Podcasts about Hesperus

Haven't we all dreamed of riding the rough country on a quality horse gathering cows or following a pack of dogs trailing what seems to be an impossible track of a stock killer? We have the trusty six gun at our waist and lever gun stowed in a trail beaten scabbard. The smells of a mixture of horse sweat and harness oil is a standard and welcome odor to the olfactory. Crows feet border the squinted and focused eyes. Ears straining to hear the cold trailing of a hound anticipating the roar of the hounds indicating a jump race.Mike Leonard joins Chris Powell on the Houndsman XP Podcast. Mike tells stories, relives history and shares his decades of experience on the trails hounds have led him down.Mike Leonard and his wife Bobbie Nell will be providing Old West Entertainment at the Hourses Hounds and Mules Sale at the Tuxon Ranch in Hesperus, CO on July 18-19. Tickets on sale now HERE  ►Get Your Houndsman XP Info, Gear & More Here!www.HoundsmanXP.com►Become a Patron of Houndsman XP! Check out our Tailgate Talks.|

Early in the second century a pagan named Catallus bought Hesperus, his wife Zoë, and their sons Cyriac and Theodulus as slaves. All of them were Christians, and would not eat anything that had been sacrificed to idols — they would throw all such food to the dogs and go hungry themselves. When Catallus learned of this, he was enraged and began to torture them cruelly, beginning with the children. When none of them could be moved from his confession of Christ, the entire family was cast into a hot furnace, where they gave up their souls to God. Their bodies remained unburnt.

Our guest this week is Ali Noël. Ali lives with her three young children in the rainy shadow of Mount Rainier. When she isn't spear-heading her first year of homeschooling or chasing her stubborn bulldog around the yard, you can find Ali whittling poetry and chipping away at her biblical fiction novel. Ali had a B.S. in Biblical Studies from Indiana Wesleyan University and is currently a poetry intern for Twenty Hills Publishing. Some of Ali's most recent poetry publications and other places to find her:Light of the World published by Vessels of Light The Day Bringer published by Vessels of LightToo Often I Forget published by Calla Press Publishing, Spring Literary Journal Tenderly, He, published by Calla Press Publishing, Spring Literary Journal Watch As It Wakes published by Storyboard Community Spring Journal Book 1 in The Ratcatcher ChroniclesThe Kingdom of GallimaufriaChapter One: The Boy from RavoFrom the Desk of Periwinkle Twist- SubstackInstagram: The.Poetess.Life PeriwinkleTwist_WritesBooks referenced and discussed in this episode:Redeeming Love (please read reviews when deciding if this is a good read for You)Sense and Sensibility by Jane AustenLittle House on the Prairie series (specifically Farmer Boy) The Joy Luck ClubHarry PotterTo Kill a Mockingbird Emma Wingfeather Saga Shel Silverstein's poemsThe Brontë Sisters booksNorthanger Abbey by Jane AustenMary Oliver (her complete works) Favorite Poems, Old and New “The Wreck of the Hesperus” by Henry Wadsworth LongfellowAnne of Green Gables The Pied Piper of HamelinThe Princess and the Goblin Give and Take Hidden Truths The Awakening of Miss Prim The Lord of the Rings Resource:House of Humane Letters: How to Read Fairy Tales class with Angelina Stanford.A Year with Mary Oliver free guide from Amy Parilee Rickards of @livingwellread.

This podcast hit paid subscribers' inboxes on Nov. 29. It dropped for free subscribers on Dec. 6. To receive future episodes as soon as they're live, and to support independent ski journalism, please consider an upgrade to a paid subscription. You can also subscribe to the free tier below:WhoSusan Donnelly, General Manager of Mount Sunapee (and former General Manager of Crotched Mountain)Recorded onNovember 4, 2024About CrotchedClick here for a mountain stats overviewOwned by: Vail Resorts, which also owns:Located in: Francetown, New HampshireYear founded: 1963 (as Crotched East); 1969 (as Onset, then Onset Bobcat, then Crotched West, now present-day Crotched); entire complex closed in 1990; West re-opened by Peak Resorts in 2003 as Crotched MountainPass affiliations:* Epic Pass, Epic Local Pass, Northeast Value Epic Pass: unlimited access* Northeast Midweek Epic Pass: midweek access, including holidaysClosest neighboring public ski areas: Pats Peak (:34), Granite Gorge (:39), Arrowhead (:41), McIntyre (:50), Mount Sunapee (:51)Base elevation: 1,050 feetSummit elevation: 2,066 feetVertical drop: 1,016Skiable Acres: 100Average annual snowfall: 65 inchesTrail count: 25 (28% beginner, 40% intermediate, 32% advanced)Lift count: 5 (1 high-speed quad, 1 fixed-grip quad, 1 triple, 1 double, 1 surface lift – view Lift Blog's inventory of Crotched's lift fleet)History: Read New England Ski History's overview of Crotched MountainAbout Mount SunapeeClick here for a mountain stats overviewOwned by: The State of New Hampshire; operated by Vail Resorts, which also operates resorts detailed in the chart above.Located in: Newbury, New HampshireYear founded: 1948Pass affiliations:* Epic Pass, Epic Local Pass, Northeast Value Epic Pass: unlimited access* Northeast Midweek Epic Pass: midweek access, including holidaysClosest neighboring public ski areas: Pats Peak (:28), Whaleback (:29), Arrowhead (:29), Ragged (:38), Veterans Memorial (:42), Ascutney (:45), Crotched (:48), Quechee (:50), Granite Gorge (:51), McIntyre (:53)Base elevation: 1,233 feetSummit elevation: 2,743 feetVertical drop: 1,510 feetSkiable Acres: 233 acresAverage annual snowfall: 130 inchesTrail count: 67 (29% beginner, 47% intermediate, 24% advanced)Lift count: 8 (2 high-speed quads, 1 fixed-grip quad, 2 triples, 3 conveyors – view Lift Blog's inventory of Mount Sunapee's lift fleet.)History: Read New England Ski History's overview of Mount SunapeeWhy I interviewed herIt's hard to be small in New England and it's hard to be south in New England. There are 35 New England ski areas with vertical drops greater than 1,100 feet, and Crotched is not one of them. There are 44 New England ski areas that average more than 100 inches of snow per winter, and Crotched is not one of those either. Crotched does have a thousand vertical feet and a high-speed lift and a new baselodge and a snowmaking control room worthy of a nuclear submarine. Which is a pretty good starter kit for a successful ski area. But it's not enough in New England.To succeed as a ski area in New England, you need a Thing. The most common Things are to be really really nice or really really gritty. Stratton or Mad River. Okemo or Magic. Sunday River or Black Mountain of Maine. The pitch is either “you'll think you're at Deer Valley” or “you'll descend the hill on ice skates and you'll like it.” But Crotched's built-along-a-state-highway normalness precludes arrogance, and its mellow terrain lacks the attitude for even modest braggadocio. It's not a small ski area, but it's not big enough to be a mid-sized one, either. The terrain is fine, but it's not the kind of place you need to ski on purpose, or more than once. It's a fine local, but not much else, making Crotched precisely the kind of mountain that you would have expected to be smothered by the numerous larger and better ski areas around it before it could live to see the internet. And that's exactly what happened. Crotched, lacking a clear Thing, went bust in 1990.The ski area, undersized and average, should have melted back into the forest by now. But in 2002, then-budding Peak Resorts crept out of its weird Lower Midwest manmade snowhole on a reverse Lewis & Clark Expedition to explore the strange and murky East. And as they hacked away the brambles around Crotched's boarded-up baselodge, they saw not a big pile of mediocrity, but a portal into the gold-plated New England market. And they said “this could work if we can just find a Thing.” And that Thing was night-skiing with attitude, built on top of $10 million in renovations that included a built-from-scratch snowmaking system.The air above the American mountains is filled with such wild notions. “We're going to save Mt. Goatpath. It's going to be bigger than Vail and deeper than Alta and higher than Telluride.” And everyone around them is saying, “You know this is, like, f*****g Connecticut, right?” But if practical concerns killed all bad ideas, then no one would keep reptiles as pets. Everyone else is happy with cats or dogs, sentient mammals of kindred disposition with humans, but this idiot needs a 12-foot-long boa constrictor that he keeps in a 6x3 fishtank. It helps him get chicks or something. It's his thing. And damned if it doesn't work.What we talked aboutTransitioning from smaller, Vail-owned Crotched to larger, state-owned but Vail-operated Sunapee; “weather-proofing” Sunapee; Crotched and Sunapee – so close but so different; reflecting on the Okemo days under Triple Peaks ownership; longtime Okemo head Bruce Schmidt; reacting to Vail's 2018 purchase of Triple Peaks; living through change; the upside of acquisitions; integrating Peak Resorts; skiing's boys' club; Vail Resorts' culture of women's advancement; why Covid uniquely challenged Crotched among Vail's New England properties; reviving Midnight Madness; Crotched's historic downsizing; whether the lost half of Crotched could ever be re-developed; why Crotched 2.0 is more durable than the version that shut down in 1990; Crotched's baller snowmaking system; southern New Hampshire's wild weather; thoughts on future Crotched infrastructure; and considering a beginner trail from Crotched's summit.Why now was a good time for this interviewAs we swing toward the middle of the 2020s, it's pretty lame to continue complaining about operational malfunctions in the so-called Covid season of 2020-21, but I'm going to do it anyway.Some ski areas did a good job operating that season. For example, Pats Peak. Pats Peak was open seven days per week that winter. Pats Peak offered night skiing on all the days it usually offers night skiing. Pats Peak made the Ross Ice Shelf jealous with its snowmaking firepower. Pats Peak acted like a snosportskiing operation that had operated a snosportskiing operation in previous winters. Pats Peak did a good job.Other ski areas did a bad job operating that season. For example, Crotched. Crotched was open whenever it decided to be open, which was not very often. Crotched, one of the great night-skiing centers in New England, offered almost no night skiing. Crotched's snowmaking looked like what happens when you accidentally keep the garden hose running during an overnight freeze. Crotched did a bad job.This is a useful comparison, because these two ski areas sit just 21 miles and 30 minutes apart. They are dealing with the same crappy weather and the same low-altitude draw. They are both obscured by the shadows of far larger ski areas scraping the skies just to the north. They are both small and unserious places, where the skiing is somewhat beside the point. Kids go there to pole-click one another's skis off of moving chairlifts. College kids go there to alternate two laps with two rounds at the bar. Adults go there to shoo the kids onto the chairlifts and burn down happy hour. No one shows up in either parking lot expecting Jackson Hole.But Crotched Mountain is owned by Vail Resorts. Pats Peak is owned by the same family of good-old boys who built the original baselodge from logs sawed straight off the mountain in 1962. Vail Resorts has the resources to send a container full of sawdust to the moon just to see what happens when it's opened. Most of Pats Peaks' chairlifts came used from other ski areas. These two are not drawing from the same oil tap.And yet, one of them delivered a good product during Covid, and the other did not. And the ones who did are not the ones that their respective pools of resources would suggest. And so the people who skied Pats Peak that year were like “Yeah that was pretty good considering everything else kind of sucks right now.” And the people who skied Crotched that season were like “Well that sucked even worse than everything else does right now, and that's saying something.”And that's the mess that Donnelly inherited when she took the GM job at Crotched in 2021. And it took a while, but she fixed it. And that's harder than it should be when your parent company can deploy sawdust rockets on a whim.What I got wrong* I said that Colorado has 35 active ski areas. The correct number is 34, or 33 if we exclude Hesperus, which did not operate last winter, and is not scheduled to reactivate anytime soon.* I said that Bruce Schmidt was the “president and general manager” of Okemo. His title is “Vice President and General Manager.” Sorry about that, Bruce.* I said that Okemo's season pass was “closing in on $2,000” when Vail came along. According to New England Ski History, Okemo's top season pass price hit $1,375 for the 2017-18 ski season, the last before Vail purchased the resort. This appears to be a big cut from the 2016-17 season, when the top price was $1,619. My best guess is that Okemo dropped their pass prices after Vail purchased Stowe, lowering that mountain's pass price from $2,313 for the 2016-17 ski season to just $899 (an Epic Pass) the next.* I said that 80 percent-plus of my podcasts featured interviews with men. I examined the inventory, and found that of the 210 podcasts I've published (192 Storm Skiing Podcasts, 12 Covid pods, 6 Live pods), only 33, or 15.7 percent, included a female guest. Only 23 of those (11 percent), featured a woman as the only guest. And three of those podcasts were with one person: former NSAA CEO Kelly Pawlak. So either my representation sucks, or the ski industry's representation sucks, but probably it's both.Why you should ski CrotchedUpper New England doesn't have a lot of night skiing, and the night skiing it does have is mostly underwhelming. Most of the large resorts – Killington, Sugarbush, Smuggs, Stowe, Sugarloaf, Waterville, Cannon, Stratton, Mount Snow, Okemo, Attitash, Wildcat, etc. – have no night skiing at all. A few of the big names – Bretton Woods, Sunday River, Cranmore – provide a nominal after-dark offering, a lift and a handful of trails. The bulk of the night skiing in New Hampshire, Vermont, and Maine involves surface lifts at community-run bumps with the vertical drop of a Slip N' Slide.But a few exceptions tower into the frosty darkness: Pleasant Mountain, Maine; Pats Peak, New Hampshire; and Bolton Valley, Vermont all deliver big vertical drops, multiple chairlifts, and a spiderweb of trails for night skiers. Boyne-owned Pleasant, with 1,300 vertical feet served by a high-speed quad, is the most extensive of these, but the second-most expansive night-skiing operation in New England lives at Crotched.Parked less than an hour from New Hampshire's four largest cities – Manchester, Nashua, Concord, and Derry – Crotched is the rare northern New England ski area that can sustain an after-hours business (New Hampshire, Maine, and Vermont are ranked numbers 41, 42, and 49 among U.S. states by population, respectively, with a three-state total of just 3.5 million residents). With four chairlifts spinning, every trail lit, Park Brahs on patrol, first-timers lined up at the rental shop, Bomber Bro straightlining Pluto's Plunge in his unzipped Celtics jacket, the parking lots jammed, and the scritch-scratch of edges on ice shuddering across the night, it's an amazing scene, a lantern of New England Yeah Dawg zest floating in the winter night.No, Crotched night skiing isn't what it used to be, when Peak Resorts kept the joint bumping until 3 a.m. And the real jammer, Midnight Madness, hits just a half dozen days per winter. But it's still a uniquely New England scene, a skiing spectacle that can double as a night-cap after a day shredding Cannon or Waterville or Mount Snow.Podcast NotesOn my recent Sunapee podI tend to schedule these interviews several months in advance, and sometimes things change. One of the things that changed between when I scheduled this conversation and when we recorded it was Donnelly's job. She moved from Crotched, which I had never spotlighted on the podcast, to Sunapee, which I just featured a few months ago. Which means, Sunapee Nation, that we don't really talk much about Mount Sunapee on this podcast that has Mount Sunapee in the headline. But pretty much everything I talked about in June with former Sunapee GM Peter Disch (who's now VP of Mountain Ops at Vail's Heavenly), is still relevant:On historic CrotchedCrotched was once a much larger resort forged from two onetime independent side-by-side ski areas. The whole history of it is a bit labyrinthian and involves bad decisions, low snow years, and unpaid taxes (read the full tale at New England Ski History), but the upshot was this interconnected animal, shown here at its 1988-ish peak:The whole Crotched complex dropped dead around 1990, and would have likely stayed that way forever had Missouri-based Peak Resorts not gotten the insane idea to dig a lost New England ski area up from the graveyard. Somewhat improbably, they succeeded, and the contemporary Crotched (minus the summit quad, which came later), opened in 2003. The current ski area sits on what was formerly known as “Crotched West,” and before that “Bobcat,” and before that (or perhaps at the same time), “Onset.” Trails on the original Crotched Mountain, at Crotched East (left on the trailmap above), are still faintly visible from above (on the right below, between the “Crotched Mountain” and “St. John Enterprise” dots):On Triple Peaks and OkemoTriple Peaks was the umbrella company that owned Okemo, Vermont; Mount Sunapee, New Hampshire; and Crested Butte, Colorado. The owners, the Mueller family, sold the whole outfit to Vail Resorts in 2018. Longtime Okemo GM Bruce Schmidt laid out the whole history on the podcast earlier this year:On Crotched's lift fleetPeak got creative building Crotched's lift fleet. The West double, a Hall installed by Jesus himself in 400 B.C., had sat in the woods through Crotched's entire 13-year closure and was somehow reactivated for the revival. The Rover triple and the Valley and Summit quads came from a short-lived 1,000-vertical-foot Virginia ski area called Cherokee.What really nailed Crotched back to the floor, however, was the 2012 acquisition of a used high-speed quad from bankrupt Ascutney, Vermont.Peak flagrantly dubbed this lift the “Crotched Rocket,” a name that Vail seems to have backed away from (the lift is simply “Rocket” on current trailmaps).Fortunately, Ascutney lived on as a surface-lifts-only community bump even after its beheading. You can still skin and ski the top trails if you're one of those people who likes to make skiing harder than it needs to be:On Peak ResortsPeak Resorts started in, of all places, Missouri. The company slowly acquired small-but-busy suburban ski areas, and was on its way to Baller status when Vail purchased the whole operation in 2019. Here's a loose acquisition timeline:The Storm explores the world of lift-served skiing year-round. Join us.The Storm publishes year-round, and guarantees 100 articles per year. This is article 81/100 in 2024, and number 581 since launching on Oct. 13, 2019. This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit www.stormskiing.com/subscribe

Transmissions from the Underground Show Episode 175"Transmissions from the Underground Show" Live from Melbourne Australia with Topher Denman, Christine Ries and Michael James. Thursdays at 4:00 AM USA EST - 8:00 PM AEDT Best artist around the world playing #heavyblues #stonerrock & #psychedelicrock #TransmissionsfromtheUnderground AND it's ONLY on Cowboy's Juke Joint Radio #cowboysjukejointInner Altar - Limb from Limb - The Company - Ferociously Stöned (2021) Fight The Sun – Carnival – Carnival (single) (2022) Yawning Man - The Black Kite - The Revolt Against Tired Noises (2018)  Druids - We are Motörhead - The Company - Ferociously Stöned (2021) Sons of Arrakis – Blood for Blood - Volume II (2024) Sönus - Nuclear God - Usurper of the Universe (2022)  Hossferatu - Iron Fist - The Company - Ferociously Stöned (2021) BORT - Permanent Failure - The Wreck of the Hesperus (2022) Desert Suns - Fata Morgana - single (2023)  Nebula - It's All Over - Holy Shit (2019) Witchskull - The Serving Ritual – The Serpent Tide (2023) Railhazer - Ace of Spades - The Company - Ferociously Stöned (2021)

Welcome back listeners!Join us this week for more adventures as Raging Rudy shows off his guns and has some serious fun in the Fighting Pit in The Final Froth Inn in the Underworld. He squares off against the formidable Hesperus the Ogre. All that and more in the only fantasy podcast that truly earns that explicit rating. Also, keep an ear out for a special guest star this week. So without further ado, grab yourself a drink, pull your chair closer to the fire and join Chris, Wraggy, Matt and AJ for this week's episode of The Adventurers Anonymous Podcast!! Please enjoy...Anonymous Podcast!! Please enjoy...Tatty Bojangles - Gnome Ranger/Rogue (Chris Neal)Belciar Myialtheshtealliac - Dragonborn Sorcerer (Matt Durrant)Raging Rudy - Human Fighter (Chris Wragg)Dungeon Master & Host (AJ Jackson) Theme tune by Air Drawn DaggerCAMPAIGN SPONSOR - Fan Roll Dice - 10% off when you use the code: ADVENTURER10JOIN OUR PATREON - https://www.patreon.com/adventurersanonNEW STOCK AVAILABLE IN OUR MERCH STORE - https://www.redbubble.com/people/advent-anon/shopCHECK OUT OUR WEBSITE - https://www.adventurers-anonymous.com/FOLLOW US ON TWITTER - https://twitter.com/Adventurersano1FOLLOW US ON FACEBOOK - https://www.facebook.com/adventurersanonAdventurers Anonymous is an improvised show and as such may cover various uncomfortable situations for some listeners. If at any time you feel the need please refer to https://www.psycom.net/ which offers amazing resources for your mental health and wellbeing. Get bonus content on Patreon Hosted on Acast. See acast.com/privacy for more information.

Il programma completo con il botteghino è disponibile sul sito www.maggioallinfanzia.itXXVII EDIZIONE DEL FESTIVAL MAGGIO ALL'INFANZIAProseguono gli appuntamenti negli chapiteau a Bari e MolfettaDomenica a Monopoli la parata di strada ‘Fiesta' e un esito laboratoriale19 maggio 2024Le strade di Monopoli si animano per un'allegra parata, mentre le arti circensi sono protagoniste a Bari e Molfetta: domenica 19 maggio proseguono gli appuntamenti della XXVII edizione del Maggio all'infanzia, festival di teatro per le nuove generazioni con la direzione artistica di Teresa Ludovico. Gli spettacoli negli chapiteau madera e panikoGli eventi circensi partono nel capoluogo con il Circo Madera, che nello chapiteau installato nel piazzale interno del Teatro Kismet: doppia replica alle 18 e alle 21 per Hesperus. Isaac Valle, Nicola Bertazzoni, Silvia Laniado, Roberto Sblattero, Donatella Zaccagnino e Luca Costanzo, diretti da Silvia Laniado, in uno spettacolo che è esplosione di vitalità, unendo musica dal vivo, acrobatica, comicità e non-sense per il divertimento di grandi e piccini.A Molfetta, invece, lo chapiteau del Circo Paniko si staglia tra gli alberi del Parco urbano Baden Powell: dopo il grande successo dell'inaugurazione, la programmazione prosegue domenica. Alle 11.30 in scena Bagatella, un viaggio senza destinazione, per il piacere di perdersi e vagare con leggerezza. Talbò, attraverso acrobazie e giochi clown invita i più piccoli e i grandi ad incontrarsi e a rivivere suggestione di un tempo forse remoto, ricordandoci che non si smette di giocare perché si invecchia, ma si invecchia perché si smette di giocare. Doppia replica per Apocalippo (ore 18 e ore 21): senza morale e con disarmante ironia, lo spettacolo accoglie la preoccupazione di questo tempo, giocando a confondere punti di vista, per disorientare e perdersi, unica condizione per potersi ritrovare. Biglietto Circo Madera 7 euro, biglietto Circo Paniko 3 euro con offerta libera a fine spettacolo, disponibili al botteghino a partire da un'ora prima dello spettacolo e sul circuito Vivaticket.comGli appuntamenti a MonopoliA Monopoli in programma due eventi gratuiti. C'è grande attesa per Fiesta, la parata di strada organizzata da Teatro due mondi. Un colorato e allegro corteo che parte alle 19 da largo Giuseppe Garibaldi, in un percorso che termina in piazza Vittorio Emanuele II accompagnato da tamburi, costumi colorati, trampolieri e fuochi, per un evento dalla forte spettacolarità.Al Fly Arti, invece, alle 17 si tiene la lezione aperta a chiusura del laboratorio curato da Gianna Grimaldi, intitolato Lib(e)ro Teatro.

Vediamo insieme gli appuntamenti del 16 - 17 maggio 2024Il teatro, con i debutti nazionali delle nuove produzioni per ragazzi, creatività e arti circensi si uniscono nella programmazione di giovedì 16 e venerdì 17 maggio a Bari, Molfetta, Monopoli e Ruvo per il Maggio all'infanzia, festival di teatro per le nuove generazioni giunto alla sua XXVII edizione.Gli appuntamenti del 16 maggioAl Teatro Kismet di Bari al via gli spettacoli di una delle novità della XXVII edizione del festival di teatro per le nuove generazioni: il Circo Madera, che ‘prende casa' nello chapiteau installato per l'occasione nel piazzale interno dell'Opificio per le arti. Ad aprire gli appuntamenti di teatro circense per tutte le età, che proseguiranno fino al 26 maggio, è lo spettacolo Hesperus. Isaac Valle, Nicola Bertazzoni, Silvia Laniado, Roberto Sblattero, Donatella Zaccagnino e Luca Costanzo, diretti da Silvia Laniado, in un'esplosione di vitalità che unisce musica dal vivo, acrobatica, comicità e non-sense. Repliche il 16 e 17 maggio alle ore 21, il 19 maggio alle ore 18 e 21. Sempre a Bari proseguono anche gli appuntamenti teatrali con il debutto regionale di The Barnard loop, in programma al Kismet alle ore 9. Una traversata onirica di stati fisici e mentali dove ripetizioni, ubiquità e memoria ci conducono un'illusione senza fine. Consigliato a un pubblico a partire da 6 anni. Alle ore 19.30 il debutto nazionale di Ballata per la Kater I Rades, con la regia di Tonio De Nitto: le storie di due “bambini del 1997” si rincorrono e si intrecciano nelle voci di Elvis e Lindita, partiti dal Sud dell'Albania per mettersi in salvo dall'impazzimento di un Paese in preda alla guerra civile e dal rapido precipitare degli eventi.Sempre il 16 maggio a Ruvo sono in programma spettacoli e i Manifestini del maggio. Con un atteso debutto nazionale: alle 11 al Teatro comunale Jack, il ragazzino che sorvolò l'oceano, seconda parte della trilogia de La luna nel letto dedicata al piccolo protagonista del racconto inglese ‘Jack e il fagiolo magico'. Dalle 12 alle 14 nella stessa location gli studenti delle scuole primarie realizzeranno i colorati Manifestini che addobberanno gli spazi del festival, per poi passare alle 12.15 al debutto regionale de L'Europa non cade dal cielo, un racconto a due voci di Teatro delle Albe che ha come nucleo centrale l'Unione Europea a partire proprio dalla sua nascita fino ad arrivare ai giorni nostri. Alle 15 ci spostiamo nell'ex convento dei Domenicani con un manifesto sull'essere se stessi in una società che ci vuole omologare: Freevola, scritto e interpretato da Lucia Raffaella Mariani. Chiude gli appuntamenti di giornata al Teatro Comunale un altro debutto nazionale: Le tragicomiche, vita da eroi, coproduzione Crest e I nuovi scalzi, dove quattro guitti, fliaci, muovono emozioni e buffonerie, ripercorrendo i momenti salienti delle famose gesta eroiche del Pelide Achille e della sua ira funesta, testimone di una storia di guerra e di potere.Gli appuntamenti del 17 maggioIl 17 maggio si inaugura il secondo chapiteau in programma nell'ambito del festival, quello di Circo Paniko, che viene installato nel Parco urbano Baden Powell di Molfetta. Alle ore 20 facciamo la conoscenza di Agostina la pagliaccia, spettacolo gratuito che anticipa i saluti istituzionali con l'amministrazione comunale di Molfetta. Segue alle ore 21 Apocalippo, la performance di circo e musica dal vivo.È Monopoli a ospitare venerdì un ampio panorama di spettacoli, a partire dal debutto nazionale alle ore 9, al Teatro Radar, de L'arrago. Storia di una baby gang, la nuova produzione Teatri di Bari con la regia di Gianpiero Borgia, nella quale si vive, attraverso i racconti dei ragazzi di strada, una Bari cruda, contemporanea, alterata. Una città qualsiasi, che come tante altre, potrebbe facilmente fare da sfondo a episodi come quelli delle tragiche cronache più recenti. Alle 10.15 nella Parrocchia del Sacro cuore il pubblico più giovane scopre invece Il mio giardino di e con Letizia Fata, un luogo dell'anima in cui avviene il miracolo del germoglio della prima fogliolina e della creazione della vita. Altro debutto nazionale di una produzione Teatri di Bari, insieme a Compagnia del Sole, alle 11.15 al Teatro Mariella è Quando le stelle caddero nel fiume. Spettacolo che  ripercorre l'episodio avvenuto tra il 21 e il 29 maggio 1937, le truppe coloniali italiane al comando del generale Pietro Maletti, condussero in Etiopia un'azione destinata a divenire una pagina riprovevole della storia d'Italia: il massacro di Debra Libanòs, il più grande eccidio di cristiani copti avvenuto in Africa. Alle 16 uno spettacolo filosofico alla Parrocchia del Sacro cuore: Los Socrates e il mistero della caverna, di e con Ànnika Sctruum Strøhm e Saba Salvemini, mentre alle 17.45 il Teatro Mariella si fa palcoscenico per il debutto nazionale de Nella pancia del lupo, spettacolo di Kuziba che racconta la parte più oscura della favola di Cappuccetto rosso. Alle 19.15 al Teatro Radar entriamo poi nel magico negozio di giocattoli de La burla con i suoi tre anziani proprietari – tra comiche scenette e teatro circense - mentre chiude gli spettacoli a Monopoli alle 20.30 nel Roof garden del Teatro Radar Revolution, di e con Sara Bevilacqua, una miscela di emozioni, ricordi e storie di vita vissuta a Brindisi negli anni del Boom economico.Tornano anche gli eventi in musica realizzati in collaborazione con il Conservatorio Nino Rota di Monopoli: alle 18.45 la piazzetta del Teatro Radar vedrà esibirsi il quintetto d'archi del Conservatorio in Walt Disney Fantasy, concerto gratuito con le sigle dei più bei cartoni animati della nostra infanzia.Il programma completo con il botteghino è disponibile sul sito www.maggioallinfanzia.it Il Festival è organizzato da Fondazione SAT Spettacolo Arte Territorio, con la direzione artistica di Teresa Ludovico, il progetto a cura di Cecilia Cangelli e la consulenza pedagogica di Giorgio Testa. Con il sostegno del Ministero della Cultura, della Regione Puglia, dei Comuni di Bari, Martina Franca, Molfetta, Monopoli e Ruvo di Puglia, e della Camera di Commercio Bari, Teatro Pubblico Pugliese, Istituto Culturale Coreano in Italia e Kofice (Fondazione Coreana per lo scambio culturale internazionale). Con il patrocinio e il sostegno del Garante dei diritti del minore e del Garante dei diritti delle persone con disabilità della Regione Puglia. In collaborazione con il Teatro stabile d'innovazione ragazzi Le Nuvole di Napoli e con Casa dello spettatore di Roma, Casa del contemporaneo, TRIC Teatri di Bari, Cooperativa Kismet, Assitej Italia (Associazione internazionale di teatro per bambini e giovani), TRAC rete delle residenze teatrali pugliesi, ARPA Puglia, Conservatorio di Musica ‘Nino Rota' di Monopoli, Pro loco di Martina Franca. Il festival rientra nella rete di Italiafestival ed EFA European Festivals Association (nell'ambito del progetto Effe Label).

The Storm Skiing Journal and Podcast is a reader-supported publication. To receive new posts and to support independent ski journalism, please consider becoming a free or paid subscriber.WhoJames Coleman, Managing Partner of Mountain Capital PartnersRecorded onMay 7, 2024About Mountain Capital PartnersAbout La ParvaBase elevation: 8,704 feetSummit elevation: 11,722 feetVertical drop: 3,022 feetSkiable Acres: 988 acresAverage annual snowfall: 118 inchesTrail count: 40 (18% expert, 43% advanced, 20% intermediate, 20% beginner)Lift count: 15 lifts (2 quads, 2 triples, 1 double, 10 surface lifts)View historic La Parva trailmaps on skimap.org.What we talked aboutMCP puts together the largest ski area in the Southern Hemisphere; how La Parva and Valle Nevado will work as a single ski area while retaining their identity; “something I've always taken tremendous pride in is how we respect the unique brand of every resort”; La Parva village; will MCP purchase El Colorado next?; expansion; 10,000-vertical-foot dreams; La Parva Power Pass access; why Valle Nevado is not unlimited on the Power Pass yet; considering Ikon Pass and Mountain Collective access for Valle Nevado, La Parva, and the rest of MCP's mountains; Valle Nevado's likely next chairlift; why MCP builds fewer lifts than it would like; the benefits and drawbacks of surface lifts; where a ropetow might make sense at Purgatory; snowmaking in the treeless Andes; why South America; what it means to be the first North American ski area operator to buy in South America; Chile is not as far away as you think; how MCP has grown so large so quickly; why MCP isn't afraid to purchase ski areas that need work; why MCP bought Sandia Peak and which improvements could be forthcoming; why MCP won't repair Hesperus' chairlift until the company can install snowmaking on the hill; why the small ski area is worth saving; drama and resilience at Nordic Valley; should Nordic have upgraded Apollo before installing a brand-new six-pack and expansion?; future Nordic Valley expansion; exploring expansion at Brian Head; and why MCP has never been able to open Elk Ridge, Arizona, and what it would take to do so.What I got wrongI said that I saw “an email” that teased lift infrastructure improvements at Valle Nevado. This tidbit actually came from internal talking points that an MCP representative shared with The Storm.Why the format is so weirdThis is the first time I've used the podcast to break news, so I thought the simpler “live” format may work better. I'll write an analysis of what MCP's purchase of La Parva means in the coming days.The Storm publishes year-round, and guarantees 100 articles per year. This is article 34/100 in 2024, and number 534 since launching on Oct. 13, 2019. This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit www.stormskiing.com/subscribe

The transatlantic steamer Archtor noticed that the lighthouse's light was off on the night of December 15, 1900. The Northern Lighthouse Board dispatched the relief ship Hesperus to investigate. Relief keeper Joseph Moore climbed the steep steps to the lighthouse and found eerie signs: the clock stopped, an uneaten meal set on the table, and a toppled chair. The keepers—James Ducat, Thomas Marshall, and William MacArthur—were nowhere to be found.#history #Beverly #mafia #⁠beverlyhils #truecrime #tedbundy #truecrimecommunity #truecrimeaddict #truecrimememes #killers #killer #murder #mindhunter #murderer #kansas #ouijamacc #bondage #twiztid #thegathering #murdermuseum #eldorado #odditiesandcuriosities #caveman #oddities #rare #parkcity #death #charlesmanson #jeffreydahmer #edgein #crime #horror #darkart #richardramirez #halloween #criminal #horrorart #creepy #btkart #truecrimeart #truecrimepodcast #cannibal #albertfish #r #thriller #netflix #truecrimejunkie #horrormovies #history #selfie #truecrimefan #homicide #mystery #truecrimeobsessed #scary #serialkillerart #truecrime #truecrimecommunity #truecrimepodcast #crime #murder #podcast #truecrimeaddict #serialkiller #serialkillers #truecrimejunkie #horror #unsolved #murderino #podcastersofinstagram #truecrimeobsessed #mystery #ssdgm #truecrimefan #killer #truecrimememes #unsolvedmysteries #creepy #paranormal #podcasts #history #tedbundy #criminal #scary #podcasting #coldcase #murdermystery #bookstagram #death #buzzfeedunsolved #crimescene #truecrimepodcasts #missingperson #missing #halloween #crimejunkie #news #myfavoritemurder #spooky #supernatural #truecrimestories #homicide #ryanbergara #shanemadej #murderer #podcaster #truecrimebooks #memes #spotify #podernfamily #boogara #shaniac #jeffreydahmer #police #museum #italy #war #vintage #memes #picoftheday #ig #europe #photo #explore #ancient#germany #historymemes #usa #beautiful #travelgram #follow #historic #france #music #military #italia #castle #historylovers #a #medieval #life #education #like #facts #landscape #storia #world #old #city #historyfacts #archaeology #upsc #america #wwii #Podcasthost #Aftermath #aftermathpodcast #podcast #binge #bingepodcast #podcasttips newpodcastalert #slander #Hudson #aftermath #history #updates #storiesyouforgotabout #WW1 #WW2 #attack #terrorattack #nostalgia #Queen #mercury #FreddyMercury #truecrime #truecrimecommunity #truecrimepodcast #crime #murder #podcast #truecrimeaddict #serialkiller #serialkillers #truecrimejunkie #horror #unsolved #murderino #podcastersofinstagram #truecrimeobsessed #mystery #ssdgm #truecrimefan #killer #truecrimememes #unsolvedmysteries #creepy #paranormal #podcasts #history #tedbundy #criminal #scary #podcasting #coldcase #murdermystery #bookstagram #death #buzzfeedunsolved #crimescene #truecrimepodcasts #missingperson #missing #halloween #crimejunkie #news #myfavoritemurder #spooky #supernatural #truecrimestories #homicide #ryanbergara #shanemadej #murderer #podcaster #truecrimebooks #memes #spotify #podernfamily #boogara #shaniac #jeffreydahmer #police #s #justice #forgotten history #The Aftermath #Alamo #thealamo #tate #sharontate #TheFlannanIslesLighthouseMystery #horrorpodcast #investigation #torontojournalist #myths #cultinvestigation #podcastersofinstagram #reallegitimateapocalypse #rlaseries #mysterypodcast #mystery #fictionpodcast #crimepodcast #torontolife #newpodcast #podcast #legends #creepypasta #audiodrama #cult #scriptedpodcast #comingsoon #podcasters #notorious #legenday #mythology #myfavoritemurder #elevatorritual #truecrime #stories #thekybalion #scary #lastpodcastontheleft #elevatorgame #murderino #canadianpodcast #ohio #audio #hermeticism #cropsey #myth #elisalam #silentpool #surrey #apocalypse #truecrimememes #cecilhotel #melonheads #shere #slenderman #vancouver #truecrimepodcast #truecrimeaddict #quiteunusual #meditation #instagram --- Send in a voice message: https://podcasters.spotify.com/pod/show/daniel-hudson9/message

Early in the second century a pagan named Catallus bought Hesperus, his wife Zoë, and their sons Cyriac and Theodulus as slaves. All of them were Christians, and would not eat anything that had been sacrificed to idols — they would throw all such food to the dogs and go hungry themselves. When Catallus learned of this, he was enraged and began to torture them cruelly, beginning with the children. When none of them could be moved from his confession of Christ, the entire family was cast into a hot furnace, where they gave up their souls to God. Their bodies remained unburnt.

Early in the second century a pagan named Catallus bought Hesperus, his wife Zoë, and their sons Cyriac and Theodulus as slaves. All of them were Christians, and would not eat anything that had been sacrificed to idols — they would throw all such food to the dogs and go hungry themselves. When Catallus learned of this, he was enraged and began to torture them cruelly, beginning with the children. When none of them could be moved from his confession of Christ, the entire family was cast into a hot furnace, where they gave up their souls to God. Their bodies remained unburnt.

Hosts Eric and Lily explore the lack of representation of queer characters in mainstream media, and how the LGBTQ+ community has had to rely on creating our own media to accurately tell our diverse array of stories.Contents & Content Warnings…Please expect to hear “queer” used as an identity term throughout this episode & series. 00:00 - Frankie & Ari: What Was Your Favorite Queer-Coded TV Character? 2:20 - Introduction with Eric & Lily: What do we mean when we say “Queer-Coded?”4:13 - Zines! With Alex & Claire17:18 - 1-Minute Trivia: Queer Love Edition, with Trudy, Sonyamia & Sam30:15 - Hesperus30:30-30:55 - Discussions of homophobia 35:16 - Outro 35:35 - Coming up next35:49 - Show notes & resources36:27 - CreditsFPP Information…To learn more about The Future Perfect Project and all of our free arts programming for LGBTQIA+ youth, visit thefutureperfectproject.org or find us on Instagram, TikTok, YouTube, Facebook, and bandcamp @thefutureperfectprojectCrisis Resources… If you or a young person you know between the ages of 13-24 is currently in crisis, check out thetrevorproject.org for LGBTQIA+-specific support through text and chat, or call 1-866-488-7386.Mentions… The Watermelon Woman, a Cheryl Dunye film, is available to stream through multiple platforms, and may be free to watch through universities or your local library. Looking for more queer zine content? Visit the Queer Zine Archive Project at gittings.qzap.org, the Digital Transgender Archive at digitaltransgenderarchive.net or Instagram @digitaltransarc, and the Queer Zine Library at queerzinelibrary.com or on Instagram @queerzinelibrary - also consider checking out your local library, local queer bookstores, community & LGBTQ+ centers, and even museums & physical archives.Interested in the movie & musical that inspired Hesperus? You can stream the movie adaptation of The Prom on Netflix, and find the musical & movie soundtracks on your favorite movie streaming platforms. Also available is a book of the same name, written by Saundra Mitchell with Bob Martin, Chad Beguelin, and Matthew Skylar. More information on poet Andrea Gibson & their poem, First Love, is available on their website, andreagibson.org or on Instagram @andreagibson - you can also find them performing many of their poems on YouTube, or keep up with their day to day writings at andreagibson.substack.comCredits…I'm Feeling Queer Today is produced by The Future Perfect Project with support from Radio Kingston, WKNY AM1490, FM1079, Kingston, NY.Episode four of I'm Feeling Queer Today was produced by Eric Eubank, Lily Mueller, Trudy Poux, and Alex Masse, and features Claire Florence, Sonyamia Blanco, Samuel Smalls Jr., and Hesperus. Special thanks to executive producers and mentors, Julie Novak and Celeste Lecesne, as well as Future Perfect Project team members Ryan Amador, Jon Wan, and Aliya Jamil. The I'm Feeling Queer Today theme was composed and performed by Alex Masse & produced by Emma Jayne Seslowsky. Additional music was composed by Alex Masse, Frankie Gunn, and Epidemic Sound. Mixing & mastering for I'm Feeling Queer Today by Julie Novak, with assistance from Emma Jayne Seslowsky. Hosted on Acast. See acast.com/privacy for more information.

This week (our final weekly show for the 2023 growing season) we travel to The Old Fort at Hesperus to see what's up with the dynamic ‘Farmers In Training' program (FIT). We are guided by interviews with the Farmer Training Program Coordinator, Elicia Whittlesey, and the Education Garden Manager, Maggie Magierski.  Several of the FITs chime in as well, giving us insight on what it's like to be growing all the various vegetables at the farm. Such an inspiring visit.

When all feels lost, how do you move forward? TW: Death, gore, body horror, distrubing visuals, grief, PTSD, violence, suicidal ideations, mentions of prostitution, blood, corpses Kenon Pearce as DM  Jordache Richardson as Chaz, Brad, and Serif Nikki Richardson as Talice  ISHNAR/KALCRIN HOMEBREW SETTING (C) by Kenon Pearce   Sound editing and design by Nikki Richardson JOIN US IN OUR DISCORD FOR OUR CAMPAIGN 1 ENDING EVENTS! Sunday, June 18th at 6PM CST - A LOOK BACK Monday, June 19th at 10 AM CST - CAMPAIGN 1 FINALE LISTEN PARTY 1 Monday, June 19th at 6 PM CST - CAMPAIGN 1 FINALE LISTEN PARTY 1 Tuesday, June 20th at 6 PM CST - CAMPAIGN 1 EPILOGUE LISTEN ALONG PARTY GAMES ALL DAY!   CLICK THE LINK TO JOIN US! https://discord.gg/Qb2C5JeKUS Check out our Auburn Plushie Giveaway! https://twitter.com/TotRcast/status/1662263633584291840?s=20 Kenon Pearce @mr_fugufish Jordache Richardson @jdash24 Nikki Ri @thenikkiri   Website: totrpodcast.com Twitter: @totrcast Studio Twitter: @whiteravenpods  Facebook: @topoftheround Instagram: @topoftheround Thank you to our Executive C2 Producers! HOLDEN RAY Wanna talk to the cast? Check out our private Discord! https://discord.gg/qshNJJfKRr Go to our website for MERCH! https://www.totrpodcast.com/merch-store.html#/   Find/Review us on Podchaser: https://www.podchaser.com/podcasts/top-of-the-round-808056   Support us on Patreon: https://www.patreon.com/topoftheround Buy us a cup of coffee on Ko-fi: https://ko-fi.com/topoftheround Join our Facebook Group! https://www.facebook.com/groups/476203760792265/   TOTR WIKIPEDIA! https://topoftheround.fandom.com/wiki/Top_of_the_Round_Wiki LIGHT OF THE HOPELESS BY NICK HIGHAM https://www.nickjhigham.co.uk/ The Quiet Original Song written by Nikki Richardson Music by Bethany Macleod Performed by Bethany Macleod and Nikki Richardson Produced by Nikki Richardson Music Courtesy of epidemicsound.com: Drone Mystical 10 by SFX Producer A Hint of Hope by Indigo Days Implode by Peter Sandberg Hit to Whoosh 35 by SFX Producer Byrr by Hampus Naeselius The Leaves Keep on Falling by Miles Avida You're Not Here by Damon Greene Ending (Scaled Down Version) by Peter Sandberg Who We Are by Gavin Luke Optimist at Heart by Jerry Lacey Small Semblance by Atlas Kind Tingling by CHristophe Gorman Embolism by Ethan Sloan Doom and Gloom by Enigmatic Relent by Jakob Ahlbom - 200 Underscore by Hampus Naeselius The Fig Tree by Jakob Ahlbom At the End of Nothing by Silver Maple In Remembrance by Silver Maple Clementine Station by Piper Ezz Never Forgotten by Christoffer Moe Ditlevsen Curtain by Wendel Scherer Duo Voces by Gavin Luke Prodrome by Jo Wandrini Twitching Lights by Alec Slayne Journey's End by Jon Bjork From The Ashes by Jo Wandrini Cold Nights by Kikoru Lady in Black by Farrell Wooten Midnight Garden by Farrell Wooten Mortuary by Farrell Wooten The Light sFades by John Bjork Alaskan Suite by Lennon Hutton The Rain Against My Window by Johannes Bornlof Covert by Ethan Sloan The Last Disaster by Howard Harper-Barnes Dark Pianos 01 by Tobias Carlsson Seeking Shelter by Miles Avida For Every Child by Miles Avida Cosmic Sunrise by Red Dictionary Misericorde by Lo Mimieux Letter to a Friend by Lotus Innocent Games by David Celeste Hidden Tracks by Jon Bjork Ventilation Shaft by Ethan Sloan Guarded House by Wendel Scherer Incandescence by Silver Maple Monarch of Fate by Christoffer Moe Ditlevsen Are You Scared Yet by Farrell Wooten The Clearing by Golden Anchor Demon Night by Farrell Wooten Hallucinations by Kikoru The Night Watch by Anthony Earls Vulpecula by Johannes Bornlof Paradigm Shift by Gavin Luke Divisive Alliance by Jon Bjork One Finale Theft by Piper Ezz Buried in the Dirt by Christoffer Moe Ditlevsen Quietly Tense by Marten Moses Careful Thoughts by Spectacles Wallet and Watch The Rain Has Just Begun by Cora Zea Growing Doubt by Wendel Scherer Sector B by Piper Ezz Decomposed by Philip Ayers A Lesson in Vengeance by Experia Dilemma by Alec Slayne Slow Revolt by Jon Bjork Rose-Colored Faith by Rand Aldo The Sameness of Phosphorus and Hesperus by Ave Air Excessive by Gridded 221 Walker Street by Dream Cave The Storyteller by Kikoru In Cinemas by Pulsed Stranger Days by Alexander Woodward Legendary Myths by Jay Varton Eyes on Target by Experia Red Moon by Etienne Roussel Decently Perfect by Jay Varton Interstate 8955 by Bonnie Grace Misguided Path by Bonnie Grace Misu by Calm Shores Dark Taupe by Arden Forest Undefeated by Reynard Seidel Calme by Ever So Blue Pensive Gaze by Amber Glow Figured Out by Arthur Benson Odd Behaviour by Arthur Benson On a Hike by Stefan Belrose A Golden Sun by Heath Cantu Trail of Crumbs by Martin Landstrom Through the Storm by Savvun Cordierite by Bonn Fields Jokers by Mary Riddle Forlorn by Martin Klem One Magical Evening by Brightarm Orchestra Murder in the Dark by Jon Bjork Tiptoe in the Dark by Mike Franklyn Thirty-Fourth Window by Heath Cantu Fractal Patterns by Bonnie Grace Sad News by Emily Rubye Sentient by Gavin Luke Defending the Keep by Jon Bjork Venturing through Time by Chsitoffer Moe Ditlevsen Silent Suspicion by Jerry Lacey Off My Radar by Jerry Lacey Arc of Transcendence by Lama House Small Strokes by Martin Gauffin Prometheus One by DEX 1200 Embolism by Ethan Sloan They Know We're Here by Christian Andersen Evening Spies by Sage Oursler Black Core by Guy Copeland The Possession by Farrell Wooten He's Still Out There by Wendel Scherer A Grim Awakening by Hawea - 100 A Growing Feeling by Wendel Scherer Ventifacts by Anthony Earls In Frozen Waters by Hampus Naeselius No Signs of Life by Phoenix Tail Retrieval by Cobby Costa The Visitors by Edward Karl Hanson Paracosmic Life Form by Etienne Roussel Diving Room by Ethan Sloan Arson by Christian Andersen Ceres by Lennon Hutton It's Not a Game by Philip Ayers Mirror 45 by Lennon Hutton Drone Wind 4 by SFX Producer Drone Horror by SFX Producer Trapped in a Maze by Philip Ayers Tarmac Radiation by Ethan Sloan Vacuum Sealer by Edward Karl Hanson Dark Corners by JH Coleman Gravitas by Ethan Sloan Eye for Detail by Jay Varton Bending Light by Ethan Sloan Prisms by Ethan Sloan A Monsters Feeling by Hampus Naeselius Tokyo Screams by Farrell Wooten They Say I'm Mad by Mary Riddle A Dark Mind by Phoenix Tail Rivers Run Red by Christoffer Moe Ditlevsen Drone Scary Whistling by SFX Producer Troubled NIght by Wendel Scherer Getting Rid of Mysteria by Christian Andersen Still Feel for You by Line Neesgaard The Faults in My Heart by Miles Avida Murder in the Dark by Jon Bjork Seven Sins Later by Farrell Wooten Midnight Garden by Farrell Wooten An Obsession by Dayon No Shadow by Martin Klem Too Close by Jon Bjork Thrilling Moments by Alec Slayne Red Moon by Etienn Roussel Under the Setting Sun by Million Eyes Missing Memories by Christoffer Moe Ditlevsen Eternal Moment by Farrell Wooten After the Tragedy by Damon Greene All Good Things by Lalo Brickman Confidential Reports by Alec Slayne Introspection by Red Dictionary Just Get it Done by Hampus Naeselius Stage Curtain Close 1 by SFX Producer Light Switch On 7 by SFX Producer Breath of Death Part 1, Dybbuk's White Eyes, and Yellow Dress by Sergey Cheremisinov License: http://creativecommons.org/licenses/by/4.0/  Free Music Archive: Sergey Cheremisinov I Walk With Ghosts, Anna's Theme, Shadowlands 3, The Long Dark, and Emergent by Scott Buckley License: http://creativecommons.org/licenses/by/4.0/ https://www.scottbuckley.com.au/library/   The following music was used for this media project: Music: Road to the Dark Tower, Fairy Dance, Travelers Notebook, Dark Hours, Llama in Pajamas, Comedy Short 1, Comedy Short 2, and Comedy Short 3 by Rafael Krux License (CC BY 4.0): https://filmmusic.io/standard-license Artist website: https://www.orchestralis.net/ "Digital Bark" Kevin MacLeod (incompetech.com) Licensed under Creative Commons: By Attribution 4.0 License http://creativecommons.org/licenses/by/4.0/ "Apprehension" Kevin MacLeod (incompetech.com) Licensed under Creative Commons: By Attribution 4.0 License http://creativecommons.org/licenses/by/4.0/ "Sneaky Adventure" Kevin MacLeod (incompetech.com) Licensed under Creative Commons: By Attribution 4.0 License http://creativecommons.org/licenses/by/4.0/ "Dark Times" Kevin MacLeod (incompetech.com) Licensed under Creative Commons: By Attribution 4.0 License http://creativecommons.org/licenses/by/4.0/ "Reawakening" Kevin MacLeod (incompetech.com) Licensed under Creative Commons: By Attribution 4.0 License http://creativecommons.org/licenses/by/4.0/ "Flighty Theme" Kevin MacLeod (incompetech.com) Licensed under Creative Commons: By Attribution 4.0 License http://creativecommons.org/licenses/by/4.0/ "Investigations" Kevin MacLeod (incompetech.com) Licensed under Creative Commons: By Attribution 4.0 License http://creativecommons.org/licenses/by/4.0/ "Moonlight Hall" Kevin MacLeod (incompetech.com) Licensed under Creative Commons: By Attribution 4.0 License http://creativecommons.org/licenses/by/4.0/ "Floating Cities" Kevin MacLeod (incompetech.com) Licensed under Creative Commons: By Attribution 4.0 License 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https://filmmusic.io/standard-license The following music was used for this media project: Music: Lost In The Dark by Steven OBrien Free download: https://filmmusic.io/song/10010-lost-in-the-dark License (CC BY 4.0): https://filmmusic.io/standard-license The following music was used for this media project: Music: Evil Is Near (Loopable) by Dave Deville Free download: https://filmmusic.io/song/10829-evil-is-near-loopable License (CC BY 4.0): https://filmmusic.io/standard-license The following music was used for this media project: Music: Ingestion Of Sorrows by Tim Kulig Free download: https://filmmusic.io/song/9828-ingestion-of-sorrows License (CC BY 4.0): https://filmmusic.io/standard-license The following music was used for this media project: Music: Hor Hor by Alexander Nakarada Free download: https://filmmusic.io/song/4739-hor-hor License (CC BY 4.0): https://filmmusic.io/standard-license The following music was used for this media project: Music: What Lurks In The Dark by Dave Deville Free download: https://filmmusic.io/song/8233-what-lurks-in-the-dark License (CC BY 4.0): https://filmmusic.io/standard-license The following music was used for this media project: Music: Anticipations by Tim Kulig Free download: https://filmmusic.io/song/11042-anticipations License (CC BY 4.0): https://filmmusic.io/standard-license The following music was used for this media project: Music: Deal With The Devil by Phat Sounds Free download: https://filmmusic.io/song/9955-deal-with-the-devil License (CC BY 4.0): https://filmmusic.io/standard-license The following music was used for this media project: Music: Revelation by Phat Sounds Free download: https://filmmusic.io/song/10866-revelation License (CC BY 4.0): https://filmmusic.io/standard-license The following music was used for this media project: Music: Purge by Phat Sounds Free download: https://filmmusic.io/song/10391-purge License (CC BY 4.0): https://filmmusic.io/standard-license The following music was used for this media project: Music: Chalkboard Daggers by Tim Kulig Free download: https://filmmusic.io/song/9296-chalkboard-daggers License (CC BY 4.0): https://filmmusic.io/standard-license The following music was used for this media project: Music: Total Cluster by Tim Kulig Free download: https://filmmusic.io/song/9875-total-cluster License (CC BY 4.0): https://filmmusic.io/standard-license The following music was used for this media project: Music: That Mirror Is Disturbing by Tim Kulig Free download: https://filmmusic.io/song/9332-that-mirror-is-disturbing License (CC BY 4.0): https://filmmusic.io/standard-license

Early in the second century a pagan named Catallus bought Hesperus, his wife Zoë, and their sons Cyriac and Theodulus as slaves. All of them were Christians, and would not eat anything that had been sacrificed to idols — they would throw all such food to the dogs and go hungry themselves. When Catallus learned of this, he was enraged and began to torture them cruelly, beginning with the children. When none of them could be moved from his confession of Christ, the entire family was cast into a hot furnace, where they gave up their souls to God. Their bodies remained unburnt.

Early in the second century a pagan named Catallus bought Hesperus, his wife Zoë, and their sons Cyriac and Theodulus as slaves. All of them were Christians, and would not eat anything that had been sacrificed to idols — they would throw all such food to the dogs and go hungry themselves. When Catallus learned of this, he was enraged and began to torture them cruelly, beginning with the children. When none of them could be moved from his confession of Christ, the entire family was cast into a hot furnace, where they gave up their souls to God. Their bodies remained unburnt.

Join the team as they discuss the disappearance of three lighthouse keepers in 1900.  Was it the result of a storm?  Or something more sinister?You can follow us on Instagram at smalltownmissing.Sources for this episode:“The Flannan Isle Mystery: The Three Lighthouse Keepers Who Vanished”- published on history.co.uk“Flannan Isles Lighhouse”- www.wikipedia.org“The Flannan Isle Mystery”- rmg.co.uk, Royal Museums Greenwich

Hesperus and Other Poems and Lyrics

On this week's show we discuss the Son of Morning himself, Lucifer. While exploring the popular mythology of Lucifer we investigate his role in the Bible and the origins of the words used to arrive at the translation of his name giving us a number of solid clues to clarify the much intuited and controversial relationship between Lucifer, Jesus Christ and the planet Venus. In the extended show we repel further down the rabbit-hole and discuss the Greek Prometheus, but especially his parents, the sigil of Lucifer, what it has to do with human vision, the pineal gland, pinecones and peacocks.On this week's show we discuss:The Twin Lucifers of LiègeLucifer of the BibleThe Planet VenusMystery BabylonEos and MemnonThe Book of EnochWho is Azazel?The Christ ConnectionIn the extended episode available at www.patreon.com/TheWholeRabbit we discuss:Promethean ParentsSigil of LuciferThe Serpent and Human VisionWorlds of ShadowThe Pineal GlandThe Eye of HorusOsirisMelek Taus of the YazidiIblis and Azazil777 and MezlaEach host is responsible for writing and creating the content they present.Where to find The Whole Rabbit:Spotify: https://open.spotify.com/show/0AnJZhmPzaby04afmEWOAVInstagram: https://www.instagram.com/the_whole_rabbitTwitter: https://twitter.com/1WholeRabbitSources:Book of Enoch:https://www.ccel.org/c/charles/otpseudepig/enoch/ENOCH_1.HTMApocalypse of Abraham:https://www.marquette.edu/maqom/box.pdfBiblical Translations for Lucifer:https://www.adventistbiblicalresearch.org/wp-content/uploads/WhereDidWeGet.pdfAstronomical Ceiling of Senenmut's Tomb:https://en.wikipedia.org/wiki/Astronomical_ceiling_of_Senenmut%27s_TombPineal Gland:https://www.webmd.com/sleep-disorders/what-to-know-about-calcification-of-the-pineal-glandSnakes and Pineal Glands:https://blogs.scientificamerican.com/guest-blog/me-and-the-copperheads-or-why-we-still-dont-know-if-snakes-secrete-melatonin-at-night/#:~:text=There%20is%20also%20no%20circadian,like%20they%20came%20from%20mammals.Pineal gland and DMT:https://www.psypost.org/2019/07/study-provides-evidence-that-dmt-is-produced-naturally-from-neurons-in-the-mammalian-brain-54051Colour Wavelengths:https://science.nasa.gov/ems/09_visiblelight#:~:text=Violet%20has%20the%20shortest%20wavelength,wavelength%2C%20at%20around%20700%20nanometers.Support the show

The Sound Chaser Progressive Rock Podcast is 9 years old. This edition is the 9th anniversary show. The first Sound Chaser podcast happened on January 14, 2014 on the old Dividing Line Broadcast Network, which will remain beloved in our memories. So far, there have been 235 editions of the show. This one is number 236. To celebrate the show's ninth year of continued service, I have selected music released in each year ending in a 9 from 1969 to 2019. That's right, you get music from 1969, 1979, 1989, 1999, 2009, and 2019. Because the show is presented chronologically by year, this edition will not have a Symphonic Zone. There are still example of symphonic prog sprinkled throughout. Playlist19691. Yes - Looking Around, from Yes2. Wigwam - Pidan Sinusta, from Hard n' Horny3. Jefferson Airplane - Eskimo Blue Day, from Volunteers4. Principal Edwards Magic Theatre - Pinky-A Mystery Cycle, from Soundtrack5. Procol Harum - Wreck of the Hesperus, from A Salty Dog6. Pink Floyd - The Nile Song, from More7. Frank Zappa - It Must Be a Camel, from Hot Rats19798. Sky - Danza, from Sky9. Popol Vuh - In der Halle des Lernens, from Die Nacht der Seele (Tantric Songs)10. Steve Khan - Some Arrows, from Arrows11. Eloy - Astral Entrance / Master of Sensation - from Silent Cries and Mighty Echoes12. Roine Stolt - Samhällets Olycksbarn, from Fantasia13. Bruford - Hells Bells, from One of a Kind198914. Peter Gabriel - The Feeling Begins, from Passion15. The Creatures - Manchild, from Boomerang16. Steeleye Span - Searching for Lambs, from Tempted and Tried17. Jean-Luc Ponty - A Journey's End, from Storytelling18. Jethro Tull - Rock Island, from Rock Island19. Mike Oldfield - Nothing But / Bridge to Paradise, from Earth Moving199920. Cyan - Goodbye World, from The Creeping Vine21. Alan Parsons - Call Up, from The Time Machine22. Nick Magnus - The Devil and the Deep Blue Sea, from Inhaling Green23. Rick Wakeman - Ariel, from Stella Bianca alla Corte de Re Ferdinando24. Synema - Day of Life, from Equal Reaction25. Altair - Summer's Triangle, from Fantasías y Danzas200926. The Source - Thin Air, from Prickly Pear27. The Wishing Tree - Kingfisher, from Ostara28. IZZ - Stumbling, from The Darkened Room29. Minimum Vital - Mauresque, from Capitaines30. Strawbs - Beneath the Angry Sky, from Dancing to the Devil's Beat31. The Brimstone Solar Radiation Band - A Hill of Beans, from Smorgasbord201932. The Gift - When You Are Old, from Antenna33. Boris SG - Blurred, from Blow34. Cheeto's Magazine - Scum, from Amazingous35. Iamthemorning - Freak Show, from The Bell36. The Far Meadow - Mud, from Foreign Land37. Rosalie Cunningham - Butterflies, from Rosalie Cunningham38. Nad Sylvan - Meet Your Maker, from The Regal Bastard

Al largo della costa occidentale della Scozia si trova Eilean Mòr, una delle isole Flannan nelle Ebridi Esterne, sul cui terreno sorge il faro della Northern Lighthouse Board. Il 26 dicembre del 1900, la nave dei rifornimenti Hesperus arriva all'isola, ma ad attenderla non c'è nessuno, i tre guardiani sono scomparsi e non saranno mai più ritrovati. Che cosa è successo e che fine hanno fatto i tre uomini spariti nel nulla?Aderisci alla pagina PATREON e sostieni i miei progetti e il mio lavoro: http://patreon.com/massimopolidoroPartecipa e sostieni su TIPEEE il progetto del mio Tour 2022 in tutta Italia: https://it.tipeee.com/massimopolidoro Scopri il mio Corso online di Psicologia dell'insolito: https://www.massimopolidorostudio.com​Ricevi l'Avviso ai Naviganti, la mia newsletter settimanale: https://mailchi.mp/massimopolidoro/avvisoainaviganti e partecipa alle scelte della mia communitySeguimi:Instagram: https://www.instagram.com/massimopolidoro/ Gruppo FB: https://www.facebook.com/groups/MassimoPolidoroFanClub Pagina FB: https://www.facebook.com/Official.Massimo.Polidoro Twitter: https://twitter.com/massimopolidoro Sito e blog: http://www.massimopolidoro.com Iscriviti al mio canale youtube: https://goo.gl/Xkzh8A

Utropstecknet kan både signalera ilska och glädje. Kulturskribenten Kristina Lindquist berättar utifrån egna erfarenheter om hur det också kan representera något mycket större än så. ESSÄ: Detta är en text där skribenten reflekterar över ett ämne eller ett verk. Åsikter som uttrycks är skribentens egna. Ursprungligen publicerad den 14 maj 2019.det väller liksom framen flod av grönska,av blad barroch fågelsång!Se där en talande rad ur Eva-Stina Byggmästars diktsamling ”Barrskogarnas barn” från 2014. I Byggmästars skogar finns inga skuggor, bara en yster och naivistisk naturlyrik från första till sista sidan – och just det: en massa utropstecken. ”Får poesi verkligen se ut såhär? Så uppsluppen!” skrev Svenska dagbladets kritiker Therese Eriksson i sin recension. För utropstecknet är ganska sällsynt i den kulturella offentligheten, och något av ett svart får i skriftspråket överhuvudtaget. Ända sedan 1800-talet har det enligt språkforskaren Siv Strömquist varnats för detta stöddiga skiljetecken, som inte sällan beskrivs som skrikigt och vulgärt. Jag minns hur en bekant som arbetade med att besvara allmänhetens brev på Rosenbad fick instruktionen att ersätta det alldeles korrekta utropstecknet i hälsningsfraserna med ett komma – utropstecknet var helt enkelt för ”familjärt” för statsförvaltningen. Och i TT-språkets skrivregler konstateras bara helt kort att utropstecknet bör användas ”sparsamt”.utropstecknets explicita tydlighet ställs mot ett rådande stilideal som upphöjer det vaga och outtalade.För tio år sedan skrev den brittiska journalisten Stuart Jeffries i The Guardian om en renässans för utropstecknet i den digitala tidsålderns kommunikation, där detta skiljetecken kan innebära den stora skillnaden mellan det avmätta och det förtjusta. ”Vi ses på konferensen [utropstecken]” förmedlar något helt annat än ”Vi ses på konferensen [punkt]”. Forskning visar också att kvinnor använder utropstecken i högre utsträckning än män, vilket språkforskaren Carol Waseleski förklarar med att utropstecknet kan utstråla vänlighet – vilket alltså anses utmärkande för kvinnors sätt att kommunicera.Men utropstecknets status som det mest förtalade bland skiljetecken rubbas nog inte så lätt. Det är en flåsig gaphals vi talar om – som gjord för det militära eller för samtidens råbarkade debatter i kommentarsfält och på Twitter. Jeffries tar i sin artikel upp kriminalförfattaren Elmore Leonard, som sagt att två eller tre utropstecken per hundratusen ord prosa möjligen kan passera, vilket innebär ungefär ett per medellång roman. Fantasyförfattaren Terry Pratchett låter en av sina romanfigurer säga att fler än ett i följd av detta skiljetecken är ett uttryck för en ”sjuk hjärna”, medan F. Scott Fitzgerald ansåg att den som överhuvudtaget använder det lika gärna kan skratta åt sina egna skämt. Herrarna har nog en poäng, och samtidigt kan utropstecknet som fenomen bevisligen ligga till grund både för litterär intrig och tidlös komedi.I den klassiska komediserien ”Seinfeld” kraschar förhållandet mellan Elaine och hennes författarkille för att han inte använder utropstecken i ett nedskrivet telefonmeddelande om en nyfödd bebis i bekantskapskretsen. Hon tycker att han struntar i hennes vänner, han tycker att hon är lite väl slampig med sina skiljetecken. I ett avsnitt av Sex and the city förvandlas ett utlovat utropstecken till ett frågetecken på omslaget till New York Magazine, som pryds av en osmickrande bild av huvudpersonen Carrie. Tidningsrubriken ”Singel och fantastisk?” formulerat som en fråga snarare än med utropstecknets sköna självsäkerhet får Carrie att ifrågasätta hela sin sorglösa livsstil.Utropstecknet är alltså ett tecken som både väcker och uttrycker känslor, och känslor får väl generellt sägas ha ganska låg status i vårt samhälle. Men kanske handlar frågan också om att utropstecknets explicita tydlighet ställs mot ett rådande stilideal som upphöjer det vaga och outtalade. I en illustrativ passage i romanen ”Argonauterna” fastnar författaren Maggie Nelson vid de tomma hakparenteser som den inflytelserika författaren Anne Carson gett som skriftliga intervjusvar i en tidning – och som signalerar ett slags tyst och sofistikerad återhållsamhet. Nelson skriver: ”Åsynen av Carsons hakparenteser fick mig genast att skämmas för min tvångsmässiga drift att lägga korten mer bestämt på bordet. Men ju mer jag tänkte på hakparenteserna, desto mer störde de mig. De tycktes göra en fetisch av det osagda”. Utropstecknet lägger verkligen korten bestämt på bordet, och tvingar fram ställningstaganden i en tid när det värsta man kan vara är tvärsäker – alldeles oavsett vad man är tvärsäker på. På senare tid har så kallad samtalsaktivism blivit på modet, det vill säga tekniken att genom diskussion och möten försöka motverka polarisering i samhället. Här tycks förmågan att förflytta sig vara viktigare än att syna innehållet i de – inte sällan extrema – åsikter som genom denna typ av samtal erbjuds en plattform. Rörligheten i ståndpunkter blir närmast ett bevis för ett rörligt intellekt, och då finns inte plats för några rigida utropstecken.All förundran är borta med honom, liksom den kraft som utropstecknet för med sig till det skrivna språket mellan människorna.Men låt oss återvända till känslorna. I den tidiga novellen ”Utropstecknet” skildrar Anton Tjechov en statstjänsteman som vid juletid konfronteras med att han under 40 yrkesår aldrig har använt ett utropstecken: ”Fördömt! När använder man egentligen utropstecken?” Den grammatiskt skolade hustrun får hjälpa till: Vid hälsningar och utrop och vid uttryck för jubel, indignation och ilska, upplyser hon. Den osalige tjänstemannen jagas av sina utropstecken, och ser hur människor omkring honom förvandlas till långa streck med en punkt under. För tänk om han på 40 år inte har upplevt en enda känsla som förtjänat ett utropstecken – vad säger det om hans liv?Jag tror – eller rättare sagt: jag vet – att det också kan gå åt andra hållet, så att de starkaste av känslor kan kortsluta användningen av detta känslotecken. Den grönländska poeten Naja Marie Aidt beskriver i den prosalyriska romanen ”Har döden tagit något ifrån dig så ge det tillbaka” om hur sorgen efter hennes vuxna son slog sönder all syntax och begriplighet i hennes formuleringar. ”inget språk möjligt språk dog med mitt barn”, skriver hon i en lång ordmassa helt utan skiljetecken. När mitt eget barn dog hände det något med mina utropstecken, och specifikt med dem. Utropstecknen försvann ur all skriven kommunikation, och har ännu inte återvänt. Det handlar inte bara om brist på glädje och entusiasm, utan om något som kanske står att finna i utropstecknets historiska rötter. I vår äldsta bevarade handledning i användandet av skiljetecken talas det om ”förundringstecken”, eller punctus admirativus. Utropstecknet hör i sitt ursprung alltså hemma inför skapelsens och varats mirakel. Och för den som sett all sådan skönhet i sin nyfödda sons knubbiga ansikte finns ingen förundran kvar på jorden, inte sedan han skickats iväg för gravsättning i en mönstrad pyjamas. All förundran är borta med honom, liksom den kraft som utropstecknet för med sig till det skrivna språket mellan människorna.Annat är det i nattens ordlösa klagan, där utropstecknen kastas mot en tom himmel utan svar. Jag läser Jobs bok i Gamla testamentet, och dess berättelse om mannen som inte bara förlorar sina barn och allt han äger utan också drabbas av svåra sjukdomar. Här finns naturligt nog en hel del förtvivlade utropstecken: ”Ropa bara! Finns det någon som svarar?”, som det står i femte kapitlet. Och lite längre fram:Om jag tänker: 'Det lättar när jag lagt mig,sömnen skall lindra min sorg',då skrämmer du mig med drömmar,förfärar mig med syner,så att jag hellre vill kvävas.Hellre döden än denna plåga!För utropstecknet må vara en flåsig gaphals som skrattar åt sina egna skämt i den politiska polariseringens tid. Men det kan också – både i sin närvaro och i sin frånvaro – bära på ett möjligt språk för det mänskliga livets yttersta gränser.Kristina Lindquist, kulturskribentLitteraturNaja Marie Aidt: ”Har döden tagit något ifrån dig så ge det tillbaka” (Wahlström & Widstrand, 2018)Bibeln. Job 5:1, 7:13-15 (2000)Eva-Stina Byggmästar: ”Barrskogarnas barn” (Wahlström & Widstrand, 2014)Stuart Jeffries: ”The joy of exclamation marks!” (The Guardian, 29/4 2009)Maggie Nelson: ”Argonauterna” (Modernista, 2016)Siv Strömquist: ”Skiljeteckensboken” (Morfem, 2013)Anton Tjechov: ”The exclamation mark” (Hesperus classics, 2008)

Many barriers to employment exist for millions of Americans, and one subset remains vastly underserved – Native American veterans and tribal communities. Tune in as Christopher Key from Hesperus shares more insight into cultural differences, as well as how Hesperus is investing in the next generation of Native American and Alaska Native leadership, and creating pathways to education and employment through training, workforce development, and technology.

It’s Thanksgiving, so of course Rob, John, and Dan drink and discuss “The Wreck of the Hesperus” by Henry Wadsworth Longfellow (1842). John McCoy with Rob McCoy and Dan McCoy.

It’s Thanksgiving, so of course Rob, John, and Dan drink and discuss “The Wreck of the Hesperus” by Henry Wadsworth Longfellow (1842). John McCoy with Rob McCoy and Dan McCoy.

To support independent ski journalism, please consider becoming a free or paid subscriber. This podcast hit paid subscribers' inboxes on Nov. 17. It dropped for free subscribers on Nov. 20. To receive future pods as soon as they're live, please consider an upgrade to a paid subscription.WhoChad Linebaugh, President and General Manager of Sundance Mountain, UtahRecorded onNovember 7, 2022About SundanceClick here for a mountain stats overviewOwned by: Broadreach Capital Partners and Cedar Capital PartnersPass affiliations: Power PassReciprocal pass partners:* 3 days at each Mountain Capital Partners ski area: Arizona Snowbowl, Purgatory, Hesperus, Brian Head, Nordic Valley, Sipapu, Pajarito, Willamette Pass* 3 days each at Snow King, Ski Cooper* 1 unguided day at SilvertonLocated in: Sundance, UtahClosest neighboring ski areas: Park City (47 minutes), Deer Valley (50 minutes), Woodward Park City (50 minutes), Utah Olympic Park (51 minutes), Solitude (57 minutes), Brighton (1 hour), Snowbird (1 hour, 7 minutes), Alta (1 hour, 10 minutes) – travel times may vary considerably in winter.Base elevation: 6,100 feetSummit elevation: 8,250 feetVertical drop: 2,150 feetSkiable Acres: 515Average annual snowfall: 300 inchesTrail count: 50 (20% black, 45% intermediate, 35% beginner)Lift count: 9 (1 high-speed quad, 4 fixed-grip quads, 1 triple, 3 carpets)The map above is last season's, and does not include the Wildwood expansion that's coming online for the 2022-23 ski season. Here's where the new terrain will sit - you can see Jake's landing looker's right, and Flathead rising looker's left:And here's an overhead view of the new terrain:Update [11/24/2022]: the new trailmapWhy I interviewed himIt sits inconspicuous and unassuming, 13 air miles and 49 road miles south of Little Cottonwood Canyon. Five hundred acres in a 5,000-acre resort. Step off your plane at Salt Lake airport and you're 40 minutes away from half a dozen powder bangers and this is not one of them. It's Sundance. “Isn't that that film fiestival?” Epkon Bro asks as he punches Park City into his GPS. “No time for that on my HASHTAG POWDY TOWN TRIP!”And that's OK. We won't be needing Epkon Bro for today's stop. Because where we're going today is Utah before Utah skiing went nuclear. Before the California invasion. Before this state with just 15 ski areas became third in the nation in annual skier visits. When Snowbird opened in 1971, Utah had 1.1 million residents. Today it has 3.1 million. On any given Saturday, every single one of them is angling their SUV toward the mouth of the Cottonwoods.Except everyone skiing Sundance. Here's the locals bump we all wish we had: 300 inches of snow, 2,000-plus feet of vert, owners with the cash Gatlings blowing full auto. Everyone else, somewhere else. Most of the tourists. Most of the Salt Locals. Certainly the Epkon hordes, trying to ski their passes down to $5 a day. So, here it is: Utah skiing before all the things that changed Utah skiing, mostly for the worse. Twenty years ago? Thirty? Who cares. You found it. Enjoy it.What we talked aboutEarly snow in the West; from breakfast waiter to running the resort; when big brother takes you skiing; Sundance in the 1970s; setting yourself apart when you're the ski area down the road from the Wasatch; the longest-tenured ski resort employee in the country?; Timp Haven; enter Robert Redford; the resort's expanse and legacy of conservation; working for Redford; the origins and impact of the Sundance Film Festival; why Redford sold Sundance; a profile of the new owners; industry veteran Bill Jensen's impact on the resort; Sundance's rapid and radical transformation under its new owners; the fantastically weird Ray's lift and why the mountain finally upgraded it; bringing back the old Mandan lift unload and corresponding terrain; breaking down the new alignments for Stairway and Outlaw; why Red's isn't a high-speed lift; the massive new lift project Sundance is planning next and the potential terrain expansion that could go with that; what the new lift would mean for Flathead; why Outlaw ended up as a quad, rather than a six-pack; how Outlaw ended up running chairs from Big Sky's Swift Current quad; why the resort retired the Navajo lift in 1995, and brought back a similar lift called Jake's a decade ago; why Jake's runs on a different line than Navajo; Jake's odd lower mid-station; re-thinking the road that runs beneath Jake's; Sundance's huge snowmaking expansion; going deep on Sundance's Wildwood expansion and new lift; the return of hot bread and honey-butter; potential far-future expansion; upgrading the Bearclaw lodge; night-skiing; whether Sundance could expand its group of season pass reciprocal partners; and the possibility of Sundance joining Indy Pass.Why I thought that now was a good time for this interviewA decade ago, Sundance was a relic. Old lifts. Slow lifts. Fixed-grip lifts all. A handle tow at the bottom. No carpets. One chair out of the base: the unbelievable Ray's, a mile-long up-and-over doozy with two midstations and a ride time longer than the State of the Union. Some snowmaking. Not a lot. Not enough.Two years ago, longtime owner Robert Redford sold the joint. The new owners brought in Bill Jensen, a U.S. Ski & Snowboard Hall of Famer and onetime overlord of Breckenridge, Vail, Telluride, and Intrawest. Overnight, they smashed the place to bits and remade it in the image of a modern ski resort: Ray's demolished (it's going to live on at Lookout Pass), in its place a high-speed quad up the frontside – all the way up the frontside, to where the Mandan lift once landed – and a short connector lift in back; expanded night-skiing; dramatically expanded snowmaking; a trio of progression carpets at the base; more parking. This year: a 10-trail, 15-acre beginner-focused expansion. On its way out next: the 47-year-old Flathead triple. With what? You'll have to listen to the podcast for details on that.Once Flathead goes, Sundance will have one of the newest lift fleets on the continent (Redford did replace Arrowhead with a lift called Red's in 2016, and put in a new lift called Jake's in 2012), a reliable and modern collection buffeted by an ever-evolving snowmaking system that can defend the place from its relatively low elevation. It will have better skier flow, and (probably) more terrain for them to ski on.What it won't have are any of the ever-increasing numbers of Epkon Bros. The ones who won't ski anywhere off-pass. The ones obsessed with stats and biggest-tallest-most. The ones how don't mind company.Sundance is building something different. And it's something worth trying. What I got wrongI asked Chad why Jake's lift did not have a mid-station, like the old Navajo lift. Jake's does have a mid-station, of course, but it's just a touch higher than the bottom load. What I'd meant to ask was this, “why doesn't Jake's have a mid-mountain mid-station, as Navajo had?” I also incorrectly stated that Jake's followed the same line as Navajo, which was a bad reading of the trailmap on my part. Regardless, we sort it all out on the pod.Why you should ski SundanceIt's worth going a bit deeper on passes here, as Utah has what is probably the most mature megapass market of any major ski hub in America. All 14 of the state's major commercial ski areas are affiliated with one pass or another, including Sundance:If you've never heard of the Power Pass, it's the season pass for Mountain Capital Partners eight ski areas: Arizona Snowbowl, Purgatory, Hesperus, Brian Head, Nordic Valley, Sipapu, Pajarito, and Willamette Pass. Like the Ikon Pass, which includes Alterra's 14 ski areas plus a bunch of partners, the Power Pass has some add-ons: Copper Mountain, Loveland, Monarch, and Sundance. Here's the full roster:Anyway, it's a relatively low-volume regional pass, in no danger of overrunning Sundance or any other partner.Sundance doesn't have the elevation, snowfall totals, or sheer size of its megapass neighbors just to its north, but it doesn't have their crowds either, and it has just enough of those other things to make the skiing interesting. On weekends, on holidays, on fight-for-your-life LCC powder days, this is your post-up spot, an alternative where you can rack vert without really worrying about it and without really trying.Podcast notesSundance has one of the most interesting lift histories in the country. Most ski areas simply drop new lifts on their old lines. Sundance rarely does that, instead shuffling machines all over the mountain to try different configurations. Here's what the mountain looked like in 1988:In 1995, they removed the Navajo and Mandan doubles and installed the wacky Ray's, which landed lower than Mandan before curling over the mountain's backside:By 2012, Sundance realized it needed a second out-of-base lift again, and it build the Jake's quad. This lands approximately where Navajo did decades earlier, but follows a shorter line, starting from the newer, upper parking lots:Interestingly, the new Red's quad, built in 2016, follows approximately the same line as the Arrowhead triple, the 1985 Yan lift that it replaced, but Outlaw and Stairway both follow different lines than Ray's, with different load, unload, and mid-station points. Don't expect a direct replacement for Flathead either – Linebaugh outlines what that dramatic change will look like in the podcast.The Storm publishes year-round, and guarantees 100 articles per year. This is article 124/100 in 2022, and number 370 since launching on Oct. 13, 2019. Want to send feedback? Reply to this email and I will answer (unless you sound insane, or, more likely, I just get busy). You can also email skiing@substack.com.The Storm explores the world of lift-served skiing all year round. Join us. This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit www.stormskiing.com/subscribe

En diciembre de 1900 tres guardianes del faro trabajando en un grupo aislado de islas en el Atlántico Norte desaparecieron sin dejar rastro. ¿Fue su desaparición el resultado de un extraño accidente? ¿O hubo algo más siniestro detrás de todo esto? El primer registro de que algo era anormal en las islas Flannan fue el 15 de diciembre de 1900 cuando la luz no funcionaba durante las condiciones climáticas adversas como lo hacía con regularidad en este tipo de clima. Cuando los miembros de una tripulación se acercaron a investigar descubrieron que el asta de la bandera no tenía bandera, todas las cajas de provisiones habituales se habían dejado en el embarcadero para reabastecerse y, lo que es más inquietante, ninguno de los trabajadores del faro estaba allí para darles la bienvenida en tierra. Jim Harvie, el capitán de Hesperus, intentó llamarlos haciendo sonar el silbato del barco y disparando una bengala, pero no tuvo éxito. Hasta el día de hoy, lo que sucedió en este lugar continúa siendo un enigma. 

Everybody howl!! Yes, this episode is all about werewolves. A bit of lore and an unusual werewolf story by Dean H. Wild. So, have that wolf bane handy, the full moon is rising...MusicFesliyan Studios: "Ghost Stories," "Venomous"Audio Jungle: "Halloween Waltzes,"Hesperus; Early Music Ensemble: "Colonial Music"    "Maiden Lane / Jack O'Lent / Chestnut / Bonny Broom"Dean H. Wild's website: https://www.deanwild.com/Narration: Robert BreaultPlease join us! Like and follow our Facebook page to become " patron of the Cemetery Hills Library, or (even better!), jump on our Patreon page and become a VIP Patron.                         Mugs, tee-shirts and eternal thanks await you!                                                                                           Patreon Page: https://www.patreon.com/user?u=61177769&fan_landing=trueWebpage: http://www.afterwordsparanormal.comFacebook: After Words Paranormal PodcastEmail: afterwordsstories@gmail.com         

Everybody howl!! Yes, this episode is all about werewolves. A bit of lore and an unusual werewolf story by Dean H. Wild. So, have that wolf bane handy, the full moon is rising...MusicFesliyan Studios: "Ghost Stories," "Venomous"Audio Jungle: "Halloween Waltzes,"Hesperus; Early Music Ensemble: "Colonial Music"    "Maiden Lane / Jack O'Lent / Chestnut / Bonny Broom"Dean H. Wild's website: https://www.deanwild.com/Narration: Robert BreaultPlease join us! Like and follow our Facebook page to become " patron of the Cemetery Hills Library, or (even better!), jump on our Patreon page and become a VIP Patron.                         Mugs, tee-shirts and eternal thanks await you!                                                                                           Patreon Page: https://www.patreon.com/user?u=61177769&fan_landing=trueWebpage: http://www.afterwordsparanormal.comFacebook: After Words Paranormal PodcastEmail: afterwordsstories@gmail.com         

Struggling against the harsh Decemeber weather, the relief vessel, "The Hesperus," crashed against the violent ocean waves as it made its way to the unlit lighthouse off in the horizon. The light had gone dark for several days now, and the men stationed there, weren't responding... As Captain Harvey docked the ship to the side of the isolated island, he and his men invaded the island, desperatly searching for the three who were supposed to greet them. But alas, not a single soul was found. The lightkeepers at Eilean Mor, had vansished without a trace... Join your host, Jordan Hopkins, as he unravels the century old mystery of the Flannan Isles Lighthouse. Website: https://www.moonlightlore.com/ Patreon: https://www.patreon.com/moonlightlore Email: Moonlightlorepodcast@gmail.com   Music used in this episode: https://www.purple-planet.com Kevin Macleod (incompetech.com)

Felix feels old after finding out his high school sweetheart is a grandmother, and drags Oscar into his misery, in S5E20 “Old Flames Never Die”.  We discuss 1) the production order of this episode 2) the implications of this storyline on how old Felix and Oscar are; 3) the second appearance of Oscar's “new” secretary Tina; 4) the numerous guest stars including the return of some old favorites; 5) how one of those guest stars, Leonard Barr, breaks the fourth wall and does his stand-up act for the studio audience; 6) the dancing in the episode; and 7) the reference to the wreck of the Hesperus.

Early in the second century a pagan named Catallus bought Hesperus, his wife Zoë, and their sons Cyriac and Theodulus as slaves. All of them were Christians, and would not eat anything that had been sacrificed to idols — they would throw all such food to the dogs and go hungry themselves. When Catallus learned of this, he was enraged and began to torture them cruelly, beginning with the children. When none of them could be moved from his confession of Christ, the entire family was cast into a hot furnace, where they gave up their souls to God. Their bodies remained unburnt.

Early in the second century a pagan named Catallus bought Hesperus, his wife Zoë, and their sons Cyriac and Theodulus as slaves. All of them were Christians, and would not eat anything that had been sacrificed to idols — they would throw all such food to the dogs and go hungry themselves. When Catallus learned of this, he was enraged and began to torture them cruelly, beginning with the children. When none of them could be moved from his confession of Christ, the entire family was cast into a hot furnace, where they gave up their souls to God. Their bodies remained unburnt.

In 1900, the the newly Flannan isle lighthouse was staffed by three lightkeepers.  In December of that year a passing ship noticed the light was out at the light house and shortly after reporting the issue, a supply ship was sent to investigate.  When they approached the island, everything was quiet with no sign of life.  The mystery would only grow once they landed on the island and entered the lighthouse.Support the show (https://www.buymeacoffee.com/cosmicsponge)

David, Sue and Kendra are still using phrases that may seem outdated to some- but we LOVE THEM!! "Time To Make The Donuts" ... "Cool Beans"  .... "Up And At 'Em"

Callum is back and we go a little different this week as we discuss the Flannan Isle Lighthouse mystery. The mystery of Flannan Isle Lighthouse was first discovered when the steamer Anchtor made note in its log that the light was not working in bad weather conditions. This was further confirmed when the relief vessel Hesperus arrived at the island, and found the island in a mysterious state of disarray and the three men tasked with manning the lighthouse had also mysteriously disappeared.Find us on our socials;Website: www.ccunsolved.comInstagram: https://www.instagram.com/ccunsolved/Facebook: https://www.facebook.com/ccunsolvedTwitter: https://twitter.com/ccunsolvedEmail: ccunsolved@gmail.com

A schooner sinks in a storm with the daughter of its captain tied to the mast for her safety.

Untuk cerita-cerita horor lainnya, kunjungi www.malammalam.com ----- #148 “Moore juga menyadari meja makan di area dapur berada dalam kondisi rapi. Bahkan, Moore menilai ketiga rekan-rekannya sedang bersiap makan sebelum menghilang. Setelah melakukan penyelidikan singkat, Moore memutuskan untuk kembali ke Hesperus untuk melaporkan kondisi dan meminta bala bantuan.” ----- Credits Sumber: www.malammalam.com Author: Kenza Emeraldy Dibacakan oleh: PapaChan Background Music: Horrorin Myuu --- Support this podcast: https://anchor.fm/malammalamstories/support

Welcome to the sixth of the monthly expert panel discussions. As I mentioned before, each month I'll be hosting discussions and debates between some of the most prominent voices in regenerative agriculture, soil science, restoration land management and more.In this session, I hosted a discussion on the holistic management framework with my friends and colleagues at Climate Farmers, a non-profit organization working to advance regenerative agriculture in Europe.In this panel I got to speak with three of the most experienced and influential educators from the global network of Savory Hubs to share their knowledge about the wide applications of the holistic management framework. Since holistic management is often only associated with animal grazing, I wanted to hear from the women today about how relevant and influential it can be for people, not only in other types of farming businesses, but also in other aspects of life. In my work with the farming community that we're building across Europe, the topic of holistic management keeps coming up because of this frameworks' focus on managing the complexity that other forms of decision making work to simplify and reduce. In contrast to those methods, the idea of managing anything, from a business, to a community, relationship, or government, holistically involves understanding the whole and all the complexities within it. This is especially necessary when working with living systems and the unpredictable aspects that come with it.Since these discussions are longer than the regular weekly episodes, I'll keep the intro short and jump right into the introductions for our panelists. Precious Phiri: is a member of the Regeneration International (RI) steering committee and also serves as RI's Africa coordinator. She is also a training and development specialist in regenerative environmental issues and community organizing. She recently founded an organization called EarthWisdom, a network which she formed immediately after her full time nine-year career with Savory hub in Zimbabwe. Her work focuses on training rural communities and collaborating with networks in Africa to reduce poverty, rebuild soils, and restore food and water security for people, livestock, and wildlife. Sheila Cooke: works to enable farmers to regenerate soils whilst attaining a higher quality of life. As hub leader for 3LM, Land and Livestock Management for Life, and an Accredited Field Professional with the Savory Institute, Sheila is developing a network of Learning Hubs, Accredited Educators, and Ecological Outcome Verified producers of food and fibre. Sarah Gleason: is a first generation bison rancher based in Hesperus, CO. She entered ranching after building a career first in consumer marketing and later in advocacy for regenerative agriculture and conservation. After working for multiple years with the Savory Institute and Holistic Management practitioners worldwide, Sarah launched into full-time ranching herself. She began her business in 2016, when she purchased her first 15 bred bison. Gleason Bison is a holistically managed, grass-fed bison operation committed to serving its community, regenerating the environment, and producing thriving animals. Join the discord discussion channel to answer the weekly questions and learn new skills with the whole community Links: savory.global https://www.3lm.network/ http://gleasonbison.com/ https://regenerationinternational.org/

Elite Week Youtube: https://www.youtube.com/eliteweek Elite Week Twitch: https://www.twitch.tv/eliteweek Elite Week Podcast: https://anchor.fm/eliteweek Elite Week E-mail: https://www.eliteweek3306@gmail.com Twitter: https://twitter.com/Eliteweek3306 Elite Week Discord: https://tinyurl.com/eliteweekdiscord CAST: KAI ZEN, TWEAKED74, & SPECIAL GUESTS: BOSS LADY B & BLACK MAZE PODCAST EDITOR: MONOHIVE COVER ART: “From the Fiery Vault” by @CmdrVex ***** NOTE: ALL LINKS AND FULL SHOW NOTES (ANCHOR.FM PROVIDES LIMITED SPACE FOR SHOW NOTES) CAN BE FOUND ON THE YOUTUBE VERSION OF THIS WEEK'S EPISODE: https://youtu.be/xcQ24F0S-Kk ***** OPENING SONG: "ONCE IN A LIFETIME” by POMPLAMOOSE https://www.youtube.com/watch?v=nRYiFzNpOcQ FLY DANGEROUS: NEW FAN-MADE PROGRAM ALLOWING HOONERS TO ENJOY EDH FLIGHT MODEL AND POMECHE PLANET TECH INDEFINITELY. INTRO: CLIPS DISCUSSED BY PANEL: Where to from here “immediate roadmap” and “long term roadmap” frustrations Feedback on the roadmap “multiple fixes” Lave radio “many fixes” ALPHA WAS GREAT LAVE- IT ALL WENT WRONG… WE WILL EARN BACK YOUR TRUST… Hesperus part 1 - Dec - Feb end Hesperus part 2 - more story after… 70k/day players Issue tracker SCN Issue tracker LAVE BGS SCREWY IN EDO VISTA GENOMICS AND OTHER EDO AMENITIES ON FC TEAM MISSIONS EOM JUNE PATCH 5 THE GAME IS TOO DARK POST UPDATE 5: OPTIMIZATION AND PLANET TECH MODULE STORAGE INCREASE VR ANSWERS NEXT TUESDAY CROSS-PLATFORM L- FPS VS SHIP GUN DAMAGE BALANCE L-HAND ON MY HEART FEATURES COMING PC NERF??? MONTHLY DEV UPDATE STARTING END OF JUNE: CONSOLE, PANET TECH, OPTIMIZATION, FUTURE FEATURES NEW FEATURES DISCUSSED END OF JUNE TO BE DISCUSSED ROAD MAP MILESTONES AND DETAILS ON FEATURES... TALK IS CHEAP - ONCE A MONTH DEVS ON TO DISCUSS… PLANET TECH SHIP INTERIORS… ART VS DAVID BRABEN AND FDEV. D2EA: NEW COMPLETE GUIDE TO EDO MATERIALS CLOSING SONG: "MORE THAN WORDS” by JACK BLACK AND JIMMY FALLON https://www.youtube.com/watch?v=1ISYT6EeUM0 --- Send in a voice message: https://anchor.fm/eliteweek/message

http://loosescrewsed.com Join us on discord! And check out the merch store! https://discord.io/LooseScrews Headlines for this episode: Odyssey: Planet tech doesn’t pass to Horizons until console launch. Dodge the Gank was fun but I messed up the stream Dredger and Hesperus might be leaving on the 21st A quiz show all about elite Thargoids appear in multiple systems and a coded message from Salvation Squad Update: 2 current elections: Calarum (0-0) and V640 (2-2) Purge of bad neighbors from HIP 4907 completed (Manic Preachers from Ruchbah should fill the gap) Imminent expansion from NLTT 2969 run-away train system. Probably going to Hecate to be neighbors with BoTM) but several systems extremely close in influence. Signs that the Latvian Apocalypse may be losing steam?? Hemorrhaging influence in Unktomi, HIP 4907, Semakhmets Priorities: Both elections, but especially V640 due to Fedneck interference. Anything and everything to reduce LSN influence in NLTT 2969 so we can shut it down Build influence in HIP 4907 Galnet Recap: https://community.elitedangerous.com/ The Voice of ‘Salvation’ (21 May deadline) Alliance Election Campaigns Resume Paresa Conflict Risks War Between Superpowers Nova Imperium Triumphs Over Federation Mass Thargoid Strike - Emergency Declared Dev news: Tuesday Live stream: Zac and Sally super cruise news, Now with “CMDR Creations” They tried mailslot stunts with a 100% fail rate. (applause) Odyssey/Horizons Compatibility Update Horizons will NOT get updated engine tech at launch, and will be an entirely separate game instance. At console launch, horizons will then also get the updated lighting and planetary tech. Maybe still instancing separation by PEGI? https://forums.frontier.co.uk/threads/horizons-odyssey-compatibility.574677/ Discussion I see in discord seems to think this is very, very bad, but it didn’t bother me so much. What do you al think? Thursday Thargoids: Tweet: https://twitter.com/EliteDangerous/status/1392796892073975813 Cannon decoded the message: React react react. That's all Aegis ever do. We need a solution! -- Salvation Thursday Live stream: Art streams on xbox with friends for anti-thargoid battle Discussion: what ship/vehicle do you want to see come with odyssey? AX combat tips. Event idea: Race at Pomeche? Monday night, presuming the servers are off on Tuesday? Chig chat Community Comms: PrimetimeCasual presents The Elite Quiz - Feat. Ascorbius, EidLeWeise, Greytest, and Wotherspoon https://youtu.be/pSmtxxB1M9M Cheese Thanks for listening, thanks for joining me If you like the show please rate and review on your podcast app, which helps people find the show. Join us on Discord at discord.io/loosescrews and check out the merch store at loosescrewsed.com for mugs, t-shirts, hoodies, and more.

Síguenos en Instagram y en Facebook como @enigmassinresolverSigue a Dafnne como @dafinthecity En diciembre de 1900 tres guardianes del faro trabajando en un grupo aislado de islas en el Atlántico Norte desaparecieron sin dejar rastro. ¿Fue su desaparición el resultado de un extraño accidente? ¿O hubo algo más siniestro detrás de todo esto? El primer registro de que algo era anormal en las islas Flannan fue el 15 de diciembre de 1900 cuando la luz no funcionaba durante las condiciones climáticas adversas como lo hacía con regularidad en este tipo de clima. Cuando los miembros de una tripulación se acercaron a investigar descubrieron que el asta de la bandera no tenía bandera, todas las cajas de provisiones habituales se habían dejado en el embarcadero para reabastecerse y, lo que es más inquietante, ninguno de los trabajadores del faro estaba allí para darles la bienvenida en tierra. Jim Harvie, el capitán de Hesperus, intentó llamarlos haciendo sonar el silbato del barco y disparando una bengala, pero no tuvo éxito. Hasta el día de hoy, lo que sucedió en este lugar continúa siendo un enigma.   

On Boxing Day, December 26th 1900, the lighthouse supply ship Hesperus arrived at the tiny island of Eilean Mor -- the largest of Flannan Islands off the northwestern coast of Scotland.  She was there to drop off food and supplies as well as relief keeper, Joseph Moore,  who was to begin his 6-week stint at the station.  But when repeated blasts of the horn and even a flare fired over the lighthouse failed to bring the keepers down to the dock, Captain Harvie became concerned.  So he sent Moore up to the lighthouse to discover why the men didn't come down to the landing to greet the ship.  Upon entering the living quarters, Moore found it deserted.   A thorough search of the island turned up few clues, but the bodies of the missing keepers were never found.  It was if James Ducat, Thomas Marshall and Donald McArthur had vanished into thin air.https://beyondthefringe.buzzsprout.com/

In December 1900, a boat called Hesperus set sail for the island of Eilean Mor, one of the seven islets (also known as the “Seven Hunters”) of the Flannan Isles off the coast of northwestern Scotland. Captain James Harvey was tasked with delivering a relief lighthouse keeper as part of a regular rotation. The journey was delayed a few days by bad weather, and when Harvey and his crew finally arrived, it was clear that something was awry. None of the normal preparations at the landing dock had been made, the flagstaff was bare, and none of the keepers came to greet the Hesperus. The keepers, as it turned out, weren’t on the island at all. All three of them had vanished.This video is sponsored by PodDecks: Use Code TCNS for 10% off. https://powered-by-pod-decks.peachs.co/a/lawrence-leaseFollow us on Twitter: www.twitter.com/truecrimensLike Us on Facebook: www.facebook.com/truecrimeneversleepspodcastSupport Us By Buying Us a Coffee: www.buymeacoffee.com/tcnsSOURCEShttps://web.archive.org/web/20070810101529/http://www.lighthousemuseum.org.uk/history/FlannanIslesdocuments.htmhttps://en.wikipedia.org/wiki/The_Unexplained_Fileshttps://sentinel63.wordpress.com/2016/06/10/when-three-isnt-a-crowd-the-mystery-of-eilean-mor/

This week there are two episiodes of the podcast going up, both of them longer than normal. This one, episode ninety-nine, is on "Surfin' Safari" by the Beach Boys, and the group's roots in LA, and is fifty minutes long. Click the full post to read liner notes, links to more information, and a transcript of the episode.   Patreon backers also have a ten-minute bonus episode available, on "Misirlou" by Dick Dale and the Deltones. Tilt Araiza has assisted invaluably by doing a first-pass edit, and will hopefully be doing so from now on. Check out Tilt's irregular podcasts at http://www.podnose.com/jaffa-cakes-for-proust and http://sitcomclub.com/ ----more---- Resources No Mixclouds this week, as both episodes have far too many songs by one artist. The mixclouds will be back with episode 101. I used many resources for this episode, most of which will be used in future Beach Boys episodes too. It's difficult to enumerate everything here, because I have been an active member of the Beach Boys fan community for twenty-three years, and have at times just used my accumulated knowledge for this. But the resources I list here are ones I've checked for specific things. Becoming the Beach Boys by James B. Murphy is an in-depth look at the group's early years. Stephen McParland has published many, many books on the California surf and hot-rod music scenes, including several on both the Beach Boys and Gary Usher. The Beach Boys: Inception and Creation is the one I used most here, but I referred to several. His books can be found at https://payhip.com/CMusicBooks Andrew Doe's Bellagio 10452 site is an invaluable resource. Jon Stebbins' The Beach Boys FAQ is a good balance between accuracy and readability. And Philip Lambert's Inside the Music of Brian Wilson is an excellent, though sadly out of print, musicological analysis of Wilson's music from 1962 through 67. The Beach Boys' Morgan recordings and all the outtakes from them can be found on this 2-CD set. The Surfin' Safari album is now in the public domain, and so can be found cheaply, but the best version to get is still the twofer CD with the Surfin' USA album. *But*, those two albums are fairly weak, the Beach Boys in their early years were not really an album band, and you will want to investigate them further. I would recommend, rather than the two albums linked above, starting with this budget-priced three-CD set, which has a surprisingly good selection of their material on it.   Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript Today, there are going to be two podcast episodes. This one, episode ninety-nine, will be a normal-length episode, or maybe slightly longer than normal, and episode one hundred, which will follow straight after it, will be a super-length one that's at least three times the normal length of one of these podcasts. I'm releasing them together, because the two episodes really do go together. We've talked recently about how we're getting into the sixties of the popular imagination, and those 1960s began, specifically, in October 1962. That was the month of the Cuban Missile Crisis, which saw the world almost end. It was the month that James Brown released Live at the Apollo -- an album we'll talk about in a few weeks' time. And if you want one specific date that the 1960s started, it was October the fifth, 1962. On that date, a film came out that we mentioned last week -- Doctor No, the first ever James Bond film. It was also the date that two records were released on EMI in Britain. One was a new release by a British band, the other a record originally released a few months earlier in the USA, by an American band. Both bands had previously released records on much smaller labels, to no success other than very locally, but this was their first to be released on a major label, and had a slightly different lineup from those earlier releases. Both bands would influence each other, and go on to be the most successful band from their respective country in the next decade. Both bands would revolutionise popular music. And the two bands would even be filed next to each other alphabetically, both starting "the Bea". In episode one hundred, we're going to look at "Love Me Do" by the Beatles, but right now, in episode ninety-nine, we're going to look at "Surfin' Safari" by the Beach Boys: [Excerpt: The Beach Boys, "Surfin' Safari"] Before I start this story properly, I just want to say something -- there are a lot of different accounts of the formation of the Beach Boys, and those accounts are all different. What I've tried to do here is take one plausible account of how the group formed and tell it in a reasonable length of time. If you read the books I link in the show notes, you might find some disagreements about the precise order of some of these events, or some details I've glossed over. This episode is already running long, and I didn't want to get into that stuff, but it's important that I stress that this is just as accurate as I can get in the length of an episode. The Beach Boys really were boys when they made their first records. David Marks, their youngest member, was only thirteen when "Surfin' Safari" came out, and Mike Love, the group's oldest member, was twenty-one.  So, as you might imagine when we're talking about children, the story really starts with the older generation. In particular, we want to start with Hite and Dorinda Morgan. The Morgans were part-time music business people in Los Angeles in the fifties. Hite Morgan owned an industrial flooring company, and that was his main source of income -- putting in floors at warehouses and factories that could withstand the particular stresses that such industrial sites faced. But while that work was hard, it was well-paying and didn't take too much time. The company would take on two or three expensive jobs a year, and for the rest of the year Hite would have the money and time to help his wife with her work as a songwriter. She'd collaborated with Spade Cooley, one of the most famous Western Swing musicians of the forties, and she'd also co-written "Don't Put All Your Dreams in One Basket" for Ray Charles in 1948: [Excerpt: Ray Charles, "Don't Put All Your Dreams in One Basket"] Hite and Dorinda's son, Bruce, was also a songwriter, though I've seen some claims that often the songs credited to him were actually written by his mother, who gave him credits in order to encourage him. One of Bruce Morgan's earliest songs was a piece called "Proverb Boogie", which was actually credited under his father's name, and which Louis Jordan retitled to "Heed My Warning" and took a co-writing credit on: [Excerpt: Louis Jordan, "Heed My Warning"] Eventually the Morgans also started their own publishing company, and built their own small demo studio, which they used to use to record cheap demos for many other songwriters and performers. The Morgans were only very minor players in the music industry, but they were friendly with many of the big names on the LA R&B scene, and knew people like John Dolphin, Bumps Blackwell, Sam Cooke, and the Hollywood Flames. Bruce Morgan would talk in interviews about Bumps Blackwell calling round to see his father and telling him about this new song "You Send Me" he was going to record with Cooke. But although nobody could have realised it at the time, or for many years later, the Morgans' place in music history would be cemented in 1952, when Hite Morgan, working at his day job, met a man named Murry Wilson, who ran a machine-tool company based in Hawthorne, a small town in southwestern Los Angeles County. It turned out that Wilson, like Dorinda Morgan, was an aspiring songwriter, and Hite Morgan signed him up to their publishing company, Guild Music. Wilson's tastes in music were already becoming old-fashioned even in the very early 1950s, but given the style of music he was working in he was a moderately talented writer. His proudest moment was writing a song called "Two Step Side Step" for the Morgans, which was performed on TV by Lawrence Welk -- Murry gathered the whole family round the television to watch his song being performed.  That song was a moderate success – it was never a hit for anyone, but it was recorded by several country artists, including the rockabilly singer Bonnie Lou, and most interestingly for our purposes by Johnny Lee Wills, Bob Wills' brother: [Excerpt: Johnny Lee Wills, "Two Step Side Step"] Wilson wrote a few other songs for the Morgans, of which the most successful was "Tabarin", which was recorded by the Tangiers -- one of the several names under which the Hollywood Flames performed. Gaynel Hodge would later speak fondly of Murry Wilson, and how he was always bragging about his talented kids: [Excerpt: The Tangiers, "Tabarin"] But as the fifties progressed, the Morgans published fewer and fewer of Wilson's songs, and none of them were hits. But the Morgans and Wilson stayed in touch, and around 1958 he heard from them about an opportunity for one of those talented kids. Dorinda Morgan had written a song called "Chapel of Love" -- not the same song as the famous one by the Dixie Cups -- and Art Laboe had decided that that song would be perfect as the first record for his new label, Original Sound. Laboe was putting together a new group to sing it, called the Hitmakers, which was based around Val Poliuto. Poliuto had been the tenor singer of an integrated vocal group -- two Black members, one white, and one Hispanic -- which had gone by the names The Shadows and The Miracles before dismissing both names as being unlikely to lead to any success and taking the name The Jaguars at the suggestion of, of all people, Stan Freberg, the comedian and voice actor. The Jaguars had never had much commercial success, but they'd recorded a version of "The Way You Look Tonight" which became a classic when Laboe included it on the massively successful "Oldies But Goodies", the first doo-wop nostalgia album: [Excerpt: The Jaguars, "The Way You Look Tonight"] The Jaguars continued for many years, and at one point had Richard Berry guest as an extra vocalist on some of their tracks, but as with so many of the LA vocal groups we've looked at from the fifties, they all had their fingers in multiple pies, and so Poliuto was to be in this new group, along with Bobby Adams of the Calvanes, who had been taught to sing R&B by Cornell Gunter and who had recorded for Dootsie Williams: [Excerpt: The Calvanes, "Crazy Over You"] Those two were to be joined by two other singers, who nobody involved can remember much about except that their first names were Don and Duke, but Art Laboe also wanted a new young singer to sing the lead, and was auditioning singers. Murry Wilson suggested to the Morgans that his young son Brian might be suitable for the role, and he auditioned, but Laboe thought he was too young, and the role went to a singer called Rodney Goodens instead: [Excerpt: The Hitmakers, "Chapel of Love"] So the audition was a failure, but it was a first contact between Brian Wilson and the Morgans, and also introduced Brian to Val Poliuto, from whom he would learn a lot about music for the next few years. Brian was a very sensitive kid, the oldest of three brothers, and someone who seemed to have some difficulty dealing with other people -- possibly because his father was abusive towards him and his brothers, leaving him frightened of many aspects of life. He did, though, share with his father a love of music, and he had a remarkable ear -- singular, as he's deaf in one ear. He had perfect pitch, a great recollection for melodies -- play him something once and it would stay in his brain -- and from a very young age he gravitated towards sweet-sounding music. He particularly loved Glenn Miller's version of "Rhapsody in Blue" as a child: [Excerpt: The Glenn Miller Orchestra, "Rhapsody in Blue"] But his big musical love was a modern harmony group called the Four Freshmen -- a group made up of two brothers, their cousin, and a college friend. Modern harmony is an outdated term, but it basically meant that they were singing chords that went beyond the normal simple triads of most pop music. While there were four, obviously, of the Four Freshmen, they often achieved an effect that would normally be five-part harmony, by having the group members sing all the parts of the chord *except* the root note -- they'd leave the root note to a bass instrument. So while Brian was listening to four singers, he was learning five-part harmonies. The group would also sing their harmonies in unusual inversions -- they'd take one of the notes from the middle of the chord and sing it an octave lower. There was another trick that the Four Freshmen used -- they varied their vocals from equal temperament.  To explain this a little bit -- musical notes are based on frequencies, and the ratio between them matters. If you double the frequency of a note, you get the same note an octave up -- so if you take an A at 440hz, and double the frequency to 880, you get another A, an octave up. If you go down to 220hz, you get the A an octave below. You get all the different notes by multiplying or dividing a note, so A# is A multiplied by a tiny bit more than one, and A flat is A multiplied by a tiny bit less than one. But in the middle ages, this hit a snag -- A#. which is A multiplied by one and a bit, is very very slightly different from B flat, which is B multiplied by 0.9 something. And if you double those, so you go to the A# and B flat the next octave up, the difference between A# and B flat gets bigger. And this means that if you play a melody in the key of C, but then decide you want to play it in the key of B flat, you need to retune your instrument -- or have instruments with separate notes for A# and B flat -- or everything will sound out of tune. It's very very hard to retune some instruments, especially ones like the piano, and also sometimes you want to play in different keys in the same piece. If you're playing a song in C, but it goes into C# in the last chorus to give it a bit of extra momentum, you lose that extra momentum if you stop the song to retune the piano. So a different system was invented, and popularised in the Baroque era, called "equal temperament". In that system, every note is very very slightly out of tune, but those tiny errors cancel out rather than multiply like they do in the old system. You're sort of taking the average of A# and B flat, and calling them the same note. And to most people's ears that sounds good enough, and it means you can have a piano without a thousand keys.  But the Four Freshmen didn't stick to that -- because you don't need to retune your throat to hit different notes (unless you're as bad a singer as me, anyway). They would sing B flat slightly differently than they would sing A#, and so they would get a purer vocal blend, with stronger harmonic overtones than singers who were singing the notes as placed on a piano: [Excerpt: the Four Freshmen, "It's a Blue World"] Please note by the way that I'm taking the fact that they used those non-equal temperaments somewhat on trust -- Ross Barbour of the group said they did in interviews, and he would know, but I have relatively poor pitch so if you listened to that and thought "Hang on, they're all singing dead-on equal tempered concert pitch, what's he talking about?", then that's on him. When Brian heard them singing, he instantly fell for them, and became a major, major fan of their work, especially their falsetto singer Bob Flanigan, whose voice he decided to emulate. He decided that he was going to learn how they got that sound. Every day when he got home from school, he would go to the family's music room, where he had a piano and a record player. He would then play just a second or so of one of their records, and figure out on the piano what notes they were singing in that one second, and duplicating them himself. Then he would learn the next second of the song. He would spend hours every day on this, learning every vocal part, until he had the Four Freshmen's entire repertoire burned into his brain, and could sing all four vocal parts to every song. Indeed, at one point when he was about sixteen -- around the same time as the Art Laboe audition -- Brian decided to go and visit the Four Freshmen's manager, to find out how to form a successful vocal group of his own, and to find out more about the group themselves. After telling the manager that he could sing every part of every one of their songs, the manager challenged him with "The Day Isn't Long Enough", a song that they apparently had trouble with: [Excerpt: The Four Freshmen, "The Day Isn't Long Enough"] And Brian demonstrated every harmony part perfectly. He had a couple of tape recorders at home, and he would experiment with overdubbing his own voice -- recording on one tape recorder, playing it back and singing along while recording on the other. Doing this he could do his own imitations of the Four Freshmen, and even as a teenager he could sound spookily like them: [Excerpt: The Beach Boys [Brian Wilson solo recording released on a Beach Boys CD], "Happy Birthday Four Freshmen"] While Brian shared his love for this kind of sweet music with his father, he also liked the rock and roll music that was making its way onto the radio during his teen years -- though again, he would gravitate towards the sweet vocal harmonies of the Everly Brothers rather than to more raucous music. He shared his love of the Everlys with his cousin Mike Love, whose tastes otherwise went more in the direction of R&B and doo-wop. Unlike Brian and his brothers, Mike attended Dorsey High School, a predominantly Black school, and his tastes were shaped by that -- other graduates of the school include Billy Preston, Eric Dolphy, and Arthur Lee, to give some idea of the kind of atmosphere that Dorsey High had. He loved the Robins, and later the Coasters, and he's been quoted as saying he "worshipped" Johnny Otis -- as did every R&B lover in LA at the time. He would listen to Otis' show on KFOX, and to Huggy Boy on KRKD. His favourite records were things like "Smokey Joe's Cafe" by the Robins, which combined an R&B groove with witty lyrics: [Excerpt: The Robins, "Smokey Joe's Cafe"] He also loved the music of Chuck Berry, a passion he shared with Brian's youngest brother Carl, who also listened to Otis' show and got Brian listening to it. While Mike was most attracted to Berry's witty lyrics, Carl loved the guitar part -- he'd loved string instruments since he was a tiny child, and he and a neighbour, David Marks, started taking guitar lessons from another neighbour, John Maus. Maus had been friends with Ritchie Valens, and had been a pallbearer at Valens' funeral. John was recording at the time with his sister Judy, as the imaginatively-named duo "John & Judy": [Excerpt: John & Judy, "Why This Feeling?"] John and Judy later took on a bass player called Scott Engel, and a few years after that John and Scott changed their surnames to Walker and became two thirds of The Walker Brothers. But at this time, John was still just a local guitar player, and teaching two enthusiastic kids to play guitar. Carl and David learned how to play Chuck Berry licks, and also started to learn some of the guitar instrumentals that were becoming popular at the time. At the same time, Mike would sing with Brian to pass the time, Mike singing in a bass voice while Brian took a high tenor lead. Other times, Brian would test his vocal arranging out by teaching Carl and his mother Audree vocal parts -- Carl got so he could learn parts very quickly, so his big brother wouldn't keep him around all day and he could go out and play. And sometimes their middle brother Dennis would join in -- though he was more interested in going out and having fun at the beach than he was in making music. Brian was interested in nothing *but* making music -- at least once he'd quit the school football team (American football, for those of you like me who parse the word to mean what it does in Britain), after he'd got hurt for the first time. But before he did that, he had managed to hurt someone else -- a much smaller teammate named Alan Jardine, whose leg Brian broke in a game. Despite that, the two became friends, and would occasionally sing together -- like Brian, Alan loved to sing harmonies, and they found that they had an extraordinarily good vocal blend. While Brian mostly sang with his brothers and his cousin, all of whom had a family vocal resemblance, Jardine could sound spookily similar to that family, and especially to Brian. Jardine's voice was a little stronger and more resonant, Brian's a little sweeter, with a fuller falsetto, but they had the kind of vocal similarity one normally only gets in family singers. However,  they didn't start performing together properly, because they had different tastes in music -- while Brian was most interested in the modern jazz harmonies of the Four Freshman, Jardine was a fan of the new folk revival groups, especially the Kingston Trio. Alan had a group called the Tikis when he was at high school, which would play Kingston Trio style material like "The Wreck of the John B", a song that like much of the Kingston Trio's material had been popularised by the Weavers, but which the Trio had recorded for their first album: [Excerpt: The Kingston Trio, "The Wreck of the John B"] Jardine was inspired by that to write his own song, "The Wreck of the Hesperus", putting Longfellow's poem to music. One of the other Tikis had a tape recorder, and they made a few stabs at recording it. They thought that they sounded pretty good, and they decided to go round to Brian Wilson's house to see if he could help them -- depending on who you ask, they either wanted him to join the band, or knew that his dad had some connection with the music business and wanted to pick his brains. When they turned up, Brian was actually out, but Audree Wilson basically had an open-door policy for local teenagers, and she told the boys about Hite and Dorinda Morgan. The Tikis took their tape to the Morgans, and the Morgans responded politely, saying that they did sound good -- but they sounded like the Kingston Trio, and there were a million groups that sounded like the Kingston Trio. They needed to get an original sound. The Tikis broke up, as Alan went off to Michigan to college. But then a year later, he came back to Hawthorne and enrolled in the same community college that Brian was enrolled in. Meanwhile, the Morgans had got in touch with Gary Winfrey, Alan's Tikis bandmate, and asked him if the Tikis would record a demo of one of Bruce Morgan's songs. As the Tikis no longer existed, Alan and Gary formed a new group along the same lines, and invited Brian to be part of one of these sessions. That group, The Islanders made a couple of attempts at Morgan's song, but nothing worked out. But this brought Brian back to the Morgans' attention -- at this point they'd not seen him in three years. Alan still wanted to record folk music with Brian, and at some point Brian suggested that they get his brother Carl and cousin Mike involved -- and then Brian's mother made him let his other brother Dennis join in.  The group went to see the Morgans, who once again told them that they needed some original material. Dennis piped up that the group had been fooling around with a song about surfing, and while the Morgans had never heard of the sport, they said it would be worth the group's while finishing off the song and coming back to them. At this point, the idea of a song about surfing was something that was only in Dennis' head, though he may have mentioned the idea to Mike at some point. Mike and the Wilsons went home and started working out the song, without Al being involved at this time -- some of the rehearsal recordings we have seem to suggest that they thought Al was a little overbearing and thought of himself as a bit more professional than the others, and they didn't want him in the group at first. While surf music was definitely already a thing, there were very few vocal surf records. Brian and Mike wrote the song together, with Mike writing most of the lyrics and coming up with his own bass vocal line, while Brian wrote the rest of the music: [Excerpt: The Beach Boys, "Surfin' (Rehearsal)"] None of the group other than Dennis surfed -- though Mike would later start surfing a little -- and so Dennis provided Mike with some surfing terms that they could add into the song. This led to what would be the first of many, many arguments about songwriting credit among the group, as Dennis claimed that he should get some credit for his contribution, while Mike disagreed: [Excerpt: The Beach Boys, “Surfin' (Rehearsal)”] The credit was eventually assigned to Brian Wilson and Mike Love. Eventually, they finished the song, and decided that they *would* get Al Jardine back into the group after all. When Murry and Audree Wilson went away for a long weekend and left their boys some money for emergencies, the group saw their chance. They took that money, along with some more they borrowed from Al's mother, and rented some instruments -- a drum kit and a stand-up bass. They had a party at the Wilsons' house where they played their new song and a few others, in front of their friends, before going back to the Morgans with their new song completed. For their recording session, they used that stand-up bass, which Al played, along with Carl on an acoustic guitar, giving it that Kingston Trio sound that Al liked. Dennis was the group's drummer, but he wasn't yet very good and instead of drums the record has Brian thumping a dustbin lid as its percussion. As well as being the lead vocalist, Mike Love was meant to be the group's saxophone player, but he never progressed more than honking out a couple of notes, and he doesn't play on the session. The song they came up with was oddly structured -- it had a nine-bar verse and a fourteen-bar chorus, the latter of which was based around a twelve-bar blues, but extended to allow the "surf, surf with me" hook. But other than the unusual bar counts it followed the structure that the group would set up most of their early singles. The song seems at least in part to have been inspired by the song "Bermuda Shorts" by the Delroys, which is a song the group have often cited and would play in their earliest live shows: [Excerpt: The Delroys, "Bermuda Shorts"] They messed around with the structure in various ways in rehearsal, and those can be heard on the rehearsal recordings, but by the time they came into the studio they'd settled on starting with a brief statement of the chorus hook: [Excerpt: The Beach Boys, "Surfin'"] It then goes into a verse with Mike singing a tenor lead, with the rest of the group doing block harmonies and then joining him on the last line of the verse: [Excerpt: The Beach Boys, "Surfin'"] And then we have Mike switching down into the bass register to sing wordless doo-wop bass during the blues-based chorus, while the rest of the group again sing in block harmony: [Excerpt: The Beach Boys, "Surfin'"] That formula would be the one that the Beach Boys would stick with for several singles to follow -- the major change that would be made would be that Brian would soon start singing an independent falsetto line over the top of the choruses, rather than being in the block harmonies.  The single was licensed to Candix Records, along with a B-side written by Bruce Morgan, and it became a minor hit record, reaching number seventy-five on the national charts. But what surprised the group about the record was the name on it. They'd been calling themselves the Pendletones, because there was a brand of thick woollen shirt called Pendletons which was popular among surfers, and which the group wore.  It might also have been intended as a pun on Dick Dale's Deltones, the preeminent surf music group of the time. But Hite Morgan had thought the name didn't work, and they needed something that was more descriptive of the music they were doing. He'd suggested The Surfers, but Russ Regan, a record promoter, had told him there was already a group called the Surfers, and suggested another name. So the first time the Wilsons realised they were now in the Beach Boys was when they saw the record label for the first time. The group started working on follow-ups -- and as they were now performing live shows to promote their records, they switched to using electric guitars when they went into the studio to record some demos in February 1962. By now, Al was playing rhythm guitar, while Brian took over on bass, now playing a bass guitar rather than the double bass Al had played. For that session, as Dennis was still not that great a drummer, Brian decided to bring in a session player, and Dennis stormed out of the studio. However, the session player was apparently flashy and overplayed, and got paid off. Brian persuaded Dennis to come back and take over on drums again, and the session resumed. Val Poliuto was also at the session, in case they needed some keyboards, but he's not audible on any of the tracks they recorded, at least to my ears. The most likely song for a follow-up was another one by Brian and Mike. This one was very much a rewrite of "Surfin'", but this time the verses were a more normal eight bars, and the choruses were a compromise between the standard twelve-bar blues and "Surfin'"s fourteen, landing on an unusual thirteen bars. With the electric guitars the group decided to bring in a Chuck Berry influence, and you can hear a certain similarity to songs like "Brown-Eyed Handsome Man" in the rhythm and phrasing: [Excerpt: The Beach Boys, "Surfin' Safari [early version]"] Around this time, Brian also wrote another song -- the song he generally describes as being the first song he ever wrote. Presumably, given that he'd already co-written "Surfin'", he means that it was the first song he wrote on his own, words and music. The song was inspired, melodically, by the song "When You Wish Upon A Star" from the Disney film Pinocchio: [Excerpt: Cliff Edwards "When You Wish Upon a Star"] The song came to Brian in the car, and he challenged himself to write the whole thing in his head without going to the piano until he'd finished it. The result was a doo-wop ballad with Four Freshmen-like block harmonies, with lyrics inspired by Brian's then girlfriend Judy Bowles, which they recorded at the same session as that version of “Surfin' Safari”: [Excerpt: The Beach Boys, "Surfer Girl [early version]"] At the same session, they also recorded two more songs -- a song by Brian called Judy, and a surf instrumental written by Carl called "Karate". However, shortly after that session, Al left the group. As the group had started playing electric instruments, they'd also started performing songs that were more suitable for those instruments, like "What'd I Say" and "The Twist". Al wasn't a fan of that kind of music, and he wanted to be singing "Tom Dooley" and "Wreck of the John B", not "Come on baby, let's do the Twist". He was also quite keen on completing his university studies -- he was planning on becoming a dentist -- and didn't want to spend time playing tons of small gigs when he could be working towards his degree. This was especially the case since Murry Wilson, who had by this point installed himself as the group's manager, was booking them on all sorts of cheap dates to get them exposure. As far as Al could see, being a Beach Boy was never going to make anyone any real money, and it wasn't worth disrupting his studies to keep playing music that he didn't even particularly like. His place was taken by David Marks, Carl's young friend who lived nearby. Marks was only thirteen when he joined, and apparently it caused raised eyebrows among some of the other musicians who knew the group, because he was so much younger and less experienced than the rest. Unlike Al, he was never much of a singer -- he can hold a tune, and has a pleasant enough voice, but he wasn't the exceptional harmony singer that Al was -- but he was a competent rhythm player, and he and Carl had been jamming together since they'd both got guitars, and knew each other's playing style. However, while Al was gone from the group, he wasn't totally out of the picture, and he remained close enough that he was a part of the first ever Beach Boys spin-off side project a couple of months later. Dorinda Morgan had written a song inspired by the new children's doll, Barbie, that had come out a couple of years before and which, like the Beach Boys, was from Hawthorne. She wanted to put together a studio group to record it, under the name Kenny and the Cadets, and Brian rounded up Carl, Al, Val Poliuto, and his mother Audree, to sing on the record for Mrs Morgan: [Excerpt: Kenny and the Cadets, "Barbie"] But after that, Al Jardine was out of the group for the moment -- though he would be back sooner than anyone expected. Shortly after Al left, the new lineup went into a different studio, Western Studios, to record a new demo. Ostensibly produced by Murry Wilson, the session was actually produced by Brian and his new friend Gary Usher, who took charge in the studio and spent most of his time trying to stop Murry interfering. Gary Usher is someone about whom several books have been written, and who would have a huge influence on West Coast music in the sixties. But at this point he was an aspiring singer, songwriter, and record producer, who had been making records for a few months longer than Brian and was therefore a veteran. He'd put out his first single, "Driven Insane", in March 1961: [Excerpt: Gary Usher, "Driven Insane"] Usher was still far from a success, but he was very good at networking, and had all sorts of minor connections within the music business. As one example, his girlfriend, Sandra Glanz, who performed under the name Ginger Blake, had just written "You Are My Answer" for Carol Connors, who had been the lead singer of the Teddy Bears but was now going solo: [Excerpt: Carol Connors, "You Are My Answer"] Connors, too, would soon become important in vocal surf music, while Ginger would play a significant part in Brian's life. Brian had started writing songs with Gary, and they were in the studio to record some demos by Gary, and some demos by the Beach Boys of songs that Brian and Gary had written together, along with a new version of "Surfin' Safari". Of the two Wilson/Usher songs recorded in the session, one was a slow doo-wop styled ballad called "The Lonely Sea", which would later become an album track, but the song that they were most interested in recording was one called "409", which had been inspired by a new, larger, engine that Chevrolet had introduced for top-of-the-line vehicles. Musically, "409" was another song that followed the "Surfin' Safari" formula, but it was regularised even more, lopping off the extra bar from "Surfin' Safari"'s chorus, and making the verses as well as the choruses into twelve-bar blues. But it still started with the hook, still had Mike sing his tenor lead in the verses, and still had him move to sing a boogie-ish bassline in the chorus while the rest of the group chanted in block harmonies over the top. But it introduced a new lyrical theme to the group -- now, as well as singing about surfing and the beach, they could also sing about cars and car racing -- Love credits this as being one of the main reasons for the group's success in landlocked areas, because while there were many places in the US where you couldn't surf, there was nowhere where people didn't have cars. It's also the earliest Beach Boys song over which there is an ongoing question of credit. For the first thirty years of the song's existence, it was credited solely to Wilson and Usher, but in the early nineties Love won a share of the songwriting credit in a lawsuit in which he won credit on many, many songs he'd not been credited for. Love claims that he came up with the "She's real fine, my 409" hook, and the "giddy up" bass vocal he sang. Usher always claimed that Love had nothing to do with the song, and that Love was always trying to take credit for things he didn't do. It's difficult to tell who was telling the truth, because both obviously had a financial stake in the credit (though Usher was dead by the time of the lawsuit). Usher was always very dismissive of all of the Beach Boys with the exception of Brian, and wouldn't credit them for making any real contributions, Love's name was definitely missed off the credits of a large number of songs to which he did make substantial contributions, including some where he wrote the whole lyric, and the bits of the song Love claims *do* sound like the kind of thing he contributed to other songs which have no credit disputes. On the other hand, Love also overreached in his claims of credit in that lawsuit, claiming to have co-written songs that were written when he wasn't even in the same country as the writers. Where you stand on the question of whether Love deserves that credit usually depends on your views of Wilson, Love and Usher as people, and it's not a question I'm going to get into, but I thought I should acknowledge that the question is there. While "409" was still following the same pattern as the other songs, it's head and shoulders ahead of the Hite Morgan productions both in terms of performance and in terms of the sound. A great deal of that clearly owes to Usher, who was experimenting with things like sound effects, and so "409" starts with a recording that Brian and Usher made of Usher's car driving up and down the street: [Excerpt: The Beach Boys, "409"] Meanwhile the new version of "Surfin' Safari" was vastly superior to the recording from a couple of months earlier, with changed lyrics and a tighter performance: [Excerpt: The Beach Boys, "Surfin' Safari (second version)"] So at the end of the session, the group had a tape of three new songs, and Murry WIlson wanted them to take it somewhere better than Candix Records. He had a contact somewhere much better -- at Capitol Records. He was going to phone Ken Nelson. Or at least, Murry *thought* he had a contact at Capitol. He phoned Ken Nelson and told him "Years ago, you did me a favour, and now I'm doing one for you. My sons have formed a group and you have the chance to sign them!" Now, setting aside the question of whether that would actually count as Murry doing Nelson a favour, there was another problem with this -- Nelson had absolutely no idea who Murry Wilson was, and no recollection of ever doing him a favour. It turned out that the favour he'd done, in Murry's eyes, was recording one of Murry's songs -- except that there's no record of Nelson ever having been involved in a recording of a Murry Wilson song. By this time, Capitol had three A&R people, in charge of different areas. There was Voyle Gilmore, who recorded soft pop -- people like Nat "King" Cole. There was Nelson, who as we've seen in past episodes had some rockabilly experience but was mostly country -- he'd produced Gene Vincent and Wanda Jackson, but he was mostly working at this point with people like Buck Owens and the Louvin Brothers, producing some of the best country music ever recorded, but not really doing the kind of thing that the Beach Boys were doing. But the third, and youngest, A&R man was doing precisely the kind of thing the Beach Boys did. That was Nik Venet, who we met back in the episode on "LSD-25", and who was one of the people who had been involved with the very first surf music recordings. Nelson suggested that Murry go and see Venet, and Venet was immediately impressed with the tape Murry played him -- so impressed that he decided to offer the group a contract, and to release "Surfin' Safari" backed with "409", buying the masters from Murry rather than rerecording them. Venet also tried to get the publishing rights for the songs for Beechwood Music, a publishing company owned by Capitol's parent company EMI (and known in the UK as Ardmore & Beechwood) but Gary Usher, who knew a bit about the business, said that he and Brian were going to set up their own publishing companies -- a decision which Murry Wilson screamed at him for, but which made millions of dollars for Brian over the next few years. The single came out, and was a big hit, making number fourteen on the hot one hundred, and "409" as the B-side also scraped the lower reaches of the charts. Venet soon got the group into the studio to record an album to go with the single, with Usher adding extra backing vocals to fill out the harmonies in the absence of Al Jardine. While the Beach Boys were a self-contained group, Venet seems to have brought in his old friend Derry Weaver to add extra guitar, notably on Weaver's song "Moon Dawg": [Excerpt: The Beach Boys, "Moon Dawg"] It's perhaps unsurprising that the Beach Boys recorded that, because not only was it written by Venet's friend, but Venet owned the publishing on the song. The group also recorded "Summertime Blues", which was co-written by Jerry Capehart, a friend of Venet and Weaver's who also may have appeared on the album in some capacity. Both those songs fit the group, but their choice was clearly influenced by factors other than the purely musical, and very soon Brian Wilson would get sick of having his music interfered with by Venet.  The album came out on October 1, and a few days later the single was released in the UK, several months after its release in the US. And on the same day, a British group who *had* signed to have their single published by Ardmore & Beechwood put out their own single on another EMI label. And we're going to look at that in the next episode...

This week there are two episiodes of the podcast going up, both of them longer than normal. This one, episode ninety-nine, is on “Surfin’ Safari” by the Beach Boys, and the group’s roots in LA, and is fifty minutes long. Click the full post to read liner notes, links to more information, and a transcript of the episode.   Patreon backers also have a ten-minute bonus episode available, on “Misirlou” by Dick Dale and the Deltones. Tilt Araiza has assisted invaluably by doing a first-pass edit, and will hopefully be doing so from now on. Check out Tilt’s irregular podcasts at http://www.podnose.com/jaffa-cakes-for-proust and http://sitcomclub.com/ —-more—- Resources No Mixclouds this week, as both episodes have far too many songs by one artist. The mixclouds will be back with episode 101. I used many resources for this episode, most of which will be used in future Beach Boys episodes too. It’s difficult to enumerate everything here, because I have been an active member of the Beach Boys fan community for twenty-three years, and have at times just used my accumulated knowledge for this. But the resources I list here are ones I’ve checked for specific things. Becoming the Beach Boys by James B. Murphy is an in-depth look at the group’s early years. Stephen McParland has published many, many books on the California surf and hot-rod music scenes, including several on both the Beach Boys and Gary Usher. The Beach Boys: Inception and Creation is the one I used most here, but I referred to several. His books can be found at https://payhip.com/CMusicBooks Andrew Doe’s Bellagio 10452 site is an invaluable resource. Jon Stebbins’ The Beach Boys FAQ is a good balance between accuracy and readability. And Philip Lambert’s Inside the Music of Brian Wilson is an excellent, though sadly out of print, musicological analysis of Wilson’s music from 1962 through 67. The Beach Boys’ Morgan recordings and all the outtakes from them can be found on this 2-CD set. The Surfin’ Safari album is now in the public domain, and so can be found cheaply, but the best version to get is still the twofer CD with the Surfin’ USA album. *But*, those two albums are fairly weak, the Beach Boys in their early years were not really an album band, and you will want to investigate them further. I would recommend, rather than the two albums linked above, starting with this budget-priced three-CD set, which has a surprisingly good selection of their material on it.   Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript Today, there are going to be two podcast episodes. This one, episode ninety-nine, will be a normal-length episode, or maybe slightly longer than normal, and episode one hundred, which will follow straight after it, will be a super-length one that’s at least three times the normal length of one of these podcasts. I’m releasing them together, because the two episodes really do go together. We’ve talked recently about how we’re getting into the sixties of the popular imagination, and those 1960s began, specifically, in October 1962. That was the month of the Cuban Missile Crisis, which saw the world almost end. It was the month that James Brown released Live at the Apollo — an album we’ll talk about in a few weeks’ time. And if you want one specific date that the 1960s started, it was October the fifth, 1962. On that date, a film came out that we mentioned last week — Doctor No, the first ever James Bond film. It was also the date that two records were released on EMI in Britain. One was a new release by a British band, the other a record originally released a few months earlier in the USA, by an American band. Both bands had previously released records on much smaller labels, to no success other than very locally, but this was their first to be released on a major label, and had a slightly different lineup from those earlier releases. Both bands would influence each other, and go on to be the most successful band from their respective country in the next decade. Both bands would revolutionise popular music. And the two bands would even be filed next to each other alphabetically, both starting “the Bea”. In episode one hundred, we’re going to look at “Love Me Do” by the Beatles, but right now, in episode ninety-nine, we’re going to look at “Surfin’ Safari” by the Beach Boys: [Excerpt: The Beach Boys, “Surfin’ Safari”] Before I start this story properly, I just want to say something — there are a lot of different accounts of the formation of the Beach Boys, and those accounts are all different. What I’ve tried to do here is take one plausible account of how the group formed and tell it in a reasonable length of time. If you read the books I link in the show notes, you might find some disagreements about the precise order of some of these events, or some details I’ve glossed over. This episode is already running long, and I didn’t want to get into that stuff, but it’s important that I stress that this is just as accurate as I can get in the length of an episode. The Beach Boys really were boys when they made their first records. David Marks, their youngest member, was only thirteen when “Surfin’ Safari” came out, and Mike Love, the group’s oldest member, was twenty-one.  So, as you might imagine when we’re talking about children, the story really starts with the older generation. In particular, we want to start with Hite and Dorinda Morgan. The Morgans were part-time music business people in Los Angeles in the fifties. Hite Morgan owned an industrial flooring company, and that was his main source of income — putting in floors at warehouses and factories that could withstand the particular stresses that such industrial sites faced. But while that work was hard, it was well-paying and didn’t take too much time. The company would take on two or three expensive jobs a year, and for the rest of the year Hite would have the money and time to help his wife with her work as a songwriter. She’d collaborated with Spade Cooley, one of the most famous Western Swing musicians of the forties, and she’d also co-written “Don’t Put All Your Dreams in One Basket” for Ray Charles in 1948: [Excerpt: Ray Charles, “Don’t Put All Your Dreams in One Basket”] Hite and Dorinda’s son, Bruce, was also a songwriter, though I’ve seen some claims that often the songs credited to him were actually written by his mother, who gave him credits in order to encourage him. One of Bruce Morgan’s earliest songs was a piece called “Proverb Boogie”, which was actually credited under his father’s name, and which Louis Jordan retitled to “Heed My Warning” and took a co-writing credit on: [Excerpt: Louis Jordan, “Heed My Warning”] Eventually the Morgans also started their own publishing company, and built their own small demo studio, which they used to use to record cheap demos for many other songwriters and performers. The Morgans were only very minor players in the music industry, but they were friendly with many of the big names on the LA R&B scene, and knew people like John Dolphin, Bumps Blackwell, Sam Cooke, and the Hollywood Flames. Bruce Morgan would talk in interviews about Bumps Blackwell calling round to see his father and telling him about this new song “You Send Me” he was going to record with Cooke. But although nobody could have realised it at the time, or for many years later, the Morgans’ place in music history would be cemented in 1952, when Hite Morgan, working at his day job, met a man named Murry Wilson, who ran a machine-tool company based in Hawthorne, a small town in southwestern Los Angeles County. It turned out that Wilson, like Dorinda Morgan, was an aspiring songwriter, and Hite Morgan signed him up to their publishing company, Guild Music. Wilson’s tastes in music were already becoming old-fashioned even in the very early 1950s, but given the style of music he was working in he was a moderately talented writer. His proudest moment was writing a song called “Two Step Side Step” for the Morgans, which was performed on TV by Lawrence Welk — Murry gathered the whole family round the television to watch his song being performed.  That song was a moderate success – it was never a hit for anyone, but it was recorded by several country artists, including the rockabilly singer Bonnie Lou, and most interestingly for our purposes by Johnny Lee Wills, Bob Wills’ brother: [Excerpt: Johnny Lee Wills, “Two Step Side Step”] Wilson wrote a few other songs for the Morgans, of which the most successful was “Tabarin”, which was recorded by the Tangiers — one of the several names under which the Hollywood Flames performed. Gaynel Hodge would later speak fondly of Murry Wilson, and how he was always bragging about his talented kids: [Excerpt: The Tangiers, “Tabarin”] But as the fifties progressed, the Morgans published fewer and fewer of Wilson’s songs, and none of them were hits. But the Morgans and Wilson stayed in touch, and around 1958 he heard from them about an opportunity for one of those talented kids. Dorinda Morgan had written a song called “Chapel of Love” — not the same song as the famous one by the Dixie Cups — and Art Laboe had decided that that song would be perfect as the first record for his new label, Original Sound. Laboe was putting together a new group to sing it, called the Hitmakers, which was based around Val Poliuto. Poliuto had been the tenor singer of an integrated vocal group — two Black members, one white, and one Hispanic — which had gone by the names The Shadows and The Miracles before dismissing both names as being unlikely to lead to any success and taking the name The Jaguars at the suggestion of, of all people, Stan Freberg, the comedian and voice actor. The Jaguars had never had much commercial success, but they’d recorded a version of “The Way You Look Tonight” which became a classic when Laboe included it on the massively successful “Oldies But Goodies”, the first doo-wop nostalgia album: [Excerpt: The Jaguars, “The Way You Look Tonight”] The Jaguars continued for many years, and at one point had Richard Berry guest as an extra vocalist on some of their tracks, but as with so many of the LA vocal groups we’ve looked at from the fifties, they all had their fingers in multiple pies, and so Poliuto was to be in this new group, along with Bobby Adams of the Calvanes, who had been taught to sing R&B by Cornell Gunter and who had recorded for Dootsie Williams: [Excerpt: The Calvanes, “Crazy Over You”] Those two were to be joined by two other singers, who nobody involved can remember much about except that their first names were Don and Duke, but Art Laboe also wanted a new young singer to sing the lead, and was auditioning singers. Murry Wilson suggested to the Morgans that his young son Brian might be suitable for the role, and he auditioned, but Laboe thought he was too young, and the role went to a singer called Rodney Goodens instead: [Excerpt: The Hitmakers, “Chapel of Love”] So the audition was a failure, but it was a first contact between Brian Wilson and the Morgans, and also introduced Brian to Val Poliuto, from whom he would learn a lot about music for the next few years. Brian was a very sensitive kid, the oldest of three brothers, and someone who seemed to have some difficulty dealing with other people — possibly because his father was abusive towards him and his brothers, leaving him frightened of many aspects of life. He did, though, share with his father a love of music, and he had a remarkable ear — singular, as he’s deaf in one ear. He had perfect pitch, a great recollection for melodies — play him something once and it would stay in his brain — and from a very young age he gravitated towards sweet-sounding music. He particularly loved Glenn Miller’s version of “Rhapsody in Blue” as a child: [Excerpt: The Glenn Miller Orchestra, “Rhapsody in Blue”] But his big musical love was a modern harmony group called the Four Freshmen — a group made up of two brothers, their cousin, and a college friend. Modern harmony is an outdated term, but it basically meant that they were singing chords that went beyond the normal simple triads of most pop music. While there were four, obviously, of the Four Freshmen, they often achieved an effect that would normally be five-part harmony, by having the group members sing all the parts of the chord *except* the root note — they’d leave the root note to a bass instrument. So while Brian was listening to four singers, he was learning five-part harmonies. The group would also sing their harmonies in unusual inversions — they’d take one of the notes from the middle of the chord and sing it an octave lower. There was another trick that the Four Freshmen used — they varied their vocals from equal temperament.  To explain this a little bit — musical notes are based on frequencies, and the ratio between them matters. If you double the frequency of a note, you get the same note an octave up — so if you take an A at 440hz, and double the frequency to 880, you get another A, an octave up. If you go down to 220hz, you get the A an octave below. You get all the different notes by multiplying or dividing a note, so A# is A multiplied by a tiny bit more than one, and A flat is A multiplied by a tiny bit less than one. But in the middle ages, this hit a snag — A#. which is A multiplied by one and a bit, is very very slightly different from B flat, which is B multiplied by 0.9 something. And if you double those, so you go to the A# and B flat the next octave up, the difference between A# and B flat gets bigger. And this means that if you play a melody in the key of C, but then decide you want to play it in the key of B flat, you need to retune your instrument — or have instruments with separate notes for A# and B flat — or everything will sound out of tune. It’s very very hard to retune some instruments, especially ones like the piano, and also sometimes you want to play in different keys in the same piece. If you’re playing a song in C, but it goes into C# in the last chorus to give it a bit of extra momentum, you lose that extra momentum if you stop the song to retune the piano. So a different system was invented, and popularised in the Baroque era, called “equal temperament”. In that system, every note is very very slightly out of tune, but those tiny errors cancel out rather than multiply like they do in the old system. You’re sort of taking the average of A# and B flat, and calling them the same note. And to most people’s ears that sounds good enough, and it means you can have a piano without a thousand keys.  But the Four Freshmen didn’t stick to that — because you don’t need to retune your throat to hit different notes (unless you’re as bad a singer as me, anyway). They would sing B flat slightly differently than they would sing A#, and so they would get a purer vocal blend, with stronger harmonic overtones than singers who were singing the notes as placed on a piano: [Excerpt: the Four Freshmen, “It’s a Blue World”] Please note by the way that I’m taking the fact that they used those non-equal temperaments somewhat on trust — Ross Barbour of the group said they did in interviews, and he would know, but I have relatively poor pitch so if you listened to that and thought “Hang on, they’re all singing dead-on equal tempered concert pitch, what’s he talking about?”, then that’s on him. When Brian heard them singing, he instantly fell for them, and became a major, major fan of their work, especially their falsetto singer Bob Flanigan, whose voice he decided to emulate. He decided that he was going to learn how they got that sound. Every day when he got home from school, he would go to the family’s music room, where he had a piano and a record player. He would then play just a second or so of one of their records, and figure out on the piano what notes they were singing in that one second, and duplicating them himself. Then he would learn the next second of the song. He would spend hours every day on this, learning every vocal part, until he had the Four Freshmen’s entire repertoire burned into his brain, and could sing all four vocal parts to every song. Indeed, at one point when he was about sixteen — around the same time as the Art Laboe audition — Brian decided to go and visit the Four Freshmen’s manager, to find out how to form a successful vocal group of his own, and to find out more about the group themselves. After telling the manager that he could sing every part of every one of their songs, the manager challenged him with “The Day Isn’t Long Enough”, a song that they apparently had trouble with: [Excerpt: The Four Freshmen, “The Day Isn’t Long Enough”] And Brian demonstrated every harmony part perfectly. He had a couple of tape recorders at home, and he would experiment with overdubbing his own voice — recording on one tape recorder, playing it back and singing along while recording on the other. Doing this he could do his own imitations of the Four Freshmen, and even as a teenager he could sound spookily like them: [Excerpt: The Beach Boys [Brian Wilson solo recording released on a Beach Boys CD], “Happy Birthday Four Freshmen”] While Brian shared his love for this kind of sweet music with his father, he also liked the rock and roll music that was making its way onto the radio during his teen years — though again, he would gravitate towards the sweet vocal harmonies of the Everly Brothers rather than to more raucous music. He shared his love of the Everlys with his cousin Mike Love, whose tastes otherwise went more in the direction of R&B and doo-wop. Unlike Brian and his brothers, Mike attended Dorsey High School, a predominantly Black school, and his tastes were shaped by that — other graduates of the school include Billy Preston, Eric Dolphy, and Arthur Lee, to give some idea of the kind of atmosphere that Dorsey High had. He loved the Robins, and later the Coasters, and he’s been quoted as saying he “worshipped” Johnny Otis — as did every R&B lover in LA at the time. He would listen to Otis’ show on KFOX, and to Huggy Boy on KRKD. His favourite records were things like “Smokey Joe’s Cafe” by the Robins, which combined an R&B groove with witty lyrics: [Excerpt: The Robins, “Smokey Joe’s Cafe”] He also loved the music of Chuck Berry, a passion he shared with Brian’s youngest brother Carl, who also listened to Otis’ show and got Brian listening to it. While Mike was most attracted to Berry’s witty lyrics, Carl loved the guitar part — he’d loved string instruments since he was a tiny child, and he and a neighbour, David Marks, started taking guitar lessons from another neighbour, John Maus. Maus had been friends with Ritchie Valens, and had been a pallbearer at Valens’ funeral. John was recording at the time with his sister Judy, as the imaginatively-named duo “John & Judy”: [Excerpt: John & Judy, “Why This Feeling?”] John and Judy later took on a bass player called Scott Engel, and a few years after that John and Scott changed their surnames to Walker and became two thirds of The Walker Brothers. But at this time, John was still just a local guitar player, and teaching two enthusiastic kids to play guitar. Carl and David learned how to play Chuck Berry licks, and also started to learn some of the guitar instrumentals that were becoming popular at the time. At the same time, Mike would sing with Brian to pass the time, Mike singing in a bass voice while Brian took a high tenor lead. Other times, Brian would test his vocal arranging out by teaching Carl and his mother Audree vocal parts — Carl got so he could learn parts very quickly, so his big brother wouldn’t keep him around all day and he could go out and play. And sometimes their middle brother Dennis would join in — though he was more interested in going out and having fun at the beach than he was in making music. Brian was interested in nothing *but* making music — at least once he’d quit the school football team (American football, for those of you like me who parse the word to mean what it does in Britain), after he’d got hurt for the first time. But before he did that, he had managed to hurt someone else — a much smaller teammate named Alan Jardine, whose leg Brian broke in a game. Despite that, the two became friends, and would occasionally sing together — like Brian, Alan loved to sing harmonies, and they found that they had an extraordinarily good vocal blend. While Brian mostly sang with his brothers and his cousin, all of whom had a family vocal resemblance, Jardine could sound spookily similar to that family, and especially to Brian. Jardine’s voice was a little stronger and more resonant, Brian’s a little sweeter, with a fuller falsetto, but they had the kind of vocal similarity one normally only gets in family singers. However,  they didn’t start performing together properly, because they had different tastes in music — while Brian was most interested in the modern jazz harmonies of the Four Freshman, Jardine was a fan of the new folk revival groups, especially the Kingston Trio. Alan had a group called the Tikis when he was at high school, which would play Kingston Trio style material like “The Wreck of the John B”, a song that like much of the Kingston Trio’s material had been popularised by the Weavers, but which the Trio had recorded for their first album: [Excerpt: The Kingston Trio, “The Wreck of the John B”] Jardine was inspired by that to write his own song, “The Wreck of the Hesperus”, putting Longfellow’s poem to music. One of the other Tikis had a tape recorder, and they made a few stabs at recording it. They thought that they sounded pretty good, and they decided to go round to Brian Wilson’s house to see if he could help them — depending on who you ask, they either wanted him to join the band, or knew that his dad had some connection with the music business and wanted to pick his brains. When they turned up, Brian was actually out, but Audree Wilson basically had an open-door policy for local teenagers, and she told the boys about Hite and Dorinda Morgan. The Tikis took their tape to the Morgans, and the Morgans responded politely, saying that they did sound good — but they sounded like the Kingston Trio, and there were a million groups that sounded like the Kingston Trio. They needed to get an original sound. The Tikis broke up, as Alan went off to Michigan to college. But then a year later, he came back to Hawthorne and enrolled in the same community college that Brian was enrolled in. Meanwhile, the Morgans had got in touch with Gary Winfrey, Alan’s Tikis bandmate, and asked him if the Tikis would record a demo of one of Bruce Morgan’s songs. As the Tikis no longer existed, Alan and Gary formed a new group along the same lines, and invited Brian to be part of one of these sessions. That group, The Islanders made a couple of attempts at Morgan’s song, but nothing worked out. But this brought Brian back to the Morgans’ attention — at this point they’d not seen him in three years. Alan still wanted to record folk music with Brian, and at some point Brian suggested that they get his brother Carl and cousin Mike involved — and then Brian’s mother made him let his other brother Dennis join in.  The group went to see the Morgans, who once again told them that they needed some original material. Dennis piped up that the group had been fooling around with a song about surfing, and while the Morgans had never heard of the sport, they said it would be worth the group’s while finishing off the song and coming back to them. At this point, the idea of a song about surfing was something that was only in Dennis’ head, though he may have mentioned the idea to Mike at some point. Mike and the Wilsons went home and started working out the song, without Al being involved at this time — some of the rehearsal recordings we have seem to suggest that they thought Al was a little overbearing and thought of himself as a bit more professional than the others, and they didn’t want him in the group at first. While surf music was definitely already a thing, there were very few vocal surf records. Brian and Mike wrote the song together, with Mike writing most of the lyrics and coming up with his own bass vocal line, while Brian wrote the rest of the music: [Excerpt: The Beach Boys, “Surfin’ (Rehearsal)”] None of the group other than Dennis surfed — though Mike would later start surfing a little — and so Dennis provided Mike with some surfing terms that they could add into the song. This led to what would be the first of many, many arguments about songwriting credit among the group, as Dennis claimed that he should get some credit for his contribution, while Mike disagreed: [Excerpt: The Beach Boys, “Surfin’ (Rehearsal)”] The credit was eventually assigned to Brian Wilson and Mike Love. Eventually, they finished the song, and decided that they *would* get Al Jardine back into the group after all. When Murry and Audree Wilson went away for a long weekend and left their boys some money for emergencies, the group saw their chance. They took that money, along with some more they borrowed from Al’s mother, and rented some instruments — a drum kit and a stand-up bass. They had a party at the Wilsons’ house where they played their new song and a few others, in front of their friends, before going back to the Morgans with their new song completed. For their recording session, they used that stand-up bass, which Al played, along with Carl on an acoustic guitar, giving it that Kingston Trio sound that Al liked. Dennis was the group’s drummer, but he wasn’t yet very good and instead of drums the record has Brian thumping a dustbin lid as its percussion. As well as being the lead vocalist, Mike Love was meant to be the group’s saxophone player, but he never progressed more than honking out a couple of notes, and he doesn’t play on the session. The song they came up with was oddly structured — it had a nine-bar verse and a fourteen-bar chorus, the latter of which was based around a twelve-bar blues, but extended to allow the “surf, surf with me” hook. But other than the unusual bar counts it followed the structure that the group would set up most of their early singles. The song seems at least in part to have been inspired by the song “Bermuda Shorts” by the Delroys, which is a song the group have often cited and would play in their earliest live shows: [Excerpt: The Delroys, “Bermuda Shorts”] They messed around with the structure in various ways in rehearsal, and those can be heard on the rehearsal recordings, but by the time they came into the studio they’d settled on starting with a brief statement of the chorus hook: [Excerpt: The Beach Boys, “Surfin'”] It then goes into a verse with Mike singing a tenor lead, with the rest of the group doing block harmonies and then joining him on the last line of the verse: [Excerpt: The Beach Boys, “Surfin'”] And then we have Mike switching down into the bass register to sing wordless doo-wop bass during the blues-based chorus, while the rest of the group again sing in block harmony: [Excerpt: The Beach Boys, “Surfin'”] That formula would be the one that the Beach Boys would stick with for several singles to follow — the major change that would be made would be that Brian would soon start singing an independent falsetto line over the top of the choruses, rather than being in the block harmonies.  The single was licensed to Candix Records, along with a B-side written by Bruce Morgan, and it became a minor hit record, reaching number seventy-five on the national charts. But what surprised the group about the record was the name on it. They’d been calling themselves the Pendletones, because there was a brand of thick woollen shirt called Pendletons which was popular among surfers, and which the group wore.  It might also have been intended as a pun on Dick Dale’s Deltones, the preeminent surf music group of the time. But Hite Morgan had thought the name didn’t work, and they needed something that was more descriptive of the music they were doing. He’d suggested The Surfers, but Russ Regan, a record promoter, had told him there was already a group called the Surfers, and suggested another name. So the first time the Wilsons realised they were now in the Beach Boys was when they saw the record label for the first time. The group started working on follow-ups — and as they were now performing live shows to promote their records, they switched to using electric guitars when they went into the studio to record some demos in February 1962. By now, Al was playing rhythm guitar, while Brian took over on bass, now playing a bass guitar rather than the double bass Al had played. For that session, as Dennis was still not that great a drummer, Brian decided to bring in a session player, and Dennis stormed out of the studio. However, the session player was apparently flashy and overplayed, and got paid off. Brian persuaded Dennis to come back and take over on drums again, and the session resumed. Val Poliuto was also at the session, in case they needed some keyboards, but he’s not audible on any of the tracks they recorded, at least to my ears. The most likely song for a follow-up was another one by Brian and Mike. This one was very much a rewrite of “Surfin'”, but this time the verses were a more normal eight bars, and the choruses were a compromise between the standard twelve-bar blues and “Surfin'”s fourteen, landing on an unusual thirteen bars. With the electric guitars the group decided to bring in a Chuck Berry influence, and you can hear a certain similarity to songs like “Brown-Eyed Handsome Man” in the rhythm and phrasing: [Excerpt: The Beach Boys, “Surfin’ Safari [early version]”] Around this time, Brian also wrote another song — the song he generally describes as being the first song he ever wrote. Presumably, given that he’d already co-written “Surfin'”, he means that it was the first song he wrote on his own, words and music. The song was inspired, melodically, by the song “When You Wish Upon A Star” from the Disney film Pinocchio: [Excerpt: Cliff Edwards “When You Wish Upon a Star”] The song came to Brian in the car, and he challenged himself to write the whole thing in his head without going to the piano until he’d finished it. The result was a doo-wop ballad with Four Freshmen-like block harmonies, with lyrics inspired by Brian’s then girlfriend Judy Bowles, which they recorded at the same session as that version of “Surfin’ Safari”: [Excerpt: The Beach Boys, “Surfer Girl [early version]”] At the same session, they also recorded two more songs — a song by Brian called Judy, and a surf instrumental written by Carl called “Karate”. However, shortly after that session, Al left the group. As the group had started playing electric instruments, they’d also started performing songs that were more suitable for those instruments, like “What’d I Say” and “The Twist”. Al wasn’t a fan of that kind of music, and he wanted to be singing “Tom Dooley” and “Wreck of the John B”, not “Come on baby, let’s do the Twist”. He was also quite keen on completing his university studies — he was planning on becoming a dentist — and didn’t want to spend time playing tons of small gigs when he could be working towards his degree. This was especially the case since Murry Wilson, who had by this point installed himself as the group’s manager, was booking them on all sorts of cheap dates to get them exposure. As far as Al could see, being a Beach Boy was never going to make anyone any real money, and it wasn’t worth disrupting his studies to keep playing music that he didn’t even particularly like. His place was taken by David Marks, Carl’s young friend who lived nearby. Marks was only thirteen when he joined, and apparently it caused raised eyebrows among some of the other musicians who knew the group, because he was so much younger and less experienced than the rest. Unlike Al, he was never much of a singer — he can hold a tune, and has a pleasant enough voice, but he wasn’t the exceptional harmony singer that Al was — but he was a competent rhythm player, and he and Carl had been jamming together since they’d both got guitars, and knew each other’s playing style. However, while Al was gone from the group, he wasn’t totally out of the picture, and he remained close enough that he was a part of the first ever Beach Boys spin-off side project a couple of months later. Dorinda Morgan had written a song inspired by the new children’s doll, Barbie, that had come out a couple of years before and which, like the Beach Boys, was from Hawthorne. She wanted to put together a studio group to record it, under the name Kenny and the Cadets, and Brian rounded up Carl, Al, Val Poliuto, and his mother Audree, to sing on the record for Mrs Morgan: [Excerpt: Kenny and the Cadets, “Barbie”] But after that, Al Jardine was out of the group for the moment — though he would be back sooner than anyone expected. Shortly after Al left, the new lineup went into a different studio, Western Studios, to record a new demo. Ostensibly produced by Murry Wilson, the session was actually produced by Brian and his new friend Gary Usher, who took charge in the studio and spent most of his time trying to stop Murry interfering. Gary Usher is someone about whom several books have been written, and who would have a huge influence on West Coast music in the sixties. But at this point he was an aspiring singer, songwriter, and record producer, who had been making records for a few months longer than Brian and was therefore a veteran. He’d put out his first single, “Driven Insane”, in March 1961: [Excerpt: Gary Usher, “Driven Insane”] Usher was still far from a success, but he was very good at networking, and had all sorts of minor connections within the music business. As one example, his girlfriend, Sandra Glanz, who performed under the name Ginger Blake, had just written “You Are My Answer” for Carol Connors, who had been the lead singer of the Teddy Bears but was now going solo: [Excerpt: Carol Connors, “You Are My Answer”] Connors, too, would soon become important in vocal surf music, while Ginger would play a significant part in Brian’s life. Brian had started writing songs with Gary, and they were in the studio to record some demos by Gary, and some demos by the Beach Boys of songs that Brian and Gary had written together, along with a new version of “Surfin’ Safari”. Of the two Wilson/Usher songs recorded in the session, one was a slow doo-wop styled ballad called “The Lonely Sea”, which would later become an album track, but the song that they were most interested in recording was one called “409”, which had been inspired by a new, larger, engine that Chevrolet had introduced for top-of-the-line vehicles. Musically, “409” was another song that followed the “Surfin’ Safari” formula, but it was regularised even more, lopping off the extra bar from “Surfin’ Safari”‘s chorus, and making the verses as well as the choruses into twelve-bar blues. But it still started with the hook, still had Mike sing his tenor lead in the verses, and still had him move to sing a boogie-ish bassline in the chorus while the rest of the group chanted in block harmonies over the top. But it introduced a new lyrical theme to the group — now, as well as singing about surfing and the beach, they could also sing about cars and car racing — Love credits this as being one of the main reasons for the group’s success in landlocked areas, because while there were many places in the US where you couldn’t surf, there was nowhere where people didn’t have cars. It’s also the earliest Beach Boys song over which there is an ongoing question of credit. For the first thirty years of the song’s existence, it was credited solely to Wilson and Usher, but in the early nineties Love won a share of the songwriting credit in a lawsuit in which he won credit on many, many songs he’d not been credited for. Love claims that he came up with the “She’s real fine, my 409” hook, and the “giddy up” bass vocal he sang. Usher always claimed that Love had nothing to do with the song, and that Love was always trying to take credit for things he didn’t do. It’s difficult to tell who was telling the truth, because both obviously had a financial stake in the credit (though Usher was dead by the time of the lawsuit). Usher was always very dismissive of all of the Beach Boys with the exception of Brian, and wouldn’t credit them for making any real contributions, Love’s name was definitely missed off the credits of a large number of songs to which he did make substantial contributions, including some where he wrote the whole lyric, and the bits of the song Love claims *do* sound like the kind of thing he contributed to other songs which have no credit disputes. On the other hand, Love also overreached in his claims of credit in that lawsuit, claiming to have co-written songs that were written when he wasn’t even in the same country as the writers. Where you stand on the question of whether Love deserves that credit usually depends on your views of Wilson, Love and Usher as people, and it’s not a question I’m going to get into, but I thought I should acknowledge that the question is there. While “409” was still following the same pattern as the other songs, it’s head and shoulders ahead of the Hite Morgan productions both in terms of performance and in terms of the sound. A great deal of that clearly owes to Usher, who was experimenting with things like sound effects, and so “409” starts with a recording that Brian and Usher made of Usher’s car driving up and down the street: [Excerpt: The Beach Boys, “409”] Meanwhile the new version of “Surfin’ Safari” was vastly superior to the recording from a couple of months earlier, with changed lyrics and a tighter performance: [Excerpt: The Beach Boys, “Surfin’ Safari (second version)”] So at the end of the session, the group had a tape of three new songs, and Murry WIlson wanted them to take it somewhere better than Candix Records. He had a contact somewhere much better — at Capitol Records. He was going to phone Ken Nelson. Or at least, Murry *thought* he had a contact at Capitol. He phoned Ken Nelson and told him “Years ago, you did me a favour, and now I’m doing one for you. My sons have formed a group and you have the chance to sign them!” Now, setting aside the question of whether that would actually count as Murry doing Nelson a favour, there was another problem with this — Nelson had absolutely no idea who Murry Wilson was, and no recollection of ever doing him a favour. It turned out that the favour he’d done, in Murry’s eyes, was recording one of Murry’s songs — except that there’s no record of Nelson ever having been involved in a recording of a Murry Wilson song. By this time, Capitol had three A&R people, in charge of different areas. There was Voyle Gilmore, who recorded soft pop — people like Nat “King” Cole. There was Nelson, who as we’ve seen in past episodes had some rockabilly experience but was mostly country — he’d produced Gene Vincent and Wanda Jackson, but he was mostly working at this point with people like Buck Owens and the Louvin Brothers, producing some of the best country music ever recorded, but not really doing the kind of thing that the Beach Boys were doing. But the third, and youngest, A&R man was doing precisely the kind of thing the Beach Boys did. That was Nik Venet, who we met back in the episode on “LSD-25”, and who was one of the people who had been involved with the very first surf music recordings. Nelson suggested that Murry go and see Venet, and Venet was immediately impressed with the tape Murry played him — so impressed that he decided to offer the group a contract, and to release “Surfin’ Safari” backed with “409”, buying the masters from Murry rather than rerecording them. Venet also tried to get the publishing rights for the songs for Beechwood Music, a publishing company owned by Capitol’s parent company EMI (and known in the UK as Ardmore & Beechwood) but Gary Usher, who knew a bit about the business, said that he and Brian were going to set up their own publishing companies — a decision which Murry Wilson screamed at him for, but which made millions of dollars for Brian over the next few years. The single came out, and was a big hit, making number fourteen on the hot one hundred, and “409” as the B-side also scraped the lower reaches of the charts. Venet soon got the group into the studio to record an album to go with the single, with Usher adding extra backing vocals to fill out the harmonies in the absence of Al Jardine. While the Beach Boys were a self-contained group, Venet seems to have brought in his old friend Derry Weaver to add extra guitar, notably on Weaver’s song “Moon Dawg”: [Excerpt: The Beach Boys, “Moon Dawg”] It’s perhaps unsurprising that the Beach Boys recorded that, because not only was it written by Venet’s friend, but Venet owned the publishing on the song. The group also recorded “Summertime Blues”, which was co-written by Jerry Capehart, a friend of Venet and Weaver’s who also may have appeared on the album in some capacity. Both those songs fit the group, but their choice was clearly influenced by factors other than the purely musical, and very soon Brian Wilson would get sick of having his music interfered with by Venet.  The album came out on October 1, and a few days later the single was released in the UK, several months after its release in the US. And on the same day, a British group who *had* signed to have their single published by Ardmore & Beechwood put out their own single on another EMI label. And we’re going to look at that in the next episode…

December 15, 1900The Flannan Isle Lighthouse was visited by members the ship “The Hesperus” on December 15th, 1900. Normally, this visit would have been a routine stop to ensure the lighthouse was in operational conditional, however today something eerie would take its stead.On arrival, the crew and relief keeper found that the flagstaff had no flag, all of the usual provision boxes had been left on the landing stage for re-stocking, and more ominously, none of the lighthouse keepers were there to welcome them ashore. Furthermore, food had been prepared, bad weather gear such as rain jackets were left unused, and all the clocks had ceased to function.The weather forecasts for the previously recorded days showed nothing but clear skies however in the keepers log just three days prior an interesting entry had been add “severe winds the likes of which I have never seen before in twenty years.”. Without any further evidence the question remains….What happened to the lighthouse keepers?Check out our socials for more updates!Twitter @MMMacabrePodInstagram: @mondaymorningmacabreFacebook @mondaymorningmacabreWebsite mondaymorningmacabre.comMusic by Kevin MacLeod ~ Moonlight Hall

Living on the Great Lakes, there are many preserves of shipwrecks and home to many very famous wrecks. Probably the most famous shipwreck on the Great Lakes is the wreck of the Edmund Fitzgerald. Well, in today's episode, we read the pom “The Wreck of the Hesperus” written by Henry Wadsworth Longfellow. I don't know very much about his poem but I came across this poem while reading my current book.   Website: http://www.thefightingmoose.com/   iTunes: https://itunes.apple.com/us/podcast/the-fighting-moose/id1324413606?mt=2/   Story (PDF): http://ww.thefightingmoose.com/episode140.pdf   Reading List: http://www.thefightingmoose.com/readinglist.pdf   YouTube: https://youtu.be/t5y1fe_mpMA/   Books: “The Wreck of the Hesperus” http://www.gutenberg.org/ebooks/13830   Music/Audio: Artist – Analog by Nature http://dig.ccmixter.org/people/cdk   National Aeronautics and Space Administration (NASA): http://www.nasa.gov   Songs Used: cdk - Sunday by Analog By Nature (c) copyright 2016 Licensed under a Creative Commons Attribution (3.0) license. http://dig.ccmixter.org/files/cdk/53755  

Please enjoy Gemma, from Ms. Couling's 6th grade class, performing "The Wreck of the Hesperus" by Henry Wadsworth Longfellow. 

Phaeton war schon weg, als er so was ähnliches wie entdeckt wurde. Im 19. Jahrhundert dachte man, zwischen Mars und Jupiter die Trümmer eines zerstörten Planeten gefunden zu haben. Was da tatsächlich passiert ist erfahrt ihr in der neuen Folge des Sternengeschichten-Podcast.

More great books at LoyalBooks.com

More great books at LoyalBooks.com

Early in the second century a pagan named Catallus bought Hesperus, his wife Zoë, and their sons Cyriac and Theodulus as slaves. All of them were Christians, and would not eat anything that had been sacrificed to idols — they would throw all such food to the dogs and go hungry themselves. When Catallus learned of this, he was enraged and began to torture them cruelly, beginning with the children. When none of them could be moved from his confession of Christ, the entire family was cast into a hot furnace, where they gave up their souls to God. Their bodies remained unburnt.

Lucid dreaming, Hypnagogia, Astral Travel, Sleep Temples, Dream diary... all terms related to sleep and dream which play an important role in the World of the Western Esoteric Tradition. And our guest in today's interview, Sarah Janes, knows all about them.   Sarah Janes is an independent researcher exploring ancient ideas about dreaming, sleep medicine and dream incubation. An enthusiastic lucid dreamer since childhood, Sarah hosts regular workshops, gives talks on the subject and is also creating a dream initiation inspired VR experience with Carl H. Smith and others of Ravensbourne University, London. Sarah believes dreaming to be a forgotten superpower of remembrance and healing and her muse is the goddess Mnemosyne, Greek Titaness and personification of memory, often the last deity to be invoked during dream healing rituals in the sleep temples of ancient Greece. Enjoy a fascinating talk with Sarah!   Sarah Janes' Official Website ​ Music played in this episode 1) APOPHIS - by Mageia Mageia is a young musician from Salzburg, Austria. She is about to release her first album, and "Apophis" is a single release from that album, which came out on March 3rd. The song is telling a story of the eternal cycle of light and darkness, of life and death - even of all things that are in extreme opposition to each other. Sometimes you fight to rise again from darkness, and sometimes you triumph before you fall again. Inspired by ancient mystical stories and metaphors, this song gives the listener the opportunity to interpret himself. Find her music here 2) DREAM SIMULATION, by Ave Air from the Album "Sameness of Phosphorus and Hesperus" 3) ASCLEPIUS - by Paranoia Department from the Album "Metaphysical Hinterland N°1"     Intro and Outro Music especially written and recorded for the Thoth-Hermes Podcast by Chris Roberts

Early in the second century a pagan named Catallus bought Hesperus, his wife Zoë, and their sons Cyriac and Theodulus as slaves. All of them were Christians, and would not eat anything that had been sacrificed to idols — they would throw all such food to the dogs and go hungry themselves. When Catallus learned of this, he was enraged and began to torture them cruelly, beginning with the children. When none of them could be moved from his confession of Christ, the entire family was cast into a hot furnace, where they gave up their souls to God. Their bodies remained unburnt.

In former years, folklore wisdom grew out of people’s everyday experiences. Some of these were kernelized into phrases that have passed the test of time. Dr. Scoresby talks about how these two phrases can be used today and the effective forms of communication and teaching they represent.

1. Mario Lavista’s Tríptico: https://open.spotify.com/playlist/0SWvbyf07KDxH6lU2x3s7I2. Ryuichi Sakamoto’s Bibo No Aozora: https://open.spotify.com/track/6E5d2cVvbKIWyH3OjcQREi3. Holly Herndon’s Extreme Love: https://open.spotify.com/track/1wWDO0LDjrRIYSuyxU9ZxLYou can listen to these before or after the episode, or you can pause our podcast and go listen to each piece as we introduce them. Panelists:Willie Santiago is a Baltimore-based flutist, educator, and arts administrator. He currently serves as the concert coordinator for the Department of Music at the University of Maryland Baltimore County where he oversees the logistics of the department’s concert series. He has made appearances with the chamber orchestra Symphony Number One and actively performs in pit orchestras for various musicals and productions in the Baltimore-DC area. Willie is also is the co-founder of Stranded Silver, a flute quartet based on the East Coast, and maintains an active schedule performing with them at conventions, schools, and featured concerts. He brought Mario Lavista’s Tríptico. williesantiago.weebly.comBaltimore native Amelia Stinnette is the elusive multi-genre producer SoProper (@soprpr) She continues to share her passion for art and music with her peers at Maryland Institute College of Art and Peabody Institute through small projects in the community. Amelia brought Ryuichi Sakamoto’s Bibo no Aozora. instagram.com/soprprNiccolo Seligmann unites strings of gut with lines of code. He performs on over twenty historical and traditional instruments from around the world, and designs his own software instruments. As a 2020 Strathmore Artist in Residence, he is releasing his solo album, Kinship, on February 26, 2020. Tickets for his Strathmore performances here. Kinship uses viola da gamba improvisation to express multispecies resistance to extractive capitalism. Preorder the album here. You can also hear him perform on viola da gamba, medieval fiddle, and more on the soundtracks of the PC game Civilization VI and the 2017 feature film Papillon. Niccolo is a member of ensembles Alkemie, The Broken Consort, Hesperus, Wherligig, and others. He brought Holly Herndon’s “Extreme Love.” niccoloseligmann.comMore information at pauseandlisten.com. Pause and Listen was created by host John T.K. Scherch and co-creator/marketing manager Michele Mengel Scherch.

Early in the second century a pagan named Catallus bought Hesperus, his wife Zoë, and their sons Cyriac and Theodulus as slaves. All of them were Christians, and would not eat anything that had been sacrificed to idols — they would throw all such food to the dogs and go hungry themselves. When Catallus learned of this, he was enraged and began to torture them cruelly, beginning with the children. When none of them could be moved from his confession of Christ, the entire family was cast into a hot furnace, where they gave up their souls to God. Their bodies remained unburnt.

Today's Bible reading for January 12 is Genesis 13, Nehemiah 2, Matthew 12 and Acts 12. Our focus passage will be Matthew 12, and we are asking a big Bible question today: What is the Blasphemy of the Spirit, the unforgivable sin? SHOUT OUT TO THE PEOPLE WHO HAVE COMMENTED AND LEFT REVIEWS!!! On Apple Podcasts: Monte O, Kerri P, Cortney and Angel. And also people who have commented on the blog that they were listening: Angie from Knoxville, Og from Salinas, Cortney J. from Birmingham and Ms. Judy Bloom from parts unknown. THANK YOU! So - let's read our first chapter, and then get into our discussion. What is the Unforgivable sin??  It's a terrifying reality: Jesus warned His disciples and the Pharisees that there was a sin that could be committed that was unpardonable – unforgivable for all eternity. People have speculated and worried about this teaching of Jesus for hundreds of years. What precisely is the unpardonable sin? How can we know whether or not we've done it? Let's dive in! The Didache First century – RIGHT after the NT: Now concerning the apostles and prophets, deal with them as follows in accordance with the rule of the gospel. (4) Let every apostle who comes to you be welcomed as if he were the Lord. (5) But he is not to stay for more than one day, unless there is need, in which case he may stay another. But if he stays three days, he is a false prophet. (6) And when the apostle leaves, he is to take nothing except bread until he finds his next night's lodging. But if he asks for money, he is a false prophet. (7) Also, do not test or evaluate any prophet who speaks in the spirit, for every sin will be forgiven, but this sin will not be forgiven.35 Michael William Holmes, The Apostolic Fathers: Greek Texts and English Translations, Updated ed. (Grand Rapids, MI: Baker Books, 1999), 263–265. ANDREAS Andreas of Caesarea (Greek: Ἀνδρέας Καισαρείας; 563 – 637) : It is the sin of heresy, or of blasphemy against the Holy Spirit, which leads to death. If one man sins against another, pray for him. But if he sins against God, who is there who can pray on his behalf? And if even after all this, our opponents are still unwilling to learn and still unable to understand, they should at least stop speaking evil. They should not divide the Trinity lest they be divided from life.82 They should not classify the Holy Spirit with the creatures, lest, like the Pharisees of old who ascribed the works of the Spirit to Beelzebul,83 they too, on account of equal audacity, incur along with them the punishment which is unpardonable both now and in the future. Athanasius Works on the Spirit: Athanasius's Letters to Serapion on the Holy Spirit,  Grave-robbing, or the opening of graves, is divided into two kinds too, like theft, according to the present Canon, to wit, into pardonable and into unpardonable grave-robbing. For if the fellow opening the grave does not denude the dead person's body, thus refraining from dishonoring (for that is what is meant by the expression “sparing devoutness”) the dead, but only takes the stones found in the grave, in order to use them in the building of any other work that is preferable and more beneficial to the community, though this too is by no means anything to be praised, yet custom has made it pardonable.2 St. Nicodemus of the Holy Mountain – 1700s, Greek Orthodox church.  Swearing is a dreadful and harmful thing; it is a destructive drug, a bane and a danger, a hidden wound, a sore unseen, an obscure ulcer spreading its poison in the soul; it is an arrow of Satan, a flaming javelin, a two-edged sword, a sharp-honed scimitar, an unpardonable sin, an indefensible transgression, a deep gulf, a precipitous crag, a strong trap, a taut-stretched net, a fetter that cannot be broken, a noose from which no one escapes. 19. Are these enough, and do you believe that swearing is a dreadful thing and the most harmful of all sins? Believe me, I beg you, believe me! But if someone does not believe me, I now offer proof. This sin has what no other sin possesses. If we do not violate the other commandments, we escape punishment; on the other hand, in the matter of oaths, we are punished just the same both when we guard against transgressing and when we transgress. St. John Chrysostom, 300s AD St. John Chrysostom: Baptismal Instructions,  Hilary of Poitiers actually points us in a more biblical direction, in discussing the unpardonable sin: Every sin and blasphemy will be forgiven to men, but blasphemy of the Spirit will not be forgiven.67 With a very grave qualification, he condemns the view of the Pharisees and the perversion of those who also think like them. He promises pardon of all sins but refuses pardon for blasphemy of the Spirit. While other words and deeds are treated with a generous pardon, there is no mercy if it is denied that God is in Christ. 68 And in whatever way one sins without pardon, he is gracious to us and reminds us again that sins of every kind can be completely forgiven, though blasphemy against the Holy Spirit cannot be forgiven. For who is so completely beyond pardon as one who denies that Christ is of God, or repudiates that the substance of the Spirit of the Father resides in him Hilary of Poitiers, Commentary on Matthew, ed.  Spurgeon – Nobody knows what that sin is. I believe that even God's Word does not tell us, and it is very proper that it does not. As I have often said, it is like the notice we sometimes see put up, “Man-traps and spring gun set here.” We do not know whereabouts the traps and guns are, but we have no business over the hedge at all. So, “there is a sin unto death;” we are not told what that sin is, but we have no business to go over the hedge into any transgression at all. That “sin unto death” may be different in different people; but, whoever commits it, from that very moment, loses all spiritual desires. He has no wish to be saved, no care to repent, no longing after Christ; so dreadful is the spiritual death that comes over the man who has committed it that he never craves eternal life. C. H. Spurgeon, Pictures from Pilgrim's Progress: A Commentary on Portions of John Bunyan's Immortal Allegory (Bellingham, WA: Logos Bible Software, 2009), 73–74. Billy Graham:   The sin of the religious leaders, blasphemy against the Holy Spirit, was a refusal to accept the witness of the Holy Spirit to who Jesus was and what He had come to do, and then submit their lives to Him… Once again, the unpardonable sin is not some particularly grievous sin committed by a Christian before or after accepting Christ, nor is it thinking or saying something terrible about the Holy Spirit. Rather, it is deliberately resisting the Holy Spirit's witness and invitation to turn to Jesus until death ends all opportunity. Billy Graham is echoing the Augustinian (300s AD) view: Now the man who, not believing that sins are remitted in the Church, despises this great gift of God's mercy, and persists to the last day of his life in his obstinacy of heart, is guilty of the unpardonable sin against the Holy Ghost, in whom Christ forgives sins. Augustine of Hippo, “The Enchiridion,” in St. Augustin: On the Holy Trinity, Doctrinal Treatises, Moral Treatises, ed.  Augustine was reflecting the Origen view (early 300s): The Spirit dwells in those who live by faith. But those who once having been counted worthy to share in the Holy Spirit and then having finally and decisively turned their backs from grace are by this act said to have blasphemed against the Holy Spirit (ORIGEN  Who, then, is not amazed at the exceeding majesty of the Holy Spirit when he hears that he who speaks a word against the Son of man may hope for forgiveness, but that he who is guilty of blasphemy against the Holy Spirit has no forgiveness—either in the present world or in that which is to come. Origen What then is it? The unforgivable sin of blasphemy against the Holy Spirit is an act of resistance which belittles the Holy Spirit so grievously that he withdraws forever with his convicting power so that we are never able to repent and be forgiven. – John Piper.  Lee ann penick MODERN: There is only one “unpardonable sin” that can separate us from God for eternity. It is the ongoing, willful refusal to accept Christ as Lord and Savior and the forgiveness He offers. Jacob Arminius defined it as “the rejection and refusing of Jesus Christ through determined malice and hatred against Christ”. Nancy Hardesty  “Ultimately the refusal to allow women to fully use their gifts in the church and in the world is a form of blasphemy against the Holy Spirit.”   Pope John Paul II writes “‘blasphemy' does not properly consist in offending against the Holy Spirit in words; it consists rather in the refusal to accept the salvation which God offers to man through the Holy Spirit, working through the power of the Cross”, and “If Jesus says that blasphemy against the Holy Spirit cannot be forgiven either in this life or in the next, it is because this “non-forgiveness” is linked, as to its cause, to “non-repentance,” in other words to the radical refusal to be converted. This means the refusal to come to the sources of Redemption, which nevertheless remain “always” open in the economy of salvation in which the mission of the Holy Spirit is accomplished. SO – What is The unforgivable sin?? – is it, as Origen, Augustine, Billy Graham, Pope John Paul 2 Lee Ann Penick suggest – the rejection of the Holy Spirit/not becoming a follower of Jesus?? Is it, as John Chrysostom claimed, swearing oaths?  Is it the robbing of graves in a thieving manner? Is it not letting women use their spiritual gifts in the church? Is it Heresy? Is it, as Athanasius and many other church fathers declared, being wrong on the Trinity and calling the Holy Spirit a created being, rather than God Himself?  Is it testing prophetic utterances of prophets?? (NO! – 1 Thessalonians 5:19-21 Don't stifle the Spirit. 20 Don't despise prophecies, 21 but test all things. Hold on to what is good.) Confused? You should be!! People talk about this issue all of the time, but it doesn't appear that all of them get their views from the Bible, so let's begin there in seeking our answer.  Matthew 12:24 24 When the Pharisees heard this, they said, “The man drives out demons only by Beelzebul, the ruler of the demons.” 25 Knowing their thoughts, He told them: “Every kingdom divided against itself is headed for destruction, and no city or house divided against itself will stand. 26 If Satan drives out Satan, he is divided against himself. How then will his kingdom stand? 27 And if I drive out demons by Beelzebul, who is it your sons drive them out by? For this reason they will be your judges. 28 If I drive out demons by the Spirit of God, then the kingdom of God has come to you. 29 How can someone enter a strong man's house and steal his possessions unless he first ties up the strong man? Then he can rob his house. 30 Anyone who is not with Me is against Me, and anyone who does not gather with Me scatters.31 Because of this, I tell you, people will be forgiven every sin and blasphemy, but the blasphemy against the Spirit will not be forgiven.32 Whoever speaks a word against the Son of Man, it will be forgiven him. But whoever speaks against the Holy Spirit, it will not be forgiven him, either in this age or in the one to come. Mark 3: 22 The scribes who had come down from Jerusalem said, “He has Beelzebul in Him!” and, “He drives out demons by the ruler of the demons!” 23 So He summoned them and spoke to them in parables: “How can Satan drive out Satan? 24 If a kingdom is divided against itself, that kingdom cannot stand. 25 If a house is divided against itself, that house cannot stand. 26 And if Satan rebels against himself and is divided, he cannot stand but is finished! 27 “On the other hand, no one can enter a strong man's house and rob his possessions unless he first ties up the strong man. Then he will rob his house. 28 I assure you: People will be forgiven for all sins and whatever blasphemies they may blaspheme. 29 But whoever blasphemes against the Holy Spirit never has forgiveness, but is guilty of an eternal sin”— 30 because they were saying, “He has an unclean spirit.” Luke 12: 8 “And I say to you, anyone who acknowledges Me before men, the Son of Man will also acknowledge him before the angels of God, 9 but whoever denies Me before men will be denied before the angels of God.10 Anyone who speaks a word against the Son of Man will be forgiven,but the one who blasphemes against the Holy Spirit will not be forgiven. So, I see two major ways we need to answer this question. Contextually and grammatically.  What does the CONTEXT of the usage of ‘unpardonable sin' tell us, and what does the grammar/word meanings tell us?   We find a massively important clue in Mark 3:30, where Mark tells us precisely WHY Jesus warned the Pharisees and Scribes about this sin. “Because they were saying, He has an unclean spirit.”   The exact same situation is described in Matthew 12:31 “31 Because of this, I tell you, people will be forgiven every sin and blasphemy, but the blasphemy against the Spirit will not be forgiven”  The scribes and pharisees are accusing Jesus of doing miraculous things – specifically driving out demons – by the power of Beelzebul rather than by the power of God.  Therefore, we know at least this: Ascribing something like an exorcism that is factually done by the power of God and His Holy Spirit to Demonic influence is AT BEST dangerously close to Blaspheming the Holy Spirit, and could, in fact, be blaspheming the Holy Spirit. (Jesus does not make it crystal clear that the scribes and pharisees were actually committing this sin, or merely getting close to committing it. It would seem like the latter is the best option.)  Practically speaking, what does this mean?? It means we need to be extremely careful about stating confident opinions on spiritual matters that we don't have 100 percent clarity from Scripture on. Let me give a couple of examples:  Pushed over at Brownsville.  Charles Carrin praying for us at GVAG.  Flamboyant preachers on tv wadding up their coats and throwing them on people, who pass out. Blowing on people, who pass out. Etc.  Most of this is probably fraudulent, some of it horribly so. BUT – we should be incredibly careful about pronouncing opinions on what God's spirit would do, and wouldn't do.   For instance, there was a revival going on in the 90s that became very well known and reached a lot of people. I heard about some of the things going on at that revival that were disturbing, and sounded – quite frankly – ridiculous. So, I assumed that the movement wasn't of God, but was just flaky people doing flaky things – at best. HOWEVER…a few years later, I met the leader of the movement, and spent some time with him. He struck me as a genuine follower of God – a man who loved Jesus, and who was humble.  I still don't know what to think about that revival. God does, and I leave it to Him. It's outside of my realm of influence. According to Jesus – there is grave danger in ascribing the works of the Holy Spirit to Satan. You better be 100 percent sure you're right before doing such thing…and you'd better ask the question – HOW Do i Know FOR SURE that my opinion is right on this matter? If you can't answer that question with extreme clarity, then be careful saying what the Holy Spirit will or will not do, and be careful saying whether or not something is of Satan, or not. Contextually, that is at least a large part of what blaspheming the Holy Spirit is about.  What is blasphemy, exactly? More on that in a moment…. Side question – is Beelzebul = Satan?? It's a great question, and I have a fairly lame answer…'maybe.'  Beelzebub (“Lord of the flies”) and Beelzebul (“Lord of the skies/heavenly realms”) both refer to the same entity.  In the Testament of Solomon, 1st century, non-Scripture, pseudoepigraphic text.  Beelzebul (not Beelzebub) appears as prince of the demons and says (6.2) that he was formerly a leading heavenly angel who was (6.7) associated with the star Hesperus (which is the normal Greek name for the planet Venus (Αφροδíτη) as evening star). Seemingly, Beelzebul here is synonymous with Lucifer. the text describes how Solomon was enabled to build his temple by commanding demons by means of a magical ringthat was entrusted to him by the archangel Michael.  The Bible reference comes from 2 Kings 1: 1 After the death of Ahab, Moab rebelled against Israel. 2 Ahaziah had fallen through the latticed window of his upper room in Samaria and was injured. So he sent messengers instructing them: “Go inquire of Baal-zebub, the god of Ekron, if I will recover from this injury.” 3 But the angel of the Lord said to Elijah the Tishbite, “Go and meet the messengers of the king of Samaria and ask them, ‘Is it because there is no God in Israel that you are going to inquire of Baal-zebub, the god of Ekron?' 4 Therefore, this is what the Lord says: ‘You will not get up from your sickbed—you will certainly die.'” Then Elijah left.The name also appears in Luke 11, where we can see the clearest connection between Beelzebul and Satan: Luke 11:14 Now He was driving out a demon that was mute. When the demon came out, the man who had been mute, spoke, and the crowds were amazed. 15 But some of them said, “He drives out demons by Beelzebul,the ruler of the demons!” 16 And others, as a test, were demanding of Him a sign from heaven. 17 Knowing their thoughts, He told them: “Every kingdom divided against itself is headed for destruction, and a house divided against itself falls.18 If Satan also is divided against himself, how will his kingdom stand? For you say I drive out demons by Beelzebul. 19 And if I drive out demons by Beelzebul, who is it your sons drive them out by? For this reason they will be your judges. 20 If I drive out demons by the finger of God, then the kingdom of God has come to you. So, Jesus mentions Satan and Beelzebul in the same context, but not in a way that indicates that they are the same entities.  My best guess is that Beelzebul is a separate entity from Satan, but I confess that I do not know, and my guess is based on the fact that the Bible never clearly identifies the two as the same entity.  What exactly is Blasphemy?  Luke 12:10 points us in the right direction – anyone who ‘speaks a word against the son of man will be forgiven.' but the one who blasphemes the Holy Spirit will not be forgiven. Matthew 12:32 makes it even more clear: 32 Whoever speaks a word against the Son of Man, it will be forgiven him. But whoever speaks against the Holy Spirit, it will not be forgiven him, either in this age or in the one to come. Similarly: Isaiah 37:23 Isaiah 37:23 Who is it you have mocked and blasphemed? Who have you raised your voice against and lifted your eyes in pride? Against the Holy One of Israel! The Word itself, Greek Blasphemos, is a combo of two words. Blaptō, which means, ‘to HURT' and Pheemay, which means fame, report, or something like ‘reputation.' So, etymologically, the word  has a root meaning of injuring somebody's fame, or good name. The word can mean ‘defame' or ‘revile' and isn't always used of a deity. Paul speaks of being ‘defamed' or blasphemed by people for being an apostle. Paul commands the church in Titus 3:2 not to slander/Speak evil of (or BLASPHEME) any person, which is a command that Christians would do well to take far more seriously than we do.  2 Peter 2:10 and Jude vs 8 both warn against blaspheming angels, demons, and other spiritual beings.  So- blasphemy is speaking evil of someone. Hurting them with your words, harming their reputation. Thus, blaspheming the Holy Spirit is speaking evil of Him, reviling Him, defaming Him, seeking to harm His reputation. The Pharisees and Scribes were doing that – or coming dangerously close – when they said that it was Satan/Beelzebul empowering Jesus, when it was factually the Spirit of God Himself.  R.C. Sproul: Their statements were directed against Jesus. So, He said to them: “You can blaspheme Me and be forgiven, but when you question the work of the Spirit, you are coming perilously close to the unforgivable sin. You are right at the line. You are looking down into the abyss of hell. One more step and there will be no hope for you.” He was warning them to be very careful not to insult or mock the Spirit. Is it really unforgivable, and WHAT IF I HAVE COMMITTED IT?!  AUGUSTINE: It is not that this was a blasphemy which under no circumstances could be forgiven, for even this shall be forgiven if right repentance follows it Thomas C. Oden and Christopher A. Hall, eds., Mark, Ancient Christian Commentary on Scripture (Downers Grove, IL: InterVarsity Press, 2005), 48. I'm worried that I have committed the unforgivable sin??  Graham: Many Christians have heard that there is an unpardonable sin and live in dread that something grave they have done before or after conversion might be that sin. Their fears are unfounded. While there is an unforgivable sin, it is not one that a true believer in Jesus Christ can commit. Sproul:  Humanly speaking, everyone who is a Christian is capable of committing the unforgivable sin. However, I believe that the Lord of glory who has saved us and sealed us in the Holy Spirit will never let us commit that sin. I do not believe that any Christians in the history of the church have blasphemed the Spirit. As for those who are not sure they are saved and are worried they may have committed the unpardonable sin, I would say that worrying about it is one of the clearest evidences that they have not committed this sin, for those who commit it are so hardened in their hearts they do not care that they commit it. Thanks be to God that the sin that is unpardonable is not a sin He allows His people to commit. I don't share Graham and Sproul's assurances, though I respect them both deeply. The Bible NEVER says a believer is unable to commit the unpardonable sin. Jesus NEVER indicates that, and I see no other passage that promises such…just a sober warning.  I think Piper strikes a better balance when talking about it:  Piper: The fact that there is an unforgivable sin — that there comes a point in a life of sin after which the Holy Spirit will no longer grant repentance — that fact should drive us from sin with fear and trembling. None of us knows when our toying with sin will pass over into irrevocable hardness of heart. Very few people feel how serious sin is. Very few people are on the same wavelength with Jesus when he said in Mark 9:43, “If your hand causes you to sin, cut it off; it is better for you to enter life maimed than with two hands to go to hell, to the unquenchable fire.” Instead, many professing Christians today have such a sentimental view of God's justice that they never feel terror and horror at the thought of being utterly forsaken by God because of their persistence in sin. They have the naïve notion that God's patience has no end and that they can always return from any length and depth of sin, forgetting that there is a point of resistance which belittles the Holy Spirit so grievously that he withdraws forever with his convicting power, leaving them never able to repent and be forgiven. They are like the buzzard who spots a carcass on a piece of ice floating in the river. He lands and begins to eat. He knows it is dangerous because the falls are just ahead. But he looks at his wings and says to himself, “I can fly to safety in an instant.” And he goes on eating. Just before the ice goes over the falls he spreads his wings to fly but his claws are frozen in the ice and there is no escape — neither in this age nor the age to come. The Spirit of holiness has forsaken the arrogant sinner forever. Another of the devil's fiery darts is this, “You have committed the unpardonable sin.” Ah! this arrow has rankled in many a heart, and it is very difficult to deal with such cases. The only way in which I argue with a person thus assailed is to say, “I am quite certain that, if you desire salvation, you have not committed the unpardonable sin, and I am absolutely sure that, if you will now come and trust Christ, you have not committed that sin, for every soul that trusts Christ is forgiven, according to God's Word, and therefore you cannot have committed that sin.” C. H. Spurgeon, Pictures from Pilgrim's Progress:  My close – God the Holy Spirit is all powerful. Tremble:  I don't want to blunt the warnings of Jesus with false assurance. It is likely that – if you are worried you've committed the unpardonable sin, that you haven't because only the Spirit's work in your life would make you fear the Lord. But the way that Jesus addressed this is with the highest level of seriousness…so must we. This passage RIGHTLY inspires fear in us, and that's ok, it should. It is obviously recorded in the Scripture for that purpose.  Proverbs 1:7 The fear of the Lord is the beginning of knowledge; fools despise wisdom and discipline. Proverbs 2:5 you will understand the fear of the Lord and discover the knowledge of God. Proverbs 10:27 The fear of the Lord prolongs life, but the years of the wicked are cut short. Rev 14:6  6 Then I saw another angel flying high overhead,(I) having the eternal gospel to announce to the inhabitants of the earth—to every nation, tribe, language, and people.(J)7 He spoke with a loud voice: “Fear God and give Him glory, because the hour of His judgment has come. Worship the Maker of heaven and earth, the sea and springs of water.” The word for fear there has the same meaning as our word fear. It means FEAR.   Luke 12: In the same breath that Jesus speaks about the unpardonable sin, He says this:  4 “And I say to you, My friends, don't fear those who kill the body, and after that can do nothing more. 5 But I will show you the One to fear: Fear Him who has authority to throw people into hell after death. Yes, I say to you, this is the One to fear! 6 Aren't five sparrows sold for two pennies? Yet not one of them is forgotten in God's sight. 7 Indeed, the hairs of your head are all counted. Don't be afraid; you are worth more than many sparrows! Treat the Holy Spirit with great – remarkable sobriety – fear and wisdom. Fear the Lord, as Jesus said, and don't be afraid to trust Him – He who knows all of the sparrows and numbers our hairs, counts us as of great worth and Loves the World enough to send His son to rescue it.  Here's the good news: GREEAR: False gods mutilate us; the true God mutilated himself for us. The prophets of Ba'al begin by dancing around their altar. They end by slashing at themselves until their blood runs (1 Kings 18:28). False gods always push us toward destruction: “Work harder. Do better. Obtain more. You still aren't getting my attention. Slash yourself!” So we slash at our bodies by going through crash diets to attain that perfect figure. We slash at our families by overworking to make extra money. We slash at our souls by compromising our integrity to get someone's affection. False gods push us to mutilate ourselves, because we desperately want to win their approval. But only one God was ever mutilated for us—Jesus Christ. This story ends with a magnificent fire coming from heaven, but as Jesus himself points out to his first disciples, the fire was not intended for sinful humanity (Luke 9:51–56). It was ultimately intended for him: of all the characters in this story, Jesus is not Elijah, calling down fire; he is the sacrifice who receives the fire of judgment. At the cross, Jesus took into his body the fire of God's justice so that we could take into our lives the fire of God's love. Other gods demand dancing, slashing, mutilation. But Jesus Christ is the only God who was slashed and mutilated for us. As Tim Keller has said, “Every other god will make your blood run; only the true God bleeds for you.”

Today's Bible reading for January 12 is Genesis 13, Nehemiah 2, Matthew 12 and Acts 12. Our focus passage will be Matthew 12, and we are asking a big Bible question today: What is the Blasphemy of the Spirit, the unforgivable sin? SHOUT OUT TO THE PEOPLE WHO HAVE COMMENTED AND LEFT REVIEWS!!! On Apple Podcasts: Monte O, Kerri P, Cortney and Angel. And also people who have commented on the blog that they were listening: Angie from Knoxville, Og from Salinas, Cortney J. from Birmingham and Ms. Judy Bloom from parts unknown. THANK YOU! So - let's read our first chapter, and then get into our discussion. What is the Unforgivable sin??  It's a terrifying reality: Jesus warned His disciples and the Pharisees that there was a sin that could be committed that was unpardonable – unforgivable for all eternity. People have speculated and worried about this teaching of Jesus for hundreds of years. What precisely is the unpardonable sin? How can we know whether or not we've done it? Let's dive in! The Didache First century – RIGHT after the NT: Now concerning the apostles and prophets, deal with them as follows in accordance with the rule of the gospel. (4) Let every apostle who comes to you be welcomed as if he were the Lord. (5) But he is not to stay for more than one day, unless there is need, in which case he may stay another. But if he stays three days, he is a false prophet. (6) And when the apostle leaves, he is to take nothing except bread until he finds his next night's lodging. But if he asks for money, he is a false prophet. (7) Also, do not test or evaluate any prophet who speaks in the spirit, for every sin will be forgiven, but this sin will not be forgiven.35 Michael William Holmes, The Apostolic Fathers: Greek Texts and English Translations, Updated ed. (Grand Rapids, MI: Baker Books, 1999), 263–265. ANDREAS Andreas of Caesarea (Greek: Ἀνδρέας Καισαρείας; 563 – 637) : It is the sin of heresy, or of blasphemy against the Holy Spirit, which leads to death. If one man sins against another, pray for him. But if he sins against God, who is there who can pray on his behalf? And if even after all this, our opponents are still unwilling to learn and still unable to understand, they should at least stop speaking evil. They should not divide the Trinity lest they be divided from life.82 They should not classify the Holy Spirit with the creatures, lest, like the Pharisees of old who ascribed the works of the Spirit to Beelzebul,83 they too, on account of equal audacity, incur along with them the punishment which is unpardonable both now and in the future. Athanasius Works on the Spirit: Athanasius's Letters to Serapion on the Holy Spirit,  Grave-robbing, or the opening of graves, is divided into two kinds too, like theft, according to the present Canon, to wit, into pardonable and into unpardonable grave-robbing. For if the fellow opening the grave does not denude the dead person's body, thus refraining from dishonoring (for that is what is meant by the expression “sparing devoutness”) the dead, but only takes the stones found in the grave, in order to use them in the building of any other work that is preferable and more beneficial to the community, though this too is by no means anything to be praised, yet custom has made it pardonable.2 St. Nicodemus of the Holy Mountain – 1700s, Greek Orthodox church.  Swearing is a dreadful and harmful thing; it is a destructive drug, a bane and a danger, a hidden wound, a sore unseen, an obscure ulcer spreading its poison in the soul; it is an arrow of Satan, a flaming javelin, a two-edged sword, a sharp-honed scimitar, an unpardonable sin, an indefensible transgression, a deep gulf, a precipitous crag, a strong trap, a taut-stretched net, a fetter that cannot be broken, a noose from which no one escapes. 19. Are these enough, and do you believe that swearing is a dreadful thing and the most harmful of all sins? Believe me, I beg you, believe me! But if someone does not believe me, I now offer proof. This sin has what no other sin possesses. If we do not violate the other commandments, we escape punishment; on the other hand, in the matter of oaths, we are punished just the same both when we guard against transgressing and when we transgress. St. John Chrysostom, 300s AD St. John Chrysostom: Baptismal Instructions,  Hilary of Poitiers actually points us in a more biblical direction, in discussing the unpardonable sin: Every sin and blasphemy will be forgiven to men, but blasphemy of the Spirit will not be forgiven.67 With a very grave qualification, he condemns the view of the Pharisees and the perversion of those who also think like them. He promises pardon of all sins but refuses pardon for blasphemy of the Spirit. While other words and deeds are treated with a generous pardon, there is no mercy if it is denied that God is in Christ. 68 And in whatever way one sins without pardon, he is gracious to us and reminds us again that sins of every kind can be completely forgiven, though blasphemy against the Holy Spirit cannot be forgiven. For who is so completely beyond pardon as one who denies that Christ is of God, or repudiates that the substance of the Spirit of the Father resides in him Hilary of Poitiers, Commentary on Matthew, ed.  Spurgeon – Nobody knows what that sin is. I believe that even God's Word does not tell us, and it is very proper that it does not. As I have often said, it is like the notice we sometimes see put up, “Man-traps and spring gun set here.” We do not know whereabouts the traps and guns are, but we have no business over the hedge at all. So, “there is a sin unto death;” we are not told what that sin is, but we have no business to go over the hedge into any transgression at all. That “sin unto death” may be different in different people; but, whoever commits it, from that very moment, loses all spiritual desires. He has no wish to be saved, no care to repent, no longing after Christ; so dreadful is the spiritual death that comes over the man who has committed it that he never craves eternal life. C. H. Spurgeon, Pictures from Pilgrim's Progress: A Commentary on Portions of John Bunyan's Immortal Allegory (Bellingham, WA: Logos Bible Software, 2009), 73–74. Billy Graham:   The sin of the religious leaders, blasphemy against the Holy Spirit, was a refusal to accept the witness of the Holy Spirit to who Jesus was and what He had come to do, and then submit their lives to Him… Once again, the unpardonable sin is not some particularly grievous sin committed by a Christian before or after accepting Christ, nor is it thinking or saying something terrible about the Holy Spirit. Rather, it is deliberately resisting the Holy Spirit's witness and invitation to turn to Jesus until death ends all opportunity. Billy Graham is echoing the Augustinian (300s AD) view: Now the man who, not believing that sins are remitted in the Church, despises this great gift of God's mercy, and persists to the last day of his life in his obstinacy of heart, is guilty of the unpardonable sin against the Holy Ghost, in whom Christ forgives sins. Augustine of Hippo, “The Enchiridion,” in St. Augustin: On the Holy Trinity, Doctrinal Treatises, Moral Treatises, ed.  Augustine was reflecting the Origen view (early 300s): The Spirit dwells in those who live by faith. But those who once having been counted worthy to share in the Holy Spirit and then having finally and decisively turned their backs from grace are by this act said to have blasphemed against the Holy Spirit (ORIGEN  Who, then, is not amazed at the exceeding majesty of the Holy Spirit when he hears that he who speaks a word against the Son of man may hope for forgiveness, but that he who is guilty of blasphemy against the Holy Spirit has no forgiveness—either in the present world or in that which is to come. Origen What then is it? The unforgivable sin of blasphemy against the Holy Spirit is an act of resistance which belittles the Holy Spirit so grievously that he withdraws forever with his convicting power so that we are never able to repent and be forgiven. – John Piper.  Lee ann penick MODERN: There is only one “unpardonable sin” that can separate us from God for eternity. It is the ongoing, willful refusal to accept Christ as Lord and Savior and the forgiveness He offers. Jacob Arminius defined it as “the rejection and refusing of Jesus Christ through determined malice and hatred against Christ”. Nancy Hardesty  “Ultimately the refusal to allow women to fully use their gifts in the church and in the world is a form of blasphemy against the Holy Spirit.”   Pope John Paul II writes “‘blasphemy' does not properly consist in offending against the Holy Spirit in words; it consists rather in the refusal to accept the salvation which God offers to man through the Holy Spirit, working through the power of the Cross”, and “If Jesus says that blasphemy against the Holy Spirit cannot be forgiven either in this life or in the next, it is because this “non-forgiveness” is linked, as to its cause, to “non-repentance,” in other words to the radical refusal to be converted. This means the refusal to come to the sources of Redemption, which nevertheless remain “always” open in the economy of salvation in which the mission of the Holy Spirit is accomplished. SO – What is The unforgivable sin?? – is it, as Origen, Augustine, Billy Graham, Pope John Paul 2 Lee Ann Penick suggest – the rejection of the Holy Spirit/not becoming a follower of Jesus?? Is it, as John Chrysostom claimed, swearing oaths?  Is it the robbing of graves in a thieving manner? Is it not letting women use their spiritual gifts in the church? Is it Heresy? Is it, as Athanasius and many other church fathers declared, being wrong on the Trinity and calling the Holy Spirit a created being, rather than God Himself?  Is it testing prophetic utterances of prophets?? (NO! – 1 Thessalonians 5:19-21 Don't stifle the Spirit. 20 Don't despise prophecies, 21 but test all things. Hold on to what is good.) Confused? You should be!! People talk about this issue all of the time, but it doesn't appear that all of them get their views from the Bible, so let's begin there in seeking our answer.  Matthew 12:24 24 When the Pharisees heard this, they said, “The man drives out demons only by Beelzebul, the ruler of the demons.” 25 Knowing their thoughts, He told them: “Every kingdom divided against itself is headed for destruction, and no city or house divided against itself will stand. 26 If Satan drives out Satan, he is divided against himself. How then will his kingdom stand? 27 And if I drive out demons by Beelzebul, who is it your sons drive them out by? For this reason they will be your judges. 28 If I drive out demons by the Spirit of God, then the kingdom of God has come to you. 29 How can someone enter a strong man's house and steal his possessions unless he first ties up the strong man? Then he can rob his house. 30 Anyone who is not with Me is against Me, and anyone who does not gather with Me scatters.31 Because of this, I tell you, people will be forgiven every sin and blasphemy, but the blasphemy against the Spirit will not be forgiven.32 Whoever speaks a word against the Son of Man, it will be forgiven him. But whoever speaks against the Holy Spirit, it will not be forgiven him, either in this age or in the one to come. Mark 3: 22 The scribes who had come down from Jerusalem said, “He has Beelzebul in Him!” and, “He drives out demons by the ruler of the demons!” 23 So He summoned them and spoke to them in parables: “How can Satan drive out Satan? 24 If a kingdom is divided against itself, that kingdom cannot stand. 25 If a house is divided against itself, that house cannot stand. 26 And if Satan rebels against himself and is divided, he cannot stand but is finished! 27 “On the other hand, no one can enter a strong man's house and rob his possessions unless he first ties up the strong man. Then he will rob his house. 28 I assure you: People will be forgiven for all sins and whatever blasphemies they may blaspheme. 29 But whoever blasphemes against the Holy Spirit never has forgiveness, but is guilty of an eternal sin”— 30 because they were saying, “He has an unclean spirit.” Luke 12: 8 “And I say to you, anyone who acknowledges Me before men, the Son of Man will also acknowledge him before the angels of God, 9 but whoever denies Me before men will be denied before the angels of God.10 Anyone who speaks a word against the Son of Man will be forgiven,but the one who blasphemes against the Holy Spirit will not be forgiven. So, I see two major ways we need to answer this question. Contextually and grammatically.  What does the CONTEXT of the usage of ‘unpardonable sin' tell us, and what does the grammar/word meanings tell us?   We find a massively important clue in Mark 3:30, where Mark tells us precisely WHY Jesus warned the Pharisees and Scribes about this sin. “Because they were saying, He has an unclean spirit.”   The exact same situation is described in Matthew 12:31 “31 Because of this, I tell you, people will be forgiven every sin and blasphemy, but the blasphemy against the Spirit will not be forgiven”  The scribes and pharisees are accusing Jesus of doing miraculous things – specifically driving out demons – by the power of Beelzebul rather than by the power of God.  Therefore, we know at least this: Ascribing something like an exorcism that is factually done by the power of God and His Holy Spirit to Demonic influence is AT BEST dangerously close to Blaspheming the Holy Spirit, and could, in fact, be blaspheming the Holy Spirit. (Jesus does not make it crystal clear that the scribes and pharisees were actually committing this sin, or merely getting close to committing it. It would seem like the latter is the best option.)  Practically speaking, what does this mean?? It means we need to be extremely careful about stating confident opinions on spiritual matters that we don't have 100 percent clarity from Scripture on. Let me give a couple of examples:  Pushed over at Brownsville.  Charles Carrin praying for us at GVAG.  Flamboyant preachers on tv wadding up their coats and throwing them on people, who pass out. Blowing on people, who pass out. Etc.  Most of this is probably fraudulent, some of it horribly so. BUT – we should be incredibly careful about pronouncing opinions on what God's spirit would do, and wouldn't do.   For instance, there was a revival going on in the 90s that became very well known and reached a lot of people. I heard about some of the things going on at that revival that were disturbing, and sounded – quite frankly – ridiculous. So, I assumed that the movement wasn't of God, but was just flaky people doing flaky things – at best. HOWEVER…a few years later, I met the leader of the movement, and spent some time with him. He struck me as a genuine follower of God – a man who loved Jesus, and who was humble.  I still don't know what to think about that revival. God does, and I leave it to Him. It's outside of my realm of influence. According to Jesus – there is grave danger in ascribing the works of the Holy Spirit to Satan. You better be 100 percent sure you're right before doing such thing…and you'd better ask the question – HOW Do i Know FOR SURE that my opinion is right on this matter? If you can't answer that question with extreme clarity, then be careful saying what the Holy Spirit will or will not do, and be careful saying whether or not something is of Satan, or not. Contextually, that is at least a large part of what blaspheming the Holy Spirit is about.  What is blasphemy, exactly? More on that in a moment…. Side question – is Beelzebul = Satan?? It's a great question, and I have a fairly lame answer…'maybe.'  Beelzebub (“Lord of the flies”) and Beelzebul (“Lord of the skies/heavenly realms”) both refer to the same entity.  In the Testament of Solomon, 1st century, non-Scripture, pseudoepigraphic text.  Beelzebul (not Beelzebub) appears as prince of the demons and says (6.2) that he was formerly a leading heavenly angel who was (6.7) associated with the star Hesperus (which is the normal Greek name for the planet Venus (Αφροδíτη) as evening star). Seemingly, Beelzebul here is synonymous with Lucifer. the text describes how Solomon was enabled to build his temple by commanding demons by means of a magical ringthat was entrusted to him by the archangel Michael.  The Bible reference comes from 2 Kings 1: 1 After the death of Ahab, Moab rebelled against Israel. 2 Ahaziah had fallen through the latticed window of his upper room in Samaria and was injured. So he sent messengers instructing them: “Go inquire of Baal-zebub, the god of Ekron, if I will recover from this injury.” 3 But the angel of the Lord said to Elijah the Tishbite, “Go and meet the messengers of the king of Samaria and ask them, ‘Is it because there is no God in Israel that you are going to inquire of Baal-zebub, the god of Ekron?' 4 Therefore, this is what the Lord says: ‘You will not get up from your sickbed—you will certainly die.'” Then Elijah left.The name also appears in Luke 11, where we can see the clearest connection between Beelzebul and Satan: Luke 11:14 Now He was driving out a demon that was mute. When the demon came out, the man who had been mute, spoke, and the crowds were amazed. 15 But some of them said, “He drives out demons by Beelzebul,the ruler of the demons!” 16 And others, as a test, were demanding of Him a sign from heaven. 17 Knowing their thoughts, He told them: “Every kingdom divided against itself is headed for destruction, and a house divided against itself falls.18 If Satan also is divided against himself, how will his kingdom stand? For you say I drive out demons by Beelzebul. 19 And if I drive out demons by Beelzebul, who is it your sons drive them out by? For this reason they will be your judges. 20 If I drive out demons by the finger of God, then the kingdom of God has come to you. So, Jesus mentions Satan and Beelzebul in the same context, but not in a way that indicates that they are the same entities.  My best guess is that Beelzebul is a separate entity from Satan, but I confess that I do not know, and my guess is based on the fact that the Bible never clearly identifies the two as the same entity.  What exactly is Blasphemy?  Luke 12:10 points us in the right direction – anyone who ‘speaks a word against the son of man will be forgiven.' but the one who blasphemes the Holy Spirit will not be forgiven. Matthew 12:32 makes it even more clear: 32 Whoever speaks a word against the Son of Man, it will be forgiven him. But whoever speaks against the Holy Spirit, it will not be forgiven him, either in this age or in the one to come. Similarly: Isaiah 37:23 Isaiah 37:23 Who is it you have mocked and blasphemed? Who have you raised your voice against and lifted your eyes in pride? Against the Holy One of Israel! The Word itself, Greek Blasphemos, is a combo of two words. Blaptō, which means, ‘to HURT' and Pheemay, which means fame, report, or something like ‘reputation.' So, etymologically, the word  has a root meaning of injuring somebody's fame, or good name. The word can mean ‘defame' or ‘revile' and isn't always used of a deity. Paul speaks of being ‘defamed' or blasphemed by people for being an apostle. Paul commands the church in Titus 3:2 not to slander/Speak evil of (or BLASPHEME) any person, which is a command that Christians would do well to take far more seriously than we do.  2 Peter 2:10 and Jude vs 8 both warn against blaspheming angels, demons, and other spiritual beings.  So- blasphemy is speaking evil of someone. Hurting them with your words, harming their reputation. Thus, blaspheming the Holy Spirit is speaking evil of Him, reviling Him, defaming Him, seeking to harm His reputation. The Pharisees and Scribes were doing that – or coming dangerously close – when they said that it was Satan/Beelzebul empowering Jesus, when it was factually the Spirit of God Himself.  R.C. Sproul: Their statements were directed against Jesus. So, He said to them: “You can blaspheme Me and be forgiven, but when you question the work of the Spirit, you are coming perilously close to the unforgivable sin. You are right at the line. You are looking down into the abyss of hell. One more step and there will be no hope for you.” He was warning them to be very careful not to insult or mock the Spirit. Is it really unforgivable, and WHAT IF I HAVE COMMITTED IT?!  AUGUSTINE: It is not that this was a blasphemy which under no circumstances could be forgiven, for even this shall be forgiven if right repentance follows it Thomas C. Oden and Christopher A. Hall, eds., Mark, Ancient Christian Commentary on Scripture (Downers Grove, IL: InterVarsity Press, 2005), 48. I'm worried that I have committed the unforgivable sin??  Graham: Many Christians have heard that there is an unpardonable sin and live in dread that something grave they have done before or after conversion might be that sin. Their fears are unfounded. While there is an unforgivable sin, it is not one that a true believer in Jesus Christ can commit. Sproul:  Humanly speaking, everyone who is a Christian is capable of committing the unforgivable sin. However, I believe that the Lord of glory who has saved us and sealed us in the Holy Spirit will never let us commit that sin. I do not believe that any Christians in the history of the church have blasphemed the Spirit. As for those who are not sure they are saved and are worried they may have committed the unpardonable sin, I would say that worrying about it is one of the clearest evidences that they have not committed this sin, for those who commit it are so hardened in their hearts they do not care that they commit it. Thanks be to God that the sin that is unpardonable is not a sin He allows His people to commit. I don't share Graham and Sproul's assurances, though I respect them both deeply. The Bible NEVER says a believer is unable to commit the unpardonable sin. Jesus NEVER indicates that, and I see no other passage that promises such…just a sober warning.  I think Piper strikes a better balance when talking about it:  Piper: The fact that there is an unforgivable sin — that there comes a point in a life of sin after which the Holy Spirit will no longer grant repentance — that fact should drive us from sin with fear and trembling. None of us knows when our toying with sin will pass over into irrevocable hardness of heart. Very few people feel how serious sin is. Very few people are on the same wavelength with Jesus when he said in Mark 9:43, “If your hand causes you to sin, cut it off; it is better for you to enter life maimed than with two hands to go to hell, to the unquenchable fire.” Instead, many professing Christians today have such a sentimental view of God's justice that they never feel terror and horror at the thought of being utterly forsaken by God because of their persistence in sin. They have the naïve notion that God's patience has no end and that they can always return from any length and depth of sin, forgetting that there is a point of resistance which belittles the Holy Spirit so grievously that he withdraws forever with his convicting power, leaving them never able to repent and be forgiven. They are like the buzzard who spots a carcass on a piece of ice floating in the river. He lands and begins to eat. He knows it is dangerous because the falls are just ahead. But he looks at his wings and says to himself, “I can fly to safety in an instant.” And he goes on eating. Just before the ice goes over the falls he spreads his wings to fly but his claws are frozen in the ice and there is no escape — neither in this age nor the age to come. The Spirit of holiness has forsaken the arrogant sinner forever. Another of the devil's fiery darts is this, “You have committed the unpardonable sin.” Ah! this arrow has rankled in many a heart, and it is very difficult to deal with such cases. The only way in which I argue with a person thus assailed is to say, “I am quite certain that, if you desire salvation, you have not committed the unpardonable sin, and I am absolutely sure that, if you will now come and trust Christ, you have not committed that sin, for every soul that trusts Christ is forgiven, according to God's Word, and therefore you cannot have committed that sin.” C. H. Spurgeon, Pictures from Pilgrim's Progress:  My close – God the Holy Spirit is all powerful. Tremble:  I don't want to blunt the warnings of Jesus with false assurance. It is likely that – if you are worried you've committed the unpardonable sin, that you haven't because only the Spirit's work in your life would make you fear the Lord. But the way that Jesus addressed this is with the highest level of seriousness…so must we. This passage RIGHTLY inspires fear in us, and that's ok, it should. It is obviously recorded in the Scripture for that purpose.  Proverbs 1:7 The fear of the Lord is the beginning of knowledge; fools despise wisdom and discipline. Proverbs 2:5 you will understand the fear of the Lord and discover the knowledge of God. Proverbs 10:27 The fear of the Lord prolongs life, but the years of the wicked are cut short. Rev 14:6  6 Then I saw another angel flying high overhead,(I) having the eternal gospel to announce to the inhabitants of the earth—to every nation, tribe, language, and people.(J)7 He spoke with a loud voice: “Fear God and give Him glory, because the hour of His judgment has come. Worship the Maker of heaven and earth, the sea and springs of water.” The word for fear there has the same meaning as our word fear. It means FEAR.   Luke 12: In the same breath that Jesus speaks about the unpardonable sin, He says this:  4 “And I say to you, My friends, don't fear those who kill the body, and after that can do nothing more. 5 But I will show you the One to fear: Fear Him who has authority to throw people into hell after death. Yes, I say to you, this is the One to fear! 6 Aren't five sparrows sold for two pennies? Yet not one of them is forgotten in God's sight. 7 Indeed, the hairs of your head are all counted. Don't be afraid; you are worth more than many sparrows! Treat the Holy Spirit with great – remarkable sobriety – fear and wisdom. Fear the Lord, as Jesus said, and don't be afraid to trust Him – He who knows all of the sparrows and numbers our hairs, counts us as of great worth and Loves the World enough to send His son to rescue it.  Here's the good news: GREEAR: False gods mutilate us; the true God mutilated himself for us. The prophets of Ba'al begin by dancing around their altar. They end by slashing at themselves until their blood runs (1 Kings 18:28). False gods always push us toward destruction: “Work harder. Do better. Obtain more. You still aren't getting my attention. Slash yourself!” So we slash at our bodies by going through crash diets to attain that perfect figure. We slash at our families by overworking to make extra money. We slash at our souls by compromising our integrity to get someone's affection. False gods push us to mutilate ourselves, because we desperately want to win their approval. But only one God was ever mutilated for us—Jesus Christ. This story ends with a magnificent fire coming from heaven, but as Jesus himself points out to his first disciples, the fire was not intended for sinful humanity (Luke 9:51–56). It was ultimately intended for him: of all the characters in this story, Jesus is not Elijah, calling down fire; he is the sacrifice who receives the fire of judgment. At the cross, Jesus took into his body the fire of God's justice so that we could take into our lives the fire of God's love. Other gods demand dancing, slashing, mutilation. But Jesus Christ is the only God who was slashed and mutilated for us. As Tim Keller has said, “Every other god will make your blood run; only the true God bleeds for you.”

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Episode 4: What is the Unforgivable sin??  It's a terrifying reality: Jesus warned His disciples and the Pharisees that there was a sin that could be committed that was unpardonable - unforgivable for all eternity. People have speculated and worried about this teaching of Jesus for hundreds of years. What precisely is the unpardonable sin? How can we know whether or not we've done it? Let's dive in! The Didache First century - RIGHT after the NT: Now concerning the apostles and prophets, deal with them as follows in accordance with the rule of the gospel. (4) Let every apostle who comes to you be welcomed as if he were the Lord. (5) But he is not to stay for more than one day, unless there is need, in which case he may stay another. But if he stays three days, he is a false prophet. (6) And when the apostle leaves, he is to take nothing except bread until he finds his next night's lodging. But if he asks for money, he is a false prophet. (7) Also, do not test or evaluate any prophet who speaks in the spirit, for every sin will be forgiven, but this sin will not be forgiven.35 Michael William Holmes, The Apostolic Fathers: Greek Texts and English Translations, Updated ed. (Grand Rapids, MI: Baker Books, 1999), 263–265. ANDREAS Andreas of Caesarea (Greek: Ἀνδρέας Καισαρείας; 563 – 637) : It is the sin of heresy, or of blasphemy against the Holy Spirit, which leads to death. If one man sins against another, pray for him. But if he sins against God, who is there who can pray on his behalf? And if even after all this, our opponents are still unwilling to learn and still unable to understand, they should at least stop speaking evil. They should not divide the Trinity lest they be divided from life.82 They should not classify the Holy Spirit with the creatures, lest, like the Pharisees of old who ascribed the works of the Spirit to Beelzebul,83 they too, on account of equal audacity, incur along with them the punishment which is unpardonable both now and in the future. Athanasius Works on the Spirit: Athanasius's Letters to Serapion on the Holy Spirit,  Grave-robbing, or the opening of graves, is divided into two kinds too, like theft, according to the present Canon, to wit, into pardonable and into unpardonable grave-robbing. For if the fellow opening the grave does not denude the dead person's body, thus refraining from dishonoring (for that is what is meant by the expression “sparing devoutness”) the dead, but only takes the stones found in the grave, in order to use them in the building of any other work that is preferable and more beneficial to the community, though this too is by no means anything to be praised, yet custom has made it pardonable.2 St. Nicodemus of the Holy Mountain - 1700s, Greek Orthodox church.  Swearing is a dreadful and harmful thing; it is a destructive drug, a bane and a danger, a hidden wound, a sore unseen, an obscure ulcer spreading its poison in the soul; it is an arrow of Satan, a flaming javelin, a two-edged sword, a sharp-honed scimitar, an unpardonable sin, an indefensible transgression, a deep gulf, a precipitous crag, a strong trap, a taut-stretched net, a fetter that cannot be broken, a noose from which no one escapes. 19. Are these enough, and do you believe that swearing is a dreadful thing and the most harmful of all sins? Believe me, I beg you, believe me! But if someone does not believe me, I now offer proof. This sin has what no other sin possesses. If we do not violate the other commandments, we escape punishment; on the other hand, in the matter of oaths, we are punished just the same both when we guard against transgressing and when we transgress. St. John Chrysostom, 300s AD St. John Chrysostom: Baptismal Instructions,  Hilary of Poitiers actually points us in a more biblical direction, in discussing the unpardonable sin: Every sin and blasphemy will be forgiven to men, but blasphemy of the Spirit will not be forgiven.67 With a very grave qualification, he condemns the view of the Pharisees and the perversion of those who also think like them. He promises pardon of all sins but refuses pardon for blasphemy of the Spirit. While other words and deeds are treated with a generous pardon, there is no mercy if it is denied that God is in Christ. 68 And in whatever way one sins without pardon, he is gracious to us and reminds us again that sins of every kind can be completely forgiven, though blasphemy against the Holy Spirit cannot be forgiven. For who is so completely beyond pardon as one who denies that Christ is of God, or repudiates that the substance of the Spirit of the Father resides in him Hilary of Poitiers, Commentary on Matthew, ed.  Spurgeon - Nobody knows what that sin is. I believe that even God's Word does not tell us, and it is very proper that it does not. As I have often said, it is like the notice we sometimes see put up, “Man-traps and spring gun set here.” We do not know whereabouts the traps and guns are, but we have no business over the hedge at all. So, “there is a sin unto death;” we are not told what that sin is, but we have no business to go over the hedge into any transgression at all. That “sin unto death” may be different in different people; but, whoever commits it, from that very moment, loses all spiritual desires. He has no wish to be saved, no care to repent, no longing after Christ; so dreadful is the spiritual death that comes over the man who has committed it that he never craves eternal life. C. H. Spurgeon, Pictures from Pilgrim's Progress: A Commentary on Portions of John Bunyan's Immortal Allegory (Bellingham, WA: Logos Bible Software, 2009), 73–74. Billy Graham:   The sin of the religious leaders, blasphemy against the Holy Spirit, was a refusal to accept the witness of the Holy Spirit to who Jesus was and what He had come to do, and then submit their lives to Him… Once again, the unpardonable sin is not some particularly grievous sin committed by a Christian before or after accepting Christ, nor is it thinking or saying something terrible about the Holy Spirit. Rather, it is deliberately resisting the Holy Spirit's witness and invitation to turn to Jesus until death ends all opportunity. Billy Graham is echoing the Augustinian (300s AD) view: Now the man who, not believing that sins are remitted in the Church, despises this great gift of God's mercy, and persists to the last day of his life in his obstinacy of heart, is guilty of the unpardonable sin against the Holy Ghost, in whom Christ forgives sins. Augustine of Hippo, “The Enchiridion,” in St. Augustin: On the Holy Trinity, Doctrinal Treatises, Moral Treatises, ed.  Augustine was reflecting the Origen view (early 300s): The Spirit dwells in those who live by faith. But those who once having been counted worthy to share in the Holy Spirit and then having finally and decisively turned their backs from grace are by this act said to have blasphemed against the Holy Spirit (ORIGEN  Who, then, is not amazed at the exceeding majesty of the Holy Spirit when he hears that he who speaks a word against the Son of man may hope for forgiveness, but that he who is guilty of blasphemy against the Holy Spirit has no forgiveness—either in the present world or in that which is to come. Origen What then is it? The unforgivable sin of blasphemy against the Holy Spirit is an act of resistance which belittles the Holy Spirit so grievously that he withdraws forever with his convicting power so that we are never able to repent and be forgiven. - John Piper.  Lee ann penick MODERN: There is only one “unpardonable sin” that can separate us from God for eternity. It is the ongoing, willful refusal to accept Christ as Lord and Savior and the forgiveness He offers. Jacob Arminius defined it as "the rejection and refusing of Jesus Christ through determined malice and hatred against Christ". Nancy Hardesty  “Ultimately the refusal to allow women to fully use their gifts in the church and in the world is a form of blasphemy against the Holy Spirit.”   Pope John Paul II writes "'blasphemy' does not properly consist in offending against the Holy Spirit in words; it consists rather in the refusal to accept the salvation which God offers to man through the Holy Spirit, working through the power of the Cross", and "If Jesus says that blasphemy against the Holy Spirit cannot be forgiven either in this life or in the next, it is because this "non-forgiveness" is linked, as to its cause, to "non-repentance," in other words to the radical refusal to be converted. This means the refusal to come to the sources of Redemption, which nevertheless remain "always" open in the economy of salvation in which the mission of the Holy Spirit is accomplished. SO - What is The unforgivable sin?? - is it, as Origen, Augustine, Billy Graham, Pope John Paul 2 Lee Ann Penick suggest - the rejection of the Holy Spirit/not becoming a follower of Jesus?? Is it, as John Chrysostom claimed, swearing oaths?  Is it the robbing of graves in a thieving manner? Is it not letting women use their spiritual gifts in the church? Is it Heresy? Is it, as Athanasius and many other church fathers declared, being wrong on the Trinity and calling the Holy Spirit a created being, rather than God Himself?  Is it testing prophetic utterances of prophets?? (NO! - 1 Thessalonians 5:19-21 Don't stifle the Spirit. 20 Don't despise prophecies, 21 but test all things. Hold on to what is good.) Confused? You should be!! People talk about this issue all of the time, but it doesn't appear that all of them get their views from the Bible, so let's begin there in seeking our answer.  Matthew 12:24 24 When the Pharisees heard this, they said, “The man drives out demons only by Beelzebul, the ruler of the demons.” 25 Knowing their thoughts, He told them: “Every kingdom divided against itself is headed for destruction, and no city or house divided against itself will stand. 26 If Satan drives out Satan, he is divided against himself. How then will his kingdom stand? 27 And if I drive out demons by Beelzebul, who is it your sons drive them out by? For this reason they will be your judges. 28 If I drive out demons by the Spirit of God, then the kingdom of God has come to you. 29 How can someone enter a strong man's house and steal his possessions unless he first ties up the strong man? Then he can rob his house. 30 Anyone who is not with Me is against Me, and anyone who does not gather with Me scatters.31 Because of this, I tell you, people will be forgiven every sin and blasphemy, but the blasphemy against the Spirit will not be forgiven.32 Whoever speaks a word against the Son of Man, it will be forgiven him. But whoever speaks against the Holy Spirit, it will not be forgiven him, either in this age or in the one to come. Mark 3: 22 The scribes who had come down from Jerusalem said, “He has Beelzebul in Him!” and, “He drives out demons by the ruler of the demons!” 23 So He summoned them and spoke to them in parables: “How can Satan drive out Satan? 24 If a kingdom is divided against itself, that kingdom cannot stand. 25 If a house is divided against itself, that house cannot stand. 26 And if Satan rebels against himself and is divided, he cannot stand but is finished! 27 “On the other hand, no one can enter a strong man's house and rob his possessions unless he first ties up the strong man. Then he will rob his house. 28 I assure you: People will be forgiven for all sins and whatever blasphemies they may blaspheme. 29 But whoever blasphemes against the Holy Spirit never has forgiveness, but is guilty of an eternal sin”— 30 because they were saying, “He has an unclean spirit.” Luke 12: 8 “And I say to you, anyone who acknowledges Me before men, the Son of Man will also acknowledge him before the angels of God, 9 but whoever denies Me before men will be denied before the angels of God.10 Anyone who speaks a word against the Son of Man will be forgiven,but the one who blasphemes against the Holy Spirit will not be forgiven. So, I see two major ways we need to answer this question. Contextually and grammatically.  What does the CONTEXT of the usage of ‘unpardonable sin' tell us, and what does the grammar/word meanings tell us?   We find a massively important clue in Mark 3:30, where Mark tells us precisely WHY Jesus warned the Pharisees and Scribes about this sin. “Because they were saying, He has an unclean spirit.”   The exact same situation is described in Matthew 12:31 “31 Because of this, I tell you, people will be forgiven every sin and blasphemy, but the blasphemy against the Spirit will not be forgiven”  The scribes and pharisees are accusing Jesus of doing miraculous things - specifically driving out demons - by the power of Beelzebul rather than by the power of God.  Therefore, we know at least this: Ascribing something like an exorcism that is factually done by the power of God and His Holy Spirit to Demonic influence is AT BEST dangerously close to Blaspheming the Holy Spirit, and could, in fact, be blaspheming the Holy Spirit. (Jesus does not make it crystal clear that the scribes and pharisees were actually committing this sin, or merely getting close to committing it. It would seem like the latter is the best option.)  Practically speaking, what does this mean?? It means we need to be extremely careful about stating confident opinions on spiritual matters that we don't have 100 percent clarity from Scripture on. Let me give a couple of examples:  Pushed over at Brownsville. Charles Carrin praying for us at GVAG. Flamboyant preachers on tv wadding up their coats and throwing them on people, who pass out. Blowing on people, who pass out. Etc.  Most of this is probably fraudulent, some of it horribly so. BUT - we should be incredibly careful about pronouncing opinions on what God's spirit would do, and wouldn't do.   For instance, there was a revival going on in the 90s that became very well known and reached a lot of people. I heard about some of the things going on at that revival that were disturbing, and sounded - quite frankly - ridiculous. So, I assumed that the movement wasn't of God, but was just flaky people doing flaky things - at best. HOWEVER...a few years later, I met the leader of the movement, and spent some time with him. He struck me as a genuine follower of God - a man who loved Jesus, and who was humble.  I still don't know what to think about that revival. God does, and I leave it to Him. It's outside of my realm of influence. According to Jesus - there is grave danger in ascribing the works of the Holy Spirit to Satan. You better be 100 percent sure you're right before doing such thing...and you'd better ask the question - HOW Do i Know FOR SURE that my opinion is right on this matter? If you can't answer that question with extreme clarity, then be careful saying what the Holy Spirit will or will not do, and be careful saying whether or not something is of Satan, or not. Contextually, that is at least a large part of what blaspheming the Holy Spirit is about.  What is blasphemy, exactly? More on that in a moment…. Side question - is Beelzebul = Satan?? It's a great question, and I have a fairly lame answer…'maybe.'  Beelzebub (“Lord of the flies”) and Beelzebul (“Lord of the skies/heavenly realms”) both refer to the same entity.  In the Testament of Solomon, 1st century, non-Scripture, pseudoepigraphic text.  Beelzebul (not Beelzebub) appears as prince of the demons and says (6.2) that he was formerly a leading heavenly angel who was (6.7) associated with the star Hesperus (which is the normal Greek name for the planet Venus (Αφροδíτη) as evening star). Seemingly, Beelzebul here is synonymous with Lucifer. the text describes how Solomon was enabled to build his temple by commanding demons by means of a magical ring that was entrusted to him by the archangel Michael.  The Bible reference comes from 2 Kings 1: 1 After the death of Ahab, Moab rebelled against Israel. 2 Ahaziah had fallen through the latticed window of his upper room in Samaria and was injured. So he sent messengers instructing them: “Go inquire of Baal-zebub, the god of Ekron, if I will recover from this injury.” 3 But the angel of the Lord said to Elijah the Tishbite, “Go and meet the messengers of the king of Samaria and ask them, ‘Is it because there is no God in Israel that you are going to inquire of Baal-zebub, the god of Ekron?' 4 Therefore, this is what the Lord says: ‘You will not get up from your sickbed—you will certainly die.'” Then Elijah left. The name also appears in Luke 11, where we can see the clearest connection between Beelzebul and Satan: Luke 11:14 Now He was driving out a demon that was mute. When the demon came out, the man who had been mute, spoke, and the crowds were amazed. 15 But some of them said, “He drives out demons by Beelzebul,the ruler of the demons!” 16 And others, as a test, were demanding of Him a sign from heaven. 17 Knowing their thoughts, He told them: “Every kingdom divided against itself is headed for destruction, and a house divided against itself falls.18 If Satan also is divided against himself, how will his kingdom stand? For you say I drive out demons by Beelzebul. 19 And if I drive out demons by Beelzebul, who is it your sons drive them out by? For this reason they will be your judges. 20 If I drive out demons by the finger of God, then the kingdom of God has come to you. So, Jesus mentions Satan and Beelzebul in the same context, but not in a way that indicates that they are the same entities.  My best guess is that Beelzebul is a separate entity from Satan, but I confess that I do not know, and my guess is based on the fact that the Bible never clearly identifies the two as the same entity. What exactly is Blasphemy?  Luke 12:10 points us in the right direction - anyone who ‘speaks a word against the son of man will be forgiven.' but the one who blasphemes the Holy Spirit will not be forgiven. Matthew 12:32 makes it even more clear: 32 Whoever speaks a word against the Son of Man, it will be forgiven him. But whoever speaks against the Holy Spirit, it will not be forgiven him, either in this age or in the one to come. Similarly: Isaiah 37:23 Isaiah 37:23 Who is it you have mocked and blasphemed? Who have you raised your voice against and lifted your eyes in pride? Against the Holy One of Israel! The Word itself, Greek Blasphemos, is a combo of two words. Blaptō, which means, ‘to HURT' and Pheemay, which means fame, report, or something like ‘reputation.' So, etymologically, the word  has a root meaning of injuring somebody's fame, or good name. The word can mean ‘defame' or ‘revile' and isn't always used of a deity. Paul speaks of being ‘defamed' or blasphemed by people for being an apostle. Paul commands the church in Titus 3:2 not to slander/Speak evil of (or BLASPHEME) any person, which is a command that Christians would do well to take far more seriously than we do.  2 Peter 2:10 and Jude vs 8 both warn against blaspheming angels, demons, and other spiritual beings.  So- blasphemy is speaking evil of someone. Hurting them with your words, harming their reputation. Thus, blaspheming the Holy Spirit is speaking evil of Him, reviling Him, defaming Him, seeking to harm His reputation. The Pharisees and Scribes were doing that - or coming dangerously close - when they said that it was Satan/Beelzebul empowering Jesus, when it was factually the Spirit of God Himself.  R.C. Sproul: Their statements were directed against Jesus. So, He said to them: “You can blaspheme Me and be forgiven, but when you question the work of the Spirit, you are coming perilously close to the unforgivable sin. You are right at the line. You are looking down into the abyss of hell. One more step and there will be no hope for you.” He was warning them to be very careful not to insult or mock the Spirit. Is it really unforgivable, and WHAT IF I HAVE COMMITTED IT?!  AUGUSTINE: It is not that this was a blasphemy which under no circumstances could be forgiven, for even this shall be forgiven if right repentance follows it Thomas C. Oden and Christopher A. Hall, eds., Mark, Ancient Christian Commentary on Scripture (Downers Grove, IL: InterVarsity Press, 2005), 48. I'm worried that I have committed the unforgivable sin??  Graham: Many Christians have heard that there is an unpardonable sin and live in dread that something grave they have done before or after conversion might be that sin. Their fears are unfounded. While there is an unforgivable sin, it is not one that a true believer in Jesus Christ can commit. Sproul:  Humanly speaking, everyone who is a Christian is capable of committing the unforgivable sin. However, I believe that the Lord of glory who has saved us and sealed us in the Holy Spirit will never let us commit that sin. I do not believe that any Christians in the history of the church have blasphemed the Spirit. As for those who are not sure they are saved and are worried they may have committed the unpardonable sin, I would say that worrying about it is one of the clearest evidences that they have not committed this sin, for those who commit it are so hardened in their hearts they do not care that they commit it. Thanks be to God that the sin that is unpardonable is not a sin He allows His people to commit. I don't share Graham and Sproul's assurances, though I respect them both deeply. The Bible NEVER says a believer is unable to commit the unpardonable sin. Jesus NEVER indicates that, and I see no other passage that promises such...just a sober warning.  I think Piper strikes a better balance when talking about it:  Piper: The fact that there is an unforgivable sin — that there comes a point in a life of sin after which the Holy Spirit will no longer grant repentance — that fact should drive us from sin with fear and trembling. None of us knows when our toying with sin will pass over into irrevocable hardness of heart. Very few people feel how serious sin is. Very few people are on the same wavelength with Jesus when he said in Mark 9:43, “If your hand causes you to sin, cut it off; it is better for you to enter life maimed than with two hands to go to hell, to the unquenchable fire.” Instead, many professing Christians today have such a sentimental view of God's justice that they never feel terror and horror at the thought of being utterly forsaken by God because of their persistence in sin. They have the naïve notion that God's patience has no end and that they can always return from any length and depth of sin, forgetting that there is a point of resistance which belittles the Holy Spirit so grievously that he withdraws forever with his convicting power, leaving them never able to repent and be forgiven. They are like the buzzard who spots a carcass on a piece of ice floating in the river. He lands and begins to eat. He knows it is dangerous because the falls are just ahead. But he looks at his wings and says to himself, “I can fly to safety in an instant.” And he goes on eating. Just before the ice goes over the falls he spreads his wings to fly but his claws are frozen in the ice and there is no escape — neither in this age nor the age to come. The Spirit of holiness has forsaken the arrogant sinner forever. Another of the devil's fiery darts is this, “You have committed the unpardonable sin.” Ah! this arrow has rankled in many a heart, and it is very difficult to deal with such cases. The only way in which I argue with a person thus assailed is to say, “I am quite certain that, if you desire salvation, you have not committed the unpardonable sin, and I am absolutely sure that, if you will now come and trust Christ, you have not committed that sin, for every soul that trusts Christ is forgiven, according to God's Word, and therefore you cannot have committed that sin.” C. H. Spurgeon, Pictures from Pilgrim's Progress:  My close - God the Holy Spirit is all powerful. Tremble:  I don't want to blunt the warnings of Jesus with false assurance. It is likely that - if you are worried you've committed the unpardonable sin, that you haven't because only the Spirit's work in your life would make you fear the Lord. But the way that Jesus addressed this is with the highest level of seriousness...so must we. This passage RIGHTLY inspires fear in us, and that's ok, it should. It is obviously recorded in the Scripture for that purpose.  Proverbs 1:7 The fear of the Lord is the beginning of knowledge; fools despise wisdom and discipline. Proverbs 2:5 you will understand the fear of the Lord and discover the knowledge of God. Proverbs 10:27 The fear of the Lord prolongs life, but the years of the wicked are cut short. Rev 14:6  6 Then I saw another angel flying high overhead,(I) having the eternal gospel to announce to the inhabitants of the earth—to every nation, tribe, language, and people.(J) 7 He spoke with a loud voice: “Fear God and give Him glory, because the hour of His judgment has come. Worship the Maker of heaven and earth, the sea and springs of water.” The word for fear there has the same meaning as our word fear. It means FEAR.   Luke 12: In the same breath that Jesus speaks about the unpardonable sin, He says this:  4 “And I say to you, My friends, don't fear those who kill the body, and after that can do nothing more. 5 But I will show you the One to fear: Fear Him who has authority to throw people into hell after death. Yes, I say to you, this is the One to fear! 6 Aren't five sparrows sold for two pennies? Yet not one of them is forgotten in God's sight. 7 Indeed, the hairs of your head are all counted. Don't be afraid; you are worth more than many sparrows! Treat the Holy Spirit with great - remarkable sobriety - fear and wisdom. Fear the Lord, as Jesus said, and don't be afraid to trust Him - He who knows all of the sparrows and numbers our hairs, counts us as of great worth and Loves the World enough to send His son to rescue it.  Here's the good news: GREEAR: False gods mutilate us; the true God mutilated himself for us. The prophets of Ba'al begin by dancing around their altar. They end by slashing at themselves until their blood runs (1 Kings 18:28). False gods always push us toward destruction: “Work harder. Do better. Obtain more. You still aren't getting my attention. Slash yourself!” So we slash at our bodies by going through crash diets to attain that perfect figure. We slash at our families by overworking to make extra money. We slash at our souls by compromising our integrity to get someone's affection. False gods push us to mutilate ourselves, because we desperately want to win their approval. But only one God was ever mutilated for us—Jesus Christ. This story ends with a magnificent fire coming from heaven, but as Jesus himself points out to his first disciples, the fire was not intended for sinful humanity (Luke 9:51–56). It was ultimately intended for him: of all the characters in this story, Jesus is not Elijah, calling down fire; he is the sacrifice who receives the fire of judgment. At the cross, Jesus took into his body the fire of God's justice so that we could take into our lives the fire of God's love. Other gods demand dancing, slashing, mutilation. But Jesus Christ is the only God who was slashed and mutilated for us. As Tim Keller has said, “Every other god will make your blood run; only the true God bleeds for you.”

Episode 4: What is the Unforgivable sin??  It's a terrifying reality: Jesus warned His disciples and the Pharisees that there was a sin that could be committed that was unpardonable - unforgivable for all eternity. People have speculated and worried about this teaching of Jesus for hundreds of years. What precisely is the unpardonable sin? How can we know whether or not we've done it? Let's dive in! The Didache First century - RIGHT after the NT: Now concerning the apostles and prophets, deal with them as follows in accordance with the rule of the gospel. (4) Let every apostle who comes to you be welcomed as if he were the Lord. (5) But he is not to stay for more than one day, unless there is need, in which case he may stay another. But if he stays three days, he is a false prophet. (6) And when the apostle leaves, he is to take nothing except bread until he finds his next night's lodging. But if he asks for money, he is a false prophet. (7) Also, do not test or evaluate any prophet who speaks in the spirit, for every sin will be forgiven, but this sin will not be forgiven.35 Michael William Holmes, The Apostolic Fathers: Greek Texts and English Translations, Updated ed. (Grand Rapids, MI: Baker Books, 1999), 263–265. ANDREAS Andreas of Caesarea (Greek: Ἀνδρέας Καισαρείας; 563 – 637) : It is the sin of heresy, or of blasphemy against the Holy Spirit, which leads to death. If one man sins against another, pray for him. But if he sins against God, who is there who can pray on his behalf? And if even after all this, our opponents are still unwilling to learn and still unable to understand, they should at least stop speaking evil. They should not divide the Trinity lest they be divided from life.82 They should not classify the Holy Spirit with the creatures, lest, like the Pharisees of old who ascribed the works of the Spirit to Beelzebul,83 they too, on account of equal audacity, incur along with them the punishment which is unpardonable both now and in the future. Athanasius Works on the Spirit: Athanasius's Letters to Serapion on the Holy Spirit,  Grave-robbing, or the opening of graves, is divided into two kinds too, like theft, according to the present Canon, to wit, into pardonable and into unpardonable grave-robbing. For if the fellow opening the grave does not denude the dead person's body, thus refraining from dishonoring (for that is what is meant by the expression “sparing devoutness”) the dead, but only takes the stones found in the grave, in order to use them in the building of any other work that is preferable and more beneficial to the community, though this too is by no means anything to be praised, yet custom has made it pardonable.2 St. Nicodemus of the Holy Mountain - 1700s, Greek Orthodox church.  Swearing is a dreadful and harmful thing; it is a destructive drug, a bane and a danger, a hidden wound, a sore unseen, an obscure ulcer spreading its poison in the soul; it is an arrow of Satan, a flaming javelin, a two-edged sword, a sharp-honed scimitar, an unpardonable sin, an indefensible transgression, a deep gulf, a precipitous crag, a strong trap, a taut-stretched net, a fetter that cannot be broken, a noose from which no one escapes. 19. Are these enough, and do you believe that swearing is a dreadful thing and the most harmful of all sins? Believe me, I beg you, believe me! But if someone does not believe me, I now offer proof. This sin has what no other sin possesses. If we do not violate the other commandments, we escape punishment; on the other hand, in the matter of oaths, we are punished just the same both when we guard against transgressing and when we transgress. St. John Chrysostom, 300s AD St. John Chrysostom: Baptismal Instructions,  Hilary of Poitiers actually points us in a more biblical direction, in discussing the unpardonable sin: Every sin and blasphemy will be forgiven to men, but blasphemy of the Spirit will not be forgiven.67 With a very grave qualification, he condemns the view of the Pharisees and the perversion of those who also think like them. He promises pardon of all sins but refuses pardon for blasphemy of the Spirit. While other words and deeds are treated with a generous pardon, there is no mercy if it is denied that God is in Christ. 68 And in whatever way one sins without pardon, he is gracious to us and reminds us again that sins of every kind can be completely forgiven, though blasphemy against the Holy Spirit cannot be forgiven. For who is so completely beyond pardon as one who denies that Christ is of God, or repudiates that the substance of the Spirit of the Father resides in him Hilary of Poitiers, Commentary on Matthew, ed.  Spurgeon - Nobody knows what that sin is. I believe that even God's Word does not tell us, and it is very proper that it does not. As I have often said, it is like the notice we sometimes see put up, “Man-traps and spring gun set here.” We do not know whereabouts the traps and guns are, but we have no business over the hedge at all. So, “there is a sin unto death;” we are not told what that sin is, but we have no business to go over the hedge into any transgression at all. That “sin unto death” may be different in different people; but, whoever commits it, from that very moment, loses all spiritual desires. He has no wish to be saved, no care to repent, no longing after Christ; so dreadful is the spiritual death that comes over the man who has committed it that he never craves eternal life. C. H. Spurgeon, Pictures from Pilgrim's Progress: A Commentary on Portions of John Bunyan's Immortal Allegory (Bellingham, WA: Logos Bible Software, 2009), 73–74. Billy Graham:   The sin of the religious leaders, blasphemy against the Holy Spirit, was a refusal to accept the witness of the Holy Spirit to who Jesus was and what He had come to do, and then submit their lives to Him… Once again, the unpardonable sin is not some particularly grievous sin committed by a Christian before or after accepting Christ, nor is it thinking or saying something terrible about the Holy Spirit. Rather, it is deliberately resisting the Holy Spirit's witness and invitation to turn to Jesus until death ends all opportunity. Billy Graham is echoing the Augustinian (300s AD) view: Now the man who, not believing that sins are remitted in the Church, despises this great gift of God's mercy, and persists to the last day of his life in his obstinacy of heart, is guilty of the unpardonable sin against the Holy Ghost, in whom Christ forgives sins. Augustine of Hippo, “The Enchiridion,” in St. Augustin: On the Holy Trinity, Doctrinal Treatises, Moral Treatises, ed.  Augustine was reflecting the Origen view (early 300s): The Spirit dwells in those who live by faith. But those who once having been counted worthy to share in the Holy Spirit and then having finally and decisively turned their backs from grace are by this act said to have blasphemed against the Holy Spirit (ORIGEN  Who, then, is not amazed at the exceeding majesty of the Holy Spirit when he hears that he who speaks a word against the Son of man may hope for forgiveness, but that he who is guilty of blasphemy against the Holy Spirit has no forgiveness—either in the present world or in that which is to come. Origen What then is it? The unforgivable sin of blasphemy against the Holy Spirit is an act of resistance which belittles the Holy Spirit so grievously that he withdraws forever with his convicting power so that we are never able to repent and be forgiven. - John Piper.  Lee ann penick MODERN: There is only one “unpardonable sin” that can separate us from God for eternity. It is the ongoing, willful refusal to accept Christ as Lord and Savior and the forgiveness He offers. Jacob Arminius defined it as "the rejection and refusing of Jesus Christ through determined malice and hatred against Christ". Nancy Hardesty  “Ultimately the refusal to allow women to fully use their gifts in the church and in the world is a form of blasphemy against the Holy Spirit.”   Pope John Paul II writes "'blasphemy' does not properly consist in offending against the Holy Spirit in words; it consists rather in the refusal to accept the salvation which God offers to man through the Holy Spirit, working through the power of the Cross", and "If Jesus says that blasphemy against the Holy Spirit cannot be forgiven either in this life or in the next, it is because this "non-forgiveness" is linked, as to its cause, to "non-repentance," in other words to the radical refusal to be converted. This means the refusal to come to the sources of Redemption, which nevertheless remain "always" open in the economy of salvation in which the mission of the Holy Spirit is accomplished. SO - What is The unforgivable sin?? - is it, as Origen, Augustine, Billy Graham, Pope John Paul 2 Lee Ann Penick suggest - the rejection of the Holy Spirit/not becoming a follower of Jesus?? Is it, as John Chrysostom claimed, swearing oaths?  Is it the robbing of graves in a thieving manner? Is it not letting women use their spiritual gifts in the church? Is it Heresy? Is it, as Athanasius and many other church fathers declared, being wrong on the Trinity and calling the Holy Spirit a created being, rather than God Himself?  Is it testing prophetic utterances of prophets?? (NO! - 1 Thessalonians 5:19-21 Don't stifle the Spirit. 20 Don't despise prophecies, 21 but test all things. Hold on to what is good.) Confused? You should be!! People talk about this issue all of the time, but it doesn't appear that all of them get their views from the Bible, so let's begin there in seeking our answer.  Matthew 12:24 24 When the Pharisees heard this, they said, “The man drives out demons only by Beelzebul, the ruler of the demons.” 25 Knowing their thoughts, He told them: “Every kingdom divided against itself is headed for destruction, and no city or house divided against itself will stand. 26 If Satan drives out Satan, he is divided against himself. How then will his kingdom stand? 27 And if I drive out demons by Beelzebul, who is it your sons drive them out by? For this reason they will be your judges. 28 If I drive out demons by the Spirit of God, then the kingdom of God has come to you. 29 How can someone enter a strong man's house and steal his possessions unless he first ties up the strong man? Then he can rob his house. 30 Anyone who is not with Me is against Me, and anyone who does not gather with Me scatters.31 Because of this, I tell you, people will be forgiven every sin and blasphemy, but the blasphemy against the Spirit will not be forgiven.32 Whoever speaks a word against the Son of Man, it will be forgiven him. But whoever speaks against the Holy Spirit, it will not be forgiven him, either in this age or in the one to come. Mark 3: 22 The scribes who had come down from Jerusalem said, “He has Beelzebul in Him!” and, “He drives out demons by the ruler of the demons!” 23 So He summoned them and spoke to them in parables: “How can Satan drive out Satan? 24 If a kingdom is divided against itself, that kingdom cannot stand. 25 If a house is divided against itself, that house cannot stand. 26 And if Satan rebels against himself and is divided, he cannot stand but is finished! 27 “On the other hand, no one can enter a strong man's house and rob his possessions unless he first ties up the strong man. Then he will rob his house. 28 I assure you: People will be forgiven for all sins and whatever blasphemies they may blaspheme. 29 But whoever blasphemes against the Holy Spirit never has forgiveness, but is guilty of an eternal sin”— 30 because they were saying, “He has an unclean spirit.” Luke 12: 8 “And I say to you, anyone who acknowledges Me before men, the Son of Man will also acknowledge him before the angels of God, 9 but whoever denies Me before men will be denied before the angels of God.10 Anyone who speaks a word against the Son of Man will be forgiven,but the one who blasphemes against the Holy Spirit will not be forgiven. So, I see two major ways we need to answer this question. Contextually and grammatically.  What does the CONTEXT of the usage of ‘unpardonable sin' tell us, and what does the grammar/word meanings tell us?   We find a massively important clue in Mark 3:30, where Mark tells us precisely WHY Jesus warned the Pharisees and Scribes about this sin. “Because they were saying, He has an unclean spirit.”   The exact same situation is described in Matthew 12:31 “31 Because of this, I tell you, people will be forgiven every sin and blasphemy, but the blasphemy against the Spirit will not be forgiven”  The scribes and pharisees are accusing Jesus of doing miraculous things - specifically driving out demons - by the power of Beelzebul rather than by the power of God.  Therefore, we know at least this: Ascribing something like an exorcism that is factually done by the power of God and His Holy Spirit to Demonic influence is AT BEST dangerously close to Blaspheming the Holy Spirit, and could, in fact, be blaspheming the Holy Spirit. (Jesus does not make it crystal clear that the scribes and pharisees were actually committing this sin, or merely getting close to committing it. It would seem like the latter is the best option.)  Practically speaking, what does this mean?? It means we need to be extremely careful about stating confident opinions on spiritual matters that we don't have 100 percent clarity from Scripture on. Let me give a couple of examples:  Pushed over at Brownsville. Charles Carrin praying for us at GVAG. Flamboyant preachers on tv wadding up their coats and throwing them on people, who pass out. Blowing on people, who pass out. Etc.  Most of this is probably fraudulent, some of it horribly so. BUT - we should be incredibly careful about pronouncing opinions on what God's spirit would do, and wouldn't do.   For instance, there was a revival going on in the 90s that became very well known and reached a lot of people. I heard about some of the things going on at that revival that were disturbing, and sounded - quite frankly - ridiculous. So, I assumed that the movement wasn't of God, but was just flaky people doing flaky things - at best. HOWEVER...a few years later, I met the leader of the movement, and spent some time with him. He struck me as a genuine follower of God - a man who loved Jesus, and who was humble.  I still don't know what to think about that revival. God does, and I leave it to Him. It's outside of my realm of influence. According to Jesus - there is grave danger in ascribing the works of the Holy Spirit to Satan. You better be 100 percent sure you're right before doing such thing...and you'd better ask the question - HOW Do i Know FOR SURE that my opinion is right on this matter? If you can't answer that question with extreme clarity, then be careful saying what the Holy Spirit will or will not do, and be careful saying whether or not something is of Satan, or not. Contextually, that is at least a large part of what blaspheming the Holy Spirit is about.  What is blasphemy, exactly? More on that in a moment…. Side question - is Beelzebul = Satan?? It's a great question, and I have a fairly lame answer…'maybe.'  Beelzebub (“Lord of the flies”) and Beelzebul (“Lord of the skies/heavenly realms”) both refer to the same entity.  In the Testament of Solomon, 1st century, non-Scripture, pseudoepigraphic text.  Beelzebul (not Beelzebub) appears as prince of the demons and says (6.2) that he was formerly a leading heavenly angel who was (6.7) associated with the star Hesperus (which is the normal Greek name for the planet Venus (Αφροδíτη) as evening star). Seemingly, Beelzebul here is synonymous with Lucifer. the text describes how Solomon was enabled to build his temple by commanding demons by means of a magical ring that was entrusted to him by the archangel Michael.  The Bible reference comes from 2 Kings 1: 1 After the death of Ahab, Moab rebelled against Israel. 2 Ahaziah had fallen through the latticed window of his upper room in Samaria and was injured. So he sent messengers instructing them: “Go inquire of Baal-zebub, the god of Ekron, if I will recover from this injury.” 3 But the angel of the Lord said to Elijah the Tishbite, “Go and meet the messengers of the king of Samaria and ask them, ‘Is it because there is no God in Israel that you are going to inquire of Baal-zebub, the god of Ekron?' 4 Therefore, this is what the Lord says: ‘You will not get up from your sickbed—you will certainly die.'” Then Elijah left. The name also appears in Luke 11, where we can see the clearest connection between Beelzebul and Satan: Luke 11:14 Now He was driving out a demon that was mute. When the demon came out, the man who had been mute, spoke, and the crowds were amazed. 15 But some of them said, “He drives out demons by Beelzebul,the ruler of the demons!” 16 And others, as a test, were demanding of Him a sign from heaven. 17 Knowing their thoughts, He told them: “Every kingdom divided against itself is headed for destruction, and a house divided against itself falls.18 If Satan also is divided against himself, how will his kingdom stand? For you say I drive out demons by Beelzebul. 19 And if I drive out demons by Beelzebul, who is it your sons drive them out by? For this reason they will be your judges. 20 If I drive out demons by the finger of God, then the kingdom of God has come to you. So, Jesus mentions Satan and Beelzebul in the same context, but not in a way that indicates that they are the same entities.  My best guess is that Beelzebul is a separate entity from Satan, but I confess that I do not know, and my guess is based on the fact that the Bible never clearly identifies the two as the same entity. What exactly is Blasphemy?  Luke 12:10 points us in the right direction - anyone who ‘speaks a word against the son of man will be forgiven.' but the one who blasphemes the Holy Spirit will not be forgiven. Matthew 12:32 makes it even more clear: 32 Whoever speaks a word against the Son of Man, it will be forgiven him. But whoever speaks against the Holy Spirit, it will not be forgiven him, either in this age or in the one to come. Similarly: Isaiah 37:23 Isaiah 37:23 Who is it you have mocked and blasphemed? Who have you raised your voice against and lifted your eyes in pride? Against the Holy One of Israel! The Word itself, Greek Blasphemos, is a combo of two words. Blaptō, which means, ‘to HURT' and Pheemay, which means fame, report, or something like ‘reputation.' So, etymologically, the word  has a root meaning of injuring somebody's fame, or good name. The word can mean ‘defame' or ‘revile' and isn't always used of a deity. Paul speaks of being ‘defamed' or blasphemed by people for being an apostle. Paul commands the church in Titus 3:2 not to slander/Speak evil of (or BLASPHEME) any person, which is a command that Christians would do well to take far more seriously than we do.  2 Peter 2:10 and Jude vs 8 both warn against blaspheming angels, demons, and other spiritual beings.  So- blasphemy is speaking evil of someone. Hurting them with your words, harming their reputation. Thus, blaspheming the Holy Spirit is speaking evil of Him, reviling Him, defaming Him, seeking to harm His reputation. The Pharisees and Scribes were doing that - or coming dangerously close - when they said that it was Satan/Beelzebul empowering Jesus, when it was factually the Spirit of God Himself.  R.C. Sproul: Their statements were directed against Jesus. So, He said to them: “You can blaspheme Me and be forgiven, but when you question the work of the Spirit, you are coming perilously close to the unforgivable sin. You are right at the line. You are looking down into the abyss of hell. One more step and there will be no hope for you.” He was warning them to be very careful not to insult or mock the Spirit. Is it really unforgivable, and WHAT IF I HAVE COMMITTED IT?!  AUGUSTINE: It is not that this was a blasphemy which under no circumstances could be forgiven, for even this shall be forgiven if right repentance follows it Thomas C. Oden and Christopher A. Hall, eds., Mark, Ancient Christian Commentary on Scripture (Downers Grove, IL: InterVarsity Press, 2005), 48. I'm worried that I have committed the unforgivable sin??  Graham: Many Christians have heard that there is an unpardonable sin and live in dread that something grave they have done before or after conversion might be that sin. Their fears are unfounded. While there is an unforgivable sin, it is not one that a true believer in Jesus Christ can commit. Sproul:  Humanly speaking, everyone who is a Christian is capable of committing the unforgivable sin. However, I believe that the Lord of glory who has saved us and sealed us in the Holy Spirit will never let us commit that sin. I do not believe that any Christians in the history of the church have blasphemed the Spirit. As for those who are not sure they are saved and are worried they may have committed the unpardonable sin, I would say that worrying about it is one of the clearest evidences that they have not committed this sin, for those who commit it are so hardened in their hearts they do not care that they commit it. Thanks be to God that the sin that is unpardonable is not a sin He allows His people to commit. I don't share Graham and Sproul's assurances, though I respect them both deeply. The Bible NEVER says a believer is unable to commit the unpardonable sin. Jesus NEVER indicates that, and I see no other passage that promises such...just a sober warning.  I think Piper strikes a better balance when talking about it:  Piper: The fact that there is an unforgivable sin — that there comes a point in a life of sin after which the Holy Spirit will no longer grant repentance — that fact should drive us from sin with fear and trembling. None of us knows when our toying with sin will pass over into irrevocable hardness of heart. Very few people feel how serious sin is. Very few people are on the same wavelength with Jesus when he said in Mark 9:43, “If your hand causes you to sin, cut it off; it is better for you to enter life maimed than with two hands to go to hell, to the unquenchable fire.” Instead, many professing Christians today have such a sentimental view of God's justice that they never feel terror and horror at the thought of being utterly forsaken by God because of their persistence in sin. They have the naïve notion that God's patience has no end and that they can always return from any length and depth of sin, forgetting that there is a point of resistance which belittles the Holy Spirit so grievously that he withdraws forever with his convicting power, leaving them never able to repent and be forgiven. They are like the buzzard who spots a carcass on a piece of ice floating in the river. He lands and begins to eat. He knows it is dangerous because the falls are just ahead. But he looks at his wings and says to himself, “I can fly to safety in an instant.” And he goes on eating. Just before the ice goes over the falls he spreads his wings to fly but his claws are frozen in the ice and there is no escape — neither in this age nor the age to come. The Spirit of holiness has forsaken the arrogant sinner forever. Another of the devil's fiery darts is this, “You have committed the unpardonable sin.” Ah! this arrow has rankled in many a heart, and it is very difficult to deal with such cases. The only way in which I argue with a person thus assailed is to say, “I am quite certain that, if you desire salvation, you have not committed the unpardonable sin, and I am absolutely sure that, if you will now come and trust Christ, you have not committed that sin, for every soul that trusts Christ is forgiven, according to God's Word, and therefore you cannot have committed that sin.” C. H. Spurgeon, Pictures from Pilgrim's Progress:  My close - God the Holy Spirit is all powerful. Tremble:  I don't want to blunt the warnings of Jesus with false assurance. It is likely that - if you are worried you've committed the unpardonable sin, that you haven't because only the Spirit's work in your life would make you fear the Lord. But the way that Jesus addressed this is with the highest level of seriousness...so must we. This passage RIGHTLY inspires fear in us, and that's ok, it should. It is obviously recorded in the Scripture for that purpose.  Proverbs 1:7 The fear of the Lord is the beginning of knowledge; fools despise wisdom and discipline. Proverbs 2:5 you will understand the fear of the Lord and discover the knowledge of God. Proverbs 10:27 The fear of the Lord prolongs life, but the years of the wicked are cut short. Rev 14:6  6 Then I saw another angel flying high overhead,(I) having the eternal gospel to announce to the inhabitants of the earth—to every nation, tribe, language, and people.(J) 7 He spoke with a loud voice: “Fear God and give Him glory, because the hour of His judgment has come. Worship the Maker of heaven and earth, the sea and springs of water.” The word for fear there has the same meaning as our word fear. It means FEAR.   Luke 12: In the same breath that Jesus speaks about the unpardonable sin, He says this:  4 “And I say to you, My friends, don't fear those who kill the body, and after that can do nothing more. 5 But I will show you the One to fear: Fear Him who has authority to throw people into hell after death. Yes, I say to you, this is the One to fear! 6 Aren't five sparrows sold for two pennies? Yet not one of them is forgotten in God's sight. 7 Indeed, the hairs of your head are all counted. Don't be afraid; you are worth more than many sparrows! Treat the Holy Spirit with great - remarkable sobriety - fear and wisdom. Fear the Lord, as Jesus said, and don't be afraid to trust Him - He who knows all of the sparrows and numbers our hairs, counts us as of great worth and Loves the World enough to send His son to rescue it.  Here's the good news: GREEAR: False gods mutilate us; the true God mutilated himself for us. The prophets of Ba'al begin by dancing around their altar. They end by slashing at themselves until their blood runs (1 Kings 18:28). False gods always push us toward destruction: “Work harder. Do better. Obtain more. You still aren't getting my attention. Slash yourself!” So we slash at our bodies by going through crash diets to attain that perfect figure. We slash at our families by overworking to make extra money. We slash at our souls by compromising our integrity to get someone's affection. False gods push us to mutilate ourselves, because we desperately want to win their approval. But only one God was ever mutilated for us—Jesus Christ. This story ends with a magnificent fire coming from heaven, but as Jesus himself points out to his first disciples, the fire was not intended for sinful humanity (Luke 9:51–56). It was ultimately intended for him: of all the characters in this story, Jesus is not Elijah, calling down fire; he is the sacrifice who receives the fire of judgment. At the cross, Jesus took into his body the fire of God's justice so that we could take into our lives the fire of God's love. Other gods demand dancing, slashing, mutilation. But Jesus Christ is the only God who was slashed and mutilated for us. As Tim Keller has said, “Every other god will make your blood run; only the true God bleeds for you.”

Utropstecknet kan både signalera ilska och glädje. Kulturskribenten Kristina Lindquist berättar utifrån egna erfarenheter om hur det också kan representera något mycket större än så. ESSÄ: Detta är en text där skribenten reflekterar över ett ämne eller ett verk. Åsikter som uttrycks är skribentens egna. det väller liksom fram en flod av grönska, av blad   barr och fågelsång! Se där en talande rad ur Eva-Stina Byggmästars diktsamling Barrskogarnas barn från 2014. I Byggmästars skogar finns inga skuggor, bara en yster och naivistisk naturlyrik från första till sista sidan och just det: en massa utropstecken. Får poesi verkligen se ut såhär? Så uppsluppen! skrev Svenska dagbladets kritiker Therese Eriksson i sin recension. För utropstecknet är ganska sällsynt i den kulturella offentligheten, och något av ett svart får i skriftspråket överhuvudtaget. Ända sedan 1800-talet har det enligt språkforskaren Siv Strömquist varnats för detta stöddiga skiljetecken, som inte sällan beskrivs som skrikigt och vulgärt. Jag minns hur en bekant som arbetade med att besvara allmänhetens brev på Rosenbad fick instruktionen att ersätta det alldeles korrekta utropstecknet i hälsningsfraserna med ett komma utropstecknet var helt enkelt för familjärt för statsförvaltningen. Och i TT-språkets skrivregler konstateras bara helt kort att utropstecknet bör användas sparsamt. utropstecknets explicita tydlighet ställs mot ett rådande stilideal som upphöjer det vaga och outtalade. För tio år sedan skrev den brittiska journalisten Stuart Jeffries i The Guardian om en renässans för utropstecknet i den digitala tidsålderns kommunikation, där detta skiljetecken kan innebära den stora skillnaden mellan det avmätta och det förtjusta. Vi ses på konferensen [utropstecken] förmedlar något helt annat än Vi ses på konferensen [punkt]. Forskning visar också att kvinnor använder utropstecken i högre utsträckning än män, vilket språkforskaren Carol Waseleski förklarar med att utropstecknet kan utstråla vänlighet vilket alltså anses utmärkande för kvinnors sätt att kommunicera. Men utropstecknets status som det mest förtalade bland skiljetecken rubbas nog inte så lätt. Det är en flåsig gaphals vi talar om som gjord för det militära eller för samtidens råbarkade debatter i kommentarsfält och på Twitter. Jeffries tar i sin artikel upp kriminalförfattaren Elmore Leonard, som sagt att två eller tre utropstecken per hundratusen ord prosa möjligen kan passera, vilket innebär ungefär ett per medellång roman. Fantasyförfattaren Terry Pratchett låter en av sina romanfigurer säga att fler än ett i följd av detta skiljetecken är ett uttryck för en sjuk hjärna, medan F.  Scott Fitzgerald ansåg att den som överhuvudtaget använder det lika gärna kan skratta åt sina egna skämt. Herrarna har nog en poäng, och samtidigt kan utropstecknet som fenomen bevisligen ligga till grund både för litterär intrig och tidlös komedi. I den klassiska komediserien Seinfeld kraschar förhållandet mellan Elaine och hennes författarkille för att han inte använder utropstecken i ett nedskrivet telefonmeddelande om en nyfödd bebis i bekantskapskretsen. Hon tycker att han struntar i hennes vänner, han tycker att hon är lite väl slampig med sina skiljetecken. I ett avsnitt av Sex and the city förvandlas ett utlovat utropstecken till ett frågetecken på omslaget till  New York Magazine, som pryds av en osmickrande bild av huvudpersonen Carrie. Tidningsrubriken Singel och fantastisk? formulerat som en fråga snarare än med utropstecknets sköna självsäkerhet får Carrie att ifrågasätta hela sin sorglösa livsstil. Utropstecknet är alltså ett tecken som både väcker och uttrycker känslor, och känslor får väl generellt sägas ha ganska låg status i vårt samhälle. Men kanske handlar frågan också om att utropstecknets explicita tydlighet ställs mot ett rådande stilideal som upphöjer det vaga och outtalade. I en illustrativ passage i romanen Argonauterna fastnar författaren Maggie Nelson vid de tomma hakparenteser som den inflytelserika författaren Anne Carson gett som skriftliga intervjusvar i en tidning  och som signalerar ett slags tyst och sofistikerad återhållsamhet. Nelson skriver: Åsynen av Carsons hakparenteser fick mig genast att skämmas för min tvångsmässiga drift att lägga korten mer bestämt på bordet. Men ju mer jag tänkte på hakparenteserna, desto mer störde de mig. De tycktes göra en fetisch av det osagda. Utropstecknet lägger verkligen korten bestämt på bordet, och tvingar fram ställningstaganden i en tid när det värsta man kan vara är tvärsäker alldeles oavsett vad man är tvärsäker på. På senare tid har så kallad samtalsaktivism blivit på modet, det vill säga tekniken att genom diskussion och möten försöka motverka polarisering i samhället. Här tycks förmågan att förflytta sig vara viktigare än att syna innehållet i de inte sällan extrema åsikter som genom denna typ av samtal erbjuds en plattform. Rörligheten i ståndpunkter blir närmast ett bevis för ett rörligt intellekt, och då finns inte plats för några rigida utropstecken. All förundran är borta med honom, liksom den kraft som utropstecknet för med sig till det skrivna språket mellan människorna. Men låt oss återvända till känslorna. I den tidiga novellen Utropstecknet skildrar Anton Tjechov en statstjänsteman som vid juletid konfronteras med att han under 40 yrkesår aldrig har använt ett utropstecken: Fördömt! När använder man egentligen utropstecken? Den grammatiskt skolade hustrun får hjälpa till: Vid hälsningar och utrop och vid uttryck för jubel, indignation och ilska, upplyser hon. Den osalige tjänstemannen jagas av sina utropstecken, och ser hur människor omkring honom förvandlas till långa streck med en punkt under. För tänk om han på 40 år inte har upplevt en enda känsla som förtjänat ett utropstecken vad säger det om hans liv? Jag tror eller rättare sagt: jag vet  att det också kan gå åt andra hållet, så att de starkaste av känslor kan kortsluta användningen av detta känslotecken. Den grönländska poeten Naja Marie Aidt beskriver i den prosalyriska romanen Har döden tagit något ifrån dig så ge det tillbaka om hur sorgen efter hennes vuxna son slog sönder all syntax och begriplighet i hennes formuleringar. inget språk möjligt språk dog med mitt barn, skriver hon i en lång ordmassa helt utan skiljetecken. När mitt eget barn dog hände det något med mina utropstecken, och specifikt med dem. Utropstecknen försvann ur all skriven kommunikation, och har ännu inte återvänt. Det handlar inte bara om brist på glädje och entusiasm, utan om något som kanske står att finna i utropstecknets historiska rötter. I vår äldsta bevarade handledning i användandet av skiljetecken talas det om förundringstecken, eller punctus admirativus. Utropstecknet hör i sitt ursprung alltså hemma inför skapelsens och varats mirakel. Och för den som sett all sådan skönhet i sin nyfödda sons knubbiga ansikte finns ingen förundran kvar på jorden, inte sedan han skickats iväg för gravsättning i en mönstrad pyjamas. All förundran är borta med honom, liksom den kraft som utropstecknet för med sig till det skrivna språket mellan människorna. Annat är det i nattens ordlösa klagan, där utropstecknen kastas mot en tom himmel utan svar. Jag läser Jobs bok i Gamla testamentet, och dess berättelse om mannen som inte bara förlorar sina barn och allt han äger utan också drabbas av svåra sjukdomar. Här finns naturligt nog en hel del förtvivlade utropstecken: Ropa bara! Finns det någon som svarar?, som det står i femte kapitlet. Och lite längre fram: Om jag tänker: 'Det lättar när jag lagt mig, sömnen skall lindra min sorg', då skrämmer du mig med drömmar, förfärar mig med syner, så att jag hellre vill kvävas. Hellre döden än denna plåga! För utropstecknet må vara en flåsig gaphals som skrattar åt sina egna skämt i den politiska polariseringens tid. Men det kan också både i sin närvaro och i sin frånvaro bära på ett möjligt språk för det mänskliga livets yttersta gränser. Kristina Lindquist, kulturskribent Litteratur Naja Marie Aidt: Har döden tagit något ifrån dig så ge det tillbaka (Wahlström & Widstrand, 2018) Bibeln. Job 5:1, 7:13-15 (2000) Eva-Stina Byggmästar: Barrskogarnas barn (Wahlström & Widstrand, 2014) Stuart Jeffries: The joy of exclamation marks! (The Guardian, 29/4 2009) Maggie Nelson: Argonauterna (Modernista, 2016) Siv Strömquist: Skiljeteckensboken (Morfem, 2013) Anton Tjechov: The exclamation mark (Hesperus classics, 2008)

Early in the second century a pagan named Catallus bought Hesperus, his wife Zoë, and their sons Cyriac and Theodulus as slaves. All of them were Christians, and would not eat anything that had been sacrificed to idols — they would throw all such food to the dogs and go hungry themselves. When Catallus learned of this, he was enraged and began to torture them cruelly, beginning with the children. When none of them could be moved from his confession of Christ, the entire family was cast into a hot furnace, where they gave up their souls to God. Their bodies remained unburnt.

In the early 17th century, 300 English settlers traveled to the new colony of Maryland in search of new opportunities and a place where they could practice their Catholic faith in peace. They built Maryland’s first capital, St. Mary’s City, and their city thrived...until its founders fell from power in England. Soon, St. Mary’s City was abandoned and it’s wooden structures rotted. The city lay hidden under farm fields and forests until archeological efforts led to the formation of Historic St. Mary’s City, a living history center that tells the story of the fourth permanent English settlement in America. TRANSCRIPT This episode is sponsored by the Lyndhurst Group. Music in this episode is by Hesperus, from their albums An Early American Quilt and Colonial America, released on the Maggie’s Music Label. Find more information on the museum and photos on my website, hhethmon.com. If you enjoy Museums in Strange Places, please help me keep it going by leaving a review on iTunes or sharing this episode with a friend. Let me know what you think by sending me a tweet @hannah_rfh. Interested in starting a podcast at your organization? Check out my new book, Your Museum Needs a Podcast: A Step by Step Guide to Podcast on a Budget for Museums, History Organizations, and Cultural Nonprofits. 

Темою програми буде американська музика раннього колоніального періоду. Проведемо час в компанії американського колективу Hesperus – це ансамбль ранньої та народної музики, заснований в 1968 році. Іван Семесюк має всі альбоми гурту і ділиться записами в подкасті.

Oh Lydia, oh Lydia, say, have you met Lydia? Lydia The Tattooed Lady. She has eyes that folks adore so, and a torso even more so. Lydia, oh Lydia, that encyclo-pidia. Oh Lydia The Queen of Tattoo. On her back is The Battle of Waterloo. Beside it, The Wreck of the Hesperus too. And proudly above waves the red, white, and blue. You can learn a lot from Lydia! La-la-la...la-la-la. La-la-la...la-la-la. When her robe is unfurled she will show you the world, if you step up and tell her where. For a dime you can see Kankakee or Paree, or Washington crossing The Delaware. La-la-la...la-la-la. La-la-la...la-la-la. Oh Lydia, oh Lydia, say, have you met Lydia? Lydia The Tattooed Lady. When her muscles start relaxin', up the hill comes Andrew Jackson. Lydia, oh Lydia, that encyclo-pidia. Oh Lydia The Queen of them all. For two bits she will do a mazurka in jazz, with a view of Niagara that nobody has. And on a clear day you can see Alcatraz. You can learn a lot from Lydia! La-la-la...la-la-la. La-la-la...la-la-la. Come along and see Buffalo Bill with his lasso. Just a little classic by Mendel Picasso. Here is Captain Spaulding exploring the Amazon. Here's Godiva, but with her pajamas on. La-la-la...la-la-la. La-la-la...la-la-la. Here is Grover Whelan unveilin' The Trilon. Over on the west coast we have Treasure Isle-on. Here's Nijinsky a-doin' the rhumba. Here's her social security numba. La-la-la...la-la-la. La-la-la...la-la-la. Lydia, oh Lydia, that encyclo-pidia. Oh Lydia The Champ of them all. She once swept an Admiral clear off his feet. The ships on her hips made his heart skip a beat. And now the old boy's in command of the fleet, for he went and married Lydia! I said Lydia... (He said Lydia...) They said Lydia... We said Lydia, la, la!

In 1899, construction on the Flannan Isles lighthouse was completed, perched atop Eilean Mòr, one of the highest points in the Outer Hebrides off the western coast of Scotland. It would soon experience its first tragedy and an enduring mystery. For several days, it's light could not be seen and on December 15, 1900, the ship Archtor documented this concern in its log while heading to port in Leith. However, 11 days would pass before the lighthouse tending ship Hesperus would be able to dock at Eilean Mòr due to foul weather, for which the area is well-known. What they discovered, or rather, didn't discover, would lead to one of the biggest mysteries of this enchanted region. Serious storm damage was evident on the island, but nothing seemed amiss inside the lighthouse itself except for the fact that the three lighthouse keepers had vanished and would never be seen again.   Visit our website for a lot more information on this episode: http://www.astonishinglegends.com/al-podcasts/2018/06/24/ep-111-mystery-of-the-flannan-isles-lighthouse

The Old Fort at Hesperus' team sees farming education as a continuum where different people are best served by discreet programs, depending on their interests and stage of development. Their sustainable agriculture program includes an educational garden internship, a farmer-in-training program, and market garden incubator.

Produced by Marina Hansen and Billy Newman Link Marina Hansen Instagram - https://www.instagram.com/marinavisual/ Billy Newman Instagram - https://www.instagram.com/billynewman/ Website Billy Newman Photo - http://billynewmanphoto.com/ YouTube - https://www.youtube.com/channel/UCRxCs7sDRYcJoNls364dnPA Facebook Page - https://www.facebook.com/billynewmanphotos/ Twitter - https://twitter.com/billynewman Patreon - https://www.patreon.com/billynewmanphoto Website Billy Newman Photo - http://billynewmanphoto.com/ About  -  http://billynewmanphoto.com/about/ Get Out There Podcast Feed http://billynewmanphoto.com/feed/podcast/getoutthere Media Tech Podcast Feed http://billynewmanphoto.com/feed/podcast/media-tech-podcast Billy Newman Photo Podcast Feed http://billynewmanphoto.com/feed/podcast/billynewmanphotopodcast The Night Sky Podcast Feed http://billynewmanphoto.com/feed/podcast/thenightskypodcast Ebook Working With Film (2013) http://billynewmanphoto.com/wp-content/uploads/2016/09/Working_With_Film.pdf Ebook Western Overland Excursion (2012) http://billynewmanphoto.com/wp-content/uploads/2017/08/Western-Overland-Excursion-E-book-0812.pdf The Night Sky Podcast | Hesperus And The Summer Triangle Hello, and thank you for listening to this episode of the night sky podcast. My name is Billy Newman. And I'm Marina Hansen. And we're really happy to be back again, this week, one more time to do a little bit of a rundown of the news. And some of the cool observations that we've been making of the night sky. The summer sky right now here in July, in the Northern Hemisphere has been really cool. There's a lot of stuff going on. It's just always good observation, weather, right? Like we get to go out every night, we can see more stuff. And the Milky Way's making it up pretty high in the sky now. So that's pretty cool to get to go out and see every night, but there's a lot of cool stuff like in the south sky, with Sagittarius Scorpio and the planets that are out. So it's been cool just to go out and kind of see the progression night over night. A lot of fun doing that with you. Yeah, it's been really fun having some summer weather, some clear skies. observation, I want to do more like telescope observations with Yeah, I do, too. I really what I really want to do, I want to do telescope observations. But I also want to get a pair of binoculars. Oh, yeah, I think that'd be really fun. You know, I think that binoculars would be the way to go for us. And I think that'd be really cool to get into some of the de

The Wreck of the Hesperus

On the 26th December, 1900, a small ship approached the remote island of Eilean Mor. It was a small eruption of land, uninhabited aside from a small battery of 3 men, whose job was to operate and maintain the isles lighthouse. The relief vessel Hesperus was to bring supplies and rotate a fourth member of the lighthouse team. As the ship closed in on the barren Isle, the sight of the lighthouse on the edge of a sheer cliff sprung out from a bleak landscape. Joseph Moore, the member of the lighthouse crew who would be rotating in, noted that curiously, there was no flag flying on the flagpole, nor were there any provision boxes placed out for restocking. The crew on the boat fired off several blasts of the horn, splitting the quiet air. As they waited for a sign or reply from the lighthouse, an ominous feeling hit Joseph, things, it appeared, were not quite right on Eilean Mor. For extended show notes, including maps, links and scripts, head over to darkhistories.com Support the show by using our link when you sign up to Audible: http://audibletrial.com/darkhistories or visit our Patreon for bonus episodes and Early Access: https://www.patreon.com/darkhistories Connect with us on Facebook: http://facebook.com/darkhistoriespodcast Or find us on Twitter: http://twitter.com/darkhistories & Instagram: https://www.instagram.com/dark_histories/ Or you can contact us directly via email at contact@darkhistories.com or join our Discord community: https://discord.gg/6f7e2pt Music was recorded by me © 2017  

On the 20th of December 1900, the lighthouse tender Hesperus approached the Flannan Isles with supplies for the lighthouse. When they approached, they new something was wrong. There were no signs of the three-man crew. The island was search. The men were gone and they were never seen again. This is the story of the Flannan Isles Lighthouse mystery. Show notes and links: * Pharos of Alexandria | ancient lighthouse, Alexandria, Egypt (britannica.com) * Flannan Isles Lighthouse – Wikipedia (wikipedia.org) * This link has no title (uslhs.org) * Lighthouses@Lighthouse Digest … The Mysterious Disappearance of the Flannan Islands Lighthouse Keepers (lighthousedigest.com) * The Great Lighthouse Mystery of Eilean Mor (mysteriousuniverse.org) * The mysterious disappearance of the Eilean Mor lighthouse keepers. (historic-uk.com) * The Vanishing Lighthousemen of Eilean Mor | Mike Dash (academia.edu) * Has mystery of Flannan Isles finally been solved? (sundaypost.com)

First published in 1840, "The Village Blacksmith" by Henry Wadsworth Longfellow is a wonderful example of a short, narrative poem. It not only tells the reader a story, but it is one which many can relate to since it is really a story of the "everyman". After its initial publication in a periodical, "The Village Blacksmith" was then included in a volume of Longfellow's works entitled Ballads and Other Poems, published in 1841, which included other now well-known poems such as, "The Wreck of the Hesperus" and "Excelsior".

First published in 1840, "The Village Blacksmith" by Henry Wadsworth Longfellow is a wonderful example of a short, narrative poem. It not only tells the reader a story, but it is one which many can relate to since it is really a story of the "everyman". After its initial publication in a periodical, "The Village Blacksmith" was then included in a volume of Longfellow's works entitled Ballads and Other Poems, published in 1841, which included other now well-known poems such as, "The Wreck of the Hesperus" and "Excelsior".

Winter is coming, and so is the buzz that you get from drinking the Hesperus barleywine from Rising Tide Brewing. Special guest Andrew Crust, Assistant Conductor of the Portland Symphony Orchestra, we discuss winter symphonies, the future of the orchestra, and how incredibly delicious this barleywine is. Happy Holidays from Bach to Bock!

This week on "A Way with Words": This week on "A Way with Words": Can language change bad behavior in crowded places? The Irish Railway system has launched ad campaign to encourage passengers to be more generous at boarding time. For example, have you ever rummaged through your belongings or pretended to have an intense phone conversation in order to keep someone from grabbing the seat next to you? Then you're busted -- there's a word for that! Also, one of America's top experts on garage sales is looking for the right term for that kind of bargain-hunting. Is it garage-sailing? Yard-selling? Or something else? Plus, a Godfather-themed word game you can't refuse. And conversational openers, see-saw vs. teeter-totter, ledged out, scartling, trade-last, and beat the band. FULL DETAILS If you're the type of person who wants so badly to sit alone on a train that you have strategies for deterring other passengers from taking the seat next to yours, the Irish train system is onto you. Irish Rail's #GiveUpYourSeat campaign has posters all over trains warning people about frummaging (pretending to rummage through your bag in the seat next to yours) and snoofing (spoof snoozing).   The guy who may be the nation's foremost garage sale expert called us from Crescent City, California, with a question that's vital for anyone writing or thinking about garage sales: Do the verbs garage-saling or yard-saling refer to the person holding the sale or the shopper visiting the sale? Someone who looks like the wreck of Hesperus isn't exactly looking their best. The idiom comes from a Henry Wadsworth Longfellow poem, inspired by an 1839 blizzard off the coast of Massachusetts that destroyed 20 ships. Quiz Guy John Chaneski presented a word game we couldn't refuse based on the line in The Godfather, "I'm gonna make him an offer he can't refuse." Except in this game, he can't refuse is replaced with other words that rhyme. There's no one correct way to pronounce buried, but depending on where you live, it might be common to hear it in a way that rhymes with hurried. As the spelling of the word changed from the original old English version, byrgan, no single standard pronunciation was settled on. A mobile-phoney, as defined by the Irish rail system's new ad campaign, is someone on a train who pretends to be having a phone conversation in order to prevent fellow passengers from taking the seat next to them. The exhortation in Shakespeare's Henry V, "Once more unto the breach, dear friends," is now a part of common speech. But not every fan of the Bard knows what a breach is. It's simply a gap—a space between two things. Scartle is an old Scots word meaning to scrape together little bits of things, like picking the coins and crumbs out of a car seat. Bill Cosby is perhaps the latest but certainly not the first celebrity whom the public has fallen out of love with over something terrible they did that went public. Is there a term for this kind of mass disenchantment with a celebrity? Goggle-bluffing is the train passenger's trick of averting your line of eyesight so as to fool other passengers into not taking the seat next to you. The first occasion when a new mother sees company after having a baby is called the upsitting. But upsitting in certain cultures is also used to describe a courtship ritual where two people on either sides of a thin partition get to flirt with each other. William Charles Baldwin talks about it in his book, African Hunting, From Natal to Zambesi. What do you call the piece of playground equipment with a long board and spots for a kid to sit on either end and make it go up and down? A see-saw? A teeter-totter? A flying jenny, or a joggling board? The term you're most familiar with likely has to do with where you grew up. When hiking off-trail, it's important to keep an eye on where you've been as well as where you're going. Otherwise, you run the risk of what experienced hikers call being ledged out, which means you've descended to a point where you can't go any farther, but you've slid down so far that you can't go back up and try a different route. It's a good metaphor for life as well. A trade-last, also known as a told-last, is a compliment that's relayed to the intended recipient by someone else. We've spoken on the show before about conversation openers that differ from the often dreaded "What do you do?" and we heard from one listener who prefers "What keeps you busy?" Beat the band, as in, it's snowing to beat the band, or he's dressed to beat the band, is an idiom that's mainly used as a positive intensifier. It evolved from shouting to beat the band, meaning someone is talking so loudly they can be heard over the music. Billennials, or bilingual millennials, is a new term being bandied about by marketers and television programmers who've realized that young Americans who grew up in Spanish-speaking homes don't necessarily care for the traditional telenovela style shows on Spanish language networks. This episode is hosted by Grant Barrett and Martha Barnette. -- A Way with Words is funded by its listeners: http://waywordradio.org/donate Get your language question answered on the air! 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