Podcasts about i call

In this week's episode of the Get Lit Minute, your weekly poetry podcast, we spotlight the life and work of poet, librarian, and memorist, Toyo Suyemoto. During her early years, Suyemoto published under her husband's surname as Toyo Kawakami, Toyo S. Kawakami, and Toyo Suyemoto Kawakami, though later in life she preferred to be remembered only by her family name. Suyemoto was trained from an early age to be a poet. Her mother taught Japanese literature to her and her eight siblings as children, and also recited Japanese translations of Shakespeare. Suyemoto's own work in haiku and tanka is the direct result of her mother's influence, though she was also worked in conventional English lyric forms. Suyemoto herself began publishing poems in Japanese American community papers when she was a teenager, and she continued writing during her years of incarceration as a young woman in Topaz. During her lifetime, Suyemoto published a reference book for librarians, Acronyms in Education and the Behavioral Sciences, as well as poems in Yale Review, Common Ground and the anthology American Bungaku (1938). Interest in her work increased in the 1970s and 80s, however, and Suyemoto's work soon appeared in the anthologies Speaking for Ourselves: American Ethnic Writing (1969), Ayumi: A Japanese American Anthology (1980), and Quiet Fire: A Historical Anthology of Asian American Poetry 1892-1970 (1996) as well as in the magazines Many Mountains Moving and Amerasia Journal. Four years after her death in 2003, Rutgers University Press published her memoir I Call to Remembrance: Toyo Suyemoto's Years of Internment (2007). SourceThis episode includes a reading of her poem, "Barracks Home".  You can find more poems like this in our Get Lit Anthology at www.getlitanthology.org ."Barracks Home"This is our barracks, squatting on the ground,Tar papered shacks, partitioned into roomsBy sheetrock walls, transmitting every soundOf neighbor's gossip or the sweep of broomsThe open door welcomes the refugees,And now at least there is no need to roamAfar: here space enlarges memoriesBeyond the bounds of camp and this new home.The floor is carpeted with dust, wind-borneDry alkalai, patterned with insect feet,What peace can such a place as this impart?We can but sense, bewildered and forlorn,That time, disrupted by the war from neatRoutines, must now adjust within the heart.Support the Show.Support the show

Our guest today is Jani Lauzon https://www.janilauzon.com/ Jani is a Canadian multidisciplinary artist of Métis/French/Finnish ancestry. She's a Writer/Actor/Director/Musician and Puppeteer. She is a 9 time Dora Mavor Moore nominated actress, a three time Juno nominated singer/songwriter, a Gemini Award winning puppeteer, an award winning director, and an artist educator. Jani is the recipient of the 2024 Equity Showcase Woman of the Year award!  She has produced her own theatre work such as A Side of Dreams, I Call myself Princess, and Prophecy Fog through her company Paper Canoe Projects. Our discussion included rejuvenating practices for self-care, Body memory, wisdom of the body and reading your body. We then moved on to Patsy Rodenburg and her decision to resign form Guildhall which led to us chatting about the craft of acting and that led to the craft of well-being in acting. All in all it was a very grounding and humbling conversation. Hope you enjoy it… www.papercanoeprojects.com https://www.janilauzon.com/

"I Call to God" - The Scripture Lesson: Psalms 55:16-19

For more inspired edutainment, visit: www.bebettermedia.tv Key Points, Top Takeaways and Memorable Quotes - “This is what I know.  This is what I've experienced.  This is what I can speak to.” 9:09“I've had to look at the ugly side, and face it in order to heal, and see it for what it is.  Forgive myself.” 13:40“You can't think to heal, we have to feel to heal.” 23:08“There's a tremendous intelligence that these medicines hold.” 24:59“It's not going to be easy, but what you're going to get out of it is going to be far greater than you could predict.” 44:00 Guest Bio - Kevin Vance was born in Canada, and moved to San Diego when he was 6. His love for nature and the water began. Kevin was a collegiate all American in water polo, a team captain and MVP. After attending UCSD, he enlisted in the navy where he was a hospital corpsman in the Special Operations community. Kevin served in the Navy from 1994-2003. From 2003 to 2009, he served with the US Government working with the intelligence community for national security interests. He has spent over 3 years in Iraq, a year and a half in Pakistan and other areas of interest in the GWOT. From 2009- current, Kevin has served as a First Responder in Southern California working in one of our nation's largest fire organizations - having instructed 2 academies, been active as a USAR member, a FEMA rescue specialist and currently holds the rank of Fire Captain. He has supported the build out of the behavioral wellness program while serving the needs of our veteran community. Kevin has spent some time in Hollywood consulting on a few films including, End of Watch, Fury, Suicide Squad, Bright, Triple Frontier, War Machine, and Sabotage. Show Notes - 0:00 - Coming Up on ‘What I Meant to Say'0:35 - What I Meant to Say Intro0:57 - Welcome to Kevin5:56 - Lifeguarding & College at UCSD, then Special Operations10:31 - Ways You've Started to Heal14:47 - How Do You Take the First Step When You're Struggling?18:08 - Places You've Had a Sense of Community23:52 - Recreation Vs. Integrated Healing with Psychedelics 29:11 - I Call it the Nudge35:18 - Working from Individual Strength 37:16 - Life Experiences that Led You to Be a Better Husband & Father40:46 - Nature Experiences43:06 - Managing Chronic Pain through Life Experiences45:13 - What Are Some of Your Hopes for Your Daughter?49:33 - Wendy's Advice for a Father with a Daughter52:41- Kevin's Wife is Patient & Supportive55:31 - One Piece of Advice 59:18 - Thank You & WIMTS Closing Links & Where to Find Kevin - IG - @kevinlvance Open Water 

This passover podcast series will stir your minds and souls as we explore liberation. Enjoy this series of interviews by Bluth along with Beth Tzedec Congregation, to explore a variety of stories and expressions of Liberation in today's society. From Toronto to Harlem, Jerusalem to Pakistan  - we hear from a Jewish thinker, queer jewish musician, racial justice educator, and a Pakistani women's rights activist - to hear their liberation work, their stories and their wisdom. We gain insights into the pain and joys, the grief and celebration, the exile and bliss of existence, emergence and becoming. Soul Brew Liberation Sessions are replays from 2022. In this session, Rabbi Bluth interviews queer Jewish/Yiddish/Ladino Singer and songwriter Aviva Chernick, teacher of voice as a tool of healing -  about emergence, voice, and passover. Min HaMeitzar Karati Yah - “From the narrows, I Call to you” - what is this calling out and what is the role of voice and vocals in liberation? 

Message: "The Mighty Minority"I Call of GodII Confidence in GodIII CourageIV ConcentrationV Controlled by God

Nuestra Palabra: Flower Song Press Fest: Platicas y Poesia de Califa a Tejas! In a preview of our upcoming Latino Author Series at the Latino Bookstore at the Guadalupe Cultural Arts Center, Tony Diaz welcomes our feature guests, all part of the FlowerSong Press Familia! David Romero Marisol Cortez Matt Sedillo Leticia Urieta David A. Romero is a Mexican-American spoken word artist from Diamond Bar, CA. Romero is the author of My Name Is Romero (FlowerSong Press). Romero has received honorariums from over seventy-five colleges and universities in thirty-three different states in the USA. Rooted in San Antonio, Marisol Cortez writes across genre about place and power for all the other border walking weirdos out there. She is the author of the award-winning South Texas cli-fi novel Luz at Midnight as well as I Call on the Earth, a chapbook of documentary poetry about the forced removal of Mission Trails Mobile Home Community. She writes to remember the land and resist all domination. For updates on projects and publications, visit mcortez.net. Matt Sedillo has been described as the "best political poet in America" as well as "the poet laureate of the struggle". His work has drawn comparisons in print to Bertolt Brecht, Roque Dalton, Amiri Baraka, Alan Ginsberg and various other legends of the past. Sedillo was the recipient of the first ever Dante's Laurel presented in Ravenna Italy, the 2017 Joe Hill Labor Poetry award, a panelist at the 2020 Texas book festival, and a participant in the 2012 San Francisco International Poetry Festival, the 2022 Elba Poetry Festival. Sedillo has appeared on CSPAN and has been featured in the Los Angeles Times, Axios, the Associated Press among other publications. Leticia Urieta (she/her/hers) is a Tejana writer from Austin, TX. She is a teaching artist in the greater Austin community and the Program Director of Austin Bat Cave, a literary community serving students in the Austin area, as well as the co-director of Barrio Writers Austin and Pflugerville, a free creative writing program for youth. Leticia is also a freelance writer. She is a graduate of Agnes Scott College and holds an MFA in Fiction writing from Texas State University. Her work appears or is forthcoming in Chicon Street Poets, Lumina, The Offing, Kweli Journal, Medium, Electric Lit and others. Her chapbook, The Monster was published in 2018 from LibroMobile Press. Her hybrid collection, Las Criaturas, was a finalist for the Sergio Troncoso Award for Best First Book of Fiction 2022 from the Texas Institute of Letters, and is out now from FlowerSong Press. Edward Vidaurre is an award-winning poet and author of eight collections of poetry. He is the 2018-2019 City of McAllen, Texas Poet Laureate, 2022 inductee to the Texas Institute of Letters, and publisher of FlowerSong Press. His writings have appeared in The New York Times, The Texas Observer, Los Angeles Review of Books, as well as other journals and anthologies. He has edited over 50 books and anthologies. Vidaurre resides in McAllen, Texas with his wife and daughter. Thanks to Roxana Guzman, Multiplatform Producer Rodrigo Bravo, Jr., Audio Producer Radame Ortiez, SEO Director Marc-Antony Piñón, Graphics Designer Leti Lopez, Music Director Bryan Parras, co-host and producer emeritus Liana Lopez, co-host and producer emeritus Lupe Mendez, Texas Poet Laureate, co-host, and producer emeritus Writer and activist Tony Diaz, El Librotraficante, hosts Latino Politics and News and the Nuestra Palabra Radio Show on 90.1 FM, KPFT, Houston's Community Station. He is also a political analyst on “What's Your Point?” on Fox 26 Houston. He is the author of the forthcoming book: The Tip of the Pyramid: Cultivating Community Cultural Capital. www.Librotraficante.com www.NuestraPalabra.org www.TonyDiaz.net Instrumental Music produced / courtesy of Bayden Records Website | http://baydenrecords.beatstars.com

Tony Diaz, literary curator of the Latino Bookstore, and the Guadalupe Cultural Arts Center, hold a monthly speaking engagement as part of the Texas Author Series. Flower Song Press' Edward Vidaurre presented Texas Authors Leticia Urieta & Marisol Cortez and special guests David A. Romero & Matt Cedillo for a showcase! David A. Romero is a Mexican-American spoken word artist from Diamond Bar, CA. Romero is the author of My Name Is Romero (FlowerSong Press). Romero has received honorariums from over seventy-five colleges and universities in thirty-three different states in the USA. Rooted in San Antonio, Marisol Cortez writes across genre about place and power for all the other border walking weirdos out there. She is the author of the award-winning South Texas cli-fi novel Luz at Midnight as well as I Call on the Earth, a chapbook of documentary poetry about the forced removal of Mission Trails Mobile Home Community. She writes to remember the land and resist all domination. For updates on projects and publications, visit mcortez.net. Matt Sedillo has been described as the "best political poet in America" as well as "the poet laureate of the struggle". His work has drawn comparisons in print to Bertolt Brecht, Roque Dalton, Amiri Baraka, Alan Ginsberg and various other legends of the past. Sedillo was the recipient of the first ever Dante's Laurel presented in Ravenna Italy, the 2017 Joe Hill Labor Poetry award, a panelist at the 2020 Texas book festival, and a participant in the 2012 San Francisco International Poetry Festival, the 2022 Elba Poetry Festival. Sedillo has appeared on CSPAN and has been featured in the Los Angeles Times, Axios, the Associated Press among other publications. Leticia Urieta (she/her/hers) is a Tejana writer from Austin, TX. She is a teaching artist in the greater Austin community and the Program Director of Austin Bat Cave, a literary community serving students in the Austin area, as well as the co-director of Barrio Writers Austin and Pflugerville, a free creative writing program for youth. Leticia is also a freelance writer. She is a graduate of Agnes Scott College and holds an MFA in Fiction writing from Texas State University. Her work appears or is forthcoming in Chicon Street Poets, Lumina, The Offing, Kweli Journal, Medium, Electric Lit and others. Her chapbook, The Monster was published in 2018 from LibroMobile Press. Her hybrid collection, Las Criaturas, was a finalist for the Sergio Troncoso Award for Best First Book of Fiction 2022 from the Texas Institute of Letters, and is out now from FlowerSong Press. Edward Vidaurre is an award-winning poet and author of eight collections of poetry. He is the 2018-2019 City of McAllen, Texas Poet Laureate, 2022 inductee to the Texas Institute of Letters, and publisher of FlowerSong Press. His writings have appeared in The New York Times, The Texas Observer, Los Angeles Review of Books, as well as other journals and anthologies. He has edited over 50 books and anthologies. Vidaurre resides in McAllen, Texas with his wife and daughter. Thanks to Roxana Guzman, Multiplatform Producer Rodrigo Bravo, Jr., Audio Producer Radame Ortiez, SEO Director Marc-Antony Piñón, Graphics Designer Leti Lopez, Music Director Bryan Parras, co-host and producer emeritus Liana Lopez, co-host and producer emeritus Lupe Mendez, Texas Poet Laureate, co-host, and producer emeritus Writer and activist Tony Diaz, El Librotraficante, hosts Latino Politics and News and the Nuestra Palabra Radio Show on 90.1 FM, KPFT, Houston's Community Station. He is also a political analyst on “What's Your Point?” on Fox 26 Houston. He is the author of the forthcoming book: The Tip of the Pyramid: Cultivating Community Cultural Capital. www.Librotraficante.com www.NuestraPalabra.org www.TonyDiaz.net Instrumental Music produced / courtesy of Bayden Records Website | http://baydenrecords.beatstars.com

Episode one hundred and fifty-six of A History of Rock Music in Five Hundred Songs looks at “I Was Made to Love Her", the early career of Stevie Wonder, and the Detroit riots of 1967. Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have a twenty-minute bonus episode available, on "Groovin'" by the Young Rascals. Tilt Araiza has assisted invaluably by doing a first-pass edit, and will hopefully be doing so from now on. Check out Tilt's irregular podcasts at http://www.podnose.com/jaffa-cakes-for-proust and http://sitcomclub.com/ Resources As usual, I've put together a Mixcloud playlist of all the recordings excerpted in this episode. The best value way to get all of Stevie Wonder's early singles is this MP3 collection, which has the original mono single mixes of fifty-five tracks for a very reasonable price. For those who prefer physical media, this is a decent single-CD collection of his early work at a very low price indeed. As well as the general Motown information listed below, I've also referred to Signed, Sealed, and Delivered: The Soulful Journey of Stevie Wonder by Mark Ribowsky, which rather astonishingly is the only full-length biography of Wonder, to Higher Ground: Stevie Wonder, Aretha Franklin, Curtis Mayfield, and the Rise and Fall of American Soul by Craig Werner, and to Detroit 67: The Year That Changed Soul by Stuart Cosgrove. For Motown-related information in this and other Motown episodes, I've used the following resources: Where Did Our Love Go? The Rise and Fall of the Motown Sound by Nelson George is an excellent popular history of the various companies that became Motown. To Be Loved by Berry Gordy is Gordy's own, understandably one-sided, but relatively well-written, autobiography. Women of Motown: An Oral History by Susan Whitall is a collection of interviews with women involved in Motown. I Hear a Symphony: Motown and Crossover R&B by J. Andrew Flory is an academic look at Motown. The Motown Encyclopaedia by Graham Betts is an exhaustive look at the people and records involved in Motown's thirty-year history. How Sweet It Is by Lamont Dozier and Scott B. Bomar is Dozier's autobiography, while Come and Get These Memories by Brian and Eddie Holland and Dave Thompson is the Holland brothers'. Standing in the Shadows of Motown: The Life and Music of Legendary Bassist James Jamerson by "Dr Licks" is a mixture of a short biography of the great bass player, and tablature of his most impressive bass parts. And Motown Junkies is an infrequently-updated blog looking at (so far) the first 694 tracks released on Motown singles. Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript A quick note before I begin -- this episode deals with disability and racism, and also deals from the very beginning with sex work and domestic violence. It also has some discussion of police violence and sexual assault. As always I will try to deal with those subjects as non-judgementally and sensitively as possible, but if you worry that anything about those subjects might disturb you, please check the transcript. Calvin Judkins was not a good man. Lula Mae Hardaway thought at first he might be, when he took her in, with her infant son whose father had left before the boy was born. He was someone who seemed, when he played the piano, to be deeply sensitive and emotional, and he even did the decent thing and married her when he got her pregnant. She thought she could save him, even though he was a street hustler and not even very good at it, and thirty years older than her -- she was only nineteen, he was nearly fifty. But she soon discovered that he wasn't interested in being saved, and instead he was interested in hurting her. He became physically and financially abusive, and started pimping her out. Lula would eventually realise that Calvin Judkins was no good, but not until she got pregnant again, shortly after the birth of her second son. Her third son was born premature -- different sources give different numbers for how premature, with some saying four months and others six weeks -- and while he apparently went by Stevland Judkins throughout his early childhood, the name on his birth certificate was apparently Stevland Morris, Lula having decided not to give another child the surname of her abuser, though nobody has ever properly explained where she got the surname "Morris" from. Little Stevland was put in an incubator with an oxygen mask, which saved the tiny child's life but destroyed his sight, giving him a condition called retinopathy of prematurity -- a condition which nowadays can be prevented and cured, but in 1951 was just an unavoidable consequence for some portion of premature babies. Shortly after the family moved from Saginaw to Detroit, Lula kicked Calvin out, and he would remain only a peripheral figure in his children's lives, but one thing he did do was notice young Stevland's interest in music, and on his increasingly infrequent visits to his wife and kids -- visits that usually ended with violence -- he would bring along toy instruments for the young child to play, like a harmonica and a set of bongos. Stevie was a real prodigy, and by the time he was nine he had a collection of real musical instruments, because everyone could see that the kid was something special. A neighbour who owned a piano gave it to Stevie when she moved out and couldn't take it with her. A local Lions Club gave him a drum kit at a party they organised for local blind children, and a barber gave him a chromatic harmonica after seeing him play his toy one. Stevie gave his first professional performance when he was eight. His mother had taken him to a picnic in the park, and there was a band playing, and the little boy got as close to the stage as he could and started dancing wildly. The MC of the show asked the child who he was, and he said "My name is Stevie, and I can sing and play drums", so of course they got the cute kid up on stage behind the drum kit while the band played Johnny Ace's "Pledging My Love": [Excerpt: Johnny Ace, "Pledging My Love"] He did well enough that they paid him seventy-five cents -- an enormous amount for a small child at that time -- though he was disappointed afterwards that they hadn't played something faster that would really allow him to show off his drumming skills. After that he would perform semi-regularly at small events, and always ask to be paid in quarters rather than paper money, because he liked the sound of the coins -- one of his party tricks was to be able to tell one coin from another by the sound of them hitting a table. Soon he formed a duo with a neighbourhood friend, John Glover, who was a couple of years older and could play guitar while Stevie sang and played harmonica and bongos. The two were friends, and both accomplished musicians for their age, but that wasn't the only reason Stevie latched on to Glover. Even as young as he was, he knew that Motown was soon going to be the place to be in Detroit if you were a musician, and Glover had an in -- his cousin was Ronnie White of the Miracles. Stevie and John performed as a duo everywhere they could and honed their act, performing particularly at the talent shows which were such an incubator of Black musical talent at the time, and they also at this point seem to have got the attention of Clarence Paul, but it was White who brought the duo to Motown. Stevie and John first played for White and Bobby Rodgers, another of the Miracles, then when they were impressed they took them through the several layers of Motown people who would have to sign off on signing a new act. First they were taken to see Brian Holland, who was a rising star within Motown as "Please Mr. Postman" was just entering the charts. They impressed him with a performance of the Miracles song "Bad Girl": [Excerpt: The Miracles, "Bad Girl"] After that, Stevie and John went to see Mickey Stevenson, who was at first sceptical, thinking that a kid so young -- Stevie was only eleven at the time -- must be some kind of novelty act rather than a serious musician. He said later "It was like, what's next, the singing mouse?" But Stevenson was won over by the child's talent. Normally, Stevenson had the power to sign whoever he liked to the label, but given the extra legal complications involved in signing someone under-age, he had to get Berry Gordy's permission. Gordy didn't even like signing teenagers because of all the extra paperwork that would be involved, and he certainly wasn't interested in signing pre-teens. But he came down to the studio to see what Stevie could do, and was amazed, not by his singing -- Gordy didn't think much of that -- but by his instrumental ability. First Stevie played harmonica and bongos as proficiently as an adult professional, and then he made his way around the studio playing on every other instrument in the place -- often only a few notes, but competent on them all. Gordy decided to sign the duo -- and the initial contract was for an act named "Steve and John" -- but it was soon decided to separate them. Glover would be allowed to hang around Motown while he was finishing school, and there would be a place for him when he finished -- he later became a staff songwriter, working on tracks for the Four Tops and the Miracles among others, and he would even later write a number one hit, "You Don't Have to be a Star (to be in My Show)" for Marilyn McCoo and Billy Davis Jr -- but they were going to make Stevie a star right now. The man put in charge of that was Clarence Paul. Paul, under his birth name of Clarence Pauling, had started his career in the "5" Royales, a vocal group he formed with his brother Lowman Pauling that had been signed to Apollo Records by Ralph Bass, and later to King Records. Paul seems to have been on at least some of the earliest recordings by the group, so is likely on their first single, "Give Me One More Chance": [Excerpt: The "5" Royales, "Give Me One More Chance"] But Paul was drafted to go and fight in the Korean War, and so wasn't part of the group's string of hit singles, mostly written by his brother Lowman, like "Think", which later became better known in James Brown's cover version, or "Dedicated to the One I Love", later covered by the Shirelles, but in its original version dominated by Lowman's stinging guitar playing: [Excerpt: The "5" Royales, "Dedicated to the One I Love"] After being discharged, Clarence had shortened his name to Clarence Paul, and had started recording for all the usual R&B labels like Roulette and Federal, with little success: [Excerpt: Clarence Paul, "I'm Gonna Love You, Love You Til I Die"] He'd also co-written "I Need Your Lovin'", which had been an R&B hit for Roy Hamilton: [Excerpt: Roy Hamilton, "I Need Your Lovin'"] Paul had recently come to work for Motown – one of the things Berry Gordy did to try to make his label more attractive was to hire the relatives of R&B stars on other labels, in the hopes of getting them to switch to Motown – and he was the new man on the team, not given any of the important work to do. He was working with acts like Henry Lumpkin and the Valladiers, and had also been the producer of "Mind Over Matter", the single the Temptations had released as The Pirates in a desperate attempt to get a hit: [Excerpt: The Pirates, "Mind Over Matter"] Paul was the person you turned to when no-one else was interested, and who would come up with bizarre ideas. A year or so after the time period we're talking about, it was him who produced an album of country music for the Supremes, before they'd had a hit, and came up with "The Man With the Rock and Roll Banjo Band" for them: [Excerpt: The Supremes, "The Man With The Rock and Roll Banjo Band"] So, Paul was the perfect person to give a child -- by this time twelve years old -- who had the triple novelties of being a multi-instrumentalist, a child, and blind. Stevie started spending all his time around the Motown studios, partly because he was eager to learn everything about making records and partly because his home life wasn't particularly great and he wanted to be somewhere else. He earned the affection and irritation, in equal measure, of people at Motown both for his habit of wandering into the middle of sessions because he couldn't see the light that showed that the studio was in use, and for his practical joking. He was a great mimic, and would do things like phoning one of the engineers and imitating Berry Gordy's voice, telling the engineer that Stevie would be coming down, and to give him studio equipment to take home. He'd also astonish women by complimenting them, in detail, on their dresses, having been told in advance what they looked like by an accomplice. But other "jokes" were less welcome -- he would regularly sexually assault women working at Motown, grabbing their breasts or buttocks and then claiming it was an accident because he couldn't see what he was doing. Most of the women he molested still speak of him fondly, and say everybody loved him, and this may even be the case -- and certainly I don't think any of us should be judged too harshly for what we did when we were twelve -- but this kind of thing led to a certain amount of pressure to make Stevie's career worth the extra effort he was causing everyone at Motown. Because Berry Gordy was not impressed with Stevie's vocals, the decision was made to promote him as a jazz instrumentalist, and so Clarence Paul insisted that his first release be an album, rather than doing what everyone would normally do and only put out an album after a hit single. Paul reasoned that there was no way on Earth they were going to be able to get a hit single with a jazz instrumental by a twelve-year-old kid, and eventually persuaded Gordy of the wisdom of this idea. So they started work on The Jazz Soul of Little Stevie, released under his new stagename of Little Stevie Wonder, supposedly a name given to him after Berry Gordy said "That kid's a wonder!", though Mickey Stevenson always said that the name came from a brainstorming session between him and Clarence Paul. The album featured Stevie on harmonica, piano, and organ on different tracks, but on the opening track, "Fingertips", he's playing the bongos that give the track its name: [Excerpt: Little Stevie Wonder, "Fingertips (studio version)"] The composition of that track is credited to Paul and the arranger Hank Cosby, but Beans Bowles, who played flute on the track, always claimed that he came up with the melody, and it seems quite likely to me that most of the tracks on the album were created more or less as jam sessions -- though Wonder's contributions were all overdubbed later. The album sat in the can for several months -- Berry Gordy was not at all sure of its commercial potential. Instead, he told Paul to go in another direction -- focusing on Wonder's blindness, he decided that what they needed to do was create an association in listeners' minds with Ray Charles, who at this point was at the peak of his commercial power. So back into the studio went Wonder and Paul, to record an album made up almost entirely of Ray Charles covers, titled Tribute to Uncle Ray. (Some sources have the Ray Charles tribute album recorded first -- and given Motown's lax record-keeping at this time it may be impossible to know for sure -- but this is the way round that Mark Ribowsky's biography of Wonder has it). But at Motown's regular quality control meeting it was decided that there wasn't a single on the album, and you didn't release an album like that without having a hit single first. By this point, Clarence Paul was convinced that Berry Gordy was just looking for excuses not to do anything with Wonder -- and there may have been a grain of truth to that. There's some evidence that Gordy was worried that the kid wouldn't be able to sing once his voice broke, and was scared of having another Frankie Lymon on his hands. But the decision was made that rather than put out either of those albums, they would put out a single. The A-side was a song called "I Call it Pretty Music But the Old People Call it the Blues, Part 1", which very much played on Wonder's image as a loveable naive kid: [Excerpt: Little Stevie Wonder, "I Call it Pretty Music But the Old People Call it the Blues, Part 1"] The B-side, meanwhile, was part two -- a slowed-down, near instrumental, version of the song, reframed as an actual blues, and as a showcase for Wonder's harmonica playing rather than his vocals. The single wasn't a hit, but it made number 101 on the Billboard charts, just missing the Hot One Hundred, which for the debut single of a new artist wasn't too bad, especially for Motown at this point in time, when most of its releases were flopping. That was good enough that Gordy authorised the release of the two albums that they had in the can. The next single, "Little Water Boy", was a rather baffling duet with Clarence Paul, which did nothing at all on the charts. [Excerpt: Clarence Paul and Little Stevie Wonder, "Little Water Boy"] After this came another flop single, written by Brian Holland, Lamont Dozier, and Janie Bradford, before the record that finally broke Little Stevie Wonder out into the mainstream in a big way. While Wonder hadn't had a hit yet, he was sent out on the first Motortown Revue tour, along with almost every other act on the label. Because he hadn't had a hit, he was supposed to only play one song per show, but nobody had told him how long that song should be. He had quickly become a great live performer, and the audiences were excited to watch him, so when he went into extended harmonica solos rather than quickly finishing the song, the audience would be with him. Clarence Paul, who came along on the tour, would have to motion to the onstage bandleader to stop the music, but the bandleader would know that the audiences were with Stevie, and so would just keep the song going as long as Stevie was playing. Often Paul would have to go on to the stage and shout in Wonder's ear to stop playing -- and often Wonder would ignore him, and have to be physically dragged off stage by Paul, still playing, causing the audience to boo Paul for stopping him from playing. Wonder would complain off-stage that the audience had been enjoying it, and didn't seem to get it into his head that he wasn't the star of the show, that the audiences *were* enjoying him, but were *there* to see the Miracles and Mary Wells and the Marvelettes and Marvin Gaye. This made all the acts who had to go on after him, and who were running late as a result, furious at him -- especially since one aspect of Wonder's blindness was that his circadian rhythms weren't regulated by sunlight in the same way that the sighted members of the tour's were. He would often wake up the entire tour bus by playing his harmonica at two or three in the morning, while they were all trying to sleep. Soon Berry Gordy insisted that Clarence Paul be on stage with Wonder throughout his performance, ready to drag him off stage, so that he wouldn't have to come out onto the stage to do it. But one of the first times he had done this had been on one of the very first Motortown Revue shows, before any of his records had come out. There he'd done a performance of "Fingertips", playing the flute part on harmonica rather than only playing bongos throughout as he had on the studio version -- leaving the percussion to Marvin Gaye, who was playing drums for Wonder's set: [Excerpt: Little Stevie Wonder, "Fingertips (Parts 1 & 2)"] But he'd extended the song with a little bit of call-and-response vocalising: [Excerpt: Little Stevie Wonder, "Fingertips (Parts 1 & 2)"] After the long performance ended, Clarence Paul dragged Wonder off-stage and the MC asked the audience to give him a round of applause -- but then Stevie came running back on and carried on playing: [Excerpt: Little Stevie Wonder, "Fingertips (Parts 1 & 2)"] By this point, though, the musicians had started to change over -- Mary Wells, who was on after Wonder, was using different musicians from his, and some of her players were already on stage. You can hear Joe Swift, who was playing bass for Wells, asking what key he was meant to be playing in: [Excerpt: Little Stevie Wonder, "Fingertips (Parts 1 & 2)"] Eventually, after six and a half minutes, they got Wonder off stage, but that performance became the two sides of Wonder's next single, with "Fingertips Part 2", the part with the ad lib singing and the false ending, rather than the instrumental part one, being labelled as the side the DJs should play. When it was released, the song started a slow climb up the charts, and by August 1963, three months after it came out, it was at number one -- only the second ever Motown number one, and the first ever live single to get there. Not only that, but Motown released a live album -- Recorded Live, the Twelve-Year-Old Genius (though as many people point out he was thirteen when it was released -- he was twelve when it was recorded though) and that made number one on the albums chart, becoming the first Motown album ever to do so. They followed up "Fingertips" with a similar sounding track, "Workout, Stevie, Workout", which made number thirty-three. After that, his albums -- though not yet his singles -- started to be released as by "Stevie Wonder" with no "Little" -- he'd had a bit of a growth spurt and his voice was breaking, and so marketing him as a child prodigy was not going to work much longer and they needed to transition him into a star with adult potential. In the Motown of 1963 that meant cutting an album of standards, because the belief at the time in Motown was that the future for their entertainers was doing show tunes at the Copacabana. But for some reason the audience who had wanted an R&B harmonica instrumental with call-and-response improvised gospel-influenced yelling was not in the mood for a thirteen year old singing "Put on a Happy Face" and "When You Wish Upon a Star", and especially not when the instrumental tracks were recorded in a key that suited him at age twelve but not thirteen, so he was clearly straining. "Fingertips" being a massive hit also meant Stevie was now near the top of the bill on the Motortown Revue when it went on its second tour. But this actually put him in a precarious position. When he had been down at the bottom of the bill and unknown, nobody expected anything from him, and he was following other minor acts, so when he was surprisingly good the audiences went wild. Now, near the top of the bill, he had to go on after Marvin Gaye, and he was not nearly so impressive in that context. The audiences were polite enough, but not in the raptures he was used to. Although Stevie could still beat Gaye in some circumstances. At Motown staff parties, Berry Gordy would always have a contest where he'd pit two artists against each other to see who could win the crowd over, something he thought instilled a fun and useful competitive spirit in his artists. They'd alternate songs, two songs each, and Gordy would decide on the winner based on audience response. For the 1963 Motown Christmas party, it was Stevie versus Marvin. Wonder went first, with "Workout, Stevie, Workout", and was apparently impressive, but then Gaye topped him with a version of "Hitch-Hike". So Stevie had to top that, and apparently did, with a hugely extended version of "I Call it Pretty Music", reworked in the Ray Charles style he'd used for "Fingertips". So Marvin Gaye had to top that with the final song of the contest, and he did, performing "Stubborn Kind of Fellow": [Excerpt: Marvin Gaye, "Stubborn Kind of Fellow"] And he was great. So great, it turned the crowd against him. They started booing, and someone in the audience shouted "Marvin, you should be ashamed of yourself, taking advantage of a little blind kid!" The crowd got so hostile Berry Gordy had to stop the performance and end the party early. He never had another contest like that again. There were other problems, as well. Wonder had been assigned a tutor, a young man named Ted Hull, who began to take serious control over his life. Hull was legally blind, so could teach Wonder using Braille, but unlike Wonder had some sight -- enough that he was even able to get a drivers' license and a co-pilot license for planes. Hull was put in loco parentis on most of Stevie's tours, and soon became basically inseparable from him, but this caused a lot of problems, not least because Hull was a conservative white man, while almost everyone else at Motown was Black, and Stevie was socially liberal and on the side of the civil rights and anti-Vietnam movements. Hull started to collaborate on songwriting with Wonder, which most people at Motown were OK with but which now seems like a serious conflict of interest, and he also started calling himself Stevie's "manager" -- which did *not* impress the people at Motown, who had their own conflict of interest because with Stevie, like with all their artists, they were his management company and agents as well as his record label and publishers. Motown grudgingly tolerated Hull, though, mostly because he was someone they could pass Lula Mae Hardaway to to deal with her complaints. Stevie's mother was not very impressed with the way that Motown were handling her son, and would make her opinion known to anyone who would listen. Hull and Hardaway did not get on at all, but he could be relied on to save the Gordy family members from having to deal with her. Wonder was sent over to Europe for Christmas 1963, to perform shows at the Paris Olympia and do some British media appearances. But both his mother and Hull had come along, and their clear dislike for each other was making him stressed. He started to get pains in his throat whenever he sang -- pains which everyone assumed were a stress reaction to the unhealthy atmosphere that happened whenever Hull and his mother were in the same room together, but which later turned out to be throat nodules that required surgery. Because of this, his singing was generally not up to standard, which meant he was moved to a less prominent place on the bill, which in turn led to his mother accusing the Gordy family of being against him and trying to stop him becoming a star. Wonder started to take her side and believe that Motown were conspiring against him, and at one point he even "accidentally" dropped a bottle of wine on Ted Hull's foot, breaking one of his toes, because he saw Hull as part of the enemy that was Motown. Before leaving for those shows, he had recorded the album he later considered the worst of his career. While he was now just plain Stevie on albums, he wasn't for his single releases, or in his first film appearance, where he was still Little Stevie Wonder. Berry Gordy was already trying to get a foot in the door in Hollywood -- by the end of the decade Motown would be moving from Detroit to LA -- and his first real connections there were with American International Pictures, the low-budget film-makers who have come up a lot in connection with the LA scene. AIP were the producers of the successful low-budget series of beach party films, which combined appearances by teen heartthrobs Frankie Avalon and Annette Funicello in swimsuits with cameo appearances by old film stars fallen on hard times, and with musical performances by bands like the Bobby Fuller Four. There would be a couple of Motown connections to these films -- most notably, the Supremes would do the theme tune for Dr. Goldfoot and the Bikini Machine -- but Muscle Beach Party was to be the first. Most of the music for Muscle Beach Party was written by Brian Wilson, Roger Christian, and Gary Usher, as one might expect for a film about surfing, and was performed by Dick Dale and the Del-Tones, the film's major musical guests, with Annette, Frankie, and Donna Loren [pron Lorren] adding vocals, on songs like "Muscle Bustle": [Excerpt: Donna Loren with Dick Dale and the Del-Tones, "Muscle Bustle"] The film followed the formula in every way -- it also had a cameo appearance by Peter Lorre, his last film appearance before his death, and it featured Little Stevie Wonder playing one of the few songs not written by the surf and car writers, a piece of nothing called "Happy Street". Stevie also featured in the follow-up, Bikini Beach, which came out a little under four months later, again doing a single number, "Happy Feelin'". To cash in on his appearances in these films, and having tried releasing albums of Little Stevie as jazz multi-instrumentalist, Ray Charles tribute act, live soulman and Andy Williams-style crooner, they now decided to see if they could sell him as a surf singer. Or at least, as Motown's idea of a surf singer, which meant a lot of songs about the beach and the sea -- mostly old standards like "Red Sails in the Sunset" and "Ebb Tide" -- backed by rather schlocky Wrecking Crew arrangements. And this is as good a place as any to take on one of the bits of disinformation that goes around about Motown. I've addressed this before, but it's worth repeating here in slightly more detail. Carol Kaye, one of the go-to Wrecking Crew bass players, is a known credit thief, and claims to have played on hundreds of records she didn't -- claims which too many people take seriously because she is a genuine pioneer and was for a long time undercredited on many records she *did* play on. In particular, she claims to have played on almost all the classic Motown hits that James Jamerson of the Funk Brothers played on, like the title track for this episode, and she claims this despite evidence including notarised statements from everyone involved in the records, the release of session recordings that show producers talking to the Funk Brothers, and most importantly the evidence of the recordings themselves, which have all the characteristics of the Detroit studio and sound like the Funk Brothers playing, and have absolutely nothing in common, sonically, with the records the Wrecking Crew played on at Gold Star, Western, and other LA studios. The Wrecking Crew *did* play on a lot of Motown records, but with a handful of exceptions, mostly by Brenda Holloway, the records they played on were quickie knock-off album tracks and potboiler albums made to tie in with film or TV work -- soundtracks to TV specials the acts did, and that kind of thing. And in this case, the Wrecking Crew played on the entire Stevie at the Beach album, including the last single to be released as by "Little Stevie Wonder", "Castles in the Sand", which was arranged by Jack Nitzsche: [Excerpt: Little Stevie Wonder, "Castles in the Sand"] Apparently the idea of surfin' Stevie didn't catch on any more than that of swingin' Stevie had earlier. Indeed, throughout 1964 and 65 Motown seem to have had less than no idea what they were doing with Stevie Wonder, and he himself refers to all his recordings from this period as an embarrassment, saving particular scorn for the second single from Stevie at the Beach, "Hey Harmonica Man", possibly because that, unlike most of his other singles around this point, was a minor hit, reaching number twenty-nine on the charts. Motown were still pushing Wonder hard -- he even got an appearance on the Ed Sullivan Show in May 1964, only the second Motown act to appear on it after the Marvelettes -- but Wonder was getting more and more unhappy with the decisions they were making. He loathed the Stevie at the Beach album -- the records he'd made earlier, while patchy and not things he'd chosen, were at least in some way related to his musical interests. He *did* love jazz, and he *did* love Ray Charles, and he *did* love old standards, and the records were made by his friend Clarence Paul and with the studio musicians he'd grown to know in Detroit. But Stevie at the Beach was something that was imposed on Clarence Paul from above, it was cut with unfamiliar musicians, Stevie thought the films he was appearing in were embarrassing, and he wasn't even having much commercial success, which was the whole point of these compromises. He started to get more rebellious against Paul in the studio, though many of these decisions weren't made by Paul, and he would complain to anyone who would listen that if he was just allowed to do the music he wanted to sing, the way he wanted to sing it, he would have more hits. But for nine months he did basically no singing other than that Ed Sullivan Show appearance -- he had to recover from the operation to remove the throat nodules. When he did return to the studio, the first single he cut remained unreleased, and while some stuff from the archives was released between the start of 1964 and March 1965, the first single he recorded and released after the throat nodules, "Kiss Me Baby", which came out in March, was a complete flop. That single was released to coincide with the first Motown tour of Europe, which we looked at in the episode on "Stop! In the Name of Love", and which was mostly set up to promote the Supremes, but which also featured Martha and the Vandellas, the Miracles, and the Temptations. Even though Stevie had not had a major hit in eighteen months by this point, he was still brought along on the tour, the only solo artist to be included -- at this point Gordy thought that solo artists looked outdated compared to vocal groups, in a world dominated by bands, and so other solo artists like Marvin Gaye weren't invited. This was a sign that Gordy was happier with Stevie than his recent lack of chart success might suggest. One of the main reasons that Gordy had been in two minds about him was that he'd had no idea if Wonder would still be able to sing well after his voice broke. But now, as he was about to turn fifteen, his adult voice had more or less stabilised, and Gordy knew that he was capable of having a long career, if they just gave him the proper material. But for now his job on the tour was to do his couple of hits, smile, and be on the lower rungs of the ladder. But even that was still a prominent place to be given the scaled-down nature of this bill compared to the Motortown Revues. While the tour was in England, for example, Dusty Springfield presented a TV special focusing on all the acts on the tour, and while the Supremes were the main stars, Stevie got to do two songs, and also took part in the finale, a version of "Mickey's Monkey" led by Smokey Robinson but with all the performers joining in, with Wonder getting a harmonica solo: [Excerpt: Smokey Robinson and the Motown acts, "Mickey's Monkey"] Sadly, there was one aspect of the trip to the UK that was extremely upsetting for Wonder. Almost all the media attention he got -- which was relatively little, as he wasn't a Supreme -- was about his blindness, and one reporter in particular convinced him that there was an operation he could have to restore his sight, but that Motown were preventing him from finding out about it in order to keep his gimmick going. He was devastated about this, and then further devastated when Ted Hull finally convinced him that it wasn't true, and that he'd been lied to. Meanwhile other newspapers were reporting that he *could* see, and that he was just feigning blindness to boost his record sales. After the tour, a live recording of Wonder singing the blues standard "High Heeled Sneakers" was released as a single, and barely made the R&B top thirty, and didn't hit the top forty on the pop charts. Stevie's initial contract with Motown was going to expire in the middle of 1966, so there was a year to get him back to a point where he was having the kind of hits that other Motown acts were regularly getting at this point. Otherwise, it looked like his career might end by the time he was sixteen. The B-side to "High Heeled Sneakers" was another duet with Clarence Paul, who dominates the vocal sound for much of it -- a version of Willie Nelson's country classic "Funny How Time Slips Away": [Excerpt: Stevie Wonder and Clarence Paul, "Funny How Time Slips Away"] There are a few of these duet records scattered through Wonder's early career -- we'll hear another one a little later -- and they're mostly dismissed as Paul trying to muscle his way into a revival of his own recording career as an artist, and there may be some truth in that. But they're also a natural extension of the way the two of them worked in the studio. Motown didn't have the facilities to give Wonder Braille lyric sheets, and Paul didn't trust him to be able to remember the lyrics, so often when they made a record, Paul would be just off-mic, reciting the lyrics to Wonder fractionally ahead of him singing them. So it was more or less natural that this dynamic would leak out onto records, but not everyone saw it that way. But at the same time, there has been some suggestion that Paul was among those manoeuvring to get rid of Wonder from Motown as soon as his contract was finished -- despite the fact that Wonder was the only act Paul had worked on any big hits for. Either way, Paul and Wonder were starting to chafe at working with each other in the studio, and while Paul remained his on-stage musical director, the opportunity to work on Wonder's singles for what would surely be his last few months at Motown was given to Hank Cosby and Sylvia Moy. Cosby was a saxophone player and staff songwriter who had been working with Wonder and Paul for years -- he'd co-written "Fingertips" and several other tracks -- while Moy was a staff songwriter who was working as an apprentice to Cosby. Basically, at this point, nobody else wanted the job of writing for Wonder, and as Moy was having no luck getting songs cut by any other artists and her career was looking about as dead as Wonder's, they started working together. Wonder was, at this point, full of musical ideas but with absolutely no discipline. He's said in interviews that at this point he was writing a hundred and fifty songs a month, but these were often not full songs -- they were fragments, hooks, or a single verse, or a few lines, which he would pass on to Moy, who would turn his ideas into structured songs that fit the Motown hit template, usually with the assistance of Cosby. Then Cosby would come up with an arrangement, and would co-produce with Mickey Stevenson. The first song they came up with in this manner was a sign of how Wonder was looking outside the world of Motown to the rock music that was starting to dominate the US charts -- but which was itself inspired by Motown music. We heard in the last episode on the Rolling Stones how "Nowhere to Run" by the Vandellas: [Excerpt: Martha and the Vandellas, "Nowhere to Run"] had inspired the Stones' "Satisfaction": [Excerpt: The Rolling Stones, "(I Can't Get No) Satisfaction"] And Wonder in turn was inspired by "Satisfaction" to come up with his own song -- though again, much of the work making it into an actual finished song was done by Sylvia Moy. They took the four-on-the-floor beat and basic melody of "Satisfaction" and brought it back to Motown, where those things had originated -- though they hadn't originated with Stevie, and this was his first record to sound like a Motown record in the way we think of those things. As a sign of how, despite the way these stories are usually told, the histories of rock and soul were completely and complexly intertwined, that four-on-the-floor beat itself was a conscious attempt by Holland, Dozier, and Holland to appeal to white listeners -- on the grounds that while Black people generally clapped on the backbeat, white people didn't, and so having a four-on-the-floor beat wouldn't throw them off. So Cosby, Moy, and Wonder, in trying to come up with a "Satisfaction" soundalike were Black Motown writers trying to copy a white rock band trying to copy Black Motown writers trying to appeal to a white rock audience. Wonder came up with the basic chorus hook, which was based around a lot of current slang terms he was fond of: [Excerpt: Stevie Wonder, "Uptight"] Then Moy, with some assistance from Cosby, filled it out into a full song. Lyrically, it was as close to social comment as Motown had come at this point -- Wonder was, like many of his peers in soul music, interested in the power of popular music to make political statements, and he would become a much more political artist in the next few years, but at this point it's still couched in the acceptable boy-meets-girl romantic love song that Motown specialised in. But in 1965 a story about a boy from the wrong side of the tracks dating a rich girl inevitably raised the idea that the boy and girl might be of different races -- a subject that was very, very, controversial in the mid-sixties. [Excerpt: Stevie Wonder, "Uptight"] "Uptight" made number three on the pop charts and number one on the R&B charts, and saved Stevie Wonder's career. And this is where, for all that I've criticised Motown in this episode, their strategy paid off. Mickey Stevenson talked a lot about how in the early sixties Motown didn't give up on artists -- if someone had potential but was not yet having hits or finding the right approach, they would keep putting out singles in a holding pattern, trying different things and seeing what would work, rather than toss them aside. It had already worked for the Temptations and the Supremes, and now it had worked for Stevie Wonder. He would be the last beneficiary of this policy -- soon things would change, and Motown would become increasingly focused on trying to get the maximum returns out of a small number of stars, rather than building careers for a range of artists -- but it paid off brilliantly for Wonder. "Uptight" was such a reinvention of Wonder's career, sound, and image that many of his fans consider it the real start of his career -- everything before it only counting as prologue. The follow-up, "Nothing's Too Good For My Baby", was an "Uptight" soundalike, and as with Motown soundalike follow-ups in general, it didn't do quite as well, but it still made the top twenty on the pop chart and got to number four on the R&B chart. Stevie Wonder was now safe at Motown, and so he was going to do something no other Motown act had ever done before -- he was going to record a protest song and release it as a single. For about a year he'd been ending his shows with a version of Bob Dylan's "Blowin' in the Wind", sung as a duet with Clarence Paul, who was still his on stage bandleader even though the two weren't working together in the studio as much. Wonder brought that into the studio, and recorded it with Paul back as the producer, and as his duet partner. Berry Gordy wasn't happy with the choice of single, but Wonder pushed, and Gordy knew that Wonder was on a winning streak and gave in, and so "Blowin' in the Wind" became Stevie Wonder's next single: [Excerpt: Stevie Wonder and Clarence Paul, "Blowin' in the Wind"] "Blowin' in the Wind" made the top ten, and number one on the R&B charts, and convinced Gordy that there was some commercial potential in going after the socially aware market, and over the next few years Motown would start putting out more and more political records. Because Motown convention was to have the producer of a hit record produce the next hit for that artist, and keep doing so until they had a flop, Paul was given the opportunity to produce the next single. "A Place in the Sun" was another ambiguously socially-aware song, co-written by the only white writer on Motown staff, Ron Miller, who happened to live in the same building as Stevie's tutor-cum-manager Ted Hull. "A Place in the Sun" was a pleasant enough song, inspired by "A Change is Gonna Come", but with a more watered-down, generic, message of hope, but the record was lifted by Stevie's voice, and again made the top ten. This meant that Paul and Miller, and Miller's writing partner Bryan Mills, got to work on his next  two singles -- his 1966 Christmas song "Someday at Christmas", which made number twenty-four, and the ballad "Travellin' Man" which made thirty-two. The downward trajectory with Paul meant that Wonder was soon working with other producers again. Harvey Fuqua and Johnny Bristol cut another Miller and Mills song with him, "Yester-Me, Yester-You, Yesterday": [Excerpt: Stevie Wonder, "Yester-Me, Yester-You, Yesterday"] But that was left in the can, as not good enough to release, and Stevie was soon back working with Cosby. The two of them had come up with an instrumental together in late 1966, but had not been able to come up with any words for it, so they played it for Smokey Robinson, who said their instrumental sounded like circus music, and wrote lyrics about a clown: [Excerpt: The Miracles, "The Tears of a Clown"] The Miracles cut that as album filler, but it was released three years later as a single and became the Miracles' only number one hit with Smokey Robinson as lead singer. So Wonder and Cosby definitely still had their commercial touch, even if their renewed collaboration with Moy, who they started working with again, took a while to find a hit. To start with, Wonder returned to the idea of taking inspiration from a hit by a white British group, as he had with "Uptight". This time it was the Beatles, and the track "Michelle", from the Rubber Soul album: [Excerpt: The Beatles, "Michelle"] Wonder took the idea of a song with some French lyrics, and a melody with some similarities to the Beatles song, and came up with "My Cherie Amour", which Cosby and Moy finished off. [Excerpt: Stevie Wonder, "My Cherie Amour"] Gordy wouldn't allow that to be released, saying it was too close to "Michelle" and people would think it was a rip-off, and it stayed in the vaults for several years. Cosby also produced a version of a song Ron Miller had written with Orlando Murden, "For Once in My Life", which pretty much every other Motown act was recording versions of -- the Four Tops, the Temptations, Billy Eckstine, Martha and the Vandellas and Barbra McNair all cut versions of it in 1967, and Gordy wouldn't let Wonder's version be put out either. So they had to return to the drawing board. But in truth, Stevie Wonder was not the biggest thing worrying Berry Gordy at this point. He was dealing with problems in the Supremes, which we'll look at in a future episode -- they were about to get rid of Florence Ballard, and thus possibly destroy one of the biggest acts in the world, but Gordy thought that if they *didn't* get rid of her they would be destroying themselves even more certainly. Not only that, but Gordy was in the midst of a secret affair with Diana Ross, Holland, Dozier, and Holland were getting restless about their contracts, and his producers kept bringing him unlistenable garbage that would never be a hit. Like Norman Whitfield, insisting that this track he'd cut with Marvin Gaye, "I Heard it Through the Grapevine", should be a single. Gordy had put his foot down about that one too, just like he had about "My Cherie Amour", and wouldn't allow it to be released. Meanwhile, many of the smaller acts on the label were starting to feel like they were being ignored by Gordy, and had formed what amounted to a union, having regular meetings at Clarence Paul's house to discuss how they could pressure the label to put the same effort into their careers as into those of the big stars. And the Funk Brothers, the musicians who played on all of Motown's hits, were also getting restless -- they contributed to the arrangements, and they did more for the sound of the records than half the credited producers; why weren't they getting production credits and royalties? Harvey Fuqua had divorced Gordy's sister Gwen, and so became persona non grata at the label and was in the process of leaving Motown, and so was Mickey Stevenson, Gordy's second in command, because Gordy wouldn't give him any stock in the company. And Detroit itself was on edge. The crime rate in the city had started to go up, but even worse, the *perception* of crime was going up. The Detroit News had been running a campaign to whip up fear, which it called its Secret Witness campaign, and running constant headlines about rapes, murders, and muggings. These in turn had led to increased calls for more funds for the police, calls which inevitably contained a strong racial element and at least implicitly linked the perceived rise in crime to the ongoing Civil Rights movement. At this point the police in Detroit were ninety-three percent white, even though Detroit's population was over thirty percent Black. The Mayor and Police Commissioner were trying to bring in some modest reforms, but they weren't going anywhere near fast enough for the Black population who felt harassed and attacked by the police, but were still going too fast for the white people who were being whipped up into a state of terror about supposedly soft-on-crime policies, and for the police who felt under siege and betrayed by the politicians. And this wasn't the only problem affecting the city, and especially affecting Black people. Redlining and underfunded housing projects meant that the large Black population was being crammed into smaller and smaller spaces with fewer local amenities. A few Black people who were lucky enough to become rich -- many of them associated with Motown -- were able to move into majority-white areas, but that was just leading to white flight, and to an increase in racial tensions. The police were on edge after the murder of George Overman Jr, the son of a policeman, and though they arrested the killers that was just another sign that they weren't being shown enough respect. They started organising "blu flu"s -- the police weren't allowed to strike, so they'd claim en masse that they were off sick, as a protest against the supposed soft-on-crime administration. Meanwhile John Sinclair was organising "love-ins", gatherings of hippies at which new bands like the MC5 played, which were being invaded by gangs of bikers who were there to beat up the hippies. And the Detroit auto industry was on its knees -- working conditions had got bad enough that the mostly Black workforce organised a series of wildcat strikes. All in all, Detroit was looking less and less like somewhere that Berry Gordy wanted to stay, and the small LA subsidiary of Motown was rapidly becoming, in his head if nowhere else, the more important part of the company, and its future. He was starting to think that maybe he should leave all these ungrateful people behind in their dangerous city, and move the parts of the operation that actually mattered out to Hollywood. Stevie Wonder was, of course, one of the parts that mattered, but the pressure was on in 1967 to come up with a hit as big as his records from 1965 and early 66, before he'd been sidetracked down the ballad route. The song that was eventually released was one on which Stevie's mother, Lula Mae Hardaway, had a co-writing credit: [Excerpt: Stevie Wonder, "I Was Made to Love Her"] "I Was Made to Love Her" was inspired by Wonder's first love, a girl from the same housing projects as him, and he talked about the song being special to him because it was true, saying it "kind of speaks of my first love to a girl named Angie, who was a very beautiful woman... Actually, she was my third girlfriend but my first love. I used to call Angie up and, like, we would talk and say, 'I love you, I love you,' and we'd talk and we'd both go to sleep on the phone. And this was like from Detroit to California, right? You know, mother said, 'Boy, what you doing - get off the phone!' Boy, I tell you, it was ridiculous." But while it was inspired by her, like with many of the songs from this period, much of the lyric came from Moy -- her mother grew up in Arkansas, and that's why the lyric started "I was born in Little Rock", as *her* inspiration came from stories told by her parents. But truth be told, the lyrics weren't particularly detailed or impressive, just a standard story of young love. Rather what mattered in the record was the music. The song was structured differently from many Motown records, including most of Wonder's earlier ones. Most Motown records had a huge amount of dynamic variation, and a clear demarcation between verse and chorus. Even a record like "Dancing in the Street", which took most of its power from the tension and release caused by spending most of the track on one chord, had the release that came with the line "All we need is music", and could be clearly subdivided into different sections. "I Was Made to Love Her" wasn't like that. There was a tiny section which functioned as a middle eight -- and which cover versions like the one by the Beach Boys later that year tend to cut out, because it disrupts the song's flow: [Excerpt: Stevie Wonder, "I Was Made to Love Her"] But other than that, the song has no verse or chorus, no distinct sections, it's just a series of lyrical couplets over the same four chords, repeating over and over, an incessant groove that could really go on indefinitely: [Excerpt: Stevie Wonder, "I Was Made to Love Her"] This is as close as Motown had come at this point to the new genre of funk, of records that were just staying with one groove throughout. It wasn't a funk record, not yet -- it was still a pop-soul record, But what made it extraordinary was the bass line, and this is why I had to emphasise earlier that this was a record by the Funk Brothers, not the Wrecking Crew, no matter how much some Crew members may claim otherwise. As on most of Cosby's sessions, James Jamerson was given free reign to come up with his own part with little guidance, and what he came up with is extraordinary. This was at a time when rock and pop basslines were becoming a little more mobile, thanks to the influence of Jamerson in Detroit, Brian Wilson in LA, and Paul McCartney in London.  But for the most part, even those bass parts had been fairly straightforward technically -- often inventive, but usually just crotchets and quavers, still keeping rhythm along with the drums rather than in dialogue with them, roaming free rhythmically. Jamerson had started to change his approach, inspired by the change in studio equipment. Motown had upgraded to eight-track recording in 1965, and once he'd become aware of the possibilities, and of the greater prominence that his bass parts could have if they were recorded on their own track, Jamerson had become a much busier player. Jamerson was a jazz musician by inclination, and so would have been very aware of John Coltrane's legendary "sheets of sound", in which Coltrane would play fast arpeggios and scales, in clusters of five and seven notes, usually in semiquaver runs (though sometimes in even smaller fractions -- his solo in Miles Davis' "Straight, No Chaser" is mostly semiquavers but has a short passage in hemidemisemiquavers): [Excerpt: Miles Davis, "Straight, No Chaser"] Jamerson started to adapt the "sheets of sound" style to bass playing, treating the bass almost as a jazz solo instrument -- though unlike Coltrane he was also very, very concerned with creating something that people could tap their feet to. Much like James Brown, Jamerson was taking jazz techniques and repurposing them for dance music. The most notable example of that up to this point had been in the Four Tops' "Bernadette", where there are a few scuffling semiquaver runs thrown in, and which is a much more fluid part than most of his playing previously: [Excerpt: The Four Tops, "Bernadette"] But on "Bernadette", Jamerson had been limited by Holland, Dozier, and Holland, who liked him to improvise but around a framework they created. Cosby, on the other hand, because he had been a Funk Brother himself, was much more aware of the musicians' improvisational abilities, and would largely give them a free hand. This led to a truly remarkable bass part on "I Was Made to Love Her", which is somewhat buried in the single mix, but Marcus Miller did an isolated recreation of the part for the accompanying CD to a book on Jamerson, Standing in the Shadows of Motown, and listening to that you can hear just how inventive it is: [Excerpt: Marcus Miller, "I Was Made to Love Her"] This was exciting stuff -- though much less so for the touring musicians who went on the road with the Motown revues while Jamerson largely stayed in Detroit recording. Jamerson's family would later talk about him coming home grumbling because complaints from the touring musicians had been brought to him, and he'd been asked to play less difficult parts so they'd find it easier to replicate them on stage. "I Was Made to Love Her" wouldn't exist without Stevie Wonder, Hank Cosby, Sylvia Moy, or Lula Mae Hardaway, but it's James Jamerson's record through and through: [Excerpt: Stevie Wonder, "I Was Made to Love Her"] It went to number two on the charts, sat between "Light My Fire" at number one, and "All You Need is Love" at number three, with the Beatles song soon to overtake it and make number one itself. But within a few weeks of "I Was Made to Love Her" reaching its chart peak, things in Detroit would change irrevocably. On the 23rd of July, the police busted an illegal drinking den. They thought they were only going to get about twenty-five people there, but there turned out to be a big party on. They tried to arrest seventy-four people, but their wagon wouldn't fit them all in so they had to call reinforcements and make the arrestees wait around til more wagons arrived. A crowd of hundreds gathered while they were waiting. Someone threw a brick at a squad car window, a rumour went round that the police had bayonetted someone, and soon the city was in flames. Riots lasted for days, with people burning down and looting businesses, but what really made the situation bad was the police's overreaction. They basically started shooting at young Black men, using them as target practice, and later claiming they were snipers, arsonists, and looters -- but there were cases like the Algiers Motel incident, where the police raided a motel where several Black men, including the members of the soul group The Dramatics, were hiding out along with a few white women. The police sexually assaulted the women, and then killed three of the men for associating with white women, in what was described as a "lynching with bullets". The policemen in question were later acquitted of all charges. The National Guard were called in, as were Federal troops -- the 82nd Airborne Division, and the 101st Airborne from Clarksville, the division in which Jimi Hendrix had recently served. After four days of rioting, one of the bloodiest riots in US history was at an end, with forty-three people dead (of whom thirty-three were Black and only one was a policeman). Official counts had 1,189 people injured, and over 7,200 arrests, almost all of them of Black people. A lot of the histories written later say that Black-owned businesses were spared during the riots, but that wasn't really the case. For example, Joe's Record Shop, owned by Joe Von Battle, who had put out the first records by C.L. Franklin and his daughter Aretha, was burned down, destroying not only the stock of records for sale but the master tapes of hundreds of recordings of Black artists, many of them unreleased and so now lost forever. John Lee Hooker, one of the artists whose music Von Battle had released, soon put out a song, "The Motor City is Burning", about the events: [Excerpt: John Lee Hooker, "The Motor City is Burning"] But one business that did remain unburned was Motown, with the Hitsville studio going untouched by flames and unlooted. Motown legend has this being down to the rioters showing respect for the studio that had done so much for Detroit, but it seems likely to have just been luck. Although Motown wasn't completely unscathed -- a National Guard tank fired a shell through the building, leaving a gigantic hole, which Berry Gordy saw as soon as he got back from a business trip he'd been on during the rioting. That was what made Berry Gordy decide once and for all that things needed to change. Motown owned a whole row of houses near the studio, which they used as additional office space and for everything other than the core business of making records. Gordy immediately started to sell them, and move the admin work into temporary rented space. He hadn't announced it yet, and it would be a few years before the move was complete, but from that moment on, the die was cast. Motown was going to leave Detroit and move to Hollywood.

Joel 1.13 - 20 - -To You, O Lord, I Call by Jerad File

How are economic conditions in Zimbabwe affecting women and girls access to menstrual products and education? What are the key elements to explore in order to break stigma and create a women's solidarity movement for the healthy development of children in this country and beyond? An interview with Zvisinei Dzepasi Mamutse, founder of Vasikana Project, Author of I Call On You Sis journal and Co publisher Menstrupedia Shona. Join us in this exploration, listen to the episode, follow us on Instagram @womanhood_ir and support our podcast crowdfunding campaign here. Listen to related episodes: 64. Verena Demmelbauer on Gender Responsive Toolkit for WASH Projects 79. Menstrual Hygiene Day: Poverty, Culture and Sustainability 85. Carla Giacummo on Menstrual Health Education in Uruguay 96. Danielle Keiser on COVID-19's Impact on Menstrual Health Education Recommended links of this episode: https://www.vasikanaproject.org/ https://www.vasikanaproject.org/i-call-on-you-sis I Call on You Sis: A Journal for Women and Girls Everywhere https://www.amazon.com/gp/product/1970063157/ref=dbs_a_def_rwt_hsch_vapi_taft_p1_i0 https://www.facebook.com/vasikanaproject/ https://www.instagram.com/vasikana_project/?hl=en

Saturday is review day on The Daily Promise. Every Saturday, we review the promises of the week so we can allow them to go deep into our hearts and lives. Here are the promises we covered this week. Joshua 1:8 - God Will Make My Way Successful. Psalm 23:6 - Goodness and Mercy Follow Me. Psalm 86:7 - When Trouble Comes, I Call on the Lord. 1 John 5:13 - I Know I Have Eternal Life. Matthew 7:11 - My God is a Good Father.

I Call it Home by Naomi Doell, Wendy Walburg & Michael Perozok - September 30, 2021

German Chorale. Setting by J.S. Bach (1685-1750). German title: Ich Ruf' Zu Dir, Herr Jesu Christ, BWV 639. English translation: I Call to You, Lord Jesus Christ.

What is your favourite Stevie Wonder songs? Mine is I Call to Say I Love You. Music: Stevie Wonder - I Just Called to Say I Love You Follow this Podcast Instagram : @blacktvshowspod Twitter: @blacktvshowspod --- Send in a voice message: https://anchor.fm/blacktvshowpodcast/message

We originally introduced you to our guest today, Jamie Tyrone, in episode 100: Enjoy Us in the Moment. In that episode, Jamie starts walking us through her experience of finding out (by accident!) she has two copies of the ApoE-4 gene, which puts her at a 91% lifetime risk of getting Alzheimer's disease. In addition to having a great-grandmother, grandmother, and two great-uncles who died of Alzheimer's disease, at the time Jamie found out her own genetic information, her dad was living with Alzheimer's disease. This is Jamie's third appearance on the show; episode 104: I Call it a Gift, is part two of the conversation we started in episode 100. We asked her back for a few reasons: number one, we wanted to hear Jamie's take on Dr. Jason Karlawish's idea about introducing a new diagnosis of "pre-clinical Alzheimer's," meaning people could theoretically be diagnosed decades before symptoms become apparent. (Dr. Karlawish talks about this in his new book The Problem of Alzheimer's and in episode 146: "It's a disease of autonomy" and episode 147: Safe, Social, and Engaged.)  As you can no doubt imagine, Jamie is in a position to speak authoritatively on what it's like to learn about and live with that information (which she discusses in detail in her book Fighting for My Life: How to Thrive in the Shadow of Alzheimer's.)   Number two, Jamie is a terrific storyteller---as you'll hear. And number three, Phil and I just adore her! :) This episode is part one of three in our latest conversation with Jamie.  Affiliate disclosure: As an Amazon Associate I earn a small commission from qualifying purchases, at no/zero/none/nada additional cost to you. If you've heard something helpful on The Alzheimer's Podcast, purchasing through these links is a way to show support---thank you!).

Psalm 141: I Call to You, Lord, Come Quickly to Me | Today Sandy Adams guides us through chapter 141 in the book of Psalms as we continue our journey on Through the Word.Journey 16 | God of Our Fathers. Journey Sixteen calls us back to faithfulness of God, and his love that endures for generations. The fifth book of Psalms is filled with praise and thanksgiving. 2nd Chronicles delivers the stories of Solomon and Israel's kings, retold for a new generation of Israelites as they return from exile, reminding them of God's faithfulness—even to their faithless forebears. Zephaniah, Habakkuk, and Titus round out the journey. Give thanks to the Lord, His love endures forever! (92 days)Teacher: Sandy AdamsAbout TTW: When the Bible is confusing, Through the Word explains it with clear and concise audio guides for every chapter. The TTW Podcast follows 19 Journeys covering every book and chapter in the Bible. Each journey is an epic adventure through several Bible books, as your favorite pastors explain each chapter with clear explanation and insightful application. Understand the Bible in just ten minutes a day, and join us for all 19 Journeys on the TTW podcast or TTW app!Get the App: https://throughtheword.orgContact: https://throughtheword.org/contactDonate: https://throughtheword.org/givingPsalms 141 Themes: Psalms 141 Tags: Key Verses: Quotes: Audio & Text © 2011-2021 Through the Word™ Inc. All rights reserved worldwide.Bible Quotes: The Holy Bible New International Version® NIV® Copyright © 1973, 1978, 1984, 2011 by Biblica, Inc.® Used by permission of Biblica, Inc.® All rights reserved worldwide.

Psalm 120: I Call on the Lord in My Distress | Today Sandy Adams guides us through chapter 120 in the book of Psalms as we continue our journey on Through the Word.Journey 16 | God of Our Fathers. Journey Sixteen calls us back to faithfulness of God, and his love that endures for generations. The fifth book of Psalms is filled with praise and thanksgiving. 2nd Chronicles delivers the stories of Solomon and Israel's kings, retold for a new generation of Israelites as they return from exile, reminding them of God's faithfulness—even to their faithless forebears. Zephaniah, Habakkuk, and Titus round out the journey. Give thanks to the Lord, His love endures forever! (92 days)Teacher: Sandy AdamsAbout TTW: When the Bible is confusing, Through the Word explains it with clear and concise audio guides for every chapter. The TTW Podcast follows 19 Journeys covering every book and chapter in the Bible. Each journey is an epic adventure through several Bible books, as your favorite pastors explain each chapter with clear explanation and insightful application. Understand the Bible in just ten minutes a day, and join us for all 19 Journeys on the TTW podcast or TTW app!Get the App: https://throughtheword.orgContact: https://throughtheword.org/contactDonate: https://throughtheword.org/givingPsalms 120 Themes: Psalms 120 Tags: Key Verses: Quotes: Audio & Text © 2011-2021 Through the Word™ Inc. All rights reserved worldwide.Bible Quotes: The Holy Bible New International Version® NIV® Copyright © 1973, 1978, 1984, 2011 by Biblica, Inc.® Used by permission of Biblica, Inc.® All rights reserved worldwide.

"The holidays are closing in. Some more favorite tracks from 2020 to listen as you do whatever it is you are doing. Music from Honey Cutt, Ryan Pollie, Adeline Hotel and more. One more show between this one and the new year -- let's go! 00:00 - Intro 02:11 - Love Me, Still - Honey Cutt 06:10 - Outta Here - Will Butler 10:55 - Gus - The World Famous Grassholes 13:59 - Circles - Francis of Delirium 17:57 - Devastating Map - Helvetia 22:28 - Sing Me To Sleep - Hey, King! 26:27 - Mic Break 28:38 - Fruit Pit - Helena Deland 31:50 - Vacation - Honey Cutt 34:24 - What's The Matter Esther - Jeremy Ivey 39:12 - Forgetter - Jordana 42:33 - Only The Truth - Johanna Warren 47:23 - Karolina - Jack Name 50:32 - Florist - Ilithios 54:25 - Mic Break 56:30 - 190bowery - Jackson Motors 59:09 - I'm Magic - Killola 61:49 - I Shouldn't Ghost My Therapist - Liza Anne 64:47 - Gloomy - Lupin 68:18 - Faithful Hound - Mr. Ben & The Bens 71:41 - Double Life - Marina Kaye 74:55 - Mic Break 76:06 - Get Better Soon - Ryan Pollie 79:36 - Strange Sometimes - Adeline Hotel 83:56 - I Call on Thee - Deerhoof 87:12 - None Too Tough - Orlando Weeks 90:40 - Phenom - Thao & The Get Down Stay Down 93:19 - Meditations - Young Jesus 99:54 - jade - Ada Lea 102:24 - Outro 104:06 - Elbow in the Butter - Mo Douglas 109:48 - Jangle Manifesto - Nana Grizol 113:02 - End "

So, MAKE AMARIVA GREAT AGAIN? I CALL , Politics , uncut... what we all think,but are too scare to say! --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app --- Send in a voice message: https://anchor.fm/lou-east/message Support this podcast: https://anchor.fm/lou-east/support

Psalm 141 - I Call to You, LORD, Come Quickly to Me --- Support this podcast: https://anchor.fm/lifewithin/support

Nesse Medievalíssimo Drops o Bruno traz para você um panorama biográfico do rei gótico Berigo. Na trilha sonora: Therion: Three Ships of Berik, part I: Call to Arms and Fighting Battle Therion: Three Ships of Berik, part II: Victory! Graywyck: Holy Diver [Bardcore] Contato: medievalissimo@gmail.com Conheça a nossa campanha de financiamento no Catarse Gostou desse podcast? Quer ajudar o Clio a produzir mais e melhores conteúdos? Entre em www.catarse.me/clio e conheça a nossa campanha de financiamento coletivo no Catarse, a partir de R$ 5,00 você já ajuda o Clio a se manter no ar e produzir mais conteúdos para vocês. Financiadores desse episódio: Beatriz Aguiar, Cristina Lima, Gabriel Bastos, Gui Aschar, Paula Guisard, Reverson Nascimento, Rosana Vecchia, Suzana Athayde, Vanessa Spinosa Para todos vocês, nosso muito obrigado! Acesse a @cliohistoriaeliteratura no PicPay e ajude a Podcasts Clio a produzir cada vez mais e melhores conteúdos para todos e todas. Siga o Medievalissimo nas redes sociais Instagram: @medievalissimo Telegram: t.me/cliohistoriaeliteratura

--{ "CountDown to LockDown part 2: Colour Revolution, C.I.A., the Evidence is Damning, Preparation and Organizing, took Years of Planning, A Pinch of Virus, Media Terror about the Invisible, Blend with Protests, Riots, Bankruptcy, Miserable." © Alan Watt }-- Communism, Disaffected Groups - Carroll Quigley, Council on Foreign Relations (CFR) - Planned Pandemic and Revolution - Testing, Apps to Get into Stores - Fauci's Involvement with Wuhan Lab - Origins of Social Distancing - Covid 19, A Political Virus - Shakespeare Play Where Stage Designed to Involve the Audience - Colonel Flagg, MASH - City of London, Merchant Bankers - David Rockefeller, The Agenda was Like an Omelet; Breaking Eggs is Destroying Societies and Lives - CIA Involvement in Revolutions - Intelligence Agencies; OSS - David Rockefeller's Involvement in CIA, CFR - Those at the Top Who Own the World's Wealth are Eugenicists - World Economic Forum (WEF) - Well-Funded Anti-Fascist, Black Lives Matter; Depopulation, Sustainability - Bertrand Russell, Two Classes of People, the Elite and Everyone Else; Fichte, Purpose of Education is to Keep People Dumb - Your Emails with Observations and Experiences are So Important - Corruption in an Atheistic Society; Those Who Take My Talks and Links and Put it Out as Their Own - Freemasonry - Trotsky's Book, My Life - Masonry and Unions - Antifa, Communicating with Symbols, the Clenched Fist - Please Visit www.cuttingthroughthematrix.com to Listen to My Talks, Donate and Order - CIA and Patriot, Alternate Radio - Imperative to Live Inside Your Head as We Go Through this Revolution - Mao's Little Red Book; Proving Your Loyalty to the New System; I Call it Virtue Preening - Counterintelligence - Bringing Marxist Policy into the Unions - Orwell, Some are More Equal than Others - U.N., Healing Circles in South Africa - The Media is Not There to Help You - Bertrand Russell's Family; Future Scientific Societies; Diet, Injections and Injunctions - Climate Change, Conference of Parties - You Will See Famine and Rationing - Agenda 21 - B. Russell, Birth Control, Infanticide, War - Article, Why Facts don't Matter to People - Subverting Protests for Your Own Causes - Movie, Pierce Brosnan, No Escape; Role of Intelligence Agencies in Revolutions, Coups, Regime Changes - 2017 Article, CIA Backed Color Revolutions; USAID; Open Society; National Endowment for Democracy (NED) - CANVAS, Centre for Applied Nonviolent Action and Strategies; Goldman Sachs and Stratfor - Households Lost $6.5 Trillion In March, But The Decline In Average Americans' Wealth Has Only Begun - Fauci, CDC, WHO, Covid, the Push for the World Agenda - BLM, Antifa - Paul Craig Roberts article, Will White People Self-Destruct? - Cultural Revolution: New Lenin Statue Erected as Washington, Jefferson, and More Fall - New Bill Aims to Help Scotland ‘Keep Pace' with EU Laws after Brexit - 1 American Among the 3 Killed in U.K. Terrorist Stabbing in Reading, England - Glasgow Stabbing at Hotel Used to House Asylum Seekers During Lockdown - PNAC. Project for a New American Century; Plan for Clash of Civilizations - Peter Hitchens: As the Left Now Controls Every Lever of Power, We Face Nothing Less than Regime Change; the Dictatorship of Fear - Movie, Fight Club - Black Lives Matter Leader Hawk Newsome: If America ‘Doesn't Give Us What We Want, We Will Burn Down this System' - The Global Reset - Everywhere Statues Are Torn Down By The Mob, History Promises People Are Next - Psychopaths - Seven Shot in Four Separate Incidents Overnight in Peoria - Oregon County Exempts Non-White People From Mandatory Face Mask Order - 2 Dead, 12 Injured in Shooting at North Carolina Block Party - WEF, Known Traveller Digital Identity, Secure and Seamless Travel, Advancing Safer Travel in the Face of COVID-19 Impacts - Families of 22 Victims Killed in Nova Scotia Shooting Demand Swift Federal Inquiry Amid Speculation Gunman was an Undercover Agent for the RCMP or had Ties to Organized Crime - "Now is the Time for the Great Reset" - WEF, Global New Mobility Coalition - There is No Scientific Evidence to Support the Disastrous Two-Metre Rule - Genetically Modified Mosquitoes could be Released in Florida and Texas Beginning this Summer - Government Wants to Ban Cast from Singing when Musicals Return to the West End - Please Remember to Go to www.cuttingthroughthematrix.com to Download My Talks and Donate and Buy My Books and Discs - We're Living Through History in the Making - Coronavirus: UK Needs to Borrow More than £400bn Over Two Years, IMF Warns - UK Debt Now Larger than Size of Whole Economy - David Cameron says the World Health Organization ‘Failed' in its Coronavirus Response and Calls for New International ‘Pandemic Force' - Drinkers Might have to Register Online before Visiting Pubs when They Reopen on July 4, says Matt Hancock - Documentary, Seattle is Dying - Irish Sentinel and Articles by Helena Handbasket - Governments Step Back, Prearranged to Let This Happen - Look After Each Other. *Title and Dialogue Copyrighted Alan Watt - June 28, 2020 (Exempting Music and Literary Quotes)

In the admist of the recent tragedy, where we lost one of the gems of Entertaining Industry, We the team of confused thought to talk about mental health, not just about the person but what he was going through and instead of putting our opinion in front of everyone, we decided to invite in a professional counselor for 'Clinically depressed' with our very first guest Dikshita Taragi, who also happens to be our school friend. so let's directly hear it from her, the truth behind the myth "Is it really in our head". Those in distress or having suicidal tendencies could seek help and counseling by calling any of the following numbers: Telangana Roshni - 040-6620 2000 Andhra Pradesh 1Life - 78930-78930 Karanataka Arogya Sahayvani - 104 Tamil Nadu Sneha - 044-24640050 Delhi Sanjivini, Society for Mental Health - 011-40769002, Monday - Saturday, 10 am - 7:30 pm Mumbai BMC Mental Health Helpline: 022-24131212 Vandrevala Foundation: 18602662345/18002333330 I Call - 022-25521111, Monday to Saturday, 8 am to 10 pm ASRA - 02227546669 The Samaritans Mumbai: 8422984528/8422984530, 3 pm - 9 pm, all days. To get more information about mental health and educate yourself on this topic you can read - https://www.health.harvard.edu/topics/mental-health https://www.medicalnewstoday.com/articles/154543#risk-factors Follow Dikshita on Instagram at - https://www.instagram.com/dikshita_taragi/ Follow us on - https://www.instagram.com/podcastconfused/ Listen to us on - https://linktr.ee/confusedpodcast --- Send in a voice message: https://anchor.fm/confused-podcast9/message

The Jaunt stands in solidarity with the black community and all protestors working for peace and equality. Want to know how to help? Click here. 00:00 - The Jaunt on BTR 01:12 - Evening Prayer aka Justice - Ezra Furman 04:05 - Peace To All Freaks - Of Montreal 08:46 - Fear Is a Lie - Sweet Spirit 11:47 - Street Justice - Death Valley Girls 14:23 - What Comes Next? - Worriers 18:12 - Not Right - Alex Little and The Suspicious Minds 22:31 - The Jaunt on BTR 22:55 - My Rights - Pill 26:06 - Situation Critical - The Reflectors 28:39 - No Freedom - The Tough Shits 32:07 - I’m Not Done - Violent Femmes 34:17 - Move Through - Katie Von Schleicher 37:50 - Troubleshooting - Mike Pace and the Child Actors 41:02 - The Jaunt on BTR 41:43 - I Believe in the Principle! - BOAT 43:17 - 8th Amendment - High Waisted 47:19 - Talking or Listening - Yves Jarvis 50:24 - 6 Hard Truths (feat. Cuni) - The Bottom Dollars 54:39 - Love Means Taking Action - How To Dress Well 58:58 - The Jaunt on BTR 59:48 - Rational Animal - Thao & The Get Down Stay Down 64:02 - Ballet of Apes - Brigid Dawson and The Mother's Network 70:52 - Talk - Christian Lee Hutson 73:45 - In Darkness - Owen Pallett 80:01 - Protest Song - Broken Social Scene 84:16 - Where Do You Go When You Dream? - Woods 90:07 - The Jaunt on BTR 90:38 - My Heart Is An Open Field - Tenci 94:03 - Ally - Caracol 97:38 - Peace On Earth - Elvis Depressedly 100:13 - Sicko World - Varsity 105:12 - No Reason To Keep Hate In Your Heart - Bark Bark Disco 108:13 - Silence In The Room - Psychic Markers 112:42 - The Jaunt on BTR 113:39 - Dialogue - Promised Land Sound 116:56 - I Call on Thee - Deerhoof 120:12 - Finish

Mika loves crooners, but we're not talking about any that she knows in this episode. Instead, we cover the origin story of crooners: where did they come from and how did they create the archetype for the American Pop star?  Check out "My Daddy is a Hipster" the new children's book from Madison Farren: https://www.madisonfarrenwrites.com/shop/hipsterdad Follow us on Social media!  Facebook: https://www.facebook.com/SoundofHistory/ Twitter: https://twitter.com/soundofhistory_ Videos in This Episode:  "When My Sugar Walks Down the Street" by Gene Austin and Aileen Stanley: https://www.youtube.com/watch?v=tZ-T8WtzvTc  "My Blue Heaven" by Gene Austin: https://www.youtube.com/watch?v=j2MUy2uOesw   "You Call it Madness, I Call it Love" by Russ Columbo: https://www.youtube.com/watch?v=2K-jfAOzFVk   

Hello, poets unplugged and anyone listening this is going to be something a little different...the first in what might be a series on Poets Unplugged, and an opportunity for other sculptors and artists. I'm a poet, writer, sculptor—and this episode is about sculpture. What I'm asking you to do is go to a website, and I'll talk about each piece of ten sculptures for a few seconds not long ten-twelve seconds each l've got so much stuff on the site that it could take forever so I'll just do the first ten pieces, okay? the website address is wisesculpture.com (spell wisesculpture) while you're looking up the site, I'll just tell you a little about my work—it's mostly welded steel. I use anything weldable and some material that's not—like glass, rubber, wood. And it usually happens in the process. The materials guide me. The steel tells me what to do. A dallas art magazine called me a cross between John Chamberlain and Rube Goldberg. I like that. A lot of my work looks like it's going to do something in the next few seconds—like you maybe should get out of the way. you should be able to just google wisesculpture.com or you can put www in front of it, either way it'll get there now when you get to the site a popup will...pop up, and you can subscribe if you want to the red car is my hot rod cruiser, 1949 ford with a 1988 mercury engine. A sculpture all in itself to us car guys. it's like the car I had in high school a very very long time ago anyway, get that out of the way by either signing up, or clicking the X in the upper right hand corner Then you'll see the first piece of sculpture. it's non representational. but it's as good a use of space as anything I've ever done. It's part of a car, some chrome, part of a road sign. Click anywhere to the right of it, or on that little sign that says next. Number two is called Benelli because it uses a part of a Bennelli motorcycle. It's a wall hanging, stainless steel, about one foot by 18 inches. next Three is a rocket ship. It's about two feet tall. It was to be in a solo show in Kansas City but a guy walked in, saw it in a corner where I'd unloaded it, bought it on the spot for his son who was a rocket scientist in Los Angeles. Four This is called Tyke's Gatling. All of this stuff is welded steel, most of it. This one is in a gallery in Santa Monica. Five. Blue horse and blue wagon. He's uncomfortable on that wagon. And pissed at me for putting him there. Six. Inspired by Louise Nevelson. She's a genius. Look her up. I Call this one monochromatic. People don't get it. I love this one. Gallery goers don't even look at it. Maybe they think it's part of the HVAC. Seven Balanced investments. This was a commission for an outfit called Frontier Wealth Management and it's in their lobby. It's about fifteen feet long. Can you find the airport landing light? Eight Hommage a Baron Samedi. He was the new Orleans voodoo guy. About four feet tall. It has a couple of real pistols in it, what they called Saturday night specials, a necklace, an art deco lighter, an I.D. bracelet, a laudanum bottle, 30's stuff. Nine Cutting Cane. Made from a Tupelo tree from the Louisiana bayou, and a cane cutter. And Ten A wall hanging made from auto metals and a spotlight. Hope you enjoyed the tour. Keep going—there are a lot more. Any questions, comments, use the comment form on the site—I always answer. Thanks for listening and watching. Stay safe and well.

John 5:30-47, “I Call as My Witnesses…” Part 16 in a series called: “Jesus… Know Him & Believe”

Dr. Tom Curran continues to reflect on God’s word for his 2020, “What are you going to do?” Tom prays for healing and reads texts from scripture [Psalm 130, 2Chronicles 20: 15] relating to the manifestation of The Epiphany. The post January 7 –Out of the Depths, I Call to You Lord: Manifestation of the Epiphany appeared first on My Catholic Faith Ministries.

--{ "The Lessons of Deceptions: PSYWAR Works on Masses, Individual Objectivity is Forsaken, If Two Plus Two Remains Four Indoctrination Has Not Taken." © Alan Watt }-- The U.S.A. was Called The Great Experiment - The Soviet, Socialist System was the Second Great Experiment - Positive Freedom and Negative Freedom - It's Beyond Virtue Signaling; I Call it Social Preening - Losing Your Culture, Rationing, So-called Privilege - Up to the 19th Century, Music and Architecture Reached Great Heights - Religious Music that Touches Your Soul - Totalitarians Hate that Which Can Stir the Soul; the Big Idea - Religion had to Be Destroyed - Messages and Updates all Through Fiction and Entertainment - Oldthink - Mao Tse-Tung said He was Most Afraid of A Big Idea - An Irish Journalist Visited by Police who said They Were Worried about How He was Thinking - Bolshevik Revolution; Secret Police, Enforcers; Where did They Find These People who would Carry Out Such Atrocities? - Diabolical Hatred - They Couldn't Bring this System in Without the Computer; Your "Personal" Computer - The Money Magicians at the Top - Psychopaths and Their Hierarchy - Dependent on the System; Internet Banking; Bertrand Russell on Credits - Universal Basic Income - Bertrand Russell said, I can Make Your Children Believe Snow is Black; They can Make You Believe Anything - Orwell's 1984 - Agenda for the 21st Century, Agenda 21 - Young Folk have Their Whole Lives Taken Up by Electronics - Watched 24 Hours a Day - Movie, The Circle - Trump said He Wanted to Increase Surveillance Technology - Self-Policing - Agenda is Much Bigger than Technocracy - We don't Get News; What Passes for Politics is Entertainment - In the Past, Christmas Brought Us Back to Basic Humanity in Our Little Transient Lives - Destroy Religion and The Family Unit - US Troops in Iraq - They're Watching You Like Hawks, Flagged by Algorithms - Guzzling Entertainment, Living on Fiction, Getting Brainwashed - We're Not Governed, We're Ruled - Psychiatry won't Help Soul Sickness - UN Approves Russia-backed 'Cybercrime' Treaty - Criminalizing Speech - Australian Bushfires: A Smart City Conspiracy? - Dr. Day, Conference in 1960s Talked about Burning Folk Off the Land if Necessary - Guardian Newspaper Headline Tells You What You are Supposed to Think: "Agenda 21 is conspiracy theory. But don't dismiss Malcolm Roberts as a harmless kook" - Headline: Agenda 21: Tens of Thousands of Aussies are Engaging in a Chilling Conspiracy Theory that Claims the Global Elite is Slowly Trying to Kill Us All - ICLEI – Local Governments for Sustainability; The ICLEI Oceania Regional Secretariat Serves the Interests and Needs of Local Governments in Australia, New Zealand and the Pacific Island Nations - Population Reduction - Sustainable Development - Australian Water Sold for $490 MILLION to Foreign Company During Drought - Dozens of Firebugs Blamed for Destructive Queensland Fires - Extreme Heat in 1896 in Australia - Colleges are Turning Students' Phones into Surveillance Machines - George Orwell - The Freedom of the Press - The System We're in Now is the Super-Soviet - British Home Secretary Signs Extradition Order to Send Julian Assange to US - Church of England - Christian Persecution 'at Near Genocide Levels' - India Refuses to Compromise on ‘National Interests' for US Trade Benefits - Pompeo Woos India with ‘Secure' 5G, Arms Sales and Nuke Project -The Whole System Today is Conology - Queen Faces a Costly £86 Million Repair Bill for Prince Charles's London Home Clarence House as it Gets Set for a New Year Makeover - Russia and China Agree to Bilateral Trade in National Currencies - Euthanasia - Life has to Be Exalted Again, Put Back on the Pedestal that Julian Huxley said it Must Be Removed From. *Title and Dialogue Copyrighted Alan Watt - Dec. 29, 2019 (Exempting Music and Literary Quotes)

This week Kyle talks to Jana Robey about the phrase, “I Call to Mind” from Lamentations 3. “Yet this I call to mind and therefore I have hope”. Despite affliction we can call upon and find our hope in the everlasting love of our heavenly father. Kyle has known Jana and her family since she was a kindergartener in class with his daughter. Jana has shown an outward joy in spite of a rare cancer diagnosis in her spine at the age of 15. Enduring 37 radiation treatments as well as chemotherapy, Jana managed to focus on the love and support of friends and family and the incredible mercy of God. Jana has written worship songs about her experience and continues to place her trust in Christ amidst her hardship. “I Call to Mind” is a reminder to hope in the things that are yet to come.  Credits: Produced by Narrativo Executive produced by Kyle Idleman and Cary Meyer Edited and Mixed by Mike Cosper Theme Song by Dan Phelps

Future Sounds from Korea 20 한국 독립 전자음악 라디오 20번 - Electronic/Experimental Music Podcast 
 이 팟캐스트는 한국의 전자/실험적인 음악을 당신에게 소개합니다 
⬇ Click for Track List below ⬇ --- Submit tracks /// 당신의 음악을 보내주세요 
 Email: futuresoundskorea@gmail.com --- FSFK 20 Track list: [00:02] CLEAR STATE - Raël (Interlude) [Jeju Digital] [00:48] 소진(素塵) - 스르르르 - Srrr [04:50] Yetsuby - Dolphins Song [09:32] Dan Vickers - Samgeori park [12:59] Loops and Images - The Old Days [17:30] York - Nil [26:42] Ricenoodlesouschef - Final Fantasy Prelude Remix [30:30] CLEAR STATE - Helatrobus [Jeju Digital] [34:42] Hoondi - Mood Gallery Sketch [37:33] 식료품groceries - 좀 기다려주세요 [42:52] Ahntow - Loneliness [44:49] Yetsuby - Ling Ring [51:02] Dragonfly Trio - Darker Days (Dub) [54:38] mcthfg - Hapocratic [1:01:36] Null Object - Perfection [1:06:11] Macrohard, NOODLE - Obsidian Forrest [1:08:28] SenZen - Sangyeo-Ga [1:12:04] Elle - Tutto Tutto (Doltz Remix) [Oslated] [1:19:29] Notnotice - Ilheun Yeudul (Original Mix) [Artscope] [1:25:44] Einox - Not the Skyscraper [1:32:10] Sacred Spaces - Untitled Wave [1:37:16] MiRiNae - No Good [1:42:51] A-I - Call of Forest --- Support your local scene ~^^

HAPPY FRIDAY FRIENDS. I hope everyone is having an amazing week and weekend! I LOVE YOU ALL! Another Friday and another podcast. This week I Call over to my good buddy Scott Fitzsimmons aka Scottie Too Hottie to see how he's doing on his Keto LCHF journey. He's camping over at Brimley State Park. Check them out at the link below. https://www.michigan.org/property/brimley-state-park give my summer update! Scottie and I catch up and talk about everything Keto. I love this man! He's smart, listen to him. SHOW SPONSOR Get your meats and fish delivered to your door with Papa Earth. Papa Earth specializes in top quality locally sourced meats and wild Ocean caught fish. You can customize your own box at www.papaearth.ca It's free range dry aged beef Free range air chilled chicken. Vegetarian drug-free pork. 100% grass fed and finished bison. Ontario lamb. Wild Caught fish. Vacuum sealed and flash frozen. Don't forget to check out our new Sponsor Papaearth.ca Check them out and with your Fatso referral code you will receive $10 off a medium box or $20 off a large box with the choice of 2 steaks with promocode FATSOMEAT. Enter your code at checkout at mention in the delivery instructions if you prefer rib-eye steaks or top sirloin steaks. That’s www.papaearth.ca and promo code FATSOMEAT HOW TO REACH ME? Email - fatsoradio@gmail.com Instagram is - @fatsoradio Facebook is Fatso? Radio Twitter - @radiofatso YouTube -Fatso? Radio Thanks for listening! Carlo Volpe --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app --- Send in a voice message: https://anchor.fm/fatsoradio/message

Open up your eyes and ears! The Love Zone is going into the hot topic of voyeurism! Do you like to watch? Listen? Or both? Call in at 319-527-6300, press 1 and talk to me and my diva co-host, Murder She Wrote! I want you to bring those sensual pieces, those fire pieces that will let us know what kind of voyeur you really are!  What kind of voyeur am I? Call in to find out! The music will be hot!  Tune in, you won't be disappointed

Traffic is heavy but so are our pours. Pour a stiff one to help handle the hard truth about the human trafficking issue in our country. First we head to Winterfell to give our thoughts on the last season of Game of Thrones. Lastly we end our tail with some 90's trivia. Crank up your Now That's what I Call music CDs while Fresh Prince plays in the back ground and see how well you remember that delectable decade! So drink up or shut up!

Players who everyone is Drafting early that are overvested every Season every year I Call that Overrated under the Radar Sleeper Runningbacks being overlooked with RB1 RB2 Flex Potential handcuffs RBBC (Running back by Committee) with caution know your fantasy players stats and what will be shown surpassed in next Season 49ers Lions Patriots Raiders Bears Steelers teams who collected Runningbacks that should'nt be above their RB1 &2 steeling touches that would be Touchdowns for a Starter RB I Call that Underrated

I Call is a podcast of portions of the worship service at Laguna Presbyterian Church. Rev. Dr. Steve Sweet is preaching on Psalm 62 and Mark 1:12-20. This is the 3rd Sunday in Ordinary Time and we are coming to the Lordand#8217;s Table together (the movement of communion is also included in this recording.)

Can psychedelic drugs, and breathing techniques that achieve similar states, help heal our individual and collective emotional pain? Can they help us transform our society? I talk with Joe Moore and Kyle Buller of Psychedelics Today, a podcast that features professionals involved with psychedelics and breathwork as tools for mental health and spiritual growth. Joe and Kyle are also facilitators in Holotropic Breathwork, developed by the Czech-born psychiatrist and researcher Stanislav Grof. Here's what we talk about in this episode's delicious stuffing: -The Multidisciplinary Assoc. for Psychedelic Studies (MAPS) and their peer-reviewed research -How the War on Drugs delayed this research by decades -Kyle's "near death" experience and his path; Joe's path through philosophy, ayahuasca, and breathwork -Holotropic Breathwork, a non-substance alternative -Integration—a key to these therapeutic uses of psychedelics -The likeness of these journeys to mythic ones -The role of elders -Are we on the verge of a psychedelic revolution? -Inventing new "rites of passage" (beyond getting a driver's license and being able to buy booze.) Hope you enjoy it! As always, you're welcome to leave a message on this episode's page at The Big Chew Podcast. As someone who knows first-hand the sucking black vortex of PTSD, I encourage anyone who suffers from it to seek out professionals who can help. Some of the links below might be useful. But this isn't medical advice. Just sayin'. By the way, you might hear high-pitched voices in this recording. Those are children. Because our bandwidth here in northeastern Vermont sucks, I record over Skype in the librarian's office of our tiny local bibliothek. Shut up and read, kids. It's a library. But I mean that in a good way. Kyle Buller and Joe Moore's podcast, Psychedelics Today The Multidisciplinary Association for Psychedelic Studies Holotropic Breathwork (sometimes also known as Grof Transpersonal Training) Holotropic Breathwork in Vermont Music in this episode is "I Call it Love" by Carbon Manual, from the album Kali Yuga is here, via a Creative Commons license

☆ MUSIC DEALER & KLUB KILLER - SINCE 2002 ☆ • BACK TO YESTERDAY #6 SPECIAL RN'B • 01 Shuba K - Intro 02 Chingy feat J. Weav - One Call Away 03 Marc Dorsey - If You Really Wanna Know 04 Usher - Make Me Wanna 05 Jadakiss & Mariah Carrey - U Make Me 06 Toni Braxton - What's Good 07 TQ -WestSide 08 Joe - Stutter 09 Joe & Mystikal - Stutter Remix 10 Craig David - 7 Days 11 Driver - Pardonne-Moi 12 The Isley Brothers - Between The Streets 13 Brandy & Monica - The Boy is Mine 14 Toni Braxton - He Wasn't Man Enough 15 Usher - Bad Girl 16 Janet Jackson - Got' Til It's Gone 17 TLC - No Scrubs 18 Ne-Yo - Sexy Love 19 Lionel Richie - I Call it Love 20 Blacknuss - Dinah 21 K-Reen & Fabe - Choisis 22 Vibe - Souhait 23 Baby Bash - Suga Suga

It was dark, about 2am and the strobing blue lights were flickering off houses and hedgerows accompanied by the yelp of sirens as George’s Response Car barreled along the road, he was concentrating so intently on his driving that his eyes felt like they were out on stalks. Ahead of him was his colleague Jock in another Response Car but unlike George’s car, this one was letting out a long eerie wail and its headlights were flashing alternately.They were playing different tunes on their sirens as they ran in formation so that any other road users would have more warning that there were two cars and not one, it is every Response Driver’s nightmare being the follow car and having someone pull out in front of them, not expecting a second vehicle to be there.Hence George’s intense concentration.They had both answered a call from the Control Room at around the same time, it was an Emergency or ‘I-Call’ to a woman who was being beaten by her husband. She had managed to lock herself into a bedroom but her husband was trying to break down the door and apparently she had sounded hysterical on the phone. As Jock and George had driven toward the call from different parts of their ground they had converged on the single direct road to the tiny village the call had came from, several miles out into the sparsely populated, rural area of the county with little or no street-lighting.There was a pair of red tail-lights in the distance and almost nothing else to see apart from a line of traffic islands with a lit bollard on each, to keep traffic travelling in opposite directions from colliding. The road was almost dead straight but it rose and fell in a series of dips as the two Police vehicles gained on the red tail-lights of the other car. The car appeared to be slowing and George saw Jock’s car pull out onto the offside and commit itself to an overtake.“Oh dear” said George, the hairs on the back of his neck suddenly standing up. He began to brake heavily as he realised that the car wasn’t slowing down enough to allow Jock to regain the nearside before he reached the traffic island. He was either going to have to brake hard and come back in behind the other car or stay offside past the traffic island.Jock went offside of the bollard, just as a pair of headlights appeared out of the dip ahead of them. Jock’s car hit the oncoming vehicle head on. George fought his own car as he stood on the brakes, and it snaked and weaved to a standstill on smoking tyres, just short of the combined wreckage of two cars mangled into one tangled heap of metal. George’s heart was in his mouth as he and his operator clambered out and ran over to the cars, past glass, metal and wheels lying in the road. “Oh god, no” he kept repeating out loud before remembering to call in the incident on the radio. Then unbelievably Jock and his operator were standing with him, covered in white powder from the airbags, and helping the other driver out of what was left of his car. The car that Jock was trying to overtake never stopped.Fortunately another unit was able to take the call to the woman being beaten by her husband while the rest of the team helped clear up the mess of Jock’s collision. The young lad innocently driving the car that Jock crashed into was admirably compensated with a replacement. Jock meantime became one of the loudest supporters of the message that it is far better to arrive safely a few seconds later than to not arrive at all. You’re no use to anyone if your incapacitated or dead.'Right Click' and 'Save as' to download the audio version

There was voting, and ballot stuffing, and lots of awesome design suggestions, and some fine tuning tweaks, all leading up to the t-shirts now available for sale!  First things first: last week when I posted the two “Keep Calm and Run the Plays that I Call” options, I neglected to credit Belladonna420 with the cool idea. An oversight on my part I’m correcting now — THANKS BELLA! As for the “Keep Calm” version voting, the black T won hands-down. We’re going to stock that version in our store. However, I’m making the orange version available for special order for the next three weeks only, until May 17th. You want an orange one? Don’t delay, order today! And the end result of all this work? New T-shirt designs now available in the store! We decided on four new teams: Isis Ice Storm, Buddha City Elite, Sheb Stalkers and Yall Criminals. (That’s in addition to the Keep Calm Hokor tribute tee, because that’s how we roll.)   Here they are, all designed by Scott “Big Fish” Pond.

A new song just produced by Shiloh Worship MusicThis song has kind of a 70s Country Rock feel to it. Guitars, Fiddle, Electric Bass, Drums, Pedal Steel Guitar, And a Bit of Organ. We hope that the song blesses you and enhances your walk with the Lord.Blessings to you,Shiloh Worship MusicYou Alone Are My Strength, Oh GodMy Soul Is Now ThirstyRevive Me Oh LordOh Living WaterLet It Be PouredYou Alone Are My Strength, Oh GodI Call upon Your Nameoh, Jesus My LordYou Are My Shelter From The StormWhere Can I Run Too?Where Can I Hide?Your Love Is A RiverSo Deep And So WideWith Love like ThatI Know the ProdigalWill Come BackYou Alone Are My Strength, Oh GodI Call upon Your Nameoh, Jesus My LordYou Are My Shelter From The StormMy Soul Is Now ThirstyA Touch of Your LoveThe Hem of His GarmentFrom Heaven aboveWith Love like ThatI Know the ProdigalWill Come BackYou Alone Are My Strength, Oh GodI Call upon Your Nameoh, Jesus My LordYou Are My Shelter From The Storm© 2012 Shiloh Worship Music COPY FREELY;This Music is copyrighted to prevent misuse, however,permission is granted for non-commercial copying-Radio play permitted- www.shilohworshipmusic.com

Roy Plomley's castaway is oboist Leon Goossens. Favourite track: I Call on Thee, O Lord (Choral Prelude) by Johann Sebastian Bach Book: Nautical almanac Luxury: Camp bed