Podcasts about Johnny Cash

This week on the Mark Levin Show, AI and data centers are the new boogeyman. And the ones complaining the loudest are so-called conservatives. According to a poll, 71% of Americans oppose data centers. But what is it they oppose? There's a lot of lies and misinformation floating around, like what happened during COVID. It's democracy vs. mobocracy, and people are throwing their principles to the wind. While West Virginia welcomes data centers, California wants to ban them. People who call themselves conservatives preach against socialism then demand government kill an entire industry? This is where the rubber hits the road: conservatives must either support what's right or join the mob. We're capitalists, this is who we are. America must support new technologies that will create new jobs and secure our future. We lost an American legend: Dolly Parton passed away at the age of 80. The news was sudden and hits in a personal way. Dolly was the quintessential American: grew up dirt poor, she became a success not due to socialism or government programs, but through talent and hard work. She wasn't a political hack and had her opinions, but she loved this country and was a great patriot. There was never any hint of scandal in her private life. She had some health problems in the last years of her life and recently posted basically a goodbye to her fans. She'll be remembered along with legends like Elvis and Johnny Cash. Dolly Parton, American legend. She will be missed. Later, a Democrat nobody's heard of, Rep Johnny Olszewski, declares that impeachment of President Trump a top priority if Democrats take the House. Democrats are weaponizing impeachment for pure politics against a president who won a record popular vote, Electoral College total, and every swing state, rather than addressing genuine constitutional violations. Also, Hasan Piker's recent remarks linking American Jews' support for Israel to potential violence against them, while blaming AIPAC for Democratic backlash, have drawn condemnations from several Democratic lawmakers. AIPAC is a transparent American PAC funded by Americans—unlike foreign influence from places such as Qatar or Turkey. Furthermore, what is in the president's mail-in voting executive order? It ensures voter integrity and the requirements are common sense, yet Democrats and their media lie about it as an effort to stop women and people of color from voting and call it a grave threat. The Democrats and their slip-and-fall lawyers always seem to be on the side of the cheaters but claim they are just looking out for the rest of us. This executive order is perfectly legitimate. Learn more about your ad choices. Visit podcastchoices.com/adchoices

Where does Texas land when it comes to the hardest-working states in America? Sandy's theory is the rest of the state works pretty hard, and Austin just dragged everybody down. Texas still made the list. Number seven. South Dakota is number one.This hour of The JB and Sandy Show starts under the 360 bridge, with Dixie on the way, Rasmus never getting married again, and JB at IHOP after meet-the-teacher night, staring down empty-nest dinners. There is a 250-year time capsule headed for Philly. Last Laugh: breakfast anytime, so he ordered French toast during the Renaissance. Amar in Austin plays Minute to Win It. The Man in Black is Johnny Cash, not Reagan.Subscribe, leave a review, and share this episode with someone who still thinks Austin is carrying Texas on that hardest-working list.

Dolly Parton has passed away. Dolly Parton was a musical giant, an American songwriter worthy of a place on the same page in the music history books as Bob Dylan, Kurt Cobain, Johnny Cash, Taylor Swift, or anyone else you can think of. More importantly, she was a first-class human, and an inspiration to me and many, many others. For more great stories at the intersection of music and true crime, check out these episodes: The Go-Gos Bob Dylan See omnystudio.com/listener for privacy information.

On Tuesday's Mark Levin Show, we lost an American legend: Dolly Parton passed away at the age of 80. The news was sudden and hits in a personal way. Dolly was the quintessential American: grew up dirt poor, she became a success not due to socialism or government programs, but through talent and hard work. She wasn't a political hack and had her opinions, but she loved this country and was a great patriot. There was never any hint of scandal in her private life. She had some health problems in the last years of her life and recently posted basically a goodbye to her fans. She'll be remembered along with legends like Elvis and Johnny Cash. Dolly Parton, American legend. She will be missed. Also, Social Security is in deep trouble. Founded in 1935 as government-funded retirement insurance, it's expanded massively from its original scope to more than 58 million recipients. Unlike in years past, soon there will not be enough workers to pay into the system. It's effectively broke. Social Security is meant to be funded by payroll taxes - effectively, a tax on employment. The money is supposed to be deposited into a trust fund, but that no longer exists. Today's retirees get less benefits than they paid in. And those who didn't pay into the system, like illegal aliens, get full benefits. Politicians are running Social Security into the ground like they did Medicare. Then, why are so many young people socialists? Because they don't read substantive stuff. And not these AI-generated books, but real books by real authors who did their own original research. Young people these days would rather get on TikTok and social media than read a book about America, the Constitution, the Third Reich, the Holocaust, or isolationism in the 1930s that led to Pearl Harbor. Ever see these videos where someone goes to college campuses and ask students basic questions about American civics? What does the Senate do? What is the Electoral College? What does packing the Supreme Court mean? They haven't a clue. This is why education is so important, especially early in life. We've handed education over to the government and teachers' unions, and we wonder why kids grow up loving socialism? Finally, Jeanne Allen, author of "The Education Avengers: How and Why a New Class of Heroes Is Fighting America's Biggest Battle," tells the stories of twelve remarkable individuals who, like The Avengers from the Marvel movie, fought for those who can't defend themselves: children. The Education Avengers took on the Hydra - aka the education establishment, the many-headed tangle of rules, compliance mandates, unions and apathy. These people come from different backgrounds: teachers, entrepreneurs, pastors, parents, innovators and business leaders. They're examples of what ordinary people can do when they band together and don't accept the status quo. Learn more about your ad choices. Visit podcastchoices.com/adchoices

Host Jesse Jackson welcomes writer and musician David Starkey to Set Listing Bruce to discuss Starkey's book On Track: Bruce Springsteen 1973–1987, Every Album, Every Song and his lifelong relationship to Springsteen's recorded work. Starkey shares how growing up between Sacramento and summers in Beaumont shaped his musical tastes, from Johnny Cash and Aerosmith to discovering Springsteen via Greetings and being captivated by Born to Run and Darkness on the Edge of Town. They talk about the current tour, its political tone, Tom Morello's guitar work, ticket prices, and setlist debates. Starkey explains his writing process, what he learned by re-listening (especially the importance of piano), and why 1987 marks an era's end. The conversation also touches on poetry vs. lyrics, Starkey's interview series The Creative Community, upcoming projects, and the “Mary question” from Thunder Road. https://www.simonandschuster.com/books/Bruce-Springsteen-1973-1987/David-Starkey/On-Track/9781789524710 00:00 Podcast Welcome 00:39 Meeting David 02:03 Early Music Obsessions 03:44 Family Sounds and Travel 06:59 Johnny Cash Tangent 09:04 Finding Springsteen 10:03 Live Shows and Politics 13:54 Ticket Prices Debate 14:28 Writing and Poetry 18:08 Why This Bruce Book 20:05 Born in the USA Memories 22:14 Researching the Albums 23:53 Why Stop at 1987 25:43 Concert Banter Debate 26:59 River Tour Pacing 27:55 Writing More Personally 29:33 Hot Takes On Songs 30:51 Family Discovers Nebraska 32:06 Biopic Who Is It For 34:35 Bruce Creative Evolution 36:46 Never Repeating Himself 39:41 His Interview Show Origins 41:09 Next Books And Memoir 44:12 Where To Find The Book 45:54 Final Thanks And Signoff 46:24 Podcast Housekeeping Learn more about your ad choices. Visit megaphone.fm/adchoices

The story of the Bat Creek Stone. Plus the local news for August 25, 2026 and Johnny Cash's archives. Credits: This is a production of Nashville Public RadioHost/producer: Nina CardonaEditor: LaTonya TurnerAdditional support: Mack Linebaugh, Tony Gonzalez, Megan Jones and the staff of WPLN and WNXP

How exactly does Emily wrestle words onto a page? Will Chris be constructing a cottage for her in the backyard? And how did listening to Madonna in a hot dog shoppe inspire Casey to write a chorus for a song about a drowned sailor? What is happening with EWTN? Find out the answer to these questions and more, as we discuss how writing (or songwriting) makes us more human.Show notes:* Rick Rubin/ Bari Weiss interview on Apple Podcasts* The Creative Act by Rick Rubin * Chesterton Station —on EWTN* Chris Keenan (and lost letters of the Great Lakes)* Hurt by Johnny Cash and Nine Inch Nails This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit visitationsessions.substack.com/subscribe

Episode 205 - Prairie Winds: On Set Interviews with Executive Producer and Crew In this episode of the Faith and Family Filmmakers Podcast, your host Geoffrey Whitt, who also filled the role of Production Sound Mixer on the film, conducts several short interviews as the filming of Prairie Winds comes to a close. Executive Producer Hank Erwin describes how he got involved and urged the team to put “heart and soul” into their filmmaking. Erwin recounts advising sons Andy and John Erwin to avoid “cheap and cheesy” Christian films, noting their later awards and projects like I Can Only Imagine II and House of David. The episode also features Colby Robison on serving as B-cam operator, plus his mother Claudia and sister Shalina - working on set as a family in multiple departments. Lead costumer Lottie Brown and hair/makeup head Julia Swarms describe the fun and challenges of working on a 1870s period film, while interviewing in Johnny Cash's 1830s log house.Executive Director: Hank ErwinMr. Irwin's Connection with Prairie WindsHeart And SoulErwin Family Film LegacyColby, Claudia, and Shalina RobisonB-Cam OperatorMeet the Family: ClaudiaShalina's Acting JourneyLottie Brown and Julia SwarmsCostuming for Prairie WindsPeriod Hair and Makeup ChallengesCostume Challenges for Historic SetFilming in Johnny Cash's HouseColby Robison Linktreehttps://3daysstudios.com/https://www.facebook.com/PrairieWinds.TVEdited by Geoffrey WhittIf you would like to support the production of this podcast, you can do so at https://www.faffpodcast.com/support The Faith & Family Filmmakers podcast helps filmmakers who share a Christian worldview stay in touch, informed, and inspired. We interview experts from varying fields of filmmaking; from screenwriters, actors, directors, and producers, to film scorers, talent agents, and distributors.Get Email Notifications: https://faffpodcast.com/emailEnter the Faith & Family Filmmakers Awards festival: https://filmfreeway.com/FAFFawardsFAFF Association Weekly Zoom Meetups for Filmmakers: https://www.faffassociation.com/eventsJaclyn's Book - In the Beginning, Middle and End: A Screenwriter's Observations of LIfe, Character, and God: https://www.amazon.com/dp/B0D9R7XS9VProduced by Geoffrey Whitt for Faith and Family Filmmakers Association https://www.faffassociation.com/Faith and Family Filmmakers Association is sponsored by Rediscover Television https://www.rediscoverfamily.tv/ Copyright 2024 Ivan Ann Productions

This one starts as a lending podcast and ends as a full-blown rock history lesson. After Ed Marra briefly recaps his professional start in paralegal studies and early commercial lending work, Mark Ritter lets him run with his true passion, classic rock, growing up on The Beatles, Led Zeppelin, and Johnny Cash, then building a career performing Buddy Holly tributes with the blessing of Buddy Holly's own widow. Ed even jammed live with The Crickets and played The Cavern Club in Liverpool. The two dig into why radio consolidation has made it nearly impossible to find new rock bands today.What You Will Learn in This Episode: ✅ How Ed Marra's start in paralegal studies led him into a career in commercial lending✅ How classic rock and rockabilly shaped Ed's early guitar influences growing up✅ What it took to get official rights for Buddy Holly Tribute performances from Holly's widow✅ Why radio consolidation and record labels favor formula over inventive new rock acts✅ How touring revenue, not record sales, always paid classic rock musicians the mostSubscribe to Credit Union Conversations for the latest credit union trends and insights on loan volume and business lending! Connect with MBFS to boost your credit union's growth today.TIMESTAMPS: (00:00) Mark introduces MBFS team member and guest Ed Marra(01:08) Ed recaps his professional start in paralegal studies and computer software work(07:35) Mark asks what makes a commercial lending closing smooth versus going off the rails(10:27) The conversation shifts entirely into classic rock music and Ed's guitar influences(13:09) Ed shares how he began performing Buddy Holly tribute shows and met Holly's widow(18:13) Why radio consolidation and formula-driven record labels hurt new rock bands(24:46) How touring revenue always mattered more than record sales for classic rock artistsKEY TAKEAWAYS:

India Ramey is a singer and songwriter based in Nashville, Tennessee, whose latest record Villain Era is a middle finger to the musical status quo told through the sonic lens of a spaghetti western. She told her producer Eric Corne she wanted the album to sound like Johnny Cash and Loretta Lynn had risen from the grave to score a Quentin Tarantino film. Yeah, I know. Incredibly cool concept and they knocked it out of the park. If you haven't listened, give Villain Era a spin as soon as you finish this conversation. Support The Marinade on Patreon: https://www.patreon.com/marinadepodcast Support The Marinade on Substack: https://substack.com/@marinadepodcast Find all things India Ramey at: https://www.indiaramey.com/  

But I Love Johnny Cash!

Jennie Nash hosts a #amwriting podcast BookLab with guest Kathleen Barber, author of Truth Be Told and newly released Sisterhood Above All (co-written with Amayah Shaienne), and discusses Barber's range across thrillers and romance, her character-first approach, and how RushTok inspired an authentic sorority-rush thriller featuring Madison, Shay, and Ava as tensions escalate and someone dies. They define RushTok as viral TikTok coverage of University of Alabama sorority recruitment and note its broad international fascination. In the BookLab, they evaluate three first-page submissions by asking “Would we turn the page?” They praise Heather's Trust Me for strong voice, vivid Austin setting, and an intriguing problem hook, with minor notes about genre context. They decline Odeon Omega due to unearned logistics and too much dialogue despite an intriguing title/advert. They find Empty Spaces compellingly written but confusing from too many names and unclear stakes, suggesting more interiority and clarity.#AmWriting is a reader-supported publication. To receive new posts and support my work, consider becoming a free or paid subscriber.Connect with KathleenVisit Kathleen's website to find her books and more: https://www.kathleenbarber.comTranscriptJennie: [00:00:00] Hi, I'm Jennie Nash, and you're listening to the #amwriting podcast, the place where we help writers of all kinds play big in your writing life, love the process, and stick with it long enough to finish what matters most. This is a book lab session where we answer the most important question about your first pages.Would we pick up the book? Would we turn the page? Today, I have a really special guest with me. I have Kathleen Barber here, who is so many things. She's the author of Truth Be Told, which was adapted as a series on Apple TV, Follow Me, Both Things Are True, and just brand new, like it came out four days ago, Sisterhood Above All, with, I'm gonna try her name, Amaya Chen?How do you-Barbara: Yeah. Uh, um, yeah. That's, that's very close. I think it's Amaya Chen.Jennie: Okay. Yeah. Uh, so we're gonna hear about that in a minute. Um, I haven't, I haven't cracked it open yet, but I'm so [00:01:00] excited for it. Um, Kathleen's also an Author Accelerator certified book coach and a former attorney, and she lives in Washington, DC with her family.So welcome, Kathleen.Barbara: Thank you so much for having me. I'm really excited to be here.Jennie: So I watched your unboxing the other day. It was so fun, and I didn't realize that we had scheduled this right on top of, like the actual- Oh ... launch of your book.Barbara: No, that, that's okay. It's, it's great. Um, it gives me something to think about that's not just, like, spiraling.Like, is anybody gonna read my book? Is anybody gonna like it? Um, so it gives me something else to focus on.Jennie: Well, it's so interesting you say that because I think of you as this really seasoned pro and, you know, it's been really interesting for me to watch your career because you've written some really different kinds of books.You did a ... Well, your first book was obviously a big thriller and a huge success, and at one point, you pivoted to romance, and now you're doing ... Well, I, I saw that book list [00:02:00] called Sisterhood Above All, a soapy thriller Yes. Yes ... which is such a great description, and you did it with a collaborator. So you just seem interested in story to me.Barbara: I, I am. Yeah. I'm always very ... I always start a story with the characters. Um, and so then their story kind of spirals out from there. Um, yeah, so I, my last book that came out before this one was, was a rom-com. Um, and I was really nervous when I started writing it. I was like, “How am I going to write this when I've been writing suspense and thrillers before?”And it turns out that, like, at the heart of it, stories are stories, and people are people, and, you know, in a romance, happy things happen. In a thriller, bad things happen, but things still happen.Jennie: Amazing. So give us the overview of the brand new book, ‘cause it's, it's really juicy.Barbara: Yeah. Yeah, so I'm really excited about it.Um, Sisterhood Above All is a thriller set during sorority rush, and so it follows three different [00:03:00] women who are involved there. There's Madison, who is the president of what's she perceives as to be the coolest sorority on campus, so she's kind of the gatekeeper, and there's Shay, who is the president of a rival sorority and trying to shake, shake up the Greek institutions, and then there's Ava, who is a potential new member.She's going through rush. She's desperate to join Madison's sorority, um, and she might be a little too desperate. Uh, so you know, it's a thriller. Bad things happen. Somebody dies, um, you know, and things kind of spiral out, spiral out of control.Jennie: But tell us about the collaboration, ‘cause it's- Yeah ... so interesting how that came about and how it went and-Barbara: Yeah.You know, it was, it was a lot of fun. Um, I, like many writers, write alone, and I had never really considered collaborating with anybody before, um, but- But when I was kind of talking about this, I, I'd been pitching my agent a sorority themed thriller for a while. [00:04:00] Um, and at one point when, when Rush Talk was getting really big a couple summers ago, she was like, “This is the moment.This, you should write this book, but I think that in order to make it feel more authentic, we should bring in somebody who's living this in this moment.” Um, so one of her colleagues found Amaya, who, um, was up until very, very recently an active member of a sorority at the University of Alabama, and brought us together.And Amaya and I got along right away, and we both had kind of the same vision for what we wanted the book to be, and so collaborating with her was, was a lot of fun in a way that I had been nervous that it wouldn't be. But it was, it was a really good time, and I'm really, really proud of the book.Jennie: So for those who don't know or weren't following, can you tell us what Rush Talk-Barbara: YeahwasJennie: or isBarbara: or- Yeah ... shall be? Yes, yes, yes. So, um, so if you're gonna join a sorority, um, you go through, you go through recruitment and which is very slangily [00:05:00] called rush. Um, and so on TikTok a few years ago, um, people started sharing about their experiences during sorority rush, but specifically, uh, during sorority rush at the University of Alabama.Um, and it really took on a life of its own, like people were watching it like it was, you know, a television program. Uh, they made a documentary about it, which, you know, I'll, I will let you make your own conclusions about the documentary. Um, but people just got really, really into it, and people... And it was kind of appealing to people who had gone through sorority rush at some point, were thinking about going through a sorority rush, or who were just invested in, you know, watching people have these kind of outlandish experiences and, and share them.So, um, itJennie: was a lot of fun. My understanding was that it got very, very popular in other countries?Barbara: I- it's definitely... [00:06:00] Yeah. You know, um- So sorority, some, some sororities are international. Not, not all of them are. Um, but by and large, when they say international, they mean that there are chapters in Canada, not that, like, there are chapters in, you know, like Europe or, or other countries.And so it just, it's something that is so unique and so, like, uniquely about, like, this type of college experience that I think it's been really interesting to people in lots of different places.Jennie: Yeah, yeah. Fascinating. So obviously the book has been out, like, mere hours here. But, um, how does it feel? Are you, are you- It's excitingyou said you were excited and proud and- SoBarbara: exciting. Yeah. I'm, I'm, I'm really, really proud of the book. I love it. I mean, I know everybody, like, loves their own books, but I do. I truly, like, love this book, and I just really hope that the readers do too.Jennie: You know, it's not true that everybody loves their book.I, I was dying to have somebody on the podcast who will never come on the podcast. But I- Yeah ... I heard a story about somebody who [00:07:00] got a seven-figure deal for a book that they really didn't actually love, and then- Oh, no ... they, they wrote it. It came out, and then when they had to co- come time to do the publicity, they just dreaded it.They, it was like a, just they did it for the money. They got the money, and then didn't, didn't wanna talk about it, like felt sort of ashamed about it. And I was like, “Oh, please, come talk about that.” But of course they, they won't. So...Barbara: That's wild. Isn't that wild? That's wild. Yeah. I just, I just can't even imagine how that would feel.Um, I mean...Jennie: I know. Well, I, uh, the cover of this, um, of this new book, Sisterhood Above All, is- is really cool too. So we will link to it in the show notes, and everyone can go read it and check it out, and, um, Kathleen's other books, I've read them all, and you have such range and, um, like I said, [00:08:00] interesting stories.So with that, let's get to our, our Book Lab entries. We just always wanna start by thanking those who submitted. It's not easy to do this, to put your stuff out there with no context and no ability to talk back or anything and have random s- people on the internet, you know, talk about your stuff. So really appreciate the, the risk-taking of doing that, and we do this in order to help us all get better and, and learn, you know, what works and, and, um, for your own self or your own writing, what, what you want it to be.So what we're gonna do, as always, is I'm gonna read the entry, and then we're gonna ask ourselves, would we turn the page? So, um, the first entry is Fiction and it is, uh, author's name is [00:09:00] Heather and the name of the work is Trust Me. So here we goI can't tell you whether it's the Johnny Cash mural, clusters of candles nestled into every corner of the long stone bar, or the smoky scent of Palo Santo that tucks Austin into my head the first night. Maybe it's the unexpected jazz trio on a Tuesday in a town built for blues, country, and rock, or it could be the two cowboys deep in conversation at a table in the back of the bar.I'll later, I'll later learn that making a hot Austin guy a cowboy because of his hat, faded jeans, and scuffed boots is the same as labing- labeling a frat bro in a hoodie and sweats an athlete. It's just how they dress. I can tell you I like the looks of Austin men a hell of a lot better, especially that wide silver belt buckle that dresses up the whole package in a bow.It's going [00:10:00] on nine PM when I arrive at Whistlers in East Austin, and the bartender hands, hands me a peach-colored mezcal craft cocktail. Fresh juice, pungent herbs, and the smoky sister to tequila are the perfect salve after what's transpired since my flight landed from New York two hours earlier. I follow the snake tattoo on his foreha- forearm as the bartender shakes another cocktail for the couple next to me.Damn, he's hot, too. The crowd starts to pick up, and I signal Snake Tattoo for another before I lose his attention for good. The warm agave liquor spreads through my bones, and I start to relax. Maybe this isn't the disaster I think it is. Maybe I can actually pull it off. I glance around at the mostly twenty and thirty-something crowd angling for spots at the bar.The women wear short dresses and long hair. The men, well, those jeans are something, along with their finely cut biceps and well-placed tattoos. Can't help but glance over at those cowboys again and get a warm smile in [00:11:00] return. Easy, girl. Back to business. I have a problem, and this second mezcal is going to help me solve it.All right. What do you think? What was your first impression?Barbara: I really enjoyed that. I would definitely turn the page there. I, I feel like there was, like, a really strong sense of, sense of place, and I, in particular, I really enjoyed the, the first line, not only because it gives us that sense of place, but it, because it also then tells us something about the narrator and how she perceives the world around her in that first line.Jennie: Yeah, and, and there's a good m- a, a good question at hand here, which is what's she doing here?Barbara: Mm-hmm.Jennie: She's come from New York. We get that. It's a little unclear how, how old she is, ‘cause she's referencing other people's ages, but not her own, so we, we don't really know what's happening or what, what's, what's about.[00:12:00] Um, I mean, I thought the writ-Barbara: Well, IJennie: agree. Yeah. I thought the writing was great. It sort of tripped along-Barbara: Mm ...Jennie: um, nicely. IBarbara: like at the end where... I'm sorry. I didn't mean to step on you. No,Jennie: no, go. Yeah. I like atBarbara: the end, I like at the end where, um, she says she has a problem, and the second mezcal is gonna help her solve it.I thought that was really interesting, ‘cause I, it piqued my interest, made me wanna know what the problem is, but it's also kind of funny. Like, the mezcal's probably not gonna help you solve your problem, but it's like...Jennie: Yeah. No, it's so true. I was longing for a little bit more of a sense of what's happening here.I mean, this could be any kind of story at this point. It could be she could be a spy. She could be an assassin. She could be trying to get a guy back. Like, we, there's really no sense of what the story's gonna be. I always like that on the first page. What about you?Barbara: Yeah. I, I agree with you. I, it, it could, it could go in any direction.I kind of [00:13:00] sense from the tone that it's, you know, it's going to be something, uh- Well, I guess I don't know. You know, honestly. Now, now that I'm looking at it again and thinking about it, um, you're right, it could be... The, the problem that she has could be a thriller problem, or it could be a romantic problem, since she's kind of made, made comments about the different men.I think that was a hint to me that it might be a romantic problem that she's having, but I actually don't know.Jennie: Yeah. The, the- obviously she's clocking all the hot guys in this bar, which tells us something, either about her or what she's up to. We don't know. Um, but yeah, it's, um, really good detail, like the, you mentioned that first line, and I liked the line about her sh- the self-awareness about, you know, she calls him a cowboy and then she says, you know, sort of like, “Oh, right, that's not really fair.”Mm-hmm. “We don't know.” [00:14:00] You know, that, I thought that was, made me think- Yeah ... this character's gonna know themselves.Barbara: Mm-hmm. Yeah. I agree with that. I, I also really enjoyed the kind of specificity that she uses in the descriptions, like when she talks about, you know, the, the cocktail that she's drinking, and the tattoo on the bartender's arm.Like, I just felt like those details really made the story come alive for me. So that, like, even if I didn't exactly know where we were going, I could, I could picture where we were.Jennie: Yeah. Yeah. That's really well said. Well, we like this. I think I would, I would turn the page.Barbara: I would, I would too, yeah. Mm-hmm.Jennie: We would turn the page. Um, I mean, the only notes I think for me would be, I mean, it's always so tricky, because if we were picking this book up, the title, Trust Me, doesn't really tell us anything, but the cover would.Outro: Mm-hmm.Jennie: The vibe of the cover would. We'd have a little more context for where we were and [00:15:00] what this was about, and that would probably help with the issue that, that I have, which is, well, what kind of book is this?We don't know. Um, and you know, now that I'm thinking of it, we don't even know whe- where we are in time. Um, I'm, I'm assuming modern day, but I don't know why I assumed that. It, maybe it's not. So maybe just a tiny bit more of a sense of- Uh, context for the reader. Mm-hmm. But that's my only note. L- do you have any notes?Barbara: Yeah. You know, I honestly don't think that I, I have any additional notes. I mean, I, I really enjoyed this selection, and I would definitely keep reading here.Jennie: Well, Heather, that's high praise, soBarbara: Yeah, I, I usually have ideas. I usually have notes but I don't.Jennie: Yeah, that's, uh, that's g- a good one for us to start with, and very fun, I hope, for you to hear that from Kathleen.All right, let's [00:16:00] go to our, our next one. This is fiction. It's called Odeon Omega, um, and the author is ... Well, the, the, um, it's coming across as, um, Sound Smith, but who knows what that is? So, um, Odeon Omega, they will know who they are, for sure. All right, here we go. “The grand O-O opening continues all month long at your new entertainment destination, the one and only, first of its kind on this or any other coast, the all-new, all-excitement Odeon Omega.‘Gah!' Emmy shrieked from the bathroom. ‘You can turn the TV volume down now, Seth. We're done.' Seth was still lying in bed, his naked body mostly covered with Emmy's cream-colored, satiny soft sheets. He chuckled while reaching for the remote. ‘I wasn't the one who turned it up.' ‘I know that. I have to [00:17:00] turn the TV way up like that, though.It's the only way to drown out the neighbors. The walls in this place are so damn thin, and they're always banging on them, disturbing me when I'm trying to have sex.' ‘Those b******s,' Seth chuckled. ‘I'm saying, I like ... I'm saying, like, what am I supposed to do? Not f**k? Hey, that is so not an option,' Seth p- Seth pressed the mute button, then went back to lying on his back, his hands behind his head.Another noise startled him, this one coming from Emmy's phone. A toneless version of Girls Just Wanna Have Fun blared from Emmy's clutch purse. ‘Turn that off, too,' Emmy shouted from the bathroom. ‘That's my mother's ringtone. I don't feel like talking to her right now.' Seth rolled over to the nightstand and opened her clutch and found the button to silence Emmy's phone.He lingered on the image of Emmy's mother. ‘Wow, Emmy, you and your mom could pass for sisters, easy.' ‘Ew, don't tell me that,' Emmy said. ‘Tell her that, but not me. Bet you're already imagining yourself in a threesome with her and me, [00:18:00] aren't you?' ‘Huh, what's that?' Seth was distracted by Emmy's driver's license in the clutch's interior pocket.He slid it out of the pocket and read what he assumed was Emmy's birth name. ‘Myrtle? What? Your re- your real name is Myrtle?' Emmy stepped out of the bathroom, still naked from their lovemaking, with a sky blue-colored towel clenched between her legs.”That's a vibe.Barbara: It is. It is, yeah. I mean, opening, uh, opening in the aftermath of sex is a, is a bold choice. I'll be honest, I don't feel like I have very much context for what's happening here. Um, it seems like Emmy and Seth don't know each other veryJennie: well. I got that sense, too. I got that sense, too, and that the sex that she has this system for turning up the TV has been for other people.Barbara: Mm-hmm. [00:19:00] Yeah. On, on that note, though, I did kind of have, uh, a fundamental disbelief about the setup that was giving me a stumbling block when I was reading this, just because it didn't seem to make a lot of sense to me that she would turn up the television to distract herself from the neighbors, when I would think that that would be more distracting or, you know, just use music or...And I didn't really understand why she would be explaining it to him after the fact instead of in the moment. Um, that felt like it was perhaps just put there for the reader,Jennie: so that we could be distracted. Yeah, it was a little explainy, a little... Yeah, like a, um, we use that term info dump, and an info dump doesn't have to be a whole scene.It can just be a line like that where I, I didn't buy it either that she would actually say that to him now. Mm-hmm. If... He probably would've said, “Why are you turning the TV on?”Barbara: Right.Jennie: Earlier.Barbara: Yeah. Yeah, [00:20:00] yeah, and it seemed like that would be the conversation that would have before we got to this moment. So that was something that, that I struggled with a bit.Jennie: I also didn't believe, it felt like, uh, unearned that he's pulling this license out of her purse. I could see, I could see that he might have seen something on her phone if he's turning her phone off. But-Barbara: Mm-hmm ...Jennie: to, to actually then see... I kept, like I was trying to think through the logistics. Like, okay, see one of those little slidey things inside a purse, but you can't see- Mmthe driver's license. Like, why would he reach in and pull it out? It felt like the author wanted us to get to this moment where- Mm-hmm ... Seth got this information.Barbara: Mm-hmm. Yeah.Jennie: It, yeah, it felt unearned to me.Barbara: Yeah. I, I agree, especially because it doesn't seem like Seth knows her very well, obviously. Then for him to be [00:21:00] digging around in her clutch purse felt- Untrue to the situation, um, unless something else was going on that we don't hear about.Jennie: Yeah, yeah. Um, this... When I said, like, “Well, this is a vibe,” this character has a, a tone or a style or sense about, like a sort of swagger about- Mm-hmm ... her that interests me. Um, I happen to be in the middle... I'm behind everybody else, but I'm in the middle of reading Yesteryear. Oh. Have you read-Barbara: Oh. Yes, yes.Jennie: Don't tell me what ha- I, I- Don't tell me ...Barbara: I w- I won't. I was also late to it, and everybody was trying to tell me about it, and I was just constantly walking around going, “No spoilers, no spoilers.” Yeah.Jennie: But the, that character has, has such a brashness- Mm-hmm ... of point of view and opinion in both, um, both parts of the story there, and there's something about this character that rem- reminds me of that.[00:22:00] There's like a, I don't know, um, a, just a brashness. S- And I, I've been enjoying that protagonist- Mm-hmm ... the Yesteryear protagonist, just ‘cause it's unusual. I've read a tiny bit, and I know people are saying, “Oh, she is so unlikable,” but there's just something of a character that's so owning their, um-Barbara: Mm-hmmJennie: way, and this woman's ownership of, of her sexuality, I guess, I, I thought was- Hmm ... interesting.Barbara: Yeah. No, I, I, I know what you mean, and I, I, I am intrigued by her as a character because, I mean, again, here she, she seems to have kind of an interesting setup in a, an apartment building that has thin walls, um, has this system of turning up her television, um, but not with Seth before.So, you know, it seems like she's had several partners back to this, this space. Um, but she seems very, very confident and, like you said, kind of swaggery [00:23:00] with him. Um, so yeah, I, I am intrigued to know more about, like, who she is and what makes her that way. Um...Jennie: Yeah. Uh, for me, probably not enough to turn the page.Um-Barbara: Not for, not for me either. I-Jennie: Yeah. And, and I have to say that the thing that intrigues me the most about this whole thing is that the title of this book is Odeon Omega, and that's the random, um- I think that's the random show on TVBarbara: Yeah,Jennie: the- Am I ma- am IBarbara: making that up? No, no, no, that, that, that's the first line.It's, um, it sounds like it's maybe like a commercial. I was kind of envisioning it from the way that it was spelled out as, you know, kind of like, uh, oh, the way that like a, a carnival or like a car salesman is like, “The grand o- o- opening.” Yeah, yeah, yeah, yeah. You know, that's kind of how I was envisioning it.Um, so I, I didn't, I did enjoy s- seeing that right up front, um, [00:24:00] but I wanted more context to understand what it was, because without that, I, I don't know what that line means. Um-Jennie: And that just the author's choice, like, okay, the TV's on f- for a random reason- Mm-hmm ... or for her systematic sex reason, and, and she's hearing this show opening, and then that's the title of the book.Like, something about this, I, I thought of it as a, yeah, like a carnival or a show or something- Mm-hmm ... a theme park, um, that there's g- that's gonna become central to the story. It's kind of an interesting way of putting that in in, and presumably- Mm ... it will come back, um- Yeah ... in an important way. But I, I was intrigued by that most of all, actually.Barbara: Yeah. No, same, especially because that's the moment that Emmy says, “Turn the volume down.” So I was, uh, so it made it seem, to me at least, that there was something about that particular advertisement that she [00:25:00] was reacting to, and I wanted to know what that was.Jennie: Well, that's a really great point, and I think if we were to give this writer some guidance- Um, it might be to make more of that.Mm. If the character reacts more to that. Like, in, you know, that she can't hear it or that it's upsets her in a particular way, or she gives us some information or context about that so that we, I don't know, I guess we need to be more grounded in, in what's happening.Barbara: Yeah. And I also just feel like that would give us a little bit more s- because it, that's right there in the title, so it's obviously gonna be important to the story.And so like that would give us a little bit of curiosity about what it is and would propel us to try and understand why she's reacting the way that she is. Um-Jennie: Yeah. And just from a technical [00:26:00] standpoint, I'm looking at this entry, it's almost all dialogue.Barbara: Mm-hmm.Jennie: Which I think is hard on a, an opening page.Uh, don't you? I think-Barbara: I, I do. I, I would really have liked to see a little bit more interiority from Emmy here to kind of, I don't know, understand how she feels, not only about that advertisement, but about, about Seth. Like, did she li- does she like Seth, or is he just like a guy, you know? Um, I just wanted to know a little bit more about how she, who I'm presuming is the protagonist, is experiencing this scene.Jennie: Yeah. Um, yeah, there was even a moment when I thought, “Is she selling sex?” Mm-hmm. Is, is that... Is she a sex worker? Um, you know- True ... so too many questions about what's, what's happening here, which I think could be solved by, um, balancing out the dialogue, um, w- with some other information. [00:27:00] Mm-hmm. Um, yeah, I mean, I'm, um, I'm hoping that this character gets a story that we want, we want to read ‘cause I'm intrigued.Barbara: Yeah. Same. Same.Jennie: Yeah. All right. We have one more that we're going to, um, read. Do you wanna read this one? From your little, “Oh, oh, oh,” opening- ... I was like, “Oh, maybe you're a good narrator. I'm not.”Barbara: Sure. Sure. I'll, I'll read it. Um, so this one is called Empty Spaces. Um, it's fiction. I'm not entirely certain who the author is, unless I'm missing that in the spreadsheet.It looks like perhaps it starts with a T. Um, but here, here is the submission. “April 1st, 1995. ‘Please, please, please,' Corey sputtered, gripping the black receiver with both hands while the operator relayed her [00:28:00] request. ‘Person-to-person call for Tess. Will you accept the charges?' ‘No, she's asleep.' Corey knew her mother was at the beige phone on the kitchen wall a thousand miles away.Then her father's voice in the background. ‘Honey, let the girl talk to her dau-...' And dial tone. Corey slammed the receiver back into its cradle. ‘What the f**k?' She missed. Her knuckles scraped the chrome holder, and she unleashed her fury on the edge of the black payphone. ‘F**k, f**k, f*****g f****r.' The rain that had been collecting in the roo- in the rim of the payphone box was shaken loose by her tantrum and cascaded down inside the collar of her flay- flight jacket.Well, Charlie's flight jacket. ‘Skipper,' came Top's quiet baritone from behind her. ‘We're ready to roll.' ‘Thanks, Top.' Corey accepted the styrofoam cup of coffee he handed her, then sloshed her way to the lead truck, Arlo trotting at her heels. She hoisted herself up into the passenger side of the rig. Arlo curled up beside her and dug his head into her lap.Why did her mother have to be such a [00:29:00] little b***h? And on this night. Was it too much to expect her to remember that it was Charlie's birthday? No, Maria remembered. She was the one who kept a file of birthday cards, organized by month and paper clipped to envelopes, neatly stamped and addressed to the recipient.But nobody sends a birthday card to a dead person.” After a few minutes, Top started his status report. “Got word from the 24-hour man. The lot they gave us was too small and underwater. He put up a fuss and got us moved to the football field at the high school.” Corey took a sip. “It'll be nice to have a dry lot.Daisy's got that one nail that looks a little soft.” She fiddled with the radio, settling on a country station, what else was there, and yawned. “Where are we headed tonight?” And that is it.Jennie: Wow, well, author T., uh, Wood, what a treat to have Kathleen Barber read your, read your stuff like that. Gee, you, you sounded amazing.You sounded like you'd written that. That was so cool. Do you- I, uh- ... narrate your own books?Barbara: I, I do not, but I have [00:30:00] small children, and I read aloud every night.Jennie: Do you do the voices?Barbara: Oh, yes, I definitely do the voices.Jennie: Do you do all of them, like, in aBarbara: very- I do all of them.Jennie: You do?Barbara: Yeah, yeah. My, my kids were really into the Wings of Fire series, so I've read all of those books, and there are many, many dragons, and they all have different voices, and if I do not remember the different voice, my children will be like, “Mommy, that's not what Peril sounds like,” and then I'll have to remember and try again,Jennie: so.Take notes? Do you have, do you have a guide? Do you just remember? Um,Barbara: no, I just, I just try and remember.Jennie: Oh,Barbara: my. I should take notes, but I'm not that organized. I just go off.Jennie: That, that's amazing. That's amazing. Um, just while we're talking about it, is there audio already for the new book, for, uh, Sisterhood Above All?Barbara: There, there is. There is, yeah. Um, I recently got, uh, got a peek at it, and I am very, very excited. We have a different [00:31:00] narrator for each of the POV characters, and they are all fantastic. Super excited.Jennie: Amazing. All right, so back to this, back to this work. Um, I thought this was great. Uh, did you, did you, how did you feel reading it?Barbara: I, I, I enjoyed reading it. Um, when, when I was, when I was reading it the first time, I, I found myself getting stopped a few times because I felt like there were a lot of names, and I was confused. Um, you know, it's, it's in- I don't feel like an author needs to spell out for me who every single character is on the first page at all.Um, it just felt like in a small amount of time, there were a lot of names that I felt like I was trying to keep track of, and that was a bit confusing for me. Slowed me down a little bit.Jennie: I agree with that. Actually, the first time that I read it And [00:32:00] admittedly, I was scanning these really fast the first time I read it, but there, there's something to that, how things hit your head.But I thought that, um, I thought Daisy was a horse because I was like the one nail that looks a little soft, like is who, what- Yeah ... where would that matter that we need to be on grass? And, and, and then I was like, “Wait, who even is Daisy?” So I got stuck on that- Yeah ... for sure. And, um, and then the, um, there's a nickname that I think the main...I think Corey, the, the other character calls her Skipper, so I was confused by that. Right. So it, yeah. Yeah. Are those some of the things that you mean?Barbara: Yeah. The, those was... And I was also just a little confused when I first started reading that it starts out with person to person call for Tess, and then we're talking about her mother.And I, I thought at first that her mother was [00:33:00] named Tess, and that, and that the operator was trying to reach her, and that her mother was simply not, simply not wanting to talk even though she was by the phone. But then later on I realized that her mother is actually named Maria, and that Tess must be somebody else.Um, I think Corey's daughter, but I didn't, I didn't catch that on first reading. I had to read it again to be able to understand that.Jennie: Yeah. So there, there is a lot going on for sure. When I said that I thought it was great, I- I'm, I'm hoping that this character's some kind of trucker just because that's cool, and, um, it, it seemed like we have some tension both in whatever's happening around...You know, like, they have a 24-hour man. They're... Uh, so there's something afoot. Like, there's a pr- a project or something afoot that feels like it's not gonna go well or something's gonna [00:34:00] happen there. Um, and I also, you know, now we have the thing with the, well, we learn I think it's the mom. But, um, th- there- Yeahwere enough elements of intrigue, like, what's, what's going on here, what's gonna happen, that I... And I thought it was well-written.Barbara: Yeah. No, and I, one of the things that I really enjoyed was the way, the, the descriptions of what the, what the scenery looks like with the, with like the weather. So like there's, there's the rain, um, there's another line about how when they're like getting into the truck that like the lot is underwater, so I'm kind of like envisioning...I actually don't know what time of day it is, but for some reason I'm envisioning it being a little bit darker, but that might just be because of, of the rain that's happening. Maybe that's what's making me think that it's, it's a little bit darker outside, but I'm like envisioning the, the rain, and they're getting into the rig.But I, I didn't get that she was a truck driver. I, I, I think maybe... But I, but I, [00:35:00] I don't know. I don't know. I thought that maybe she was some sort of- Some sort of, like, news person. But I don't... ‘Cause I don't actually, I don't actually know what a 24-hour man is, so I think that might have... Okay. Yeah. No, I don't know.I was just like... So I, so I didn't know. Um, but I was, I was curious to know... Yeah. I was gonna say, I was curious to know why she was making this call to her mother at this moment, and why she was so desperate for her mother to answer the phone at this moment. Um, so yeah, th- those were, those are questions that I had.Jennie: Usually, back in the day, which this was, um, will you accept the charges was something you did when you had no money.Barbara: Mm-hmm.Jennie: You know, you would call home or wherever and, ‘cause you didn't have money to make a call, so the operator would place the call and ask the [00:36:00] person to accept the charges. Mm-hmm. And normally you would do that with somebody who knows you have, you're having a problem, or, you know.So, like, this is a very particular moment that led me to believe that she didn't, she didn't even have money for a call. So- Mm-hmm ... I don't know why I placed her as a trucker. Like, she climbed into the- Oh, okay ... the rig. She s- she sloshed her way to the lead truck. She's fiddling with the radio station. Like, what, where we headed?Yeah. Like, we're just on a job. I totally made her a truckerBarbara: and I- Yeah. No, no, no. I, well, I think maybe the reason I thought maybe she wasn't was because there were all these other... Because, like, Top is there, and the, it's, it's a lead truck, and she's, she's getting into the passenger side. And there's also a, a, a dog, I assume.I assume Arlo's a dog. I suppose it could be some other sort of animal that's, that's with her, but I, I assume Arlo's a dog. Um- Well,Jennie: so this is actually a really great [00:37:00] conversation for anybody listening, and particularly for this author. You can see that if you confuse your reader They're gonna spend their time with these kinds of questions.Like, is the mother Tess or is it Corey? Is this woman a trucker or not? Is... You know, and those are not the kind of questions you want to be leaving your reader with. Those are-Barbara: Yeah ...Jennie: um, I don't know w- how we would describe them, almost logistics. They're,Barbara: they're more like de- yeah, yeah, exactly. ‘Cause I mean, they're, I, I, I enjoy getting a good question at the start of reading something, you know?Like, you know, I mean, for example, it's, it's really interesting that Corey made what seems to be a collect call, and they didn't just not answer it. They answered it, and then hung up on her, which feels, like, very purposeful. And so, like, I'm very, I'm very curious about that relationship. I'm curious about the fact that, that Charlie is, is dead, um, and [00:38:00] who Charlie is to the, to the narrator.These are things that, like, have piqued my curiosity, and I would like to learn more about, um, would inspire me to read more, to learn more about those things. Uh, but then those other things that we were talking about, like, well, like, who is this? W- what kind of animal is Daisy? Like, what are, where are they actually going?Like, what, what is, what is the goal here? What, what is the deal about the, the lot and the, and the football field? The, w- what are we gonna do here? Those are questions that, that slowed me down, and made me less likely to want to keep reading.Jennie: Yeah. I loved that line, “But nobody sends a birthday card to a dead person.”Barbara: Yeah.Jennie: And I, I'm thinking- Really poignant ... that that's the center of this story, you know, s- who, who was Charlie? I think you said that. Mm-hmm. Was-Barbara: Mm-hmm.Jennie: And ‘cause she's got the jacket.Barbara: Yeah.Jennie: She's got Charlie's jacket, so- That, that'sBarbara: true, and sh- and she's wearing it, I think. [00:39:00]Jennie: Yeah, and, and so- I mean, I suppose Charlie could be a child if this person is older.Barbara: Yeah.Jennie: Like, you know, um, but y- I ... So I had this weird reaction to this, which is I thought it was fun, and maybe that was you reading it. I thought, I thought the writing was great, but I wouldn't turn the page. I'd be frustrated. You know, if, if there was another book or another story that was, um, didn't make me work so hard- Mmto figure out where I was or what was happening, I would choose that over this. So it's a weird combination for me of great job, but it's a no for me.Barbara: Yeah,Jennie: that- What about you?Barbara: That's, that's how I felt. There, there were a lot of elements here that I think are, that are intriguing and that if presented slightly differently would make me want to turn the page.But as, as it is right now, I, I would not. [00:40:00]Jennie: I agree with that. I think it feels close. Mm-hmm. Um, so how could we give this person some direction for, um- Yeah ... well, you talked about all the names, and I don't think the solution is ID all these names.Barbara: Right.Jennie: Mm-hmm. That's gonna be clunky. Or ID all these people. Um-Barbara: Yeah.I, I think for, for me personally, what I think would help was if we were to get a bit more of a peek inside the nar- inside Corey's head, so we could understand from her perspective why it's important that she's making this call, like, what the goal is with the truck. Um, if we just saw it a little bit more from her view and got to know a little bit more of the information that she already holds in her head, I think that would go a long way to making the story feel more accessible to the reader.Jennie: That's really well said, and [00:41:00] hopefully that helps the writer for your next pass to, to think about. But I- there's something, there's something good I think here going on. Mm-hmm. And, uh, I have the same, um, comment that I had earlier. I, I wanna know what kind of story I'm in, and I'm s- and I'm not sure. We were talking about sorting out these relationships and what's happening with the field and the truck and then the weather and all that, but again, is thisThere's no sense of what kind of story this is going to be. And, um, I, I always want a little more. And, and the title is Empty Spaces, which doesn't help, um- Yeah ... point us to that. I hear that. So just a little more, um, of a sense of what world are we? What, what problem do we have? What world are we in? Um, you know, and even just that last bit where the character turns the radio station on and yawns, “Where are we headed [00:42:00] tonight?”It- there's, there's not an urgency of It's, s- nobody's running from anything. There's no- Right ... threat, uh,except for the mom who won't answer the call.Barbara: Yeah, yeah.Jennie: Yeah. Um, so a little, a little more of a sense of what's at stake. Um, I know, we always are asking so much on a first page, but- I know ...Barbara: uh. I know, but e- you know, it's, there are so many things to read, you know, from, like agents, editors, readers, all have so many things to choose from, and so it's just so important to nail that first page, you know?Jennie: How many times do you rewrite your first pages?Barbara: Oh my gosh, so many times. So many times. Yeah. Yeah, well, um, ‘cause usually I write the first page, and then I write the rest of the book, and then I'm like, “Oh, like, the rest of the book does something different. I need to go back and, like, make this first page...”Also, I do, I often do the thing that I think a lot of writers do, which is, [00:43:00] once you've written a little bit further, you realize that, like, you've started at the wrong spot. Um, I mean, the, one of, one of the things that helps me when I, when I think to do it is to use one of the exercises that's in, that's in your work, where you, where you start what, you, you write the beginning and the ending before you even start anything.Um, and I, I, when I remember to do that the right way, that really, definitely helps me. Um, but I don't always remember to do that, and so I have, like, partway in, and then I'm like, “Wait, no, the first page.” So,Jennie: it's- Well, that, yeah, that's a, um, a step in the blueprint for a book book. Um, it's a good one, for sure.Uh, well, thank you so much for joining me for, for this, Kathleen, and congratulations on the new book. Um, for everyone listening, go check out, you can find everything at KathleenBarber.com. And, um, you can find Sisterhood Above All, which is brand new and just out and sounds like so much [00:44:00] fun. I, it's on my TBR, TBR.Yay. I just can't read, I just can't read thrillers at night. I get too scared. So,Barbara: um-Jennie: That'sBarbara: fair. That's fair ...Jennie: I, I have to wait till I'm, like, on a plane or, um, you know, somewhere where I'm reading during the day. Yeah. Is this one, is this one l- scary scary?Barbara: I mean, it's, it's not, like, scary scary. It's, it's not, like, uh- It's, it's not like there's someone who's out there to kill you for reasons that you cannot control.You know what I mean? Like, it's like- Yeah, yeah ... it would be scary to the people inside the book, but it should not be scary to you. ButJennie: I understand how- Well, we don't need to reas- We don't need to reassure me because people love these, love these- Yeah ... and, uh, what a fun, fun setting and setup for- Thank youa thriller. It's, it's exciting. Thanks. So can't wait to see how, how the world receives it. And- Mm ... um, I always hate to say this to somebody whose book just came out, but can't wait to see what you do next. [00:45:00]Barbara: Don't worry, I'm already writingJennie: stuff. Oh, yeah. Do you, ooh, do you wanna, do you wanna tell or no?Barbara: I, I do not, just ‘cause I get really superstitious about it, but, um, but I have something that I'm working on that I'm excited about, so you know, we'll see how it goes.Jennie: I love it. Well, thank you for joining us for Book Life, Jennifer.Barbara: Thanks for having me. That was a lot of fun.Jennie: For our listeners, let's get back to work and finish what matters most.Outro: The hashtag amwriting podcast is produced by Andrew Perilla. Our intro music, aptly titled Unemployed Monday, was written and played by Max Cohen. Andrew and Max were paid for their time and their creative output because everyone deserves to be paid for their [00:46:00] work This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit amwriting.substack.com/subscribe

Host Jesse Jackson welcomes writer and musician David Starkey to Set Listing Bruce to discuss Starkey's book On Track: Bruce Springsteen 1973–1987, Every Album, Every Song and his lifelong relationship to Springsteen's recorded work. Starkey shares how growing up between Sacramento and summers in Beaumont shaped his musical tastes, from Johnny Cash and Aerosmith to discovering Springsteen via Greetings and being captivated by Born to Run and Darkness on the Edge of Town. They talk about the current tour, its political tone, Tom Morello's guitar work, ticket prices, and setlist debates. Starkey explains his writing process, what he learned by re-listening (especially the importance of piano), and why 1987 marks an era's end. The conversation also touches on poetry vs. lyrics, Starkey's interview series The Creative Community, upcoming projects, and the “Mary question” from Thunder Road. https://www.simonandschuster.com/books/Bruce-Springsteen-1973-1987/David-Starkey/On-Track/9781789524710 00:00 Podcast Welcome 00:39 Meeting David 02:03 Early Music Obsessions 03:44 Family Sounds and Travel 06:59 Johnny Cash Tangent 09:04 Finding Springsteen 10:03 Live Shows and Politics 13:54 Ticket Prices Debate 14:28 Writing and Poetry 18:08 Why This Bruce Book 20:05 Born in the USA Memories 22:14 Researching the Albums 23:53 Why Stop at 1987 25:43 Concert Banter Debate 26:59 River Tour Pacing 27:55 Writing More Personally 29:33 Hot Takes On Songs 30:51 Family Discovers Nebraska 32:06 Biopic Who Is It For 34:35 Bruce Creative Evolution 36:46 Never Repeating Himself 39:41 His Interview Show Origins 41:09 Next Books And Memoir 44:12 Where To Find The Book 45:54 Final Thanks And Signoff 46:24 Podcast Housekeeping Learn more about your ad choices. Visit megaphone.fm/adchoices

Matt Combs is a composer, arranger, producer, author, educator, and Nashville-based multi-instrumentalist whose work bridges American roots music, orchestral composition, and film and television scoring. Since arriving in Nashville in 1997, Combs has worked extensively in the studio under producers including Dan Auerbach, T Bone Burnett, Don Was, Buddy Miller, John Carter Cash, John Osborne, Matt Sweeney, Butch Walker, Alison Brown, Dave Ferguson, Ian Fitchuk, Daniel Tashian, Jordan Lehning, Pat Sansone, Misa Arriaga, Beau Bedford, and Gerry Beckley. He has provided string arrangements and performances for legendary and contemporary artists including Johnny Cash, Loretta Lynn, Wynonna Judd, Kacey Musgraves, The Black Keys, Sturgill Simpson, Brothers Osborne, Yola, Marcus King, Wilco, Ashley McBryde, Stephen Sanchez, and CeeLo Green. Combs spent three seasons as a musician on ABC's Nashville, has served as a house band member for the CMA and ACM Awards, and worked in the Grand Ole Opry staff band, backing artists including Vince Gill and Charlie Pride. He has toured extensively with Reba McEntire, Ray Price, Patty Loveless, Jerry Douglas, Mike Snider, Maura O'Connell, and Wynonna Judd. A prolific contributor to film, television, and video game music, Combs' work can be heard on releases including Yellowstone, Red Dead Redemption 2, The Menu, Texas Chainsaw Massacre, The West, Old Henry, Color Out of Space, Horizon, and Famous for Killing Each Other: Music from and Inspired by Hatfields & McCoys. Combs is also a producer and curator, leading projects including Pa's Fiddle: Music from Little House on the Prairie, John Hartford Fiddle Tune Project Vol. 1, and recordings by Diana Jones and Taylor Brashears. In 2018, he co-authored John Hartford's Mammoth Collection of Fiddle Tunes, working directly with the Hartford estate to curate and transcribe 176 compositions from more than 1,000 handwritten tunes in Hartford's personal journals. Combs earned a Bachelor of Music in violin performance from the University of Michigan under Paul Kantor. Deeply committed to education, he teaches at camps, universities, and public programs, sharing both technical expertise and the history of American fiddle music.   www.mattcombs.com https://combsmatt.bandcamp.com/album/fifty-years-of-clown-school https://open.spotify.com/artist/4E5CVA3tAALpUH7Zi3dAj9?si=X5FyWCaASk6alFSWYgLmqA    

Hörmann, Andi www.deutschlandfunkkultur.de, Lesart

Hörmann, Andi www.deutschlandfunkkultur.de, Lesart

Frank Ridley has been given centuries to live, but the woman he loves may have only decades. To keep her, he must ask her to accept the same extraordinary future that has already separated him from everyone else. Forever is So Long by John Jakes. That's next on The Lost Sci-Fi Podcast. Today marks the debut of author John Jakes on the podcast. If his name sounds familiar it might be because of the TV Mini Series North and South which aired on ABC in 1985, Book 2 ran in 1986 and Book 3 in 1994. Book 1 had an All Star cast with Patrick Swayze, Kirstie Alley, David Carradine, Johnny Cash, Morgan Fairchild, Gene Kelly, Robert Mitchum and Elizabeth Taylor. Long before North and South Chicago native John Jakes wrote more than 100 science fiction short stories and novels beginning in 1950. Decades before the Kent Family Chronicles and North and South, Jakes imagined a future where humanity could dramatically extend the human lifespan—and asked what that might do to two people in love. We will find out in the April 1953 Avon Science Fiction and Fantasy Reader on page 104, Forever is So Long by John Jakes… Next on The Lost Sci-Fi Podcast, One careless trip into prehistory leaves Gooseneck McCarthy facing the one man stubborn enough to ruin everything—himself. Every attempt to fix the problem creates another McCarthy, and soon nobody can agree which one belongs in the present. Me, Myself and I by Philip Klass. Lost Sci-Fi Premium - https://lostscifi.supercast.com/ Buy Me a Coffee - https://lostscifi.com/coffee Newsletter - https://lostscifi.com/free/ Facebook - https://lostscifi.com/facebook YouTube - https://lostscifi.com/youtube X - http://Lostscifi.com/x Instagram - https://www.instagram.com/lostscifiguy Bluesky - https://bsky.app/profile/lostscifipodcast.bsky.social Merchandise - https://lostscifi.creator-spring.com/ Thanks to Our Listeners Who Bought Us a Coffee $200 Someone $100 Tony from the Future $75 James Van Maanenberg $50 James Van Maanenberg, MizzBassie, Anonymous Listener $25 Fintan Quigley, Curious Jon, David Bell, Steve, Miriam, Someone, Someone, Eaten by a Grue, Jeff Lussenden, Fred Sieber, Anne, Craig Hamilton, Dave Wiseman, Bromite Thrip, Marwin de Haan, Future Space Engineer, Fressie, Kevin Eckert, Stephen Kagan, James Van Maanenberg, Irma Stolfo, Josh Jennings, Leber8tr, Conrad Chaffee, Anonymous Listener $15 Every Month Someone $15 Steve, Someone, SueTheLibrarian, Joannie West, Amy Özkan, Someone, Carolyn Guthleben, Patrick McLendon, Curious Jon, Buz C., Fressie, Anonymous Listener $10 David, Anonymous Listener $5 Every Month Eaten by a Grue $5 Tammy, Owen, Bruce, Someone, TLD, David, Denis Kalinin, Timothy Buckley, Andre'a, Martin Brown, Ron McFarlan, Tif Love, Chrystene, Richard Hoffman, Anonymous Listener Listen without commercials and enjoy exclusive bonus episodes every month with Lost Sci-Fi Premium—start your free 7-day trial today. https://lostscifi.supercast.com/ Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.

Send us Fan MailLong before Waylon Jennings and Willie Nelson got credit for starting outlaw country, Johnny Cash was already living it. This episode of Once Around the Country traces how a poor farm boy from Arkansas, born with only initials for a name, became the man behind one of the most legendary live albums ever recorded.The episode covers Johnny's growing outlaw reputation, his arrests, his drug use, and the empathy he developed for the men he met behind bars. That empathy led to a dream he chased for over a decade: recording a live album inside Folsom State Prison. Record executives thought it was a terrible idea. Johnny thought it might save his career.On January 13, 1968, Johnny Cash walked into Folsom State Prison alongside June Carter, the Statler Brothers, Carl Perkins, and his backing band the Tennessee Three. He recorded a concert that revived his career and became one of Rolling Stone's top 500 albums of all time.In This Episode:Why Johnny Cash wasn't actually born "Johnny"The tragedy that shaped his childhoodHow Sun Records changed his careerThe surprising reason he always wore blackJohnny Cash's arrests and drug strugglesWhy Folsom Prison became his greatest performanceHow Merle Haggard's life changed after seeing Johnny performWhy At Folsom Prison still ranks among the greatest live albums ever madeThis episode is sponsored by: Dignity Memorial Reed Animal Hospital Bio:Johnny Cash (born J.R. Cash, February 26, 1932 – September 12, 2003) was an iconic American singer, songwriter, and musician. Known as "The Man in Black," he blended country, rockabilly, rock and roll, folk, and gospel. He sold over 90 million records, earned 13 Grammy Awards, and was inducted into both the Country Music and Rock and Roll Halls of Fame.Tags: Johnny Cash At Folsom Prison, Folsom Prison Blues, Country Music History, Outlaw Country, Classic Country, Merle Haggard, Waylon Jennings, Willie Nelson, June Carter, Sun Records, Sam Phillips, Tennessee Two, Music History, American Music, Country Legends, Live Albums, Once Around the Country, Gary Scott Thomas, Here's What We Know, Storytelling, Biography, Historical Podcast, Society and Culture, Music PodcastConnect with Gary:Gary's WebsiteFollow Gary on InstagramGary's TiktokGary's FacebookWatch the episodes on YouTubeAdvertise on the PodcastThank you for listening. Let us know what you think about this episode. Leave us a review!

In this episode of Tunesmate, listen to Judy Rodman describe her impressive music career. Find out how she became a #1 country recording artist with her song “Until I Met You,” an award-winning vocalist, songwriter, session singer, and vocal coach. Discover her humble beginnings singing in her family's band at age two and becoming a professional jingle singer at seventeen. Judy shares stories of working as a backup singer for Johnny Cash, Tammy Wynette, Elvis Presley, and Rick Dees before breaking out as a solo artist. She also talks about songwriting, performing, family, and what it takes to connect with an audience. She believes that great music sends a message and is something that people feel.    

No theme this week. No genre studies. No artist retrospectives. Just two hours of great American music. We're in a free-form mood, wandering once again through the dusty digital archives of the past century in search of songs that simply deserve to be heard. Pour yourself a favorite morning libation and settle in as we journey from the elegant dance band sounds of George Olsen to the gypsy jazz brilliance of Django Reinhardt and the unmistakable blues of Memphis Minnie. Along the way, we'll kick up a little country dust with Willie Nelson, Johnny Cash, Marty Stuart, and plenty of other musical companions. There may not be a formal theme, but don't be surprised if the songs begin talking to one another. You'll hear stories of good news and bad news, bad blood, hard luck, redemption, resilience, and the enduring hope that seems to find its way into the best American music. That's the beauty of community radio. Sometimes the best discoveries happen when you stop looking for a destination and simply enjoy the journey. Join us Friday morning at 9:00 Pacific on KOWS Community Radio, streaming worldwide at kowsfm.com, and spend a couple of hours exploring the music that shaped where we've been—and still has something to say about where we're going.

Bobby, Eddie and Brandon draft the best country songs that successfully crossed into the pop world. From Dolly Parton and Johnny Cash to Taylor Swift, Shania Twain and Chris Stapleton, each of them builds a five-song lineup filled with massive hits that reached far beyond country radio. Along the way, Bobby shares a story from his early days in Nashville, the guys challenge a few questionable picks, and the debate gets competitive as they make their case for the strongest draft. Watch The BobbyCast on Netflix! Follow on Instagram: @TheBobbyCast Follow on TikTok: @TheBobbyCastSee omnystudio.com/listener for privacy information.

The Tim Conway Jr Show Hour 1 (8.5) Timmy opens with grim news out of San Bernardino County: A deputy was shot while serving a search warrant east of Palmdale after a shootout. The update comes quickly — the officer is stable and expected to pull through, while the suspect who fired the shots is dead. Meanwhile, the man arrested at Trump National Golf Club Los Angeles with a gun and a pocketful of bullets, Marine veteran Jeanine John Taele, is under further investigation after police searched his Downey home. In a separate security scare, a commercial jet took off from Ronald Reagan National Airport yesterday while President Trump was airborne in Marine One — a clear violation of the long-standing rule that freezes all flights at the airport just 3.5 miles from the White House during presidential helicopter movements. And in a much lighter moment, Timmy ties the stalker’s unusual first name to Johnny Cash’s “A Boy Named Sue,” then shares a classic story from his limo-driving days: he once picked Cash up at LAX, drove him to a festival in the Antelope Valley, and spent three days chauffeuring the Man in Black, who insisted on riding shotgun because he “wasn’t that kind of celebrity.” At the end of the gig, Cash handed Timmy a golden ticket. See omnystudio.com/listener for privacy information.

The Tim Conway Jr Show Hour 4 (8.5) Whenever President Trump lifts off in Marine One for Andrews Air Force Base, the skies around Ronald Reagan National Airport — just 3.5 miles away — are supposed to go completely quiet. No takeoffs, no landings. That rule was broken yesterday when a commercial jet blasted off while the president’s helicopter was still in the air, creating a serious near-miss that violated long-standing security protocol. The alleged Trump stalker arrested with a gun and bullets at Trump National Golf Club has an unusual first name — Jeanine — which immediately sent Timmy into Johnny Cash mode and “A Boy Named Sue.” That led to a classic Conway story: Back in his limo-driving days, Timmy once picked Cash up at LAX to drive him to a music festival in Antelope Valley where he was the main draw, spent three days chauffeuring him around greater LA, and watched the Man in Black insist on riding shotgun because he wasn’t that kind of celebrity. At the end of the gig, Cash handed him a golden ticket. Meanwhile, public pools are still open, but chlorine is not Purell. Cryptosporidium can live in the water for up to 10 days, and cyclospora isn’t just on your shredded lettuce anymore — so shower first and maybe keep your mouth closed. Chipotle is dealing with a jalapeño recall that may be tied to a salmonella outbreak, and Timmy admits he was so desperate at Burbank Airport that he accidentally charged into the women’s restroom. Nature did not care about the signs on the door. See omnystudio.com/listener for privacy information.

"This is the second to last Rock School show and I'm using it to pitch my 4th album, Widow Maker, which went live last week on Spotify and Apple Music. I hope you enjoy it and I hope to see you all next week for the final Rock School Show."

Artspeak Radio, Wednesday, August 5, 2026, 9am -10am CST, 90.1fm KKFI Kansas City Community Radio, streaming live audio www.kkfi.org Producer/host Maria Vasquez Boyd talks with educator Whitney Boyd and Luna, singer/songwriter Heath Church. Fact: Missouri ranks near the bottom nationwide for teacher pay, consistently appearing in the 49th or 50th position. American teachers are increasingly stepping away from their jobs because of the educational systems and structures that prevent them from engaging in good teaching, which involves professional judgment, attunement to students' multidimensional needs, and a connection to one's purpose and values. The barriers to good teaching include overwork and underpay, in a profession that is increasingly undervalued—but that is not the whole story. The results of a massive survey, America's Teachers on Teaching in an Era of Change, indicate a strong correlation between teachers' job satisfaction and feeling that their voices are heard. Ninety-eight percent of the 20,000 respondents believe that teaching is more than a profession; it is how they make a difference in the world. The survey also suggested that new teachers, in particular, have comparatively higher needs for both content and social support. A frequently cited challenge for teachers was finding time to collaborate with colleagues, and rural and small-town teachers feel significantly more isolated and in need of support, connection, and collaboration. While self-care strategies such as mindfulness, gratitude, and self-compassion have been shown to support individual well-being, they are insufficient to support teachers who believe that their institutions are not in alignment with their values. These educators need the support and connection of an authentic learning community to give meaning, purpose, and direction to their work. Such communities are of particular importance for reengaging those suffering from demoralization, helping them regain their self-efficacy, which can lead to increased job satisfaction and commitment to students and the profession. There is power and hope when we work together. (What Teachers Really Need to Thrive, Greater Good Magazine, July 15, 2024, Margaret Golden, Ed.D, www.greatergood.berkeley.edu) Margaret Golden, Ed.D., is the director of learning communities at the Greater Good Science Center. She is the coauthor of Teach Our Children Well: Essential Strategies for the Urban Classroom and editor of Teaching and Learning from the Inside Out: Revitalizing Ourselves and Our Institutions. Teacher funding comes from crowdfunding platforms, non-profit organizations, and state or federal grants. On average, U.S. educators spend roughly $895 annually out of pocket for classroom supplies, making external grants and community donation programs vital resources to offset these costs. Crowdfunding and Donation Platforms • DonorsChoose: Use the DonorsChoose platform to post specific project requests and connect with individual donors. • AdoptAClassroom.org: Register on AdoptAClassroom to secure flexible funds, corporate sponsorships, and supply packages for your room. • Community options: Most users on Reddit agree that sharing Amazon wishlists on social media, checking local Buy Nothing groups, and utilizing PTA resources are effective supplementary tactics. Local and Regional Grants • State catalogs: Search localized opportunities like The Grant Portal to find active funding listings specific to Missouri educators. • Union support: Check the Missouri NEA for regional tuition assistance, humanitarian aid, and small project grants. Professional and Federal Programs • Fellowships: Apply for self-designed professional development funding through Fund for Teachers when applications open. • Government grants: Look into federal opportunities such as the Teacher and School Leader Incentive Program via the U.S. Department of Education. HEATH CHURCH is a singer-songwriter from the Midwest whose music is best described as dreamy indie-folk. His inspirations range from folk music legends including Johnny Cash, Blaze Foley, and John Prine to more recent indie artists such as Elliott Smith, Odie Leigh, Eels, and The Japanese House. Warm acoustic guitar tracks with layered vocals and undeniably catchy lyrics are all part of Heath Church's signature sound which has been described as “Midwestern Heartbreak”. Since he first began his journey with songwriting over a decade ago, he has released multiple EPs & singles and has played over a hundred shows. Heath Church now shares his life experiences on stages across the country. When I play a song for you, I want to create an experience that sticks with you. I want to take you to a place in your mind where you feel accepted and understood in a unique way that you haven't before. That's what music does. It understands us. I think everyone needs a chance to feel understood. -Heath Church https://www.facebook.com/share/1BYd2k8NmE/ https://open.spotify.com/artist/5THqQuSbp7IuOk5zQbnDeW...

This week we look at the craziness going on in some of the worlds top universities - including the Ceuta invasion; Country of the Week - South Korea;  The Oxford Union Islam debate; Humza Yousaf on Islamic dominance;  Police and Schools encourage Isalmism;  Boy George supports Israel;  The Walter Mitty world of Prof Jason Arday;  Left Wing Terrorism;  Women v. Men in sport; the death of Bill Oddie;  Fauci's silence; Bill Anderson on Bureaucracy; Feedback and The Final Word - Matthew 12:36-37 - and Johnny Cash's most important song.  with music from The Proclaimers; Johnny Cash; Supertramp; Boy George; BTS; The Blues Band; Coldplay

On Part 6, the thrilling finale of Exclusively Van Halen on Johnny Beane TV, legendary guitar tech Zeke Clark wraps up this incredible series with an unforgettable collection of Prince memorabilia, rare rock collectibles, and amazing stories from his career working with some of music's biggest legends—all from his current Backstage Auctions event. The episode begins with more stories about the Dunlop Cry Baby Wah pedal that was personally gifted to Zeke by Eddie Van Halen, followed by 2012 Eddie Van Halen guitar picks, Taylor Swift Fearless-era guitar picks, Dunlop Taylor Swift picks, and Alex Lifeson's 2007 Rush Snakes & Arrows Tour guitar picks. The spotlight then turns to Zeke's years working with Prince, featuring an incredible collection of Love Symbol and Love God guitar picks, New Power Generation picks, rare backstage passes, VHS tapes, floppy disks, and personal items hand-stamped with Prince's famous Love Symbol stamp—something only Prince himself possessed. Zeke also shares the story behind creating the iconic silver foil Love Symbol guitar pick stickers, a detail Prince loved and personally approved. The Prince collection continues with New Power Generation European tour denim shorts, a matching denim jacket, and an extraordinary custom 1994 Monaco World Music Awards airbrushed jacket, featuring Prince's portrait and his famous microphone gun artwork—a true one-of-one piece of music history. The finale also explores an incredible variety of memorabilia from some of rock's biggest names, including Pearl Jam, Johnny Cash, Willie Nelson, Roy Orbison, Black Sabbath, Metallica, James Brown, Guns N' Roses, KISS, Mr. Big, Vixen, Great White, White Zombie, Korn, Linkin Park, Alter Bridge, Eric Clapton, Alice in Chains, ZZ Top, Cheap Trick, Ted Nugent, Jack White, Glen Campbell, and many more. Also featured is a rare 1990s Aerosmith Rocket Cargo Crew Nike fleece jacket—one of only 20 ever made—along with additional Aerosmith memorabilia, country music collectibles signed by artists including Faith Hill, Clint Black, Brad Paisley, Trace Adkins, and Dwight Yoakam, plus a special Eddie Money autographed collection gifted to Zeke by Eddie Money's estate. From Van Halen and Prince to rock, metal, country, and beyond, this finale showcases an incredible lifetime of memories and one-of-a-kind collectibles. Every item has a story, and Zeke Clark was there to live it. Don't miss the conclusion of this remarkable series, and be sure to check out the current Backstage Auctions event to see these amazing pieces of music history. #VanHalen #EddieVanHalen #Prince #BackstageAuctions

Next week David Muhs is going to open his cocktail bar Monkey Thief for the third time. He sits down with Greg and Sother to talk about the different incarnations of his concept, what he's learned by opening the same bar three times in Hell's Kitchen, and how the bar has been refined in the process. They also discuss the other concepts on that same street corner, including Rita's a taco and margarita joint, Same Same Wine Bar and Sama Za, a pizza place that manages to pull of 90s nostalgia in a non-cringe way.PLUS Greg and Sother are safely returned from Tales! They talk about what they saw, what they learned, why their voices sound like late-stage Johnny Cash, and what sparked them at this year's festival.Follow David at @muhsmanFollow Monkey Thief at @monkeythiefbarFollow Sama ‘Za at @samaza_nycFollow Same Same at @samesamewinebarLINKSBecome a Regular: patreon.com/SpeakeasyRegularsFor resources on dealing with cold hard water agents in your community visit nouswithoutyou.la/ and @thenycallianceThe Speakeasy is now on YouTube! Tune in to “see” what we're talking about at youtube.com/@Speakeasy.PodcastLearn more about Luxardo at luxardousa.comCheck out Quiote Imports at quioteimports.com and use promo code “Speakeasy” to get free shipping at checkout.See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

"Every list of the best bands contains the same bands in the top 20 so I made a new list. I looked at several best band lists and eliminated those top 20 bands. My list gets rid of the obvious choices and gives many lesser known bands a chance. See what you think."

"Tammy and I have decided to retire from our jobs and also from creating the Rock School Radio show. I know this is the 744th show on PRX but it's actually our 997th show overall. We will do this show and three more, ending on our 1000th show. To that end, in this show we will announce some musicians who might be retiring soon themselves. We will list the oldest people touring this summer."

Robert Fjällsby kommer från Karlstad, kallar sig Rob Coffinshaker och har sedan nittiotalet spelat i massor av olika band. Mest kända är The Coffinshakers som gör country med skräcktexter. Med sin mörka, djupa röst frontar Rob också de gothmanglande grupperna Die Oberherren och Underground Fire (vars nya album "Hollow grounds" är ett måste för Sisters of Mercy-fans). Ibland spelar han även bas i doom metal-projektet Timothy Griffith's Psychedelic Sunrise och gitarr i Gehenna, det milt sagt konservativa metalbandet från Forshaga som gjort låtar om att slå ner alla som har tribaltatueringar och kort hår. I nya "Hemma hos Strage" pratar Rob om hur han upptäckte att han kunde sjunga som Johnny Cash, om när han tillsammans med bland andra Tobias Forge och Nifelheim startade organisationen Headbangers Against Disco, om när Whale snodde en av hans textrader, om att använda sitt eget blod som trycksvärta och om sin kärlek till ZZ Top, svampplockning och mördarballader. Hosted on Acast. See acast.com/privacy for more information.

This is one of the best bits from Take 5.One of the greatest songwriters of all time sat down with Zan Rowe to open his songbook and dive deep into the making of five of his greatest. Paul McCartney has provided the soundtrack to billions of lives. His legacy in song is unparalleled; starting with The Beatles, who changed the game forever, he rolled on with his own solo career while building a new band in Wings, and collaborating with everyone from Stevie Wonder to Johnny Cash and Dave Grohl.Listen to the full episode here: https://www.abc.net.au/listen/programs/take-5/paul-mccartney-take-5/9230996SONGThe Beatles - 'Blackbird'

Americana, Roots, Country, Folk and Blues music. Includes Alan Jackson, Nanci Griffith, Eagles and Johnny Cash.A Theme Time Special on MOTOR VEHICLES.

What drives your day? Your calendar or your to-do list? Or perhaps your boss? The answer to that question will determine whether you are or will be productive each day.  Links: Email Me | Twitter | Facebook | Website | Linkedin   Learn more about the Time Sector System here Get Your Copy Of Your Time, Your Way: Time Well Managed, Life Well Lived Plan Your Week With Me: The Weekly Planning Matrix. The Working With… Weekly Newsletter Carl Pullein Learning Centre Carl's YouTube Channel Carl Pullein Coaching Programmes Subscribe to my Substack  The Working With… Podcast Previous episodes page   Script |426 Hello, and welcome to episode 426 of the Your Time, Your Way Podcast. A podcast to answer all your questions about productivity, time management, self-development, and goal planning. My name is Carl Pullein, and I am your host of this show.  If you were to look at the paper planners of the 1980s and 1990s, you would instantly see they were all built around your calendar. Some of the more sophisticated planners had a to-do list and a place to keep notes. Most were just a vertical list of times and the day's date with a small area at the bottom for notes.  And there was a reason for that. People working in the 20th century understood that no matter what you wanted to do each day, it would require time.  Dropping your kids off at school likely involved a twenty-minute detour on your regular commute. Restocking your paper-clip box would require you to walk to the stationery cupboard to fill it, another ten minutes, and then there was all the travelling around to meet people. (No Teams or Zoom in those days). Needs drove how we managed our time, and your diary was the only tool that could prevent you from overloading yourself. You could see in an instant whether you could sit down and type out the report or proposal. Because, given that there were no smartphones or tablets, and laptops were prohibitively expensive, you also had to be in the right place in order to do much of your work. I fondly remember the days when I left work at the end of the day, and there was no way a client, colleague or boss could contact me until I arrived for work the next day. My work Email was only on my work desktop, and that was in the office.  Now, somewhere along the timeline, those barriers have been broken down. Your work can, and does, follow you home.  I recently saw a before-and-after picture of people sitting around a resort swimming pool in the 1990s and one in the 2020s.  In the 1990s, people were sitting around the pool talking or reading a book. In the 2020s, people were staring at their phones. No talking, no books. Just eyes glued to a screen.  It's quite sad really to see. It's also why your clients, colleagues and bosses are on holiday with you.  If you're carrying your work life on your phone, then there's no escape at all. It would require a superhuman effort to avoid occasionally looking at your emails and messages. I know some people can do it; most cannot.  Today's episode is about how to put your calendar back to where it belongs: being your primary productivity and time management tool.  So, to get us started, let me hand you over to the recently returned Mystery Podcast Voice for this week's question.  This week's question comes from Judy. Judy asks, Hi Carl, I've heard you say many times that your calendar should be your primary productivity tool. I really struggle with that because I have so many tasks to do, and so I find myself beginning and ending my day in my task manager. Do you have any suggestions on how to make my calendar my primary focus? Hi Judy, thank you for your question. There is a problem with task managers today, and that is their sophistication.  Before we went digital, if you used a to-do list, you needed to handwrite it each day. While this may not have been very convenient, it forced you to only write out the tasks that needed to be done.  Remembering to watch a TV show or read a newspaper article would rarely, if ever, be written on a to-do list unless it was something you genuinely wanted to do.  Even then, when I think back, I knew that The A Team would be on a Saturday at 6:00 pm, and that Ally McBeal was on a Sunday night at 9:00 pm. And I was always at home at those times, and if I wasn't, because there were no streaming services, I wasn't going to see the show then unless I set the video recorder, and to do that you needed a doctorate in Theoretical Physics. Today's digital To-do lists are fantastic. You can add tags and labels, set start and due dates, make tasks recurring, and create multiple lists.  All great features.  And if your to-do list can do all that, what's the point of using a calendar? You can put events and date reminders into your task manager and have one single place to see everything you have to do.  Doing things this way immediately poses a problem, though. You remove the time constraints a calendar gives you.  With a calendar, you can see your day as a whole. You get your 24 hours, and if you tried to over-schedule yourself, you would instantly see it with multiple appointments at the same time. You can then act and reschedule things or cancel a meeting or two. With a task manager, you cannot see that. All you get is a list of things to do. And if you're not curating that list each day, the list just gets longer and longer.  Then you find important must-do tasks get lost among low-value, would-like-to-do-someday tasks. This then requires a lot of time to sort and organise.  But rather more damaging is what this does to your sense of control. Maintaining all this in your task manager creates a sense of overwhelm, and the increase in decision-making required leaves you feeling exhausted at the end of the day.  When you use your calendar as your primary productivity tool, you only need to decide what type of work you will do at any given time in the day.  For example, imagine it's the tax reporting season, and you need to get all your finances in order. Not a small task, and something you likely need four or five hours to complete.  If you were to have a task in your task manager that says “do taxes”, that'll be a task you will keep rescheduling. It's not a pleasant task to do, and you know it will take you four or five hours to do.  However, if you managed this on your calendar, you could schedule a couple of hours on Saturday morning one weekend and a further two hours the following weekend. Now you know you have the time protected. All you have to do is turn up and do the work.  Not turning up and doing it is an entirely different problem. That's not respecting your calendar, which is never a good habit to have.  One other thing you will notice about scheduling this kind of work on your calendar is you see it there well before the time, and that helps you to mentally prepare for the task.  Perhaps you decide to get all the paperwork ready on the Friday evening so you are ready to go first thing Saturday.  On a task list, a task like this will likely be buried away somewhere, and you only see it when you do your daily planning that day.  I've always found historical figures' to-do lists fascinating. People like President Eisenhower, Leonardo Da Vinci, Johnny Cash, John Lennon, Maya Angelou and Margaret Thatcher's to-do lists never contained any dates.  Now, people like President Eisenhower and Margaret Thatcher had diary secretaries. These were people who managed their calendars and informed them at the start and end of each day what their schedule was for that day.  This is something I've found Siri and Alexa superb at. I can walk into my office in the morning and ask what my appointments for the day are. I can also ask them to block out time tomorrow or Friday for doing a specific piece of work.  With AI coming on board, that feature can only get better. If I say to Siri, “schedule a deep work session on Friday morning at 9:30”, Siri will inform me that the cleaner will be coming at 9:30 am, and I can decide to keep the focus session or change it to a time I will not be interrupted.  Each week I write a script for this podcast. I usually do this on a Thursday morning after my meetings. Today, my last meeting was cancelled, so I was able to get to writing earlier.  I haven't needed to look at my to-do list once yet, and it's already 11:00 am. My day began at 8:00 am with a one-hour meeting. It finished at 9:30 am. Originally, my plan was to finish my meetings at 10:15 and begin writing at 10:30 am. As it happened, because of the cancellation, I was able to begin writing at 9:45.  I don't need to change my calendar; I knew that once my meetings were finished, my next task was to write. So I did.  So where should a task list fit into your overall system?  Task managers are great at collecting stuff you have to do. Far better than calendars, as a calendar will demand a date at the very least. Task managers don't need a date. You just add a task to the inbox, and there it will sit until you decide to do something with it.  If you follow the Time Sector System, you process your task manager every 24 to 48 hours, and when you do so, you decide when you will do the task. It will either be this week, next week, later this month or next month.  On your calendar, you protect time for the different categories of work you do. For instance, if you write proposals, then you would have time protected on your calendar for writing proposals. You will likely also have time set aside for dealing with your communications (emails and messages, etc.), and admin.  Then at the appointed time, you use the tags or labels in your task manager to pull up the tasks that match that category of work.  That's an oversimplification of the system. If you want to learn more about the Time Sector System, I recommend checking out the course I have for it. I will put the details in the show notes.  This ensures you are not over-scheduling yourself or attempting to do more than you can do. It also teaches you to say no. You can see whether or not you have the time and space to do the work being asked of you. If you consistently follow this method, backlogs no longer grow, and you stay reasonably on top of your work, although being on top of your work at all times is rarely achievable.  The biggest, more positive change you could make to your productivity system is to put your calendar back in its proper place. Namely, make your calendar your primary productivity tool and use your task manager as a support tool that tells you what to do when you sit down to work.  I should add that for some of you this change will be uncomfortable. If you've allowed your calendar to fill up with meetings, leaving you no time to do the work you are meant to do, sticking your head in the sand and ignoring it won't make the problem go away.  This is when you may have to have a conversation with your boss. More than five hours of meetings a day, and you're not going to be able to do much work beyond responding to messages. When you take into account toilet breaks, making coffee, and your lunchtime, there's not going to be much time left for anything else.  I hope that has helped, Judy. Thank you for your question.  And thank you to you too for listening. It just remains for me now to wish you all a very, very productive week.   

This BEST of ALL WORLDS Band heavy-hitter is an iconic American drummer & session musician is one of the "most recorded drummer in music history", was voted "Top 100 Greatest Drummers of All Time” by Rolling Stone Magazine, and has played on records totalling over 300 million sales! Of course we're talking about the legendary drummer, best-selling author and speaker: Kenny AronoffKenny was inspired by The Beatles' 1964 Ed Sullivan performance  and pivoted from classical percussion to a lifelong career in rock n roll. He is best known for his 17-year tenure with John Mellencamp and his long stint with John Fogerty, but Kenny has played/recorded or toured with practically EVERYONE. Check out this list :Johnny Cash, Willie Nelson, Kris Kristofferson and Waylon Jennings. Loretta Lynn, Tony Iommi, Alice Cooper, Smashing Pumpkins, Sting, Bruce Springsteen, Billy Joel, Elton John, Eric Clapton, Steven Tyler, Celine Dion, Melissa Etheridge, Sheryl Crow, Alanis Morrisette, Avril Lavigne, BB King, Buddy Guy, Ray Charles, Joe Cocker, Skynyrd, Mellencamp, the Beatles, Buddy Rich tribute ,Rolling Stones, Bob Dylan, Triumph, Lady Gaga, Chickenfoot ....and now Kenny is in Sammy's Best of All Worlds band!Come hear what it was like for an overly energetic young boy growing up in Stockbridge, Massachusetts nicking Norman Rockwell's cigarettes, (almost ) shagging Norman Mailer's daughter, crashing backyard parties with Faye Dunaway, Frank Langella, Anne Bancroft and Mel Brooks, and touring the world with the RedRocker himself!Join the Bo-Hosts for an episode almost as BIG as Kenny's pipes!More on Kenny here:https://kennyaronoff.com/https://www.instagram.com/kennyaronoff/https://www.facebook.com/KennyAronoffOfficial"What is understood...NEED be discussed"Facebook:https://www.facebook.com/profile.php?id=100085582159917Instagram: https://www.instagram.com/thebogusotisshow/?hl=enX:https://x.com/BogusOtisShowYouTube:https://www.youtube.com/@TheBogusOtisShowTik Tok:https://www.tiktok.com/@thebogusotisshowConnect with the Bo-Hosts:bogusotisshow@gmail.com

"For an experiment, I denoted the last ten generations and attempted to define the song of their generation. Some were easy and some quite difficult. I offer five possibilities first and then pick. See if I made the correct choice."

No youth pastor, volunteer, ministry leader, business owner, or parent accomplishes meaningful work alone. In this episode of Youth Worker On Fire, Doug Edwards shares the three types of people every effective youth ministry leader needs: mentors, investors, and operators. Mentors provide wisdom from experience. Investors believe in the mission and contribute the resources required to move it forward. Operators handle the responsibilities, systems, communication, planning, and administration that allow leaders to focus on the work God has uniquely called them to do. Drawing from decades in student ministry, Doug shares how mentors from Youth for Christ helped prepare him to lead, how supporters including Johnny Cash and local ministry partners invested in reaching students, and how gifted staff members and volunteers made a large, multi-level student ministry possible. In this episode, you'll discover: • Why every youth pastor and ministry leader needs multiple mentors • How financial supporters and ministry investors expand the reach of the gospel • Why volunteers and operators are essential to sustainable student ministry • How delegation allows people to serve in their areas of strength • Why being unqualified on paper does not disqualify you from God's calling • How God brings the right people together to accomplish a greater mission • Why one mentor should not influence every area of your life • How to recognize which role may be missing from your ministry team Doug also explains why leaders should stop trying to perform every task themselves. The strongest ministries are not built around one person doing everything. They are built by people with different gifts working together toward the same mission. You may be the visionary, communicator, pastor, teacher, or relationship builder - but someone else may be better equipped to organize the calendar, manage communication, raise support, plan trips, or operate the systems behind the ministry. Ask yourself: Who is mentoring me? Who is investing in the mission? Who is helping operate the ministry? You do not need one person to fill every role. You need a community of gifted people who believe in what God has called you to build. Share this episode with a youth pastor, volunteer, ministry leader, or parent who needs help building the right team. Listen to more episodes from the Youth Worker On Fire Podcast here: https://bit.ly/3saDyYq _________________________________________________________________________________