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Hosted by jones jones
2 episodes with jones jones
2 episodes with jones jones
2 episodes with jones jones
2 episodes with jones jones
Billi (@SGPSoccer) reacts to last night's Jake Paul v Mike Tyson matchup and undercard before moving onto the main event of UFC 309, which will see Jones Jones returning to the Octagon at MSG to take on Stipe Miocic.Jon Jones will finally get his wish with a fight against the UFC's most decorated heavyweight champion. This fight was booked for the November MSG event last year, but a torn pectoral forced Jones out of the bout. This would've been a true super fight a few years ago when the 42-year-old Miocic was closer to his prime and Jones was first testing the heavyweight waters. Now, it's been more than three years since Miocic fought and more than four since his last win— which explains why Jones is close to a -709 favourite in most places. JOIN the SGPN community #DegensOnlyExclusive Merch, Contests and Bonus Episodes ONLY on Patreon - https://sg.pn/patreonDiscuss with fellow degens on Discord - https://sg.pn/discordDownload The Free SGPN App - https://sgpn.appCheck out the Sports Gambling Podcast on YouTube - https://sg.pn/YouTubeCheck out our website - http://sportsgamblingpodcast.comSUPPORT us by supporting our partnersUnderdog Fantasy code SGPN - Up to $1000 in BONUS CASH - https://play.underdogfantasy.com/p-sgpnRithmm - Player Props and Picks - Free 7 day trial! http://sportsgamblingpodcast.com/rithmmADVERTISE with SGPNInterested in advertising? Contact sales@sgpn.ioFOLLOW The Sports Gambling Podcast On Social MediaTwitter - http://www.twitter.com/gamblingpodcastInstagram - http://www.instagram.com/sportsgamblingpodcastTikTok - https://www.tiktok.com/@gamblingpodcastFacebook - http://www.facebook.com/sportsgamblingpodcastFOLLOW The Hosts On Social MediaSean Green - http://www.twitter.com/seantgreenRyan Kramer - http://www.twitter.com/kramercentric================================================================Gambling problem? Call 1-800-GAMBLER CO, DC, IL, IN, LA, MD, MS, NJ, OH, PA, TN, VA, WV, WY Call 877-8-HOPENY or text HOPENY (467369) (NY) Call 1-800-327-5050 (MA)21+ to wager. Please Gamble Responsibly. Call 1-800-NEXT-STEP (AZ), 1-800-522-4700 (KS, NV), 1-800 BETS-OFF (IA), 1-800-270-7117 for confidential help (MI)================================================================
MK is back for a special Friday episode of your favorite combat sports show. Luke and BC are live the day before UFC 302 for a FULL preview of Saturday's big card, as Dustin Poirier and Islam Makhachev get ready to go to war. Plus, a preview of Sean Strickland vs. Paulo Costa and Kevin Holland vs. Michel Oleksiejczuk. Also, BJJ star Craig Jones joins the show to talk UFC, dropping a million dollars cash on Dana's desk, and more. Learn more about your ad choices. Visit megaphone.fm/adchoices
Tim, Ian, Phil, & Serge join Doug Mackey to discuss a former FBI analyst admitting the FBI has been trying to undermine Alex Jones, Alex Jones' plans to sue the CIA & FBI, Anti-Israel protestors being arrested after storming the Senate cafeteria, and Texas responding to massive voter registration and calling it a mistake. Learn more about your ad choices. Visit megaphone.fm/adchoices
It was our worst QB week of the season by far, headlined by Jones & Jones, and somehow Zach Wilson isn't involved? In fact he may even be in GOAT of the week conversations...
Florida State's efforts to land big-time prospects like KJ Bolden, LJ McCray and Armondo Blount start out a three-segment show full of recruiting and Transfer Portal discussion. FSU and Elite Recruits **KJ Bolden update **LJ McCray update **Armondo Blount update Jarrian Jones' Journey to FSU **Transferring to FSU **Florida State sticking with Jones **Jones becoming a big-time nickel corner Florida State recruiting balance with the Transfer Portal **More impact recruits **Seminoles being even more selective **Hitting the ground running with top recruits Subscribe on all Podcast platforms…
Florida State's efforts to land big-time prospects like KJ Bolden, LJ McCray and Armondo Blount start out a three-segment show full of recruiting and Transfer Portal discussion.FSU and Elite Recruits**KJ Bolden update**LJ McCray update**Armondo Blount updateJarrian Jones' Journey to FSU**Transferring to FSU**Florida State sticking with Jones**Jones becoming a big-time nickel cornerFlorida State recruiting balance with the Transfer Portal**More impact recruits**Seminoles being even more selective**Hitting the ground running with top recruitsSubscribe on all Podcast platforms…
Florida State's efforts to land big-time prospects like KJ Bolden, LJ McCray and Armondo Blount start out a three-segment show full of recruiting and Transfer Portal discussion. FSU and Elite Recruits **KJ Bolden update **LJ McCray update **Armondo Blount update Jarrian Jones' Journey to FSU **Transferring to FSU **Florida State sticking with Jones **Jones becoming a big-time nickel corner Florida State recruiting balance with the Transfer Portal **More impact recruits **Seminoles being even more selective **Hitting the ground running with top recruits Subscribe on all Podcast platforms…
Florida State's efforts to land big-time prospects like KJ Bolden, LJ McCray and Armondo Blount start out a three-segment show full of recruiting and Transfer Portal discussion.FSU and Elite Recruits**KJ Bolden update**LJ McCray update**Armondo Blount updateJarrian Jones' Journey to FSU**Transferring to FSU**Florida State sticking with Jones**Jones becoming a big-time nickel cornerFlorida State recruiting balance with the Transfer Portal**More impact recruits**Seminoles being even more selective**Hitting the ground running with top recruitsSubscribe on all Podcast platforms…
On this episode, Mike and Larry chat with Zach Jones Lawn Treatment LLC. Zach started his company in the last few years and works full-time in horticulture for Auburn University. Zach shared his experiences, knowledge, and why he started his side hustle journey. @sidehustlesquadpodcast Save 10% on KUJO Yardwear: https://www.kujo.com/?utm_source=sidehustlesquadpodcast&promotion=10sidehustle https://www.lawntrepreneuracademy.com/ EQUIP Exposition (Save 50% with code: SIDEHUSTLE)
Brendan Tobin & Sean Levine discuss the biggest news stories of the week in the world of combat sports! Watch Tapped Out LIVE Saturdays at 7-9pm ET on the BetQL Network:
In this Episode Kev and I discussed who we think will win the playoffs we were wrong kind of, The Jon Jones fight coming up, and some of our top anime's check it out! --- Support this podcast: https://podcasters.spotify.com/pod/show/gerald-wright6/support
Learn more about your ad choices. Visit megaphone.fm/adchoices
C&R are throwin' it back for your Thursday on FSR! Rich messes up on a coffee run, Covino shares the 1st "cancel" of his young school days (involving a NERF football), and the show covers the big Jerry Jones story as only they can! Another Jones is better for radio: Indiana Jones movie release news! The show talks 80s stars Harrison Ford & Michael J. Fox! Plus, 'OLD SCHOOL WHEN 50 HITS' unlocks some amazing memories of TOYS, on this this first day of December!See omnystudio.com/listener for privacy information.
11e émission de la 54e session...Cette semaine, free jazz sous différentes formes! En musique: Elton Dean Quartet sur l'album On Italian Roads (Live at Teatro Cristallo, Milan, 1979) (Progressive British Jazz, 2022); V. Ganelinas, V. Tarasovas, V. Čekasinas sur l'album Con Anima (Мелодия, 1976); Chad Fowler, Ivo Perelman, Matthew Shipp, William Parker, Steve Hirsh sur l'album Alien Skin (Mahakala Music, 2022); Jones Jones sur l'album Just Justice (ESP-Disk', 2022); Sumari sur l'album Sumari IV (Unseen Rain, 2021)...
Brendan talks Jamahal Hill's win over Thiago Santos this weekend, Kamaru Usman's brother Mohammad Usman's epic knockout on Dana White's contender series, the latest chapter in the Anthony Pettis PFL experiment, the upcoming UFC Fight Night card headlined by Dominick Cruz and Chito Vera this week, Jake Paul and Hasim Rahman Jr. releasing sparring footage, Mike Tyson's beef with Hulu over their new series about his life, Dana White and Nate Diaz defending Tyson, Jorge Masvidal on Kahmzat being overrated, news on Cain Velasquez's not guilty plea and new Jones Jones training footage. See omnystudio.com/listener for privacy information.
Brendan talks Jamahal Hill's win over Thiago Santos this weekend, Kamaru Usman's brother Mohammad Usman's epic knockout on Dana White's contender series, the latest chapter in the Anthony Pettis PFL experiment, the upcoming UFC Fight Night card headlined by Dominick Cruz and Chito Vera this week, Jake Paul and Hasim Rahman Jr. releasing sparring footage, Mike Tyson's beef with Hulu over their new series about his life, Dana White and Nate Diaz defending Tyson, Jorge Masvidal on Kahmzat being overrated, news on Cain Velasquez's not guilty plea and new Jones Jones training footage. See omnystudio.com/listener for privacy information.
Locked On Bucs – Daily Podcast On The Tampa Bay Buccaneers Fans
The Tampa Bay Buccaneers signed wide receiver and former Bucs killer Julio Jones to a one year deal on Tuesday, adding some insurance and some reliability to the wide receiver depth for the 2022 season.How will Julio's arrival affect the targets and snaps of his fellow receivers - and now who is going to be the odd man out when it comes to the 53-man roster?Speaking of which, Evan Closky gives his pre-training camp 53 man roster prediction on today's show.. Who were his biggest surprise cuts and did he agree more with David or James' prediction?Find and Follow Locked On Bucs:Apple: https://apple.co/3iOePFkSpotify: https://spoti.fi/3BwlScYAudacy: https://bit.ly/3FAcIhVStitcher: https://bit.ly/3tYVt4SGoogle Play: https://bit.ly/2X0IEdSTampa Bay Buccaneers news and analysis from hosts James Yarcho and David Harrison. The Locked On Bucs Podcast is your award-winning source with daily podcasts covering all of your favorite topics.Follow James and David on Twitter, where they share the latest news and analysis about the Tampa Bay Buccaneers, and interact with members of Bucs Nation!James Yarcho: https://twitter.com/JYarcho_BUCSDavid Harrison: https://twitter.com/DHarrison82#TampaBayBuccaneers #GoBucs #NFLSupport Us By Supporting Our Sponsors!Built BarBuilt Bar is a protein bar that tastes like a candy bar. Go to builtbar.com and use promo code “LOCKED15,” and you'll get 15% off your next order.BetOnlineBetOnline.net has you covered this season with more props, odds and lines than ever before. BetOnline – Where The Game Starts!Rock AutoAmazing selection. Reliably low prices. All the parts your car will ever need. Visit RockAuto.com and tell them Locked On sent you. Learn more about your ad choices. Visit podcastchoices.com/adchoices
Locked On Bucs – Daily Podcast On The Tampa Bay Buccaneers Fans
The Tampa Bay Buccaneers signed wide receiver and former Bucs killer Julio Jones to a one year deal on Tuesday, adding some insurance and some reliability to the wide receiver depth for the 2022 season. How will Julio's arrival affect the targets and snaps of his fellow receivers - and now who is going to be the odd man out when it comes to the 53-man roster? Speaking of which, Evan Closky gives his pre-training camp 53 man roster prediction on today's show.. Who were his biggest surprise cuts and did he agree more with David or James' prediction? Find and Follow Locked On Bucs: Apple: https://apple.co/3iOePFk Spotify: https://spoti.fi/3BwlScY Audacy: https://bit.ly/3FAcIhV Stitcher: https://bit.ly/3tYVt4S Google Play: https://bit.ly/2X0IEdS Tampa Bay Buccaneers news and analysis from hosts James Yarcho and David Harrison. The Locked On Bucs Podcast is your award-winning source with daily podcasts covering all of your favorite topics. Follow James and David on Twitter, where they share the latest news and analysis about the Tampa Bay Buccaneers, and interact with members of Bucs Nation! James Yarcho: https://twitter.com/JYarcho_BUCS David Harrison: https://twitter.com/DHarrison82 #TampaBayBuccaneers #GoBucs #NFL Support Us By Supporting Our Sponsors! Built Bar Built Bar is a protein bar that tastes like a candy bar. Go to builtbar.com and use promo code “LOCKED15,” and you'll get 15% off your next order. BetOnline BetOnline.net has you covered this season with more props, odds and lines than ever before. BetOnline – Where The Game Starts! Rock Auto Amazing selection. Reliably low prices. All the parts your car will ever need. Visit RockAuto.com and tell them Locked On sent you. Learn more about your ad choices. Visit podcastchoices.com/adchoices
⬇️⬇️TIME STAMPS BELOW⬇️⬇️⬇️ MMALOTN is back to give you Predictions, Picks, and Bettings Tips on UFC London: Blaydes vs Aspinall. Check out my Patreon where I have plenty of perks such as: Early access to each breakdown Best Bets/Props article Hail Mary Patreon Parlay Discord Channel All Official bets (even when charging the public) PPV Parlay for the Patrons (winnings from this parlay given to a random Patron) $5/month on Patreon @ https://www.patreon.com/mmalotn Dead Lock Podcast YouTube: https://www.youtube.com/channel/UC3AhObCDMITGjPxhx3R6Oow Twitter: https://twitter.com/DeadLockPodcast Instagram: https://www.instagram.com/deadlockpodcast/ My bets can also be found @ https://www.mmalotn.ca/picks My 3rd party tracked record can be found at: https://betmma.tips/lockofthenight Never take someone's word for how often they hit their bets unless they are 3rd party tracked. It's easy to fool people by just claiming all you do is win. Transparency is key! I've secured a deal with Coolbet. They are a Toronto-based bookie that has won a ton of awards due to their sleek/stylish layout and great odds that they offer. Use my promo code "MMALOTN2" under their Bonuses section and get your initial deposit 100% matched up to $200 free roll (6x rollover). For those unfamiliar with my Paid picks vs. Free Picks policy, after winning 3 straight events, I switch to paid picks until I hit my next losing event. When they are free picks, I post them on my Patreon as soon as I make the bet. Then I release it to the public the day before the fight on my Twitter account. If you research fights on your own, the Tape Index is a MUST! We take the time out of browsing for fights so you have more time to study. Everything you need to prep for an upcoming card (and every matchup currently announced) is on one page and just a click away. Check it out! Tape Index: https://www.mmaplay365.com/product/tape-index Twitter: https://twitter.com/mmalotn *****PICKS NOT BETS*****DISCLAIMER: though I'm picking these fighters to win each matchup, I may have a bet against them due to value and fights being closer than odds may suggest. Listen to each matchup breakdown to get how I truly feel about it. TIME STAMPS (0:00) Intro (2:15) UFC Long Island betting recap (13:34) Dalby vs Silva {Dalby} (21:50) Leonardo vs Bohm {Leonardo} (26:56) Herbert vs Nelson {Herbert} (35:00) Mokaev vs Johnson {Johnson} (38:50) Klein vs Jones {Jones} (41:56) Pearce vs Amirkhani {Pearce} (44:17) Wood vs Rosa {Wood} (49:01) Diakiese vs Hadzovic {Diakiese} (53:14) Craig vs Oezdemir {Oezdemir} (55:56) McCann vs Goldy {Goldy} (1:02:36) Gustafsson vs Krylov {Gustafsson} (1:08:26) Pimblett vs Leavitt {Pimblett} (1:11:30) Hermansson vs Curtis {Hermansson} (1:19:09) Blaydes vs Aspinall {Blaydes} (1:25:20) Outro 2022 Prediction Record: 175-115 (60%) 2021 Prediction Record: 305-190 (62%)
In this episode Josh and Jared talk with Clark Jones of Jones Beefmasters. They talk all about Clarks history of coming into the breed, some of the exciting things BBU is doing and much more. Sit back relax and enjoy the show!
NORBES IT ALL PODCAST EP 268 SERIUS JONES speaks on recent issues with Tsu Surf on twitter spaces. He speaks in a recent blog where T pain speaks on SERIUS Jones and jones clears the air about it. SERIUS speaks I. His upcoming audio book due to drop in 48hours. #norbesitallnetwork #battlerap #norbes #norbesitall Donations Cash app $ssnorbes Twitter/Instagram @streetstarnorbe
Matt talks to the bookie Dan and the beard Josh about last weekend's NFL and college football with an eye towards this weekend's games. The guys also discuss UFC 265, Jon Jones' latest arrest, MLB's stretch run, and the NBA's vaccination policy.
Dr. Aaron Jones developed an interest and curiosity in dentistry at age 11 as a result of being treated by dental students. In 2019, Dr. Jones fulfilled his childhood vision by opening Jones Family Dental in Norwalk, IA. Listen to the latest episode of The Practice Growth Podcast to learn more about: Dr. Jones' alternate path to building and owning his practice. How google reviews, a membership plan, and unique office hours helped him quickly build a strong patient base from scratch. How dozens of continuing education courses while a student and early in his career accelerated the procedure offerings in his practice. Plus more.You can learn more about Dr. Jones and his practice at jonesfamilydentalnorwalk.com or by calling 515-850-2255.
On August 9, 2004, Brett Jones stabbed his 68-year-old grandfather Bertis Jones to death in Shannon, Mississippi, just 3 weeks after he turned 15. After multiple appeals, the U.S. Supreme Court decision regarding his case was recently announced, on April 22, 2021, altering the once-forward trajectory of juvenile justice reform.Brought to you by affordable and delicious EveryPlate meal kit delivery.Music:We Talk of Dreamswww.purple-planet.comFor sources, visit: https://murderous-minors.podsite.io/episode/irreparably-corrupt-brett-jones-jones-v-mississippi-419
Justin Jones tells us what the sports agent life is about and how he got into the sports agent world. We also have RAW THOUGHTS coming with this. Go to Rawmindsports.com for more info GRATEFUL FOR ALL MY AMAZING SPONSORS OF RAW MIND SPORTS: *DISHEEKA BARRETT REALTY *KASEY KING BRIGHT SMILES *FIRST CLASS LIFE INSURANCE *LOC'D BY NATURE *VICTORY AUTO SALES *ACTIVEPURE TECHNOLOGY *BRANDYSNC *MARVIN VINES REALTY *UNIQUE DEZIGNS
Wat vinden Harm en Jesse van Genietcafé, Jones & Jones, Bakkerij Driekant en WWIB Zorg op Maat? In LGLD Ondernemen worden ondernemingen uit de regio gerecenseerd en er wordt een cijfer uitgereikt. Door: Harm Seubring en Jesse Sprikkelman Bekijk het volledige artikel via LGLD.nl
Episode 108 of A History of Rock Music in Five Hundred Songs looks at "I Wanna Be Your Man" by the Rolling Stones and how the British blues scene of the early sixties was started by a trombone player. Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have an eight-minute bonus episode available, on "The Monkey Time" by Major Lance. Tilt Araiza has assisted invaluably by doing a first-pass edit, and will hopefully be doing so from now on. Check out Tilt's irregular podcasts at http://www.podnose.com/jaffa-cakes-for-proust and http://sitcomclub.com/ ----more---- Resources As always, I've created a Mixcloud streaming playlist with full versions of all the songs in the episode. i used a lot of resources for this episode. Information on Chris Barber comes from Jazz Me Blues: The Autobiography of Chris Barber by Barber and Alyn Shopton. Information on Alexis Korner comes from Alexis Korner: The Biography by Harry Shapiro. Two resources that I've used for this and all future Stones episodes -- The Rolling Stones: All The Songs by Phillipe Margotin and Jean-Michel Guesden is an invaluable reference book, while Old Gods Almost Dead by Stephen Davis is the least inaccurate biography. I've also used Andrew Loog Oldham's autobiography Stoned, and Keith Richards' Life, though be warned that both casually use slurs. This compilation contains Alexis Korner's pre-1963 electric blues material, while this contains the earlier skiffle and country blues music. The live performances by Chris Barber and various blues legends I've used here come from volumes one and two of a three-CD series of these recordings. And this three-CD set contains the A and B sides of all the Stones' singles up to 1971. Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript Today we're going to look at a group who, more than any other band of the sixties, sum up what "rock music" means to most people. This is all the more surprising as when they started out they were vehemently opposed to being referred to as "rock and roll". We're going to look at the London blues scene of the early sixties, and how a music scene that was made up of people who thought of themselves as scholars of obscure music, going against commercialism ended up creating some of the most popular and commercial music ever made. We're going to look at the Rolling Stones, and at "I Wanna Be Your Man": [Excerpt: The Rolling Stones, "I Wanna Be Your Man"] The Rolling Stones' story doesn't actually start with the Rolling Stones, and they won't be appearing until quite near the end of this episode, because to explain how they formed, I have to explain the British blues scene that they formed in. One of the things people asked me when I first started doing the podcast was why I didn't cover people like Muddy Waters and Howlin' Wolf in the early episodes -- after all, most people now think that rock and roll started with those artists. It didn't, as I hope the last hundred or so episodes have shown. But those artists did become influential on its development, and that influence happened largely because of one man, Chris Barber. We've seen Barber before, in a couple of episodes, but this, even more than his leading the band that brought Lonnie Donegan to fame, is where his influence on popular music really changes everything. On the face of it, Chris Barber seems like the last person in the world who one would expect to be responsible, at least indirectly, for some of the most rebellious popular music ever made. He is a trombone player from a background that is about as solidly respectable as one can imagine -- his parents were introduced to each other by the economist John Maynard Keynes, and his father, another economist, was not only offered a knighthood for his war work (he turned it down but accepted a CBE), but Clement Atlee later offered him a safe seat in Parliament if he wanted to become Chancellor of the Exchequer. But when the war started, young Chris Barber started listening to the Armed Forces Network, and became hooked on jazz. By the time the war ended, when he was fifteen, he owned records by Louis Armstrong, Bessie Smith, Duke Ellington, Jelly Roll Morton and more -- records that were almost impossible to find in the Britain of the 1940s. And along with the jazz records, he was also getting hold of blues records by people like Cow Cow Davenport and Sleepy John Estes: [Excerpt: Sleepy John Estes, "Milk Cow Blues"] In his late teens and early twenties, Barber had become Britain's pre-eminent traditional jazz trombonist -- a position he held until he retired last year, aged eighty-nine -- but he wasn't just interested in trad jazz, but in all of American roots music, which is why he'd ended up accidentally kick-starting the skiffle craze when his guitarist recorded an old Lead Belly song as a track on a Barber album, as we looked at back in the episode on "Rock Island Line". If that had been Barber's only contribution to British rock and roll, he would still have been important -- after all, without "Rock Island Line", it's likely that you could have counted the number of British boys who played guitar in the fifties and sixties on a single hand. But he did far more than that. In the mid to late fifties, Barber became one of the biggest stars in British music. He didn't have a breakout chart hit until 1959, when he released "Petit Fleur", engineered by Joe Meek: [Excerpt: Chris Barber, "Petit Fleur"] And Barber didn't even play on that – it was a clarinet solo by his clarinettist Monty Sunshine. But long before this big chart success he was a huge live draw and made regular appearances on TV and radio, and he was hugely appreciated among music lovers. A parallel for his status in the music world in the more modern era might be someone like, say, Radiohead -- a band who aren't releasing number one singles, but who have a devoted fanbase and are more famous than many of those acts who do have regular hits. And that celebrity status put Barber in a position to do something that changed music forever. Because he desperately wanted to play with his American musical heroes, and he was one of the few people in Britain with the kind of built-in audience that he could bring over obscure Black musicians, some of whom had never even had a record released over here, and get them on stage with him. And he brought over, in particular, blues musicians. Now, just as there was a split in the British jazz community between those who liked traditional Dixieland jazz and those who liked modern jazz, there was a similar split in their tastes in blues and R&B. Those who liked modern jazz -- a music that was dominated by saxophones and piano -- unsurprisingly liked modern keyboard and saxophone-based R&B. Their R&B idol was Ray Charles, whose music was the closest of the great R&B stars to modern jazz, and one stream of the British R&B movement of the sixties came from this scene -- people like the Spencer Davis Group, Georgie Fame and the Blue Flames, and Manfred Mann all come from this modernist scene. But the trad people, when they listened to blues, liked music that sounded primitive to them, just as they liked primitive-sounding jazz. Their tastes were very heavily influenced by Alan Lomax -- who came to the UK for a crucial period in the fifties to escape McCarthyism -- and they paralleled those of the American folk scene that Lomax was also part of, and followed the same narrative that Lomax's friend John Hammond had constructed for his Spirituals to Swing concerts, where the Delta country blues of people like Robert Johnson had been the basis for both jazz and boogie piano. This entirely false narrative became the received wisdom among the trad scene in Britain, to the extent that two of the very few people in the world who had actually heard Robert Johnson records before the release of the King of the Delta Blues Singers album were Chris Barber and his sometime guitarist and banjo player Alexis Korner. These people liked Robert Johnson, Big Bill Broonzy, Lead Belly, and Lonnie Johnson's early recordings before his later pop success. They liked solo male performers who played guitar. These two scenes were geographically close -- the Flamingo Club, a modern jazz club that later became the place where Georgie Fame and Chris Farlowe built their audiences, was literally across the road from the Marquee, a trad jazz club that became the centre of guitar-based R&B in the UK. And there wasn't a perfect hard-and-fast split, as we'll see -- but it's generally true that what is nowadays portrayed as a single British "blues scene" was, in its early days, two overlapping but distinct scenes, based in a pre-existing split in the jazz world. Barber was, of course, part of the traditional jazz wing, and indeed he was so influential a part of it that his tastes shaped the tastes of the whole scene to a large extent. But Barber was not as much of a purist as someone like his former collaborator Ken Colyer, who believed that jazz had become corrupted in 1922 by the evil innovations of people like Louis Armstrong and Fletcher Henderson, who were too modern for his tastes. Barber had preferences, but he could appreciate -- and more importantly play -- music in a variety of styles. So Barber started by bringing over Big Bill Broonzy, who John Hammond had got to perform at the Spirituals to Swing concerts when he'd found out Robert Johnson was dead. It was because of Barber bringing Broonzy over that Broonzy got to record with Joe Meek: [Excerpt: Big Bill Broonzy, "When Do I Get to Be Called a Man?"] And it was because of Barber bringing Broonzy over that Broonzy appeared on Six-Five Special, along with Tommy Steele, the Vipers, and Mike and Bernie Winters, and thus became the first blues musician that an entire generation of British musicians saw, their template for what a blues musician is. If you watch the Beatles Anthology, for example, in the sections where they talk about the music they were listening to as teenagers, Broonzy is the only blues musician specifically named. That's because of Chris Barber. Broonzy toured with Barber several times in the fifties, before his death in 1958, but he wasn't the only one. Barber brought over many people to perform and record with him, including several we've looked at previously. Like the rock and roll stars who visited the UK at this time, these were generally people who were past their commercial peak in the US, but who were fantastic live performers. The Barber band did recording sessions with Louis Jordan: [Excerpt: Louis Jordan and the Chris Barber band, "Tain't Nobody's Business"] And we're lucky enough that many of the Barber band's shows at the Manchester Free Trade Hall (a venue that would later host two hugely important shows we'll talk about in later episodes) were recorded and have since been released. With those recordings we can hear them backing Sister Rosetta Tharpe: [Excerpt: Sister Rosetta Tharpe and the Chris Barber band, "Peace in the Valley"] Sonny Terry and Brownie McGhee: [Excerpt: Sonny Terry, Brownie McGhee and the Chris Barber band, "This Little Light of Mine"] And others like Champion Jack Dupree and Sonny Boy Williamson. But there was one particular blues musician that Barber brought over who changed everything for British music. Barber was a member of an organisation called the National Jazz Federation, which helped arrange transatlantic musician exchanges. You might remember that at the time there was a rule imposed by the musicians' unions in the UK and the US that the only way for an American musician to play the UK was if a British musician played the US and vice versa, and the National Jazz Federation helped set these exchanges up. Through the NJF Barber had become friendly with John Lewis, the American pianist who led the Modern Jazz Quartet, and was talking with Lewis about what other musicians he could bring over, and Lewis suggested Muddy Waters. Barber said that would be great, but he had no idea how you'd reach Muddy Waters -- did you send a postcard to the plantation he worked on or something? Lewis laughed, and said that no, Muddy Waters had a Cadillac and an agent. The reason for Barber's confusion was fairly straightfoward -- Barber was thinking of Waters' early recordings, which he knew because of the influence of Alan Lomax. Lomax had discovered Muddy Waters back in 1941. He'd travelled to Clarksdale, Mississippi hoping to record Robert Johnson for the Library of Congress -- apparently he didn't know, or had forgotten, that Johnson had died a few years earlier. When he couldn't find Johnson, he'd found another musician, who had a similar style, and recorded him instead. Waters was a working musician who would play whatever people wanted to listen to -- Gene Autry songs, Glenn Miller, whatever -- but who was particularly proficient in blues, influenced by Son House, the same person who had been Johnson's biggest influence. Lomax recorded him playing acoustic blues on a plantation, and those recordings were put out by the Library of Congress: [Excerpt: Muddy Waters, "I Be's Troubled"] Those Library of Congress recordings had been hugely influential among the trad and skiffle scenes -- Lonnie Donegan, in particular, had borrowed a copy from the American Embassy's record-lending library and then stolen it because he liked it so much. But after making those recordings, Waters had travelled up to Chicago and gone electric, forming a band with guitarist Jimmie Rodgers (not the same person as the country singer of the same name, or the 50s pop star), harmonica player Little Walter, drummer Elgin Evans, and pianist Otis Spann. Waters had signed to Chess Records, then still named Aristocrat, in 1947, and had started out by recording electric versions of the same material he'd been performing acoustically: [Excerpt: Muddy Waters, "I Can't Be Satisfied"] But soon he'd partnered with Chess' great bass player, songwriter, and producer Willie Dixon, who wrote a string of blues classics both for Waters and for Chess' other big star Howlin' Wolf. Throughout the early fifties, Waters had a series of hits on the R&B charts with his electric blues records, like the great "Hoochie Coochie Man", which introduced one of the most copied blues riffs ever: [Excerpt: Muddy Waters, "Hoochie Coochie Man"] But by the late fifties, the hits had started to dry up. Waters was still making great records, but Chess were more interested in artists like Chuck Berry, Bo Diddley, and the Moonglows, who were selling much more and were having big pop hits, not medium-sized R&B ones. So Waters and his pianist Otis Spann were eager to come over to the UK, and Barber was eager to perform with them. Luckily, unlike many of his trad contemporaries, Barber was comfortable with electric music, and his band quickly learned Waters' current repertoire. Waters came over and played one night at a festival with a different band, made up of modern jazz players who didn't really fit his style before joining the Barber tour, and so he and Spann were a little worried on their first night with the group when they heard these Dixieland trombones and clarinets. But as soon as the group blasted out the riff of "Hoochie Coochie Man" to introduce their guests, Waters and Spann's faces lit up -- they knew these were musicians they could play with, and they fit in with Barber's band perfectly: [Excerpt: Muddy Waters, Otis Spann, and the Chris Barber band, "Hoochie Coochie Man"] Not everyone watching the tour was as happy as Barber with the electric blues though -- the audiences were often bemused by the electric guitars, which they associated with rock and roll rather than the blues. Waters, like many of his contemporaries, was perfectly willing to adapt his performance to the audience, and so the next time he came over he brought his acoustic guitar and played more in the country acoustic style they expected. The time after that he came over, though, the audiences were disappointed, because he was playing acoustic, and now they wanted and expected him to be playing electric Chicago blues. Because Muddy Waters' first UK tour had developed a fanbase for him, and that fanbase had been cultivated and grown by one man, who had started off playing in the same band as Chris Barber. Alexis Korner had started out in the Ken Colyer band, the same band that Chris Barber had started out in, as a replacement for Lonnie Donegan when Donegan was conscripted. After Donegan had rejoined the band, they'd played together for a while, and the first ever British skiffle group lineup had been Ken and Bill Colyer, Korner, Donegan, and Barber. When the Colyers had left the group and Barber had taken it over, Korner had gone with the Colyers, mostly because he didn't like the fact that Donegan was introducing country and folk elements into skiffle, while Korner liked the blues. As a result, Korner had sung and played on the very first ever British skiffle record, the Ken Colyer group's version of "Midnight Special": [Excerpt: The Ken Colyer Skiffle Group, "Midnight Special"] After that, Korner had also backed Beryl Bryden on some skiffle recordings, which also featured a harmonica player named Cyril Davies: [Excerpt: Beryl Bryden Skiffle Group, "This Train"] But Korner and Davies had soon got sick of skiffle as it developed -- they liked the blues music that formed its basis, but Korner had never been a fan of Lonnie Donegan's singing -- he'd even said as much in the liner notes to an album by the Barber band while both he and Donegan were still in the band -- and what Donegan saw as eclecticism, including Woody Guthrie songs and old English music-hall songs, Korner saw as watering down the music. Korner and Donegan had a war of words in the pages of Melody Maker, at that time the biggest jazz periodical in Britain. Korner started with an article headlined "Skiffle is Piffle", in which he said in part: "It is with shame and considerable regret that I have to admit my part as one of the originators of the movement...British skiffle is, most certainly, a commercial success. But musically it rarely exceeds the mediocre and is, in general, so abysmally low that it defies proper musical judgment". Donegan replied pointing out that Korner was playing in a skiffle group himself, and then Korner replied to that, saying that what he was doing now wasn't skiffle, it was the blues. You can judge for yourself whether the “Blues From the Roundhouse” EP, by Alexis Korner's Breakdown Group, which featured Korner, Davies on guitar and harmonica, plus teachest bass and washboard, was skiffle or blues: [Excerpt: Alexis Korner's Breakdown Group, "Skip to My Lou"] But soon Korner and Davies had changed their group's name to Blues Incorporated, and were recording something that was much closer to the Delta and Chicago blues Davies in particular liked. [Excerpt: Alexis Korner's Blues Incorporated feat. Cyril Davies, "Death Letter"] But after the initial recordings, Blues Incorporated stopped being a thing for a while, as Korner got more involved with the folk scene. At a party hosted by Ramblin' Jack Elliot, he met the folk guitarist Davey Graham, who had previously lived in the same squat as Lionel Bart, Tommy Steele's lyricist, if that gives some idea of how small and interlocked the London music scene actually was at this time, for all its factional differences. Korner and Graham formed a guitar duo playing jazzy folk music for a while: [Excerpt: Alexis Korner and Davey Graham, "3/4 AD"] But in 1960, after Chris Barber had done a second tour with Muddy Waters, Barber decided that he needed to make Muddy Waters style blues a regular part of his shows. Barber had entered into a partnership with an accountant, Harold Pendleton, who was secretary of the National Jazz Federation. They co-owned a club, the Marquee, which Pendleton managed, and they were about to start up an annual jazz festival, the Richmond festival, which would eventually grow into the Reading Festival, the second-biggest rock festival in Britain. Barber had a residency at the Marquee, and he wanted to introduce a blues segment into the shows there. He had a singer -- his wife, Ottilie Patterson, who was an excellent singer in the Bessie Smith mould -- and he got a couple of members of his band to back her on some Chicago-style blues songs in the intervals of his shows. He asked Korner to be a part of this interval band, and after a little while it was decided that Korner would form the first ever British electric blues band, which would take over those interval slots, and so Blues Incorporated was reformed, with Cyril Davies rejoining Korner. The first time this group played together, in the first week of 1962, it was Korner on electric guitar, Davies on harmonica, and Chris Barber plus Barber's trumpet player Pat Halcox, but they soon lost the Barber band members. The group was called Blues Incorporated because they were meant to be semi-anonymous -- the idea was that people might join just for a show, or just for a few songs, and they never had the same lineup from one show to the next. For example, their classic album R&B From The Marquee, which wasn't actually recorded at the Marquee, and was produced by Jack Good, features Korner, Davies, sax player Dick Heckstall-Smith, Keith Scott on piano, Spike Heatley on bass, Graham Burbridge on drums, and Long John Baldry on vocals: [Excerpt: Blues Incorporated, "How Long How Long Blues"] But Burbridge wasn't their regular drummer -- that was a modern jazz player named Charlie Watts. And they had a lot of singers. Baldry was one of their regulars, as was Art Wood (who had a brother, Ronnie, who wasn't yet involved with these players). When Charlie quit the band, because it was taking up too much of his time, he was replaced with another drummer, Ginger Baker. When Spike Heatley left the band, Dick Heckstall-Smith brought in a new bass player, Jack Bruce. Sometimes a young man called Eric Clapton would get up on stage for a number or two, though he wouldn't bring his guitar, he'd just sing with them. So would a singer and harmonica player named Paul Jones, later the singer with Manfred Mann, who first travelled down to see the group with a friend of his, a guitarist named Brian Jones, no relation, who would also sit in with the band on guitar, playing Elmore James numbers under the name Elmo Lewis. A young man named Rodney Stewart would sometimes join in for a number or two. And one time Eric Burdon hitch-hiked down from Newcastle to get a chance to sing with the group. He jumped onto the stage when it got to the point in the show that Korner asked for singers from the audience, and so did a skinny young man. Korner diplomatically suggested that they sing a duet, and they agreed on a Billy Boy Arnold number. At the end of the song Korner introduced them -- "Eric Burdon from Newcastle, this is Mick Jagger". Mick Jagger was a middle-class student, studying at the London School of Economics, one of the most prestigious British universities. He soon became a regular guest vocalist with Blues Incorporated, appearing at almost every show. Soon after, Davies left the group -- he wanted to play strictly Chicago style blues, but Korner wanted to play other types of R&B. The final straw for Davies came when Korner brought in Graham Bond on Hammond organ -- it was bad enough that they had a saxophone player, but Hammond was a step too far. Sometimes Jagger would bring on a guitar-playing friend for a song or two -- they'd play a Chuck Berry song, to Davies' disapproval. Mick Jagger and Keith Richards had known each other at primary school, but had fallen out of touch for years. Then one day they'd bumped into each other at a train station, and Richards had noticed two albums under Jagger's arm -- one by Muddy Waters and one by Chuck Berry, both of which he'd ordered specially from Chess Records in Chicago because they weren't out in the UK yet. They'd bonded over their love for Berry and Bo Diddley, in particular, and had soon formed a band themselves, Little Boy Blue and the Blue Boys, with a friend, Dick Taylor, and had made some home recordings of rock and roll and R&B music: [Excerpt: Little Boy Blue and the Blue Boys, "Beautiful Delilah"] Meanwhile, Brian Jones, the slide player with the Elmore James obsession, decided he wanted to create his own band, who were to be called The Rollin' Stones, named after a favourite Muddy Waters track of his. He got together with Ian Stewart, a piano player who answered an ad in Jazz News magazine. Stewart had very different musical tastes to Jones -- Jones liked Elmore James and Muddy Waters and Howlin' Wolf and especially Jimmy Reed, and very little else, just electric Chicago blues. Stewart was older, and liked boogie piano like Albert Ammons and Pete Johnson, and jump band R&B like Wynonie Harris and Louis Jordan, but he could see that Jones had potential. They tried to get Charlie Watts to join the band, but he refused at first, so they played with a succession of other drummers, starting with Mick Avory. And they needed a singer, and Jones thought that Mick Jagger had genuine star potential. Jagger agreed to join, but only if his mates Dick and Keith could join the band. Jones was a little hesitant -- Mick Jagger was a real blues scholar like him, but he did have a tendency to listen to this rock and roll nonsense rather than proper blues, and Keith seemed even less of a blues purist than that. He probably even listened to Elvis. Dick, meanwhile, was an unknown quantity. But eventually Jones agreed -- though Richards remembers turning up to the first rehearsal and being astonished by Stewart's piano playing, only for Stewart to then turn around to him and say sarcastically "and you must be the Chuck Berry artist". Their first gig was at the Marquee, in place of Blues Incorporated, who were doing a BBC session and couldn't make their regular gig. Taylor and Avory soon left, and they went through a succession of bass players and drummers, played several small gigs, and also recorded a demo, which had no success in getting them a deal: [Excerpt: The Rollin' Stones, "You Can't Judge a Book By its Cover"] By this point, Jones, Richards, and Jagger were all living together, in a flat which has become legendary for its squalour. Jones was managing the group (and pocketing some of the money for himself) and Jones and Richards were spending all day every day playing guitar together, developing an interlocking style in which both could switch from rhythm to lead as the song demanded. Tony Chapman, the drummer they had at the time, brought in a friend of his, Bill Wyman, as bass player -- they didn't like him very much, he was older than the rest of them and seemed to have a bad attitude, and their initial idea was just to get him to leave his equipment with them and then nick it -- he had a really good amplifier that they wanted -- but they eventually decided to keep him in the band. They kept pressuring Charlie Watts to join and replace Chapman, and eventually, after talking it over with Alexis Korner's wife Bobbie, he decided to give it a shot, and joined in early 1963. Watts and Wyman quickly gelled as a rhythm section with a unique style -- Watts would play jazz-inspired shuffles, while Wyman would play fast, throbbing, quavers. The Rollin' Stones were now a six-person group, and they were good. They got a residency at a new club run by Giorgio Gomelsky, a trad jazz promoter who was branching out into R&B. Gomelsky named his club the Crawdaddy Club, after the Bo Diddley song that the Stones ended their sets with. Soon, as well as playing the Crawdaddy every Sunday night, they were playing Ken Colyer's club, Studio 51, on the other side of London every Sunday evening, so Ian Stewart bought a van to lug all their gear around. Gomelsky thought of himself as the group's manager, though he didn't have a formal contract, but Jones disagreed and considered himself the manager, though he never told Gomelsky this. Jones booked the group in at the IBC studios, where they cut a professional demo with Glyn Johns engineering, consisting mostly of Bo Diddley and Jimmy Reed songs: [Excerpt: The Rollin' Stones, "Diddley Daddy"] Gomelsky started getting the group noticed. He even got the Beatles to visit the club and see the group, and the two bands hit it off -- even though John Lennon had no time for Chicago blues, he liked them as people, and would sometimes pop round to the flat where most of the group lived, once finding Mick and Keith in bed together because they didn't have any money to heat the flat. The group's live performances were so good that the Record Mirror, which as its name suggested only normally talked about records, did an article on the group. And the magazine's editor, Peter Jones, raved about them to an acquaintance of his, Andrew Loog Oldham. Oldham was a young man, only nineteen, but he'd already managed to get himself a variety of jobs around and with famous people, mostly by bluffing and conning them into giving him work. He'd worked for Mary Quant, the designer who'd popularised the miniskirt, and then had become a freelance publicist, working with Bob Dylan and Phil Spector on their trips to the UK, and with a succession of minor British pop stars. Most recently, he'd taken a job working with Brian Epstein as the Beatles' London press agent. But he wanted his own Beatles, and when he visited the Crawdaddy Club, he decided he'd found them. Oldham knew nothing about R&B, didn't like it, and didn't care -- he liked pure pop music, and he wanted to be Britain's answer to Phil Spector. But he knew charisma when he saw it, and the group on stage had it. He immediately decided he was going to sign them as a manager. However, he needed a partner in order to get them bookings -- at the time in Britain you needed an agent's license to get bookings, and you needed to be twenty-one to get the license. He first offered Brian Epstein the chance to co-manage them -- even though he'd not even talked to the group about it. Epstein said he had enough on his plate already managing the Beatles, Gerry and the Pacemakers, and his other Liverpool groups. At that point Oldham quit his job with Epstein and looked for another partner. He found one in Eric Easton, an agent of the old school who had started out as a music-hall organ player before moving over to the management side and whose big clients were Bert Weedon and Mrs. Mills, and who was letting Oldham use a spare room in his office as a base. Oldham persuaded Easton to come to the Crawdaddy Club, though Easton was dubious as it meant missing Sunday Night at the London Palladium on the TV, but Easton agreed that the group had promise -- though he wanted to get rid of the singer, which Oldham talked him out of. The two talked with Brian Jones, who agreed, as the group's leader, that they would sign with Oldham and Easton. Easton brought traditional entertainment industry experience, while Oldham brought an understanding of how to market pop groups. Jones, as the group's leader, negotiated an extra five pounds a week for himself off the top in the deal. One piece of advice that Oldham had been given by Phil Spector and which he'd taken to heart was that rather than get a band signed to a record label directly, you should set up an independent production company and lease the tapes to the label, and that's what Oldham and Easton did. They formed a company called Impact, and went into the studio with the Stones and recorded the song they performed which they thought had the most commercial potential, a Chuck Berry song called "Come On" -- though they changed Berry's line about a "stupid jerk" to being about a "stupid guy", in order to make sure the radio would play it: [Excerpt: The Rolling Stones, "Come On"] During the recording, Oldham, who was acting as producer, told the engineer not to mic up the piano. His plans didn't include Ian Stewart. Neither the group nor Oldham were particularly happy with the record -- the group because they felt it was too poppy, Oldham because it wasn't poppy enough. But they took the recording to Decca Records, where Dick Rowe, the man who had turned down the Beatles, eagerly signed them. The conventional story is that Rowe signed them after being told about them by George Harrison, but the other details of the story as it's usually told -- that they were judging a talent contest in Liverpool, which is the story in most Stones biographies, or that they were appearing together on Juke Box Jury, which is what Wikipedia and articles ripped off from Wikipedia say -- are false, and so it's likely that the story is made up. Decca wanted the Stones to rerecord the track, but after going to another studio with Easton instead of Oldham producing, the general consensus was that the first version should be released. The group got new suits for their first TV appearance, and it was when they turned up to collect the suits and found there were only five of them, not six, that Ian Stewart discovered Oldham had had him kicked out of the group, thinking he was too old and too ugly, and that six people was too many for a pop group. Stewart was given the news by Brian Jones, and never really forgave either Jones or Oldham, but he remained loyal to the rest of the group. He became their road manager, and would continue to play piano with them on stage and in the studio for the next twenty-two years, until his death -- he just wasn't allowed in the photos or any TV appearances. That wasn't the only change Oldham made -- he insisted that the group be called the Rolling Stones, with a g, not Rollin'. He also changed Keith Richards' surname, dropping the s to be more like Cliff, though Richards later changed it back again. "Come On" made number twenty-one in the charts, but the band were unsure of what to do as a follow-up single. Most of their repertoire consisted of hard blues songs, which were unlikely to have any chart success. Oldham convened the group for a rehearsal and they ran through possible songs -- nothing seemed right. Oldham got depressed and went out for a walk, and happened to bump into John Lennon and Paul McCartney. They asked him what was up, and he explained that the group needed a song. Lennon and McCartney said they thought they could help, and came back to the rehearsal studio with Oldham. They played the Stones an idea that McCartney had been working on, which they thought might be OK for the group. The group said it would work, and Lennon and McCartney retreated to a corner, finished the song, and presented it to them. The result became the Stones' second single, and another hit for them, this time reaching number twelve. The second single was produced by Easton, as Oldham, who is bipolar, was in a depressive phase and had gone off on holiday to try to get out of it: [Excerpt: The Rolling Stones, "I Wanna Be Your Man"] The Beatles later recorded their own version of the song as an album track, giving it to Ringo to sing -- as Lennon said of the song, "We weren't going to give them anything great, were we?": [Excerpt: The Beatles, "I Wanna Be Your Man"] For a B-side, the group did a song called "Stoned", which was clearly "inspired" by "Green Onions": [Excerpt: The Rolling Stones, "Stoned"] That was credited to a group pseudonym, Nanker Phelge -- Nanker after a particular face that Jones and Richards enjoyed pulling, and Phelge after a flatmate of several of the band members, James Phelge. As it was an original, by at least some definitions of the term original, it needed publishing, and Easton got the group signed to a publishing company with whom he had a deal, without consulting Oldham about it. When Oldham got back, he was furious, and that was the beginning of the end of Easton's time with the group. But it was also the beginning of something else, because Oldham had had a realisation -- if you're going to make records you need songs, and you can't just expect to bump into Lennon and McCartney every time you need a new single. No, the Rolling Stones were going to have to have some originals, and Andrew Loog Oldham was going to make them into writers. We'll see how that went in a few weeks' time, when we pick up on their career.
Mandy is a renowned winemaker and with her brother Arthur they grow and make some of Rutherglen's finest table wines and fortified. The restaurant is french and situated in a heritage building circa the 1860's. Simon Nash chats to Mandy.
David tells us about his farm and turkeys and why it is important to order your turkey ahead of Thanksgiving. See omnystudio.com/listener for privacy information.
Welcome to the fourth episode of 'Cuik Talk', the new official podcast of Penicuik Athletic Football Club. Midfielder Sam Jones looks back at his time at the Cuikie ahead of his impending move to Spartans, from initially joining on loan from Berwick Rangers, making his move permanent, derby goals, winning the East of Scotland Cup and Conference A and the Scottish Cup run. Watch the Pod on PenicuikAthTV at https://www.youtube.com/PenicuikAthTV or listen on Apple Podcasts, Spotify, Google Podcasts, Anchor, Breaker, Pocket Casts and RadioPublic. Please subscribe and leave a review if you can, thank you!
The season finale of season 1 of The Podcast. We’ll spend more time talking about Grant Napear in a public forum then I ever imagined I would. Is he racist? The meaning behind All Lives Matter and why I think Grant knew what he was saying. I’ll touch on my relationship, or lack there of, with Grant and where we left it when the Lo-Down ended. Why his job may be in serious jeopardy. Why the “I’ll never listen to this station again” tweets don’t matter. MLB is working on another proposal to get back to games. Jones Jones is prepared to forfeit his light heavyweight title. I posted a very lengthy podcast outlining my complete history with Grant Napear on Patreon.com/damienbarling Subscribe to ReLive: a docu-style, storytelling podcast that focuses on the greatest matches and greatest moments in wrestling history. https://omny.fm/shows/relive Patreon account… https://www.patreon.com/damienbarling Check out Sky Naturals CBD. Use the promo code InTheGame and get up to 15% off your order or use this link directly… http://bit.ly/InTheGameCBD If you’re a small business that needs help. You can advertise on this podcast for free - send me an email to advertiseonthepodcast@gmail.com Logo design by: Russell Preston Connect anytime. 24/7 text line 916-888-5898 damienbarling@me.com Instagram: @damienbarling Support the show.
In this episode, I talk with Austin and Jason Jones, a father-son hunting team from here in Michigan. They call themselves the Jones Boys Hunting Squad and you can find them on Facebook at @jonesboyshuntingsquad. These two are amazing, Austin is confined to a wheelchair, and even with that, he is one hunting machine. He hunts with a crossbow and with the assistance of his dad, Austin hunts lots of different game animals. Austin looks at his target through the scope of the crossbow and directs his dad in aiming and pulling the trigger at the time Austin tells him too. You can see Austin and Jason’s hunts online, Austin does all the editing of videos and posts them to the Jones Boys Hunting Squad Facebook page. Austin and Jason have some great companies that they work with to keep Austin out hunting. Check out: Gearhead Archery(gearheadarchery.com) G5 Outdoors(g5outdoors.com) Ultimate Predator(ultimatepredatorgear.com) Bad River Outdoors(badriveroutdoors.com) Chelsea Taxidermy Studio(chelseataxidermystudios.com) Independent Archer’s Association(michiganiaa.com)
SOUND OFF 579 is THREE HOURS with a YEAR IN REVIEW look back at 2018 in wrestling and on a personal level, plus picks for my three favorite matches of the year and both Male and Female Wrestler of the Year... thoughts on the Jones Jones situation with UFC 232... live thoughts from the WWE show at Madison Square Garden, including the story of The Brooklyn Brawler once wrestling Shawn Michaels for the WWE title and Undertaker's priceless reaction... a full preview and predictions for New Japan's Wrestle Kingdom 13 show... where the AJ Styles/Vince McMahon stuff could be leading... which member of The Shield did Gerald Brisco once say would FADE AWAY?... some of the greatest corpsing moments in WWE history... and MATCH #5 in our Top 10 Countdown of the greatest championship matches in Royal Rumble history! SIGN UP WITH MYBOOKIE USING PROMO CODE "SOLOMONSTER" and they will give you a 50 percent deposit bonus to jump-start your bankroll. USE THIS LINK AND ENTER THE CODE TO CLAIM YOUR BONUS: http://bit.ly/SolomonsterMB
Brad Jones of the Jones Entertainment Group joins London Live to discuss an upcoming commercial shoot planned for this Saturday at Budweiser Gardens
In this episode, we cover Jones Jones, Brock Lesnar, Chris Cornell and Chester Bennington. --- Send in a voice message: https://anchor.fm/ed-namrok/message
Giselle Jones-Jones shares her wisdom on engaging board members in fund sourcing. Here's the Transcript Russell Dennis: Welcome to the Nonprofit Exchange brought to you by SynerVision Leadership Foundation. I am your host, Russell Dennis. Thank you for joining us. Our guest today is Dr. A Giselle Jones. She is the founder of The Write Source, technical writing and consultation services. She is a writing advocate for community leaders, pastors, administrators, and the like, all sorts of nonprofit entities. She is here to share her expertise with us today. Thank you, Giselle. Welcome. Glad to have you here. Giselle Jones-Jones: I am glad to be here. Russell: All right. So Giselle, tell us a little bit more about the woman underneath the cloak. Giselle: I see myself standing like Wonder Woman with my cape flying in the wind. Russell: Tell us about your superpowers here. Giselle: I'll tell ya, I am empowered by the people whom I have had the privilege to write for and to work for. They are really the wind beneath my wings. I can't claim any of the success on my own. It's because I have been in the right place and been equipped to be the right person for these people. I like the way you emphasize The Write Source before because that is exactly what I do. The w-r-i-t-e. I do the writing. We'll talk a little bit more about that in just a little bit. But the woman underneath the cloak, the woman wearing the mask, the woman who is in the background. Again, my name is Giselle Jones-Jones. I am a Jones twice. I married a Jones. I have ben writing now, filling the majority of my professional life, and how I demonstrate that in my day job, so to speak, is as a teacher. I am a professor of English, of literature, public speaking, so that is my day job, and that is what gives me my passion. My students give me my passion. I do that and have been doing it since 1990. That tells my age, Lord have mercy. But I have been doing that for many years, and I learned my greatest lesson. I once heard that the teacher is twice taught. Again, I look at everything really as a privilege, and I take everything that I do as building blocks to do the next thing. Teaching, that gives me what I need to do what I do in my evening job, in my weekend job, in the-extra-time-that-I-have job, which is working for the nonprofit, which is working for the charity or the ministry or the professionals who have a desire in their hearts to do something to make a change in their community. Where I come in is exactly how I see my students. My students on the first day of English 101: Composition, “I hate to write. I don't want to do it.” I have to struggle with them throughout the semester. On the other end of it, they are happy for the journey. But it's the same thing with the charities, with nonprofits. There is this fear, there is this force that is in the air, and they absolutely fear the writing process. Preparing that proposal just causes dread and so they have a desire to do something in the community. They want to do something great, but they often stop in their tracks. When they face that in order to write a grant, it needs to read well, etc, they come looking for the grant writer, that person, and that has been me for organizations again who I have been privileged to work with as a freelance writer. I created The Write Source to cover me as the freelance grant writer, and that is how I have operated over the course of these 20+ years that I have been The Write Source. Meeting Hugh on August 26—that was just a little over two weeks ago—founder and president of SynerVision, opened my eyes to the possibilities that I was working out this summer and building of the infrastructure of my company to duplicate myself a few more times so that I can reach more people and help more people. Again, this opportunity today is a blessing. The past two weeks dealing with Hugh, I have been on a rollercoaster ride already. It's been fantastic because it's putting me in a place of impact to help people more, for me to do more and to build upon what I'm doing even more. That is a little bit of who I am. I'm a mother of three. I have two in college, both of my two girls, and I have a boy who is 12. I'm a wife of a wonderful man who is a musician like Hugh and a director. Again, I am privileged to be his wife. Here I am, before you now. I have shared a little bit about my passion, what makes me get up, what is my mission for life, walking in my purpose, walking in my destiny, all of that. Russell: I'm glad to have you here just looking at your bio. You are a tenured professor at just about every university in the state of Carolina. Giselle: Oh, stop. Russell: Your client list reads like a who's who. It's phenomenal. More hands makes the work lighter. Giselle: That's right. Russell: I've been a part of this SynerVision team and signed on as the first WayFinder. We have been building momentum and now things are starting to take off. It's really great to have expertise to leverage because you can do more. A lot of nonprofits feel like they're alone. How much does that play into the struggle that people have with writing grants? I know that a lot of times, at my first nonprofit job, my first day on the job, the travel planner came and dropped a package on my desk from the Department of Education and said, “I've seen your writing sample. You'll do okay. I'm right next door if you need some help.” I had never written a grant. Talk a little bit about that intimidation that most people have and what makes it seem like such a difficult process for most folks to achieve. Giselle: You said it. I mean there is nothing more dreaded than being given the RFP coming from a federal grant that requires 20-25 pages of information, demographic studies, all those things you have to do, plus giving a face and a personality to the organization. That is a lot. The fact that you were a gifted writer helps, but think about those who lack the skills to write. They feel alone. They feel like they're on an island by themselves, and again, those grants go often unwritten. That's money that that organization did not get because people stop in their tracks. It's for that very reason it is dumped on one person's desk, and that one person feels it is his/her job to do it by him/herself. That is wrong. The team approach is absolutely the best way to go about this. I think that the idea that you offer grant-writing workshops and support the grant writer, that is promoting it the wrong way. It has to come from the point of view that a team effort, with the grant writer sitting at the helm delegating responsibilities—Yes, that can be that person's role, but that person needs the help of experts across the board everywhere from just even designing the document itself. You need someone who goes and gathers the information. All of these pieces go walking past the background in accounting who can put together that top-notch budget that is tight and that is ready to go. All of those elements for one person to handle, who is a gifted writer but may not have the expertise in those other areas, can get overwhelming. Again, having those people on board, having those people who are trained and equipped and ready to contribute to the team, is the best way to approach grant-writing or proposal-writing, period. That body of people, really from the standpoint of all funds development, all funds, all resources, from not proposal-writing because you can't put all your eggs in one basket either, that team will follow the organization and work with that organization, with donors, with sponsors, with all of that because the same documentation is needed, the same writing is needed. That team of people who are equipped and ready to help the nonprofit, the charity, the ministry, they follow them from beginning to end and let them know they're not alone. That is overcoming that particular person who is given that file on the desk, that RFP. No, if that does happen, that person sitting at that desk should pick up the phone and call that team and call a meeting and let's go over this. Let's look at this and delegate. Let's look at who needs to do what so we can pull this together. Russell: Our first question came from Jolyn. She asked, “Do you know of any grant funding for a holistic healer or complementary healing services for PTSD?” Giselle: Oh my goodness. I would think that there will be federal funding, and I do have a list of those from the Center of Disease Control, federal dollars that go toward those military who have suffered. There is funding, yes, there is. As a matter of fact, I am going to keep searching for that, and I will make that available. I think there is a chat forum on here, and I will type those in as I find them. Yes, there are federal dollars that are available for that, yes. Russell: We will get those in there to you. Giselle: Yes. Russell: There we are. We've got a phone number for Karen. There is information we can follow up with in the chat. I have put the web address in the Facebook chat and the Zoom chat forums: http://www.thewritesource.org. That is where you can reach Dr. Jones. As always, our lines are open for more questions. Jolyn already has a 501(c)3 set up, and she knows about practitioners. There are some people that I want to put Jolyn in touch with who are doing different types of things, nontraditional and complementary healing. I will put her in touch with some other people online. My next question is that you have been working. I know you met Hugh a couple of weeks ago, and you have been talking about setting up what you call an office of funds development and collaboration. This is something that other nonprofits can do for themselves. Tell us a little bit about setting that type of thing up. Giselle: Especially because Hugh approaches what he does through SynerVision with the team approach, team is very important. So having a funds development office is really the next step in line for what he needs to do. It takes the pressure off of him so that he can continue to be creative, so that he can continue to do his workshops, his symposiums, but to have this particular office to continue to fund what he does as he helps organizations and boards fund what they do, the team approach handling how they go about procuring and sustaining their funds, this particular office would be the liaison between the workshops and the symposiums that are held to local implementation. This office would provide guidance after they have received the trainings. this particular office will follow them. And it's got two branches, two arms. It will continue to fund the endeavors of SynerVision because its vision is large. Its vision is still evolving. That one side is important. But then those whom SynerVision develops and trains, they will continue support. This office will be here to stay ahead of the game with resources, with staying trained and relevant and current about what is being offered to charities and nonprofits across the board because again people have various needs and they are trying to impact change in their local communities in various ways. This office will be equipped to be the support for both sides, for SynerVision and for those whom they serve and develop and train. It is still a work in progress. Again, this is a two-week relationship that is blossoming, so we're putting some meat on the bones per se, so that is where we are at this point. It is exciting. Hugh and I are talking every day. He says, “Giselle, what do you think about this? I am going to put these ideas together. Let's put a proposal together to begin to make this happen because it needs to happen.” That is where we are as far as that is concerned. This particular office is critically important. It seems like a natural next step for SynerVision to have this particular office available. Russell: And it is. The work here that SynerVision is doing is designed to help nonprofits increase their capacity to serve others. Training and development is very important. It's something that will attract people to you to serve on your board and for volunteers. Having a process, we're all about helping put processes together that will empower you to work more efficiently, that will tell you to go off and find others to collaborate with. Fundraising is like a lot of other things. My whole role is to help nonprofits build high-performance organizations. There are four steps to that, and the first is having a solid foundation where you look at all of the things that you have. You look at all of your assets. You look at what you want to try to do and what you want to try to achieve. As you bring people in, you find out what drives them, what makes the work important to them. Once you understand why you're doing what you're doing, you can start putting a solid foundation. Talk a little bit about the importance of an overall strategy. I've seen a lot of organizations go out and take a scattershot approach where they are applying for grants, they are looking at pockets of funding and saying to themselves, “Oh my God, that's a lot of money. Maybe we can go after this.” But they don't stop to look at whether that particular funding source is the right one. Giselle: That's exactly right. Again, the process is very important. I believe the gift that I have is making sure the voice of the organization tells the story. It is what draws the potential donor to them, which gives value both ways, which shows why the organization is so important and why they are so important to do the work they want to do in their community, and why it won't be done any other way. It's important then to connect with the potential donor that has the same value that in giving their money and making a contribution, they will be a part of that value. That I think is important, but what I do and have done is to go and pull the voice out of the organization. Who are you? It's activating voice. I came up with my own class that I'll be teaching that is called Voice Activated. It is. It's just that. Who are you? What is it that you want to do? Whose lives are you trying to impact? First, you have to know your purpose. Everybody wants grants. I get phone calls every day, “I need a grant. I need you to write a grant.” Okay. Why? Let's back up. Let's take a couple of steps back because you can't go find the grant first and then write the grant to it. You have to have a purpose first. You have to know who you are first. You need to have in mind the person or the thing that is being impacted. You create a story around that. Those are the steps. You begin with you have to know who you are, and then we can look at- You have an idea, you know what it is you want to do in the community, you go from idea to how it is going to impact the community. You then look at, if given the money, if you get the funds, who is going to implement it. What is that going to look like? How are you going to sustain yourself if you don't get that grant funding? What happens after that? Do you have a sustainability plan in place? from idea all the way to sustainability with implementation in there as well, those are the necessary steps it takes, but where we spend the most time is that first base. We have to know who we are, why you're doing it, and thinking long-term or short-term and then long-term. Coming up with that kind of strategy, sitting with the organization, hashing that out will help. We can't do anything else until we know who we are. That is exactly how I teach my classes. That is how I teach those first steps in composition. You have to know who you are. Once you can find that out, I can tap into that voice and help to create your story, to create the emotional attachment. All those things that go along with pulling people into knowing why that particular idea or why that particular act of service is so important. Russell: That's it. That is the second step of how to develop a high-performance nonprofit: creating an effective action plan. Once you look at what you're trying to do, it's a matter of, Okay, what do we need to do first? And breaking it down into simpler steps. It's really important to be clear on who you are. Then you measure everything you do. This is probably a place where a lot of organizations struggle because they got an idea for what they want to accomplish, but they are not exactly sure how they want to measure it. There are two things. The third step of building a high-performance nonprofit is staying on track. When it comes to your programs, there is an evaluation component. That is an essential piece of every grant and of developing programs. A lot of people don't account for resources to do evaluation when they have put a proposal together. The other piece is benchmarking, which is, Okay, how do we compare to other nonprofits doing similar work in the same industry? How are we doing comparatively? Talk a little bit about that, about measuring what you do and how to quantify that because some people look at their work and say, Well, we can't really put it in the dinner table on the spreadsheet, but you still have to show some results. Giselle: That's right. That part is very important. That is what stops people at first base. Because that is a very integral part, the objectives, you have to have clear objectives that can be measured. Those things, as a part of the proposal writing process, have to be considered while we are sitting at the table: how we want to measure this, what are the outcomes, what are the expected outcomes, and then what we want those variables that we use in order to test it. A lot of people, a lot of organizations that I work with, only think short-term. They are very short-sighted and think they want to do a program for only one year when they are working with students to help improve their ELG scores, for instance. Okay. How are we going to know whether or not what you have done as far as the programmatic have impacted these young people? How are you going to test that from year to year? Are you going to follow them for just one year after they have successfully perhaps passed the ELGs their first year? Or are you going to continue to follow them until they graduate? Those are things you have to consider. Then you are addressing subliminally how long your program is going to be, from one year to four years perhaps to eight years to follow with that. All of those steps in between of parents being an active part, they have a great deal to do with whether or not the objectives are being met because they see things as concerns that say that program that involves those children you are trying to help improve those scores, parents see things at home. They need to see some things changing at home. Organizations in a community, they also have input on seeing the growth and development of that child. There are many things to consider as you think about evaluating these programs. That is what we consider at the beginning: How do you draft an objective that can be measured? What other evaluation tools will be there? Yes, sir, those are very important parts of the proposal process that have to be discussed up front. Having a team there to contribute also helps, not just one person trying to think of all of these things themselves. Having the team approach helps. Russell: It does, it does, it does. It's a long-term plan; the sustainability and the funding should be thought of in terms of taking a long view. What will happen over the course of time. This is pretty critical. A lot of people struggle with that. Some do, some don't. You teach people how to go about working these processes in. Tell us a little bit about how you approach teaching people to quantify that because quantifying it and talking about how you measure- The fourth piece of building a high-performance nonprofit is communicating the value that you bring to people. That plays into getting people to bet on your team and to fund you, looking at what is that value and how do you communicate that in terms that are important to the funder? Giselle: Wow. Again, you have touched on something that involves a mindset shift. I say that because every organization has to develop a culture of giving, a culture of fundraising, a culture that supports at all odds giving what is needed in order to operationalize that particular idea. From understanding what philanthropy means, understanding that the culture involves even on the board level that boards have to be involved in the process of thinking through what their fiduciary responsibility, why it's so important even for them to give to the idea because buy-in is difficult if the board doesn't support it 100%. Being able to quantify the value is a complete and total buy-in from everyone who is internal to the organization. That is a mindset shift. It is a culture that has to be cultivated. It has to have been there and sitting around the table making sure that everyone understands the value of the organization, understands the value of that particular community of people because again, yeah, we can quantify numbers. But those numbers represent people, and those people are the ones that have the issues. Understanding and feeling out why it is so important to activate that voice and being able to connect on a donor level to the individuals being impacted is important. The organization, the people in that organization, the board and the members, all those who are a part are a part of something else bigger and greater happening. Those kinds of things, when they are happening and filled with momentum, it is easier to get the kind of quantifiable results that we are talking about. It is easier to begin to do that, and where the community is seeing it through everything that is written and written well through the newsletters, through all these things that are showing people what is happening, they are constantly involved. That is also creating a culture around that particular organization. The more that they know about what's happening, the greater the instances they will continue to give. That organization is not just a one-time giving opportunity. You want this to be a sustained relationship in that good or bad you have where we need to grow, you have the stakeholders meeting. Those kinds of things need to constantly happen so that it will increase opportunities for organizations and charities to give. That is what I see as far as that is concerned. My particular experience over the years is being the lone ranger so to speak, being that lone grant writer and desiring to have a team around me that I can continue to train in the classroom is one thing, but in my business, to have that as I have been working with these people over the years, I understand why it's so important now. Being that lone ranger, like you said earlier, receiving all of these grants and all of these people who want that services by myself, is daunting. It is very overwhelming. Understanding why it is so important to have a team to surround the board, the team to surround the individual who is interested in making an impact in the community, is so very important. I am glad for that question because that speaks to the heart of getting the kinds of results and those statistics that will grow and follow that organization so that they stay open and ready to continue to receive the funding that they need. That is what you read often. I read an article just recently that said before you become a nonprofit, read this. Don't do it. Find other ways to do it because it is daunting, it is overwhelming if you think that there is only one way to go about funding, and you are trying to do it on your own. This is an excellent question for the culture has to be developed. A culture for philanthropy, a culture for giving. Russell: It is. I just got another question from Jolyn. She says that, “I have been a lone ranger for too long and am ready to create a team and need to know where to start.” Giselle: Tell her to call me. My number is- hahaha. Jolyn, will you be on my team? She needs first of all, and I am building my infrastructure as well. In putting myself out there, I am attracted to so many people who have such great gifts. But you need some skilled writers on your team. You have to duplicate yourself at least three or four times. You need to have a few people who are skilled. You also need to have someone who is your accountant, someone who is good at putting together a budget. That is a very big part of this. Then someone who understands data. Your question about being able to measure growth, you need people who are experienced in that to be on your team; someone who can look at data management is a critical role. Having someone who deals with that, and then it would not hurt to have a good fundraiser, someone who can sell you the bottled water that you already have beside you. There are some people who are just gifted at that. But to have someone who doesn't mind going out and being the face of the organization, you need someone like that. just a few people around you, and then you will continue to grow. It wouldn't hurt for you to also consider some interns. Get interns. I launched an internship and had the pleasure of working with some dynamite young people. I have worked many places, so it wasn't difficult for me to make a couple of phone calls and get some recommendations for some young people who are gifted. The areas that I used them is not just for writing, but I also began to train them in sales. I had a young person who was my PR representative. She was fantastic. Then another one who was very good at technology and web design. Those things help. Then all of them being part of this younger millennial generation, they were all social-media savvy. That helped. Someone who is gifted at that as well. All those key parts were to help the organization because all those things are needed to help put them into the forefront of the community. Jolyn, call me. We can talk. We can continue to talk. Russell: Make sure you get the number. Giselle can put that number in the chat. Another question that Jolyn had was: How do I get people to come on board when I don't have funds to pay them? Giselle covered some of that masterfully. There are opportunities out there where you have students, internships. There are opportunities to get pro bono work if you have an idea how to do that. Worth exploring pro bono as a means. Pro bono is not great for anything you need in a hurry, but pro bono is another opportunity for you to get services. When the whole concept of pro bono was launched, it was centered around the legal profession. But any type of professional organization or any type of profession almost bar none today, you can find some organizations that do pro bono work. That is something that you can talk with Giselle about. I'd be happy to talk with you about that if you have questions on that as well. That is very important. Thank you for that. Giselle: Fantastic. Russell: The word “culture” is something that you used. I read a study that was centered around funding. They took a sample of about 2,700 nonprofits of all sizes to find out what sort of fundraising practices they had. There was a lot of reliance on the development director, or there is a single person that a lot of them rely on, usually the development director. This person, they didn't all have processes set up because fundraising is an all-hands-on-deck adventure for nonprofit. Oftentimes, it's left to one person, and there is not what they call a culture of fundraising, which is having everybody that is associated with the organization participate in that. It starts with leadership, particularly your board of directors. Talk a little bit about that importance of having your leadership be involved and how a culture of fundraising can help you be more sustainable. Giselle: Another excellent question. Having all of your leadership on board is critically important. I believe that the buy-in that can be shown on the outside is critically important. Culture has to do with personality also, the personality of the organization. You attract people who are most like you. The organization itself as you embark upon events in the community and those things that you want to help promote the idea that you have, it is best to operate as the team and not just a one-person show. That is not the way it should be handled. I appreciate the study that you've mentioned and that you increase your opportunities to be successful when you are approaching it from the partnership, from the group approach, as opposed to that lone ranger. You increase your opportunities. That is what is really all about. Even the collaboration between organizations that are like-minded shows that you really have the community at the center of what you're doing and not just your individual organization, but you're wanting to collaborate, you're wanting to partner. That in and of itself can change a community. The personality of the community as well, knowing that people are there to help them, people are there who do care about their particular needs. Those things are important. Yes, operating as a board, being trained as a board, going together to receive the same knowledge, puts them all in a better position to make a greater impact. I agree wholeheartedly with that study. I have not read that, but I agree with it wholeheartedly. I do. I am messing up my screen, Russ. Do you see something over here to the right? Russell: No, I don't. You haven't shared your screen with the audience, so you're okay. Culture of fundraising, there are a lot of different types of cultural mindsets. One is a culture of innovation. That is an organization that always wants to try new things. A culture of learning. That is an organization that invests in development, in building your people. That is the opportunity you have to offer some of your volunteers, or as we like to call them, servant leaders. Development, and it can be training in a specific area that is of interest to them. These are things, when you don't have cash that you can offer development opportunities, you can offer opportunities for people to exercise their creativity and build a portfolio. It would be a wonderful opportunity for a student of marketing to come in and build a social media strategy. Giselle: Oh my goodness, yes. Russell: They get to put that in their portfolio, and you get some expertise from people that are learning. You have undergraduate students who can work as interns, and you have graduate students that can work as fellows for more robust studies and this type of thing. The opportunity to get support really rests in what people value. The word “value” is something that more people associate with business. I don't hear people talking in terms of value. When somebody sets up a profit-making business, they do it to deliver something of value that people will pay for, that they can offer at a profit. This is what we're doing. We have to operate at a profit, and it's called surplus in nonprofit circles. The bottom line is the same regardless of your tax status. If more money goes out the door than comes in, you're done. Or after a period of time. It's about sustainability and keeping the steady flow of funds coming in. A lot of people look at grants, but there are so many funds to come in through other means, too. Grants are something that people associate with nonprofits, but when you get in-kind services, such as pro bono, that is a different matter. You get sponsorship. Individual donations come in a lot of forms. There are current checks. But individuals may plan for when they are away, they want to leave a legacy. So you have planned giving. You have capital campaigns. You have all sorts of things. There are a lot of things that you can do. It's important to have a diverse base of funds. But you have got to build relationships to get those. A lot of people think in terms of grants. Giselle, what sort of things have you done with people that you go in to write grants for to help them be more sustainable? I know when people talk to you initially a lot of times they are thinking in terms of grant funds. But there are other options. How do you help people explore those other options? Giselle: Let's say that first grant is not funded, or somehow something happens and they don't get their 501(c)3 in time, they wonder what they can do in the interim. Well, in those cases, I have worked with the organizations to partner with another organization with a 501(c)3 to serve as a fiscal sponsor. As a matter of fact, that occurred about a year and a half ago with an organization. They are just coming back from Brazil now, but the Global Missions Group has partnered with a church inside Silo City. Silo City is serving as a fiscal sponsor so that they would have the sponsorship they needed in order to write those grants. But they also have a very robust, as you say, board. They have each invested a certain amount so it could sustain those short trips that are taken in order for them to do the exploratory kinds of work because they build churches in Brazil. They do that to make sure those kinds of operations occur. Then they go out and seek those sponsorships, those people in the community and from the churches that are like-minded, that are missions-oriented, and they pledge those. They become their own rope. They have their *audio interruption* and they ask for donations that way. When you have something that is pressing, and the grant is low-hanging, it's out there, you can't get to it, but you know there are things you need to do, you have to get creative. Like you said, you have to be innovative. You have to come up with some creative ways quickly to go get what you need. That one organization, I want to use them as the exemplar. They are wonderful. They have come up with strategic partnerships. I have helped them to cultivate that and behind the scenes to create all the documentation they need in order to do it. But they have their street team. They go out and visit these churches. They carpool. They go where they need to go and to spread their particular program or the mission of their program, and they made it happen. Then grant dollars started coming in. But all of those things working in concert helped. They are one organization that made it work against all odds. They knew what they needed to do. They believe strongly that their particular organization has something to do for the building of God's kingdom. They wanted to spread the word by building churches in places where the word is not shared. They were about business. They are two retired gentlemen. They knew that was their purpose, and they brought me on to help to be that person to help them find all of the resources necessary. We had all kinds of campaigns. They sold T-shirts. You name it, they did it. They used social media. They had the street team. They had their passion, their heart; they wore it on their sleeves. Everywhere they went, people gave. People gave because they believed and had evidence to show that they had done this and that more work needed to be done, that their mission is far from being over because there are still people who are unreached. That is an example of what is done in the face of not perhaps receiving that grant or when you are in waiting mode but there are people out there, organizations out there, who will serve as fiscal sponsors. You have those who come up with multiple fundraising ideas and then they began to implement those. The more passionate you are about what it is that you do, you have to be creative and think outside the box. That is where I come in to make sure that the written pieces, the documentation, follows their dreams, follows their action plan, follows everything. The sustainability part, that was a part of your question as well. On the other end, sustainability, to follow up reporting is important. People forget that, and their organizations end up being audited because they are not turning in the paperwork that is needed to follow up what they have done. You are funded, but then you have these periodic reports that have to be submitted. You have to show what you are accomplishing via newsletter, whatever it is to show the community and those people who have given what you're doing. That has to continue. The Write Source has been that follow-up aid for technical writing as well. My work continues to follow the organization. I have done that with these organizations that I help. It doesn't stop with getting the grant. You have to have a sustainability plan in place. You have to include in your budget those contractual fees that cover periodic evaluations. From the funders, you have to give way to them coming to visit your site. They are a part of the process. They are a part of your big picture once you see that funding. All of those pieces are important to understand upfront that just wanting a grant involves multiple layers. Understanding those layers will equip them to be able to receive it and continue to receive in the future. Yes, sir, you are exactly right. Russell: There is an awful lot packed in what you said. It really starts with, as you put things together, talking with people who you are going to serve, people who will pay for your programs. It's really understanding what is important to people. Keep your measures down to the things that are most important. If you design the program carefully so that it's not an extra burden on the people delivering services, but actually collect information, you will have more success, and there are ways to do that. This business of collaboration is going out and bringing other entities in. When you look at in your foundational process, the skills that you have on hand and the skills that you may have gaps with, that helps you bring collaborative partners because when you have core inner values that are alike, and you get these complementary skillsets, you can work together. Everybody is working to their strengths, not trying to fill weakness. Everybody is doing what they do best. That increases the leverage exponentially that you have working together to actually get some impact. It is critical to collaborate with other people in that way. Bring that impact forth. It's a wonderful way to go about doing things. Working with other people is important. I did put Dr. Jones-Jones' phone number in the chat. Giselle: Thank you. Russell: You have an onsite link for an automated calendar, don't you? I want to put it out there on Facebook and in the chat so people can go to that automated scheduler and book time with you. Giselle: I am going to let that happen in a few minutes because I do want to make that available. Yes, sir. Russell: Automation is important. Technology is our friend when it works. Giselle: When it works, yes, sir. Russell: When it works, it's a thing of beauty. Giselle: I see that she says she doesn't see the phone number. Okay. Russell: I typed it in. Scroll up to about 12:44. I put it in about 13 minutes ago in the chat. Giselle: Okay. Russell: I can copy it again and put it up again. Giselle: Wait a minute, I see that. Russell: I will put it back in there because there have been a lot of comments in there and the feed has been scrolling away. That is how folks get ahold of you. It's really been a pleasure. I'm thankful to all of our panelists, to all of our folks who have attended and asked a lot of great questions. There is a toll-free number there, 888-426-2792. I need to get that in the comment section of Facebook as well. This hour has gone very quickly. What sort of closing thoughts do you want to leave our audience with today? Giselle: Again, the need for a team approach to proposal writing, I can't express that enough, having been one who has experienced the burden by herself, who has also been successful, and I'm thankful for that. Having worked with organizations and having them funded close to a million dollars speaks to the gift that I have and how I have been able to use it over the course of these 20 years. But I think having the team approach, now having more who are on the board, understanding how important it is, and even with the collaboration with Hugh and SynerVision, just how many more people we are going to be able to impact. I am excited about those possibilities. I am excited about this collaboration with SynerVision because I know that he is moving forward, and you are moving forward, Russell. I believe that our paths, this is destiny. You are already on that path, and my path has joined yours. You are moving forward and upward. You are impacting people. Now utilizing the skillset that I have, I believe that we are going to really make a difference in a lot of people's lives. The world needs us. A lot of people are hurting in the world. I do believe that at the heart of nonprofits and the heart of charities, they do have a heart for the people. That is how I see myself. I am a person who helps the people who want to help. What greater legacy could one leave in knowing that I have given myself and my life and my skillset I was given- I have been given this skillset. To be able to use it in a way, a meaningful way, to help organizations that have this fear of writing these proposals and understanding that is just one of many ways to go about giving the resources, now being a part of SynerVision and helping to create this infrastructure that will be there to support the people that come through SynerVision and are trained and the local implementation to know that you have a god in between to help make that happen. I couldn't be happier. I couldn't feel any more in position and aligned to do greater things. I tell my students all the time, “Just use me.” I know that's bad. But I am at that place. “Just use me.” Use me. I am a student. I am still learning. As a matter of fact, I learned a great deal on this podcast today from you, Russell. I stand greater because of this experience. I am humbly here. I am one who is willing to serve. I am here. Russell: Dr. Giselle Jones. It's really been a pleasure to have you here. I am looking forward to working with you to serve other people. These phone numbers out here for those of you who are watching on Facebook and would like to speak with Giselle at greater length, 888-426-2792, toll-free. Or 336-681-1863, local, to Greensboro, North Carolina area. If you want to discuss other matters, you can book a discovery session with me. We can do it live or online. Go to bit.ly/bookruss. Get yourself on my calendar. Let's talk. Synervision Leadership, we are building the community. We are building our online offerings. There will be much more to come. We will be doing live events in your area somewhere in 2018 as we roll out SynerVision, and we will have more webinars, online offerings, and such. Go to www.thewritesource.org for more information. This is Russ Dennis and Hugh Ballou thanking all of you who have joined us on Facebook. Be sure to tune in next week. We will have a panel on diversity where we will talk about diversity and how that strengthens nonprofits. Until next week on the Nonprofit Exchange, this is Russ Dennis. For those of you who are on Facebook and would care to join me, there is the Nonprofit Culture of Success show that we run weekly. That is something I host tomorrow. Dr. David Gruder is my guest. Next Wednesday, our own Hugh Ballou will be my guest. Thank you once again, and I look forward to seeing you again next week on the Nonprofit Exchange. Learn more about your ad choices. Visit megaphone.fm/adchoices
Entrega 153 de HDO, adelantada primera entrega de la temporada 2016-17. En el podcast se escucha música del joven cuarteto nórdico Festen (Festen, Clean Feed), Szilard Mezei Septet (Polar, Not Two), The Sync -con Fred Lonberg-Holm, Mike Reed, Eve Risser y Sylvaine Hélary- (The Bridge Sessions 02, The Bridge), y Jones Jones –con Larry Ochs, Mark Dresser y Vladimir Tarasov- (The Moscow Improvisations, Not Two). Pachi Tapiz, 2016 HDO es un podcast editado, producido, mantenido y presentado por Pachi Tapiz Toda la información de HDO 153 en http://www.tomajazz.com/web/?p=25976 Toda la información de HDO en http://www.tomajazz.com/web/?cat=13298
Join Ken and Brian as they talk with Craig Jones of Jones Taxidermy about proper field care for trophies. And as always, they talk hunting, fishing, and the great outdoors.
This week Peter Donegan talks with Carl Jones head don and brains behind Jones Garden Centre. Originally a family run fruit farm dating back to the 1950's to what is now one of the finest and friendliest of Irelands leading garden centres. More than that Carl is an absolute gentleman and a real gem of a listen on this weeks sodshow. @sodshow on twitter - www.sodshow.com The Sodshow is Ireland's best podcast 2013 and only garden radio show and is brought to you by the very brilliant Greensax.ie #gardening #horticulture #ireland
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