Podcasts about Islam

After media outlets like CNN and The New York Times claimed that Trump's Iran nuclear facility strike wasn't as successful as Trump claimed, Glenn's chief research and intelligence expert, Jason Buttrill, joined to explain why this report was made and how the media is lying by omission. The Times of London Columnist Melanie Phillips joins to break down the threat that radical Islam poses to America. Center for Humane Technology co-founder Tristan Harris joins to discuss the potential that society is underestimating how much AI will take over. Learn more about your ad choices. Visit megaphone.fm/adchoices

Glenn delves deeper into the socialist views of the new Democratic candidate for New York City mayor, Zohran Mamdani. Glenn examines previous cities that elected people with similar views, all of which ultimately ended with the city in shambles. After media outlets like CNN and The New York Times claimed that Trump's Iran nuclear facility strike wasn't as successful as Trump claimed, Glenn's chief research and intelligence expert, Jason Buttrill, joined to explain why this report was made and how the media is lying by omission. The Times of London Columnist Melanie Phillips joins to break down the threat that radical Islam poses to America. Glenn and Jason examine an AI-generated video featuring Aleksandr Dugin, as the guys fear Dugin will use this technology to indoctrinate more people worldwide in their native language. Center for Humane Technology co-founder Tristan Harris joins to discuss the potential that society is underestimating how much AI will take over. Texas Attorney General and Senate candidate Ken Paxton (R) joins to discuss recent polling that puts him above his competitor, Sen. John Cornyn (R). Paxton also discusses Trump's ‘big, beautiful bill' and reveals whether he would vote for it if he were in the Senate today.  Learn more about your ad choices. Visit megaphone.fm/adchoices

Send Superchats at any time here: https://streamlabs.com/jaydyer/tip Join this channel to get access to perks: https://www.youtube.com/channel/UCnt7Iy8GlmdPwy_Tzyx93bA/join PRE-Order New Book Available in JULY here: https://jaysanalysis.com/product/esoteric-hollywood-3-sex-cults-apocalypse-in-films/ Get started with Bitcoin here: https://www.swanbitcoin.com/jaydyer/ The New Philosophy Course is here: https://marketplace.autonomyagora.com/philosophy101 Set up recurring Choq subscription with the discount code JAY44LIFE for 44% off now https://choq.com Lore coffee is here: https://www.patristicfaith.com/coffee/ Orders for the Red Book are here: https://jaysanalysis.com/product/the-red-book-essays-on-theology-philosophy-new-jay-dyer-book/ Subscribe to my site here: https://jaysanalysis.com/membership-account/membership-levels/ Follow me on R0kfin here: https://rokfin.com/jaydyer Music by Amid the Ruins 1453 https://www.youtube.com/@amidtheruinsOVERHAULBecome a supporter of this podcast: https://www.spreaker.com/podcast/jay-sanalysis--1423846/support.

Stu explains his theory on why New York City Democrats elected this radical as their mayoral candidate. Glenn announces his next mission that will change the way you learn history: a physical and digital museum. Glenn speaks with Yasmine Mohammed, who calls out the dangers that radical Islam is to America. Yasmine also opens up about the horrors she faced during her childhood. Learn more about your ad choices. Visit megaphone.fm/adchoices

New York City just elected a communist Muslim radical as its Democratic mayoral candidate. It only took 25 years after 9/11 for NYC to elect a jihadist apologist. Glenn exposes how radical this candidate, Zohran Mamdani, actually is. Glenn issues a dire warning for any conservative New York City resident: Now is the time to get out. Glenn predicts the downfall of New York City in light of the radical who may become the new mayor. Stu explains his theory on why New York City Democrats elected this radical as their mayoral candidate. Glenn announces his next mission that will change the way you learn history: a physical and digital museum. How did Andrew Cuomo blow a 70-point lead in NYC? Glenn speaks with Yasmine Mohammed, who calls out the dangers that radical Islam is to America. Yasmine also opens up about the horrors she faced during her childhood. Glenn and Yasmine discuss how the Islamist ideology is the biggest threat to the West right now. Lastly, Glenn and Yasmine discuss the current conflict in Iran and how the Iranian people are being held hostage by a radical regime. Learn more about your ad choices. Visit megaphone.fm/adchoices

Ridvan Aydemir, known online as Apostate Prophet, is a Turkish-born former Muslim who grew up in a devout Sunni household and later became a prominent critic of Islam. After a period of intense religious study and ideological shifts—including atheism, secular communism, and Judaism—he became an Orthodox Christian catechumen. Ridvan launched his YouTube channel in 2017 to document his deconversion and critique Islamic teachings, gaining notoriety for controversial videos and public debates with Muslim apologists. A staunch advocate of free speech, he has been critical of both Islamic doctrine and Western institutions that, in his view, suppress legitimate criticism of Islam. Ridvan regularly collaborates with both atheist and Christian thinkers and has debated numerous Muslim figures on theology, human rights, and religious history.

Tim's own stream shows Judaic (and thus Islamic) "monotheism" isn't good enough. Send Superchats at any time here: https://streamlabs.com/jaydyer/tip Join this channel to get access to perks: https://www.youtube.com/channel/UCnt7Iy8GlmdPwy_Tzyx93bA/join PRE-Order New Book Available in JULY here: https://jaysanalysis.com/product/esoteric-hollywood-3-sex-cults-apocalypse-in-films/ Get started with Bitcoin here: https://www.swanbitcoin.com/jaydyer/ The New Philosophy Course is here: https://marketplace.autonomyagora.com/philosophy101 Set up recurring Choq subscription with the discount code JAY44LIFE for 44% off now https://choq.com Lore coffee is here: https://www.patristicfaith.com/coffee/ Orders for the Red Book are here: https://jaysanalysis.com/product/the-red-book-essays-on-theology-philosophy-new-jay-dyer-book/ Subscribe to my site here: https://jaysanalysis.com/membership-account/membership-levels/ Follow me on R0kfin here: https://rokfin.com/jaydyer Music by Amid the Ruins 14531Become a supporter of this podcast: https://www.spreaker.com/podcast/jay-sanalysis--1423846/support.

Tim's own stream shows Judaic (and thus Islamic) "monotheism" isn't good enough. Send Superchats at any time here: https://streamlabs.com/jaydyer/tip Join this channel to get access to perks: https://www.youtube.com/channel/UCnt7Iy8GlmdPwy_Tzyx93bA/join PRE-Order New Book Available in JULY here: https://jaysanalysis.com/product/esoteric-hollywood-3-sex-cults-apocalypse-in-films/ Get started with Bitcoin here: https://www.swanbitcoin.com/jaydyer/ The New Philosophy Course is here: https://marketplace.autonomyagora.com/philosophy101 Set up recurring Choq subscription with the discount code JAY44LIFE for 44% off now https://choq.com Lore coffee is here: https://www.patristicfaith.com/coffee/ Orders for the Red Book are here: https://jaysanalysis.com/product/the-red-book-essays-on-theology-philosophy-new-jay-dyer-book/ Subscribe to my site here: https://jaysanalysis.com/membership-account/membership-levels/ Follow me on R0kfin here: https://rokfin.com/jaydyer Music by Amid the Ruins 1453Become a supporter of this podcast: https://www.spreaker.com/podcast/jay-sanalysis--1423846/support.

In this video, we take a close, careful look at what the popes have actually said about Islam's understanding of God. Some people claim that the God of the Quran is Satan — but is that really what the popes and the Catholic Church teach? We'll explore key statements from Church teaching, highlight what makes […]

Hour 3 of A&G features... The deranged reaction to Iran from the media Does Trump understand fundamentalist Islam? Economic numbers & the younger generation Texts about prenups See omnystudio.com/listener for privacy information.

Yesterday, New York City Democrats chose a so-called “progressive” Muslim, Zohran Mamdani, to be their next mayor. Will his candidacy prompt at last scrutiny of what authoritative Islam's Sharia doctrine entails – a truth largely suppressed in this country since its adherents attacked us on 9/11?  Sharia requires faithful Muslims to strive to achieve its totalitarian triumph worldwide. Wherever possible, that is to be accomplished through violent jihad, or holy war, as practiced by the “perfect man”: Islam's prophet Mohammed.  When violence would be counterproductive, however, Sharia demands that jihad be pursued by other means. As we have seen in Britain especially, Sharia-supremacist Muslim Brotherhood-engineered block-voting has elected Muslim mayors in London and some twenty other cities. As Charlie Kirk recently courageously observed, “Sharia is incompatible with Western civilization.” And stealthy “electoral jihad” poses a threat to it here. This is Frank Gaffney.

Divisions have grown in the Conservative movement surrounding America's support of Israel. Michael Savage breaks down the critical geopolitical debate of prioritizing Israel, America, or humanity in the context of Iran's threat. Emphasizing the historical spread of Islam through conquest, he details the violence and persecution perpetuated by Iranian leadership against women, minorities, and dissidents within Iran. Savage warns about the dangers of Iran potentially acquiring nuclear weapons and the broader implications for global security. He draws parallels between historical Islamic conquests and modern-day threats, stressing the importance of understanding history to avoid repeating the mistakes of the past. Savage concludes with a reading from Ecclesiastes, reflecting on life, death, and the importance of fearing God.

This is The Briefing, a daily analysis of news and events from a Christian worldview.Part I (00:14 – 11:51)A Ceasefire Between Israel and Iran? President Trump Announces (On Truth Social) That Iran and Israel Have Reached a Ceasefire AgreementPart II (11:51 – 20:14)The Culture of Death Scores Big Win in UK: Assisted Suicide Bill Passes in House of CommonsAssisted dying Bill set to become law by The Telegraph (Genevieve Holl-Allen and Janet Eastham)Part III (20:14 – 25:25)The Culture of Death Scores Yet Another Big Win in U.K.: Decriminalization of Abortion Up Until Birth Passes by Wide Margin in House of CommonsThis abortion law change is evil, pure and simple by Evangelicals Now (James Mildred)Sign up to receive The Briefing in your inbox every weekday morning.Follow Dr. Mohler:X | Instagram | Facebook | YouTubeFor more information on The Southern Baptist Theological Seminary, go to sbts.edu.For more information on Boyce College, just go to BoyceCollege.com.To write Dr. Mohler or submit a question for The Mailbox, go here.

Tim's own stream shows Judaic (and thus Islamic) "monotheism" isn't good enough. Send Superchats at any time here: https://streamlabs.com/jaydyer/tip Join this channel to get access to perks: https://www.youtube.com/channel/UCnt7Iy8GlmdPwy_Tzyx93bA/join PRE-Order New Book Available in JULY here: https://jaysanalysis.com/product/esoteric-hollywood-3-sex-cults-apocalypse-in-films/ Get started with Bitcoin here: https://www.swanbitcoin.com/jaydyer/ The New Philosophy Course is here: https://marketplace.autonomyagora.com/philosophy101 Set up recurring Choq subscription with the discount code JAY44LIFE for 44% off now https://choq.com Lore coffee is here: https://www.patristicfaith.com/coffee/ Orders for the Red Book are here: https://jaysanalysis.com/product/the-red-book-essays-on-theology-philosophy-new-jay-dyer-book/ Subscribe to my site here: https://jaysanalysis.com/membership-account/membership-levels/ Follow me on R0kfin here: https://rokfin.com/jaydyer Music by Amid the Ruins 1453Become a supporter of this podcast: https://www.spreaker.com/podcast/jay-sanalysis--1423846/support.

BrownTown shares space with Chicago Palestinian Film Festival Executive Director Nina Shoman-Dajani, filmmaker Justin Mashouf, & protagonist of the short film $17.74, Hamzah Furqani. The team discusses the inner-workings and impact of the longest running Palestinian film festival in the world, centering the responsibility creators and storytellers have in sharing their to amplify resistance, solidarity, and joy. Originally recorded April 26, 2025. GUESTSNina Shoman-Dajani currently serves as the Executive Director for the Chicago Palestine Film Festival. She is also a community college administrator and teaches Middle Eastern Studies at Saint Xavier University and has served as a visiting lecturer at the University of Illinois in Chicago (UIC). She is a contributor to the recently published book Teaching Palestine: Lessons, Stories, Voices and one of the authors of Beyond Erasure and Profiling: Cultivating Strong and Vibrant Arab American Communities in Chicagoland. Nina is a co-chair for the MENA/SWANA Caucus and the Transnational/International Committee of the National Advisory Council for the National Conference on Race and Ethnicity in Higher Education (NCORE), a former board member for the Arab American Studies Association and a board member for the Syrian Community Network, a refugee resettlement agency in Chicago.Justin Mashouf is an award-winning filmmaker and artist based in Los Angeles. He is the co-founder and Executive Producer of Stay Focused Pictures, a production company specializing in documentary development and production. A finalist for the Pillars Fund x Riz Ahmed inaugural Artist Fellowship, Justin's career spans over 10 countries and includes feature films, commercials, TV specials and documentaries including his CPFF-accepted short film $17.74.Hamzah Furqani is the protagonist of $17.74. Raised in Los Angeles, Hamzah is a former gang member who spent 39 years incarcerated. In 1989, while serving his sentence, he began his journey of personal transformation by converting to Islam. Later, while incarcerated and before his release, he donated a month-long paycheck to support relief efforts in Gaza. Follow the festival on Facebook, Instagram, and Twitter!--Mentioned Topics & More Info: Related episodes:Ep. 113 - Palestinian Liberation: Divestment, Encampments, & Institutions ft. AmoonaEp. 112 - DNC: Pt. 2 ft. Nesreen Hasan & Nadiah AlyafaiEp. 111 - Palestinian Liberation: Anti-Zionism & Jewish Solidarity ft. Rabbi Brant Rosen & Lesley WilliamsEp. 102 - Palestinian Liberation: In This Moment ft. Muhammad SankariProfessor Refaat Alareer (video, 1, 2)--CREDITS: Intro song from Leve Palestina (Hijazi Remix ) 2023 | تحيا فلسطين ; outro soundbite from Refaat Alareer. Audio engineered by Kassandra Borah.--Bourbon 'n BrownTownFacebook | Twitter | Instagram | Site | Linktree | PatreonSoapBox Productions and Organizing, 501(c)3Facebook | Twitter | Instagram | Site | Linktree | Support

For those who haven't heard the announcement I posted, songs from this point on will sometimes be split among multiple episodes, so this is the second part of a two-episode look at the song “Who Knows Where The Time Goes?” by Fairport Convention, and the intertwining careers of Joe Boyd, Sandy Denny, and Richard Thompson. Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have a forty-one-minute bonus episode available, on Judy Collins’ version of this song. Tilt Araiza has assisted invaluably by editing, 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/ Erratum For about an hour this was uploaded with the wrong Elton John clip in place of “Saturday Sun”. This has now been fixed. Resources Because of the increasing problems with Mixcloud’s restrictions, I have decided to start sharing streaming playlists of the songs used in episodes instead of Mixcloud ones. This Tunemymusic link will let you listen to the playlist I created on your streaming platform of choice — however please note that not all the songs excerpted are currently available on streaming. The songs missing from the Tidal version are “Shanten Bells” by the Ian Campbell Folk Group, “Tom’s Gone to Hilo” by A.L. Lloyd, two by Paul McNeill and Linda Peters, three by Elton John & Linda Peters, “What Will I Do With Tomorrow” by Sandy Denny and “You Never Know” by Charlie Drake, but the other fifty-nine are there. Other songs may be missing from other services. The main books I used on Fairport Convention as a whole were Patrick Humphries' Meet On The Ledge, Clinton Heylin's What We Did Instead of Holidays, and Kevan Furbank's Fairport Convention on Track. Rob Young's Electric Eden is the most important book on the British folk-rock movement. Information on Richard Thompson comes from Patrick Humphries' Richard Thompson: Strange Affair and Thompson's own autobiography Beeswing.  Information on Sandy Denny comes from Clinton Heylin's No More Sad Refrains and Mick Houghton's I've Always Kept a Unicorn. I also used Joe Boyd's autobiography White Bicycles and Chris Blackwell's The Islander.  And this three-CD set is the best introduction to Fairport's music currently in print. Transcript Before we begin, this episode contains reference to alcohol and cocaine abuse and medical neglect leading to death. It also starts with some discussion of the fatal car accident that ended last episode. There’s also some mention of child neglect and spousal violence. If that’s likely to upset you, you might want to skip this episode or read the transcript. One of the inspirations for this podcast when I started it back in 2018 was a project by Richard Thompson, which appears (like many things in Thompson’s life) to have started out of sheer bloody-mindedness. In 1999 Playboy magazine asked various people to list their “songs of the Millennium”, and most of them, understanding the brief, chose a handful of songs from the latter half of the twentieth century. But Thompson determined that he was going to list his favourite songs *of the millennium*. He didn’t quite manage that, but he did cover seven hundred and forty years, and when Playboy chose not to publish it, he decided to turn it into a touring show, in which he covered all his favourite songs from “Sumer Is Icumen In” from 1260: [Excerpt: Richard Thompson, “Sumer is Icumen In”] Through numerous traditional folk songs, union songs like “Blackleg Miner”, pieces by early-modern composers, Victorian and Edwardian music hall songs, and songs by the Beatles, the Ink Spots, the Kinks, and the Who, all the way to “Oops! I Did It Again”: [Excerpt: Richard Thompson, “Oops! I Did it Again”] And to finish the show, and to show how all this music actually ties together, he would play what he described as a “medieval tune from Brittany”, “Marry, Ageyn Hic Hev Donne Yt”: [Excerpt: Richard Thompson, “Marry, Ageyn Hic Hev Donne Yt”] We have said many times in this podcast that there is no first anything, but there’s a reason that Liege and Lief, Fairport Convention’s third album of 1969, and the album other than Unhalfbricking on which their reputation largely rests, was advertised with the slogan “The first (literally) British folk rock album ever”. Folk-rock, as the term had come to be known, and as it is still usually used today, had very little to do with traditional folk music. Rather, the records of bands like The Byrds or Simon and Garfunkel were essentially taking the sounds of British beat groups of the early sixties, particularly the Searchers, and applying those sounds to material by contemporary singer-songwriters. People like Paul Simon and Bob Dylan had come up through folk clubs, and their songs were called folk music because of that, but they weren’t what folk music had meant up to that point — songs that had been collected after being handed down through the folk process, changed by each individual singer, with no single identifiable author. They were authored songs by very idiosyncratic writers. But over their last few albums, Fairport Convention had done one or two tracks per album that weren’t like that, that were instead recordings of traditional folk songs, but arranged with rock instrumentation. They were not necessarily the first band to try traditional folk music with electric instruments — around the same time that Fairport started experimenting with the idea, so did an Irish band named Sweeney’s Men, who brought in a young electric guitarist named Henry McCullough briefly. But they do seem to have been the first to have fully embraced the idea. They had done so to an extent with “A Sailor’s Life” on Unhalfbricking, but now they were going to go much further: [Excerpt: Fairport Convention, “Matty Groves” (from about 4:30)] There had been some doubt as to whether Fairport Convention would even continue to exist — by the time Unhalfbricking, their second album of the year, was released, they had been through the terrible car accident that had killed Martin Lamble, the band’s drummer, and Jeannie Franklyn, Richard Thompson’s girlfriend. Most of the rest of the band had been seriously injured, and they had made a conscious decision not to discuss the future of the band until they were all out of hospital. Ashley Hutchings was hospitalised the longest, and Simon Nicol, Richard Thompson, and Sandy Denny, the other three surviving members of the band, flew over to LA with their producer and manager, Joe Boyd, to recuperate there and get to know the American music scene. When they came back, the group all met up in the flat belonging to Denny’s boyfriend Trevor Lucas, and decided that they were going to continue the band. They made a few decisions then — they needed a new drummer, and as well as a drummer they wanted to get in Dave Swarbrick. Swarbrick had played violin on several tracks on Unhalfbricking as a session player, and they had all been thrilled to work with him. Swarbrick was one of the most experienced musicians on the British folk circuit. He had started out in the fifties playing guitar with Beryl Marriott’s Ceilidh Band before switching to fiddle, and in 1963, long before Fairport had formed, he had already appeared on TV with the Ian Campbell Folk Group, led by Ian Campbell, the father of Ali and Robin Campbell, later of UB40: [Excerpt: The Ian Campbell Folk Group, “Shanten Bells (medley on Hullaballoo!)”] He’d sung with Ewan MacColl and A.L. Lloyd: [Excerpt: A.L. Lloyd, “Tom’s Gone to Hilo” ] And he’d formed his hugely successful duo with Martin Carthy, releasing records like “Byker Hill” which are often considered among the best British folk music of all time: [Excerpt: Martin Carthy and Dave Swarbrick, “Byker Hill”] By the time Fairport had invited him to play on Unhalfbricking, Swarbrick had already performed on twenty albums as a core band member, plus dozens more EPs, singles, and odd tracks on compilations. They had no reason to think they could actually get him to join their band. But they had three advantages. The first was that Swarbrick was sick of the traditional folk scene at the time, saying later “I didn’t like seven-eighths of the people involved in it, and it was extremely opportune to leave. I was suddenly presented with the possibilities of exploring the dramatic content of the songs to the full.” The second was that he was hugely excited to be playing with Richard Thompson, who was one of the most innovative guitarists of his generation, and Martin Carthy remembers him raving about Thompson after their initial sessions. (Carthy himself was and is no slouch on the guitar of course, and there was even talk of getting him to join the band at this point, though they decided against it — much to the relief of rhythm guitarist Simon Nicol, who is a perfectly fine player himself but didn’t want to be outclassed by *two* of the best guitarists in Britain at the same time). And the third was that Joe Boyd told him that Fairport were doing so well — they had a single just about to hit the charts with “Si Tu Dois Partir” — that he would only have to play a dozen gigs with Fairport in order to retire. As it turned out, Swarbrick would play with the group for a decade, and would never retire — I saw him on his last tour in 2015, only eight months before he died. The drummer the group picked was also a far more experienced musician than any of the rest, though in a very different genre. Dave Mattacks had no knowledge at all of the kind of music they played, having previously been a player in dance bands. When asked by Hutchings if he wanted to join the band, Mattacks’ response was “I don’t know anything about the music. I don’t understand it… I can’t tell one tune from another, they all sound the same… but if you want me to join the group, fine, because I really like it. I’m enjoying myself musically.” Mattacks brought a new level of professionalism to the band, thanks to his different background. Nicol said of him later “He was dilligent, clean, used to taking three white shirts to a gig… The application he could bring to his playing was amazing. With us, you only played well when you were feeling well.” This distinction applied to his playing as well. Nicol would later describe the difference between Mattacks’ drumming and Lamble’s by saying “Martin’s strength was as an imaginative drummer. DM came in with a strongly developed sense of rhythm, through keeping a big band of drunken saxophone players in order. A great time-keeper.” With this new line-up and a new sense of purpose, the group did as many of their contemporaries were doing and “got their heads together in the country”. Joe Boyd rented the group a mansion, Farley House, in Farley Chamberlayne, Hampshire, and they stayed there together for three months. At the start, the group seem to have thought that they were going to make another record like Unhalfbricking, with some originals, some songs by American songwriters, and a few traditional songs. Even after their stay in Farley Chamberlayne, in fact, they recorded a few of the American songs they’d rehearsed at the start of the process, Richard Farina’s “Quiet Joys of Brotherhood” and Bob Dylan and Roger McGuinn’s “Ballad of Easy Rider”: [Excerpt: Fairport Convention, “Ballad of Easy Rider”] Indeed, the whole idea of “getting our heads together in the country” (as the cliche quickly became in the late sixties as half of the bands in Britain went through much the same kind of process as Fairport were doing — but usually for reasons more to do with drug burnout or trend following than recovering from serious life-changing trauma) seems to have been inspired by Bob Dylan and the Band getting together in Big Pink. But very quickly they decided to follow the lead of Ashley Hutchings, who had had something of a Damascene conversion to the cause of traditional English folk music. They were listening mostly to Music From Big Pink by the Band, and to the first album by Sweeney’s Men: [Excerpt: Sweeney’s Men, “The Handsome Cabin Boy”] And they decided that they were going to make something that was as English as those records were North American and Irish (though in the event there were also a few Scottish songs included on the record). Hutchings in particular was becoming something of a scholar of traditional music, regularly visiting Cecil Sharp House and having long conversations with A.L. Lloyd, discovering versions of different traditional songs he’d never encountered before. This was both amusing and bemusing Sandy Denny, who had joined a rock group in part to get away from traditional music; but she was comfortable singing the material, and knew a lot of it and could make a lot of suggestions herself. Swarbrick obviously knew the repertoire intimately, and Nicol was amenable, while Mattacks was utterly clueless about the folk tradition at this point but knew this was the music he wanted to make. Thompson knew very little about traditional music, and of all the band members except Denny he was the one who has shown the least interest in the genre in his subsequent career — but as we heard at the beginning, showing the least interest in the genre is a relative thing, and while Thompson was not hugely familiar with the genre, he *was* able to work with it, and was also more than capable of writing songs that fit in with the genre. Of the eleven songs on the album, which was titled Liege and Lief (which means, roughly, Lord and Loyalty), there were no cover versions of singer-songwriters. Eight were traditional songs, and three were originals, all written in the style of traditional songs. The album opened with “Come All Ye”, an introduction written by Denny and Hutchings (the only time the two would ever write together): [Excerpt: Fairport Convention, “Come All Ye”] The other two originals were songs where Thompson had written new lyrics to traditional melodies. On “Crazy Man Michael”, Swarbrick had said to Thompson that the tune to which he had set his new words was weaker than the lyrics, to which Thompson had replied that if Swarbrick felt that way he should feel free to write a new melody. He did, and it became the first of the small number of Thompson/Swarbrick collaborations: [Excerpt: Fairport Convention, “Crazy Man Michael”] Thompson and Swarbrick would become a brief songwriting team, but as much as anything else it was down to proximity — the two respected each other as musicians, but never got on very well. In 1981 Swarbrick would say “Richard and I never got on in the early days of FC… we thought we did, but we never did. We composed some bloody good songs together, but it was purely on a basis of “you write that and I’ll write this, and we’ll put it together.” But we never sat down and had real good chats.” The third original on the album, and by far the most affecting, is another song where Thompson put lyrics to a traditional tune. In this case he thought he was putting the lyrics to the tune of “Willie O'Winsbury”, but he was basing it on a recording by Sweeney’s Men. The problem was that Sweeney’s Men had accidentally sung the lyrics of “Willie O'Winsbury'” to the tune of a totally different song, “Fause Foodrage”: [Excerpt: Sweeney’s Men, “Willie O’Winsbury”] Thompson took that melody, and set to it lyrics about loss and separation. Thompson has never been one to discuss the meanings of his lyrics in any great detail, and in the case of this one has said “I really don't know what it means. This song came out of a dream, and I pretty much wrote it as I dreamt it (it was the sixties), and didn't spend very long analyzing it. So interpret as you wish – or replace with your own lines.” But in the context of the traffic accident that had killed his tailor girlfriend and a bandmate, and injured most of his other bandmates, the lyrics about lonely travellers, the winding road, bruised and beaten sons, saying goodbye, and never cutting cloth, seem fairly self-explanatory: [Excerpt: Fairport Convention, “Farewell, Farewell”] The rest of the album, though, was taken up by traditional tunes. There was a long medley of four different fiddle reels; a version of “Reynardine” (a song about a seductive man — or is he a fox? Or perhaps both — which had been recorded by Swarbrick and Carthy on their most recent album); a 19th century song about a deserter saved from the firing squad by Prince Albert; and a long take on “Tam Lin”, one of the most famous pieces in the Scottish folk music canon, a song that has been adapted in different ways by everyone from the experimental noise band Current 93 to the dub poet Benjamin Zephaniah to the comics writer Grant Morrison: [Excerpt: Fairport Convention, “Tam Lin”] And “Matty Groves”, a song about a man killing his cheating wife and her lover, which actually has a surprisingly similar story to that of “1921” from another great concept album from that year, the Who’s Tommy. “Matty Groves” became an excuse for long solos and shows of instrumental virtuosity: [Excerpt: Fairport Convention, “Matty Groves”] The album was recorded in September 1969, after their return from their break in the country and a triumphal performance at the Royal Festival Hall, headlining over fellow Witchseason artists John and Beverly Martyn and Nick Drake. It became a classic of the traditional folk genre — arguably *the* classic of the traditional folk genre. In 2007 BBC Radio 2’s Folk Music Awards gave it an award for most influential folk album of all time, and while such things are hard to measure, I doubt there’s anyone with even the most cursory knowledge of British folk and folk-rock music who would not at least consider that a reasonable claim. But once again, by the time the album came out in November, the band had changed lineups yet again. There was a fundamental split in the band – on one side were Sandy Denny and Richard Thompson, whose stance was, roughly, that Liege and Lief was a great experiment and a fun thing to do once, but really the band had two first-rate songwriters in themselves, and that they should be concentrating on their own new material, not doing these old songs, good as they were. They wanted to take the form of the traditional songs and use that form for new material — they wanted to make British folk-rock, but with the emphasis on the rock side of things. Hutchings, on the other hand, was equally sure that he wanted to make traditional music and go further down the rabbit hole of antiquity. With the zeal of the convert he had gone in a couple of years from being the leader of a band who were labelled “the British Jefferson Airplane” to becoming a serious scholar of traditional folk music. Denny was tired of touring, as well — she wanted to spend more time at home with Trevor Lucas, who was sleeping with other women when she was away and making her insecure. When the time came for the group to go on a tour of Denmark, Denny decided she couldn’t make it, and Hutchings was jubilant — he decided he was going to get A.L. Lloyd into the band in her place and become a *real* folk group. Then Denny reconsidered, and Hutchings was crushed. He realised that while he had always been the leader, he wasn’t going to be able to lead the band any further in the traditionalist direction, and quit the group — but not before he was delegated by the other band members to fire Denny. Until the publication of Richard Thompson’s autobiography in 2022, every book on the group or its members said that Denny quit the band again, which was presumably a polite fiction that the band agreed, but according to Thompson “Before we flew home, we decided to fire Sandy. I don't remember who asked her to leave – it was probably Ashley, who usually did the dirty work. She was reportedly shocked that we would take that step. She may have been fragile beneath the confident facade, but she still knew her worth.” Thompson goes on to explain that the reasons for kicking her out were that “I suppose we felt that in her mind she had already left” and that “We were probably suffering from post-traumatic stress disorder, though there wasn't a name for it back then.” They had considered inviting Trevor Lucas to join the band to make Denny more comfortable, but came to the (probably correct) conclusion that while he was someone they got on well with personally, he would be another big ego in a band that already had several, and that being around Denny and Lucas’ volatile relationship would, in Thompson’s phrasing, “have not always given one a feeling of peace and stability.” Hutchings originally decided he was going to join Sweeney’s Men, but that group were falling apart, and their first rehearsal with Hutchings would also be their last as a group, with only Hutchings and guitarist and mandolin player Terry Woods left in the band. They added Woods’ wife Gay, and another couple, Tim Hart and Maddy Prior, and formed a group called Steeleye Span, a name given them by Martin Carthy. That group, like Fairport, went to “get their heads together in the country” for three months and recorded an album of electric versions of traditional songs, Hark the Village Wait, on which Mattacks and another drummer, Gerry Conway, guested as Steeleye Span didn’t at the time have their own drummer: [Excerpt: Steeleye Span, “Blackleg Miner”] Steeleye Span would go on to have a moderately successful chart career in the seventies, but by that time most of the original lineup, including Hutchings, had left — Hutchings stayed with them for a few albums, then went on to form the first of a series of bands, all called the Albion Band or variations on that name, which continue to this day. And this is something that needs to be pointed out at this point — it is impossible to follow every single individual in this narrative as they move between bands. There is enough material in the history of the British folk-rock scene that someone could do a 500 Songs-style podcast just on that, and every time someone left Fairport, or Steeleye Span, or the Albion Band, or Matthews’ Southern Comfort, or any of the other bands we have mentioned or will mention, they would go off and form another band which would then fission, and some of its members would often join one of those other bands. There was a point in the mid-1970s where the Albion Band had two original members of Fairport Convention while Fairport Convention had none. So just in order to keep the narrative anything like wieldy, I’m going to keep the narrative concentrated on the two figures from Fairport — Sandy Denny and Richard Thompson — whose work outside the group has had the most influence on the wider world of rock music more broadly, and only deal with the other members when, as they often did, their careers intersected with those two. That doesn’t mean the other members are not themselves hugely important musicians, just that their importance has been primarily to the folk side of the folk-rock genre, and so somewhat outside the scope of this podcast. While Hutchings decided to form a band that would allow him to go deeper and deeper into traditional folk music, Sandy Denny’s next venture was rather different. For a long time she had been writing far more songs than she had ever played for her bandmates, like “Nothing More”, a song that many have suggested is about Thompson: [Excerpt: Fotheringay, “Nothing More”] When Joe Boyd heard that Denny was leaving Fairport Convention, he was at first elated. Fairport’s records were being distributed by A&M in the US at that point, but Island Records was in the process of opening up a new US subsidiary which would then release all future Fairport product — *but*, as far as A&M were concerned, Sandy Denny *was* Fairport Convention. They were only interested in her. Boyd, on the other hand, loved Denny’s work intensely, but from his point of view *Richard Thompson* was Fairport Convention. If he could get Denny signed directly to A&M as a solo artist before Island started its US operations, Witchseason could get a huge advance on her first solo record, while Fairport could continue making records for Island — he’d have two lucrative acts, on different labels. Boyd went over and spoke to A&M and got an agreement in principle that they would give Denny a forty-thousand-dollar advance on her first solo album — twice what they were paying for Fairport albums. The problem was that Denny didn’t want to be a solo act. She wanted to be the lead singer of a band. She gave many reasons for this — the one she gave to many journalists was that she had seen a Judy Collins show and been impressed, but noticed that Collins’ band were definitely a “backing group”, and as she put it “But that's all they were – a backing group. I suddenly thought, If you're playing together on a stage you might as well be TOGETHER.” Most other people in her life, though, say that the main reason for her wanting to be in a band was her desire to be with her boyfriend, Trevor Lucas. Partly this was due to a genuine desire to spend more time with someone with whom she was very much in love, partly it was a fear that he would cheat on her if she was away from him for long periods of time, and part of it seems to have been Lucas’ dislike of being *too* overshadowed by his talented girlfriend — he didn’t mind acknowledging that she was a major talent, but he wanted to be thought of as at least a minor one. So instead of going solo, Denny formed Fotheringay, named after the song she had written for Fairport. This new band consisted at first of Denny on vocals and occasional piano, Lucas on vocals and rhythm guitar, and Lucas’ old Eclection bandmate Gerry Conway on drums. For a lead guitarist, they asked Richard Thompson who the best guitarist in Britain was, and he told them Albert Lee. Lee in turn brought in bass player Pat Donaldson, but this lineup of the band barely survived a fortnight. Lee *was* arguably the best guitarist in Britain, certainly a reasonable candidate if you could ever have a singular best (as indeed was Thompson himself), but he was the best *country* guitarist in Britain, and his style simply didn’t fit with Fotheringay’s folk-influenced songs. He was replaced by American guitarist Jerry Donahue, who was not anything like as proficient as Lee, but who was still very good, and fit the band’s style much better. The new group rehearsed together for a few weeks, did a quick tour, and then went into the recording studio to record their debut, self-titled, album. Joe Boyd produced the album, but admitted himself that he only paid attention to those songs he considered worthwhile — the album contained one song by Lucas, “The Ballad of Ned Kelly”, and two cover versions of American singer-songwriter material with Lucas singing lead. But everyone knew that the songs that actually *mattered* were Sandy Denny’s, and Boyd was far more interested in them, particularly the songs “The Sea” and “The Pond and the Stream”: [Excerpt: Fotheringay, “The Pond and the Stream”] Fotheringay almost immediately hit financial problems, though. While other Witchseason acts were used to touring on the cheap, all packed together in the back of a Transit van with inexpensive equipment, Trevor Lucas had ambitions of being a rock star and wanted to put together a touring production to match, with expensive transport and equipment, including a speaker system that got nicknamed “Stonehenge” — but at the same time, Denny was unhappy being on the road, and didn’t play many gigs. As well as the band itself, the Fotheringay album also featured backing vocals from a couple of other people, including Denny’s friend Linda Peters. Peters was another singer from the folk clubs, and a good one, though less well-known than Denny — at this point she had only released a couple of singles, and those singles seemed to have been as much as anything else released as a novelty. The first of those, a version of Dylan’s “You Ain’t Goin’ Nowhere” had been released as by “Paul McNeill and Linda Peters”: [Excerpt: Paul McNeill and Linda Peters, “You Ain’t Goin’ Nowhere”] But their second single, a version of John D. Loudermilk’s “You’re Taking My Bag”, was released on the tiny Page One label, owned by Larry Page, and was released under the name “Paul and Linda”, clearly with the intent of confusing particularly gullible members of the record-buying public into thinking this was the McCartneys: [Excerpt: Paul and Linda, “You’re Taking My Bag”] Peters was though more financially successful than almost anyone else in this story, as she was making a great deal of money as a session singer. She actually did another session involving most of Fotheringay around this time. Witchseason had a number of excellent songwriters on its roster, and had had some success getting covers by people like Judy Collins, but Joe Boyd thought that they might possibly do better at getting cover versions if they were performed in less idiosyncratic arrangements. Donahue, Donaldson, and Conway went into the studio to record backing tracks, and vocals were added by Peters and another session singer, who according to some sources also provided piano. They cut songs by Mike Heron of the Incredible String Band: [Excerpt: Linda Peters, “You Get Brighter”] Ed Carter, formerly of The New Nadir but by this time firmly ensconced in the Beach Boys’ touring band where he would remain for the next quarter-century: [Excerpt: Linda Peters, “I Don’t Mind”] John and Beverly Martyn, and Nick Drake: [Excerpt: Elton John, “Saturday Sun”] There are different lineups of musicians credited for those sessions in different sources, but I tend to believe that it’s mostly Fotheringay for the simple reason that Donahue says it was him, Donaldson and Conway who talked Lucas and Denny into the mistake that destroyed Fotheringay because of these sessions. Fotheringay were in financial trouble already, spending far more money than they were bringing in, but their album made the top twenty and they were getting respect both from critics and from the public — in September, Sandy Denny was voted best British female singer by the readers of Melody Maker in their annual poll, which led to shocked headlines in the tabloids about how this “unknown” could have beaten such big names as Dusty Springfield and Cilla Black. Only a couple of weeks after that, they were due to headline at the Albert Hall. It should have been a triumph. But Donahue, Donaldson, and Conway had asked that singing pianist to be their support act. As Donahue said later “That was a terrible miscast. It was our fault. He asked if [he] could do it. Actually Pat, Gerry and I had to talk Sandy and Trevor into [it]… We'd done these demos and the way he was playing – he was a wonderful piano player – he was sensitive enough. We knew very little about his stage-show. We thought he'd be a really good opener for us.” Unfortunately, Elton John was rather *too* good. As Donahue continued “we had no idea what he had in mind, that he was going to do the most incredible rock & roll show ever. He pretty much blew us off the stage before we even got on the stage.” To make matters worse, Fotheringay’s set, which was mostly comprised of new material, was underrehearsed and sloppy, and from that point on no matter what they did people were counting the hours until the band split up. They struggled along for a while though, and started working on a second record, with Boyd again producing, though as Boyd later said “I probably shouldn't have been producing the record. My lack of respect for the group was clear, and couldn't have helped the atmosphere. We'd put out a record that had sold disappointingly, A&M was unhappy. Sandy's tracks on the first record are among the best things she ever did – the rest of it, who cares? And the artwork, Trevor's sister, was terrible. It would have been one thing if I'd been unhappy with it and it sold, and the group was working all the time, making money, but that wasn't the case … I knew what Sandy was capable of, and it was very upsetting to me.” The record would not be released for thirty-eight years: [Excerpt: Fotheringay, “Wild Mountain Thyme”] Witchseason was going badly into debt. Given all the fissioning of bands that we’ve already been talking about, Boyd had been stretched thin — he produced sixteen albums in 1970, and almost all of them lost money for the company. And he was getting more and more disillusioned with the people he was producing. He loved Beverly Martyn’s work, but had little time for her abusive husband John, who was dominating her recording and life more and more and would soon become a solo artist while making her stay at home (and stealing her ideas without giving her songwriting credit). The Incredible String Band were great, but they had recently converted to Scientology, which Boyd found annoying, and while he was working with all sorts of exciting artists like Vashti Bunyan and Nico, he was finding himself less and less important to the artists he mentored. Fairport Convention were a good example of this. After Denny and Hutchings had left the group, they’d decided to carry on as an electric folk group, performing an equal mix of originals by the Swarbrick and Thompson songwriting team and arrangements of traditional songs. The group were now far enough away from the “British Jefferson Airplane” label that they decided they didn’t need a female vocalist — and more realistically, while they’d been able to replace Judy Dyble, nobody was going to replace Sandy Denny. Though it’s rather surprising when one considers Thompson’s subsequent career that nobody seems to have thought of bringing in Denny’s friend Linda Peters, who was dating Joe Boyd at the time (as Denny had been before she met Lucas) as Denny’s replacement. Instead, they decided that Swarbrick and Thompson were going to share the vocals between them. They did, though, need a bass player to replace Hutchings. Swarbrick wanted to bring in Dave Pegg, with whom he had played in the Ian Campbell Folk Group, but the other band members initially thought the idea was a bad one. At the time, while they respected Swarbrick as a musician, they didn’t think he fully understood rock and roll yet, and they thought the idea of getting in a folkie who had played double bass rather than an electric rock bassist ridiculous. But they auditioned him to mollify Swarbrick, and found that he was exactly what they needed. As Joe Boyd later said “All those bass lines were great, Ashley invented them all, but he never could play them that well. He thought of them, but he was technically not a terrific bass player. He was a very inventive, melodic, bass player, but not a very powerful one technically. But having had the part explained to him once, Pegg was playing it better than Ashley had ever played it… In some rock bands, I think, ultimately, the bands that sound great, you can generally trace it to the bass player… it was at that point they became a great band, when they had Pegg.” The new lineup of Fairport decided to move in together, and found a former pub called the Angel, into which all the band members moved, along with their partners and children (Thompson was the only one who was single at this point) and their roadies. The group lived together quite happily, and one gets the impression that this was the period when they were most comfortable with each other, even though by this point they were a disparate group with disparate tastes, in music as in everything else. Several people have said that the only music all the band members could agree they liked at this point was the first two albums by The Band. With the departure of Hutchings from the band, Swarbrick and Thompson, as the strongest personalities and soloists, became in effect the joint leaders of the group, and they became collaborators as songwriters, trying to write new songs that were inspired by traditional music. Thompson described the process as “let’s take one line of this reel and slow it down and move it up a minor third and see what that does to it; let’s take one line of this ballad and make a whole song out of it. Chopping up the tradition to find new things to do… like a collage.” Generally speaking, Swarbrick and Thompson would sit by the fire and Swarbrick would play a melody he’d been working on, the two would work on it for a while, and Thompson would then go away and write the lyrics. This is how the two came up with songs like the nine-minute “Sloth”, a highlight of the next album, Full House, and one that would remain in Fairport’s live set for much of their career: [Excerpt: Fairport Convention, “Sloth”] “Sloth” was titled that way because Thompson and Swarbrick were working on two tunes, a slow one and a fast one, and they jokingly named them “Sloth” and “Fasth”, but the latter got renamed to “Walk Awhile”, while “Sloth” kept its working title. But by this point, Boyd and Thompson were having a lot of conflict in the studio. Boyd was never the most technical of producers — he was one of those producers whose job is to gently guide the artists in the studio and create a space for the music to flourish, rather than the Joe Meek type with an intimate technical knowledge of the studio — and as the artists he was working with gained confidence in their own work they felt they had less and less need of him. During the making of the Full House album, Thompson and Boyd, according to Boyd, clashed on everything — every time Boyd thought Thompson had done a good solo, Thompson would say to erase it and let him have another go, while every time Boyd thought Thompson could do better, Thompson would say that was the take to keep. One of their biggest clashes was over Thompson’s song “Poor Will and the Jolly Hangman”, which was originally intended for release on the album, and is included in current reissues of it: [Excerpt: Fairport Convention, “Poor Will and the Jolly Hangman”] Thompson had written that song inspired by what he thought was the unjust treatment of Alex Bramham, the driver in Fairport’s fatal car crash, by the courts — Bramham had been given a prison sentence of a few months for dangerous driving, while the group members thought he had not been at fault. Boyd thought it was one of the best things recorded for the album, but Thompson wasn’t happy with his vocal — there was one note at the top of the melody that he couldn’t quite hit — and insisted it be kept off the record, even though that meant it would be a shorter album than normal. He did this at such a late stage that early copies of the album actually had the title printed on the sleeve, but then blacked out. He now says in his autobiography “I could have persevered, double-tracked the voice, warmed up for longer – anything. It was a good track, and the record was lacking without it. When the album was re-released, the track was restored with a more confident vocal, and it has stayed there ever since.” During the sessions for Full House the group also recorded one non-album single, Thompson and Swarbrick’s “Now Be Thankful”: [Excerpt, Fairport Convention, “Now Be Thankful”] The B-side to that was a medley of two traditional tunes plus a Swarbrick original, but was given the deliberately ridiculous title “Sir B. McKenzie’s Daughter’s Lament For The 77th Mounted Lancers Retreat From The Straits Of Loch Knombe, In The Year Of Our Lord 1727, On The Occasion Of The Announcement Of Her Marriage To The Laird Of Kinleakie”: [Excerpt: Fairport Convention, “Sir B. McKenzie’s Daughter’s Lament For The 77th Mounted Lancers Retreat From The Straits Of Loch Knombe, In The Year Of Our Lord 1727, On The Occasion Of The Announcement Of Her Marriage To The Laird Of Kinleakie”] The B. McKenzie in the title was a reference to the comic-strip character Barry McKenzie, a stereotype drunk Australian created for Private Eye magazine by the comedian Barry Humphries (later to become better known for his Dame Edna Everage character) but the title was chosen for one reason only — to get into the Guinness Book of Records for the song with the longest title. Which they did, though they were later displaced by the industrial band Test Dept, and their song “Long Live British Democracy Which Flourishes and Is Constantly Perfected Under the Immaculate Guidance of the Great, Honourable, Generous and Correct Margaret Hilda Thatcher. She Is the Blue Sky in the Hearts of All Nations. Our People Pay Homage and Bow in Deep Respect and Gratitude to Her. The Milk of Human Kindness”. Full House got excellent reviews in the music press, with Rolling Stone saying “The music shows that England has finally gotten her own equivalent to The Band… By calling Fairport an English equivalent of the Band, I meant that they have soaked up enough of the tradition of their countryfolk that it begins to show all over, while they maintain their roots in rock.” Off the back of this, the group went on their first US tour, culminating in a series of shows at the Troubadour in LA, on the same bill as Rick Nelson, which were recorded and later released as a live album: [Excerpt: Fairport Convention, “Sloth (live)”] The Troubadour was one of the hippest venues at the time, and over their residency there the group got seen by many celebrities, some of whom joined them on stage. The first was Linda Ronstadt, who initially demurred, saying she didn’t know any of their songs. On being told they knew all of hers, she joined in with a rendition of “Silver Threads and Golden Needles”. Thompson was later asked to join Ronstadt’s backing band, who would go on to become the Eagles, but he said later of this offer “I would have hated it. I’d have hated being on the road with four or five miserable Americans — they always seem miserable. And if you see them now, they still look miserable on stage — like they don’t want to be there and they don’t like each other.” The group were also joined on stage at the Troubadour on one memorable night by some former bandmates of Pegg’s. Before joining the Ian Campbell Folk Group, Pegg had played around the Birmingham beat scene, and had been in bands with John Bonham and Robert Plant, who turned up to the Troubadour with their Led Zeppelin bandmate Jimmy Page (reports differ on whether the fourth member of Zeppelin, John Paul Jones, also came along). They all got up on stage together and jammed on songs like “Hey Joe”, “Louie Louie”, and various old Elvis tunes. The show was recorded, and the tapes are apparently still in the possession of Joe Boyd, who has said he refuses to release them in case he is murdered by the ghost of Peter Grant. According to Thompson, that night ended in a three-way drinking contest between Pegg, Bonham, and Janis Joplin, and it’s testament to how strong the drinking culture is around Fairport and the British folk scene in general that Pegg outdrank both of them. According to Thompson, Bonham was found naked by a swimming pool two days later, having missed two gigs. For all their hard rock image, Led Zeppelin were admirers of a lot of the British folk and folk-rock scene, and a few months later Sandy Denny would become the only outside vocalist ever to appear on a Led Zeppelin record when she duetted with Plant on “The Battle of Evermore” on the group’s fourth album: [Excerpt: Led Zeppelin, “The Battle of Evermore”] Denny would never actually get paid for her appearance on one of the best-selling albums of all time. That was, incidentally, not the only session that Denny was involved in around this time — she also sang on the soundtrack to a soft porn film titled Swedish Fly Girls, whose soundtrack was produced by Manfred Mann: [Excerpt: Sandy Denny, “What Will I Do With Tomorrow?”] Shortly after Fairport’s trip to America, Joe Boyd decided he was giving up on Witchseason. The company was now losing money, and he was finding himself having to produce work for more and more acts as the various bands fissioned. The only ones he really cared about were Richard Thompson, who he was finding it more and more difficult to work with, Nick Drake, who wanted to do his next album with just an acoustic guitar anyway, Sandy Denny, who he felt was wasting her talents in Fotheringay, and Mike Heron of the Incredible String Band, who was more distant since his conversion to Scientology. Boyd did make some attempts to keep the company going. On a trip to Sweden, he negotiated an agreement with the manager and publisher of a Swedish band whose songs he’d found intriguing, the Hep Stars. Boyd was going to publish their songs in the UK, and in return that publisher, Stig Anderson, would get the rights to Witchseason’s catalogue in Scandinavia — a straight swap, with no money changing hands. But before Boyd could get round to signing the paperwork, he got a better offer from Mo Ostin of Warners — Ostin wanted Boyd to come over to LA and head up Warners’ new film music department. Boyd sold Witchseason to Island Records and moved to LA with his fiancee Linda Peters, spending the next few years working on music for films like Deliverance and A Clockwork Orange, as well as making his own documentary about Jimi Hendrix, and thus missed out on getting the UK publishing rights for ABBA, and all the income that would have brought him, for no money. And it was that decision that led to the breakup of Fotheringay. Just before Christmas 1970, Fotheringay were having a difficult session, recording the track “John the Gun”: [Excerpt: Fotheringay, “John the Gun”] Boyd got frustrated and kicked everyone out of the session, and went for a meal and several drinks with Denny. He kept insisting that she should dump the band and just go solo, and then something happened that the two of them would always describe differently. She asked him if he would continue to produce her records if she went solo, and he said he would. According to Boyd’s recollection of the events, he meant that he would fly back from California at some point to produce her records. According to Denny, he told her that if she went solo he would stay in Britain and not take the job in LA. This miscommunication was only discovered after Denny told the rest of Fotheringay after the Christmas break that she was splitting the band. Jerry Donahue has described that as the worst moment of his life, and Denny felt very guilty about breaking up a band with some of her closest friends in — and then when Boyd went over to the US anyway she felt a profound betrayal. Two days before Fotheringay’s final concert, in January 1971, Sandy Denny signed a solo deal with Island records, but her first solo album would not end up produced by Joe Boyd. Instead, The North Star Grassman and the Ravens was co-produced by Denny, John Wood — the engineer who had worked with Boyd on pretty much everything he’d produced, and Richard Thompson, who had just quit Fairport Convention, though he continued living with them at the Angel, at least until a truck crashed into the building in February 1971, destroying its entire front wall and forcing them to relocate. The songs chosen for The North Star Grassman and the Ravens reflected the kind of choices Denny would make on her future albums, and her eclectic taste in music. There was, of course, the obligatory Dylan cover, and the traditional folk ballad “Blackwaterside”, but there was also a cover version of Brenda Lee’s “Let’s Jump the Broomstick”: [Excerpt: Sandy Denny, “Let’s Jump the Broomstick”] Most of the album, though, was made up of originals about various people in Denny’s life, like “Next Time Around”, about her ex-boyfriend Jackson C Frank: [Excerpt: Sandy Denny, “Next Time Around”] The album made the top forty in the UK — Denny’s only solo album to do so — and led to her once again winning the “best female singer” award in Melody Maker’s readers’ poll that year — the male singer award was won by Rod Stewart. Both Stewart and Denny appeared the next year on the London Symphony Orchestra’s all-star version of The Who’s Tommy, which had originally been intended as a vehicle for Stewart before Roger Daltrey got involved. Stewart’s role was reduced to a single song, “Pinball Wizard”, while Denny sang on “It’s a Boy”: [Excerpt: Sandy Denny, “It’s a Boy”] While Fotheringay had split up, all the band members play on The North Star Grassman and the Ravens. Guitarists Donahue and Lucas only play on a couple of the tracks, with Richard Thompson playing most of the guitar on the record. But Fotheringay’s rhythm section of Pat Donaldson and Gerry Conway play on almost every track. Another musician on the album, Ian Whiteman, would possibly have a profound effect on the future direction of Richard Thompson’s career and life. Whiteman was the former keyboard player for the mod band The Action, having joined them just before they became the blues-rock band Mighty Baby. But Mighty Baby had split up when all of the band except the lead singer had converted to Islam. Richard Thompson was on his own spiritual journey at this point, and became a Sufi – the same branch of Islam as Whiteman – soon after the session, though Thompson has said that his conversion was independent of Whiteman’s. The two did become very close and work together a lot in the mid-seventies though. Thompson had supposedly left Fairport because he was writing material that wasn’t suited to the band, but he spent more than a year after quitting the group working on sessions rather than doing anything with his own material, and these sessions tended to involve the same core group of musicians. One of the more unusual was a folk-rock supergroup called The Bunch, put together by Trevor Lucas. Richard Branson had recently bought a recording studio, and wanted a band to test it out before opening it up for commercial customers, so with this free studio time Lucas decided to record a set of fifties rock and roll covers. He gathered together Thompson, Denny, Whiteman, Ashley Hutchings, Dave Mattacks, Pat Donaldson, Gerry Conway, pianist Tony Cox, the horn section that would later form the core of the Average White Band, and Linda Peters, who had now split up with Joe Boyd and returned to the UK, and who had started dating Thompson. They recorded an album of covers of songs by Jerry Lee Lewis, the Everly Brothers, Johnny Otis and others: [Excerpt: The Bunch, “Willie and the Hand Jive”] The early seventies was a hugely productive time for this group of musicians, as they all continued playing on each other’s projects. One notable album was No Roses by Shirley Collins, which featured Thompson, Mattacks, Whiteman, Simon Nicol, Lal and Mike Waterson, and Ashley Hutchings, who was at that point married to Collins, as well as some more unusual musicians like the free jazz saxophonist Lol Coxhill: [Excerpt: Shirley Collins and the Albion Country Band, “Claudy Banks”] Collins was at the time the most respected female singer in British traditional music, and already had a substantial career including a series of important records made with her sister Dolly, work with guitarists like Davey Graham, and time spent in the 1950s collecting folk songs in the Southern US with her then partner Alan Lomax – according to Collins she did much of the actual work, but Lomax only mentioned her in a single sentence in his book on this work. Some of the same group of musicians went on to work on an album of traditional Morris dancing tunes, titled Morris On, credited to “Ashley Hutchings, Richard Thompson, Dave Mattacks, John Kirkpatrick and Barry Dransfield”, with Collins singing lead on two tracks: [Excerpt: Ashley Hutchings, Richard Thompson, Dave Mattacks, John Kirkpatrick and Barry Dransfield with Shirley Collins, “The Willow Tree”] Thompson thought that that album was the best of the various side projects he was involved in at the time, comparing it favourably to Rock On, which he thought was rather slight, saying later “Conceptually, Fairport, Ashley and myself and Sandy were developing a more fragile style of music that nobody else was particularly interested in, a British Folk Rock idea that had a logical development to it, although we all presented it our own way. Morris On was rather more true to what we were doing. Rock On was rather a retro step. I'm not sure it was lasting enough as a record but Sandy did sing really well on the Buddy Holly songs.” Hutchings used the musicians on No Roses and Morris On as the basis for his band the Albion Band, which continues to this day. Simon Nicol and Dave Mattacks both quit Fairport to join the Albion Band, though Mattacks soon returned. Nicol would not return to Fairport for several years, though, and for a long period in the mid-seventies Fairport Convention had no original members. Unfortunately, while Collins was involved in the Albion Band early on, she and Hutchings ended up divorcing, and the stress from the divorce led to Collins developing spasmodic dysphonia, a stress-related illness which makes it impossible for the sufferer to sing. She did eventually regain her vocal ability, but between 1978 and 2016 she was unable to perform at all, and lost decades of her career. Richard Thompson occasionally performed with the Albion Band early on, but he was getting stretched a little thin with all these sessions. Linda Peters said later of him “When I came back from America, he was working in Sandy’s band, and doing sessions by the score. Always with Pat Donaldson and Dave Mattacks. Richard would turn up with his guitar, one day he went along to do a session with one of those folkie lady singers — and there were Pat and DM. They all cracked. Richard smashed his amp and said “Right! No more sessions!” In 1972 he got round to releasing his first solo album, Henry the Human Fly, which featured guest appearances by Linda Peters and Sandy Denny among others: [Excerpt: Richard Thompson, “The Angels Took My Racehorse Away”] Unfortunately, while that album has later become regarded as one of the classics of its genre, at the time it was absolutely slated by the music press. The review in Melody Maker, for example, read in part “Some of Richard Thompson’s ideas sound great – which is really the saving grace of this album, because most of the music doesn’t. The tragedy is that Thompson’s “British rock music” is such an unconvincing concoction… Even the songs that do integrate rock and traditional styles of electric guitar rhythms and accordion and fiddle decoration – and also include explicit, meaningful lyrics are marred by bottle-up vocals, uninspiring guitar phrases and a general lack of conviction in performance.” Henry the Human Fly was released in the US by Warners, who had a reciprocal licensing deal with Island (and for whom Joe Boyd was working at the time, which may have had something to do with that) but according to Thompson it became the lowest-selling record that Warners ever put out (though I’ve also seen that claim made about Van Dyke Parks’ Song Cycle, another album that has later been rediscovered). Thompson was hugely depressed by this reaction, and blamed his own singing. Happily, though, by this point he and Linda had become a couple — they would marry in 1972 — and they started playing folk clubs as a duo, or sometimes in a trio with Simon Nicol. Thompson was also playing with Sandy Denny’s backing band at this point, and played on every track on her second solo album, Sandy. This album was meant to be her big commercial breakthrough, with a glamorous cover photo by David Bailey, and with a more American sound, including steel guitar by Sneaky Pete Kleinow of the Flying Burrito Brothers (whose overdubs were supervised in LA by Joe Boyd): [Excerpt: Sandy Denny, “Tomorrow is a Long Time”] The album was given a big marketing push by Island, and “Listen, Listen” was made single of the week on the Radio 1 Breakfast show: [Excerpt: Sandy Denny, “Listen, Listen”] But it did even worse than the previous album, sending her into something of a depression. Linda Thompson (as the former Linda Peters now was) said of this period “After the Sandy album, it got her down that her popularity didn't suddenly increase in leaps and bounds, and that was the start of her really fretting about the way her career was going. Things only escalated after that. People like me or Martin Carthy or Norma Waterson would think, ‘What are you on about? This is folk music.'” After Sandy’s release, Denny realised she could no longer afford to tour with a band, and so went back to performing just acoustically or on piano. The only new music to be released by either of these ex-members of Fairport Convention in 1973 was, oddly, on an album by the band they were no longer members of. After Thompson had left Fairport, the group had managed to release two whole albums with the same lineup — Swarbrick, Nicol, Pegg, and Mattacks. But then Nicol and Mattacks had both quit the band to join the Albion Band with their former bandmate Ashley Hutchings, leading to a situation where the Albion Band had two original members of Fairport plus their longtime drummer while Fairport Convention itself had no original members and was down to just Swarbrick and Pegg. Needing to fulfil their contracts, they then recruited three former members of Fotheringay — Lucas on vocals and rhythm guitar, Donahue on lead guitar, and Conway on drums. Conway was only a session player at the time, and Mattacks soon returned to the band, but Lucas and Donahue became full-time members. This new lineup of Fairport Convention released two albums in 1973, widely regarded as the group’s most inconsistent records, and on the title track of the first, “Rosie”, Richard Thompson guested on guitar, with Sandy Denny and Linda Thompson on backing vocals: [Excerpt: Fairport Convention, “Rosie”] Neither Sandy Denny nor Richard Thompson released a record themselves in 1973, but in neither case was this through the artists’ choice. The record industry was changing in the early 1970s, as we’ll see in later episodes, and was less inclined to throw good money after bad in the pursuit of art. Island Records prided itself on being a home for great artists, but it was still a business, and needed to make money. We’ll talk about the OPEC oil crisis and its effect on the music industry much more when the podcast gets to 1973, but in brief, the production of oil by the US peaked in 1970 and started to decrease, leading to them importing more and more oil from the Middle East. As a result of this, oil prices rose slowly between 1971 and 1973, then very quickly towards the end of 1973 as a result of the Arab-Israeli conflict that year. As vinyl is made of oil, suddenly producing records became much more expensive, and in this period a lot of labels decided not to release already-completed albums, until what they hoped would be a brief period of shortages passed. Both Denny and Thompson recorded albums at this point that got put to one side by Island. In the case of Thompson, it was the first album by Richard and Linda as a duo, I Want to See the Bright Lights Tonight: [Excerpt: Richard and Linda Thompson, “I Want to See the Bright Lights Tonight”] Today, I Want to See the Bright Lights Tonight is widely regarded as one of the greatest albums of all time, and as one of the two masterpieces that bookended Richard and Linda’s career as a duo and their marriage. But when they recorded the album, full of Richard’s dark songs, it was the opposite of commercial. Even a song that’s more or less a boy-girl song, like “Has He Got a Friend for Me?” has lyrics like “He wouldn’t notice me passing by/I could be in the gutter, or dangling down from a tree” [Excerpt: Richard and Linda Thompson, “Has He got a Friend For Me?”] While something like “The Calvary Cross” is oblique and haunted, and seems to cast a pall over the entire album: [Excerpt: Richard and Linda Thompson, “The Calvary Cross”] The album itself had been cheap to make — it had been recorded in only a week, with Thompson bringing in musicians he knew well and had worked with a lot previously to cut the tracks as-live in only a handful of takes — but Island didn’t think it was worth releasing. The record stayed on the shelf for nearly a year after recording, until Island got a new head of A&R, Richard Williams. Williams said of the album’s release “Muff Winwood had been doing A&R, but he was more interested in production… I had a conversation with Muff as soon as I got there, and he said there are a few hangovers, some outstanding problems. And one of them was Richard Thompson. He said there’s this album we gave him the money to make — which was I Want to See the Bright Lights Tonight — and nobody’s very interested in it. Henry the Human Fly had been a bit of a commercial disappointment, and although Island was altruistic and independent and known for only recording good stuff, success was important… Either a record had to do well or somebody had to believe in it a lot. And it seemed as if neither of those things were true at that point of Richard.” Williams, though, was hugely impressed when he listened to the album. He compared Richard Thompson’s guitar playing to John Coltrane’s sax, and called Thompson “the folk poet of the rainy streets”, but also said “Linda brightened it, made it more commercial. and I thought that “Bright Lights” itself seemed a really commercial song.” The rest of the management at Island got caught up in Williams’ enthusiasm, and even decided to release the title track as a single: [Excerpt: Richard and Linda Thompson, “I Want to See the Bright Lights Tonight”] Neither single nor album charted — indeed it would not be until 1991 that Richard Thompson would make a record that made the top forty in the UK — but the album got enough critical respect that Richard and Linda released two albums the year after. The first of these, Hokey Pokey, is a much more upbeat record than their previous one — Richard Thompson has called it “quite a music-hall influenced record” and cited the influence of George Formby and Harry Lauder. For once, the claim of music hall influence is audible in the music. Usually when a British musician is claimed to have a music ha

[Original airdate: 10/5/23] Mary Danielsen talks to author, speaker and Islam expert Usama Dakdok about the lies in America's textbooks. The war on our kids isn't just related to gender and alternative lifestyles; we must remember that there is deep spiritual deception in the schools. If the bible is not truthful about Israel, the Land, the Book and her enemies then it's not true about anything. He shows us that Islam is rotting us from the inside and the results may just be that our children may never open the Book ever again once they are grown.  A timely expose of how our enemy comes to steal, kill and destroy. Usama is the author of "The Generous Qu'ran", the only truly accurate English translation of the Koran available. Other translations sanitize and sugarcoat the harsher tenets of this political movement disguised as a religion. With Americans having fought wars in Islamic states for decades now, it is valuable to understand what they believe.

Gary discusses Islam, the Gospel, and the recent "interview" of Ted Cruz by Tucker Carlson. Cruz supports Israel because he says "the Bible commands it." But is this true? Do Christians have a scriptural obligation to support Israel (financially, politically, and militarily) regardless of their reasons for going to war with the countries around them?

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(4:10) Bible Study: Genesis 12:1-9 Father explains the importance of the sacred name of God and why it matters to us? Matthew 7:1-5 What does it mean to stop judging less we be judged? (22:06) Break 1 (22:54) Letters: What should you give a diocesan priest for a gift? Father discusses slavery and other topics. Send him a letter at simon@relevantradio.com (34:14) Break 2 (34:48) Word of the Day Abraham (37:16) Phones: Billy - my brother in law converted to Islam. how do we deal with this? Especially about dietary changes. Brian - I'm writing a paper about how the Catholic Church is the same before Constantine. What arguments are there? Judy - How to deal w/a friend who has chosen to do a Medically assisted death? Anna - I was reading Psalm 103:10, could you explain?

SummaryIn this conversation, Hakeem Bradley shares his journey from growing up in the 5% Nation to becoming a biblical scholar. He discusses the contrasting views on scripture between Islam and Christianity, his transition from pastoral ministry to biblical research, and the significance of Genesis in understanding powers and principalities. Hakeem emphasizes the importance of equity in the creation narrative and explores the cultural context of Genesis in relation to ancient Near Eastern texts. He also highlights the influence of Genesis on the Epistle of James and the role of the church in spiritual warfare. In this conversation, Hakeem Bradley and Danielle Strickland explore the themes of spiritual warfare, the power of love and generosity, the concept of original sin as passive participation, and the awakening potential of scripture. They discuss the authority given to humanity, the wisdom from above, and the true nature of power as demonstrated by Jesus. The dialogue emphasizes the importance of living generously and the transformative power of love in combating darkness.Takeaways* Hakeem Bradley's journey from the 5% Nation to biblical scholarship is profound.* The Bible can be a tool for liberation, not oppression.* Understanding the cultural context of scripture is crucial.* Genesis sets the foundation for understanding powers and principalities.* Equity is inherent in the creation narrative of Genesis.* The line of the woman and the line of the snake represent spiritual allegiances.* The wisdom from above is accessible to all believers.* The church has a role in crushing spiritual oppression.* Hakeem's work aims to equip families for biblical literacy.* The narrative of Genesis challenges patriarchal interpretations. We join in with Christ's mission to defeat darkness.* Living generously and hospitably is a form of spiritual warfare.* Original sin is about passive participation in evil.* Scripture serves as an awakening tool for believers.* Authority was given to humanity to rule wisely.* The snake symbolizes twisted authority in creation.* True power is often perceived as weakness in the world.* Choosing not to retaliate reflects true strength.* The wisdom of God is accessible to us now.* Engaging with scripture shapes our understanding and actions.About HakeemHakeem is a biblical scholar, teacher, blogger, and researcher. He has served various communities across the United States and Canada through preaching, teaching, and research. He holds a Master's of Theological and Biblical Studies from Western Seminary and is a Ph. D. candidate in New Testament Studies at Ridley College (Melbourne). He works as an Associate Scholar at BibleProject, and serves as the chaplain for the College Park Skyhawks. Lastly, he is an Academic Fellow with the Center for Hebraic Thought. Get full access to Right Side Up: Danielle Strickland at daniellestrickland.substack.com/subscribe

Now we know why the Trump administration was declared the “peace presidency,” because those optics were necessary to escalate global conflict to emergency levels as part of a larger agenda that involved regime change in Iran. From the July, 2024, assassination optics, to the head of Palantir saying the next month in August that the US will fight a 3-front war against Russia, China, and Iran, to the second assassination attempt in September of that year, to the $100-million Mariam Adelson gave Trump beginning in July, it was all part of a build up that culminated in OpenAI winning a $200 million defense contract and Palantir obtaining a $1.3 billion contract from the Pentagon just weeks before the Israeli attack. Now we have learned that despite what American spies said, or US Agencies, or the Director of National Intelligence, or what even the misquoted IAEA said - “no credible indications of ongoing, undeclared structured nuclear programme” in Iran - that Palantir's MOSAIC counterinsurgency-AI was responsible for the Israeli attack, and now the American attack on June 21, 2025. This technology was also employed in Ukraine and Gaza, and is set to be used in the United States. Pretty convenient what Karp had predicted back in August, 2024. It's also pretty convenient that a largely Jewish company had the evidence to justify initial and future attacks that produce, if there wasn't before, a threat and an enemy.Palantir, OpenAI and Meta have also had executives appointed to the US military by the Trump administration in recent days.What's even more telling is that the attack on Iran by US forces occurred the summer solstice, a three day festival historically, and on a waning moon, the phase of Hecate, the goddess of witchcraft and the underworld, to help protect the B-2 bombers. This plays well with the Israel attack on Friday 13 at 3:30am, the witching hour, and the Jewish holidays that corespondent to the wars in Afghanistan, Iraq, Syria, and Libya. The initial Israel attack also occurred with Mars, god of war, in Leo, the lion, corresponding with both astrology and the biblical lion as the operation was called Rising Lion. The Summer solstice also aligns with the story of Samson and his solar hair, itself used as the name of Israel's not-so-secret nuclear weapons plan to destroy the world before the government falls. October 7, 2001, was the Jewish holiday of Sukkot, and the day the Bush administration initiated operations in Afghanistan; March 20, 2003 was the Jewish holiday of Purim, and the day Operation Iraqi Freedom began with preemptive airstrikes on a country that did not posses WMDs; October 20, 2011 was the Jewish holiday of Shemini Atzeret, and day Libya was officially overthrown with the death of Muammar Gaddafi; September 22, 2014, was the first day of Rosh Hashanah, and also the day the U.S. officially intervened in Syria against ISIS under Operation Inherent Resolve; October 7, 2023, the date when Israel allowed Hamas to attack them giving rise to the current onslaught, was also a celebration of Shemini Atzeret and a transition of Saturn “returns” through Pisces.Few stop to question the rhetoric of “Iran cannot be allowed to have a nuclear bomb,” or “but they chant death to America.” Israel can have secret bombs with no international inspections, though, and the only reasoning given why Iran can't is they would destroy Tel Aviv and maybe an American city because they hate Americans. But you do not need such a bomb to do that, as hypersonic missile have demonstrated in Tel Aviv. And, of course, just like the burning of Bush effigies in Iraq what is the reasoning for this blind hatred. Depending on the context, it varies, but the most recent case of this occurred when the Iranian parliament burned an American flag in protest of the US being pulled out of the “Iran deal” for it being too lenient, i.e., no regime change as far as Israel was concerned. And now we are at war again, based off of WMDs 2.0, i.e., AI algorithms predicting nuclear bombs like we have been sold since 1984 at least when the program was “entering its final stages.” In iconic Orwell fashion, too, Trump referred to entering the war that Israel started as “THE TIME FOR PEACE” - WAR IS PEACE. Virtually his entire base, and even political opponents, are finding justifications for the war as to not lose face, too, another version of IGNORANCE IS STRENGTH. An administration of peace cannot threaten countries that want peace, countries that want to try war criminals, and refuse to agree to any kind of peace plan. And we also know that Benjamin Netanyahu was and remains under investigation in his own country for criminal charges ranging from obtaining and leaking top secret documents, protocol tampering, and blackmail, all things shelved on October 7, 2023. Now a few days before the attack on Iran, cross-examination of Netanyahu was about tog begin.*The is the FREE archive, which includes advertisements. If you want an ad-free experience, you can subscribe below underneath the show description.-FREE ARCHIVE (w. ads)SUBSCRIPTION ARCHIVEX / TWITTER FACEBOOKYOUTUBEMAIN WEBSITECashApp: $rdgable Paypal email rdgable1991@gmail.comEMAIL: rdgable@yahoo.com / TSTRadio@protonmail.comBecome a supporter of this podcast: https://www.spreaker.com/podcast/the-secret-teachings--5328407/support.

The Soviets have decided that it's time to leave Afghanistan…but as we all know, it's much harder to get OUT of the graveyard of Empires than it is to get in. Battles still remain, as the Americans send Stinger missiles to the Mujahideen and the Soviets launch their last major attack in Operation Magistral. But the damage is already done: the USSR is on the brink of collapse, and the devastated country of Afghanistan is fertile ground for the rise of radical Islam.Sources: https://www.unknownsoldierspodcast.com/post/the-soviet-afghan-war-series-maps-and-sourcesNew Maps: https://www.unknownsoldierspodcast.com/post/the-soviet-afghan-war-series-maps-for-part-iiAudible Recommendation: https://www.audible.com/pd/Drink-Audiobook/1977339069?source_code=ASSGB149080119000H&share_location=pdpMusic:Winter Waltz by Scott Buckley | www.scottbuckley.com.auMusic promoted by https://www.chosic.com/free-music/all/Creative Commons CC BY 4.0https://creativecommons.org/licenses/by/4.0/Bhangra Bass by Punch Deck | https://soundcloud.com/punch-deckMusic promoted by https://www.free-stock-music.comCreative Commons / Attribution 3.0 Unported License (CC BY 3.0)https://creativecommons.org/licenses/by/3.0/deed.en_US"Driving Atmospheric Dread" by EdwardCNBrown via pond5.comPathfinder by Scott Buckley | https://soundcloud.com/scottbuckleyMusic promoted by https://www.free-stock-music.comCreative Commons / Attribution 4.0 International (CC BY 4.0)https://creativecommons.org/licenses/by/4.0/

Khutbah - Set your sights high 100% of your donations today goes towards the means of providing accessible Islamic knowledge to people around the world: supportqalam.com. Like us on Facebook: facebook.com/qalaminstitute Follow us on Twitter: twitter.com/qalaminstitute Follow us on Instagram: instagram.com/qalaminstitute Subscribe on Youtube: youtube.com/user/qalaminstitute

The Tafsīr Podcast: EP78 – Surah Al-Baqarah (Ayah 188) 100% of your donations today goes towards the means of providing accessible Islamic knowledge to people around the world: supportqalam.com. Like us on Facebook: facebook.com/qalaminstitute Follow us on Twitter: twitter.com/qalaminstitute Follow us on Instagram: instagram.com/qalaminstitute Subscribe on Youtube: youtube.com/user/qalaminstitute

Refuge - Surah Al Khaf : EP 4 100% of your donations today goes towards the means of providing accessible Islamic knowledge to people around the world: supportqalam.com. Like us on Facebook: facebook.com/qalaminstitute Follow us on Twitter: twitter.com/qalaminstitute Follow us on Instagram: instagram.com/qalaminstitute Subscribe on Youtube: youtube.com/user/qalaminstitute

Stories of the Companions: EP 65 - Usamah bin Zayd RA 100% of your donations today goes towards the means of providing accessible Islamic knowledge to people around the world: supportqalam.com. Like us on Facebook: facebook.com/qalaminstitute Follow us on Twitter: twitter.com/qalaminstitute Follow us on Instagram: instagram.com/qalaminstitute Subscribe on Youtube: youtube.com/user/qalaminstitute

Watch here: https://youtu.be/bcWXJ0aDKmcThe End times are materializing as the conflict between Israel and Iran escalates. The two nations are moving away from their historical proxy warfare and are now engaged in direct confrontations. Israeli strikes on Iranian nuclear and military facilities have led to retaliatory missile attacks from Iran, further heightening tensions. Both countries are experiencing casualties and damage to their infrastructure. How long will it be before the United States gets involved? @TuckerCarlson  @TedCruzChannel  @DonaldJTrumpforPresident  @NowTheEndBeginsMinistries  @sbcpalmetto  https://www.thesoultrap.com/Podcast: https://thesoultrap.buzzsprout.com/Support the show

Psalm 89,I will sing of the steadfast love of the Lord, forever; with my mouth I will make known your faithfulness to all generations.2 For I said, “Steadfast love will be built up forever; in the heavens you will establish your faithfulness.”3 You have said, “I have made a covenant with my chosen one; I have sworn to David my servant:4 ‘I will establish your offspring forever, and build your throne for all generations.'” Selah5 Let the heavens praise your wonders, O Lord, your faithfulness in the assembly of the holy ones!6 For who in the skies can be compared to the Lord? Who among the heavenly beings is like the Lord,7 a God greatly to be feared in the council of the holy ones, and awesome above all who are around him?8 O Lord God of hosts, who is mighty as you are, O Lord, with your faithfulness all around you?9 You rule the raging of the sea; when its waves rise, you still them.10 You crushed Rahab like a carcass; you scattered your enemies with your mighty arm.11 The heavens are yours; the earth also is yours; the world and all that is in it, you have founded them.12 The north and the south, you have created them; Tabor and Hermon joyously praise your name.13 You have a mighty arm; strong is your hand, high your right hand.14 Righteousness and justice are the foundation of your throne; steadfast love and faithfulness go before you.15 Blessed are the people who know the festal shout, who walk, O Lord, in the light of your face,16 who exult in your name all the day and in your righteousness are exalted.17 For you are the glory of their strength; by your favor our horn is exalted.18 For our shield belongs to the Lord, our king to the Holy One of Israel.19 Of old you spoke in a vision to your godly one, and said: “I have granted help to one who is mighty; I have exalted one chosen from the people.20 I have found David, my servant; with my holy oil I have anointed him,21 so that my hand shall be established with him; my arm also shall strengthen him.22 The enemy shall not outwit him; the wicked shall not humble him.23 I will crush his foes before him and strike down those who hate him.24 My faithfulness and my steadfast love shall be with him, and in my name shall his horn be exalted.25 I will set his hand on the sea and his right hand on the rivers.26 He shall cry to me, ‘You are my Father, my God, and the Rock of my salvation.'27 And I will make him the firstborn, the highest of the kings of the earth.28 My steadfast love I will keep for him forever, and my covenant will stand firm for him.29 I will establish his offspring forever and his throne as the days of the heavens.30 If his children forsake my law and do not walk according to my rules,31 if they violate my statutes and do not keep my commandments,32 then I will punish their transgression with the rod and their iniquity with stripes,33 but I will not remove from him my steadfast love or be false to my faithfulness.34 I will not violate my covenant or alter the word that went forth from my lips.35 Once for all I have sworn by my holiness; I will not lie to David.36 His offspring shall endure forever, his throne as long as the sun before me.37 Like the moon it shall be established forever, a faithful witness in the skies.” Selah38 But now you have cast off and rejected; you are full of wrath against your anointed.39 You have renounced the covenant with your servant; you have defiled his crown in the dust.40 You have breached all his walls; you have laid his strongholds in ruins.41 All who pass by plunder him; he has become the scorn of his neighbors.42 You have exalted the right hand of his foes; you have made all his enemies rejoice.43 You have also turned back the edge of his sword, and you have not made him stand in battle.44 You have made his splendor to cease and cast his throne to the ground.45 You have cut short the days of his youth; you have covered him with shame. Selah46 How long, O Lord? Will you hide yourself forever? How long will your wrath burn like fire?47 Remember how short my time is! For what vanity you have created all the children of man!48 What man can live and never see death? Who can deliver his soul from the power of Sheol? Selah49 Lord, where is your steadfast love of old, which by your faithfulness you swore to David?50 Remember, O Lord, how your servants are mocked, and how I bear in my heart the insults[f] of all the many nations,51 with which your enemies mock, O Lord, with which they mock the footsteps of your anointed.52 Blessed be the Lord forever!Amen and Amen.Structure and SummaryThis psalm is the final psalm in Book Three of the Psalms. The first two books are mainly written by David, while the third book has psalms primarily written by Asaph and emphasizes holy worship. Nevertheless, this final psalm focuses on God's covenant with David.The psalm is arranged into five sections: two small sections at the beginning and end, and three larger sections in the middle. The first section (v. 1-4) introduces the twin themes: God's character and his covenant with David. In this psalm, his character is defined by his steadfast love and his faithfulness, both of which appear seven times in the psalm. Both of these words describe God's character, but they are particularly applied in terms of his covenant with David — the promise that the seed of David will sit on an everlasting throne (v. 3-4). Notice the verbs in 2-4: steadfast love will be built up forever; and David's throne will be built forever. God's faithfulness is established in the heavens; David's offspring will be established forever. And this is crucial: the psalmist says he will sing of God's steadfast love and faithfulness forever.The psalmist then celebrates God's majesty, might, and saving power (v. 5-16). God is incomparable; there is no one like him. He sits enthroned among his heavenly council, but he is supreme over all of them.All of creation belongs to God. He is the Almighty Maker of Heaven and Earth. His dominion is from north to south, and east to west, from the highest heavens to the seas to the land. He is all-powerful, with a strong right hand and mighty arm. But he's not merely a tower of power, like the false god of Islam. His power is directed by his holy character. Righteousness and justice are the foundation of his throne, and his steadfast love and faithfulness go before him, radiating from his presence (v. 14). But God isn't simply unique among the heavenly beings; nor does he simply rule the heavens and the earth from his throne. He also crushes his enemies. In this passage, Rahab is not a reference to the prostitute from Jericho. Instead it's a reference to a dragon-demon associated with Egypt (Psalm 87:4; Isa 30:7). Crushing Rahab is linked to ruling and stilling the sea, just as God crushed the king of Egypt beneath a wall of water. Job 26:12,“By his power he stilled the sea; by his understanding he shattered Rahab.”Isaiah 51:9,“Awake, awake, put on strength, O arm of the LORD; awake, as in days of old, the generations of long ago. Was it not you who cut Rahab in pieces, who pierced the dragon?”This is a celebration of God's majesty, might, and saving power, and the people who belong to God and join this celebration and walk in the light of his face are blessed (v. 15-16). God is the glory and beauty of his people's strength (v. 17). Then the psalmist brings God's majesty to earth and links it to his covenant promises to David. Israel's king is Israel's shield (v. 18), and God is the one who found, helped, anointed, and exalted (v. 19-20). God's mighty hand and arm? They establish and strengthen David (v. 21). Just as God tore Rahab apart, so will the Davidic king outwit and beat down his enemies (v. 23). God's steadfast love and faithfulness will be with David (v. 24), and David will call upon God as Father, and God will make him his firstborn, the king of kings (v.26-27), and he will establish David's offspring on an everlasting throne (v. 28-29).God's covenant with David and his sons will endure, even if and when David's sons break God's law. Discipline? Yes. Rod? Yes? Rejection? No. Why? Because of God's steadfast love and faithfulness (v. 33). God's character has established this covenant with an oath (v. 34-35), and David's offspring and throne will endure as long as the sun, moon, and stars — faithful witnesses in the sky (v. 36-37).Then we have the turn. Verse 38 introduces a contrast. For the next ten verses, God's steadfast love and faithfulness are completely absent. Instead, we see a rejected son (v.28), a renounced covenant, a defiled crown (v. 39), breached walls, ruined fortresses (v. 40), plundered cities (v. 41), triumphant foes, rejoicing enemies (v. 42), a throne in the dust, and shame, scorn, and reproach in every direction (v. 41, 45). God's wrath has come upon the people because the king, David's son, has rebelled against God. And so the psalmist is confused. In light of God's character and covenant, how can this be? How long will it last (v. 46)? If God's character and covenant fail, then everything is futile, vain, and worthless (v. 47). Will the psalmist see God's saving power before he dies, because no one escapes the power of Sheol (v. 48)?The final section is an appeal to God's steadfast love and his faithfulness to David, in light of the mocking reproach of the nations (v. 50-51). The psalmist asks where God's covenant love has gone, begs him to remember his promise, and concludes with a triumphant hope: Blessed be the Lord forever (v. 52). Read Your Story in Light of the StoryOne of the great values of regular Bible reading is knowing what story you're a part of, and being able to read your life in light of it. This psalm is filled with echoes and allusions to the big events of Israel's history. Listen to these passages:The revelation of God's name, glory, and goodness to Moses in Exodus 34:6,“The LORD, the LORD, a God merciful and gracious, slow to anger, and abounding in steadfast love and faithfulness, 7 keeping steadfast love for thousands, forgiving iniquity and transgression and sin, but who will by no means clear the guilty, visiting the iniquity of the fathers on the children and the children's children, to the third and the fourth generation.”In this psalm, the psalmist emphasizes God's oath (v. 3, 35, 49) and covenant (v. 3, 28, 34) three times each. Hebrews 6:13-20 tells us that when God wants to convincingly and abundantly show the unchangeable character of his promise, he swears by himself, like he does to Abraham after the sacrifice of Isaac (Gen. 22:16-18, which Moses appeals to at the Golden Calf episode in Exodus 32:13), or in Isaiah 45:23, when God swears by himself that every knee will bow and every tongue swear allegiance to him as the only righteous God and Savior, or in Amos 4:2 when God swears by his holiness that he will bring judgment on the pride, idolatry, and oppression of Israel's leaders.Genesis 22:16-18,“By myself I have sworn, declares the LORD, because you have done this and have not withheld your son, your only son, 17 I will surely bless you, and I will surely multiply your offspring as the stars of heaven and as the sand that is on the seashore. And your offspring shall possess the gate of his enemies, 18 and in your offspring shall all the nations of the earth be blessed, because you have obeyed my voice.”Exodus 32:13,“Remember Abraham, Isaac, and Israel, your servants, to whom you swore by your own self, and said to them, ‘I will multiply your offspring as the stars of heaven, and all this land that I have promised I will give to your offspring, and they shall inherit it forever.'”Isaiah 45:22-23,“Turn to me and be saved, all the ends of the earth! For I am God, and there is no other. By myself I have sworn; from my mouth has gone out in righteousness a word that shall not return: ‘To me every knee shall bow, every tongue shall swear allegiance.'”Amos 4:2,“The Lord GOD has sworn by his holiness that, behold, the days are coming upon you, when they shall take you away with hooks, even the last of you with fishhooks.”The psalm draws heavily on the promise to David in 2 Samuel 7:When your days are fulfilled and you lie down with your fathers, I will raise up your offspring after you, who shall come from your body, and I will establish his kingdom. 13 He shall build a house for my name, and I will establish the throne of his kingdom forever (89:4, 29, 36). 14 I will be to him a father, and he shall be to me a son (89:26). When he commits iniquity, I will discipline him with the rod of men, with the stripes of the sons of men (89:30-32), 15 but my steadfast love will not depart from him (89:33-34), as I took it from Saul, whom I put away from before you. 16 And your house and your kingdom shall be made sure forever before me. Your throne shall be established forever.' (vv. 12-16)In order to lay the groundwork for the key fight of faith, the psalmist pulls together these biblical themes:God's name and characterGod's oath by which he swears by himselfThe covenant God made with DavidWhat Is Real?This is the real question. The gap in this psalm is between what the psalmist knows of God's character and covenant on the one hand, and the circumstances at the present moment. Who God is (steadfast love and faithfulness) and what God has said (oath and covenant to David) seem out of accord with the reality before him (judgment, wrath, and a crown in the dust). That is the question for all of us when the world seems confusing, futile, and vain. Do we interpret our circumstances in light of God's character and covenant? Or do we abandon God's character and covenant in the face of our circumstances?God has promised the nations to Christ as his inheritance (Psalm 2:8; Matthew 28:12-20). And then we look at the state of the world, and the state of our nation, and see the rampant apostasy, rebellion, and decay around us. What's more real? God's character and covenant? Or sexual deviancy, political corruption, and widespread evangelical apathy and compromise? When you see the crown in the dust, when the walls are breached and the cities are burning and the enemies of God and his people are rejoicing — do you pray like this? How long, O Lord?At present, we don't see everything subjected to him, but we see Jesus, crowned with glory and honor because of the suffering of death.When your kids wander, or when they get a case of the wobbles: what's more real? God's character and covenant? Or the wobbles and wandering? How do you pray? Do you bless God in confidence that he will hear and answer? Do you still sing of the steadfast love of the Lord? Does your mouth still make known his faithfulness to future generations?Or maybe it's your own faith and holiness. Your own remaining sin frustrates you, and you wonder what to make of all of those promises — that God will sanctify you and make you holy, that he will put your sin to death and deliver you from the domain of darkness. When you see your abiding anger and envy, your drunkenness and lust, your anxiety and fear of man, your worldliness and selfishness, you feel the confusion and vanity. What is more real to you? Do you still sing of the steadfast love of the Lord?This is not hypocrisy; it's what a living faith does when confronted with the vanity of man and the discipline of God. Faith honestly confronts the facts on the ground, and then appeals to God's character and his covenant. And maybe there is a lesson for us in the proportions of the psalm. 70% of the psalm (37/52 verses) is devoted to rehearsing and celebrating God's character and covenant, his steadfast love and faithfulness.20% of the psalm (11/52 verses) confronts the current facts on the ground.The last 10% (4/52 verses) offers a simple prayer for God to remember his covenant and character, along with a concluding declaration of praise (“Blessed be the Lord, forever!”).How much of your mental attention is devoted to rooting yourself in God's steadfast love and faithfulness, in rehearsing his mighty deeds and covenant promises, and how much is spent fixating on the breached walls, triumphant enemies, and reproaching shame?In other words, the confusion is real and the situation is hard and ugly, but he lands on the oath, on the covenant, on God's character, and makes good on his opening promise: “I will sing of the steadfast love of the Lord forever…” (even when the city is burning and the crown is in the dust).Christ's CrownChrist is the offspring of David. He crushed the dragon's head. He stilled the waves. He was strengthened by God's grace. His enemies did not outwit him. The wicked did not humble him. God anointed him with his Spirit, and established and exalted him above the angels and the powers. But Christ himself faced God's rejection and absence.“My God, my God, why have you forsaken me?”His crown was defiled in the dust. His days were cut short, and he was covered in shame. But Christ bridged the gap between God's character and covenant, and the rejection and crown in the dust. In his darkest moments, he called upon God as Father (89:26). In Gethsemane: “My Father, if possible, let this cup pass from me…My Father, if this cannot pass unless I drink it, your will be done” (Matthew 26:39-42).At Calvary, when with a crown of thorns, mocked and reproached as his enemies rejoiced:“Father, forgive them, for they know not what they do…Father, into your hands I commit my spirit” (Luke 23:34, 46). The psalmist's question that haunts the psalm: What man can live and never see death? Who can deliver his soul from the power of Sheol? Christ saw death…and he swallowed it whole. He crushed both Death and the Dragon. Where is the steadfast love of the Lord? Where is his faithfulness that he swore to David? It's on a Roman cross. It's exalted at God's right hand, seated above every angelic and demonic power, ruling over heaven and earth, as God puts all of his enemies under his feet. That's why in Revelation 1:5, Christ is introduced with distinctive language from Psalm 89 as “the faithful witness, the firstborn of the dead, and the ruler of the kings on earth.”And his oath and covenant are sealed in blood. He swore by his holiness. He swore by his faithfulness. And that faithfulness is yours.His oath, his covenant, his bloodsupport me in the whelming flood.When all around my soul gives way,he then is all my hope and stay.

durée : 00:53:44 - Questions d'islam - par : Ghaleb Bencheikh - L'Indonésie est le premier pays d'islam par sa population (88 % de ses 270 millions d'habitants) mais quelles sont les particularités du mouvement démocrate-musulman qui l'anime depuis la proclamation de son indépendance par Sukarno le 17 août 1945 ? - réalisation : François Caunac - invités : Rémy Madinier Chercheur au CNRS et à l'Institut d'Asie Orientale de l'ENS Lyon

Mona and Michael are zealous disciples dedicated to sharing their faith and helping those in need, particularly within their community in Egypt. Mona grew up in a Christian family and found comfort in her faith after a difficult childhood marked by her mother's death. Michael, on the other hand, discovered his faith in Jesus later in life. Together, they felt called to ministry and have committed their lives to sharing the hope and love that can only be found in Jesus. Listen as they talk about Christian persecution faced by believers in Egypt, including discrimination in employment and education. These hardships have led church members to rely on one another. As Mona says, "The church becomes our family. We need each other." Muslims who choose to follow Jesus often face severe persecution from family and community, and at times from the government. They may also face severe pressure from a Muslim spouse. Mona reminds us, though, that Muslims around them are not their enemies. They know that the real enemy is the devil and emphasize that we are called to love others in the same way Christ loved us. Michael and Mona actively support refugees from war-torn countries, including Sudan, providing food and resources regardless of religious background. These acts of care and service often open doors for conversations about faith. Please pray for followers of Jesus in Egypt to remain strong and to be equipped to help those in need. The VOM App for your smartphone or tablet will help you pray daily for persecuted Christians throughout the year, as well as give free access to e-books, audiobooks, video content, and feature films. Download the VOM App for your iOS or Android device today.

Join us this week on "Honest to God" as we're answering your tough questions on vocation, sin, and living out your faith when it's hard. We cover: Discerning the priesthood when you're hesitant. The rise of Islam and its implications for Christianity. The true meaning of confession and contrition. What to do when you logically know something is a sin, but you don't feel sorry. How to handle friendships that are negatively impacting your spiritual life. If you've ever struggled with these issues, you'll want to listen to this one! Watch on Youtube: Click Here Check out our parent network: The Quest - Atlanta's Catholic Radio  Follow us on Instagram Listen on the Quest app: Android Apple   Check out Producer Julian's Social Media: X - Twitter Facebook Page Instagram  

On Thursday's Mark Levin Show, Iran's nuclear ambitions and ballistic missile development pose an existential threat to Israel and American civilization, which cannot be ignored. Israel, possibly with U.S. assistance, will take military action to neutralize this threat, as Iran will not go away on its own. Iran's actions, including attacks via proxies and American casualties, demand a decisive military response, which is self-defense rather than nation-building. These radical Democrats, fifth-columnists, and isolationists lack any strategy and moral clarity. Also, the people of Israel are never discussed by the media. They face severe challenges every day, especially in Tel Aviv, where ballistic missiles from Iran target hospitals and public areas, forcing families into bomb shelters. They are in constant fear with a disrupted quality of life. Media outlets ignore these struggles and ignore the regime's history of killing and maiming American soldiers. Later, Zuhdi Jasser calls in and addresses the mindset of the isolationists and fifth columnists who deliberately ignore the existential threat posed by Iran's theocratic regime and its proxies like Hezbollah and the Houthis. He emphasizes that these groups are driven by a radical theology that glorifies suicide bombing, chaos, and the targeting of non-combatants, with the ultimate goal of triggering an apocalyptic scenario tied to the return of the 12th Imam. Jasser asserts that Iran's uranium enrichment is clearly aimed at developing nuclear weapons, not peaceful purposes, and warns that the regime would use such weapons, likening its leadership to a cult willing to commit national fratricide. Finally, Sayyid Qutb's book Milestones, promotes pure Islam and strict shariah, rejecting Western values and most modern Muslims as ignorant (jahiliyyah). Groups like CAIR, ISNA, ICNA, MSA, and MPAC dismiss devout Muslims who oppose their views. Qutb's ideas fuel sectarian violence and terrorism by groups like Hamas and al-Qaida, and states like Iran, which pursues nuclear weapons through deception (taqiyya). Western appeasement fails to counter this clash with democratic values. Learn more about your ad choices. Visit podcastchoices.com/adchoices

Michael Savage examines the escalating tensions between Israel and Iran. He discusses the divided opinions in America about whether the U.S. should intervene. He shares comments from his listeners on the conflict.  He discusses what he has learned about combating radical Islam from Dr. Zuhdi Jasser of the American Islamic Forum for Democracy. Savage highlights the sentiments of Iranians who hope Israeli actions could lead to governmental change in Iran. He shares insights from the National Council of Resistance of Iran and Crown Prince Reza Pahlavi, who express optimism about a post-regime future. Savage then references Sun Tzu's 'The Art of War,' emphasizing the role of deception in military strategy, and speculates on possible Iranian retaliations, including the threat within the USA.

Are we on the brink? To understand where we're headed, we've got to know where we've been. Yanni takes us through the rise and fall of the Persian Empire—how a Zoroastrian civilization became a Muslim one. From Cyrus the Great to Khomeini, it's a wild ride through history. Are the Israelis dragging us into their wars? Does Iran have the bomb? Is commentary on the issue organic on the internet? Let's get into it. Support our sponsors: Start saving time and money, without compromising your nutrition today with this exclusive offer for NEW customers of 15% using my exclusive code: YANNIS at https://huel.com. Learn more about your ad choices. Visit megaphone.fm/adchoices

Tom: In this segment of our program, we're beginning our discussions of Dave Hunt's new book Judgment Day! Islam, Israel, and the Nations, which has just rolled off the press. Dave, the title is certainly thought-provoking. Most folks wouldn't get the impression that it's a happy, feel-good-about-the-world-situation sort of book, so can you give us a synopsis of the book and tell us why you wrote it?Dave: Well, Tom, we have a lot of happy, feel-good books. That is mostly what is being written out there. We try to hide our heads in the sand; we don't want to face the problems that are in the world today. And probably the greatest challenge - the greatest danger to the entire world - is Islam. And the Bible is filled with very clear and frightening (really frightening) declarations by God of the judgment He is going to bring upon this world. Why is He going to do that? Well, that's what we talk about, and we give you the documentation from prophecy in the Bible, from history, and from the daily news, what is happening in our world. This world is ripening for God's judgment. 

Urdu Friday Sermon delivered by Khalifa-tul-Masih on June 20th, 2025 (audio)

In this podcast we talked about the positive and negative impacts social media has had on us making content in our life & our religion. Social media is a very interesting place because we live in a world driven by clout and being Muslim in that space tests your faith, character, and sincerity.DeenTour is a podcast and channel where 3 brothers showcase their love for islam through reminders, brotherhood, motivation, entertainment, and more!Let us know if you enjoyed this video and if you'd like to see more of this!!Get your Islamic trivia card game with 100 questions to learn more about Islam! https://deenified.com/FOLLOW US ON SOCIAL MEDIA!Instagram: https://www.instagram.com/deentourr/Tiktok: https://www.tiktok.com/@deentourrIntro - 0:00How does being in front of the camera affect your sincerity? - 1:00Keeping your intentions in the right place - 3:45Guiding others to do good where you can - 4:50The lens we're placed for being “Muslim” content creators - 5:26Social media can be a very fake place - 8:06Don't judge someone's character based on what someone else says - 10:15The topic of good character - 11:12Moral strictness doesn't bring you power - 13:07Dealing with arrogance - 14:07Trying to understand other perspectives for struggles in life - 14:50How hated pride & arrogance are - 16:05It's easy to change your mind but not as easy to change your heart - 17:35How shaytan attacks your heart - 18:09Control what you can control & your choices - 19:19Naturally turning away from bad habits & sins - 20:51Stages of a sin & how Allah rewards good doers - 22:41How you deal with struggle & how religion has changes your life - 23:47Knowing the relationship between the Creator & the creation - 25:45The moments that push you to do better start with reflection - 26:55How the stories in the Quran should push you to do better - 28:50Praying & making dua for others - 29:41Outro - 32:18

Love in Sufi Literature: Ibn ‘Ajiba's Understanding of the Divine Word (Routledge, 2023) explores the role of divine love in the Quranic commentary of the Moroccan Sufi scholar Aḥmad Ibn ʿAjība (d. 1224/1809). Through close textual analysis of Ibn ʿAjība's exegesis al-Baḥr al-madīd—The Abundant Ocean—and drawing on his other Sufi writings the book illuminates the scholar's theory of divine love, drawn from his scholarly antecedents, to elucidate its role and the scholar's impact on the wider field of Quranic scholarship. This close analysis is supplemented by a comparative approach focusing on several other eminent and influential Sufi commentaries. What is displayed is that Ibn ʿAjība's exegesis connected theoretical works on the concept of divine love to their practical application, a breakthrough in Sufi literature. The study situates Ibn ‘Ajība's thought in theological and historical perspective, engaging with his mystical approach which integrates his theory of divine love with other Sufi doctrines in an accessible manner. As such, the Moroccan scholar's work left an indelible impact on future generations of Quranic exegetes within North Africa and across the Islamic world. Love in Sufi Literature makes important contributions to the study of Sufism, Islam in North Africa, and late pre-modern Islamic intellectual history. Omneya Ayad is Assistant Professor of Sufi Studies at Üsküdar University in Istanbul, Türkiye. Yaseen Christian Andrewsen is a DPhil Candidate at the University of Oxford specialising in Islamic intellectual history in West Africa, focused on issues in Sufism, theology, and authority. Yaseen is a co-host for the New Books in Islamic Studies podcast. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

Love in Sufi Literature: Ibn ‘Ajiba's Understanding of the Divine Word (Routledge, 2023) explores the role of divine love in the Quranic commentary of the Moroccan Sufi scholar Aḥmad Ibn ʿAjība (d. 1224/1809). Through close textual analysis of Ibn ʿAjība's exegesis al-Baḥr al-madīd—The Abundant Ocean—and drawing on his other Sufi writings the book illuminates the scholar's theory of divine love, drawn from his scholarly antecedents, to elucidate its role and the scholar's impact on the wider field of Quranic scholarship. This close analysis is supplemented by a comparative approach focusing on several other eminent and influential Sufi commentaries. What is displayed is that Ibn ʿAjība's exegesis connected theoretical works on the concept of divine love to their practical application, a breakthrough in Sufi literature. The study situates Ibn ‘Ajība's thought in theological and historical perspective, engaging with his mystical approach which integrates his theory of divine love with other Sufi doctrines in an accessible manner. As such, the Moroccan scholar's work left an indelible impact on future generations of Quranic exegetes within North Africa and across the Islamic world. Love in Sufi Literature makes important contributions to the study of Sufism, Islam in North Africa, and late pre-modern Islamic intellectual history. Omneya Ayad is Assistant Professor of Sufi Studies at Üsküdar University in Istanbul, Türkiye. Yaseen Christian Andrewsen is a DPhil Candidate at the University of Oxford specialising in Islamic intellectual history in West Africa, focused on issues in Sufism, theology, and authority. Yaseen is a co-host for the New Books in Islamic Studies podcast. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/islamic-studies

Joining Audrey for this week's REELTalk -  Founder of Stand Up America, Major General PAUL VALLELY, will be here! PLUS, LT General THOMAS McINERNEY will be here! AND, Senior Reporter and Chief European Correspondent for CBN News, DALE HURD, will be here! PLUS, author of the bestseller A Few Bad Men, Major FRED GALVIN will be here! In the words of Benjamin Franklin, "If we do not hang together, we shall surely hang separately." Come hang with us...  

Sam Harris speaks with Haviv Rettig Gur about Israel and her enemies. They discuss Israel's war with Iran and America's role in the conflict, Israel's military capabilities, Iran's nuclear program, what a ground invasion of Iran could look like, how Iranians view the regime, antisemitism, the history of Zionism, Islam and jihadism, extremism on the Israeli far right, religious fanaticism, Israeli settlements in the West Bank, Ehud Olmert, the hostages in Gaza, and other topics. If the Making Sense podcast logo in your player is BLACK, you can SUBSCRIBE to gain access to all full-length episodes at samharris.org/subscribe.

In this episode of Catholic Answers Live, guest Alex Jurado from “Voice of Reason” tackles thoughtful and challenging questions from callers exploring Catholic teaching and doctrine. Topics include the true meaning of the word anathema, biblical support for confession to a priest, and how to explain the seal of confession in difficult moral situations. Alex also addresses concerns about biblical contradictions, the authority of the Magisterium, and how to interpret Matthew 16:18 in Protestant-Catholic dialogue. Listeners ask about papal authority in light of the Pope Vigilius controversy, proper church etiquette for seekers, and what the Church means by salvation through “faith working through love.” Join The CA Live Club Newsletter: Click Here Invite our apologists to speak at your parish! Visit Catholicanswersspeakers.com Questions Covered: 05:41 – What is the correct meaning of the term anathema, and how can misunderstandings about it be addressed in conversation? 11:55 – Where does the Bible support the practice of confessing sins to a priest? 17:10 – How can the Catholic teaching on the seal of confession be explained to those who find it troubling, especially in serious moral cases? 23:39 – In John 7:8–10, does Jesus contradict Himself? How should this passage be understood? 28:50 – How can someone considering Catholicism come to trust the authority of the Magisterium? 31:51 – How can Catholics respond when Protestants interpret Matthew 16:18 as referring only to the invisible Church? 35:54 – How does the controversy surrounding Pope Vigilius and the Three Chapters not contradict the doctrine of Papal Supremacy? 44:40 – For someone exploring Christianity, what is appropriate attire for attending Church, and when is it acceptable to enter a church to pray? 49:42 – What does the Catholic Church mean by salvation through “faith working through love,” especially for someone transitioning from Islam to Christianity?

In this explosive Heretics interview, TalkTV firebrand Kevin O'Sullivan joins Andrew Gold to expose the hypocrisy at the heart of modern Britain. From the burka debate in Parliament to Labour's calculated play for the Muslim vote, Kevin gives his uncensored take on how identity politics, groupthink, and fear of offence are eroding British values. SPONSORS: Struggling with anxiety, addiction, loss, relationships, cancel culture, or feeling low? Go to http://Just-Therapy.org . James' private practice: https://jamesesses.com  Give online therapy a try at https://betterhelp.com/HERETICS  Cut your wireless bill to 15 bucks a month at https://mintmobile.com/heretics  Set up your online dream biz on https://shopify.co.uk/glassbox Go to https://TryFum.com/HERETICS  and use code HERETICS to get your free FÜM Topper when you order your Journey Pack today! Go to https://freespoke.com/gold  to search freely. Download app & sub for 25% off Freespoke Premium with my link.

Usama Dakdok is the Founder of the Straight Way of Grace Ministry. He is the speaker on the daily radio broadcast Revealing the Truth About Islam. It has become a common thing for Israelis to be woken by sirens. This morning was no exception. But this time there is shock as they learned that one of the country's major hospitals was hit by a missile from Iran. Additional sites were hit in Tel Aviv. We understand it was the hospital's old surgical building that suffered damage. CBN reported that one of the doctors indicated just yesterday that they had evacuated the old surgical building that took a direct hit. He said, "It's a great miracle." Israel's Prime Minister is vowing that the dictators in Tehran will pay "the full price." Tehran is calling for an Islamic Army to wage war on Israel. The Council on American Islamic Relations is demanding that President Trump halt U.S. weapons transfers to Israel. CAIR-NJ is condemning Israel for what they call "an unprovoked attack on Iran." The Al-Qaeda leader is calling upon Muslims to assassinate President Trump and other high-ranking officials. Earlier this month a Muslim in Boulder, CO was suspected of firebombing a group of pro-Israel protestors leaving 15 injured. He is an Egyptian national. And as reported recently on JihadWatch.org, The Council on American-Islamic Relations Director Nihad Awad is hosting training sessions to help citizens spot ICE agents and alert mobs to target them. One anti-ICE protestor is calling out "Allahu-akbar." Pew Research reported earlier this month that on a global basis, Islam is growing faster than all other religions. What's going on? Haven't we been forewarned this would happen?

Donate to our charity partner Baitulmaal here:http://btml.us/thinkingmuslimHelp us expand our Muslim media project here: https://www.thinkingmuslim.com/membershipThis is the first episode of our new youth show — The Thinking Youth Podcast. A show by the youth, for the youth. Led by a passionate team of young thinkers, researchers, and hosts, this platform was created to amplify the voices and stories of Muslim youth.Rooted in our experiences, driven by our questions — this is an endeavour that aims to lead our youth towards the path of enlightened activism, inspired by the legacy of those before us to shape our Ummah's future.You can find Muhammad Jalal here:Become a member here:https://www.thinkingmuslim.com/membershipOr give your one-off donation:https://www.thinkingmuslim.com/donateYou can also support The Thinking Muslim through a one-time donation: https://www.thinkingmuslim.com/DonateListen to the audio version of the podcast:Spotify: https://open.spotify.com/show/7vXiAjVFnhNI3T9Gkw636aApple Podcasts: https://podcasts.apple.com/gb/podcast/the-thinking-muslim/id1471798762Purchase our Thinking Muslim mug: https://www.thinkingmuslim.com/merchFind us on:X: https://x.com/thinking_muslimLinkedIn: https://www.linkedin.com/company/the-thinking-muslim/Facebook: https://www.facebook.com/The-Thinking-Muslim-Podcast-105790781361490Instagram: https://www.instagram.com/thinkingmuslimpodcast/Telegram: https://t.me/thinkingmuslimBlueSky: https://bsky.app/profile/thinkingmuslim.bsky.socialThreads: https://www.threads.com/@thinkingmuslimpodcastFind Muhammad Jalal here:X: https://twitter.com/jalalaynInstagram: https://www.instagram.com/jalalayns/Sign up to Muhammad Jalal's newsletter: https://jalalayn.substack.comWebsite Archive: https://www.thinkingmuslim.com Hosted on Acast. See acast.com/privacy for more information.

This is The Briefing, a daily analysis of news and events from a Christian worldview.Part I (00:14 - 11:55)A Crisis of Existential Crises: Outside of Christ, Everything is an Existential CrisisWhy Is Everything an Existential Crisis? by The Wall Street Journal (Andrew Hartz)Part II (11:55 - 17:00)Is Burning the Koran a Crime in the UK? A Strange Alliance of Secularists and Christians are Questioning a Ruling in the UKA ruling in Britain stokes fears of backdoor blasphemy laws by The EconomistPart III (17:00 - 22:22)President Macron is Posturing: The Big Problems with the Calls by France's President for a Palestinian StatePart IV (22:22 - 26:40)The Non-Existent European Constitution: The 20th Anniversary of the European Vote for a Written Constitution That FailedThe constitution that never was still haunts Europe 20 years on by The EconomistSign up to receive The Briefing in your inbox every weekday morning.Follow Dr. Mohler:X | Instagram | Facebook | YouTubeFor more information on The Southern Baptist Theological Seminary, go to sbts.edu.For more information on Boyce College, just go to BoyceCollege.com.To write Dr. Mohler or submit a question for The Mailbox, go here.

Today I will cover the history of the Middle East conflict ongoing now, and look into what the meta history tells us. We will cover more of the history from Blumenthal, Dreyfus, Curtis, and more. Send Superchats at any time here: https://streamlabs.com/jaydyer/tip Join this channel to get access to perks: https://www.youtube.com/channel/UCnt7Iy8GlmdPwy_Tzyx93bA/join PRE-Order New Book Available in JULY here: https://jaysanalysis.com/product/esoteric-hollywood-3-sex-cults-apocalypse-in-films/ Get started with Bitcoin here: https://www.swanbitcoin.com/jaydyer/ The New Philosophy Course is here: https://marketplace.autonomyagora.com/philosophy101 Set up recurring Choq subscription with the discount code JAY44LIFE for 44% off now https://choq.com Lore coffee is here: https://www.patristicfaith.com/coffee/ Orders for the Red Book are here: https://jaysanalysis.com/product/the-red-book-essays-on-theology-philosophy-new-jay-dyer-book/ Subscribe to my site here: https://jaysanalysis.com/membership-account/membership-levels/ Follow me on R0kfin here: https://rokfin.com/jaydyer Music by Amid the Ruins 1453 Join this channel to get access to perks: https://www.youtube.com/channel/UCnt7Iy8GlmdPwy_Tzyx93bA/join Join this channel to get access to perks: https://www.youtube.com/channel/UCnt7Iy8GlmdPwy_Tzyx93bA/joinBecome a supporter of this podcast: https://www.spreaker.com/podcast/jay-sanalysis--1423846/support.

This is The Briefing, a daily analysis of news and events from a Christian worldview.Part I (00:13 - 12:14)Degrading the Threat of Iran's Nuclear Capabilities: The Military Strategy of Israel and the Hope of Her AlliesIsrael's Nuclear Good Deed Against Iran by The Wall Street Journal (The Editorial Board)Diplomacy With Iran Is Damaged, Not Dead by The New York Times (Steven Erlanger)Israel Had the Courage to Do What Needed to Be Done by The New York Times (Bret Stephens)Part II (12:14 - 16:19)A Shooting War Threatens Our Constitutional Republic: Our Culture War Cannot Turn Into a Shooting War – Not in Minnesota Nor Anywhere ElseWho Are the Lawmakers Who Were Shot? by The New York Times (Ernesto Londoño and Mitch Smith)Part III (16:17 - 22:41)A War of Demonstrations This Weekend: The 250th Anniversary of the Military Parade in D.C. and the ‘No Kings' Protests Across the CountryPart IV (22:41 - 25:47)One of the Most Significant Airplane Tragedy Events in Two Decades: Air India's 787 CrashSign up to receive The Briefing in your inbox every weekday morning.Follow Dr. Mohler:X | Instagram | Facebook | YouTubeFor more information on The Southern Baptist Theological Seminary, go to sbts.edu.For more information on Boyce College, just go to BoyceCollege.com.To write Dr. Mohler or submit a question for The Mailbox, go here.