to raise up one man, to save his own family and ultimately God's people. Read Joseph's story again in Genesis. I dare you!Bill Wilkinson

Paula Arenas habla en exclusiva con La Clave Pop sobre Nada Es Permanente, su cuarto álbum independiente y el más personal de su carrera. La cantautora colombiana, con 13 nominaciones al Latin GRAMMY® y dos al GRAMMY®, lanzó un proyecto que es mucho más que un disco: una colección de memorias envasadas como conservas, con canciones inspiradas en la música de los 70 de José Luis Perales, Roberto Carlos, los Carpenters y Simon & Garfunkel.En esta entrevista, Paula conversa con Marysabel Huston sobre los dos años que le tomó hacer este álbum: el cambio de equipo, el embarazo inesperado, la pérdida de su abuelo y cómo todo eso terminó convirtiéndose en canciones. Nos cuenta cómo fue asumir un rol de coproductora junto a Sebastián Mejía y María Elisa Ayerbe, cuál es el concepto visual de cada canción del disco, y qué significa “No Te Esperaba”—el focus track— en su propia historia de vida. También habla de su uso de la inteligencia artificial en los visualizers y de su sueño de llevar este álbum a los escenarios.Sigue a Marysabel Huston en sus redes sociales: Instagram y Threads: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠@marysabelhuston⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ TikTok: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠@marysabelhuston⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Facebook: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Marysabel.Huston⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠X (antes Twitter): ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠@hustonmarysabel⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠YouTube: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Marysabel Huston⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Créditos: Producción ejecutiva, edición y mezcla por Marysabel HustonMúsica: Una producción de Techy Fatule

"Of Ghosts And Gods" The New Jersey-born, Harvard educated David Berkeley is one of modern music's true renaissance men. Now, people throw that term out a tad lazily but in the case of Berkeley, it truly fits. Aside from releasing close to ten perfect albums, including The Confluence, Some Kind Of Cure and Oh Quiet World, Berkeley is an author, a label owner, and he's been a river rafting guide, a band manager, a travel writer and a creative writing teacher. A writer of tremendous depth, focus and sensitivity, much like Paul Simon or Nick Drake, Berkeley has the uncanny ability to slow the world down and hold it still. Informed by actual geography as well as the geography of loss and emotional reconstruction, Berkeley's songbook is a wondrous collection of compositions that gaze out at the map of the human heart with effortless poeticism and grace. He's toured with Billy Bragg, Ben Lee and Gary Jules, appeared on This American Life and played South By Southwest and he's one of the most consistently critically-acclaimed musicians around. He's also one half of the aforementioned transatlantic folk duo Sons Of Town Hall. Along with singer/songwriter Ben Parker, Sons Of Town Hall are hard to describe, but I'm going to try. Under the guises of Parker's George Ulysses Brown and Berkeley's Josiah Chester Jones, Sons Of Town Hall are fictitious 19th Century Victorian-era vagabonds who sing about their travels by way of a kind of magical hand-built raft. Falling somewhere between Coleridge, Lord Byron by way of Simon and Garfunkel's Wednesday Morning, 3AM, Sons Of Town Hall's new album Of Ghosts and Gods is a stirring collection of songs about travel, friendship, following your heart and staying afloat while doing it. www.davidberkeley.com (http://www.davidberkeley.com) www.sonsoftownhall.com (http://www.sonsoftownhall.com) www.bombshellradio.com (http://www.bombshellradio.com) www.stereoembersmagazine.com (http://www.stereoembersmagazine.com) www.alexgreenbooks.com (http://www.alexgreenbooks.com) Stereo Embers The Podcast: IG + BLUESKY + THREADS: @emberspodcast

durée : 00:54:45 - Very Good Trip - par : Michka Assayas - De Simon & Garfunkel à The Doors en passant par Vashti Bunyan et Sufjan Stevens, Michka Assayas nous offre pour Noël une playlist vintage pour célébrer la fin de l'année. - réalisation : Vincent Godard Vous aimez ce podcast ? Pour écouter tous les épisodes sans limite, rendez-vous sur Radio France

This week's show features tuneage from Jefferson Starship, Billy Cobham, Jeff Beck, The Grateful Dead, Gypsy, Chicago, Al Kooper, Jean Luc Ponty The Youngbloods, Small Faces, Monkees, Simon & Garfunkel, Traffic, Spirit, SteelyDan, Rhinoceros, Phil Collins, Paul McCartney, Steve Miller Band, Genesis and Fleetwood Mac.

Siamo nel 1969. Simon & Garfunkel pubblicano il 45 giri "The Boxer". Sul lato B viene incisa la canzone "Baby Driver" che non emerge per molti anni, fino a quando diventa parte della colonna sonora del film "Baby Driver" uscito nel 2017.Milioni di persone iniziano a cercarla, ascoltarla e condividerla.

Join Scott Kummer, Josh Hohbein, Craig Marciniak and Tom Berry for reviews of Fountains Of Wayne - Welcome Interstate Managers and Simon & Garfunkel - Bridge Over Troubled Water Check out our new website at www.igtov.com Fill out the Poll for this show.  Remember....its never too late: zzzzhttps://igtov.com/poll/8cf9e181-f468-488e-ac82-71ddf7f83a67/vote All the other shows and forms can also be filled out on our website:  https://igtov.com/polls Or just view the chart: https://igtov.com/chart Get on the mailing list my emailing: igtovpod@gmail.com JoIn the "I've Got That On Vinyl" Facebook Group: https://www.facebook.com/groups/684186180585840 On Twitter: @IGTOVPodcast On Instagram: https://www.instagram.com/igtovpodcast/ Or email us anytime at IGTOVpod@gmail.com Intro and Outtro music by The Feat: https://thefeatchicago.bandcamp.com/album/schemes-for-decades

This week on Rick's Rambles Podcast, we've got another fun, meaningful, and slightly quirky mix of stories, music history, and encouragement to brighten your day.

Send us Fan MailWatch my acting debut film for free, Cape Cod Cthulhu!In Episode 241 we get our kicks back in 1966! We are diving into television, music, movies, and all things pop culture in 1966.Here they come, walkin' down the street. Television in 1966 was the crossroads between black and white and color, the same old same old and new and exciting, and crafting shows to appeal to the younger generation. The Monkees, Batman, and Star Trek were new hits. My Mother the Car? Not so much.It's all incense and peppermints as we look at all things Music in 1966. The sharp turn from safe and bland pop into psychedelics and counterculture. The Beatles, the Stones, Dylan, and the Beach Boys dominated while Hendrix, Cream, and Simon and Garfunkel staked their claim as next up.The Top 5 features weird and funny news stories from 1966. The Beatles as butchers? A tight pants strike? A nude sunbather controversy? They're all here and more.This Week In History and Time Capsule looks at the infamous Portage, Ohio UFO chase. Stay tuned for some classic 1966 commercials as well!You can support my work by becoming a member on Patreon. Or you can Buy Me A Coffee!Helpful Links from this EpisodeBuy My New Book, In Their Footsteps!Searching For the Lady of the Dunes True Crime BookHooked By Kiwi - Etsy.comDJ Williams MusicKeeKee's Cape Cod KitchenMSFTS CommunityChristopher Setterlund.comCape Cod Living - Zazzle StoreSubscribe on YouTube!Initial Impressions 2.0 BlogCJSetterlundPhotos on EtsyListen to Episode 240 hereSupport the show

This week on Toilet Radio: 
A very confused cryptocurrency-themed metal band emailed us for coverage. Here it is, enjoy! We delve into the latest on Brady Ebert's ongoing vehicular homicide-related legal troubles. Suffocation's drummer quit the band and implied that his bandmates are all on drugs. Good luck in Sanguisugabogg! We check in with Maynard James Keenan as he comes to the same conclusion about human “modern communication” that Simon & Garfunkel did in 1964. Finally, an ER story about a Real Rocker child. Folks, it’s a good one. Music featured on this ‘sode: Haine – Contaminated  This program is available on Spotify. It is also available on iTunes or whatever they call it now, where you can rate, review, and subscribe. Give us money on Patreon to get exclusive bonus episodes and other cool shit.

Paul Simon set the standard for a New American Songbook. Reviewing these selections one is struck by the elegance of his melodies - on a par with that other Paul from Liverpool, but with a lyrical sophistication to rival America's Nobel Laureate poet, Bob Dylan. “America”, as performed here by David Bowie, presents a barren landscape, - mirroring the mundane with the spiritual - to rival the literary prowess of a Hemingway; and the classically inspired “American Tune,” as interpreted by the wizard of New Orleans, Allen Toussaint, quietly goes to the heart of our nation's ambivalence. I can't contain my tears whenever I hear it. Simon and Garfunkel were known as a unified entity. It took awhile for Paul to extricate himself from his childhood performing partner, Artie. Garfunkel, with his singular, choir-boy voice, needed Simon to provide the words for his divine instrument.  But Simon didn't need Garfunkel, and if Artie's acting ambitions hadn't interfered with Paul's musical ones, Simon might never have had the confidence to go it alone. Lucky for us it turned out the way it did. Because, since going solo, Simon has amassed a body of work that defines America's last half century. Ray Charles: Still Crazy After All These YearsDavid Bowie: AmericaJustin Townes Earle: GracelandThem: Richard CoryWailin' Jennys: Loves me Like a RockEverything but the Girl: The Only Living Boy in New YorkAnnie Lennox: Something So RightThe Blue Airplanes: The Boy in the BubbleBlossom Dearie: 59th St. Bridge Song Allen Toussaint: American Tune 

So the Suffolk and Goode Players recently did a Simon and Garfunkel parody, and then Steve Goodie did a Simon and Garfunkel parody, and we thought, hey! We wanna play! So here's our repurposing of "El Condor Pasa (If I Could)," Paul and Artie's repurposing of a piece by Daniel Alomia Robles. Yes, we're parodying a 56-year-old version of a 113-year-old song. We like to keep things fresh. Like our meat. Robert Lund: Vocals, guitar, bass, mandolin, ocarina sampling, panpipe sampling, Roland S-50, sfx, production, what have you. Macy Lund: More vocals M. Spaff Sumsion: Lyrics

Riki Lindhome is an, actor, comedian and musician whose career spans film, television and music. She got her first major break when Tim Robbins cast her in his hit play Embedded, before making her film debut in Million Dollar Baby, directed by Clint Eastwood. She has since appeared in a wide range of projects, includingas Dr. Valerie Kinbott in Wednesday on Netflix, Knives Out alongside Daniel Craig, The Big Bang Theory, Modern Family and Gilmore Girls, as well as films such as The Wolf of Snow Hollow. Alongside her on-screen work, Riki is an accomplished songwriter, writing for series including Scrubs, Duncanville and The Big Bang Theory, and contributing music to films like The LEGO Movie 2, The Addams Family and The SpongeBob Movie. She also earned an Emmy nomination for her song “Frozen Lullaby.” Riki co-created and starred in Comedy Central's Another Period and the series Garfunkel and Oates, based on her musical comedy duo with Kate Micucci. The duo has amassed over 80 million YouTube views, released three chart-topping comedy albums, and been recognised in the Comedy Hall of Fame. She is currently performing her sell-out show Dead Inside at Soho Theatre in London until the 18th of April .Riki Lindhome is our guest in episode 576 of My Time Capsule and chats to Michael Fenton Stevens about the five things she'd like to put in a time capsule; four she'd like to preserve and one she'd like to bury and never have to think about again .Tickets for Riki's Soho Theatre run available here - https://sohotheatre.com/events/riki-lindhome-dead-inside .Follow Riki Lindhome on Instagram: @rikilindhome .Follow My Time Capsule on Instagram: @mytimecapsulepodcast & Twitter/X & Facebook: @MyTCpod .Follow Michael Fenton Stevens on Twitter/X: @fentonstevens & Instagram @mikefentonstevens .Produced and edited by John Fenton-Stevens for Cast Off Productions .Music by Pass The Peas Music .Artwork by matthewboxall.com .This podcast is proud to be associated with the charity Viva! Providing theatrical opportunities for hundreds of young people .To support this podcast, get all episodes ad-free and a bonus episode every Wednesday of "My Time Capsule The Debrief', please sign up here - https://mytimecapsule.supercast.com. All money goes straight into the making of the podcast. Hosted on Acast. See acast.com/privacy for more information.

This week I wanted to stick with movies that came out with soundtracks that felt current when the films were released. Not older songs brought in to set a mood, and not a random collection pulled together afterward, but albums that felt tied to the moment the studio was trying to sell.Fast Times at Ridgemont High, from 1982, is a good example. The soundtrack album came out that July, and Jackson Browne's “Somebody's Baby” reached number 7 on the Billboard Hot 100, so the movie clearly had a connection to what people were hearing at the time. There was also some push and pull behind the scenes. Amy Heckerling later said some of the music choices reflected producer pressure as much as her own sense of the characters, which only makes the film feel more like a real snapshot of the early 1980s.Purple Rain, from 1984, is an even stronger case, because the movie and soundtrack are almost impossible to separate. The album came out on June 25, 1984. “When Doves Cry” was released in May, and “Let's Go Crazy” followed in July, so the film reached theaters with Prince already dominating the culture around it. I also like that “When Doves Cry” came out of a specific request from director Albert Magnoli. It was not just a Prince song sitting around waiting to be used. It was part of the movie as it was taking shape.Less Than Zero, works a little differently. People do not usually talk about its soundtrack with the same reverence, but it was still very plugged into late 1987. The Bangles recorded “Hazy Shade of Winter” for the film, and it went to number 2 on the Billboard Hot 100, which gave the soundtrack real chart power. The rest of the album also feels very rooted in its time, with Rick Rubin producing and artists like LL Cool J and Public Enemy sharing space with a sharper, louder Simon and Garfunkel cover. It really feels like a late 1987 attempt to pull different parts of current music into one package.Then there is Singles, from 1992, which may be the best example here of a soundtrack capturing a scene while it was still happening. The album came out on June 30, 1992, a few months before the movie opened, and it included Pearl Jam, Soundgarden, and Alice in Chains, along with Paul Westerberg, who also worked on the score. Cameron Crowe later called it more of an anti soundtrack, basically a souvenir of that scene instead of a tidy album built to sum up the movie. That feels right to me. It was not trying to seem current. It actually was current. Even the gap between the album release and the film helped give it that feeling.So that is the set this week. Four movies, four different kinds of soundtrack success, and four reminders that music can tie a film to its moment just as much as clothes, locations, or dialogue can. One caught the early 1980s world of radio and mall record stores. One became a hit album right alongside the movie. One used a major single to help define its identity. One caught a local scene before it had even settled into history. Those are the kinds of rentals I always like talking about, movies that bring back not just the film, but the moment when it first showed up.Thanks for reading Video Store Podcast! Subscribe for free to receive new posts and support my work. This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit www.videostorepodcast.com

Her name may have been funny to classmates, but nowadays Kate Micucci is funny to EVERYONE! Before “Garfunkel and Oates,” and before she became Velma on Scooby Doo, Kate was a small town, awkward kid who looked like a baby and listened primarily to Broadway musicals. Kate shares her origin story as a ukulele player and she goes through her colorful resumé of odd jobs, which included a stint as a professional sand castle architect. Plus, Kate’s new children’s book, The Monster and Puppet Show, is all about setting boundaries! Hear it all on a new issue of Teen Beat!See omnystudio.com/listener for privacy information.

The iconic folk duo met at an audition for the only country music band at a prestigious jazz school in Boston. They immediately clicked, and joined the rich lineage of Americana artists that stretches back centuries.In their 20s, Gillian Welch and David Rawlings discovered they had something special when they sang together, a sort of eerie emotional resonance that is usually confined to the blood harmonies produced when siblings sing together.Ever since they've been making music together which draws on the bluegrass, country and folk traditions they love.In their historic recording studio in Nashville, Tennessee (which has withstood three tornadoes in the last century), they craft haunting songs about the ugly and beautiful parts of humanity.For Gill and Dave, the DNA of folk music is something we can all contribute to, and which contributes to all of us.Gillian Welch and David Rawlings are currently touring Australia's eastern states. You can find information about where and when they are playing on their website.Their seventh studio album is called Woodland, named after their indestructible studio.This episode of Conversations was produced by Meggie Morris. Executive Producer is Nicola Harrison.This episode of Conversations was produced by Meggie Morris. Executive Producer is Nicola Harrison.It explores music, recording, career musicians, Woody Guthrie, The Carter Family, Lead Belly, revival folk, Bob Dylan, Joan Baez, Simon & Garfunkel, Joni Mitchell, Emmy Lou, Dolly Parton, Southern America, United States, Pete Seeger, Love, relationship, natural disaster, Neil Young, Gordon Lightfoot, Leonard Cohen, Odetta, Harry Belafonte, Rhiannon Giddens, banjo, guitar, mandolin, true crime, murder ballad, Revival, Time (The Revelator), Soul Journey, The Harrow & The Harvest, All the Good Times (Are Past & Gone), Grammy Awards, Grammys, songwriting, Coen Brothers, O Brother, Where Art Thou?To binge even more great episodes of the Conversations podcast with Richard Fidler and Sarah Kanowski go the ABC listen app (Australia) or wherever you get your podcasts. There you'll find hundreds of the best thought-provoking interviews with authors, writers, artists, politicians, psychologists, musicians, and celebrities.

If you need confirmation of Hollywood's vast influence on mass culture, look no further than the pop charts. From the 1937 classic Snow White and the Seven Dwarfs through this year's KPop Demon Hunters, soundtracks have launched hits, defined genres—and sometimes even eclipsed the films that inspired them in the first place. Rock classics, funk jams, rap bangers, even Christmas standards: all became hits because we heard them first at the cinema. Join Chris Molanphy as he unspools nearly a century of hit movie music, from Simon & Garfunkel's groundbreaking ode to “Mrs. Robinson,” to the, ahem, titanic tin whistle of “My Heart Will Go On.” Learn more about your ad choices. Visit megaphone.fm/adchoices

If you need confirmation of Hollywood's vast influence on mass culture, look no further than the pop charts. From the 1937 classic Snow White and the Seven Dwarfs through this year's KPop Demon Hunters, soundtracks have launched hits, defined genres—and sometimes even eclipsed the films that inspired them in the first place. Rock classics, funk jams, rap bangers, even Christmas standards: all became hits because we heard them first at the cinema. Join Chris Molanphy as he unspools nearly a century of hit movie music, from Simon & Garfunkel's groundbreaking ode to “Mrs. Robinson,” to the, ahem, titanic tin whistle of “My Heart Will Go On.” Learn more about your ad choices. Visit megaphone.fm/adchoices

If you need confirmation of Hollywood's vast influence on mass culture, look no further than the pop charts. From the 1937 classic Snow White and the Seven Dwarfs through this year's KPop Demon Hunters, soundtracks have launched hits, defined genres—and sometimes even eclipsed the films that inspired them in the first place. Rock classics, funk jams, rap bangers, even Christmas standards: all became hits because we heard them first at the cinema. Join Chris Molanphy as he unspools nearly a century of hit movie music, from Simon & Garfunkel's groundbreaking ode to “Mrs. Robinson,” to the, ahem, titanic tin whistle of “My Heart Will Go On.” Learn more about your ad choices. Visit megaphone.fm/adchoices

Spotify, Oracle, and Comcast have each recently announced they're going with co-C.E.O.s. In this 2023 episode, we dig into the research and hear firsthand stories of triumph and disaster. Also: lessons from computer programmers, Simon and Garfunkel, and bears versus alligators.   SOURCES:Jim Balsillie, retired chairman and co-C.E.O. of Research In Motion.Mike Cannon-Brookes, co-founder and C.E.O. of Atlassian.Scott Farquhar, co-founder and former co-C.E.O. of Atlassian.Marc Feigen, C.E.O. advisor.Jeffrey Sonnenfeld, professor of management studies and senior associate dean at the Yale School of Management and founding president of the Chief Executive Leadership Institute.Laurie Williams, professor of computer science at North Carolina State University. RESOURCES:"Scott Farquhar to resign as joint CEO of Atlassian," by Jonathan Barrett (The Guardian, 2024)."Is It Time to Consider Co-C.E.O.s?" by Marc A. Feigen, Michael Jenkins, and Anton Warendh (Harvard Business Review, 2022)."The Costs and Benefits of Pair Programming," by Alistair Cockburn and Laurie Williams (2000)."Strengthening the Case for Pair Programming," by Laurie Williams, Robert R. Kessler, Ward Cunningham, and Ron Jeffries (IEEE Software, 2000). EXTRAS:"The Secret Life of a C.E.O.," series by Freakonomics Radio (2018). Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.