Podcasts about how deep

These REVING The Word "Be Still & Be Loved" broadcasts are dedicated to training your heart and soul in the art of rest and stillness. Learning how to be still and rest is crucial to any well rounded physical fitness program and even more so to our faith. We can not give away what we don't have. Be still and know that you are loved.  Playlist: On Earth as It Is in Heaven- William Augusto (17:34) How Deep the Father's Love For Us (Live) - Revere, Citizens & Mission House (4:46)

Now available on record, 8-track or cassette! Greatest hits of Saturday night fever: 1. Stayin' Alive (barely) 2. Night Fever (an STD from the gang rape in the car) 3. How Deep is Your Love (I can't feel anything because I'm dead inside). Dance to the Disco Inferno (because L. Ron Hubbard sets you on fire if you're gay!) Check, money order or COD.

Today Mike and Robbie talk about mistakes they made in Ohio and more importantly, what they learned. Even bad races can be success stories if you learn and use that to become better at racing. We talk about pre-race nerves, pacing, how the swim impacts your bike, what endurance means when it comes to discomfort. Also, how deep can you dig and are you willing to make changes to get better. You shouldn't always have to depend on adrenaline… today it's about getting faster and making races feel easier.  Topics: Mike's coaching Short Ironman Builds What you want more than anything from a race If you're super confident, you are probably overtrained Mike and Robbie Reflect on their Racing at Ohio Pre-Race Nerves The one perfect race we always chase Success vs. Learning Mike and pacing De-briefing from your race What's next questions after racing Your Athlete Cycle The only way you can truly have a bad race The right questions to ask yourself How Deep can you Dig? Enduring discomfort  Ironman pace in your 70.3 Prisoners of the moment 80/20 - 90/10  When your swim beats up your bike The Swim MATTERS  Mindset at mile 80 of the bike and what that means for your run Improvement is about being honest with yourself Rushing Aid Stations Are you willing to make changes? Realistic and Honest --------------- Check out our new Hub Experience/Condo Combo package deal for only $475. Limited time offer! Book directly with C26operations@gmail.com  Coach Mike is accepting full-time athletes. Please check out the benefits of Customized Weekly Coaching here or contact Mike directly at: CrushingIron@gmail.com  Registration is now open for the C26 Club Training Program. Take the worry and stress out of your 2021 season planning, recovering, taper, etc. For more information, please visit www.C26Triathlon.com/the-c26-club Looking for a swim analysis, personalized zones for training, and an awesome experience? Check out our New C26 Hub Training Center in Chattanooga.  C26 Gear is now available (for a limited time) at www.c26triathlon.com/c26-store  A great way to support the podcast!  Looking for an awesome coach? Former Professional triathlete, Jessica Jacobs is now coaching for C26 Triathlon. Check out her bio and contact information at our Coaching Page on C26Triathlon.com  Big Shout out to podcast listener and Wordpress designer Bobby Hughes for helping get the new c26triathlon.com off the ground. If you like what you see and may need a website, check out Bobby's work at https://hughesdesign.co/ You can also slide by www.crushingiron.com which is now the official blog page for the podcast. Community and coaching information are at www.c26triathlon.com  Our 2020 C26 Camps are sold out (other than swim camp) Find out more on our Camps Page. If you'd like to support the Crushing Iron Podcast, hit up our Pledge Page and help us keep this podcast on the rails. Thanks in advance! Are you thinking about raising your game or getting started in triathlon with a coach? Check out our Crushing Iron Coaching Philosophy Video Please subscribe and rate Crushing Iron on YouTube and iTunes. For information on the C26 Coach's Eye custom swim analysis, coaching, or training camps email: C26Coach@gmail.com Facebook: CrushingIron YouTube: Crushing Iron Twitter: CrushingIron Instagram: C26_Triathlon www.c26triathlon.com Mike Tarrolly - crushingiron@gmail.com Robbie Bruce - c26coach@gmail.com

“What's special is that we don't play it the same way twice. If we do it means we're not really connected, we're not really present.” Cyrille Aimée and Michael Valeanu say their work as a duo started when their band couldn't make it to a gig in Ohio because of a snowstorm - but after the response from the audience, they realized they could keep it going. One time in Milan, they had four encores as a duo! Their album I'll Be Seeing You reflects their collaboration and relationship over the last decade. In this interview, Cyrille Aimée and Michael Valeanu open up about their creative process. They talk about how they came up with arrangements for tunes like “Bye Bye Blackbird,” “Softly As In a Morning Sunrise” and “How Deep is the Ocean.” They also discuss the importance of listening and communicating through the music, what it means to be vulnerable and present, and how they keep the music fresh every time. You can learn more about Cyrille Aimée at CyrilleMusic.dom, and Michael Valeanu at MichaelValeanu.com. I'll Be Seeing You is available for purchase on Amazon Music and Apple Music.

Sommerliche Grüße gehen raus an unsere Ultras. In diesem Staffelfinale geht es um eine neu interpretierte Legende, Facelift-Spielereien und Modellerweiterungen. Des Weiteren erörtern wir euch unsere Zukunftspläne bzgl. Umbauten usw. Ihr habt uns gefragt und wir haben unsere Statements zu Handy am Steuer und dem 5 Zylinder-Thema abgegeben. Haut euch die Folge rein und genießt den Sommer, wir sind am 05.08 wieder für euch da.

Hate is the topic today; how mindfulness, love, and compassion can help diminish hate. I did a search on my database of shows and found out that the word hate has never been used in any of my podcast titles. And that's nearly 700 titles. I find that interesting. I've been thinking a lot about fear, anger and hate lately and how they are connected and I've come to the conclusion that hate is a huge problem in our world. Of course that's a huge understatement. Listen & Subscribe on: iTunes / Stitcher / Podbean / Overcast / Spotify If hate is such a huge problem, why do we want to avoid the subject so much? Surely someone would have come on my show and talked about hate to the extent that the word would have ended up in the title? Attachment disorder is something that we've talked about quite a bit on the show. It causes a lot of problems with our mindset and our ability to have lasting relationships. My topic next week is going to be attachment disorder, so tune in next week for that episode.  Our inner bully causes all kinds of problems, and many of those problems boil down to fear and hate. Is Your Ego Protecting You? As you know, our ego is essentially trying to protect us, but sometimes it doesn't do a very good job of that. Our ego can be shortsighted, and only think about protecting us now. It isn't good at looking at our overall future and looking after us in the long run. So here's the reason I'm talking about hate today. Growing Like Sourdough I focus every day on including thoughts in my meditation like, I see God in everyone and everything, with compassion. I meditate on that phrase and think about compassion a lot. I believe if I hate something and entertain the thought of hating something, that hate is going to be like a sticky, dark substance, creeping within my body and brain. It will expand and grow like the sourdough starter we had a few weeks ago in our kitchen.  That's how I think of hate. It's very closely related to fear. It comes from fear. Fear stems from the unknown. It is a feeling of not knowing what's coming next. Maybe I won't be safe or maybe my family won't be safe. Our ego wants us to be safe in every moment. Therefore, sometimes we have to step out of our safety-zone and do what feels dangerous. Doing that will cause us to grow, no matter what happens. Living The Safe Life But what if we never step out of our safety zone? What if we decide to live a life of constant safety, never taking any kind of risk? For me that sounds like a prison sentence. Being locked up so you can never have freedom to do things that seem different, risky, unique. Why Talk About Hate? I still haven't told you why hate is on my mind. Last Sunday, a family in our city of London Ontario, went out for a relaxing evening walk. Mom and Dad, grandma, and the two children, their son, 9 and daughter 15. They never returned home because a hate-filled man saw them on the sidewalk and killed them. He didn't shoot them. That might have happened in some places, but gun violence is not big here. He didn't stab them or throw a grenade. He saw them as he was driving his pickup truck down the street and he deliberately ran them down, killing 4 of them and injuring the 9 year old boy. Hate Crime Police immediately stated that this was a deliberate hate crime against those people because of their culture and religion. I am well aware that in some parts of the world, violence, bombing, and killing, against people because of their faith and culture, is fairly common. But it's not common in Canada. In fact, many people in the world think of Canada as peace loving and peace keeping. For years, people in war torn countries have emigrated to Canada, believing it's a safe country to come to. Feeling Unsafe I certainly feel safe here in Canada, but I'm horrified to think of the hate that would cause a man to deliberately attack and kill an innocent family, a muslim family. We don't know a lot of details yet, but we know it was a hate crime. I feel so much pain about this. And this kind of hate and anger is directly connected to mindfulness. When you begin to explore mindfulness, you begin to notic e your emotions. Maybe you've been suppressing them for years, maybe you don't know why you have outbursts, or why you have listed you adult life being addicted to cocaine, or meth. Maybe you only know how to make endless money with what you do, but you don't know how to relate to people, or keep a happy relationship working in your life. Maybe for you, it's the opposite, you can't seem to make money no matter what you do, and you can figure out why those around you have no trouble keeping a flow of money into their life, but you feel like money is a constant struggle. Fear's Nasty Cousin All of this boils down to fear. And fear expresses itself as anger. If people that I see in my community chose to wear different clothes from me, maybe a turban, or a hijab, so what. We live in a free world. Why shouldn't people be free to practice whatever religion they want? Why shouldn't people be able to dress how they want and not feel that they'll be judged by others, and possibly attacked or killed? Homophobia has been a big part of our world, certainly in many areas. Sometimes it's hidden and sometimes it's out in the open. There are people who disown their child when they find out they are gay. People who are gay should be able to live their life as they want and not feel scared every time they go out in public. The same is true for Jews, or Hindus, or Muslims, or Christians or other groups who are peace loving. Precious People You might remember me mentioning that I was a full-time music teacher, then worked for over 10 years in bullying prevention. Sometimes I do substitute teaching. Because we've welcomed many people here to Canada, I often have lots of children from many cultures. Sometimes three quarter of the class or more are from foreign countries. You know what? They are loveable, kind, precious people who deserve to be safe in our country. Feelings of hate that people have, go back to anger. I used to think that words like homophobia, and zenaphonia were so strange because we know the word phobia refers to a fear of something. Now I realize that fear is the root emotion of hate. Hate is formed out of fear and there is massive amount of hate in the world. Obviously, this is not new. We know that hate is a problem, but the thing is, hate erodes your own opinion of yourself. Rather, if you have a low opinion of yourself, fear and hate is a product of that. Fear comes out of self-loathing. Are You Enough? That's why I talk about self-bullying so much. It's wide-spread. So many people suffer because they don't believe they are ‘enough'. They believe there is something wrong with them. Have you ever wondered what's wrong with you? Just take a minute and be honest with yourself. Have you ever had moments when you thought, I just can't figure out how to be happy. Or I don't know why I can't have a great relationship with someone. Maybe, like I said earlier, your problem has to do with anxiety, depression, addiction of some kind, or even that constant inner voice telling you you're a loser. All of these problems are related to your Inner Bully. And all of these problems can be reversed and helped with hypnosis because hypnosis is about reaching your emotions, examining what thoughts you've attached to events in your life, and going back and changing those thoughts. It's about your conscious and sub-conscious mind. I said all those problems can be reversed, but I want to make something clear. Those problems can only be reversed if you want that for yourself. You have to want to change and want to become different. And the amount of WANT is important. If you're just a little ho-hum, a bit wishy-washing about wanting a change, it's likely not going to happen, even with hypnosis. How Deep's Your Passion? My most successful clients, are people who came to me after trying so many methods to change. They've read books, listened to podcasts, tried new habits, got close to nature, taken supplements, but it was hypnosis that made the difference. That's because those people were passionate about wanting to change their lives. And I mean passionate with a capital P. Sometimes I explained that we'd possibly be going back to relive some tough moments in their lives, or we'd have to revisit some hurtful or angry times in their lives. My successful clients were people who responded by saying, ‘Let's Do It'. Where do I sign up? Why, Why, Why? I don't know why that 20 year old guy in my city would have so much anger against Muslims, that he would plan to kill an innocent family. I can only imagine that it's all about xenophobia. This attacker is almost the same age as my own son. I went to the funeral yesterday for the four family members that were killed. I wanted to show my support as a Canadian who believes there's no room for hate in our hearts. There's only room for love and compassion. The funeral was about love and compassion and one of the statements that was made was as they prayed for the surviving 9 year old boy, was that “all hatred and resentment would be removed from his heart”. If we vow to bring love and compassion into our heart, then hate will diminish. Hate will be cornered out. I want to send as much love and light as possible into the heart of the 20 year old man who did this, and his family. I can't even imagine the torture his twin sister and his family must be experiencing. Obviously this will go to trial and information will come out. I only know what has been released in the media. Thoughts From Our Leader Prime Minister Trudeau came to London and spoke to Canadians about hate and how “we can and we must act … to confront the ugly face of hatred. I want all Canadians to know that we are all diminished when any one of us is targeted. We need to stand up and reject racism and terror and work together to embrace what makes our country strong – our diversity.” I'm glad our Prime Minister has addressed this act of terrorism the way he has and I just hope that serious work will be done by the government to address this problem of hate and of racist, xenophobic attitudes and behaviours. Where Is The Answer? As a mindfulness teacher and coach, I believe the answer to this problem lies within each of us. It has to start with me, with every one of us. What are my thoughts, my views, my opinions? What is the internal dialogue going on in my own mind? Am I listening to the voice of my inner bully? Am I strong enough to change this dialogue? What I've found out from you, Mindful Tribe, is that a lot of us are frustrated and suffering. We want to be strong and deal with our inner bully, deal with our addiction, or our loneliness, or whatever other problem may seem central in your life. We Must Help Each Other We have to help each other. Some of us have skills we can use to help others have a more contented and happy life. I'm grateful and honoured to be able to help so many people through challenges. Maybe you're experiencing fear, frustration, and maybe a specific challenge like I've mentioned. Maybe you've been putting it off and haven't found the courage to reach out. I would say to you, this is your time. Be strong, make up your mind to set up a 30 minute call with me to find out if you're a candidate for hypnosis. Email me at bruce@MindfulnessMode.com and we'll talk about how hypnosis, combined with my coaching, will be the key to transition your life from frustration, to contentment and happiness. This is your time. I'll tell you about some of my clients who are now experiencing a sense of freedom and peace in their lives as a result of the hypnosis sessions they've experienced. You Are A Gift Bring more love into your heart. Start with you. You are a gift from the universe and the more you believe that, the more compassion you'll have for yourself. And the more compassion you have for yourself, the less room you'll have in your heart for hate and negativity. Contentment is possible for you. Right now you may think it couldn't happen, but it can. It's up to you to make up your mind to do the work, make a change, and move forward. Trudeau is right. We must confront the ugly face of hatred. And if hate is living within your heart, that hate is eating away at you. It's a negativity that doesn't belong there. Make up your mind to make a change. Live with mindfulness, welcome nature, and meditation, and confront your inner bully in the many ways we address here on the show. Thanks for listening. Peace be with you. Suggested Resources Book: When Things Fall Apart: Heart Advice for Difficult Times by Pema Chodron Book: The Art of Living: Peace and Freedom in the Here and Now by Thich Nhat Hanh Book: Lovingkindness: The Revolutionary Art of Happiness by Sharon Salzberg and Jon Kabat-Zinn App: Insight Timer Related Episodes 165 Be Real, Raw, Honest and Mindful Recommends Dr Ed Osburn 228 Fear Is Not Real Explains Salt Water Buddha Author Jaimal Yogis 328 Discover The Secret Behind Magical Success; Sylvia Becker-Hill Special Offer Have you been trying to break through a mind block? Are you discouraged? It's not hopeless. YOU CAN DO IT. I coach people just like you. I'm Bruce Langford, a practicing hypnotist, and I love to help people just like you! Feel good about your life and accomplishments. Regain confidence. Book a Free Consultation to get you on the road to being grounded and centered. Email me: bruce@mindfulnessmode.com with ‘Love and Compassion' in the subject line.

The Bee Gees asked us, “How Deep is Your Love?” This Sunday we ask, “How deep is your hope?” Do you hope for a hope so fully anchored that other people will hope for your hope? You can!

"How Deep the Father's Love" - Stewart Townsend ©️1995 THANK YOU MUSIC (PRS)

A new MP3 sermon from The Faith Bible Study Hour is now available on SermonAudio with the following details: Title: How Deep the Father's Love Subtitle: Special Music Speaker: Ana Villarreal Broadcaster: The Faith Bible Study Hour Event: Sunday Service Date: 5/16/2021 Length: 3 min.

Thank you for listening to the First Baptist Church of Oregon City Worship Podcast! In order to be loving neighbours, protect vulnerable people, and reduce the strain on our community's healthcare workers, FBC Oregon City has suspended in-person worship for now. Today is Pentecost! We celebrate and rejoice that God sent the Holy Spirit to lead and guide our church and us as individuals in the ways of Jesus. One way we celebrate is by wearing red, a colour that represents fire—Holy Spirit fire! This worship service for 23 May 2021, “Fuel” includes music, prayer, Scripture, and a sermon. The sermon text is Acts 2:1-13. To support our church with your tithes and offerings, visit our online giving page here. The prelude is “How Deep the Father's Love For Us”. The song in this podcast is "Trust In You". Our scripture reader for the week is Gary Hunley. FBC Oregon City • 819 John Adams St • Oregon City, OR Small — Slow — Weird

Jede Woche aufs Neue heißt es: Eine weitere Folge Zeche Klatsch ist online :) Vorstellung des Manta GTE, was für Restomods hätten wir gerne und was für eine Welt wird das wenn selbst BMW M bald keine Verbrenner mehr verbaut? Zuhörerfragen wurden natürlich auch wieder fleißig beantwortet und viels mehr besprochen! Zu hören wie immer überall wo es Podcasts gibt - viel spaß!

The Good, the Bad, and the Ugly When I first became a Lutheran at age 18 in 1982, our congregation had two hymnals in the pew: The elder statesman of the Lutheran world: The Lutheran Hymnal (1941) and a little red new generation paperback volume called Worship Supplement (1969). We would soon ditch the TLH for the green Lutheran Book of Worship (1978) - the joint project with the churches that became the ELCA, and which was rejected by the Missouri Synod - over the objection of the congregation's Worship Committee, which recommended the adoption of the LCMS-approved variation of LBW, the blue Lutheran Worship (1982). I don't know all of the political machinations of the congregation, but I did later learn that the senior pastor had authored a resolution that the Missouri Synod join the ELCA. Maybe that had something to do with the congregation being strapped with the ***A hymnal for many years. Being a new Lutheran, I actually read through the TLH and the WS. The rubrics in TLH, which more resembled Adam's loincloth than the historic vestments of the church - were bolstered by more detail in WS as to how to worship as a Lutheran. Like the 1966 Clint Eastwood spaghetti western, WS was a mixed bag: the Good, the Bad, and the Ugly. But in the interest of starting with the Law and ending with the Gospel, let's look at them in reverse order… The Ugly The ugly would include things such as the horrible rewording of the Lord's Prayer. This was, after all, the year of Woodstock. I think some of the folks on the Commission on Worship (COW) had been tripping on some bad acid while listening to Country Joe and the Fish's “Vietnam Song.” This is an example of pure progressivism: change for change's sake. Even the option for the version of the Our Father that English speakers of every liturgical denomination has said for 500 nearly years was excised. And our liturgical overlords were very determined on this point. The boomers tried for more years than the Beatles were together to foist this “New and Improved - Now How Much Would You Pay” verbiage on a church that didn't want it. A modernized version of the Lord's prayer made it to LBW and LW, as like unto cockroaches, it proved hard to exterminate, but was finally put out of our Missouri in the latest hymnal, Lutheran Service Book (2006). It seems like the Commission on Worship had, by this point, gone through rehab, kicked the habit, and had come to Jesus. The traditional wording hath won the victory. Thanks be to God. The other “ugly” is the introduction of the Reformed ceremony of the fraction in The Holy Eucharist II (page 61). Again, LSD is the only reasonable explanation. Just say no, kids. The Bad The Bad parts include the goofy pictographs indicating the rubrics for when to sit, stand, or kneel. I think this was about the same time when international road signs with stick figures were making their grand debut, and who knows how confusing the words “sit” and “stand” and “kneel” would be as rubrics in a hymnal? Again, the modern COW - no longer on its dope bender - has seen the light, as these silly ideograms have been replaced by plain English in LSB. After all, if English was good enough for King James and Jesus… Also, the COW aped the papacy and the Green New Deal, I mean, the Novus Ordo, by introducing the Holy Handshake ritual. Sometimes, this is called the “passing of the peace” - but to me, it is like passing a kidney stone. Another Bad is more along the lines of inexplicable: there is no confession of the Creed in Holy Eucharist II and III. There is no explanation for this. The Good The Good includes the restoration of the word “catholic” in the Apostles and Nicene Creeds (which was deep-sixed by the Blue Hymnal Boys). Also a Good is the rubric for the sign of the cross at the crescendo of both creeds in which we boldly confess the resurrection. The Nicene Creed includes the restoration of the first person plural “We believe…” instead of the first person singular “I believe…” This is how the Creed was written, and how it was confessed by the Church for centuries. It is not our individual confession only, which is implied by our modern American penchant for “I believe…” but is rather the Church's collective confession - “We believe.” This change did not survive the transition from LBW to LW - itself a mélange of Good, Bad, and Ugly. The inclusion of the prayer offices of Prime, Noonday, and Compline are indeed very good. The COW renamed the Office of Sext to “Noonday.” This was, after all, the year after the Summer of Love. I suppose they didn't want to give people ideas about some new form of contemporary worship. The Office of Compline is one of the greatest additions to our hymnals' services - and LBW/LW rounded it out with its inclusion of traditional chant tones and extended rubrics. Compline got its toe in the door and was reintroduced into the North American Lutheran life by its inclusion in WS. One of the best features is the “Suggestions for the Worshiper” on pages 15-16. It consists of rubrics for the laity, and goes into more detail than did its equivalent in TLH on page 4. This section explains the sign of the cross, and gives instructions for doing it. It encourages crossing oneself “at the Trinitarian Invocation, at the last phrase of the Creed, before and after receiving the elements of Holy Communion, and at the Benediction.” Such rubrics actually help in the restoration of liturgical practice in American Lutheranism, as it will placate some “concerns” that “people are having, pastor (but I can't say who)” that this stuff is “too Catholic.” After all, if CPH says it's okay, it must be okay. At least some people will accept the imprimatur of the Holy Office of the Publishing House from the Violet Vatican. Others will still demur, but a half glass is better than an empty glass, as Gottesblog's whiskey-drinkers believe, teach, and confess. This section also includes rubrics for bowing: “on entering the church, during the first half of the Gloria Patri, on approaching the altar for Holy Communion, and on leaving the pew after the conclusion of the service. Bowing more deeply or kneeling is customary at the words of the Nicene Creed ‘he was born… and became man.' Bowing only the head is appropriate at any mention of the sacred name of Jesus, especially where this occurs in the Creed.” I learned the profound little prayer upon receiving the elements from this section, a variation of which I still say as the celebrant: Lord, I am not worthy that You have come under my roof, but only say the word, and Your servant will be healed. These rubrics also teach the reader to confess his “Amen” when receiving the elements after the pastor has said, “The body of Christ” and “The blood of Christ.” This Worship Supplement's rubrical catechesis shaped my piety as a new Lutheran attending Divine Service. Inexplicably to me, precious few in the pews actually followed these rubrics. But some did. There is also “A Form of Private Confession and Absolution” including helpful rubrics. There was no such liturgy in TLH. Another enhancement of TLH is the fact that the pastor's chant tones are indicated, thus giving the celebrant “permission” to chant the liturgy - something that was missing in TLH. I've heard several theories, such as the World War II paper shortage or a hurried effort to publish the book, but people often make such assertions with no evidence. The TLH version of the Pastor's Chant Tones did come out as a separate volume a couple years later, but by that time, the weird hybrid of the pastor speaking and the congregation chanting had already calcified, like clogged arteries. Some pastors are still accused of secret Romanism to this very day if they chant their parts of the liturgy - even though our hymnals have indicated these chant tones now since the days of John Cougar's “Hurts So Good,” Asia's “Heat of the Moment,” and Van Halen's “Pretty Woman.” That's almost 40 years, as long as the Israelites wandered in the desert. And we know what the purpose of that timeframe was. Maybe some of our members of a certain age see LSB as a Russian conspiracy to put us back under the pope. OK boomers. Perhaps the best Good of the Worship Supplement is the hymn section. So much of the hymnody that we now take for granted was introduced to North American Lutherans by this resource. And, believe it or not, many of these hymns are stronger versions than what eventually filtered its way into LSB - including some hymns that retain gendered language and even Elizabethan English. Apparently, not everyone was dropping acid. There were clearly a few Nixon voters in the old COW Some of the “new” hymns include: Lo! He Comes with Clouds Descending Creator of the Stars of Night O Savior, Rend the Heavens Wide O Come, All Ye Faithful Angels We Have Heard on High Let All Together Praise Our God In Dulci Jubilo (in Latin and English) Gentle Mary Laid Her Child What Child is This O Wondrous Type! O Vision Fair My Song is Love Unknown Sing, My Tongue, the Glorious Battle At the Lamb's High Feast We Sing With High Delight, Let Us Unite O Sons and Daughters of the King The Victimae Paschali Celebration (LSB: Christians, to the Pascal Victim) This Joyful Eastertide I Bind Unto Myself Today Thy Strong Word Did Cleave the Darkness O Love, How Deep, How Broad, How High Son of God, Eternal Savior Holy Spirit, Ever Dwelling From All Thy Saints in Warfare (LSB: For All Your Saints in Warfare) In Adam We Have All Been One Let All Mortal Flesh Keep Silence In Thee is Gladness Immortal, Invisible, God Only Wise God of Grace and God of Glory Before the Ending of the Day There are also improved tunes for some hymns, such as: Hark! A Thrilling Voice is Sounding The Royal Banners Forward Go Come Ye Faithful, Raise the Strain Lord God, Thy Praise We Sing (Luther's antiphonal Te Deum) One glorious hymn that was introduced in WS, made it to LW, but did not make the cut in LSB is: O Kingly Love, That Faithfully So although Worship Supplement is largely forgotten, like the fact that a band named Quill played Woodstock - there seems to be no relation to the eponymous Fort Wayne professor - it has been influential in the shaping of our worship in the LCMS. It has retired and sits on pastor's shelves, only being thumbed through for the sake of nostalgia or research. And like the 1960s itself, it is a mixed bag. And so as a tribute to Worship Supplement, here is a video of the earworm that we are all hearing right now. You're welcome. Larry BeaneMarch 5, 2021 Facebook0TwitterLinkedIn0TumblrPinterest00 Likes  

Dinah Shore from October 7 1943. Guest Donald O'Connor A young movie actor; second installment of "William and Mary" by Cornelia Otis Skinner and Roland Young; music, "How Sweet You Are," "If That's the Way You Want It, Baby," "How Deep is the Ocean," "O Susanna."   I do not have the first episode. Does anybody? 99onfox@protonmail.com 

We are recording our in-person worship service (10:45 AM on Sunday) each week for folks who can't join us in person. This is the Audio-only version recorded for Sunday, April 11, 2021. It is also available in Video format through our YouTube channel. Click on the "Notes Icon" (the little image of a notepad) to get the sermon study notes for this week. ORDER OF SERVICE: Sing our opening songs, "I Sing the Mighty Power of God” and “How Deep the Father's Love for Us" (on-screen lyrics in the video recording). Listen to the message "The Final Harvest” preached by Pastor Dave Marksbury from Revelation 14:14-20. This message is part of the multi-week sermon series "Revelation: God's Final Call." (Prior messages in the series are available in both video and audio-only recordings). Sing: "Trust and Obey" and "In Christ Alone.” Then hear special music, “There is a Fountain.” Join us in prayer, listen to the church announcements and a "One Year Bible Reading" update. Our closing song is "He Keeps Me Singing."

Order of Service: - Prelude: variations on “Jesus, In Thy Dying Woes,” arr. by Spencer Urban (BLC’22) - Hymn 281 - O Love, How Deep, How High, How Broad: vv. 1-4 - Matthew 21: 12-13: Then Jesus went into the temple of God and drove out all those who bought and sold in the temple, and overturned the tables of the money changers and the seats of those who sold doves. And He said to them, “It is written, ‘My house shall be called a house of prayer,’ but you have made it a ‘den of thieves.’ - Devotion - Solo: The Crucifixion by Samuel Barber (1910-‘81): At the cry of the first bird They began to crucify Thee, O Swan! Never shall lament cease because of that. I was like the parting of the night. Ah, sore was the suff’ring borne By the body of Mary’s Son, But sorer still to Him was the grief Which for His sake came upon His Mother. - Prayer - Hymn 281 - O Love, How Deep, How High, How Broad: vv. 5-7 - Blessing - Postlude: “It Is Finished,” arr. by Spencer Urban Service Participants: Rev. Prof. Brian Klebig (Preacher), Laura Matzke (Organist), Annaliese Emmons (Soloist), Kaleb Schmidt (Pianist)

A new MP3 sermon from Liberty Baptist Church is now available on SermonAudio with the following details: Title: How Deep the Father's Love Subtitle: Romans - Living By Faith Speaker: Rick Brooks Broadcaster: Liberty Baptist Church Event: Sunday - AM Date: 3/28/2021 Bible: Romans 5:6-11 Length: 39 min.

A new MP3 sermon from Liberty Baptist Church is now available on SermonAudio with the following details: Title: How Deep the Father's Love Subtitle: Romans - Living By Faith Speaker: Rick Brooks Broadcaster: Liberty Baptist Church Event: Sunday - AM Date: 3/28/2021 Bible: Romans 5:6-11 Length: 39 min.

Heute - liebe Freunde, geht es sich wiedermal um den nicht abgeholten Golf II und dem Start des Himmeleinbaus beim E30 mit schnellem Ende. Der neue Lego Porsche 911 Turbo durfte natürlich auch nicht fehlen, wie auch eine Begegnung mit E-Technologie neuster Stunde. Zuhörerfragen beantworten wir natürlich auch wieder und etliches mehr. Viel Spaß beim hören!

Love is in the air. Or so people say around Valentine's Day. But love is to be celebrated, especially God's love for us. Dr. Larry Visser reflects on love and "How Deep the Father's Love for Us" arranged by James Koerts.

In der heutigen Folge geht es natürlich um den leichten Schneefall und vor allem ums Fahren bei diesem Wetter. Ganz nebenbei erwähnt hatte Thorben Fernsehbegleitung bei der Arbeit und updates beim E30 gibts auch endlich! Ausserdem beantworten wir natürlich auch wieder ein paar Zuhörerfagen und hasse nich gesehen was wir noch alles quaseln. P.S. Der heutige Folgentitel ist unseren Alaskanischen zuhörern gewidmet. Grüße aus dem Schnee - in den Schnee!

How Deep & How Wide by Samantha Mahoney

Hello fearless Fam, This week NFNF is going live! Starting to sizzle.. Level 3 elephant. Season 3, Episode 33 "How Deep is your Footprint?" Live on Monday 2/01 8PM ON FACEBOOK you should come watch!! Music: by @choobiejphoto "loudly" #nofiltersnofears #awareness #livestream #photo #photos #photograph #photography #photographer #choobiejiroux #spotify #choobiejphoto #adventure #camera #women #creative #podcast #vanessaelise #artists #logo #anchor #youtube #facebook #graphicdesigner #nofilters #nofears #episode33 #season3 #footprint #carbofootprint --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app --- Send in a voice message: https://anchor.fm/nofiltersnofearspod/message Support this podcast: https://anchor.fm/nofiltersnofearspod/support

In der nervenzerfetzend neuen Folge gibt es einen hitzigen Streit über den neuen automotiven Blockbuster Asphalt Burning! Desweiteren wird geklärt : Was taugt der Ranger Raptor und wie cool ist der Yaris GR?! Das alles und noch viel mehr in der neuen Folge! Desweiteren wird über Fuhrpark-Erweiterung berrichtet wie auch über weitere Errungenschaften aus dem Tuningbereich! Viel Spaß!

First Sunday after the Epiphany: The Baptism of Our Lord Jesus Christ The Holy Eucharist Rite Two Sunday, January 10, 2021 ENTRANCE HYMN Songs of Thankfulness and Praise #135 FIRST READING: Genesis 1:1-5 PSALM: Psalm 29 SECOND READING: Acts 19:1-7 SEQUENCE HYMN: The Sinless One to Jordan Came #120 GOSPEL: Mark 1:4-11 OFFERTORY MUSIC: Gesú Bambino (Yon, arr. Hayes) Antonio Rodrigues, soloist COMMUNION ANTHEM: I Wonder As I Wander (Niles) Antonio Rodrigues, soloist HYMN: O Love, How Deep, How Broad, How High #448 Support this podcast

En este episodio Mario Mengoni conversa Elle Cato: la cantante británica que graba con Dj David Morales, y recorrió el mundo acompañando en los coros a Jamiroquai, Lisa Stansfield , Incognito , Mario Biondi , Robbie Williams y muchos artistas más. Desde Traslasierra, Mateo Calcarami comparte la historia de "La Age of Communication": el espacio creado por su padre, Juan Calcarami, y que revolucionó la cultura nightclubbing de la Noche Porteña. La Banda Reiband presenta su nuevo single para festejar sus 16 años de vida con el funk en Argentina. Y Gustavo Lamas sorprende con sus sismos sónicos en "Las Pistas Mareantes". Playlist del programa: 01 - SG LEWIS feat. RHYE – Time. 02 - L´IMPERATRICE - Anomalie bleue. 03 - MILA ANATOLI – Kathy. 04 - BENEE feat GUS DAPPERTON – Supalonely. 05 - RIGHT TO LIFE - Hold On To My Love (Micky More & Andy Tee Mix). 06 - REIBAND - Spirit Lonely Heart. 07 - GLamas feat INDIA JORDAN - For You I'm Waiting (Just 4 U). 08 - ELLE CATO - Take Me (Original Mutiny Mix). 09 - DAVID MORALES feat ELLE CATO - And I am telling you I’m not going. 10 – ELLE CATO & OLI SILK – U bring me joy. 11 - ELLE CATO – One Bite. 12 - WHIRPOOL - Fly Hi (Morel s Flying Underground Mix). 13 – THE BEE GEES – How Deep is your love (Barclay Disco Mix) Conducción, musicalización y producción general: Mario Mengoni. Locutores: Leandro Brumatti y Raúl Proenza. Columnista: Gustavo Lamas. Columnista invitado: Bautista Mengoni. Fotografía y video: María Arnoletto. Asistente de Producción: Diego Hidalgo. Logística: Sergio Van Megroot. Producción en México: Diego Cruz Fadrique. Sitio oficial: www.discorama.net Seguinos en nuestras redes y dejanos tu comentario: https://www.instagram.com/discoramabymario https://www.facebook.com/discoramabymario https://twitter.com/discobymario

En este episodio Mario Mengoni conversa Elle Cato: la cantante británica que graba con Dj David Morales, y recorrió el mundo acompañando en los coros a Jamiroquai, Lisa Stansfield , Incognito , Mario Biondi , Robbie Williams y muchos artistas más. Desde Traslasierra, Mateo Calcarami comparte la historia de "La Age of Communication": el espacio creado por su padre, Juan Calcarami, y que revolucionó la cultura nightclubbing de la Noche Porteña. La Banda Reiband presenta su nuevo single para festejar sus 16 años de vida con el funk en Argentina. Y Gustavo Lamas sorprende con sus sismos sónicos en "Las Pistas Mareantes". Playlist del programa: 01 - SG LEWIS feat. RHYE – Time. 02 - L´IMPERATRICE - Anomalie bleue. 03 - MILA ANATOLI – Kathy. 04 - BENEE feat GUS DAPPERTON – Supalonely. 05 - RIGHT TO LIFE - Hold On To My Love (Micky More & Andy Tee Mix). 06 - REIBAND - Spirit Lonely Heart. 07 - GLamas feat INDIA JORDAN - For You I'm Waiting (Just 4 U). 08 - ELLE CATO - Take Me (Original Mutiny Mix). 09 - DAVID MORALES feat ELLE CATO - And I am telling you I’m not going. 10 – ELLE CATO & OLI SILK – U bring me joy. 11 - ELLE CATO – One Bite. 12 - WHIRPOOL - Fly Hi (Morel s Flying Underground Mix). 13 – THE BEE GEES – How Deep is your love (Barclay Disco Mix) Conducción, musicalización y producción general: Mario Mengoni. Locutores: Leandro Brumatti y Raúl Proenza. Columnista: Gustavo Lamas. Columnista invitado: Bautista Mengoni. Fotografía y video: María Arnoletto. Asistente de Producción: Diego Hidalgo. Logística: Sergio Van Megroot. Producción en México: Diego Cruz Fadrique. Sitio oficial: www.discorama.net Seguinos en nuestras redes y dejanos tu comentario: https://www.instagram.com/discoramabymario https://www.facebook.com/discoramabymario https://twitter.com/discobymario

In dieser spannenden Folge gibt es wieder eine neevenzerfetzende Autobahnstory aus dem Hause Sheffield und das erste Resümee zu unserem Adventskalender inklusive Auflösung der ersten Woche. Des weiteren gibt's einen ersten Eindruck zum aktuellen Ford Ranger Raptor und welches wäre unser Allrounder. Also liebe Ultras, anhören und Spaß haben.

In dieser Folge geht es sowohl traurig als auch heiter zu... unter Anderem gibt es wieder rüpelhafte Verkehrsgeschichten, Kommentar zum BMW IX, eine verblüffende Pannengeschichte, Zuhörerzuschriften und noch viel mehr. Diese Folge ist wieder picke packe voll mit allerlei Unfug. Viel Spaß ich sach!

2020 Nov Sugar and Spice & All Things Nice   "The first upload was corrupted. If you downloaded it, you will have to delete and redo. Sorry!"   Still in the Progressive House realm. Deep, Dark, Tech Progressive tunes with a few sugar hits in between and, yet gain, a dollop of Qtπ edits. They worked live not sure if they pass the post-cast test. You’ll be the judges.   Possibly the first Tiesto tune every featured on House is a Journey, less EDM and released under his real name Ver:West. Nice tune!   Set ended up featuring 4 tracks from Nora En Pure. Massive year for her!   Striving to get to deep, funky and soulful by December but not yet there.   Playlist:   1708 Toccata (Intro Church Organ Mix). J.S. Bach, Alexander Metzger 2020 5 Seconds Before Sunrise (Extended Mix) [Qtπ Vocal Edit]. VER:WEST 2020 Hypercolour (Extended Mix). Yannis, CamelPhat, Foals 2019 Epiphany (Original Club Mix) [Qtπ Marches On Edit]. Nora En Pure 2020 Wetlands (Extended Mix) [Qtπ JJK House Edit]. Nora En Pure 2020 Settle (Extended Mix). Dezza, Lauren L'aimant 2018 Sounds Good to Me (Paul Woolford Extended Remix). Hanne Mjoen 2020 Tiger (Cid Inc. Extended Remix) [Qtπ RC Deep Pride Edit]. Jerome Isma-Ae, Alastor 2020 Oceans (Extended Mix). Heard Right, OAI 2020 I Wish You Were Here (Martijn Ten Velden Remix). John Creamer, Stephane K, John Creamer & Stephane K, Nkemdi 2020 New Beginning (Extended Mix) [Qtπ How Deep is the Mash?]. Cash & Fanizza 2020 The Chase Francesco (Sambero Extended Remix). LTN, Michele C 2020 To the Sea (Einmusik Remix). Eli & Fur, Booka Shade, Booka Shade & Eli & Fur 2019 Dry Sobbing (Original Club Mix) [Qtπ RC Alien Edit]. Nora En Pure 2020 In the Air Tonight (Nora en Pure Remix). Nora En Pure, Lika Morgan 2018 Love on My Mind (Extended Mix). Kevin McKay, CASSIMM   A bientôt   Xtian/Qtπ

Call to Worship: Psalm 103:1-5; 95:1,2InvocationSong of Praise: “10,000 Reasons (Bless the Lord)”Corporate Confession of SinAssurance of Pardon: Romans 8:1Songs of Praise: “I Lift My Eyes Up” & “How Deep the Father's Love for Us”Prayer of IntercessionScripture Reading: Ephesians 6:18-20Message: “With All Prayer”Song of Response: “Before the Throne of God Above”Benediction

How Deep to Plant Bulbs

How Deep the Fathers Love by Hannah Doell & Esther Nunweiler - October 25, 2020

Did Camille Discover Proof of Telepathy?Will Virtual Reality Take over our Lives?Can We Live Without Our Bodies?How Deep is the Government's Level of Surveillance with Technology? Wearable Technology will change your clothes FOREVERVIDEO VERSION OF TODAY'S PODCASTWatch the full Podcast on the 11th Commandment Youtube Channel! Listen to Biscuits and Tea Podcast!Check out Steve Kauffman's Youtube Channel!Follow The 11th Commandment for more:

Thank you for listening to the First Baptist Church of Oregon City Worship Podcast! In order to be loving neighbours and protect vulnerable people, FBC Oregon City has suspended in-person worship for now, unless circumstances show it is responsible to meet together. This worship service for 6 September 2020, “Our Father” includes music, prayer, Scripture, and a sermon. The sermon text is Matthew 6:7-9. The prelude is “How Deep the Father's Love For Us”, played by Jeanne Vance. The songs are “Good, Good Father” and “The Lord's Prayer,” led by Melissa Meilinger. FBC Oregon City • 819 John Adams St • Oregon City, OR Small — Slow — Weird

1. Moby – My Ony Love (Original Mix) 2. Aneesh Gera – Aurora (Paul Thomas Extended Remix) FSOE UV 3. Joe Smooth – Promise Land (Cosmic Gate No Gravity Extended Remix) Armada 4. Fatum – Faceless (Extended Mix) Armada 5. Above & Beyond – Jam (Original Mix) Anjunabeats 6. Paul Tarrant – Sunset Serenade (Taylor Torrence Remix) Enhaned 7. Key Lean – Seascape 1985 (Extended Mix) Suanda 8. Maryn – Ethereal (Extended Mix) Enhanced Music 9. Alex Sonata & TheRio – Nebula (Extended Mix) ASOT 10. Eximinds & HGHLND – The Tempest (Extended Mix)Interestate 11. Denis Sender – Metropolis (Extended Mix)Suanda 12. John Grand – Icarus (Original Mix) Euphonic 13. Super8 & Tab feat. Roxanne Emery – Calm the Storm (Extended Mix) Armada 14. Maduin & Joorg Matt – Moonstone (Extended Mix) Interflow Music 15. David Gravell & Corti Organ – Bliss (Extended Mix) In Harmony Music 16. Armin van Buuren feat. BT – These Silent Hearts (Protoculture Extended Remix) Armada 17. Alex M.O.R.P.H. – Starfleet Commander (Original Mix) Vandit Records 18. Ben Stone – Aragon (Extended Mix) Interestate Recordings 19. Eloquentia & Jo Cartwright – How Deep is Your Touch (Extended Mix) Molekular Sound 20. Arctic moon feat. Jessica Lawrence – Like The Sun (Extended Mix) FSOE 21. Matthias Bishop – Mystic Planet (Extended Mix) Interflow Music 22. Steve Allen & Cris Grey – Front Line (Extended Mix) Uplift Recordings 23. Kaimo K & Ana Criado – When To Stop Looking (Extended Mix)Amsterdam Trance Music 24. Dan Stone – Vice Versa (Extended Mix) FSOE Fables CLASSIC OF THE MONTH: 25. Ferry Corsten – Made of Love (Original Mix) Flashover Recordings

In this episode author Sharon Richardson shares about the miracle birth of her child with special needs and pressing into relationship with God through multiple surgeries. She tells how God healed her trauma and grew her faith, hope, and the deepest love possible. She published her book called, "How Deep is your Love: A Mom's Shattered Dreams are Transformed into Showers of Blessings." Order How Deep Is Your Love Click Here to Order My God Stories Journal

This Sunday morning on ‘The Sinatra Hours’ with Dave Plier, you’ll hear classics ‘You are the Sunshine of My Life, ‘Pocket Full of Miracles’, ‘How Deep is the Ocean’, and ‘Where or When’ as featured on ‘The Tonight Show with Johnny Carson’. It all starts at 6:30am CST on AM720, wgnradio.com or tell your smart speaker to ‘play WGN […]

Can you say that you have loved someone with no conditions at all? I know I cant LOL...Check this new episode out and gain a better understanding of unconditional love.

??? ??? ??? ??? ????How Deep is your love?How Deeper can I go?Deeper, Deeper, Deeper, DeeperDearly DeepSupport the show (https://venmo.com/Deante-Young-1)

Worship Songs on Apple MusicWorship Songs on SpotifyCall to Worship1 The Lord reigns; he is robed in majesty; the Lord is robed; he has put on strength as his belt. Yes, the world is established; it shall never be moved. 2 Your throne is established from of old; you are from everlasting.3 The floods have lifted up, O Lord, the floods have lifted up their voice; the floods lift up their roaring. 4 Mightier than the thunders of many waters, mightier than the waves of the sea, the Lord on high is mighty!5 Your decrees are very trustworthy;holiness befits your house,O Lord, forevermore.Psalm 93:1-5Prayer of Invocation“Almighty God, unto whom all hearts are open, all desires known, and from whom no secrets are hid: cleanse the thoughts of our hearts by the inspiration of the Holy Spirit, that we might perfectly love Thee, and worthily magnify Thy holy name; through Jesus Christ our Lord. Amen.” (From the Book of Common Worship, 1946)Song of PraiseCome Praise and Glorify ∙ Lyrics & VideoConfession of Sin“Almighty and most merciful Father, we have erred and strayed from your ways like lost sheep. We have followed too much of the devices and desires of our own hearts. We have offended against your holy laws. We have left undone those things which we ought to have done, and we have done those things which we ought not to have done. And there is no health in us. But thou, O Lord, have mercy upon us miserable offenders; spare them, O God, which confess their faults. Restore them that are penitent, according to your promises declared unto mankind in Christ Jesus our Lord; and grant, O most merciful Father, for his sake, that we may hereafter live a godly, righteous, and sober life, to the glory fo the your holy name. Amen.” (From the Book of Common Prayer, 1662)Assurance of Pardon6 For while we were still weak, at the right time Christ died for the ungodly. 7 For one will scarcely die for a righteous person—though perhaps for a good person one would dare even to die— 8 but God shows his love for us in that while we were still sinners, Christ died for us. 9 Since, therefore, we have now been justified by his blood, much more shall we be saved by him from the wrath of God. 10 For if while we were enemies we were reconciled to God by the death of his Son, much more, now that we are reconciled, shall we be saved by his life. 11 More than that, we also rejoice in God through our Lord Jesus Christ, through whom we have now received reconciliation.Romans 5:6-11Song of WorshipOnly a Holy God ∙ Lyrics & VideoPrayer of IntercessionAs a family/individual pray for the church, for our leaders, for the world. Pray for the needs you know of. You can always look at the prayer requests in the weekly email.Offering to the LordOne of the ways believers worship when physically gathered is through giving. Currently we can’t do that. Many do, however, give online. If you would like to, you can do so here. Or you may mail a check to our mailing address. (Note: if you are out of work and find yourself in need - please contact our deacons.)As a song during this time: The Goodness of Jesus ∙ Video/Audio & LyricsScripture Reading25 Therefore, having put away falsehood, let each one of you speak the truth with his neighbor, for we are members one of another. 26 Be angry and do not sin; do not let the sun go down on your anger, 27 and give no opportunity to the devil. 28 Let the thief no longer steal, but rather let him labor, doing honest work with his own hands, so that he may have something to share with anyone in need. 29 Let no corrupting talk come out of your mouths, but only such as is good for building up, as fits the occasion, that it may give grace to those who hear. 30 And do not grieve the Holy Spirit of God, by whom you were sealed for the day of redemption. 31 Let all bitterness and wrath and anger and clamor and slander be put away from you, along with all malice. 32 Be kind to one another, tenderhearted, forgiving one another, as God in Christ forgave you.1 Therefore be imitators of God, as beloved children. 2 And walk in love, as Christ loved us and gave himself up for us, a fragrant offering and sacrifice to God.Ephesians 4:25-5:2Message“Walk In Love”Song of ResponseAs we’ve learned Christ - we learn to rest in who he is and that is part of how we are transformed into his image.How Deep the Father’s Love For Us ∙ Lyrics & VideoScriptural Benediction24 Now to him who is able to keep you from stumbling and to present you blameless before the presence of his glory with great joy, 25 to the only God, our Savior, through Jesus Christ our Lord, be glory, majesty, dominion, and authority, before all time and now and forever. Amen.Jude 24,25

Episode eighty-one of A History of Rock Music in Five Hundred Songs looks at "Shout" by the Isley Brothers, and the beginnings of a career that would lead to six decades of hit singles. 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 "Tell Laura I Love Her" by Ray Peterson. 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 As always, I've created a Mixcloud streaming playlist with full versions of all the songs in the episode.   Amazingly, there are no books on the Isley Brothers, unless you count a seventy-two page self-published pamphlet by Rudolph Isley's daughter, so I've had to piece this together from literally dozens of different sources. The ones I relied on most were this section of a very long article on Richie Barrett, this interview with Ronald Isley, and Icons of R&B and Soul by Bob Gulla.  The information on Hugo and Luigi comes mostly from two books -- Dream Boogie: The Triumph of Sam Cooke by Peter Guralnick, and  Godfather of the Music Business: Morris Levy by Richard Carlin. There are many compilations of the public-domain recordings of the Isleys. This one seems the most complete. Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript Today we're going to take one of our rare looks -- at this point in the story anyway -- at an act that is still touring today. Indeed, when I started writing this script back in February, I started by saying that I would soon be seeing them live in concert, as I have a ticket for an Isley Brothers show in a couple of months. Of course, events have overtaken that, and it's extremely unlikely that anyone will be going to any shows then, but it shows a fundamental difference between the Isley Brothers and most of the other acts we've looked at, as even those who are still active now mostly concentrate on performing locally rather than doing international tours playing major venues. Of course, the version of the Isley Brothers touring today isn't quite the same as the group from the 1950s, but Ronald Isley, the group's lead singer, remains in the group -- and, indeed, has remained artistically relevant, with collaborations with several prominent hip-hop artists. The Isleys had top forty hits in the sixties, seventies, eighties, nineties, and two thousands, and as recently as 2006 they had an album go to number one on the R&B charts. But today, we're going to look back at the group's very first hit, from 1959. [Excerpt: The Isley Brothers, "Shout"] The Isley Brothers were destined to be a vocal group even before they were born, indeed even before their parents were married. When O'Kelly Isley senior was discussing his marriage proposal with his future in-laws, he told his father-in-law-to-be that he intended to have four sons, and that they were going to be the next Mills Brothers. Isley Sr had been a vaudeville performer himself, and as with so many family groups the Isleys seem to have gone into the music business more to please their parents than because they wanted to do it themselves. As it turned out, O'Kelly and Sallye Isley had six children, all boys, and the eldest four of them did indeed form a vocal group. Like many black vocal groups in the early fifties, they were a gospel group, and O'Kelly Jr, Rudolph, Ronald, and Vernon Isley started performing around the churches in Cincinnati as teenagers, having been trained by their parents. They appeared on Ted Mack's Amateur Hour, the popular TV talent show which launched the careers of many entertainers, and won -- their prize was a jewelled watch, which the boys would take turns wearing. But then tragedy struck. Vernon, the youngest of the four singing Isleys, and the one who was generally considered to be far and away the most talented singer in the group, was hit by a car and killed while he was riding his bike, aged only thirteen. The boys were, as one would imagine, devastated by the death of their little brother, and they also thought that that should be the end of their singing career, as Vernon had been their lead singer. It would be two years before they would perform live again. By all accounts, their parents put pressure on them during that time, telling them that it would be the only way to pay respect to Vernon. Eventually a compromise was reached between parents and brothers -- Ron agreed that he would attempt to sing lead, if in turn the group could stop singing gospel music and start singing doo-wop songs, like the brothers' favourite act Billy Ward and the Dominoes. We've talked before about how Billy Ward & The Dominoes were a huge influence on the music that became soul, with hit records like "Have Mercy Baby": [Excerpt: Billy Ward and the Dominoes, "Have Mercy Baby"] Both Ward's original lead singer Clyde McPhatter and McPhatter's later replacement Jackie Wilson sang in a style that owed a lot to the church music that the young Isleys had also been performing, and so it was natural for them to make the change to singing in the style of the Dominoes. As soon as Ronald Isley started singing lead, people started making comparisons both to McPhatter and to Wilson. Indeed, Ronald has talked about McPhatter as being something of a mentor figure for the brothers, teaching them how to sing, although it's never been clear exactly at what point in their career they got to know McPhatter. But their real mentor was a much less well-known singer, Beulah Bryant. The three eldest Isley brothers, O'Kelly, Rudolph, and Ronald, met Bryant on the bus to New York, where they were travelling to try and seek their fortunes. Bryant was one of the many professional blues shouters who never became hugely well known, but who managed to have a moderately successful career from the fifties through to the eighties, mostly in live performances, though she did make a handful of very listenable records: [Excerpt: Beulah Bryant, "What Am I Gonna Do?"] When they got to New York, while they had paid in advance for somewhere to stay, they were robbed on their second day in the city and had no money at all. But Bryant had contacts in the music industry, and started making phone calls for her young proteges, trying to get them bookings. At first she was unsuccessful, and the group just hung around the Harlem Apollo and occasionally performed at their amateur nights. Eventually, though, Bryant got Nat Nazzaro to listen to them over the phone. Nazzaro was known as "the monster agent" -- he was one of the most important booking agents in New York, but he wasn't exactly fair to his young clients. He would book a three-person act, but on the contracts the act would consist of four people -- Nazzaro would be the fourth person, and he would get an equal share of the performance money, as well as getting his normal booking agent's share. Nazzaro listened to the Isleys over the phone, and then he insisted they come and see him in person, because he was convinced that they had been playing a record down the phone rather than singing to him live. When he found out they really did sound like that, Nazzaro started getting them the kind of bookings they could only dream of -- they went from having no money at all to playing on Broadway for $750 a week, and then playing the Apollo for $950 a week, at least according to O'Kelly Isley Jr's later recollection. This was an astonishing sum of money to a bunch of teenagers in the late 1950s. But they still hadn't made a record, and their sets were based on cover versions of songs by other people, things like "Rock and Roll Waltz" by Kay Starr: [Excerpt: Kay Starr, "Rock and Roll Waltz"] It was hardly the kind of material they would later become famous for. And nor was their first record. They had signed to a label called Teenage Records, a tiny label owned by two former musicians, Bill "Bass" Gordon and Ben Smith. As you might imagine, there were a lot of musicians named Ben Smith and it's quite difficult to sort out which was which -- even Marv Goldberg, who normally knows these things, seems confused about which Ben Smith this was, describing him as a singer on one page and a sax player on another page. As Ben Smith the sax player seems to have played on some records for Teenage, it was probably him, in which case this Ben Smith probably also played alto sax for Lucky Millinder's band and wrote the hit "I Dreamed I Dwelt in Harlem" for Glenn Miller: [Excerpt: The Glenn Miller Orchestra, "I Dreamed I Dwelt in Harlem"] It's more certain exactly who Bill "Bass" Gordon was -- he was the leader of Bill "Bass" Gordon and the Colonials, who had recorded the doo-wop track "Two Loves Have I": [Excerpt: Bill "Bass" Gordon and the Colonials, "Two Loves Have I"] Smith and Gordon signed the Isley Brothers to Teenage Records, and in June 1957 the first Isley Brothers single, "Angels Cried", came out: [Excerpt: The Isley Brothers, "Angels Cried"] Unfortunately, the single didn't have any real success, and the group decided that they wanted to record for a better label. According to O'Kelly Isley they got some resistance from Teenage Records, who claimed to have them under contract -- but the Isley Brothers knew better. They had signed a contract, certainly, but then the contract had just been left on a desk after they'd signed it, rather than being filed, and they'd swiped it from the desk when no-one was looking. Teenage didn't have a copy of the contract, so had no proof that they had ever signed the Isley Brothers, and the brothers were free to move on to another label. They chose to sign to Gone Records, one of the family of labels that was owned and run by George Goldner. Goldner assigned Richie Barrett, his talent scout, producer, and arranger, to look after the Isleys, as he had previously done with Frankie Lymon and the Teenagers and the Chantels, as well as his own group the Valentines: [The Valentines, "The Woo Woo Train"] By this point, Barrett had established an almost production-line method of making records. He would block-book a studio and some backing musicians for up to twenty-four hours, get as many as ten different vocal groups into the studio, and record dozens of tracks in a row, usually songs written by either group members or by Barrett. The Isleys' first record with Barrett, "Don't Be Jealous", was a fairly standard doo-wop ballad, written by Ron Isley: [Excerpt: The Isley Brothers, "Don't Be Jealous"] There's some suggestion that Barrett is also singing on that recording with the group -- it certainly sounds like there are four voices on there, not just three. Either way, the song doesn't show much of the style that the Isley Brothers would later make their own. Much more like their later recordings was the B-side, another Ronald Isley song, which could have been a classic in the Coasters' mould had it not been for the lyrics, which were an attempt at a hip rewriting of "Old McDonald": [Excerpt: The Isley Brothers, "Rockin' McDonald"] They were nearly there, but not quite. The next single, "I Wanna Know", came closer -- you can hear they were clearly trying to incorporate elements of other people's successful records -- Ronald Isley's vocal owes a lot to Little Richard, while the piano playing has the same piano "ripping" that Jerry Lee Lewis had made his own. But you can also hear the style that would make them famous coming to the fore. But they were not selling records, and Richie Barrett was stretched very thin. A few more singles were released on Gone (often pairing a previously-released track with a new B-side) but nothing was successful enough to justify them staying on with Goldner's label. But just as they'd moved from a micro-indie label to a large indie without having had any success, now they were going to move from a large indie to a major label, still not having had a hit. They took one of their records to Hugo and Luigi at RCA records, and the duo signed them up. Hugo and Luigi were strange, strange, figures in popular music in the 1950s. They were two cousins, Hugo Peretti and Luigi Creatore, who were always known by their first names, and had started out making children's records before being hired by Mercury Records, where they would produce, among other things, the cover versions by Georgia Gibbs of black records that we've talked about previously, and which were both ethically and musically appalling: [Excerpt: Georgia Gibbs, "Dance With Me Henry"] After a couple of years of consistently producing hits, they got tempted away from Mercury by Morris Levy, who was setting up a new label, Roulette, with George Goldner and Alan Freed. Goldner and Freed quickly dropped out of the label, but Hugo and Luigi ended up having a fifty percent stake in the new label. While they were there, they showed they didn't really get rock and roll music at all -- they produced follow-up singles by a lot of acts who'd had hits before they started working with Hugo and Luigi, but stopped as soon as the duo started producing them, like Frankie Lymon: [Excerpt: Frankie Lymon, "Goodie Goodie"] But they still managed to produce a string of hits like "Honeycomb" by Jimmie Rodgers (who is not either the blues singer or the country singer of the same name), which went to number one: [Excerpt: Jimmie Rogers, "Honeycomb"] And they also recorded their own tracks for Roulette, like the instrumental Cha-Hua-Hua: [Excerpt: Hugo and Luigi, "Cha-Hua-Hua"] After a year or so with Roulette, they were in turn poached by RCA -- Morris Levy let them go so long as they gave up their shares in Roulette for far less than they were worth. At RCA they continued their own recording career, with records like "Just Come Home": [Excerpt: Hugo and Luigi, "Just Come Home"] They also produced several albums for Perry Como. So you would think that they would be precisely the wrong producers for the Isley Brothers. And the first record they made with the trio would tend to suggest that there was at least some creative difference there. "I'm Gonna Knock on Your Door" was written by Aaron Schroeder and Sid Wayne, two people who are best known for writing some of the less interesting songs for Elvis' films, and has a generic, lightweight, backing track -- apart from an interestingly meaty guitar part. The vocals have some power to them, and the record is pleasant, and in some ways even ground-breaking -- it doesn't sound like a late fifties record as much as it does an early sixties one, and one could imagine, say, Gerry and the Pacemakers making a substantially identical record. But it falls between the stools of R&B and pop, and doesn't quite convince as either: [Excerpt: The Isley Brothers, "I'm Gonna Knock on Your Door"] That combination of a poppy background and soulful vocals would soon bear a lot of fruit for another artist Hugo and Luigi were going to start working with, but it didn't quite work for the Isleys yet. But their second single for RCA was far more successful. At this point the Isleys were a more successful live act than recording act, and they would mostly perform songs by other people, and one song they performed regularly was "Lonely Teardrops", the song that Berry and Gwen Gordy and Roquel Davis had written for Jackie Wilson: [Excerpt: Jackie Wilson, "Lonely Teardrops"] The group would perform that at the end of their shows, and they started to extend it, with Ron Isley improvising as the band vamped behind him, starting with the line "say you will" from Wilson's song. He'd start doing a call and response with his brothers, singing a line and getting them to sing the response "Shout". These improvised, extended, endings to the song got longer and longer, and got the crowds more and more excited, and they started incorporating elements from Ray Charles records, too, especially "What'd I Say" and "I Got a Woman". When they got back to New York at the end of the tour, they told Hugo and Luigi how well these performances, which they still thought of as just long performances of "Lonely Teardrops", had gone. The producers suggested that if they went down that well, what they should do is cut out the part that was still "Lonely Teardrops" and just perform the extended tag. As it turned out, they kept in a little of "Lonely Teardrops" -- the "Say you will, say you will" line -- and the resulting song, like Ray Charles' similar call-and-response based "What'd I Say", was split over two sides of a single, as "Shout (Parts One and Two)": [Excerpt: The Isley Brothers, "Shout (Parts One and Two)"] That was nothing like anything that Hugo and Luigi had ever produced before, and it became the Isley Brothers' first chart hit, reaching number forty-seven. More importantly for them, the song was credited to the three brothers, so they made money from the cover versions of the song that charted much higher. In the USA, Joey Dee and the Starliters made number six in 1962 with their version: [Excerpt: Joey Dee and the Starliters, "Shout"] In the UK, Lulu and the Luvvers made number seven in 1964: [Excerpt: Lulu and the Luvvers, "Shout"] And in Australia, Johnny O'Keefe released his version only a month after the Isleys released theirs, and reached number two: [Excerpt: Johnny O'Keefe, "Shout"] Despite all these cover versions, the Isleys' version remains the definitive one, and itself ended up selling over a million copies, though it never broke into the top forty. It was certainly successful enough that it made sense to record an album. Unfortunately, for the album, also titled Shout!, the old Hugo and Luigi style came out, and apart from one new Isleys original, "Respectable", which became their next single, the rest of the album was made up of old standards, rearranged in the "Shout!" style. Sometimes, this almost worked, as on "Ring-A-Ling A-Ling (Let The Wedding Bells Ring)", whose words are close enough to Little Richard-style gibberish that Ronald Isley could scream them effectively. But when the Isleys take on Irving Berlin's "How Deep is the Ocean" or "He's Got the Whole World in His Hands", neither the song nor the group are improved by the combination. They released several more singles on RCA, but none of them repeated the success of "Shout!". At this point they moved across to Atlantic, where they started working with Leiber and Stoller. Leiber and Stoller kept them recording old standards as B-sides, but for the A-sides they went back to gospel-infused soul party songs, like the Leiber and Stoller song "Teach Me How To Shimmy" and the Isleys' own "Standing On The Dance Floor", a rewrite of an old gospel song called "Standing at the Judgment": [Excerpt: The Isley Brothers, "Standing on the Dance Floor"] But none of these songs scraped even the bottom of the charts, and the brothers ended up leaving Atlantic after a year, and signing with a tiny label, Scepter. After having moved from a tiny indie label to a large indie to a major label, they had now moved back down from their major label to a large indie to a tiny indie. They were still a great live act, but they appeared to be a one-hit wonder. But all that was about to change, when they recorded a cover version of a flop single inspired by their one hit, combined with a dance craze. The Isley Brothers were about to make one of the most important records of the 1960s, but "Twist and Shout" is a story for another time.  

Episode eighty-one of A History of Rock Music in Five Hundred Songs looks at “Shout” by the Isley Brothers, and the beginnings of a career that would lead to six decades of hit singles. 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 “Tell Laura I Love Her” by Ray Peterson. 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 As always, I’ve created a Mixcloud streaming playlist with full versions of all the songs in the episode.   Amazingly, there are no books on the Isley Brothers, unless you count a seventy-two page self-published pamphlet by Rudolph Isley’s daughter, so I’ve had to piece this together from literally dozens of different sources. The ones I relied on most were this section of a very long article on Richie Barrett, this interview with Ronald Isley, and Icons of R&B and Soul by Bob Gulla.  The information on Hugo and Luigi comes mostly from two books — Dream Boogie: The Triumph of Sam Cooke by Peter Guralnick, and  Godfather of the Music Business: Morris Levy by Richard Carlin. There are many compilations of the public-domain recordings of the Isleys. This one seems the most complete. Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript Today we’re going to take one of our rare looks — at this point in the story anyway — at an act that is still touring today. Indeed, when I started writing this script back in February, I started by saying that I would soon be seeing them live in concert, as I have a ticket for an Isley Brothers show in a couple of months. Of course, events have overtaken that, and it’s extremely unlikely that anyone will be going to any shows then, but it shows a fundamental difference between the Isley Brothers and most of the other acts we’ve looked at, as even those who are still active now mostly concentrate on performing locally rather than doing international tours playing major venues. Of course, the version of the Isley Brothers touring today isn’t quite the same as the group from the 1950s, but Ronald Isley, the group’s lead singer, remains in the group — and, indeed, has remained artistically relevant, with collaborations with several prominent hip-hop artists. The Isleys had top forty hits in the sixties, seventies, eighties, nineties, and two thousands, and as recently as 2006 they had an album go to number one on the R&B charts. But today, we’re going to look back at the group’s very first hit, from 1959. [Excerpt: The Isley Brothers, “Shout”] The Isley Brothers were destined to be a vocal group even before they were born, indeed even before their parents were married. When O’Kelly Isley senior was discussing his marriage proposal with his future in-laws, he told his father-in-law-to-be that he intended to have four sons, and that they were going to be the next Mills Brothers. Isley Sr had been a vaudeville performer himself, and as with so many family groups the Isleys seem to have gone into the music business more to please their parents than because they wanted to do it themselves. As it turned out, O’Kelly and Sallye Isley had six children, all boys, and the eldest four of them did indeed form a vocal group. Like many black vocal groups in the early fifties, they were a gospel group, and O’Kelly Jr, Rudolph, Ronald, and Vernon Isley started performing around the churches in Cincinnati as teenagers, having been trained by their parents. They appeared on Ted Mack’s Amateur Hour, the popular TV talent show which launched the careers of many entertainers, and won — their prize was a jewelled watch, which the boys would take turns wearing. But then tragedy struck. Vernon, the youngest of the four singing Isleys, and the one who was generally considered to be far and away the most talented singer in the group, was hit by a car and killed while he was riding his bike, aged only thirteen. The boys were, as one would imagine, devastated by the death of their little brother, and they also thought that that should be the end of their singing career, as Vernon had been their lead singer. It would be two years before they would perform live again. By all accounts, their parents put pressure on them during that time, telling them that it would be the only way to pay respect to Vernon. Eventually a compromise was reached between parents and brothers — Ron agreed that he would attempt to sing lead, if in turn the group could stop singing gospel music and start singing doo-wop songs, like the brothers’ favourite act Billy Ward and the Dominoes. We’ve talked before about how Billy Ward & The Dominoes were a huge influence on the music that became soul, with hit records like “Have Mercy Baby”: [Excerpt: Billy Ward and the Dominoes, “Have Mercy Baby”] Both Ward’s original lead singer Clyde McPhatter and McPhatter’s later replacement Jackie Wilson sang in a style that owed a lot to the church music that the young Isleys had also been performing, and so it was natural for them to make the change to singing in the style of the Dominoes. As soon as Ronald Isley started singing lead, people started making comparisons both to McPhatter and to Wilson. Indeed, Ronald has talked about McPhatter as being something of a mentor figure for the brothers, teaching them how to sing, although it’s never been clear exactly at what point in their career they got to know McPhatter. But their real mentor was a much less well-known singer, Beulah Bryant. The three eldest Isley brothers, O’Kelly, Rudolph, and Ronald, met Bryant on the bus to New York, where they were travelling to try and seek their fortunes. Bryant was one of the many professional blues shouters who never became hugely well known, but who managed to have a moderately successful career from the fifties through to the eighties, mostly in live performances, though she did make a handful of very listenable records: [Excerpt: Beulah Bryant, “What Am I Gonna Do?”] When they got to New York, while they had paid in advance for somewhere to stay, they were robbed on their second day in the city and had no money at all. But Bryant had contacts in the music industry, and started making phone calls for her young proteges, trying to get them bookings. At first she was unsuccessful, and the group just hung around the Harlem Apollo and occasionally performed at their amateur nights. Eventually, though, Bryant got Nat Nazzaro to listen to them over the phone. Nazzaro was known as “the monster agent” — he was one of the most important booking agents in New York, but he wasn’t exactly fair to his young clients. He would book a three-person act, but on the contracts the act would consist of four people — Nazzaro would be the fourth person, and he would get an equal share of the performance money, as well as getting his normal booking agent’s share. Nazzaro listened to the Isleys over the phone, and then he insisted they come and see him in person, because he was convinced that they had been playing a record down the phone rather than singing to him live. When he found out they really did sound like that, Nazzaro started getting them the kind of bookings they could only dream of — they went from having no money at all to playing on Broadway for $750 a week, and then playing the Apollo for $950 a week, at least according to O’Kelly Isley Jr’s later recollection. This was an astonishing sum of money to a bunch of teenagers in the late 1950s. But they still hadn’t made a record, and their sets were based on cover versions of songs by other people, things like “Rock and Roll Waltz” by Kay Starr: [Excerpt: Kay Starr, “Rock and Roll Waltz”] It was hardly the kind of material they would later become famous for. And nor was their first record. They had signed to a label called Teenage Records, a tiny label owned by two former musicians, Bill “Bass” Gordon and Ben Smith. As you might imagine, there were a lot of musicians named Ben Smith and it’s quite difficult to sort out which was which — even Marv Goldberg, who normally knows these things, seems confused about which Ben Smith this was, describing him as a singer on one page and a sax player on another page. As Ben Smith the sax player seems to have played on some records for Teenage, it was probably him, in which case this Ben Smith probably also played alto sax for Lucky Millinder’s band and wrote the hit “I Dreamed I Dwelt in Harlem” for Glenn Miller: [Excerpt: The Glenn Miller Orchestra, “I Dreamed I Dwelt in Harlem”] It’s more certain exactly who Bill “Bass” Gordon was — he was the leader of Bill “Bass” Gordon and the Colonials, who had recorded the doo-wop track “Two Loves Have I”: [Excerpt: Bill “Bass” Gordon and the Colonials, “Two Loves Have I”] Smith and Gordon signed the Isley Brothers to Teenage Records, and in June 1957 the first Isley Brothers single, “Angels Cried”, came out: [Excerpt: The Isley Brothers, “Angels Cried”] Unfortunately, the single didn’t have any real success, and the group decided that they wanted to record for a better label. According to O’Kelly Isley they got some resistance from Teenage Records, who claimed to have them under contract — but the Isley Brothers knew better. They had signed a contract, certainly, but then the contract had just been left on a desk after they’d signed it, rather than being filed, and they’d swiped it from the desk when no-one was looking. Teenage didn’t have a copy of the contract, so had no proof that they had ever signed the Isley Brothers, and the brothers were free to move on to another label. They chose to sign to Gone Records, one of the family of labels that was owned and run by George Goldner. Goldner assigned Richie Barrett, his talent scout, producer, and arranger, to look after the Isleys, as he had previously done with Frankie Lymon and the Teenagers and the Chantels, as well as his own group the Valentines: [The Valentines, “The Woo Woo Train”] By this point, Barrett had established an almost production-line method of making records. He would block-book a studio and some backing musicians for up to twenty-four hours, get as many as ten different vocal groups into the studio, and record dozens of tracks in a row, usually songs written by either group members or by Barrett. The Isleys’ first record with Barrett, “Don’t Be Jealous”, was a fairly standard doo-wop ballad, written by Ron Isley: [Excerpt: The Isley Brothers, “Don’t Be Jealous”] There’s some suggestion that Barrett is also singing on that recording with the group — it certainly sounds like there are four voices on there, not just three. Either way, the song doesn’t show much of the style that the Isley Brothers would later make their own. Much more like their later recordings was the B-side, another Ronald Isley song, which could have been a classic in the Coasters’ mould had it not been for the lyrics, which were an attempt at a hip rewriting of “Old McDonald”: [Excerpt: The Isley Brothers, “Rockin’ McDonald”] They were nearly there, but not quite. The next single, “I Wanna Know”, came closer — you can hear they were clearly trying to incorporate elements of other people’s successful records — Ronald Isley’s vocal owes a lot to Little Richard, while the piano playing has the same piano “ripping” that Jerry Lee Lewis had made his own. But you can also hear the style that would make them famous coming to the fore. But they were not selling records, and Richie Barrett was stretched very thin. A few more singles were released on Gone (often pairing a previously-released track with a new B-side) but nothing was successful enough to justify them staying on with Goldner’s label. But just as they’d moved from a micro-indie label to a large indie without having had any success, now they were going to move from a large indie to a major label, still not having had a hit. They took one of their records to Hugo and Luigi at RCA records, and the duo signed them up. Hugo and Luigi were strange, strange, figures in popular music in the 1950s. They were two cousins, Hugo Peretti and Luigi Creatore, who were always known by their first names, and had started out making children’s records before being hired by Mercury Records, where they would produce, among other things, the cover versions by Georgia Gibbs of black records that we’ve talked about previously, and which were both ethically and musically appalling: [Excerpt: Georgia Gibbs, “Dance With Me Henry”] After a couple of years of consistently producing hits, they got tempted away from Mercury by Morris Levy, who was setting up a new label, Roulette, with George Goldner and Alan Freed. Goldner and Freed quickly dropped out of the label, but Hugo and Luigi ended up having a fifty percent stake in the new label. While they were there, they showed they didn’t really get rock and roll music at all — they produced follow-up singles by a lot of acts who’d had hits before they started working with Hugo and Luigi, but stopped as soon as the duo started producing them, like Frankie Lymon: [Excerpt: Frankie Lymon, “Goodie Goodie”] But they still managed to produce a string of hits like “Honeycomb” by Jimmie Rodgers (who is not either the blues singer or the country singer of the same name), which went to number one: [Excerpt: Jimmie Rogers, “Honeycomb”] And they also recorded their own tracks for Roulette, like the instrumental Cha-Hua-Hua: [Excerpt: Hugo and Luigi, “Cha-Hua-Hua”] After a year or so with Roulette, they were in turn poached by RCA — Morris Levy let them go so long as they gave up their shares in Roulette for far less than they were worth. At RCA they continued their own recording career, with records like “Just Come Home”: [Excerpt: Hugo and Luigi, “Just Come Home”] They also produced several albums for Perry Como. So you would think that they would be precisely the wrong producers for the Isley Brothers. And the first record they made with the trio would tend to suggest that there was at least some creative difference there. “I’m Gonna Knock on Your Door” was written by Aaron Schroeder and Sid Wayne, two people who are best known for writing some of the less interesting songs for Elvis’ films, and has a generic, lightweight, backing track — apart from an interestingly meaty guitar part. The vocals have some power to them, and the record is pleasant, and in some ways even ground-breaking — it doesn’t sound like a late fifties record as much as it does an early sixties one, and one could imagine, say, Gerry and the Pacemakers making a substantially identical record. But it falls between the stools of R&B and pop, and doesn’t quite convince as either: [Excerpt: The Isley Brothers, “I’m Gonna Knock on Your Door”] That combination of a poppy background and soulful vocals would soon bear a lot of fruit for another artist Hugo and Luigi were going to start working with, but it didn’t quite work for the Isleys yet. But their second single for RCA was far more successful. At this point the Isleys were a more successful live act than recording act, and they would mostly perform songs by other people, and one song they performed regularly was “Lonely Teardrops”, the song that Berry and Gwen Gordy and Roquel Davis had written for Jackie Wilson: [Excerpt: Jackie Wilson, “Lonely Teardrops”] The group would perform that at the end of their shows, and they started to extend it, with Ron Isley improvising as the band vamped behind him, starting with the line “say you will” from Wilson’s song. He’d start doing a call and response with his brothers, singing a line and getting them to sing the response “Shout”. These improvised, extended, endings to the song got longer and longer, and got the crowds more and more excited, and they started incorporating elements from Ray Charles records, too, especially “What’d I Say” and “I Got a Woman”. When they got back to New York at the end of the tour, they told Hugo and Luigi how well these performances, which they still thought of as just long performances of “Lonely Teardrops”, had gone. The producers suggested that if they went down that well, what they should do is cut out the part that was still “Lonely Teardrops” and just perform the extended tag. As it turned out, they kept in a little of “Lonely Teardrops” — the “Say you will, say you will” line — and the resulting song, like Ray Charles’ similar call-and-response based “What’d I Say”, was split over two sides of a single, as “Shout (Parts One and Two)”: [Excerpt: The Isley Brothers, “Shout (Parts One and Two)”] That was nothing like anything that Hugo and Luigi had ever produced before, and it became the Isley Brothers’ first chart hit, reaching number forty-seven. More importantly for them, the song was credited to the three brothers, so they made money from the cover versions of the song that charted much higher. In the USA, Joey Dee and the Starliters made number six in 1962 with their version: [Excerpt: Joey Dee and the Starliters, “Shout”] In the UK, Lulu and the Luvvers made number seven in 1964: [Excerpt: Lulu and the Luvvers, “Shout”] And in Australia, Johnny O’Keefe released his version only a month after the Isleys released theirs, and reached number two: [Excerpt: Johnny O’Keefe, “Shout”] Despite all these cover versions, the Isleys’ version remains the definitive one, and itself ended up selling over a million copies, though it never broke into the top forty. It was certainly successful enough that it made sense to record an album. Unfortunately, for the album, also titled Shout!, the old Hugo and Luigi style came out, and apart from one new Isleys original, “Respectable”, which became their next single, the rest of the album was made up of old standards, rearranged in the “Shout!” style. Sometimes, this almost worked, as on “Ring-A-Ling A-Ling (Let The Wedding Bells Ring)”, whose words are close enough to Little Richard-style gibberish that Ronald Isley could scream them effectively. But when the Isleys take on Irving Berlin’s “How Deep is the Ocean” or “He’s Got the Whole World in His Hands”, neither the song nor the group are improved by the combination. They released several more singles on RCA, but none of them repeated the success of “Shout!”. At this point they moved across to Atlantic, where they started working with Leiber and Stoller. Leiber and Stoller kept them recording old standards as B-sides, but for the A-sides they went back to gospel-infused soul party songs, like the Leiber and Stoller song “Teach Me How To Shimmy” and the Isleys’ own “Standing On The Dance Floor”, a rewrite of an old gospel song called “Standing at the Judgment”: [Excerpt: The Isley Brothers, “Standing on the Dance Floor”] But none of these songs scraped even the bottom of the charts, and the brothers ended up leaving Atlantic after a year, and signing with a tiny label, Scepter. After having moved from a tiny indie label to a large indie to a major label, they had now moved back down from their major label to a large indie to a tiny indie. They were still a great live act, but they appeared to be a one-hit wonder. But all that was about to change, when they recorded a cover version of a flop single inspired by their one hit, combined with a dance craze. The Isley Brothers were about to make one of the most important records of the 1960s, but “Twist and Shout” is a story for another time.  

Episode eighty-one of A History of Rock Music in Five Hundred Songs looks at “Shout” by the Isley Brothers, and the beginnings of a career that would lead to six decades of hit singles. 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 “Tell Laura I Love Her” by Ray Peterson. 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 As always, I’ve created a Mixcloud streaming playlist with full versions of all the songs in the episode.   Amazingly, there are no books on the Isley Brothers, unless you count a seventy-two page self-published pamphlet by Rudolph Isley’s daughter, so I’ve had to piece this together from literally dozens of different sources. The ones I relied on most were this section of a very long article on Richie Barrett, this interview with Ronald Isley, and Icons of R&B and Soul by Bob Gulla.  The information on Hugo and Luigi comes mostly from two books — Dream Boogie: The Triumph of Sam Cooke by Peter Guralnick, and  Godfather of the Music Business: Morris Levy by Richard Carlin. There are many compilations of the public-domain recordings of the Isleys. This one seems the most complete. Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript Today we’re going to take one of our rare looks — at this point in the story anyway — at an act that is still touring today. Indeed, when I started writing this script back in February, I started by saying that I would soon be seeing them live in concert, as I have a ticket for an Isley Brothers show in a couple of months. Of course, events have overtaken that, and it’s extremely unlikely that anyone will be going to any shows then, but it shows a fundamental difference between the Isley Brothers and most of the other acts we’ve looked at, as even those who are still active now mostly concentrate on performing locally rather than doing international tours playing major venues. Of course, the version of the Isley Brothers touring today isn’t quite the same as the group from the 1950s, but Ronald Isley, the group’s lead singer, remains in the group — and, indeed, has remained artistically relevant, with collaborations with several prominent hip-hop artists. The Isleys had top forty hits in the sixties, seventies, eighties, nineties, and two thousands, and as recently as 2006 they had an album go to number one on the R&B charts. But today, we’re going to look back at the group’s very first hit, from 1959. [Excerpt: The Isley Brothers, “Shout”] The Isley Brothers were destined to be a vocal group even before they were born, indeed even before their parents were married. When O’Kelly Isley senior was discussing his marriage proposal with his future in-laws, he told his father-in-law-to-be that he intended to have four sons, and that they were going to be the next Mills Brothers. Isley Sr had been a vaudeville performer himself, and as with so many family groups the Isleys seem to have gone into the music business more to please their parents than because they wanted to do it themselves. As it turned out, O’Kelly and Sallye Isley had six children, all boys, and the eldest four of them did indeed form a vocal group. Like many black vocal groups in the early fifties, they were a gospel group, and O’Kelly Jr, Rudolph, Ronald, and Vernon Isley started performing around the churches in Cincinnati as teenagers, having been trained by their parents. They appeared on Ted Mack’s Amateur Hour, the popular TV talent show which launched the careers of many entertainers, and won — their prize was a jewelled watch, which the boys would take turns wearing. But then tragedy struck. Vernon, the youngest of the four singing Isleys, and the one who was generally considered to be far and away the most talented singer in the group, was hit by a car and killed while he was riding his bike, aged only thirteen. The boys were, as one would imagine, devastated by the death of their little brother, and they also thought that that should be the end of their singing career, as Vernon had been their lead singer. It would be two years before they would perform live again. By all accounts, their parents put pressure on them during that time, telling them that it would be the only way to pay respect to Vernon. Eventually a compromise was reached between parents and brothers — Ron agreed that he would attempt to sing lead, if in turn the group could stop singing gospel music and start singing doo-wop songs, like the brothers’ favourite act Billy Ward and the Dominoes. We’ve talked before about how Billy Ward & The Dominoes were a huge influence on the music that became soul, with hit records like “Have Mercy Baby”: [Excerpt: Billy Ward and the Dominoes, “Have Mercy Baby”] Both Ward’s original lead singer Clyde McPhatter and McPhatter’s later replacement Jackie Wilson sang in a style that owed a lot to the church music that the young Isleys had also been performing, and so it was natural for them to make the change to singing in the style of the Dominoes. As soon as Ronald Isley started singing lead, people started making comparisons both to McPhatter and to Wilson. Indeed, Ronald has talked about McPhatter as being something of a mentor figure for the brothers, teaching them how to sing, although it’s never been clear exactly at what point in their career they got to know McPhatter. But their real mentor was a much less well-known singer, Beulah Bryant. The three eldest Isley brothers, O’Kelly, Rudolph, and Ronald, met Bryant on the bus to New York, where they were travelling to try and seek their fortunes. Bryant was one of the many professional blues shouters who never became hugely well known, but who managed to have a moderately successful career from the fifties through to the eighties, mostly in live performances, though she did make a handful of very listenable records: [Excerpt: Beulah Bryant, “What Am I Gonna Do?”] When they got to New York, while they had paid in advance for somewhere to stay, they were robbed on their second day in the city and had no money at all. But Bryant had contacts in the music industry, and started making phone calls for her young proteges, trying to get them bookings. At first she was unsuccessful, and the group just hung around the Harlem Apollo and occasionally performed at their amateur nights. Eventually, though, Bryant got Nat Nazzaro to listen to them over the phone. Nazzaro was known as “the monster agent” — he was one of the most important booking agents in New York, but he wasn’t exactly fair to his young clients. He would book a three-person act, but on the contracts the act would consist of four people — Nazzaro would be the fourth person, and he would get an equal share of the performance money, as well as getting his normal booking agent’s share. Nazzaro listened to the Isleys over the phone, and then he insisted they come and see him in person, because he was convinced that they had been playing a record down the phone rather than singing to him live. When he found out they really did sound like that, Nazzaro started getting them the kind of bookings they could only dream of — they went from having no money at all to playing on Broadway for $750 a week, and then playing the Apollo for $950 a week, at least according to O’Kelly Isley Jr’s later recollection. This was an astonishing sum of money to a bunch of teenagers in the late 1950s. But they still hadn’t made a record, and their sets were based on cover versions of songs by other people, things like “Rock and Roll Waltz” by Kay Starr: [Excerpt: Kay Starr, “Rock and Roll Waltz”] It was hardly the kind of material they would later become famous for. And nor was their first record. They had signed to a label called Teenage Records, a tiny label owned by two former musicians, Bill “Bass” Gordon and Ben Smith. As you might imagine, there were a lot of musicians named Ben Smith and it’s quite difficult to sort out which was which — even Marv Goldberg, who normally knows these things, seems confused about which Ben Smith this was, describing him as a singer on one page and a sax player on another page. As Ben Smith the sax player seems to have played on some records for Teenage, it was probably him, in which case this Ben Smith probably also played alto sax for Lucky Millinder’s band and wrote the hit “I Dreamed I Dwelt in Harlem” for Glenn Miller: [Excerpt: The Glenn Miller Orchestra, “I Dreamed I Dwelt in Harlem”] It’s more certain exactly who Bill “Bass” Gordon was — he was the leader of Bill “Bass” Gordon and the Colonials, who had recorded the doo-wop track “Two Loves Have I”: [Excerpt: Bill “Bass” Gordon and the Colonials, “Two Loves Have I”] Smith and Gordon signed the Isley Brothers to Teenage Records, and in June 1957 the first Isley Brothers single, “Angels Cried”, came out: [Excerpt: The Isley Brothers, “Angels Cried”] Unfortunately, the single didn’t have any real success, and the group decided that they wanted to record for a better label. According to O’Kelly Isley they got some resistance from Teenage Records, who claimed to have them under contract — but the Isley Brothers knew better. They had signed a contract, certainly, but then the contract had just been left on a desk after they’d signed it, rather than being filed, and they’d swiped it from the desk when no-one was looking. Teenage didn’t have a copy of the contract, so had no proof that they had ever signed the Isley Brothers, and the brothers were free to move on to another label. They chose to sign to Gone Records, one of the family of labels that was owned and run by George Goldner. Goldner assigned Richie Barrett, his talent scout, producer, and arranger, to look after the Isleys, as he had previously done with Frankie Lymon and the Teenagers and the Chantels, as well as his own group the Valentines: [The Valentines, “The Woo Woo Train”] By this point, Barrett had established an almost production-line method of making records. He would block-book a studio and some backing musicians for up to twenty-four hours, get as many as ten different vocal groups into the studio, and record dozens of tracks in a row, usually songs written by either group members or by Barrett. The Isleys’ first record with Barrett, “Don’t Be Jealous”, was a fairly standard doo-wop ballad, written by Ron Isley: [Excerpt: The Isley Brothers, “Don’t Be Jealous”] There’s some suggestion that Barrett is also singing on that recording with the group — it certainly sounds like there are four voices on there, not just three. Either way, the song doesn’t show much of the style that the Isley Brothers would later make their own. Much more like their later recordings was the B-side, another Ronald Isley song, which could have been a classic in the Coasters’ mould had it not been for the lyrics, which were an attempt at a hip rewriting of “Old McDonald”: [Excerpt: The Isley Brothers, “Rockin’ McDonald”] They were nearly there, but not quite. The next single, “I Wanna Know”, came closer — you can hear they were clearly trying to incorporate elements of other people’s successful records — Ronald Isley’s vocal owes a lot to Little Richard, while the piano playing has the same piano “ripping” that Jerry Lee Lewis had made his own. But you can also hear the style that would make them famous coming to the fore. But they were not selling records, and Richie Barrett was stretched very thin. A few more singles were released on Gone (often pairing a previously-released track with a new B-side) but nothing was successful enough to justify them staying on with Goldner’s label. But just as they’d moved from a micro-indie label to a large indie without having had any success, now they were going to move from a large indie to a major label, still not having had a hit. They took one of their records to Hugo and Luigi at RCA records, and the duo signed them up. Hugo and Luigi were strange, strange, figures in popular music in the 1950s. They were two cousins, Hugo Peretti and Luigi Creatore, who were always known by their first names, and had started out making children’s records before being hired by Mercury Records, where they would produce, among other things, the cover versions by Georgia Gibbs of black records that we’ve talked about previously, and which were both ethically and musically appalling: [Excerpt: Georgia Gibbs, “Dance With Me Henry”] After a couple of years of consistently producing hits, they got tempted away from Mercury by Morris Levy, who was setting up a new label, Roulette, with George Goldner and Alan Freed. Goldner and Freed quickly dropped out of the label, but Hugo and Luigi ended up having a fifty percent stake in the new label. While they were there, they showed they didn’t really get rock and roll music at all — they produced follow-up singles by a lot of acts who’d had hits before they started working with Hugo and Luigi, but stopped as soon as the duo started producing them, like Frankie Lymon: [Excerpt: Frankie Lymon, “Goodie Goodie”] But they still managed to produce a string of hits like “Honeycomb” by Jimmie Rodgers (who is not either the blues singer or the country singer of the same name), which went to number one: [Excerpt: Jimmie Rogers, “Honeycomb”] And they also recorded their own tracks for Roulette, like the instrumental Cha-Hua-Hua: [Excerpt: Hugo and Luigi, “Cha-Hua-Hua”] After a year or so with Roulette, they were in turn poached by RCA — Morris Levy let them go so long as they gave up their shares in Roulette for far less than they were worth. At RCA they continued their own recording career, with records like “Just Come Home”: [Excerpt: Hugo and Luigi, “Just Come Home”] They also produced several albums for Perry Como. So you would think that they would be precisely the wrong producers for the Isley Brothers. And the first record they made with the trio would tend to suggest that there was at least some creative difference there. “I’m Gonna Knock on Your Door” was written by Aaron Schroeder and Sid Wayne, two people who are best known for writing some of the less interesting songs for Elvis’ films, and has a generic, lightweight, backing track — apart from an interestingly meaty guitar part. The vocals have some power to them, and the record is pleasant, and in some ways even ground-breaking — it doesn’t sound like a late fifties record as much as it does an early sixties one, and one could imagine, say, Gerry and the Pacemakers making a substantially identical record. But it falls between the stools of R&B and pop, and doesn’t quite convince as either: [Excerpt: The Isley Brothers, “I’m Gonna Knock on Your Door”] That combination of a poppy background and soulful vocals would soon bear a lot of fruit for another artist Hugo and Luigi were going to start working with, but it didn’t quite work for the Isleys yet. But their second single for RCA was far more successful. At this point the Isleys were a more successful live act than recording act, and they would mostly perform songs by other people, and one song they performed regularly was “Lonely Teardrops”, the song that Berry and Gwen Gordy and Roquel Davis had written for Jackie Wilson: [Excerpt: Jackie Wilson, “Lonely Teardrops”] The group would perform that at the end of their shows, and they started to extend it, with Ron Isley improvising as the band vamped behind him, starting with the line “say you will” from Wilson’s song. He’d start doing a call and response with his brothers, singing a line and getting them to sing the response “Shout”. These improvised, extended, endings to the song got longer and longer, and got the crowds more and more excited, and they started incorporating elements from Ray Charles records, too, especially “What’d I Say” and “I Got a Woman”. When they got back to New York at the end of the tour, they told Hugo and Luigi how well these performances, which they still thought of as just long performances of “Lonely Teardrops”, had gone. The producers suggested that if they went down that well, what they should do is cut out the part that was still “Lonely Teardrops” and just perform the extended tag. As it turned out, they kept in a little of “Lonely Teardrops” — the “Say you will, say you will” line — and the resulting song, like Ray Charles’ similar call-and-response based “What’d I Say”, was split over two sides of a single, as “Shout (Parts One and Two)”: [Excerpt: The Isley Brothers, “Shout (Parts One and Two)”] That was nothing like anything that Hugo and Luigi had ever produced before, and it became the Isley Brothers’ first chart hit, reaching number forty-seven. More importantly for them, the song was credited to the three brothers, so they made money from the cover versions of the song that charted much higher. In the USA, Joey Dee and the Starliters made number six in 1962 with their version: [Excerpt: Joey Dee and the Starliters, “Shout”] In the UK, Lulu and the Luvvers made number seven in 1964: [Excerpt: Lulu and the Luvvers, “Shout”] And in Australia, Johnny O’Keefe released his version only a month after the Isleys released theirs, and reached number two: [Excerpt: Johnny O’Keefe, “Shout”] Despite all these cover versions, the Isleys’ version remains the definitive one, and itself ended up selling over a million copies, though it never broke into the top forty. It was certainly successful enough that it made sense to record an album. Unfortunately, for the album, also titled Shout!, the old Hugo and Luigi style came out, and apart from one new Isleys original, “Respectable”, which became their next single, the rest of the album was made up of old standards, rearranged in the “Shout!” style. Sometimes, this almost worked, as on “Ring-A-Ling A-Ling (Let The Wedding Bells Ring)”, whose words are close enough to Little Richard-style gibberish that Ronald Isley could scream them effectively. But when the Isleys take on Irving Berlin’s “How Deep is the Ocean” or “He’s Got the Whole World in His Hands”, neither the song nor the group are improved by the combination. They released several more singles on RCA, but none of them repeated the success of “Shout!”. At this point they moved across to Atlantic, where they started working with Leiber and Stoller. Leiber and Stoller kept them recording old standards as B-sides, but for the A-sides they went back to gospel-infused soul party songs, like the Leiber and Stoller song “Teach Me How To Shimmy” and the Isleys’ own “Standing On The Dance Floor”, a rewrite of an old gospel song called “Standing at the Judgment”: [Excerpt: The Isley Brothers, “Standing on the Dance Floor”] But none of these songs scraped even the bottom of the charts, and the brothers ended up leaving Atlantic after a year, and signing with a tiny label, Scepter. After having moved from a tiny indie label to a large indie to a major label, they had now moved back down from their major label to a large indie to a tiny indie. They were still a great live act, but they appeared to be a one-hit wonder. But all that was about to change, when they recorded a cover version of a flop single inspired by their one hit, combined with a dance craze. The Isley Brothers were about to make one of the most important records of the 1960s, but “Twist and Shout” is a story for another time.  

Welcome to Chapter and Verse, a chapter by chapter reflection on the Book of Mormon through poetry, as a way to strengthen your personal and family Gospel study with a focus on the Come, Follow Me curriculum. One chapter, one verse. Today we have a text based on Alma 34, “How Deep, How Vast!“. Visit us at http://chapterandverse.poetry.blog

In this episode we dissect the recent market rally and urge caution that there is much more pain to come - How Deep will COVID go? How long will the lockdown last? - Is it time for investors to be fearful or be greedy? - Reasons why the market is underpricing future risk - Buy/Sell/Hold - what makes sense? - How Alternative Investments fare when the general market corrects - How fundamentals and valuation may change even after COVID passes - Concerns and things to watch in cannabis - Examining Medipharm Lab's Q4 results - Village Farms BRUTAL Q4 Financials - Exercising caution on HEXO

A brief reflection on "O Love, How Deep." Background music from "Wayfaring Stranger" by John Catchings. Used by permission.

Revelation Series – Revelation 4-5 Title: Worship Prays Speaker: Jennifer Ryden Songs: To God All Praise and Glory, Jesus At the Center, How Deep the Father's Love, Splinters and Stones, Jesus Paid It All After-Worship Songs: Empty Me Out, Since Your Love, Our Father Has Won, King of My Heart

Whether you're a Daly Brother or whether you're a mother, you're stayin' alive, and you should be dancing! This isn't a joke. Ryan and Neil Daly return to discuss the Brothers Gibb, better known as the Bee Gees. From the hippy days of psychedelic rock to the feverish nights setting disco clubs on fire, the Bee Gees have an immense catalogue of frequently undervalued popular hits! On this episode, the Brothers Daly share each of their five favorite Bee Gees tracks, as well as the hidden gems written by the Gibbs but made famous by other performers. All tracks performed by the Bee Gees except where noted. Night Fever Emotion by Samantha Sang (featuring the Bee Gees) How Can You Mend a Broken Heart Stayin’ Alive Lonely Days Jive Talkin’ You Should Be Dancing Massachussetts How Deep is Your Love To Love Somebody More Than a Woman If I Can’t Have You by Yvonne Elliman Ghetto Supastar (That is What You Are) by Pras (with Ol’ Dirty Bastard and Mya) Islands in the Stream by Dolly Parton and Kenny Rogers I Just Want To Be You Everything by Andy Gibb Let us know what you think! Leave a comment or send an email to: RDalyPodcast@gmail.com. Like the FIRE AND WATER RECORDS Facebook page at: This podcast is a proud member of the FIRE AND WATER PODCAST NETWORK. Visit our WEBSITE: http://fireandwaterpodcast.com/ Follow us on TWITTER - https://twitter.com/FWPodcasts Like our FACEBOOK page - https://www.facebook.com/FWPodcastNetwork Use our HASHTAG online: #FWPodcasts Subscribe to FIRE AND WATER RECORDS on iTunes: https://podcasts.apple.com/us/podcast/fire-and-water-records/id1458818655 Or subscribe via iTunes as part of the FIRE AND WATER PODCAST: http://itunes.apple.com/podcast/the-fire-and-water-podcast/id463855630 Support FIRE AND WATER RECORDS and the FIRE AND WATER PODCAST NETWORK on Patreon: https://www.patreon.com/fwpodcasts Thanks for listening!

Download LinkTracklist1. Julian Jordan ft. Alpahrock – Zero Gravity2. Mi Gente w/ How Deep is Your Love w/ Daft Raga w/ No Money w/ Keep it Low3. JackU – Jungle Bae w/ Sam F – Jungle4. Blinders – Sirene w/ Symphony5. AVB – This is a Test (Julian Jordan remix)6. Calabria w/ Post Malone - Congratulations w/ Jackie Chan (Laidback Luke remix)7. Syzz & ang – donut8. Dubvision – Turn it Around w/ Zedd - Beautifull Now9. Tv noise – Cell Phone w/ Rhythm of the Night10. Kernkraft 400 – Zombie Nation w/ Axel e & Albin Myers - Take it to the Top w/ Deep down low11. Camila Cabello – Havana w/ Twisterz – Cook it Up12. Tony Junior ft Bombastix & Hoox – Unite13. Diplo & Autoerotique – Waist Time w/ Valentine Khan - Pump14. Benny Benassi – Satisfaction w/ Laidback Luke – Funky Beats15. Tove Lo – Stay High w/ No Good16. Klahr – Sapphire17. Thomas Newson ft. Will K – Saxo18. Blinders – Leaving19. Julian Jordan – Pilot20. French Montana – All The Way Up w/ Alvaro & Lil Jon – Vegas21. Twenty One Pilots - Heathens w/ Bo - Kadhr22. Jonas Blue – Fast Car w/ Kenneth G mashup w/ Timeless by Insanity & Vanbe23. Avb & Sunnery James & Ryan Marciano – You are w/ Sophie Francis – get over itEnjoy!

NYAC S4 E11: Empathy, What is it Good for? On this episode we speak with literature buff, writer and embodiment of Pan-Africanism, Clarisse Baleja Saidi about her Rwandese, Ugandan, Congolese and Ivorian roots, and her journey to becoming a writer. We examine the clarifying power of writing; discuss the challenge of truthful, authentic storytelling while trying to avoid pandering; and ask, what is the role of empathy in literature ? ------------------ Resources https://www.nybooks.com/daily/2019/03/02/the-banality-of-empathy/ https://www.wnycstudios.org/story/bloody-image-double-standard https://www.theatlantic.com/ideas/archive/2019/03/ethiopian-airlines-302/584533/ https://wereherelove.com/podcastguests/#ClarisseBalejaSaïdi --------------------- Reading - John Carryrou’s Bad Blood: Secrets and Lies in a Silicon Valley Startup - Claire Adam’s Golden Child - Anne Lamott’s Bird by Bird - Peter Kreeft’s Practical Theology: Spiritual Direction from Saint Thomas Aquinas Listening - PJ Morton and Yebba’s How Deep is Your Love - P J Morton’s Christmas with PJ Morton ------------------ Episode was mixed by Ifeoluwa Olokode, theme song is Ayo by Femi Leye