Podcasts about Here I Stand

Edward from Heavy Cardboard joins Candice to discuss the appeal of heavy board games, the ones they've been diggin, and the ones where the juice is worth the squeeze.00:00:00 Introduction00:15:38 Fresh Plays00:16:35 Ayar: Children of the Sun00:25:38 Cosmic Frog00:31:54 Speakeasy00:40:23 Dungeon Degenerates00:54:25 Heavy Games: When the Juice is Worth the Squeeze00:56:15 The Heaviness in Board Games01:16:59 Age of Steam01:22:22 Leaving Earth01:26:20 Crystal Palace01:30:52 Black Rose Wars: Rebirth + Age of Innovation01:34:04 Stress Botics: Odyssey01:40:25 Feudum01:42:53 Edward's List of Games Worth the Squeeze (Stress Botics Odyssey, Age of Steam, Antiquity, Pax Transhumanity, Reef Encounter, Weimar: The Fight for Democracy, Tales of the Northlands: The Sagas of Noggin the Nog, Mr. President, Die Macher, John Company, Dilluvia Project, The Colonists, For-Ex, Sekigahara)01:46:24 Candice's List of Games Worth the Squeeze (Feudum, Too Many Bones, Spirit Island, Mage Knight, COIN & ICS series, War of the Ring: Second Edition, TI4, Cerebria, Here I Stand, Fields of Fire)01:51:08 D-Day at Omaha Beach01:55:38 Sign-offThank you to our sponsor, CATAN Studio!Hope you can join us for our 2025 BGG conventions! For more details and to register for your badge: BGG.Spring May 22-26BGG.CON November 19-23Web: https://boardgamegeek.com/YouTube: https://www.youtube.com/@boardgamegeekTwitter: https://twitter.com/BoardGameGeekEmail: podcast@boardgamegeek.com

TOP 2003L'équipe d'Un Board Game Parfait continue son voyage dans le temps avec une visite en 2003, une année où l'on retrouve un jeu qui fait l'unanimité dans l'équipe, contraitement à la série TV inspirée du même thème que ce jeu. On vous parle aussi de nos dernière expérience de jeux dont une partie épique de Here I Stand; Civolution, le dernier jeu de Stefan Feld et le fameux Finspan!0:00 - Générique0:30 - Introductions8:23 - Tour de table (David) - One-Hit Heroes19:50 - Tour de table (Pierre-Marc) - Civolution40:11 - Tour de table (Patrice) - Here I Stand59:48 - Tour de table (Vincent) - Oceans1:10:30 - Tour de table (David) - Finspan1:21:05 - Tour de table (Patrice) - Santorini: Riddle of the Sphinx1:30:10 - Tour de table (Pierre-Marc) - Hybris: Disordered Cosmos1:40:52 - Tour de table (Vincent) - Le Château Blanc1:46:05 - Interlude1:46:36 - TOP 20031:47:15 - Cranium1:50:44 - Princes of the Renaissance 1:52:12 - A Game of Thrones 2:07:45 - Carcassonne: The Castle2:11:24 - Santiago 2:15:35 - Quicksand 2:17:20 - Amun-Re 2:26:21 - Mare Nostrum2:30:22 - Comme des mouches 2:33:41 - Mentions Honorables sur les Monopoly2:39:17 - ConclusionSend us a textSupportez-nous sur Patreon:https://www.patreon.com/professeurboardgameVisitez notre commanditaire premium Lillojeux:596 boul. Perron, Maria, QCBoutique en ligne: https://www.lillojeux.ca/Page Facebook: https://www.facebook.com/lillojeuxYouTube: https://www.youtube.com/channel/UCVdrvh7UHAz0Q95s1o_MHyQ

Before taking to the stage at the London Eurovision Party, Tim spoke with Vasil for an interview. Vasil represented North Macedonia at Eurovision 2020 and 2021 with his song “You” and “Here I Stand”. Together, Tim and Vasil reflect on his Eurovision journey and how COVID-19 affected his path to Rotterdam. They also discuss Vasil’s […] The post TEP Interviews: Vasil (North Macedonia 2021) at London Eurovision Party 2025 appeared first on That Eurovision Site.

SCRIPTURE- James 1:17"Every good and perfect gift is from above, coming down from the Father of the heavenly lights, who does not change like shifting shadows."REFLECTION- GerryMUSIC- "Mother of God, Here I Stand" by Tavener- "More Love, More Power" InstrumentalNOTES- thegodminute.org/lent

Words of WelcomeRev. Dr. Mark Williams, Senior MinisterRev. Katherine Mulhern, LiturgistInvocationRev. Dr. Mark WilliamsPastoral PrayerRev. Katherine MulhernScripture Jeremiah 1:  4-10 (NRSV)Rev. Katherine MulhernSermon: "Here I Stand"Rev. Dr. Mark WilliamsBenedictionRev. Dr. Mark WilliamsSupport the show

PA singer/songwriter/award-winning Americana Folk/Pop Artist Randie O'Neil talks about her latest release “What Do You Say Santa?” in time for the Christmas holiday season exploring the pressure to be at your best behavior at parties…especially at the watchful eyes like Elf on the Shelf! Randie is not only a multi-talented artist, she's also an adolescent intervention specialist & drawing her own story of having to survive an abusive alcoholic environment as a child plus her other releases “I'm Not That Girl”, “Here I Stand”, “Full Moon Rising” and “Heart & Soul” and shares the stories behind the music! Check out the amazing Randie O'Neil on all major platforms and www.randieoneil.com today! #randieoneil #singersongwriter #awardwinning #americanafolkpopartist #whatdoyousaysanta #christmas #christmasparties #elfontheshelf #imnotthatgirl #hereistand #heartandsoul #fullmoonrising #spreaker #iheartradio #spotify #applemusic #youtube #anchorfm #bitchute #rumble #mikewagner #themikewagnershow #mikewagnerrandieoneil #themikewagnershowrandieoneil   --- Support this podcast: https://podcasters.spotify.com/pod/show/themikewagnershow/support

PA singer/songwriter/award-winning Americana Folk/Pop Artist Randie O'Neil talks about her latest release “What Do You Say Santa?” in time for the Christmas holiday season exploring the pressure to be at your best behavior at parties…especially at the watchful eyes like Elf on the Shelf! Randie is not only a multi-talented artist, she's also an adolescent intervention specialist & drawing her own story of having to survive an abusive alcoholic environment as a child plus her other releases “I'm Not That Girl”, “Here I Stand”, “Full Moon Rising” and “Heart & Soul” and shares the stories behind the music! Check out the amazing Randie O'Neil on all major platforms and www.randieoneil.com today! #randieoneil #singersongwriter #awardwinning #americanafolkpopartist #whatdoyousaysanta #christmas #christmasparties #elfontheshelf #imnotthatgirl #hereistand #heartandsoul #fullmoonrising #spreaker #iheartradio #spotify #applemusic #youtube #anchorfm #bitchute #rumble #mikewagner #themikewagnershow #mikewagnerrandieoneil #themikewagnershowrandieoneil --- Support this podcast: https://podcasters.spotify.com/pod/show/themikewagnershow/support

PA singer/songwriter/award-winning Americana Folk/Pop Artist Randie O'Neil talks about her latest release “What Do You Say Santa?” in time for the Christmas holiday season exploring the pressure to be at your best behavior at parties…especially at the watchful eyes like Elf on the Shelf! Randie is not only a multi-talented artist, she's also an adolescent intervention specialist & drawing her own story of having to survive an abusive alcoholic environment as a child plus her other releases “I'm Not That Girl”, “Here I Stand”, “Full Moon Rising” and “Heart & Soul” and shares the stories behind the music! Check out the amazing Randie O'Neil on all major platforms and www.randieoneil.com today! #randieoneil #singersongwriter #awardwinning #americanafolkpopartist #whatdoyousaysanta #christmas #christmasparties #elfontheshelf #imnotthatgirl #hereistand #heartandsoul #fullmoonrising #spreaker #iheartradio #spotify #applemusic #youtube #anchorfm #bitchute #rumble #mikewagner #themikewagnershow #mikewagnerrandieoneil #themikewagnershowrandieoneil    Become a supporter of this podcast: https://www.spreaker.com/podcast/the-mike-wagner-show--3140147/support.

Roman Catholics readily agree that God saves his people by grace, through faith, because of Christ. But is it grace alone, faith alone, and Christ alone? Join Emma, Grace, and Christian as they discover the importance of that little word in the Protestant Reformation and in our churches today with the help of Dr. Scott Clark, professor of Church History and Historical Theology at Westminster Seminary California.   We are pleased to offer a copy of Simonetta Carr's award-winning book, Church History, to our listeners, thanks to the generosity of our friends at Reformation Heritage Books. Click here to enter.  SDG   Show Notes: To learn more about church history, Scott Clark recommends books by Simonetta Carr, and so do we! https://reformedresources.org/books/simonetta-carr/ Here I Stand, by Roland Herbert Bainton: https://a.co/d/8hw0yDp Scott Clark's Blog: https://heidelblog.net/

Psalm 130 "Here I Stand" Pastor Tom Gray

Miz Cracker: Here I Stand In her brand new stand-up comedy special, Here I Stand, drag queen and comedienne Miz Cracker discusses everything from sex and dating to quarantining, dieting, and getting older. With her signature brand of cheerful pessimism, she tells jokes and stories about her bizarre childhood, her vices, her worst mistakes, and how she managed to survive it all. Embracing a message of self-acceptance, Here I Stand is a show for anyone who needs to laugh out loud—sometimes at themselves. COMEDY DYNAMICS YouTube Facebook X (Twitter) TikTok Instagram Learn more about your ad choices. Visit podcastchoices.com/adchoices

Roy Cannaday from the Dice Tower (and game designer of Last Light) joins Candice to discuss their favorite board games with asymmetric factions.00:00:00 Introduction00:04:43 Fresh Plays00:04:59 Let's Go! To Japan00:09:31 Tindahan (Filipino Fruit Market)00:13:44 Trick and Trade00:14:26 Like Cain and Abel00:16:56 Fortitude00:17:29 Star Wars: Unlimited00:22:31 Ironwood00:35:58 Asymmetric Faction Satisfaction00:36:02 The Asymmetric Faction Secret Sauce00:41:34 Dune 00:44:56 Heavy Euros (Age of Innovation, Gaia Project, Terra Mystica)00:48:33 Twilight Imperium (Fourth Edition) 00:51:29 Cooperative Games (Spirit Island, Too Many Bones)00:54:06 Root00:56:12 Historical Games (The COIN Series, Here I Stand)01:01:53 Heroes of Land, Air & Sea01:05:08 Two-player Epics (Dune: War for Arrakis, War of the Ring, Star Wars: Rebellion)01:12:12 Cosmic Encounter01:15:35 Multiplayer Games (TI4, Root, Dune, Hegemony)01:17:29 Two-player Card Games (Android: Netrunner, 1815 Scum of the Earth)01:20:12 Honorable Mentions (Vijayanagara, Defence of Procyon III, Vast, Crescent Moon, Red Dust Rebellion)01:23:57 Sign-offThank you to our sponsor, Lookout Games!Web: https://boardgamegeek.com/YouTube: https://www.youtube.com/@boardgamegeekTwitter: https://twitter.com/BoardGameGeekEmail: podcast@boardgamegeek.com

HERE I STAND tells the unforgettable true story of a young, African-American woman who defies the odds by becoming a reporter for the Wall Street Journal, an award winning filmmaker and a competitive athlete after she overcomes life with the Philadelphia Italian Mafia, drugs, violence, criminal activity, homelessness, and prostitution. Eventually, Jillian got off the streets when she learned she was pregnant at age 16. Over time, she kicked drugs and returned to high school. She turned her life into a story of survival by transforming herself from a Victim to a Victor. Jillian's amazing adaptation, success and achievements includes becoming a reporter for the Wall Street Journal while she attended La Salle University. Once she received a degree in Communications, she earned an internship on the set of Spike Lee's film, Malcolm X.   Today, Jillian, who is the CEO of Jaguar Productions, Inc., a film and sports entertainment company in Pennsylvania. She is also the CEO of Jillian Bullock Enterprises, LLC, a fitness, wellness and empowerment company. MUST READ:   HERE I STAND JILLIAN BULLOCK

pWotD Episode 2477: Usher (musician) Welcome to popular Wiki of the Day where we read the summary of a popular Wikipedia page every day.With 1,595,747 views on Monday, 12 February 2024 our article of the day is Usher (musician).Usher Raymond IV (born October 14, 1978) is an American singer, songwriter, and dancer. He is widely recognized as an influential figure in contemporary R&B and pop music. Usher first released his self-titled debut album (1994) at the age of 16, and rose to fame in the late 1990s following the release of his second album, My Way (1997). It spawned his first Billboard Hot 100 number-one single "Nice & Slow", and the top-two singles "You Make Me Wanna..." and "My Way". His third album, 8701 (2001) saw continued success and contained two number-one singles, "U Remind Me" and "U Got It Bad", as well as the top-three single "U Don't Have to Call". It sold eight million copies worldwide and won his first two Grammy Awards for Best Male R&B Vocal Performance consecutively in 2002 and 2003.Confessions (2004) established Usher as one of the best-selling musical artists of the 2000s decade, supported by four consecutive Billboard Hot 100 number-one singles—"Yeah!" (featuring Lil Jon and Ludacris), "Burn", "Confessions Part II", and "My Boo" (with Alicia Keys)—and the top-ten "Caught Up". The album sold over 20 million copies worldwide and received diamond certification by the RIAA. After splitting from his manager and mother in 2007, he released the albums Here I Stand (2008) and Raymond v. Raymond (2010), both of which debuted atop the Billboard 200 chart and spawned the respective number-one singles "Love in This Club" (featuring Young Jeezy) and "OMG" (featuring will.i.am). The latter spawned the single "There Goes My Baby", which won his third Grammy Award for Best Male R&B Vocal Performance. His debut extended play, Versus (2010) produced the top-five single "DJ Got Us Fallin' in Love" (featuring Pitbull). His seventh album, Looking 4 Myself (2012) likewise debuted atop the chart and saw further electronic production; it spawned the top-ten single "Scream" and top 20 single "Climax"—which received a Grammy Award. His 2014 standalone single, "I Don't Mind" (featuring Juicy J) reached the top-15 of the Billboard Hot 100, and his eighth album, Hard II Love (2016) peaked at number five on the Billboard 200. His ninth album, Coming Home (2024) was released as a first independent project, preceded by the single "Good Good" (with 21 Savage and Summer Walker).Usher has sold 33 million albums, 81 million digital songs in the United States. Internationally, he has sold 150 million records worldwide, making him one of the best-selling music artists of all time. At the end of 2009, Billboard named him the second most successful artist of the decade, the number-one Hot 100 artist of the decade, and ranked Confessions as the top solo album of the decade. The same magazine placed him at number 6 on their list of "Top 50 R&B/Hip-Hop Artists of the Past 25 Years". In 2023, Rolling Stone magazine named him the 97th greatest singer of all time. Usher has earned 9 number-one singles. Considered an icon and sex symbol, he has been inducted into the Georgia Music Hall of Fame, the Black Music and Entertainment Walk of Fame, SoundExchange Hall of Fame, and the Hollywood Walk of Fame. Usher has won numerous awards and accolades including 8 Grammy Awards, 12 Soul Train Music Awards, 8 American Music Awards and 3 Guinness World Records. With 18 awards, Usher is the fifth-most awarded artist at the Billboard Music Awards. Usher co-founded the record label Raymond-Braun Media Group (RBMG) in a joint venture with talent manager Scooter Braun, which was the first label to sign Canadian singer Justin Bieber in 2008. Outside of music, Usher is acclaimed for involvement in humanitarian causes, having founded the charitable non-profit Usher's New Look in 1999.This recording reflects the Wikipedia text as of 01:49 UTC on Tuesday, 13 February 2024.For the full current version of the article, see Usher (musician) on Wikipedia.This podcast uses content from Wikipedia under the Creative Commons Attribution-ShareAlike License.Visit our archives at wikioftheday.com and subscribe to stay updated on new episodes.Follow us on Mastodon at @wikioftheday@masto.ai.Also check out Curmudgeon's Corner, a current events podcast.Until next time, I'm Emma Standard.

Fresh off his Super Bowl halftime performance - let's dive into the album in Usher's discography that gets written off the most (in my humble opinion)... "Here I Stand".Support the show

In anticipation of Usher's Super Bowl Halftime performance on Sunday, we're re-sharing our episode on him from September 2022. Music writer and Assistant Professor at Syracuse University, Rawiya Kameir, is back on the show to discuss the career and confessions of the great Usher. DJ Louie and Rawiya break down Usher's musical origins singing in the church, the failed boy band he fronted in the early ‘90s, Nu Beginnings, and how his deal with the storied LaFace Records and subsequent “flavor camp” with Sean “Puff Daddy' Combs set the stage for his self-titled debut record in 1994. They then dive into his breakthrough sophomore album, 1997's My Way, how it solidified Usher's persona as a smooth, sensitive, emotionally-conflicted lover boy as well as one of the most dexterous R&B singers of his generation, its blockbuster follow up, 2001's 8701, which furthered Usher's thematic fascination with the complexities of and distress caused by love and sex and of course, his magnum opus, 2004's Confessions, a hit-packed concept album about the aftermath of infidelity that sold over 20 million copies worldwide and stands today as Usher's signature artistic and commercial achievement. Next, Louie and Rawiya debate Usher's latter period output, from swings at trendiness on 2008's Here I Stand and 2010's Raymond Vs. Raymond to more rewarding experiments on 2012's Looking 4 Myself and 2016's Hard II Love. Finally they rank Usher in the official Pop Pantheon.Check out Louie's Usher Essentials Playlist on SpotifyJoin Pop Pantheon: All Access, Our Patreon Channel, for Exclusive Content and MoreShop Merch in Pop Pantheon's StoreCome to Gorgeous Gorgeous LA on 2/17 at Los GlobosCome to Gorgeous Gorgeous NYC on 3/8 at Sultan RoomFollow Rawiya Kameir on TwitterFollow DJ Louie XIV on InstagramFollow DJ Louie XIV on TwitterFollow Pop Pantheon on InstagramFollow Pop Pantheon on Twitter

Alberto Cairo drops by to talk about his new book "The Art of Insight," which offers a unique take on data visualization. In conversation with data storyteller Mike, Cairo shares his Camus-inspired belief that life's meaning comes from community and work, and how that conviction shapes his own interests and endeavors. They discuss the impact of artificial intelligence on journalism, how seemingly frivolous pursuits can actually be essential, and where to find personal and professional connection amidst ever-changing online communities. Eschewing the mantle of “thought leader,” Cairo reveals why he is reluctant to wield the "soft power" he holds in the data visualization community. Tune in for a fascinating exploration of responsibility, the political nature of work, and the human aspects behind visualization. Listening time 48:59 | related links Attend a workshop (use discount PODCAST10 for 10% off) Book: The Art of Insight by Alberto Cairo (in addition, don't miss Cairo's earlier books How Charts Lie, The Functional Art, and The Truthful Art) Book: The Grammar of Graphics by Leland Wilkinson Follow: Aaron Williams on X/Twitter: @aboutaaron Games: many tabletop and role-playing games were mentioned, including Twilight Struggle, Dungeons and Dragons, RuneQuest, Call of Cthulhu, Here I Stand, Gloomhaven, and Empires in Arms Book: Ruined by Design by Mike Monteiro Book: Building Science Graphics by Jen Christiansen Book: Joyful Infographics by Nigel Holmes

Ben, Candice, and Jordan discuss some early initial impressions of Voidfall, the new game from Mindclash.  This is not a review - just some thoughts :)  Plus, some chat about recent plays and playtests!00:02:27 - Trajan00:10:57 - Age of Innovation & Gaia Project00:15:06 - Skymines00:20:48 - Great Western Trail NZ00:27:11 - 18EUS00:33:50 - Voidfall01:19:45 - Here I Stand

Ben and Paul discuss recent plays of Oathsworn, Here I Stand, and Tortuga 1667.  Then we go deeper with the 2023 English release of The Rich and the Good (formerly Hab & Gut).00:00:00 - Intro00:04:23 - Oathsworn00:26:56 - Tortuga 166700:35:16 - Age of Innovation update00:45:31 - Magnate: The First City00:56:14 - Lorenzo il Magnifico: The Pazzi Conspiracy01:05:06 - Here I Stand01:17:58 - The Rich and the Good

In this episode, I explore the life of musical composer, performer and trumpet player Melvin James 'Sy' Oliver who was born in Battle Creek, Michigan and went onto to perform with Jimmie Lunceford, Tommy Dorsey, Frank Sinatra, Peggy Lee, Ella Fitzgerald and Louis Armstrong. To get a copy of the book 'Here I Stand' by Sonya and Sean Hollins click here. For more information on Michael Delaware, visit: https://michaeldelaware.com --- Send in a voice message: https://podcasters.spotify.com/pod/show/talesofsouthwestmipast/message

'기억 속의 멜로디' Here I Stand for You /넥스트, '청취자 신청곡'

In this episode I explore the legacy of Autry DeWalt Mixon, better known as Junior Walker, and his band the All-Stars. The group began their early career in South Bend, Indiana and also in Southwest Michigan. They first sang their legendary 'Shotgun' which went on to become a #1 R&B Hit at the El Grotto Lounge in Battle Creek, Michigan in 1965. The material in this episode comes from the book 'Here I Stand' written by Sonya and Sean Hollins. To get a copy of this book, visit: https://amzn.to/450AEHA For more books by Sonya & Sean Hollins, visit Season Press Inc. For more information on Michael Delaware, visit: https://michaeldelaware.com

In episode one of the "Here I Stand" podcast, the focus is on the intriguing world of dating. Through candid conversations and personal anecdotes, the hosts Tameka, Ericka and Rolonda explore the ups and downs, the joys and challenges of modern dating. From first dates and awkward encounters to navigating online platforms and finding genuine connections, the episode delves into the diverse experiences individuals face in their quest for love. With a mix of humor and heartfelt insights, "Here I Stand" sets the stage for an engaging and relatable journey through the intricacies of dating in today's ever-changing landscape.--

Spielworxx owner Uli Blennemann joins Candice to discuss their favorite card-driven games.00:00:00 Introduction00:04:04 PGC Con (trick-taking game convention)00:06:17 Robotrick00:07:42 Trick-taking in Black and White00:08:51 The Barracks Emperors00:10:51 Le Plateau00:11:07 Touchdown Heroes & Savage Bowl00:11:14 Inside Job00:11:58 Diamonds00:12:46 Bridge City Poker & Five-Three-Five00:13:48 Bacon00:14:10 Dual Gauge: Denmark00:14:50 An Infamous Traffic00:17:28 Blood on the Clocktower00:21:55 Fresh Plays00:22:11 Land and Freedom00:25:59 Peak Oil: Profiteer00:35:27 Votes for Women00:38:57 Moonrakers00:50:54 Card-driven Games (CDGs) We Love00:51:04 What CDGs are all about00:55:49 We the People (Mark Herman)00:58:50 Forged in Steel00:59:22 No Motherland Without00:59:54 Twilight Struggle01:02:02 1979: Revolution in Iran01:03:46 Paths of Glory01:05:53 Twilight Struggle: Red Sea01:08:42 Clash of Monarchs01:11:08 Clash of Sovereigns01:11:57 Brotherhood & Unity01:18:39 Washington's War01:21:04 Labyrinth: The War on Terror, 2001 – ? 01:25:25 Here I Stand & Virgin Queen01:30:58 Hegemony: Lead Your Class to Victory01:34:29 Empire of the Sun01:40:47 Wir sind das Volk!01:47:46 Uli's Honorable Mentions - No Motherland Without, Twilight Struggle, Wilderness War, Unhappy King Charles, For the People, Pursuit of Glory01:49:24 Candice's Honorable Mentions - Dual Powers: Revolution 1917, Red Flag Over Paris, 13 Days, Watergate, Successors, Verdun 1916: Steel Inferno, Europe Divided, Siege of Vienna01:52:43 Weimar: The Fight for Democracy01:55:41 Sign-offThank you to our sponsor, Lookout Games!Web: https://boardgamegeek.com/YouTube: https://www.youtube.com/@boardgamegeekTwitter: https://twitter.com/BoardGameGeekEmail: podcast@boardgamegeek.com

The following message was given at the Ligonier 2018 National Conference.   “Here I Stand” by Michael Reeves. © Ligonier Ministries 2018. Used by permission of Ligonier Ministries. All rights reserved.   Delighting in the Trinity with Michael Reeves is brought to you by Union. For more resources visit www.unionpublishing.org To support or become a friend of Union, visit www.theolo.gy   Connect with us on: Twitter @mike_reeves @uniontheology @unionpublishing   Instagram @drmichaelreeves @uniontheology @unionpublishing   Facebook www.facebook.com/unionpublish www.facebook.com/uniontheology

In this interview Mac McCullough from the Willard Library returns to the show with Author Sonya Bernard Hollins, who wrote the book 'Here I Stand' which covered the history of the El Grotto Lounge. The El Grotto Lounge was founded in 1949 by Robert & Helen Montgomery, and became an iconic landmark where many black musicians launched their careers. Names like Junior Walker & the All-Stars, Al Greene, Jackey Beavers, Johnny Bristol, Wade Flemons, Bobby Holley and even comedian Jimmie Lynch performed there. We also talk about an upcoming event call 'The Sound of Freedom' which is coming up on June 15th, at the Battle Creek Regional History Museum. For details on the Sound of Freedom Event, visit: https://willardlibrary.org To get copies of Sonya Bernard Hollins book 'Here I Stand' visit: https://seasonpressinc.com You can also acquire a copy of her book here. For more information on Michael Delaware, visit: https://michaeldelaware.com

In this episode I talk with designer Akar Bharadvaj about his work with the Zenobia Awards as well as his 2021 Zenobia Award winning game Tyranny of Blood: India's Caste System Under British Colonialism, 1750-1947. Games mentioned in this episode: Votes for Women, Rising Waters, Here I Stand, Root, Twilight Imperium 4th Ed. Pericles: The Peloponnesian Wars, Versailles: 1919. Support the showWe talk about board games and tabletop games!Follow us to stay in touch: Youtube.com/boardagaingamesFacebook.com/boardagaingaming

In her brand-new stand-up comedy special, Here I Stand, drag queen and comedienne Miz Cracker discusses everything from sex and dating to quarantining, dieting, and getting older. YouTube: https://bit.ly/3ymp1to Facebook: http://www.facebook.com/ComedyDynamics Twitter: http://www.twitter.com/ComedyDynamics TikTok: https://vm.tiktok.com/J1wucyQ/ Instagram: http://www.instagram.com/ComedyDynamics http://www.comedydynamics.com/ Learn more about your ad choices. Visit podcastchoices.com/adchoices

Patrick Hickey, Jr. Of Review Fix, described today's guest as a smooth and charming Americana folk pop artist who puts her whole self into her writing and performances, using honest and witty lyrics about heartache and strength, paired with catchy melodies. Recently honored by the New Jersey Arts and Music songwriting contest for the title track "I'm Not That Girl", her roots inspired sound includes multiple albums as well as her EP, "I'm Not That Girl" and "Here I Stand". If you're a fan of Roseanne Cash or Pat Benatar, you're gonna be a fan of today's guest. Her latest album "Full Moon Rising", explores finding your way through tough times and explores relationships during those tough times. Produced during the confines of Covid 19, it helped her to stay connected to her friends and community. It is my pleasure to introduce Randie O'Neil to the show. Welcome to the show. For a transcript of this show contact: misterradio2020@gmail.com

ConsolationSCRIPTUREIsaiah 49: 13MUSIC"Mother of God, Here I Stand""Crystal Sky" - GjeiloMARY PRAYERWe fly to your protection,O Holy Mother of God;Beneath your compassion,Hear our petitions, and rescue usfrom all temptation.O Glorious and Blessed Virgin Mary.  AmenVideo link for FEARhttps://youtu.be/RNuJ5dNmlE0

Episode 160 of A History of Rock Music in Five Hundred Songs looks at “Flowers in the Rain" by the Move, their transition into ELO, and the career of Roy Wood. Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have a twenty-minute bonus episode available, on "The Chipmunk Song" by Canned Heat. Tilt Araiza has assisted invaluably by doing a first-pass edit, and will hopefully be doing so from now on. Check out Tilt's irregular podcasts at http://www.podnose.com/jaffa-cakes-for-proust and http://sitcomclub.com/ Note I say "And on its first broadcast, as George Martin's theme tune for the new station faded, Tony Blackburn reached for a record." -- I should point out that after Martin's theme fades, Blackburn talks over a brief snatch of a piece by Johnny Dankworth. Resources As so many of the episodes recently have had no Mixcloud due to the number of songs by one artist, I've decided to start splitting the mixes of the recordings excerpted in the podcasts into two parts. Here's part one . I had problems uploading part two, but will attempt to get that up shortly. There are not many books about Roy Wood, and I referred to both of the two that seem to exist -- this biography by John van der Kiste, and this album guide by James R Turner.  I also referred to this biography of Jeff Lynne by van der Kiste, The Electric Light Orchestra Story by Bev Bevan, and Mr Big by Don Arden with Mick Wall.  Most of the more comprehensive compilations of the Move's material are out of print, but this single-CD-plus-DVD anthology is the best compilation that's in print. This is the one collection of Wood's solo and Wizzard hits that seems currently in print, and for those who want to investigate further, this cheap box set has the last Move album, the first ELO album, the first Wizzard album, Wood's solo Boulders, and a later Wood solo album, for the price of a single CD. Transcript Before I start, a brief note. This episode deals with organised crime, and so contains some mild descriptions of violence, and also has some mention of mental illness and drug use, though not much of any of those things. And it's probably also important to warn people that towards the end there's some Christmas music, including excerpts of a song that is inescapable at this time of year in the UK, so those who work in retail environments and the like may want to listen to this later, at a point when they're not totally sick of hearing Christmas records. Most of the time, the identity of the party in government doesn't make that much of a difference to people's everyday lives.  At least in Britain, there tends to be a consensus ideology within the limits of which governments of both main parties tend to work. They will make a difference at the margins, and be more or less competent, and more or less conservative or left-wing, more or less liberal or authoritarian, but life will, broadly speaking, continue along much as before for most people. Some will be a little better or worse off, but in general steering the ship of state is a matter of a lot of tiny incremental changes, not of sudden u-turns. But there have been a handful of governments that have made big, noticeable, changes to the structure of society, reforms that for better or worse affect the lives of every person in the country. Since the end of the Second World War there have been two UK governments that made economic changes of this nature. The Labour government under Clement Atlee which came into power in 1945, and which dramatically expanded the welfare state, introduced the National Health Service, and nationalised huge swathes of major industries, created the post-war social democratic consensus which would be kept to with only minor changes by successive governments of both major parties for decades. The next government to make changes to the economy of such a radical nature was the Conservative government which came to power under Margaret Thatcher in 1979, which started the process of unravelling that social democratic consensus and replacing it with a far more hypercapitalist economic paradigm, which would last for the next several decades. It's entirely possible that the current Conservative government, in leaving the EU, has made a similarly huge change, but we won't know that until we have enough distance from the event to know what long-term changes it's caused. Those are economic changes. Arguably at least as impactful was the Labour government led by Harold Wilson that came to power in 1964, which did not do much to alter the economic consensus, but revolutionised the social order at least as much. Largely because of the influence of Roy Jenkins, the Home Secretary for much of that time, between 1964 and the end of the sixties, Britain abolished the death penalty for murder, decriminalised some sex acts between men in private, abolished corporal punishment in prisons, legalised abortion in certain circumstances, and got rid of censorship in the theatre. They also vastly increased spending on education, and made many other changes. By the end of their term, Britain had gone from being a country with laws reflecting a largely conservative, authoritarian, worldview to one whose laws were some of the most liberal in Europe, and society had started changing to match. There were exceptions, though, and that government did make some changes that were illiberal. They brought in increased restrictions on immigration, starting a worrying trend that continues to this day of governments getting ever crueler to immigrants, and they added LSD to the list of illegal drugs. And they brought in the Marine Broadcasting Offences Act, banning the pirate stations. We've mentioned pirate radio stations very briefly, but never properly explained them. In Britain, at this point, there was a legal monopoly on broadcasting. Only the BBC could run a radio station in the UK, and thanks to agreements with the Musicians' Union, the BBC could only play a very small amount of recorded music, with everything else having to be live performances or spoken word. And because it had a legal obligation to provide something for everyone, that meant the tiny amount of recorded music that was played on the radio had to cover all genres, meaning that even while Britain was going through the most important changes in its musical history, pop records were limited to an hour or two a week on British radio. Obviously, that wasn't going to last while there was money to be made, and the record companies in particular wanted to have somewhere to showcase their latest releases. At the start of the sixties, Radio Luxembourg had become popular, broadcasting from continental Europe but largely playing shows that had been pre-recorded in London. But of course, that was far enough away that it made listening to the transmissions difficult. But a solution presented itself: [Excerpt: The Fortunes, "Caroline"] Radio Caroline still continues to this day, largely as an Internet-based radio station, but in the mid-sixties it was something rather different. It was one of a handful of radio stations -- the pirate stations -- that broadcast from ships in international waters. The ships would stay three miles off the coast of Britain, close enough for their broadcasts to be clearly heard in much of the country, but outside Britain's territorial waters. They soon became hugely popular, with Radio Caroline and Radio London the two most popular, and introduced DJs like Tony Blackburn, Dave Lee Travis, Kenny Everett, and John Peel to the airwaves of Britain. The stations ran on bribery and advertising, and if you wanted a record to get into the charts one of the things you had to do was bribe one of the big pirate stations to playlist it, and with this corruption came violence, which came to a head when as we heard in the episode on “Here Comes the Night”, in 1966 Major Oliver Smedley, a failed right-wing politician and one of the directors of Radio Caroline, got a gang of people to board an abandoned sea fort from which a rival station was broadcasting and retrieve some equipment he claimed belonged to him. The next day, Reginald Calvert, the owner of the rival station, went to Smedley's home to confront him, and Smedley shot him dead, claiming self-defence. The jury in Smedley's subsequent trial took only a minute to find him not guilty and award him two hundred and fifty guineas to cover his costs. This was the last straw for the government, which was already concerned that the pirates' transmitters were interfering with emergency services transmissions, and that proper royalties weren't being paid for the music broadcast (though since much of the music was only on there because of payola, this seems a little bit of a moot point).  They introduced legislation which banned anyone in the UK from supplying the pirate ships with records or other supplies, or advertising on the stations. They couldn't do anything about the ships themselves, because they were outside British jurisdiction, but they could make sure that nobody could associate with them while remaining in the UK. The BBC was to regain its monopoly (though in later years some commercial radio stations were allowed to operate). But as well as the stick, they needed the carrot. The pirate stations *had* been filling a real need, and the biggest of them were getting millions of listeners every day. So the arrangements with the Musicians' Union and the record labels were changed, and certain BBC stations were now allowed to play a lot more recorded music per day. I haven't been able to find accurate figures anywhere -- a lot of these things were confidential agreements -- but it seems to have been that the so-called "needle time" rules were substantially relaxed, allowing the BBC to separate what had previously been the Light Programme -- a single radio station that played all kinds of popular music, much of it live performances -- into two radio stations that were each allowed to play as much as twelve hours of recorded music per day, which along with live performances and between-track commentary from DJs was enough to allow a full broadcast schedule. One of these stations, Radio 2, was aimed at older listeners, and to start with mostly had programmes of what we would now refer to as Muzak, mixed in with the pop music of an older generation -- crooners and performers like Englebert Humperdinck. But another, Radio 1, was aimed at a younger audience and explicitly modelled on the pirate stations, and featured many of the DJs who had made their names on those stations. And on its first broadcast, as George Martin's theme tune for the new station faded, Tony Blackburn reached for a record. At different times Blackburn has said either that he was just desperately reaching for whatever record came to hand or that he made a deliberate choice because the record he chose had such a striking opening that it would be the perfect way to start a new station: [Excerpt: Tony Blackburn first radio show into "Flowers in the Rain" by the Move] You may remember me talking in the episode on "Here Comes the Night" about how in 1964 Dick Rowe of Decca, the manager Larry Page, and the publicist and co-owner of Radio Caroline Phil Solomon were all trying to promote something called Brumbeat as the answer to Merseybeat – Brummies, for those who don't know, are people from Birmingham. Brumbeat never took off the way Merseybeat did, but several bands did get a chance to make records, among them Gerry Levene and the Avengers: [Excerpt: Gerry Levene and the Avengers, "Dr. Feelgood"] That was the only single the Avengers made, and the B-side wasn't even them playing, but a bunch of session musicians under the direction of Bert Berns, and the group split up soon afterwards, but several of the members would go on to have rather important careers. According to some sources, one of their early drummers was John Bohnam, who you can be pretty sure will be turning up later in the story, while the drummer on that track was Graeme Edge, who would later go on to co-found the Moody Blues.  But today it's the guitarist we'll be looking at. Roy Wood had started playing music when he was very young -- he'd had drum lessons when he was five years old, the only formal musical tuition he ever had, and he'd played harmonica around working men's clubs as a kid. And as a small child he'd loved classical music, particularly Tchaikovsky and Elgar. But it wasn't until he was twelve that he decided that he wanted to be a guitarist. He went to see the Shadows play live, and was inspired by the sound of Hank Marvin's guitar, which he later described as sounding "like it had been dipped in Dettol or something": [Excerpt: The Shadows, "Apache"] He started begging his parents for a guitar, and got one for his thirteenth birthday -- and by the time he was fourteen he was already in a band, the Falcons, whose members were otherwise eighteen to twenty years old, but who needed a lead guitarist who could play like Marvin. Wood had picked up the guitar almost preternaturally quickly, as he would later pick up every instrument he turned his hand to, and he'd also got the equipment. His friend Jeff Lynne later said "I first saw Roy playing in a church hall in Birmingham and I think his group was called the Falcons. And I could tell he was dead posh because he had a Fender Stratocaster and a Vox AC30 amplifier. The business at the time. I mean, if you've got those, that's it, you're made." It was in the Falcons that Wood had first started trying to write songs, at first instrumentals in the style of the Shadows, but then after the Beatles hit the charts he realised it was possible for band members to write their own material, and started hesitantly trying to write a few actual songs. Wood had moved on from the Falcons to Gerry Levene's band, one of the biggest local bands in Birmingham, when he was sixteen, which is also when he left formal education, dropping out from art school -- he's later said that he wasn't expelled as such, but that he and the school came to a mutual agreement that he wouldn't go back there. And when Gerry Levene and the Avengers fell apart after their one chance at success hadn't worked out, he moved on again to an even bigger band. Mike Sheridan and the Night Riders had had two singles out already, both produced by Cliff Richard's producer Norrie Paramor, and while they hadn't charted they were clearly going places. They needed a new guitarist, and Wood was by far the best of the dozen or so people who auditioned, even though Sheridan was very hesitant at first -- the Night Riders were playing cabaret, and all dressed smartly at all times, and this sixteen-year-old guitarist had turned up wearing clothes made by his sister and ludicrous pointy shoes. He was the odd man out, but he was so good that none of the other players could hold a candle to him, and he was in the Night Riders by the time of their third single, "What a Sweet Thing That Was": [Excerpt: Mike Sheridan and the Night Riders, "What a Sweet Thing That Was"] Sheridan later said "Roy was and still is, in my opinion, an unbelievable talent. As stubborn as a mule and a complete extrovert. Roy changed the group by getting us into harmonies and made us realize there was better material around with more than three chords to play. This was our turning point and we became a group's group and a bigger name." -- though there are few other people who would describe Wood as extroverted, most people describing him as painfully shy off-stage. "What a  Sweet Thing That Was" didn't have any success, and nor did its follow-up, "Here I Stand", which came out in January 1965. But by that point, Wood had got enough of a reputation that he was already starting to guest on records by other bands on the Birmingham scene, like "Pretty Things" by Danny King and the Mayfair Set: [Excerpt: Danny King and the Mayfair Set, "Pretty Things"] After their fourth single was a flop, Mike Sheridan and the Night Riders changed their name to Mike Sheridan's Lot, and the B-side of their first single under the new name was a Roy Wood song, the first time one of his songs was recorded. Unfortunately the song, modelled on "It's Not Unusual" by Tom Jones, didn't come off very well, and Sheridan blamed himself for what everyone was agreed was a lousy sounding record: [Excerpt: Mike Sheridan's Lot, "Make Them Understand"] Mike Sheridan's Lot put out one final single, but the writing was on the wall for the group. Wood left, and soon after so did Sheridan himself. The remaining members regrouped under the name The Idle Race, with Wood's friend Jeff Lynne as their new singer and guitarist. But Wood wouldn't remain without a band for long. He'd recently started hanging out with another band, Carl Wayne and the Vikings, who had also released a couple of singles, on Pye: [Excerpt: Carl Wayne and the Vikings, "What's the Matter Baby"] But like almost every band from Birmingham up to this point, the Vikings' records had done very little, and their drummer had quit, and been replaced by Bev Bevan, who had been in yet another band that had gone nowhere, Denny Laine and the Diplomats, who had released one single under the name of their lead singer Nicky James, featuring the Breakaways, the girl group who would later sing on "Hey Joe", on backing vocals: [Excerpt: Nicky James, "My Colour is Blue"] Bevan had joined Carl Wayne's group, and they'd recorded one track together, a cover version of "My Girl", which was only released in the US, and which sank without a trace: [Excerpt: Carl Wayne and the Vikings, "My Girl"] It was around this time that Wood started hanging around with the Vikings, and they would all complain about how if you were playing the Birmingham circuit you were stuck just playing cover versions, and couldn't do anything more interesting.  They were also becoming more acutely aware of how successful they *could* have been, because one of the Brumbeat bands had become really big. The Moody Blues, a supergroup of players from the best bands in Birmingham who featured Bev Bevan's old bandmate Denny Laine and Wood's old colleague Graeme Edge, had just hit number one with their version of "Go Now": [Excerpt: The Moody Blues, "Go Now"] So they knew the potential for success was there, but they were all feeling trapped. But then Ace Kefford, the bass player for the Vikings, went to see Davy Jones and the Lower Third playing a gig: [Excerpt: Davy Jones and the Lower Third, "You've Got a Habit of Leaving"] Also at the gig was Trevor Burton, the guitarist for Danny King and the Mayfair Set. The two of them got chatting to Davy Jones after the gig, and eventually the future David Bowie told them that the two of them should form their own band if they were feeling constricted in their current groups. They decided to do just that, and they persuaded Carl Wayne from Kefford's band to join them, and got in Wood.  Now they just needed a drummer. Their first choice was John Bonham, the former drummer for Gerry Levene and the Avengers who was now drumming in a band with Kefford's uncle and Nicky James from the Diplomats. But Bonham and Wayne didn't get on, and so Bonham decided to remain in the group he was in, and instead they turned to Bev Bevan, the Vikings' new drummer.  (Of the other two members of the Vikings, one went on to join Mike Sheridan's Lot in place of Wood, before leaving at the same time as Sheridan and being replaced by Lynne, while the other went on to join Mike Sheridan's New Lot, the group Sheridan formed after leaving his old group. The Birmingham beat group scene seems to have only had about as many people as there were bands, with everyone ending up a member of twenty different groups). The new group called themselves the Move, because they were all moving on from other groups, and it was a big move for all of them. Many people advised them not to get together, saying they were better off where they were, or taking on offers they'd got from more successful groups -- Carl Wayne had had an offer from a group called the Spectres, who would later become famous as Status Quo, while Wood had been tempted by Tony Rivers and the Castaways, a group who at the time were signed to Immediate Records, and who did Beach Boys soundalikes and covers: [Excerpt: Tony Rivers and the Castaways, "Girl Don't Tell Me"] Wood was a huge fan of the Beach Boys and would have fit in with Rivers, but decided he'd rather try something truly new. After their first gig, most of the people who had warned against the group changed their minds. Bevan's best friend, Bobby Davis, told Bevan that while he'd disliked all the other groups Bevan had played in, he liked this one. (Davis would later become a famous comedian, and have a top five single himself in the seventies, produced by Jeff Lynne and with Bevan on the drums, under his stage name Jasper Carrott): [Excerpt: Jasper Carrott, "Funky Moped"] Most of their early sets were cover versions, usually of soul and Motown songs, but reworked in the group's unique style. All five of the band could sing, four of them well enough to be lead vocalists in their own right (Bevan would add occasional harmonies or sing novelty numbers) and so they became known for their harmonies -- Wood talked at the time about how he wanted the band to have Beach Boys harmonies but over instruments that sounded like the Who. And while they were mostly doing cover versions live, Wood was busily writing songs. Their first recording session was for local radio, and at that session they did cover versions of songs by Brenda Lee, the Isley Brothers, the Orlons, the Marvelettes, and Betty Everett, but they also performed four songs written by Wood, with each member of the front line taking a lead vocal, like this one with Kefford singing: [Excerpt: The Move, "You're the One I Need"] The group were soon signed by Tony Secunda, the manager of the Moody Blues, who set about trying to get the group as much publicity as possible. While Carl Wayne, as the only member who didn't play an instrument, ended up the lead singer on most of the group's early records, Secunda started promoting Kefford, who was younger and more conventionally attractive than Wayne, and who had originally put the group together, as the face of the group, while Wood was doing most of the heavy lifting with the music. Wood quickly came to dislike performing live, and to wish he could take the same option as Brian Wilson and stay home and write songs and make records while the other four went out and performed, so Kefford and Wayne taking the spotlight from him didn't bother him at the time, but it set the group up for constant conflicts about who was actually the leader of the group. Wood was also uncomfortable with the image that Secunda set up for the group. Secunda decided that the group needed to be promoted as "bad boys", and so he got them to dress up as 1930s gangsters, and got them to do things like smash busts of Hitler, or the Rhodesian dictator Ian Smith, on stage. He got them to smash TVs on stage too, and in one publicity stunt he got them to smash up a car, while strippers took their clothes off nearby -- claiming that this was to show that people were more interested in violence than in sex. Wood, who was a very quiet, unassuming, introvert, didn't like this sort of thing, but went along with it. Secunda got the group a regular slot at the Marquee club, which lasted several months until, in one of Secunda's ideas for publicity, Carl Wayne let off smoke bombs on stage which set fire to the stage. The manager came up to try to stop the fire, and Wayne tossed the manager's wig into the flames, and the group were banned from the club (though the ban was later lifted). In another publicity stunt, at the time of the 1966 General Election, the group were photographed with "Vote Tory" posters, and issued an invitation to Edward Heath, the leader of the Conservative Party and a keen amateur musician, to join them on stage on keyboards. Sir Edward didn't respond to the invitation. All this publicity led to record company interest. Joe Boyd tried to sign the group to Elektra Records, but much as with The Pink Floyd around the same time, Jac Holzman wasn't interested. Instead they signed with a new production company set up by Denny Cordell, the producer of the Moody Blues' hits. The contract they signed was written on the back of a nude model, as yet another of Secunda's publicity schemes. The group's first single, "Night of Fear" was written by Wood and an early sign of his interest in incorporating classical music into rock: [Excerpt: The Move, "Night of Fear"] Secunda claimed in the publicity that that song was inspired by taking bad acid and having a bad trip, but in truth Wood was more inspired by brown ale than by brown acid -- he and Bev Bevan would never do any drugs other than alcohol. Wayne did take acid once, but didn't like it, though Burton and Kefford would become regular users of most drugs that were going. In truth, the song was not about anything more than being woken up in the middle of the night by an unexpected sound and then being unable to get back to sleep because you're scared of what might be out there. The track reached number two on the charts in the UK, being kept off the top by "I'm a Believer" by the Monkees, and was soon followed up by another song which again led to assumptions of drug use. "I Can Hear the Grass Grow" wasn't about grass the substance, but was inspired by a letter to Health and Efficiency, a magazine which claimed to be about the nudist lifestyle as an excuse for printing photos of naked people at a time before pornography laws were liberalised. The letter was from a reader saying that he listened to pop music on the radio because "where I live it's so quiet I can hear the grass grow!" Wood took that line and turned it into the group's next single, which reached number five: [Excerpt: The Move, "I Can Hear the Grass Grow"] Shortly after that, the group played two big gigs at Alexandra Palace. The first was the Fourteen-Hour Technicolor Dream, which we talked about in the Pink Floyd episode. There Wood had one of the biggest thrills of his life when he walked past John Lennon, who saluted him and then turned to a friend and said "He's brilliant!" -- in the seventies Lennon would talk about how Wood was one of his two favourite British songwriters, and would call the Move "the Hollies with balls". The other gig they played at Alexandra Palace was a "Free the Pirates" benefit show, sponsored by Radio Caroline, to protest the imposition of the Marine Broadcasting (Offences) Act.  Despite that, it was, of course, the group's next single that was the first one to be played on Radio One. And that single was also the one which kickstarted Roy Wood's musical ambitions.  The catalyst for this was Tony Visconti. Visconti was a twenty-three-year-old American who had been in the music business since he was sixteen, working the typical kind of jobs that working musicians do, like being for a time a member of a latter-day incarnation of the Crew-Cuts, the white vocal group who had had hits in the fifties with covers of "Sh'Boom" and “Earth Angel”. He'd also recorded two singles as a duo with his wife Siegrid, which had gone nowhere: [Excerpt: Tony and Siegrid, "Up Here"] Visconti had been working for the Richmond Organisation as a staff songwriter when he'd met the Move's producer Denny Cordell. Cordell was in the US to promote a new single he had released with a group called Procol Harum, "A Whiter Shade of Pale", and Visconti became the first American to hear the record, which of course soon became a massive hit: [Excerpt: Procol Harum, "A Whiter Shade of Pale"] While he was in New York, Cordell also wanted to record a backing track for one of his other hit acts, Georgie Fame. He told Visconti that he'd booked several of the best session players around, like the jazz trumpet legend Clark Terry, and thought it would be a fun session. Visconti asked to look at the charts for the song, out of professional interest, and Cordell was confused -- what charts? The musicians would just make up an arrangement, wouldn't they? Visconti asked what he was talking about, and Cordell talked about how you made records -- you just got the musicians to come into the studio, hung around while they smoked a few joints and worked out what they were going to play, and then got on with it. It wouldn't take more than about twelve hours to get a single recorded that way. Visconti was horrified, and explained that that might be how they did things in London, but if Cordell tried to make a record that way in New York, with an eight-piece group of session musicians who charged union scale, and would charge double scale for arranging work on top, then he'd bankrupt himself. Cordell went pale and said that the session was in an hour, what was he going to do? Luckily, Cordell had a copy of the demo with him, and Visconti, who unlike Cordell was a trained musician, quickly sat down and wrote an arrangement for him, sketching out parts for guitar, bass, drums, piano, sax, and trumpets. The resulting arrangement wasn't perfect -- Visconti had to write the whole thing in less than an hour with no piano to hand -- but it was good enough that Cordell's production assistant on the track, Harvey Brooks of the group Electric Flag, who also played bass on the track, could tweak it in the studio, and the track was recorded quickly, saving Cordell a fortune: [Excerpt: Georgie Fame, "Because I Love You"] One of the other reasons Cordell had been in the US was that he was looking for a production assistant to work with him in the UK to help translate his ideas into language the musicians could understand. According to Visconti he said that he was going to try asking Phil Spector to be his assistant, and Artie Butler if Spector said no.  Astonishingly, assuming he did ask them, neither Phil Spector nor Artie Butler (who was the arranger for records like "Leader of the Pack" and "I'm a Believer" among many, many, others, and who around this time was the one who suggested to Louis Armstrong that he should record "What a Wonderful World") wanted to fly over to the UK to work as Denny Cordell's assistant, and so Cordell turned back to Visconti and invited him to come over to the UK. The main reason Cordell needed an assistant was that he had too much work on his hands -- he was currently in the middle of recording albums for three major hit groups -- Procol Harum, The Move, and Manfred Mann -- and he physically couldn't be in multiple studios at once. Visconti's first work for him was on a Manfred Mann session, where they were recording the Randy Newman song "So Long Dad" for their next single. Cordell produced the rhythm track then left for a Procol Harum session, leaving Visconti to guide the group through the overdubs, including all the vocal parts and the lead instruments: [Excerpt: Manfred Mann, "So Long Dad"] The next Move single, "Flowers in the Rain", was the first one to benefit from Visconti's arrangement ideas. The band had recorded the track, and Cordell had been unhappy with both the song and performance, thinking it was very weak compared to their earlier singles -- not the first time that Cordell would have a difference of opinion with the band, who he thought of as a mediocre pop group, while they thought of themselves as a heavy rock band who were being neutered in the studio by their producer.  In particular, Cordell didn't like that the band fell slightly out of time in the middle eight of the track. He decided to scrap it, and get the band to record something else. Visconti, though, thought the track could be saved. He told Cordell that what they needed to do was to beat the Beatles, by using a combination of instruments they hadn't thought of. He scored for a quartet of wind instruments -- oboe, flute, clarinet, and French horn, in imitation of Mendelssohn: [Excerpt: The Move, "Flowers in the Rain"] And then, to cover up the slight sloppiness on the middle eight, Visconti had the wind instruments on that section recorded at half speed, so when played back at normal speed they'd sound like pixies and distract from the rhythm section: [Excerpt: The Move, "Flowers in the Rain"] Visconti's instincts were right. The single went to number two, kept off the top spot by Englebert Humperdinck, who spent 1967 keeping pretty much every major British band off number one, and thanks in part to it being the first track played on Radio 1, but also because it was one of the biggest hits of 1967, it's been the single of the Move's that's had the most airplay over the years. Unfortunately, none of the band ever saw a penny in royalties from it. It was because of another of Tony Secunda's bright ideas. Harold Wilson, the Prime Minister at the time, was very close to his advisor Marcia Williams, who started out as his secretary, rose to be his main political advisor, and ended up being elevated to the peerage as Baroness Falkender. There were many, many rumours that Williams was corrupt -- rumours that were squashed by both Wilson and Williams frequently issuing libel writs against newspapers that mentioned them -- though it later turned out that at least some of these were the work of Britain's security services, who believed Wilson to be working for the KGB (and indeed Williams had first met Wilson at a dinner with Khrushchev, though Wilson was very much not a Communist) and were trying to destabilise his government as a result. Their personal closeness also led to persistent rumours that Wilson and Williams were having an affair. And Tony Secunda decided that the best way to promote "Flowers in the Rain" was to print a postcard with a cartoon of Wilson and Williams on it, and send it out. Including sticking a copy through the door of ten Downing St, the Prime Minister's official residence. This backfired *spectacularly*. Wilson sued the Move for libel, even though none of them had known of their manager's plans, and as a result of the settlement it became illegal for any publication to print the offending image (though it can easily be found on the Internet now of course), everyone involved with the record was placed under a permanent legal injunction to never discuss the details of the case, and every penny in performance or songwriting royalties the track earned would go to charities of Harold Wilson's choice. In the 1990s newspaper reports said that the group had up to that point lost out on two hundred thousand pounds in royalties as a result of Secunda's stunt, and given the track's status as a perennial favourite, it's likely they've missed out on a similar amount in the decades since. Incidentally, while every member of the band was banned from ever describing the postcard, I'm not, and since Wilson and Williams are now both dead it's unlikely they'll ever sue me. The postcard is a cartoon in the style of Aubrey Beardsley, and shows Wilson as a grotesque naked homunculus sat on a bed, with Williams naked save for a diaphonous nightgown through which can clearly be seen her breasts and genitals, wearing a Marie Antoinette style wig and eyemask and holding a fan coquettishly, while Wilson's wife peers at them through a gap in the curtains. The text reads "Disgusting Depraved Despicable, though Harold maybe is the only way to describe "Flowers in the Rain" The Move, released Aug 23" The stunt caused huge animosity between the group and Secunda, not only because of the money they lost but also because despite Secunda's attempts to associate them with the Conservative party the previous year, Ace Kefford was upset at an attack on the Labour leader -- his grandfather was a lifelong member of the Labour party and Kefford didn't like the idea of upsetting him. The record also had a knock-on effect on another band. Wood had given the song "Here We Go Round the Lemon Tree" to his friends in The Idle Race, the band that had previously been Mike Sheridan and the Night Riders, and they'd planned to use their version as their first single: [Excerpt: The Idle Race, "Here We Go Round the Lemon Tree"] But the Move had also used the song as the B-side for their own single, and "Flowers in the Rain" was so popular that the B-side also got a lot of airplay. The Idle Race didn't want to be thought of as a covers act, and so "Lemon Tree" was pulled at the last minute and replaced by "Impostors of Life's Magazine", by the group's guitarist Jeff Lynne: [Excerpt: The Idle Race, "Impostors of Life's Magazine"] Before the problems arose, the Move had been working on another single. The A-side, "Cherry Blossom Clinic", was a song about being in a psychiatric hospital, and again had an arrangement by Visconti, who this time conducted a twelve-piece string section: [Excerpt: The Move, "Cherry Blossom Clinic"] The B-side, meanwhile, was a rocker about politics: [Excerpt: The Move, "Vote For Me"] Given the amount of controversy they'd caused, the idea of a song about mental illness backed with one about politics seemed a bad idea, and so "Cherry Blossom Clinic" was kept back as an album track while "Vote For Me" was left unreleased until future compilations. The first Wood knew about "Cherry Blossom Clinic" not being released was when after a gig in London someone -- different sources have it as Carl Wayne or Tony Secunda -- told him that they had a recording session the next morning for their next single and asked what song he planned on recording. When he said he didn't have one, he was sent up to his hotel room with a bottle of Scotch and told not to come down until he had a new song. He had one by 8:30 the next morning, and was so drunk and tired that he had to be held upright by his bandmates in the studio while singing his lead vocal on the track. The song was inspired by "Somethin' Else", a track by Eddie Cochran, one of Wood's idols: [Excerpt: Eddie Cochran, "Somethin' Else"] Wood took the bass riff from that and used it as the basis for what was the Move's most straight-ahead rock track to date. As 1967 was turning into 1968, almost universally every band was going back to basics, recording stripped down rock and roll tracks, and the Move were no exception. Early takes of "Fire Brigade" featured Matthew Fisher of Procol Harum on piano, but the final version featured just guitar, bass, drums and vocals, plus a few sound effects: [Excerpt: The Move, "Fire Brigade"] While Carl Wayne had sung lead or co-lead on all the Move's previous singles, he was slowly being relegated into the background, and for this one Wood takes the lead vocal on everything except the brief bridge, which Wayne sings: [Excerpt: The Move, "Fire Brigade"] The track went to number three, and while it's not as well-remembered as a couple of other Move singles, it was one of the most influential. Glen Matlock of the Sex Pistols has often said that the riff for "God Save the Queen" is inspired by "Fire Brigade": [Excerpt: The Sex Pistols, "God Save the Queen"] The reversion to a heavier style of rock on "Fire Brigade" was largely inspired by the group's new friend Jimi Hendrix. The group had gone on a package tour with The Pink Floyd (who were at the bottom of the bill), Amen Corner, The Nice, and the Jimi Hendrix Experience, and had become good friends with Hendrix, often jamming with him backstage. Burton and Kefford had become so enamoured of Hendrix that they'd both permed their hair in imitation of his Afro, though Burton regretted it -- his hair started falling out in huge chunks as a result of the perm, and it took him a full two years to grow it out and back into a more natural style. Burton had started sharing a flat with Noel Redding of the Jimi Hendrix Experience, and Burton and Wood had also sung backing vocals with Graham Nash of the Hollies on Hendrix's "You Got Me Floatin'", from his Axis: Bold as Love album: [Excerpt: The Jimi Hendrix Experience, "You Got Me Floatin'"] In early 1968, the group's first album came out. In retrospect it's arguably their best, but at the time it felt a little dated -- it was a compilation of tracks recorded between late 1966 and late 1967, and by early 1968 that might as well have been the nineteenth century. The album included their two most recent singles, a few more songs arranged by Visconti, and three cover versions -- versions of Eddie Cochran's "Weekend", Moby Grape's "Hey Grandma", and the old standard "Zing! Went the Strings of My Heart", done copying the Coasters' arrangement with Bev Bevan taking a rare lead vocal. By this time there was a lot of dissatisfaction among the group. Most vocal -- or least vocal, because by this point he was no longer speaking to any of the other members, had been Ace Kefford. Kefford felt he was being sidelined in a band he'd formed and where he was the designated face of the group. He'd tried writing songs, but the only one he'd brought to the group, "William Chalker's Time Machine", had been rejected, and was eventually recorded by a group called The Lemon Tree, whose recording of it was co-produced by Burton and Andy Fairweather-Low of Amen Corner: [Excerpt: The Lemon Tree, "William Chalker's Time Machine"] He was also, though the rest of the group didn't realise it at the time, in the middle of a mental breakdown, which he later attributed to his overuse of acid. By the time the album, titled Move, came out, he'd quit the group. He formed a new group, The Ace Kefford Stand, with Cozy Powell on drums, and they released one single, a cover version of the Yardbirds' "For Your Love", which didn't chart: [Excerpt: The Ace Kefford Stand, "For Your Love"] Kefford recorded a solo album in 1968, but it wasn't released until an archival release in 2003, and he spent most of the next few decades dealing with mental health problems. The group continued on as a four-piece, with Burton moving over to bass. While they thought about what to do -- they were unhappy with Secunda's management, and with the sound that Cordell was getting from their recordings, which they considered far wimpier than their live sound -- they released a live EP of cover versions, recorded at the Marquee. The choice of songs for the EP showed their range of musical influences at the time, going from fifties rockabilly to the burgeoning progressive rock scene, with versions of Cochran's "Somethin' Else", Jerry Lee Lewis' "It'll Be Me", "So You Want to Be a Rock and Roll Star" by the Byrds, "Sunshine Help Me" by Spooky Tooth, and "Stephanie Knows Who" by Love: [Excerpt: The Move, "Stephanie Knows Who"] Incidentally, later that year they headlined a gig at the Royal Albert Hall with the Byrds as the support act, and Gram Parsons, who by that time was playing guitar for the Byrds, said that the Move did "So You Want to Be a Rock and Roll Star" better than the Byrds did. The EP, titled "Something Else From the Move", didn't do well commercially, but it did do something that the band thought important -- Trevor Burton in particular had been complaining that Denny Cordell's productions "took the toughness out" of the band's sound, and was worried that the group were being perceived as a pop band, not as a rock group like his friends in the Jimi Hendrix Experience or Cream. There was an increasing tension between Burton, who wanted to be a heavy rocker, and the older Wayne, who thought there was nothing at all wrong with being a pop band. The next single, "Wild Tiger Woman", was much more in the direction that Burton wanted their music to go. It was ostensibly produced by Cordell, but for the most part he left it to the band, and as a result it ended up as a much heavier track than normal. Roy Wood had only intended the song as an album track, and Bevan and Wayne were hesitant about it being a single, but Burton was insistent -- "Wild Tiger Woman" was going to be the group's first number one record: [Excerpt: The Move, "Wild Tiger Woman"] In fact, it turned out to be the group's first single not to chart at all, after four top ten singles in a row.  The group were now in crisis. They'd lost Ace Kefford, Burton and Wayne were at odds, and they were no longer guaranteed hitmakers. They decided to stop working with Cordell and Secunda, and made a commitment that if the next single was a flop, they would split up. In any case, Roy Wood was already thinking about another project. Even though the group's recent records had gone in a guitar-rock direction, he thought maybe you could do something more interesting. Ever since seeing Tony Visconti conduct orchestral instruments playing his music, he'd been thinking about it. As he later put it "I thought 'Well, wouldn't it be great to get a band together, and rather than advertising for a guitarist how about advertising for a cellist or a French horn player or something? There must be lots of young musicians around who play the... instruments that would like to play in a rock kind of band.' That was the start of it, it really was, and I think after those tracks had been recorded with Tony doing the orchestral arrangement, that's when I started to get bored with the Move, with the band, because I thought 'there's something more to it'". He'd started sketching out plans for an expanded lineup of the group, drawing pictures of what it would look like on stage if Carl Wayne was playing timpani while there were cello and French horn players on stage with them. He'd even come up with a name for the new group -- a multi-layered pun. The group would be a light orchestra, like the BBC Light Orchestra, but they would be playing electrical instruments, and also they would have a light show when they performed live, and so he thought "the Electric Light Orchestra" would be a good name for such a group. The other band members thought this was a daft idea, but Wood kept on plotting. But in the meantime, the group needed some new management. The person they chose was Don Arden. We talked about Arden quite a bit in the last episode, but he's someone who is going to turn up a lot in future episodes, and so it's best if I give a little bit more background about him. Arden was a manager of the old school, and like several of the older people in the music business at the time, like Dick James or Larry Page, he had started out as a performer, doing an Al Jolson tribute act, and he was absolutely steeped in showbusiness -- his wife had been a circus contortionist before they got married, and when he moved from Manchester to London their first home had been owned by Winifred Atwell, a boogie piano player who became the first Black person to have a UK number one -- and who is *still* the only female solo instrumentalist to have a UK number one -- with her 1954 hit "Let's Have Another Party": [Excerpt: WInifred Atwell, "Let's Have Another Party"] That was only Atwell's biggest in a long line of hits, and she'd put all her royalties into buying properties in London, one of which became the Ardens' home. Arden had been considered quite a promising singer, and had made a few records in the early 1950s. His first recordings, of material in Yiddish aimed at the Jewish market, are sadly not findable online, but he also apparently recorded as a session singer for Embassy Records. I can't find a reliable source for what records he sang on for that label, which put out budget rerecordings of hits for sale exclusively through Woolworths, but according to Wikipedia one of them was Embassy's version of "Blue Suede Shoes", put out under the group name "The Canadians", and the lead vocal on that track certainly sounds like it could be him: [Excerpt: The Canadians, "Blue Suede Shoes"] As you can tell, rock and roll didn't really suit Arden's style, and he wisely decided to get out of performance and into behind-the-scenes work, though he would still try on occasion to make records of his own -- an acetate exists from 1967 of him singing "Sunrise, Sunset": [Excerpt: Don Arden, "Sunrise, Sunset"] But he'd moved first into promotion -- he'd been the promoter who had put together tours of the UK for Gene Vincent, Little Richard, Brenda Lee and others which we mentioned in the second year of the podcast -- and then into management. He'd first come into management with the Animals -- apparently acting at that point as the money man for Mike Jeffries, who was the manager the group themselves dealt with. According to Arden -- though his story differs from the version of the story told by others involved -- the group at some point ditched Arden for Allen Klein, and when they did, Arden's assistant Peter Grant, another person we'll be hearing a lot more of, went with them.  Arden, by his own account, flew over to see Klein and threatened to throw him out of the window of his office, which was several stories up. This was a threat he regularly made to people he believed had crossed him -- he made a similar threat to one of the Nashville Teens, the first group he managed after the Animals, after the musician asked what was happening to the group's money. And as we heard last episode, he threatened Robert Stigwood that way when Stigwood tried to get the Small Faces off him. One of the reasons he'd signed the Small Faces was that Steve Marriott had gone to the Italia Conti school, where Arden had sent his own children, Sharon and David, and David had said that Marriott was talented. And David was also a big reason the Move came over to Arden. After the Small Faces had left him, Arden had bought Galaxy Entertaimnent, the booking agency that handled bookings for Amen Corner and the Move, among many other acts. Arden had taken over management of Amen Corner himself, and had put his son David in charge of liaising with Tony Secunda about the Move.  But David Arden was sure that the Move could be an albums act, not just a singles act, and was convinced the group had more potential than they were showing, and when they left Secunda, Don Arden took them on as his clients, at least for the moment. Secunda, according to Arden (who is not the most reliable of witnesses, but is unfortunately the only one we have for a lot of this stuff) tried to hire someone to assassinate Arden, but Arden quickly let Secunda know that if anything happened to Arden, Secunda himself would be dead within the hour. As "Wild Tiger Woman" hadn't been a hit, the group decided to go back to their earlier "Flowers in the Rain" style, with "Blackberry Way": [Excerpt: The Move, "Blackberry Way"] That track was produced by Jimmy Miller, who was producing the Rolling Stones and Traffic around this time, and featured the group's friend Richard Tandy on harpsichord. It's also an example of the maxim "Good artists copy, great artists steal". There are very few more blatant examples of plagiarism in pop music than the middle eight of "Blackberry Way". Compare Harry Nilsson's "Good Old Desk": [Excerpt: Nilsson, "Good Old Desk"] to the middle eight of "Blackberry Way": [Excerpt: The Move, "Blackberry Way"] "Blackberry Way" went to number one, but that was the last straw for Trevor Burton -- it was precisely the kind of thing he *didn't* want to be doing,. He was so sick of playing what he thought of as cheesy pop music that at one show he attacked Bev Bevan on stage with his bass, while Bevan retaliated with his cymbals. He stormed off stage, saying he was "tired of playing this crap". After leaving the group, he almost joined Blind Faith, a new supergroup that members of Cream and Traffic were forming, but instead formed his own supergroup, Balls. Balls had a revolving lineup which at various times included Denny Laine, formerly of the Moody Blues, Jackie Lomax, a singer-songwriter who was an associate of the Beatles, Richard Tandy who had played on "Blackberry Way", and Alan White, who would go on to drum with the band Yes. Balls only released one single, "Fight for My Country", which was later reissued as a Trevor Burton solo single: [Excerpt: Balls, "Fight For My Country"] Balls went through many lineup changes, and eventually seemed to merge with a later lineup of the Idle Race to become the Steve Gibbons Band, who were moderately successful in the seventies and eighties. Richard Tandy covered on bass for a short while, until Rick Price came in as a permanent replacement. Before Price, though, the group tried to get Hank Marvin to join, as the Shadows had then split up, and Wood was willing to move over to bass and let Marvin play lead guitar. Marvin turned down the offer though. But even though "Blackberry Way" had been the group's biggest hit to date, it marked a sharp decline in the group's fortunes.  Its success led Peter Walsh, the manager of Marmalade and the Tremeloes, to poach the group from Arden, and even though Arden took his usual heavy-handed approach -- he describes going and torturing Walsh's associate, Clifford Davis, the manager of Fleetwood Mac, in his autobiography -- he couldn't stop Walsh from taking over. Unfortunately, Walsh put the group on the chicken-in-a-basket cabaret circuit, and in the next year they only released one record, the single "Curly", which nobody was happy with. It was ostensibly produced by Mike Hurst, but Hurst didn't turn up to the final sessions and Wood did most of the production work himself, while in the next studio over Jimmy Miller, who'd produced "Blackberry Way", was producing "Honky Tonk Women" by the Rolling Stones. The group were getting pigeonholed as a singles group, at a time when album artists were the in thing. In a three-year career they'd only released one album, though they were working on their second. Wood was by this point convinced that the Move was unsalvageable as a band, and told the others that the group was now just going to be a launchpad for his Electric Light Orchestra project. The band would continue working the chicken-in-a-basket circuit and releasing hit singles, but that would be just to fund the new project -- which they could all be involved in if they wanted, of course. Carl Wayne, on the other hand, was very, very, happy playing cabaret, and didn't see the need to be doing anything else. He made a counter-suggestion to Wood -- keep The Move together indefinitely, but let Wood do the Brian Wilson thing and stay home and write songs. Wayne would even try to get Burton and Kefford back into the band. But Wood wasn't interested. Increasingly his songs weren't even going to the Move at all. He was writing songs for people like Cliff Bennett and the Casuals. He wrote "Dance Round the Maypole" for Acid Gallery: [Excerpt: Acid Gallery, "Dance Round the Maypole"] On that, Wood and Jeff Lynne sang backing vocals. Wood and Lynne had been getting closer since Lynne had bought a home tape recorder which could do multi-tracking -- Wood had wanted to buy one of his own after "Flowers in the Rain", but even though he'd written three hit singles at that point his publishing company wouldn't give him an advance to buy one, and so he'd started using Lynne's. The two have often talked about how they'd recorded the demo for "Blackberry Way" at Lynne's parents' house, recording Wood's vocal on the demo with pillows and cushions around his head so that his singing wouldn't wake Lynne's parents. Lynne had been another person that Wood had asked to join the group when Burton left, but Lynne was happy with The Idle Race, where he was the main singer and songwriter, though their records weren't having any success: [Excerpt: The Idle Race, "I Like My Toys"] While Wood was writing material for other people, the only one of those songs to become a hit was "Hello Suzie", written for Amen Corner, which became a top five single on Immediate Records: [Excerpt: Amen Corner, "Hello Suzie"] While the Move were playing venues like Batley Variety Club in Britain, when they went on their first US tour they were able to play for a very different audience. They were unknown in the US, and so were able to do shows for hippie audiences that had no preconceptions about them, and did things like stretch "Cherry Blossom Clinic" into an eight-minute-long extended progressive rock jam that incorporated bits of "Jesu, Joy of Man's Desiring", the Nutcracker Suite, and the Sorcerer's Apprentice: [Excerpt: The Move, "Cherry Blossom Clinic Revisited (live at the Fillmore West)"] All the group were agreed that those shows were the highlight of the group's career. Even Carl Wayne, the band member most comfortable with them playing the cabaret circuit, was so proud of the show at the Fillmore West which that performance is taken from that when the tapes proved unusable he kept hold of them, hoping all his life that technology would progress to the point where they could be released and show what a good live band they'd been, though as things turned out they didn't get released until after his death. But when they got back to the UK it was back to the chicken-in-a-basket circuit, and back to work on their much-delayed second album. That album, Shazam!, was the group's attempt at compromise between their different visions. With the exception of one song, it's all heavy rock music, but Wayne, Wood, and Price all co-produced, and Wayne had the most creative involvement he'd ever had. Side two of the album was all cover versions, chosen by Wayne, and Wayne also went out onto the street and did several vox pops, asking members of the public what they thought of pop music: [Excerpt: Vox Pops from "Don't Make My Baby Blue"] There were only six songs on the album, because they were mostly extended jams. Other than the three cover versions chosen by Wayne, there was a sludge-metal remake of "Hello Suzie", the new arrangement of "Cherry Blossom Clinic" they'd been performing live, retitled "Cherry Blossom Clinic Revisited", and only one new original, "Beautiful Daughter", which featured a string arrangement by Visconti, who also played bass: [Excerpt: The Move, "Beautiful Daughter"] And Carl Wayne sang lead on five of the six tracks, which given that one of the reasons Wayne was getting unhappy with the band was that Wood was increasingly becoming the lead singer, must have been some comfort. But it wasn't enough. By the time Shazam! came out, with a cover drawn by Mike Sheridan showing the four band members as superheroes, the band was down to three -- Carl Wayne had quit the group, for a solo career. He continued playing the cabaret circuit, and made records, but never had another hit, but he managed to have a very successful career as an all-round entertainer, acting on TV and in the theatre, including a six-year run as the narrator in the musical Blood Brothers, and replacing Alan Clarke as the lead singer of the Hollies. He died in 2004. As soon as Wayne left the group, the three remaining band members quit their management and went back to Arden. And to replace Wayne, Wood once again asked Jeff Lynne to join the group. But this time the proposition was different -- Lynne wouldn't just be joining the Move, but he would be joining the Electric Light Orchestra. They would continue putting out Move records and touring for the moment, and Lynne would be welcome to write songs for the Move so that Wood wouldn't have to be the only writer, but they'd be doing it while they were planning their new group.  Lynne was in, and the first single from the new lineup was a return to the heavy riff rock style of "Wild Tiger Woman", "Brontosaurus": [Excerpt: The Move, "Brontosaurus"] But Wayne leaving the group had put Wood in a difficult position. He was now the frontman, and he hated that responsibility -- he said later "if you look at me in photos of the early days, I'm always the one hanging back with my head down, more the musician than the frontman." So he started wearing makeup, painting his face with triangles and stars, so he would be able to hide his shyness. And it worked -- and "Brontosaurus" returned the group to the top ten. But the next single, "When Alice Comes Back to the Farm", didn't chart at all. The first album for the new Move lineup, Looking On, was to finish their contract with their current record label. Many regard it as the group's "Heavy metal album", and it's often considered the worst of their four albums, with Bev Bevan calling it "plodding", but that's as much to do with Bevan's feeling about the sessions as anything else -- increasingly, after the basic rhythm tracks had been recorded, Wood and Lynne would get to work without the other two members of the band, doing immense amounts of overdubbing.  And that continued after Looking On was finished. The group signed a new contract with EMI's new progressive rock label, Harvest, and the contract stated that they were signing as "the Move performing as The Electric Light Orchestra". They started work on two albums' worth of material, with the idea that anything with orchestral instruments would be put aside for the first Electric Light Orchestra album, while anything with just guitar, bass, drums, keyboard, and horns would be for the Move. The first Electric Light Orchestra track, indeed, was intended as a Move B-side. Lynne came in with a song based around a guitar riff, and with lyrics vaguely inspired by the TV show The Prisoner, about someone with a number instead of a name running, trying to escape, and then eventually dying.  But then Wood decided that what the track really needed was cello. But not cello played in the standard orchestral manner, but something closer to what the Beatles had done on "I am the Walrus". He'd bought a cheap cello himself, and started playing Jimi Hendrix riffs on it, and Lynne loved the sound of it, so onto the Move's basic rhythm track they overdubbed fifteen cello tracks by Wood, and also two French horns, also by Wood: [Excerpt: The Electric Light Orchestra, "10538 Overture"] The track was named "10538 Overture", after they saw the serial number 1053 on the console they were using to mix the track, and added the number 8 at the end, making 10538 the number of the character in the song. Wood and Lynne were so enamoured with the sound of their new track that they eventually got told by the other two members of the group that they had to sit in the back when the Move were driving to gigs, so they couldn't reach the tape player, because they'd just keep playing the track over and over again. So they got a portable tape player and took that into the back seat with them to play it there. After finishing some pre-existing touring commitments, the Move and Electric Light Orchestra became a purely studio group, and Rick Price quit the bands -- he needed steady touring work to feed his family, and went off to form another band, Mongrel. Around this time, Wood also took part in another strange project. After Immediate Records collapsed, Andrew Oldham needed some fast money, so he and Don Arden put together a fake group they could sign to EMI for ten thousand pounds.  The photo of the band Grunt Futtock was of some random students, and that was who Arden and Oldham told EMI was on the track, but the actual performers on the single included Roy Wood, Steve Marriott, Peter Frampton, and Andy Bown, the former keyboard player of the Herd: [Excerpt: Grunt Futtock, "Rock 'n' Roll Christian"] Nobody knows who wrote the song, although it's credited to Bernard Webb, which is a pseudonym Paul McCartney had previously used -- but everyone knew he'd used the pseudonym, so it could very easily be a nod to that. The last Move album, Message From The Country, didn't chart -- just like the previous two hadn't. But Wood's song "Tonight" made number eleven, the follow-up, "Chinatown", made number twenty-three, and then the final Move single, "California Man", a fifties rock and roll pastiche, made the top ten: [Excerpt: The Move, "California Man"] In the US, that single was flipped, and the B-side, Lynne's song "Do Ya", became the only Move song ever to make the Hot One Hundred, reaching number ninety-nine: [Excerpt: The Move, "Do Ya"] By the time "California Man" was released, the Electric Light Orchestra were well underway. They'd recorded their first album, whose biggest highlights were Lynne's "10538 Overture" and Wood's "Whisper in the Night": [Excerpt: The Electric Light Orchestra, "Whisper in the Night"] And they'd formed a touring lineup, including Richard Tandy on keyboards and several orchestral instrumentalists. Unfortunately, there were problems developing between Wood and Lynne. When the Electric Light Orchestra toured, interviewers only wanted to speak to Wood, thinking of him as the band leader, even though Wood insisted that he and Lynne were the joint leaders. And both men had started arguing a lot, to the extent that at some shows they would refuse to go on stage because of arguments as to which of them should go on first. Wood has since said that he thinks most of the problems between Lynne and himself were actually caused by Don Arden, who realised that if he split the two of them into separate acts he could have two hit groups, not one. If that was the plan, it worked, because by the time "10538 Overture" was released as the Electric Light Orchestra's first single, and made the top ten -- while "California Man" was also still in the charts -- it was announced that Roy Wood was now leaving the Electric Light Orchestra, as were keyboard playe

In her brand new stand-up comedy special, Here I Stand, drag queen and comedienne Miz Cracker discusses everything from sex and dating to quarantining, dieting, and getting older. With her signature brand of cheerful pessimism, she tells jokes and stories about her bizarre childhood, her vices, her worst mistakes, and how she managed to survive it all. Embracing a message of self-acceptance, Here I Stand is a show for anyone who needs to laugh out loud—sometimes at themselves. YouTube: https://bit.ly/3ymp1to Facebook: http://www.facebook.com/ComedyDynamics Twitter: http://www.twitter.com/ComedyDynamics TikTok: https://vm.tiktok.com/J1wucyQ/ Instagram: http://www.instagram.com/ComedyDynamics http://www.comedydynamics.com/ Learn more about your ad choices. Visit megaphone.fm/adchoices

Music writer and Assistant Professor at Syracuse University, Rawiya Kameir, is back on the show to discuss the career and confessions of the great Usher. DJ Louie and Rawiya break down Usher's musical origins singing in the church, the failed boy band he fronted in the early ‘90s, Nu Beginnings, and how his deal with the storied LaFace Records and subsequent “flavor camp” with Sean “Puff Daddy' Combs set the stage for his self-titled debut record in 1994. They then dive into his breakthrough sophomore album, 1997's My Way, how it solidified Usher's persona as a smooth, sensitive, emotionally-conflicted lover boy as well as one of the most dexterous R&B singers of his generation, its blockbuster follow up, 2001's 8701, which furthered Usher's thematic fascination with the complexities of and distress caused by love and sex and of course, his magnum opus, 2004's Confessions, a hit-packed concept album about the aftermath of infidelity that sold over 20 million copies worldwide and stands today as Usher's signature artistic and commercial achievement. Next, Louie and Rawiya debate Usher's latter period output, from swings at trendiness on 2008's Here I Stand and 2010's Raymond Vs. Raymond to more rewarding experiments on 2012's Looking 4 Myself and 2016's Hard II Love. Finally they rank Usher in the official Pop Pantheon. Check out Louie's Usher Essentials Playlist on SpotifyJoin the Pop Pantheon Discord!Follow DJ Louie XIV on InstagramFollow DJ Louie XIV on TwitterFollow Pop Pantheon on InstagramFollow Pop Pantheon on TwitterFollow Rawiya Kameir on Twitter

In her brand new stand-up comedy special, Here I Stand, drag queen and comedienne Miz Cracker discusses everything from sex and dating to quarantining, dieting, and getting older. With her signature brand of cheerful pessimism, she tells jokes and stories about her bizarre childhood, her vices, her worst mistakes, and how she managed to survive it all. Embracing a message of self-acceptance, Here I Stand is a show for anyone who needs to laugh out loud—sometimes at themselves. YouTube: https://bit.ly/3ymp1to Facebook: http://www.facebook.com/ComedyDynamics Twitter: http://www.twitter.com/ComedyDynamics TikTok: https://vm.tiktok.com/J1wucyQ/ Instagram: http://www.instagram.com/ComedyDynamics http://www.comedydynamics.com/ Learn more about your ad choices. Visit megaphone.fm/adchoices

In her brand new stand-up comedy special, Here I Stand, drag queen and comedienne Miz Cracker discusses everything from sex and dating to quarantining, dieting, and getting older. With her signature brand of cheerful pessimism, she tells jokes and stories about her bizarre childhood, her vices, her worst mistakes, and how she managed to survive it all. Embracing a message of self-acceptance, Here I Stand is a show for anyone who needs to laugh out loud—sometimes at themselves. YouTube: https://bit.ly/3ymp1to Facebook: http://www.facebook.com/ComedyDynamics Twitter: http://www.twitter.com/ComedyDynamics TikTok: https://vm.tiktok.com/J1wucyQ/ Instagram: http://www.instagram.com/ComedyDynamics http://www.comedydynamics.com/ Learn more about your ad choices. Visit megaphone.fm/adchoices

Mike quickly discusses 20 of his favorite Christian books. Beware: this show moves with rapidity! Machen – Christianity and Liberalism Berkhof – Systematic Theology Calvin – Institutes Dathenus – Pearl of Christian Comfort Sibbes – Bruised Reed Ferguson – Whole Christ Horton – Christ the Lord Fisher – Marrow of Modern Divinity Sproul – Chosen by God Fesko – Justification Bainton – Here I Stand Murray – Redemption accomplished and applied Warfield – The Plan of Salvation Anderson – To the Golden Shore: the Life of Adoniram Judson Stott – The Cross of Christ Bunyan – Pilgrim’s Progress Brown and Keele – Sacred Bond: Covenant Theology Explained Clark – Covenant, Justification, and Pastoral Ministry Marshall – Divine Mystery of Sanctification Pink – The Attributes of God

Hora de jugar con cartoncitos y fichitas, pero con juegos de temática histórica. Europa nos llama, y Mael RE: seña un juego muuuy largo y complejo, pero gratificante, el Here I Stand (sobre la reforma religiosa del siglo XVI); y otro bastante más corto pero igual de entretenido, el Dual Powers (la lucha entre los zaristas y los bolcheviques en la Rusia de 1917). Además, MaGnUs nos habla de Soviet Kitchen, un juego de cartas humorístico ambientado al final de la Segunda Guerra Mundial, especial para jugar rápido y divertirse con amigos, sean jugones o no. Con música de Depeche Mode, y Rammstein con Viktoria Fersh. Próximo programa: Montevideo Comics 20 Años.

Ed Beach discusses his boardgames, including Here I Stand, Virgin Queen, and the Great Campaigns of the American Civil War series. We also talk about Ed’s work on the Civilization V computer game, including the new Gods & Kings expansion. How similar or different are board games and computer games, from a design perspective? Plus, […]

Here I Stand!Reader: Tom DavisDate: 20th May 2022Passage: Psalm 11:1-------------------One of the great moments of history occurred on 18th April 1521 when the reformer Martin Luther had to appear before some of the most powerful leaders of the Roman Catholic Church and the most powerful ruler in Europe to answer for what he had written against the Papacy and the abuses in the church at that time. When challenged to apologise and acknowledge that he was wrong Luther with tremendous courage said "It cannot be right for a Christian to speak against his conscience. Here I stand, and can say no more: God help me. Amen". That moment changed the history of Europe and eventually that of the western world.It takes courage to stand up for Jesus Christ against those who do not follow him or the truth of God which the Bible makes known to us. David the psalm-writer was tempted to run away from the trouble that was surrounding him. But he said he had run to the safest place in the world "straight to the arms of God" (v1). That is still the best place to be and that is where we find the courage to take a stand for Jesus.Do you know someone to whom God wants you to speak a word of Gospel truth but you are nervous about it? PrayerDear Lord Jesus, help me to have the courage to stand up for you and to tell others about the Gospel of your grace and salvation. Amen.

Featured Song: Age Aint Nothing But a Number / Chi Ali   Show Notes/Oops: The song "The Many Ways" was incorrectly read as debuting at #67. Shoulda been #167. Oops! At around 39:53, I incorrectly said the single was called "Here I Come". Should been "Here I Stand". Oops! Sources https://en.wikipedia.org/wiki/Usher_(musician) https://www.biography.com/musician/usher https://www.allmusic.com/artist/usher-mn0000303506/biography https://en.wikipedia.org/wiki/Chi-Ali http://www.mtv.com/news/1441669/ex-rapper-chi-ali-arrested-a-year-after-fleeing-murder-charge/ https://www.mtv.com/news/1695303/chi-ali-daughter-post-incarceration-rapfix-live/

We tend to think of healings in Scripture as physical ones. Which is true. But as Fr. Mulhearn shares today, perhaps we can expand that idea to other parts of our lives and realize it is a fit we can give to one another.MUSICMother of God, Here I Stand by VOCES8Crystal Sky by Ola GjeiloOUR LENTEN MARIAN PRAYERWe fly to your protection,O Holy Mother of God;Beneath your compassion,hear our petitions, and rescue usfrom all temptation.O glorious and Blessed Virgin Mary. Amen.

MUSICMother of God, Here I Stand by VOCES8Shadows by Ola GjeiloOUR LENTEN MARIAN PRAYERWe fly to your protection,O Holy Mother of God;Beneath your compassion,hear our petitions, and rescue usfrom all temptation.O glorious and Blessed Virgin Mary. Amen.

Entrepreneur Tameka Foster Raymond talks candidly about Motherhood, the devastating loss of her child, her two divorces and picking yourself back UP TO MOVE FORWARD ....in her new book - HERE I STAND. Extremely honest and candid this TWO TIME AUTHOR and Fashion Innovator shares her positive outlook on all things. Ultimately she says that it is about making a conscious decision to remain in a " beautiful state. "

This year is the 500th anniversary of the Diet of Worms - where Luther stood on God's word against Emperor Charles V. This week, we bring you the messages from our annual Reformation Day celebration. For more information on Reformation Day, visit www.celebratereformationday.com/ Timecodes 00:00:00 Here I Stand, I Can Do No Other by Dan Horn 00:30:24 What Happened at the Diet of Worms by Joshua Horn 00:54:30 Why Worms Didn't Kill Luther by Jonathan Sides Production of Reformation Baptist Church of Youngsville, NC Hosts - Dan Horn, Jonathan Sides, Charles Churchill and Joshua Horn Technical Director - Timothy Kaiser Theme Music - Gabriel Hudelson

Here I Stand.These are the historic words attributed to Martin Luther as he took a stand for the radical convictions that should have gotten him killed.However, Luther's strength of conviction and timing in history combined to set the stage for big changes on the European continent and beyond. Church historian and theologian Alec Ryrie knows all about this. In this episode, he describes Luther's theological convictions during the pinnacle events of his life: his initial persecutions among the religious leaders of his day.This episode is ideal for those who are looking to learn more about Martin Luther and his seminal theology.

Rushion McDonald talks to Tameka Foster Raymond; she is Usher's ex-wife, discussing her memoir, “Here I Stand.” She is a trend-setting celebrity stylist, lending her creative talents to legendary soul singers like Patti LaBelle, Chaka Khan, and Aretha Franklin to chart-toppers such as Jay-Z, Usher, Chris Brown, Mary J. Blige, Ciara, The Fugees, Nas, Dr. Dre and more.https://www.moneymakingconversations.comhttps://www.youtube.com/MoneyMakingConversationshttps://www.facebook.com/MoneyMakingConversations/https://twitter.com/moneymakingconvhttps://www.instagram.com/moneymakingconversations/Learn more about your ad-choices at https://www.iheartpodcastnetwork.comSupport the show: https://www.steveharveyfm.com/See omnystudio.com/listener for privacy information.

Rushion McDonald talks to Ash Cash, a Founder & C.E.O., Mind Right Money Management, Wealth Coach, Host of "Inside the Vault," and Author. I was born to an immigrant mother who spoke no English; my father didn't want me, my brother didn't like me, and my sister beat me up. My neighborhood was filled with crack and poverty, the church despised me, the schools thought I was dumb and wanted to put me in special ed, and my basketball coaches didn't think I was good enough. Today, I am The Greatest Money Mindset Coach on the Planet and One of the World's top Financial Educators.Rushion McDonald talks to Tameka Foster Raymond; she is Usher's ex-wife, discussing her memoir, “Here I Stand.” She is a trend-setting celebrity stylist, lending her creative talents to legendary soul singers like Patti LaBelle, Chaka Khan, and Aretha Franklin to chart-toppers such as Jay-Z, Usher, Chris Brown, Mary J. Blige, Ciara, The Fugees, Nas, Dr. Dre and more.https://www.moneymakingconversations.comhttps://www.youtube.com/MoneyMakingConversationshttps://www.facebook.com/MoneyMakingConversations/https://twitter.com/moneymakingconvhttps://www.instagram.com/moneymakingconversations/Learn more about your ad-choices at https://www.iheartpodcastnetwork.comSupport the show: https://www.steveharveyfm.com/See omnystudio.com/listener for privacy information.

This is a bonus episode, part of Pledge Week 2021. Patreon backers get one of these with every episode of the main podcast. If you want to get those, and to support the podcast, please visit patreon.com/andrewhickey to sign up for a dollar a month or more. Click below for the transcript. In today's main episode, we look at the most prominent surf and hot-rod duo of the early sixties. So in this bonus we're going to look at another duo who came from the same scene... or were they a trio, or a quartet, or a different duo? Or were there six of them? We're going to look at the Rip Chords, and at their big hit "Hey Little Cobra": [Excerpt: The Rip Chords, "Hey Little Cobra"] The Rip Chords started out as a duo, Phil Stewart and Ernie Bringas, from Inglewood, California, the next town over from Hawthorne where the Beach Boys grew up. Stewart and Bringas originally called themselves The Opposites, because they regarded their occupations as the opposite of each other -- Stewart was a private detective, while Bringas was studying to become a priest. They noticed that Jan and Arnie had started out on Arwin Records but then moved to another label, and so they tried to sell themselves to Arwin as a replacement for them -- indeed, since Stewart's middle name was Jan, for a while they were going to be billed as Jan and Ernie. That never happened, but they ended up getting signed as songwriters to Arwin's publishing arm, Daywin, and so coming to the attention of Terry Melcher. Melcher signed Stewart and Bringas to a deal with Columbia, but changed their group name to The Rip Chords. Their first single was actually by the duo -- "Here I Stand" was a cover of a minor R&B hit by Wade Flemons, and featured Bringas on lead, and the two Rip Chords overdubbed all the vocals themselves: [Excerpt: The Rip Chords, "Here I Stand"] The musicians on that track were all members of the session collective later known as the Wrecking Crew, including keyboard player Leon Russell, guitarist Glen Campbell, and drummer Earl Palmer. The arrangement on that, and on many of the Rip Chords' future recordings, was by Jack Nitzsche, who also did Phil Spector's arrangements. Nitzsche's wife Gracia was also involved in the second Rip Chords single. She was a session singer who was a member of the Blossoms for a while, and the Blossoms added vocals on "Gone", and Gracia did the spoken intro: [Excerpt: The Rip Chords, "Gone"] The man singing “Yeah she's gone, woah she's gone” there wasn't either of Stewart or Bringas, but Terry Melcher's regular collaborator Bruce Johnston. We've seen Johnston turn up a few times in the main podcast, but at the time he'd just started making surf records, in an attempt to jump on the latest bandwagon: [Excerpt: Bruce Johnston, "Do The Surfer's Stomp"] Johnston came in to thicken the vocals on "Gone", but he would soon be an essential part of the Rip Chords. As the group were touring regularly, they'd got in another couple of musicians, Rich Rotkin and Arnie Marcus, to back them on stage. Rotkin and Marcus didn't take part in the recordings, but Johnston and Melcher added additional voices. But then Bringas, the lead singer, had quit the live lineup of the group because he couldn't perform live and keep up with his studies for the ministry, but he stayed in the studio. So the live lineup of the band was Stewart, Rotkin, and Marcus, while the studio lineup was Stewart, Bringas, Johnston, and Melcher. Their third single, "Hey Little Cobra" was written by Carol Connors, the former lead singer of the Teddy Bears, who had started her own solo career a couple of years earlier, with "My Diary": [Excerpt: Carol Connors, "My Diary"] Connors spent much of the early sixties collaborating with people like Roger Christian and Gary Usher on beach party songs, but "Hey Little Cobra" was her first solo composition, though both Usher and Melcher have claimed to have helped her with it. While all four studio Rip Chords are apparently on the record, the only vocalists who can be easily distinguished are Melcher and Johnston, who were never credited on the records as anything other than producers -- according to the liner notes of the Rip Chords' original albums, the vocals were all by the official group members. "Hey Little Cobra", with Melcher on lead, ended up making number four on the charts: [Excerpt: The Rip Chords, "Hey Little Cobra"] The follow-up, "Three-Window Coupe" was a cover version of a Jan and Dean album track, written by Jan Berry and Roger Christian, and made the top thirty: [Excerpt: The Rip Chords, "Three-Window Coupe"] By this time, Johnston and Melcher were also recording as a duo under the name "Bruce and Terry", making records like "Summer Means Fun", a minor hit for them in 1964: [Excerpt: Bruce and Terry, "Summer Means Fun"] But the age of the studio surf and hot rod group only lasted about eighteen months, and the Rip Chords' fourth single only made number ninety-eight, while the fifth didn't chart at all. After that, the group split up. Bruce and Terry continued recording as a duo until 1966, and some of their records were truly excellent, like the majestic "Girl It's All Right Now": [Excerpt: Bruce and Terry, "Girl It's All Right Now"] By the time that came out, though, both men had gone on to the work that would be what they were remembered for in later decades -- Johnston joined the Beach Boys, and we'll be hearing much more about him throughout the sixties and seventies, and Terry Melcher was producing acts like the Byrds, and we'll hear more of him too. The Rip Chords remained largely a footnote to their work, to the extent that much of the time when people talk about the Rip Chords they don't even know that there was a real band at all. Stewart, Rotkin, and Marcus reformed the Rip Chords and have sometimes toured under the name in recent decades, and put out an album of rerecorded versions of the hits a few years back, while Melcher and Johnston briefly revived the name for recordings to fill out a compilation cassette of hit rerecordings, mostly by Mike Love of the Beach Boys and Dean Torrence of Jan & Dean, released only in Radio Shack stores in the eighties. Ernie Bringas now teaches theology, and also seems to be the primary author of the group's Wikipedia page, which is largely devoted to making very clear that Bringas really sang on the records his group put out.

Mrs. Benson discusses history and humanity. ______________ What is history and why does it matter?  How can studying history help us understand how we got where we are today?  How can studying history help us be more human? ______________ Bump music: Lord, Help Us Ever to Retain - Kirk Meyer - Kloria Publishing _____________ Suggested reading: The Politically Incorrect Guide to Western Civilization Daily Life in Ancient Rome by Jerome Carcopino The History of the Decline and Fall of Ancient Rome by Edward Gibbon _____________ Book Worth Reading: The Politically Incorrect Guide to Western Civilization _____________ Word Worth Repeating: History _____________ Coming up: Here I Stand- the 500th Anniversary of the Diet of Worms. _____________   Learn more about Wittenberg Academy. Register for classes (2020-21 academic year). Register for classes (2021-22 academic year).

In this episode "A Conversation With", we talked with award-winning filmmaker Jillian Bullock. Jillian gives insightful tips on how to create a successful script for your films and we discussed her film "A Sense of Purpose: Fighting For Our Lives". Jillian is the CEO/President of Jillian Bullock Enterprises, LLC, an empowerment and entertainment company based in Pennsylvania. While Jillian attended college, she raised three children as a single mother and worked as a reporter for "The Wall Street Journal." After graduation from La Salle University, where she got a degree in Communications, Jillian got her start in filmmaking as an intern on Spike Lee's movie "Malcolm X." From there, she has worked on her own and other people's movies as an actress, writer, producer, director, and fight choreographer. Jillian got that last title because she is a former competitive boxer and martial artist. She holds two black belts, one in Tae Kwon Do and the other in Wing Chun. Now she trains in mixed martial arts. As an author, Jillian's memoir, "Here I Stand," was published in 2012. She has sold two screenplays in her career so far - "The Champion Inside" and "Scar Across My Heart." Since 2007, Jillian has been a screenwriting judge for the Set in Philadelphia Screenwriting Contest, which is sponsored by the Greater Philadelphia Film Office. Jillian's latest project is a feature film entitled "A Sense of Purpose: Fighting For Our Lives," which focuses on veterans, military sexual assault, and PTSD. Inspired by true stories. - IMDb Mini Biography By: Jillian Bullock Submit Your Short Film: The Film Collective --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app --- Send in a voice message: https://anchor.fm/aconversationwithfm/message Support this podcast: https://anchor.fm/aconversationwithfm/support