Podcasts about gulf coast highway

We will take through the history of the Brooks Bridge and give you an update on the replacement project currently underway. More info on the replacement project by FDOT can be found at https://nwflroads.com/projects/415474-2 In the 1930s the state saw the need to connect northwest Florida to south Florida on a highway system that would require a fair amount of bridges. The Gulf Coast Highway system, aka the Florida Loop would go from Pensacola to Tampa. According to news articles, in 1931 funds began being allocated to build bridges to make this idea come true. Yes folks we are talking about the Brooks Bridge. We've had two Brooks Bridges since the 1930s and were about to see a third. You can already see buildings and signs being removed to make way for the new one. The construction of the new one as you may know, is being overseen by the Florida Department of Transportation.    

In this episode you'll hear Nanci sing:1)     Everything's Comin' Up Roses (from Blue Roses From The Moons)2)     The Last Of The True Believers (from Beyond Country)3)     Well... All Right by Nanci Griffith & The Crickets (from Not Fade Away [Remembering Buddy Holly])4)     Love At The Five And Dime (from One Fair Summer Evening [Live])5)     Battlefield (from Blue Roses From The Moons)6)     She Ain't Goin' Nowhere (from Blue Roses From The Moons)7)     It's Too Late by Nanci Griffith w/Tanita Tikaram (from Late Night Grande Hotel)8)     Two For The Road (from Blue Roses From The Moons)9)     Love Wore A Halo (Back Before The War) (from Little Love Affairs)10) Morning Train (from Blue Roses From The Moons)11) Late Night Grande Hotel (from Late Night Grande Hotel)12) One Blade Shy Of A Sharp Edge (from Late Night Grande Hotel)13) Lone Star State Of Mind (from Queens Of Country)14) Time Of Inconvenience (from Flyer)15) Gulf Coast Highway by Nanci Griffith (Duet w/Darius Rucker) (from Blue Roses From The Moons)16) Wouldn't That Be Fine (from Blue Roses From The Moons)17) Waiting For Love (from Blue Roses From The Moons)18) From A Distance (from One Fair Summer Evening [Live])*************Join the conversation on Facebook at https://www.facebook.com/profile.php?id=100008232395712  or by email at:dannymemorylane@gmail.com 

Useful Websites Opening Theme 00:00 Intro: 00:54 Feedback: 01:29 Bob, KJ4DZT, sends a Tweet that his wife got her license thanks to our show. Contact Richard via email kb5jbv@gmail.com, or on Twitter at twitter.com/kb5jbv. Send your show suggestions orquestions, too. Donations: 04:52 None received since October. Thanks to everyone who has donated. Pleasekeep them coming, so we can continue the shows. If one episode has helped, it should be worth at least a dollar. Visit the Resonant Frequency website then click the Help Support link to PayPal and make a donation. Click on the Amazon link to make your purchases, and we'll get a little bit of the transaction. 09:51 New section manager here, locally. We'll see how that works out. 10:21 We're looking at possibly doing some video, and perhaps a live show We will keep you posted. Song: 11:18 "If Love Can't Find A Way", by Eric Lindell, from the album "Gulf Coast Highway", Topic: 13:08 Useful websites: Pretty Good Projects www.prettygoodprojects.com, which is an entry point for the next foursites on this list, and more.www.dxanywhere.com - DX alerts service.www.hamradioforum.net - Lots of interesting forums of ham radio topics.www.hamtests.net (US) - Practice tests and other info for your license exams, UK or US.www.hamtests.co.uk (UK)hamfeed,com - A ham repeater for Twitter and 73s.org.hamtwits.com - A sort of Twitter directory of hams.73s.org - A collection of blog posts, photos, news, DX spots, etc., of interest to hams.www.hamradioclass.org - home of the Ham Radio Podclass, which will help you prepare for yourTechnician, General or Extra class amateur radio license exam.twitter.com - A microblogging service, with lots of amateur radio traffic available. Song: 39:55 "Welfare Blues" by Kirk Fletcher, from the album "Shades of Blue", available Closing theme: 45:38 Glossary - See Glossary for terms used on the show. Read More About Resonant Frequency: The Amateur Radio Podcast At www.rfpodcast.info

Vinyl LP Records - - - The history - - A phonograph record (also known as a gramophone record, especially in British English), often simply called a record, was an analog sound storage medium in the form of a flat disc with an inscribed, modulated spiral groove. The groove usually starts near the periphery and ends near the center of the disc. Because the records were made of polyvinyl chloride they took on the name “VINYL”. In the mid-2000s, gradually, records made of any material began to be called vinyl records, or simply vinyl. The phonograph disc record was the primary medium used for music reproduction throughout the 20th century. - - - The details - - The LP record (from "long playing" or "long play") is a phonograph record format characterized by a speed of 33 1⁄3 rpm, having a 12- or 10-inch (30- or 25-cm) diameter, and uses the "microgroove" groove specification. Introduced by Columbia in 1948, it was soon adopted as a new standard by the entire record industry. The new product was a 12- or 10-inch (30 or 25 cm) fine-grooved disc made of PVC ("vinyl") and played with a smaller-tipped "microgroove" stylus at a speed of 33 1⁄3 rpm. Each side of a 12-inch LP could play for about 22 minutes. The average LP has about 1,500 feet (460 m; 0.28 mi) of groove on each side. The average tangential needle speed relative to the disc surface is approximately 1 mile per hour (1.6 km/h; 0.45 m/s). It travels fastest on the outside edge. - - - It is one, long, groove - filled with music. But, in reality, it is “Just A Groove”, an album oriented groove. Enjoy. - - - Join the conversation on Facebook at - - - https://www.facebook.com/profile.php?id=100008232395712 or by email at - - - dannymemorylane@gmail.com - - - You’ll hear: 1) South of I-10 by Sonny Landreth [From Landreth's 4th studio album, South of I-10 (1995)] 2) Angels by Peter Holsapple & Chris Stamey [From their 2008 album, Mavericks] 3) Rosie by Peter Wolf [lead vocalist of the J. Geils Band from 1967 to 1983] [From his 4th solo album, Long Line] 4) Five Cups of Coffee by The Jayhawks [From their 1989 album, Blue Earth] 5) Coyote Moon by Rainravens [From the 1996 album, Rainravens] 6) We Have Forgotten by Sixpence None The Richer [From their 1997 album, Sixpence None The Richer] 7) Free Your Mind by The Band [From their 1996 album, High on The Hog] 8) Open All Night by Son Volt [From Badlands: A Tribute To Bruce Springsteen's Nebraska] 9) Save Me by Aimee Mann [Written & performed for the 1999 film, Magnolia] 10) Gravity Fails by The Bottle Rockets [From the 1994 album, The Brooklyn Side] 11) Still Be Around by Uncle Tupelo [From his 1991 album, Still Feel Gone] 12) Birdland by Jolene [From the album, Hell's Half Acre, their debut LP, rel. 1996] 13) Fade Into You by Mazzy Star (w/ Hope Sandoval, lead vocals) [From their 1993 album (2nd studio), So Tonight That I Might See] 14) Carolyn by Steve Wynn [From the 1990 album, Kerosene Man] 15) Without Her Around by Swales [From the 1995 album, What's His Name] 16) Left Of The Middle by Natalie Imbruglia [From her 1997 debut studio album, Left Of The Middle] 17) Mixed Up, Shook Up Girl by Mink Deville [From the 1977 album, Cabretta] 18) Get Out Of This House by Shawn Colvin [From the 1996 album, A Few Small Repairs] 19) Box Full Of Letters by Wilco [From the 1995 album, A.M.] 20) Hearts On Fire by Gram Parsons and Emmylou Harris [From Grievous Angel (1973)] 21) I'll Be Your Baby Tonight by Kris Kristofferson [From Bob Dylan: The 30th Anniversary Concert Celebration] 22) Drawn To The Rhythm by Sarah McLachlan [From the 1991 album, Solace] 23) Put Down The Gun by Peter Case [From the 1989 album, The Man with the Blue Post-Modern Fragmented Neo-Traditionalist Guitar] 24) Misguided Angel by Cowboy Junkies (w/ Margo Timmins, lead vocals) [From their 2nd album, The Trinity Session] 25) She Never Spoke Spanish To Me by Joe Ely [From his 1977 self-titled album, Joe Ely] 26) Love To Love You by The Corrs [From the 1995 album, Forgiven, Not Forgotten] 27) Is Fellini Really Dead? by Elliott Murphy [From the 1995 album, Selling The Gold] 28) Gulf Coast Highway by Nanci Griffith (Duet w/Darius Rucker) [From her 1997 album, Blue Roses From The Moons] 29) 4th Of July by Dave Alvin [From his 1987 album, Romeo's Escape] 30) A Long December by Counting Crows [From their 2nd studio album, Recovering the Satellites (1996)] 31) Feel My Way by The Mysteries Of Life [From the 1996 album, Keep A Secret]

Today, Todd Miller joins us to talk about his new book, “Empire of Borders.” What is going on at the US-Mexico border, is just the tip of the iceberg. The US Security state is worldwide and it is waging a war in on the Poor. ExcerptWe arrived at the Guatemalan military base in Zacapa on a hot morning in early June. In the front there was a closed gate guarded by soldiers in green jungle camouflage and floppy hats, cradling automatic weapons. Zacapa, one of 22 department capitals in the country, sits in the eastern borderlands with Honduras. Its name comes from Nahuatl; it means “river of grass.” From Zacapa, if you wanted to go to Brownsville, Texas—the closest point in the United States—you’d travel almost 1,440 miles overland, mostly up Mexico’s Gulf Coast Highway. But if you wanted to see the U.S. border, you wouldn’t need to travel at all; it has already come to this small city in Guatemala. That’s why I was there.I had come with fellow researcher and photojournalist Jeff Abbott to meet with the Chorti task force, Guatemala’s new border patrol, but I wasn’t at all sure they would let us in. We were two hours late. Luckily, the soldiers—who looked as if they were in their late teens—heard me out. I explained the 200- mile journey we’d taken to get to Zacapa from San Pedro Sula, where we’d been the day before. I told them that the buses in Honduras didn’t run at night and the bus driver this morning decided to have a 45- minute breakfast (I was wary about adding this last detail because, really, how could I blame him? But I had to build my case). I told them about the delay at the international border. They nodded because they knew. They knew what it was to travel, to move, to migrate, especially across international borders—so fraught with difficulties, including an endless string of checkpoints. At the Zacapa base, I wondered if any of the soldiers who stood before me, someone perhaps from one of Guatemala’s many poor communities, would be permitted entry into the United States. I wondered how many had tried.We live in a world of the included and the excluded, of those who can vacation (and do business) where they please and those who are walled in by borders and armed guards. And many of those armed guards, as was clearly the case with the soldiers at the Zacapa base, would themselves be prevented from crossing a good percentage of the globe’s political borders. …. In Zacapa, we waited while one of the soldiers made phone calls. We tried to find shade under the corrugated metal roof overhanging the front gate. From where we stood there was a view of a parched mountain, with “Segunda Brigada de Infanteria C.G.R.C.” (Second Infantry Brigade) inscribed on the ground on the side of the mountain, in large white letters amid bushes and small, shrubby trees under what looked like a cell tower. The military base was in the Central American dry corridor—a long swath of territory that extended into Honduras, El Salvador, Nicaragua, and as far as Panama—and at this very moment, on June 2015, they were experiencing a historic drought. For small farmers in the region, the drought was going to eat away harvests, leaving hunger in a place that climate scientist Chris Castro called “ground zero” for climate change in the Americas. These droughts have persisted now for years (in 2009, Guatemalan President Alvaro Colom declared a “state of calamity,” or a famine), and according to Castro, if climate-changing trends continue, it will get worse.Not only has the planet’s earth- altering era of climate change, which some call the Anthropocene, been a gut punch to a place like Guatemala, it’s gone hand in hand with an unprecedented thrust in border militarization across the globe. Long- term forecasts have predicted that ecological upheavals are going to drive unparalleled levels of human migration. I had plenty of time to think about all this while we waited for permission. Finally, the soldier making the calls returned. “Are you with BORTAC?”I was stunned. Had I heard him correctly?There was only one possible way that the soldier could have known about BORTAC—the U.S. Border Patrol special forces and tactical unit. Agents of BORTAC must have stood at this gate before. Even in the United States, very few people knew about BORTAC’s SWAT-style operations in the U.S. borderlands, or about its “global response capacity.” Fewer still were aware that BORTAC had conducted “training and operations both in the United States and in other countries in furtherance of the U.S. Border Patrol’s mission.About Todd MillerTodd Miller is the author of Border Patrol Nation and Storming the Wall, winner of the 2018 Izzy Award for investigative journalism. His writing has been published by the New York Times, TomDispatch, Mother Jones, the Nation, Al Jazeera English, and Salon.Click here to purchase Get full access to Historic.ly at historicly.substack.com/subscribe

With Aasmah Mir and the Rev Richard Coles Lenny Henry talks about his new album of Blues music and his hugely successful career in show business. Following the news that he will receive a special BAFTA award at this year's ceremony, Lenny discusses how his career has moved from TV comedian to Shakespearean actor and scriptwriter. Lenny is also one of the founders of the charity Comic Relief which has raised over a billion pounds since it started. Soprano Pumeza Matshikiza was brought up in the townships of South Africa and made the giant leap into a professional operatic career and a major label recording contract. Pumeza first heard opera on the radio aged 14 and despite being unable to read music she dedicated herself to studying the art form. Jack Cooke tells us why he gave up his office job for a life climbing trees. Jack has climbed over 80 trees for his new book and reveals the unusual things he's found up trees and some of the more surreal arboreal adventures he's had. Ceramics designer Emma Bridgewater shares her Inheritance Tracks: Le Premier Bonheur du Jour by Francoise Hardy and Gulf Coast Highway by Emmylou Harris & Willie Nelson. Ana Matronic from the Scissor Sisters talks to reporter Anna Bailey about her love of robots. And former hang gliding world champion Ron Freeman explains how he was first inspired to take up the sport after watching Peter Pan. Producer: Steven Williams Editor: Karen Dalziel.

THE McCRARY SISTERS are the daughters of the late Rev. Samuel McCrary, who was one of the original members of the legendary gospel quartet, The Fairfield Four. Ann, Deborah, Regina, and Alfreda were raised in harmony, singing at home and at their father's church. The McCrary's home was filled with music, whether it was the Fairfield Four or frequent guests that included a pantheon of gospel greats, including Shirley Caesar and James Cleveland. Collectively the sisters have performed or recorded with Bob Dylan, Johnny Cash, Elvis, Stevie Wonder, Ray Stevens, and others. The sister's new CD "Our Journey," include stunning covers of Dylan's "Blowing In The Wind" and Julie Miller's "Broken Pieces" as well as six McCrary Sister originals (including one co-written by Regina and Bob Dylan. DANNY FLOWERS is the awe-inspiring guitar guru, soulful singer and hit songwriter. His hits included "Tulsa Time" for Don Williams and Eric Clapton; "Back In My Younger Days" for Don Williams; "Gulf Coast Highway" for Emmylou Harris, Willie Nelson, and Nanci Griffith (co-written with Griffith and James Hooker); and "Before Believing" from Harris' Pieces of the Sky. In addition he has been a session musician for Williams, Griffith, Vince Gill, Marshall Chapman, and Dobie Gray. Flowers has also enjoyed a solo recording career including the 2007 album, Tools For The Soul.

In the 1600s, African-born slaves in the United States were prohibited from playing-or even possessing-musical instruments. Regardless, the plantation fields still swayed with music as Blacks sung a capella (without instruments) to the rhythms of work. Slaveowners strove to Christianize their slaves, and many Blacks sympathized with the struggle of Jesus and found comfort in the hope of heaven. Slaves were forbidden from gathering, but conducted religious services in secret. At these meetings, informal worksongs evolved into intricate songs of redemption, struggle, and Christian faith that came to be known as "spirituals." The multi-part harmonies of these spirituals set in motion a long tradition of Black choral music. In the late 19th century, Harry Burleigh-a protege of Antonin Dvorak-took the musical style to new heights with choral arrangements informed by his classical training. Modern choral music takes on many different forms, and is often accompanied by the piano, percussion, and bass.

Composer Thomas A. Dorsey and other pioneers of gospel music helped open the church doors to music considered sinful by conservative churchgoers. In the 1930s, Dorsey livened up the hymnal by incorporating elements of blues and jazz. Early "Sanctified" churches also influenced the restrained environment of mainline churches. Sanctified preachers encouraged the congregation to spontaneously burst into improvised musical lines to express their faith. Following in the footsteps of this stylistic freedom, groups such as the Golden Gate Quartet and the Five Blind Boys of Mississippi began ad-libbing in their jubilee style of gospel music. Jubilee is characterized by a strong, pumping bass, and lead vocals that ride the line between spoken and sung. The Golden Gate Quartet and other four-part choral groups showcased stunning solos and intricate harmonies. The tradition of gospel quartets continues to lift the spirits of both its listeners and participants in concert halls and churches alike.

In the early 19th century, the fertile delta of northwest Mississippi gave rise to a thriving cotton industry. As White cotton planters turned profits, Blacks toiling in their fields turned to singing and hollering to lighten their load, pass the time, and communicate with each other. Early Mississippi Delta blues songs reflect Southern Blacks' struggle to cope with racial oppression, illiteracy, and poverty. As worksongs grew in length and complexity, blues music moved from the fields to juke joints. Musicians like Charley Patton, Son House, and Robert Johnson accompanied their harsh, raspy vocals (sometimes spoken rather than sung) with powerful, driving rhythms on the guitar or harmonica. The Delta blues style continues to be characterized by raw vocalizing and rhythmic intensity. In addition, Delta blues musicians often employ slide techniques, meaning they move a glass or metal tube called a slide along a guitar's strings to change the notes.

Louisiana-based Cajun music has roots in unaccompanied, narrative ballads brought by European settlers. Sung at weddings and funerals as well as informal parties, these ballads told stories of love and death, humor and nostalgia. Cajun songs, traditionally sung in French, fused narrative balladry, Irish and Anglo-American reels and jigs, and Black and Native American folk traditions. The earliest instrument that typified Cajun music was the fiddle. In dance halls and house parties called fais-do-dos, two fiddlers performed together-the lead playing melody, the other playing back-up. The powerful accordion sound soon joined the twin fiddles along with percussion inspired by Creole music. In the 1930s and 1940s, steel guitars, mandolins, and banjos entered the scene, bringing a country-western swing to Cajun music. (This strong country influence differentiates Cajun music from the closely aligned zydeco music.) The Cajun bands of today are incorporating electric guitars and amplified instruments, proving that the Cajun sound is continuing to evolve.

Follow behind a parade in New Orleans and you'll still be a part of the show. Whether a parade was organized for a celebration or funeral, honorees and others in the main procession would be followed by a "second line" of participants hoping to get closer to the rhythms of the brass bands. The term "second line" would come to be associated with brass band music and the fancy footwork that accompanies it. New Orleans has a long tradition of brass bands, dating back to the early 20th century. Consisting mostly of brass instruments like trumpets and trombones and percussion, brass bands played a blend of European military band music, African folk music, and jazz. The brass band tradition experienced a revival in the 1970s and 1980s when bands like the Rebirth Brass Band and the Dirty Dozen Brass Band laced traditional sounds with funk, hip hop, bebop, and R and B.

In 1920s rural Louisiana, ten cents granted admission to hours of rollicking music at a "La La" house party. La La party music—characterized by the use of accordions, fiddles, triangles, and washboards or rub-boards called frottoirs—formed the basis of zydeco. The French-speaking Creoles of southwest Louisiana added elements of blues and jazz to the party mix. The result was zydeco, a musical style dominated by the accordion, frottoir, and heavy syncopation (a rhythmic technique of shifting accents to weak beats). Accordion player and singer Clifton Chenier was credited with naming this musical genre. After a long history of hits like "Zydeco Sont pas Sale," Chenier was dubbed the "King of Zydeco." Zydeco is often linked with Cajun music, but it has a harder, faster sound and employs more electric instruments. In dance halls today, elements of soul, disco, rap, and reggae can be heard among the rhythms of the frottoir.

Texas blues originated in the early 1900s alongside the sweat and tears of Blacks working on oilfields, lumber camps, and ranches. After a day of back-breaking labor, workers could unwind in nearby bars or on their own porches and listen to blues musicians who spoke to their own experiences. The Texas sound is known for being more relaxed than other blues styles, with breathier vocals and a swinging feel. Bluesman Blind Lemon Jefferson put Texas on the blues map with his jazzy improvisation and percussive way of playing the guitar. Jefferson's technique of picking along a single string and hammering out repetitive figures in the lower register influenced generations of musicians. After World War II, blues went electric. With the advent of the electric guitar came increased volume and resonance—a sought-after sound among recording studios in northern U.S. cities. Although many musicians migrated north to join the booming recording industry, the blues still thrives in Texas today.

Texas has a rich tradition of troubadours—singer-songwriters who write, compose, and sing original songs. Grounded in the folk music tradition, singer-songwriters are recognized for their meaningful lyrics about real-life subjects as varied as social justice and family, war and love. Fueled by a strong sense of Texan identity and tried-and-true imagination, Texas songwriters tend to have a keen sense of place, revealed in the visual details of their lyrics. Texas troubadours Townes Van Zandt and Guy Clarke ushered in the Texas singer-songwriter movement of the 1970s with poetic, emotional lyrics and music shaped by country, blues, folk, and tex-mex. Today's troubadours are also greatly influenced by Willie Nelson's outlaw country music, a grittier version of the popular country music that was coming out of Nashville at the time. Backed by a tradition of independent spirit and grounded in multicultural roots, Texas singer-songwriters continue to imbue classic musical genres with new experiences and sounds.

Along the Texas-Mexican border in the 19th century, Mexicans, Native Americans, and Anglo-Americans living in the region intermingled with European immigrants looking for new opportunities. The clash and fusion of multiple languages and traditions resulted in a distinct "Tejano" culture. Tejano music is influenced by Mexican storytelling ballads called corridos, accordion-based polkas of norteño music, Anglo-American fiddle music, mariachi bands, Colombian cumbia, and the lively brass section of small, local bands called orquestas—not to mention salsa, rock, jazz, blues, funk, and country. Border music also owes its sound to German immigrants who filled dance halls with waltzes, polkas, and the distinctive tones of the accordion. Narciso Martínez was one of the first and most influential accordion players in the border region due to his virtuosic, fast-paced playing. When he brought together the accordion with the bajo sexto (12-string bass guitar) in the 1930s, conjunto music was born.

Along the Texas-Mexican border in the 19th century, Mexicans, Native Americans, and Anglo-Americans living in the region intermingled with European immigrants looking for new opportunities. The clash and fusion of multiple languages and traditions resulted in a distinct "Tejano" culture. Tejano music is influenced by Mexican storytelling ballads called corridos, accordion-based polkas of norteño music, Anglo-American fiddle music, mariachi bands, Colombian cumbia, and the lively brass section of small, local bands called orquestas—not to mention salsa, rock, jazz, blues, funk, and country. Border music also owes its sound to German immigrants who filled dance halls with waltzes, polkas, and the distinctive tones of the accordion. Narciso Martínez was one of the first and most influential accordion players in the border region due to his virtuosic, fast-paced playing. When he brought together the accordion with the bajo sexto (12-string bass guitar) in the 1930s, conjunto music was born.