Podcasts about Let It Die

The Metal Maniacs Podcast – Episode 91: 5 Concerts That Changed Us Forever!Welcome to Episode 91 of The Metal Maniacs Podcast, hosted by *Jay Ingersoll and Nick Modd! This week, we're diving deep into the five concerts each that changed our lives forever—those once-in-a-lifetime experiences that left a permanent mark on our souls and solidified our love for heavy music. From the raw energy of death metal pioneers to the theatrical madness of shock rock legends, these are the shows that shaped us as metalheads. A few we talk about are### **Marilyn Manson – Dead to the World Tour (April 30, 1997 – Wings Stadium, Kalamazoo, MI)**One of the most controversial and unforgettable tours of the ‘90s, **Marilyn Manson's Dead to the World Tour** was a spectacle of chaos, aggression, and mind-bending theatrics. Supporting *Antichrist Superstar*, this show was packed with intense visuals, haunting performances, and a setlist that included tracks like *Angel With the Scabbed Wings* and *Antichrist Superstar*. The lineup was stacked with **Rasputina, Pist.On, and Helmet**, making for an eclectic and powerful night of music.### **Death – The Sound of Perseverance Tour (November 21, 1998 – I-Rock Night Club/Harpo's, Detroit, MI)**Seeing **Chuck Schuldiner and Death live** was nothing short of witnessing history in the making. Touring in support of *The Sound of Perseverance*, Death's performance was an absolute masterclass in technical death metal. This show featured some of Chuck's most intricate and emotionally charged compositions, and the energy in the crowd was off the charts. Death's legacy as one of the most innovative and influential bands in metal was solidified that night.### **Ozzfest 1998 – Pine Knob Music Theatre, Clarkston, MI (July 23, 1998)**Ozzfest ‘98 was an **era-defining** festival, boasting a killer lineup that included **Ozzy Osbourne, Tool, System of a Down, Limp Bizkit, Megadeth, Incubus, and more**. It was a whirlwind of moshing, scorching heat, and the sound of thousands of fans losing their minds to some of the biggest bands in metal history. This festival set the standard for modern metal tours and provided one of the most intense festival experiences we've ever had.### **Walls of Jericho – The Crofoot Ballroom, Pontiac, MI (August 19, 2023)**Fast-forwarding to a more recent gig, **Walls of Jericho** performed alongside **Bleeding Through, Dead to Fall, Let It Die, Through the Eyes of the Dead, and Too Pure to Die** for an unforgettable night of **metalcore brutality**. The energy at The Crofoot Ballroom was **explosive**, and it was incredible to see Walls of Jericho still bringing the same level of aggression and intensity that made them legends in the scene.### **Korn, Ozzy Osbourne & Deftones – Wings Event Center, Kalamazoo, MI (February 7, 1996)**A true **genre-defining moment**, this tour combined **nu-metal pioneers Korn and Deftones** with the Prince of Darkness himself, **Ozzy Osbourne**. This show was **a collision of worlds**, blending Ozzy's legendary metal status with the rising wave of nu-metal chaos. The atmosphere was electric, with mosh pits erupting and an unforgettable performance that left a lasting impression on us.Final ThoughtsConcerts are more than just performances—they're **rituals, shared experiences, and moments of pure catharsis**. These five shows (and the honorable mentions) helped shape our love for heavy music, and we know many of you have had similar experiences.Hit us up in the comments and let us know—what concerts changed YOUR life forever?Stay heavy,Jay & NickFollow us- https://linktr.ee/metalmaniacsmiThe Metal Maniacs Podcast

Counting down the official MEANINGWAVE TOP 50 most streamed songs on DSPs for September '24! Where's your favourite?Follow the official MEANINGWAVE TOP 50 playlist: https://go.meaningwave.com/MeaningwaveTop50New products in the store! https://www.meaningwave.com/All songs Produced, arranged, composed, and performed by Akira The DonIf you get value from the music, consider getting some merch, downloading some albums, or making a donation. To those who support Meaningwave, thank you!https://www.meaningwave.com/blogs/meaningwave/support-meaningwave____________________TRACKLISTING00:00 - 50. GO! ft. Jocko Willink04:23 - 49. NEITHER CAN YOU ft. David Goggins07:26 - 48. WE BECOME WHAT WE THINK ABOUT ft. Earl Nightingale11:50 - 47. JUST KEEP MOVING (UNCLE IROH) ft. Uncle Iroh15:45 - 46. UNACCEPTABLE ft. David Goggins19:00 - 45. I FEEL FINE ft. Jocko Willink21:25 - 44. Always Hoping ft. Alan Watts24:04 - 43. TAKE ACTION ft. David Goggins30:06 - 42. INTO THE INFINITE ft. Rupert Spira34:59 - 41. WARRIOR ft. David Goggins41:05 - 40. WAKE UP ft. David Goggins 44:56 - 39. CONFORMITY ft Earl Nightingale48:49 - 38. Any Dream You Wanted ft. Alan Watts54:48 - 37. Play On Demand ft. Alan Watts58:34 - 36. HATERS (NEVER IN LIFE) ft. David Goggins01:01:59 - 35. BOBBLEHEADS ft. David Goggins01:04:45 - 34. THE RAIN ft. David Goggins01:08:08 - 33. Be the Hero ft. Joe Rogan01:14:04 - 32. Mind Control ft. Jocko Willink01:19:49 - 31. GOGGINS ft. David Goggins01:24:23 - 30. DEFAULT AGGRESSIVE ft. Jocko Willink01:29:09 - 29. EVERY SECOND COUNTS ft. Jocko Willink01:33:32 - 28. THE PURPOSE IS YOU ft. David Goggins01:37:49 - 27. SHUT THE FUCK UP ft. David Goggins01:41:03 - 26. On the Other Side Is Greatness ft. David Goggins01:44:18 - 25. I Don't Wanna Hear That ft. Joe Rogan01:49:07 - 24. Our Revels Now Are Ended ft. Alan Watts01:52:00 - 23. WHY NOT? ft Berton Braley01:55:36 - 22. THERE IS NO OPPONENT ft. Bruce Lee01:58:05 - 21. LET IT DIE ft. Charles Bukowski02:00:44 - 20. The Buddha Said ft. Alan Watts02:05:26 - 19. Fight ft. Jocko Willink02:10:39 - 18. I Wake Up Early (Thinking About the Enemy) ft. Jocko Willink02:15:59 - 17. From Suffering ft. David Goggins02:21:38 - 16. PEOPLE ARE NOT GOOD TO EACH OTHER (THE CRUNCH) ft. Charles Bukowski02:26:34 - 15. I KNOW WHAT DARKNESS LOOKS LIKE ft. David Goggins02:29:36 - 14. CRAPPY LIFE ft. Charles Bukowski02:34:19 - 13. BLUEBIRD ft. Charles Bukowski02:36:26 - 12. Discipline Gets Things Done ft. Joe Rogan & Jocko Willink02:40:29 - 11. Music (The Angels Fly Because They Take Themselves Lightly) ft. Alan Watts02:43:00 - 10. STAY FUCKIN' HARD ft. David Goggins02:46:21 - 9. Ordinary Everyday Consciousness ft. Alan Watts02:52:33 - 8. Taking Souls ft. David Goggins02:58:57 - 7. KALI YUGA ft. David Lynch03:04:12 - 6. Discipline Equals Freedom ft. Jocko Willink03:10:05 - 5. Good ft. Jocko Willink03:16:19 - 4. There Must Be Discipline ft. Jocko Willink03:21:02 - 3. THE STRANGEST SECRET ft. Earl Nightingale03:25:07 - 2. Oh My God Isn't That Gorgeous ft. Alan Watts03:28:01 - 1. WHO'S GONNA CARRY THE BOATS (THEY DON'T KNOW ME SON) ft. David Goggins

Today on "Words On Film", Dan Burke reviews: "Never Let Go" "Speak No Evil" "Seeking Mavis Beacon" "¡Casa Bonita Mi Amor!" "Linda Perry: Let It Die Here" Mr. Burke also gives a spoken word preview of movies subject to being released into theaters for the week of September 23rd - 27th, 2024.

The phrase "memento mori" is not a weird obsession with death but rather a call to live a righteous life.Andy's new book "Renovating The Soul" is available nowAmazon LinkSUPPORT Godly Troublemaking & Give Now!DonateFollow Us On Social MediaYouTubeRumbleTwitterFacebookInstagram

In Stranger Things, Jonathan Byers posits “You shouldn't like things because people tell you you're supposed to.” Well, I tend to agree, unless it's your mom telling you you're really gonna like this new song by the Foo Fighters that she's been listening to…This is the album that was Kev's introduction to the Foo Fighters and Corey only knows three songs from it. Is the balance of acoustic and rock going to work for the latter and is nostalgia going to rose-tint Kev's glasses on this one?The only way to find out is to turn on, tune in, and get up to shut it down.Songs covered in this episode: "The Pretender", "Let It Die", "Erase/Replace", "Long Road to Ruin", "Come Alive", "Stranger Things Have Happened"If you want to see Kev's lockdown cover of "Long Road to Ruin" that he recorded with this wife's cousin, you can check that out here: https://youtu.be/_2kdfB-CMZADon't forget to follow us on social media and leave us a rating/review if you're enjoying the show!Facebook: https://www.facebook.com/UltimateCatalogueClashTwitter: https://twitter.com/UCatalogueClashBluesky: https://bsky.app/profile/ucatalogueclash.bsky.social Hosted on Acast. See acast.com/privacy for more information.

The Spring Game doesn't have to be this big event, and that's okay.

durée : 00:49:56 - C'est Lenoir - par : Bernard LENOIR - L'univers de Feist interroge Bernard Lenoir, il l'invite donc à venir exprimer ses talents de compositrice interprète sur scène. La chanteuse aux goûts et aux collaborations éclectiques joue ce soir-là son deuxième album solo, "Let It Die", qui cache encore un tube en devenir, "Mushaboom". - invités : FEIST - - FEIST - réalisé par : Michelle SOULIER

The fellas talk about their favorite Steam Next Fest games, chat with Hilltop Works about fan translation, and finish off with a discussion about S.T.A.L.K.E.R.: Shadow of Chernobyl! Check out our merch! ▶ https://pleasestopshopping.com/ Support the podcast on Patreon ▶ https://www.patreon.com/SirMeowMusic Join the PST Discord server! ▶ https://discord.gg/YNqTT65 Check out Hilltop Works! ▶ https://twitter.com/HilltopWorks Links: Billy ▶ https://twitter.com/SirMeowMusic Cameron ▶ https://twitter.com/SuperSneakSheep Brendan ▶ https://twitter.com/BrendanielH Ten ▶ https://twitter.com/TenWebbs Podcast ▶ https://twitter.com/PSTPodcast Art by Yves ▶ https://twitter.com/hangingrabbit News Sources: "Sega of America is reportedly laying off more than 10% of staff" ▶ https://www.videogameschronicle.com/news/sega-of-america-is-reportedly-laying-off-more-than-10-of-staff/ "An Xbox multiplatform plan shouldn't be surprising fans as much as it is" ▶ https://www.polygon.com/24064964/xbox-consoles-multiplatform-third-party-hi-fi-rush-starfield-indiana-jones "Ubisoft CEO defends Skull and Bones' $70 price despite its live service leanings, calls it ‘quadruple-A'" ▶ https://www.videogameschronicle.com/news/ubisoft-ceo-defends-skull-and-bones-70-price-despite-its-live-service-leanings-calls-it-quadruple-a/ "Ubisoft Is Still Making Skull & Bones Because A Deal With The Singapore Government Won't Let It Die" ▶ https://www.thegamer.com/skull-and-bones-progress/

We have a lot to get into today! Yes, today's talk brings into question a lot of issues with the late stage of capitalism we find ourselves in now, but there is more to it than just that. Today we're learning more about contradictions, and we're learning about growth. We all change and grow, and we should! But let's not be too quick to forget our old selves, because empathy really comes into play when we remember what we used to be like and how we used to think—and we use that memory and the person we were, and we add that to who we are now. That is how we start having good conversations! Today's talk also deals with both how we “other” people, but also how we tend to “other” ourselves with labels and identities. This talk isn't real clear cut, it's about having a nonbinary way of thinking. Seeing more than just our side of an argument or discussion. Because while we're fighting each other, the whole system is crushing us! But we outnumber the bullies. Together we can do this! It's our hope that today's talk will be a good step in starting to liberate us from bondage, liberate us from hate, and liberate us from “othering.” We hope this talk helps us find the Tammy Faye in all of us. We're all going through enough, we don't need to keep hurting ourselves or each other on top of it. This talk was given on November 19, 2023 from Seattle, Washington.www.facebook.com/revolutionchurchmnwww.revolutionchurch.com/donatewww.youtube.com/revolutionbroadcasting@jaybakker@revolution1994@revolution94 Hosted on Acast. See acast.com/privacy for more information.

Something has survived. Dr. Big John returns to Dino Island to look for the love of his life, Bobert! Surely nothing can go wrong returning to a dinosaur infested island...right? Featured Music: Death of Me by Skye Wallace and Let It Die by Louise Burns For your reference, dinosaurs featured in this episode include: Velociraptor Iguanodon Megalosaurus Yi Qi Spinosaurus Diplodocus Triceratops Corythosaurus Plateosaurus  Dungeon Punks is recorded and produced by Kirk Hamilton. Return to Dinosaur Island is being played using the Escape from Dino Island RPG system. ——— Want to help us out? The best thing you can do is leave us a review on Apple Podcasts or Spotify! Comments? Questions? Feedback? We'd love to hear from you: tweet us at @DungeonPunksPod, give us a follow on Instagram @DungeonPunks, or join ourdiscord channel. Find the Songs From Bands We Like on our Spotify and YouTube Music playlists. Want more Dungeon Punks? Head over to patreon.com/dungeonpunks. For only $5/month you'll get access to talkback episodes, bonus games, deleted scenes, and much more!

Join us as we discover the true freedom that comes from letting go and giving to God. Uncertain about God and faith? Peak City is a safe place to discover more about God and faith without any pressure. Come and see who Jesus really is and what he's really all about.  Visit peakcityco.com to find out more. Peak City is an incredible experience for your whole family.

A spirit came and talk about important things how to survive and save our planet My channel on youtube: @annavirginius

A spirit came and talk about important things how to survive and save our planet

An annual sow thistle “volunteered” to grow in one of my pots and I let it. I nurtured the pseudo-dandelion and it was thriving for a while. The bright yellow flowers blossomed in abundance. Green leaves unfurled and stretched toward the sun. And then the plant started to die, for whatever reason. I've deadheaded the blossoms, removed the brown leaves, and continued to water it according to the guidance of my plant app. But the plant is still dying. Some people would say, “It's a weed. Why even bother? Just let it die,” but I have trouble with that. More in this week's post. --- Support this podcast: https://podcasters.spotify.com/pod/show/another-world-is-probable/support

Sometimes the best thing you can do, is LET IT DIE!

Sermon title: "Let It Die" / Scripture: John 11:1-16 (NRSVUE) / Preacher: Rev. Akiko Van Antwerpen

We're joined by Sebastion from the Single Player Experience Podcast this week to talk about a little about The Single Player Experience! Some of our favorite games, games we're looking forward to in 2023 PLUS the biggest news so far: Ubisoft's cancellations and delays, and Deathverse's plan for relaunch. Plus so much more! Find Sebastion on Twitter: https://mobile.twitter.com/cbastion23 Check out The Single Player Experience: https://podcasts.apple.com/us/podcast/the-single-player-experience/id1634071295 Logo by Corgian of DogHouse Esports: https://twitter.com/doghousecorgian Intro music by Riki: https://twitter.com/DOG_NOISE Website: www.wkcooldown.com Twitter: @Kamijacegaming / @WkCooldown Facebook: https://www.facebook.com/TheWeeklyCooldown/ Question? Comment? Concern? Want to tell me how great I am? Email me! - Kamijacegaming@gmail.com WadjetEye Bundle: https://www.humblebundle.com/games/wadjeteye-sixteen-years-of-adventure?partner=kamijacegaming --- Send in a voice message: https://anchor.fm/wkcooldown/message Support this podcast: https://anchor.fm/wkcooldown/support

En colaboración Juan Manuel Oria, experto en la industria musical y producción sonora, llegó con tres recomendaciones musicales porque “es viernes y el cuerpo lo sabe”.

攻撃・防御・崩しの駆け引きや、地形を活かした奇襲、タイマンバトルへの乱入など、一瞬の判断が命運を分けます。

This week on the Daron Earlewine Podcast we continue with our series, The Resurrection of Purpose. In this episode Daron gives us the 3 next steps it takes to resurrect our purpose. They might sound simple, but they are not easy. Enjoy this episode of the Daron Earlewine Podcast.

We hope you love this message today from one of our YA leaders, JV Felicio, as he shares a message called "Let It Die". Make sure to share this message with someone you know and follow us on insta @vivayoungadults.

Hello Skelefam! What an auspiciously numbered episode! For no reason I can think of. This week the gang pours one out for the duders and discusses the games in their lives. Grace has small-fox-big-world sized feelings about Tunic while Derek returns to Let It Die, the 2016 free-to-play rouge/souls-like from Suda-51 that refuses to die. Resident Evil 4 Remake is also yelled about. Next podcast records on June 20th in the Patreon Discord!

David Eric Grohl was born in Warren, Ohio on January 14, 1969. Mom is teacher Virginia Jean Hanlon and dad was news writer James Harper Grohl. In addition to being an award-winning journalist, Dave's dad had also served as the special assistant to Republican Congressman and US Senator Robert Taft Jr.  When Dave was young, the Grohl family moved to Springfield, Virginia. When he was seven, his parents divorced, and he was raised primarily by his mom. At the age of 12, he began learning to play the guitar. He grew tired of lessons and instead taught himself, eventually playing in bands with friends. He said, "I was going in the direction of faster, louder, darker while my sister, Lisa, three years older, was getting seriously into new wave territory. We'd meet in the middle sometimes with Bowie and Siouxsie and the Banshees." At 13, Grohl and his sister spent the summer at their cousin Tracey's house in Illinois. Cousin Tracey introduced them to punk rock by taking the pair to shows by several different punk bands. His first concert was Naked Raygun at The Cubby Bear in Chicago in 1982. Grohl recalled, "From then on we were totally punk. We went home and bought Maximumrocknroll, (a punk subculture music zine that ran from 1982 to 2019) and tried to figure it all out." In Virginia, he attended Thomas Jefferson High School as a freshman and was shockingly elected class vice-president. He taught himself to play pieces of songs by punk bands like Circle Jerks and Bad Brains and, using his clout as vice president, would play them over the school intercom before his morning announcements. His mother decided he should transfer to Bishop Ireton High School in Alexandria because he was smoking too much weed and it was affecting his grades. He stayed there for two years, one of those repeating his first year.  After his second year, he transferred yet again to Annandale High School. While in high school, he played in several local bands, including a short stint as guitarist in a band called Freak Baby. It was during this period that he thought it was a good idea to switch to learning drums. When Freak Baby kicked out its bass player and reshuffled its lineup, Davel took on the role of drummer and history was made. Show's over, folks! The band then changed their name to “Mission Impossible.” Dave has said he did not take drumming lessons and instead learned by listening to Rush and punk rock bands. Obviously, insanely talented and possible robot and Rush drummer Neil Peart was an early influence: "When I got 2112 when I was eight years old, it fucking changed the direction of my life. I heard the drums. It made me want to become a drummer." During his beginning years as a drummer, Grohl cited John Bonham as his greatest influence, and eventually had Bonham's three-rings symbol tattooed on his right shoulder. Mission Impossible changed their name once again to “Fast” before breaking up, after which Dave joined the hardcore punk band Dain Bramage in December 1985.  Dain Bramage ended in March 1987 when Dave up and quit without warning to join Scream, having produced the I Scream Not Coming Down LP. Many of Dave's early influences were at the 9:30 Club, a music venue in Washington, D.C. He said, "I went to the 9:30 Club hundreds of times. I was always so excited to get there, and I was always bummed when it closed. I spent my teenage years at the club and saw some shows that changed my life." As a teenager in D.C.,Dave briefly thought about joining shock-rocker punk/metal band, GWAR, who were looking for a drummer around this time. At age 17, Dave auditioned with local Washington, D.C. favorites Scream to fill the vacancy left by the departure of drummer Kent Stax. In order to be considered for the position, Dave lied about his age, saying he was 34. I'm kidding but he did say he was older. To Dave's surprise, the band asked him to join and so he pulled a Jay-Z (last week's Icon) and dropped out of high school in his junior year. He has been quoted as saying, "I was 17 and extremely anxious to see the world, so I did it." Over the next four years, Grohl toured extensively with Scream, recording a couple of live albums (their show of May 4, 1990 in Alzey, Germany being released by Tobby Holzinger as Your Choice Live Series Vol.10) and two studio albums, No More Censorship and Fumble, on which Grohl penned and sang vocals on the song "Gods Look Down". During a Toronto stop on their 1987 tour, Grohl played drums for Iggy Pop at a CD release party held at the El Mocambo, which became best known for the 1977 surprise show by The Rolling Stones, which became popular when then Prime Minister Pierre Trudeau's wife, Margaret Trudeau, showed up and partied with the Stones.. In 1990, Scream unexpectedly disbanded mid-tour when bassist Skeeter Thompson left the band. Nirvana (1990–1994) We obviously can't talk about Foo Fighters without discussing Nirvana. They'll definitely have their own episode so we won't get too into them today. While playing in Scream, Grohl became a fan of the Melvins and eventually befriended them. During a 1990 tour stop on the West Coast, Melvins guitarist Buzz Osborne took his friends Kurt Cobain and Krist Novoselic, of future Icons Nirvana, to go see Scream. Grohl called Osborne for advice after Scream disbanded and Osborne informed him that Nirvana was looking for a drummer. He gave Dave the phone numbers of Cobain and Novoselic, who then invited Grohl out to Seattle to audition. Grohl soon joined the band. Novoselic later said, "We knew in two minutes that he was the right drummer." Dave told the U.K. based magazine Q: "I remember being in the same room with them and thinking, 'What? That's Nirvana? Are you kidding?' Because on their record cover they looked like psycho lumberjacks... I was like, 'What, that little dude and that big motherfucker? You're kidding me'." When Dave joined Nirvana, they had already recorded several demos for the follow-up to their debut album Bleach, produced and recorded by Butch Vig. Initially, the plan was to release the album on Sub Pop, but they received a ton of label interest based on their demos. Dave spent the initial months with Nirvana traveling to various labels as the band shopped for a deal, eventually signing with DGC Records. In the spring of 1991, the band entered the infamous Sound City Studios in Los Angeles to record Nevermind as seen in Dave's amazing documentary, Sound City, from 2013. The album Nevermind was released later that year and exceeded all expectations becoming a worldwide commercial success. At the same time, Dave was compiling and recording his own material, which he released on a cassette called Pocketwatch in 1992 on indie label Simple Machines. Rather than using his own name for the project, Dave released the songs under his pseudonym "Late!" In the later years of Nirvana, Dave's songwriting increased. In his first months in Olympia, Washington, Kurt Cobain overheard him working on a song called "Color Pictures of a Marigold", and they wound up working on it together. Dave would later record the song for the Pocketwatch cassette. Dave stated in a 2014 episode of the documentary series, Foo Fighters: Sonic Highways, that Kurt kissed him when he first heard a demo of "Alone + Easy Target" that Dave had recently recorded. According to Dave, "I'd told him I was recording and he said, 'Oh, I wanna hear it, bring it by.' He was sitting in the bath-tub with a walkman on, listening to the song, and when the tape ended, he took the headphones off and kissed me and said, 'Oh, finally, now I don't have to be the only songwriter in the band!' I said, 'No, no, no, I think we're doing just fine with your songs.'" Nirvana would jam Dave's song on soundchecks during their 1991 European tour. Dave reluctantly held back his songs in the beginning. In a 1997 interview he said, "I was in awe of [Kurt Cobain's songs], and [I was] intimidated. I thought it was best that I kept my songs to myself." During the sessions for In Utero, Nirvana's third and final studio album, the band decided to re-record "Color Pictures of a Marigold" and released it as a B-side on the "Heart-Shaped Box" single, with a slight title change; "Marigold". Dave also wrote the main guitar riff for "Scentless Apprentice", another song on In Utero. In a 1993 MTV interview, Kurt had said that, at first, he thought the riff was "kind of boneheaded", but was happy with how the song developed. Part of this development process can be heard  in a demo on the Nirvana box set ``With the Lights Out”, released in 2004. Cobain had said that he was excited at the possibility of having Chris Novoselic and Dave contribute more to the band's songwriting. Before embarking on their 1994 European tour, Nirvana scheduled session time at the popular Robert Lang Studios in Seattle to knock out some demos. The recording session was only 3 days long and Cobain wasn't there for most of it, so Chris and Dave worked on demos of their own songs. They completed several of Dave's songs, including future Foo Fighters songs "Exhausted", "Big Me", "February Stars", and "Butterflies". On the third day, Kurt finally arrived, and the band recorded a demo of a song later Titled "You Know You're Right". It was to be Nirvana's last studio recording.   After the death of Kurt Cobain in 1994, the band known as Nirvana broke up. Dave received numerous offers to work with various artists and there were rumors saying he might join Pearl Jam. Dave almost accepted a position as the drummer for Tom Petty and the Heartbreakers. He later said: "I was supposed to just join another band and be a drummer the rest of my life. I thought that I would rather do what no one expected me to do."  Instead he booked time at Robert Lang Studios in October 1994 and began recording 15 of his own songs. Dave played every instrument and sang every vocal part on the record with the exception of one guitar part on "X-Static", which was played by Greg Dulli of the Afghan Whigs,.  He completed an album's worth of material in only five days and handed out cassette copies of the sessions to his friends for feedback.   Dave hoped to keep his anonymity and release the recordings in a limited run under the title "Foo Fighters", taken from the World War II term "foo fighter", used to refer to unidentified flying objects. "Around the time that I recorded the first FF tape, I was reading a lot of books on UFO's. Not only is it a fascinating subject, but there's a treasure trove of band names in those UFO books!" he said. "So, since I had recorded the first record by myself, playing all the instruments, but I wanted people to think that it was a group, I figured that FOO FIGHTERS might lead people to believe that it was more than just one guy. Silly, huh?" Continuing, Dave contends that a better band name could have been created. "Had I actually considered this to be a career, I probably would have called it something else, because it's the stupidest fucking band name in the world."   The demo tape circulated the music industry, creating serious interest among record labels. This WAS the drummer from arguably the biggest rock band in the world, right?  Dave put together a  band to support the album. He talked to Nirvana bassist Krist Novoselic about joining, but they both decided against it; Dave said it would have felt "really natural" for them to work together, but would have been "weird" for the others and place more pressure on himself.   Having heard about Sunny Day Real Estate breaking up, Dave snagged the group's bass player, Nate Mendel, and their drummer, William Goldsmith. Dave then asked George Ruthenberg to join the band as their second guitarist. George, better known as Pat Smear, played as a touring guitarist for Nirvana after the release of In Utero. Pat was one of the founding members of the iconic punk band, The Germs, and Dave was a huge fan.   Dave then licensed the album to Capitol Records, releasing it on his new record label, Roswell Records. Get it? Roswell. UFO's?   The very first Foo Fighters show happened on February 19th, 1995. They played above a boat house in Seattle in front of friends and family. They made their official live, public debut on February 23rd, 1995 at a gig at the Jambalaya Club in Arcata California. They just happened to be in the area mixing their album when a local promoter asked the cover band, The Unseen, if Foo Fighters could open for them. They agreed.   Dave and his band of Foo Fighters then embarked on their first US tour in April of 1995 in support of The Stooges and Porno For Pyros bass player Mike Watt's solo tour. This tour featured an additional new band called “Hovercraft”, an instrumental outfit featuring Pearl Jam singer, Eddie Vedder. Dave refused to play large venues or even do interviews to promote their debut album. The first single, “This Is A Call”, was released in June of 1995 and the album, “Foo Fighters”, was released in July containing the follow up singles “I'll Stick Around”, “For All the Cows”, and “Big Me”.   Foo Fighters toured for almost an entire year and then jumped right back into the studio. This time it was Bear Creek Studio in Woodinville, Washington with English producer Gil Norton who produced the Pixies, Jimmie Eat World, Counting Crows and so many more.   Dave, of course, wrote the songs but the band had a hand in arrangements. Nearly finished, he took the rough mixes to LA to finish his vocal and guitar parts. As he was listening to the mixes, something just didn't sound right. It wasn't what he envisioned. The drums weren't perfect, not that they were bad. Dave was a drummer. He knew drums. He had a career based on playing the drums and could arguably be considered one of the greatest rock drummers of all time. So, he set up some drums, mic'd them up and re-recorded the drums for the album. All of them.   Dave wanted Goldsmith to remain as their live drummer, but he was rightfully butthurt. Goldsmith quit. He quit what would become one of the biggest rock bands ever. Recently, drummer William Goldsmith has said “It was a pain in the ass. Like, that's the only band that I wish I could just, like, remove that from.” He continued by saying: “It doesn't matter what happened because the Foo Fighters are like Disney. Everyone wants to love Mickey Mouse. Everyone loves Mickey Mouse, so it's a difficult thing, but sometimes Mickey Mouse is a little rough around the edges. It's a no win scenario, so I'd rather remove it. I think the best thing to do is have a one on one conversation with Mickey.” He has gone to say that he has no ill will towards Dave.   Shortly after this, Pat Smear decided to leave, as well, claiming he was exhausted and burnt out. Goldsmith and Smear were replaced by the late, great Taylor Hawkins and former Scream guitarist Franz Stahl, respectively, although Stahl was fired before the recording of the group's third album, There Is Nothing Left to Lose in 1999.    Drummer Taylor Hawkins had played as Alanis Morissette's drummer from June of 1995 until March of 1997 in support of her “Jagged Little Pill” and “Can't Not” tours.   I thought it would be cool to hear Taylor explain how he wound up being Foo Fighters drummer and Dave Grohl's best friend. This is all from interviews Taylor Hawkins and Dave Grohkl did with NME, Entertainment Weekly and Kerrang.   “I'd met Dave at this [US radio station] K-Rock Christmas show because Foo Fighters were on their way up and Alanis Morrissette was through the f***ing stratosphere at that point,”. “Me and Dave just looked like long lost brothers in a weird way.    “We had a similar vibe and I don't know why. I remember my friend playing with the Foo Fighters before I met Dave and watching them goof around backstage. He said to me, ‘That guy could be like your brother.' “And sure enough, when we met, we just thought, ‘We're brothers from another mother!' It was instantaneous – so much so that Alanis Morrisette just said ‘What are you going to do when Dave asks you to be the drummer in the Foo Fighters?'” “I was driving with my girlfriend at the time, and we were listening to KROQ,” “I heard William had departed and they were looking for a new drummer.”   Tylor immediately called Dave. “I said, ‘I heard you guys are looking for a drummer,' and he said, ‘Well, do you know any?' I thought Alanis wanted to go in a more laid-back direction, and it seemed like the right time to jump. Alanis didn't need me! I basically said to Dave, ‘I'll play drums for you,' and we jammed a couple of times.  “I remember I was at home watching Showgirls with my girlfriend, and Dave called to ask if I wanted to join.” Initially, Dave never thought Taylor would leave Morissette and Taylor's allegiance was always with Alanis; that's why he asked Taylor if he knew of any good drummers. When Hawkins agreed to join, all Dave cared about was that he was getting a friend, not a great drummer.  Dave told Entertainment Weekly, “I sent Taylor a tape of one of the new songs. It was ‘Monkey Wrench.' I went over to his little house in Topanga Canyon, he sat down and played for three seconds, and the first time he hit a snare drum, I knew it.”  Dave knew Taylor was the guy. “I swear to God, I was like, ‘That's all I need to f***ing hear. I love you as a person. You've just given me hearing damage for the rest of my life in three seconds. You have to be in the band.” Later, Grohl said Hawkins came into his life like an F5 tornado. “When he joined the band, his drumming was the least important factor – I just thought I want to travel the world with this guy, I want to jump on stage and drink beers with this person. That was my biggest concern,”. Morissette didn't take Hawkins leaving personally. They remained friends over the years. Taylor has said he would have been delivering pizzas if it wasn't for her. She was the first person who gave him a break in the music world. “She gave me a lot of space to do what I wanted. It was probably the biggest album of the year (referencing her debut album “Jagged Little Pill”), and there was a lot of pressure on her. She was having to learn to be this leader on the job, which isn't easy. But it was really one of the most fun times of my life.” The band announced Tylor would be its new drummer on March 18, 1997. His first appearance with the Foo Fighters was in the music video for the 1997 single "Monkey Wrench", although the song was recorded before he joined the band.   Foo Fighter's second album, “The Colour and the Shape” was released on May 20th, 1997 through Capitol and Roswell Records with the legendary singles, “Monkey Wrench”, “Everlong” and “My Hero” blasting through the airwaves. The album charted at number ten on the Billboard 200 and was nominated for a Grammy in 1998 for best rock album. It has sold more than 2 million copies.   The band then traveled to Dave's home state of Virginia in 1998 to record their third album, “There Is Nothing Left To Lose”. Dave and Pat Smear's replacement, Franz Stahl, just couldn't see eye to eye as songwriters. Dave said "in those few weeks it just seemed like the three of us were moving in one direction and Franz wasn't." Franz was Dave's childhood friend and the decision to fire him from the band was a hard one.    Then, shortly after Franz's termination, bassist Nate Mendel called Dave and said he was quitting to rejoin Sunny Day Real Estate, but the next day changed his mind and decided not to leave.    Dave, Taylor and Nate spent the next several months recording their third album at Dave's home studio. “There Is Nothing Left To Lose” spawned mega hits like “Learn To Fly”, “Stacked Actors”, “Generator” and “Break Out”.    “Learn To Fly” was the band's first single to chart on the US Billboard Hot 100.   Right before the album was released, the president of Capitol Records (Foo Fighters record label), Gary Gersh was forced out and with the help of a “key man clause” in their contract, they were allowed to leave Capitol upon Gersh's release. They left Capitol to sign with RCA who then bought the rights to their previous albums from Capitol.   Upon completing the recording of their third album, the band started auditioning guitarists. Foo Fighters selected No Use For A Name and, what I didn't know, Me First and The Gimmie Gimmies guitarist, Chris Shiflett. He was only supposed to come into the fold as the band's touring guitarist, but was hired on full time before they recorded “One By One”, their fourth studio album.   Right around 2001, Dave and Taylor, being diehard fans of the band Queen, established a relationship with the future Icons and Outlaws episode subjects. Dave and Taylor had the distinct pleasure of inducting them into the Rock and Roll Hall of Fame that same year and joined them to perform the 1976 classic, Tie Your Mother Down, with Taylor playing drums alongside Roger Taylor. Queen's legendary guitarist Brian May even added a guitar track to Foo Fighters' second cover of Pink Floyd's "Have a Cigar", which was on the soundtrack to Mission: Impossible 2. In 2002, guitarist Brian May contributed guitar work to Tired of You and an outtake called Knucklehead. The bands have performed together on several occasions since, including VH1 Rock Honors and Foo Fighters' headlining gig at Hyde Park in London, England.   At the end of 2001, the boys got together to record their fourth studio record, “One By One. They spent four months in a LA studio and something was off. The spark just wasn't there and the band were having issues, internally. So, Dave stepped away for a while and worked with Queens of the Stone Age, helping them complete their 2002 record, “Songs for the Deaf”. Touring commenced for Foo Fighters and Queens of the Stone Age, but the internal struggles were still there and just as they were about to call it quits, they hit the stage at Coachella. Dave and Taylor wanted to complete the album and the next day, they rocked the festival and agreed to do so.   Almost every part of the album was scrapped and re-recorded at Dave's studio in Virginia, in only ten days. Seven songs from the original recording of One By One eventually leaked, but the full album has never been released. That record has often been referred to as “Million Dollar Demos”.   The band finally released its fourth album, One by One, in 2002. This record had hit singles like “All My Life”, “Have It All”, “Low” and “Times Like These”. This was Chris Shiflett's first recorded appearance as part of the band and where Taylor played all of the drums. “One By One” topped the charts globally and sold a million units in the U.S., bringing home a Grammy for Best Rock Album in 2004.   Supporting One By One by touring for a year and half, Dave wasn't in a hurry to record another Foo Fighters album. He was more interested in doing an acoustic, solo record but it turned into a full band ordeal. They built a new studio in Northridge, Los Angeles, called Studio 606 West and began recording their 5th album, In Your Honor, a two disc set with full blown rock songs on one and the other with acoustic tracks. It was released in 2005 and had the hits, “DOA”, “Resolve” and one of my all time favorites, “Best of You”. The album also had guest performances by Led Zeppelin's John Paul Jones, Queen of the Stone Age's Josh Homme and Norah Jones. It also featured their new keyboardist, Rami Jaffee of the Wallflowers, who wouldn't become a full-time member until 2017.    “In Your Honor” was nominated for five Grammy Awards, hit the number one spot in five countries and number two in the U.S., selling more than a million copies.   Foo Fighters released their first live CD, “Skin and Bones” in November of 2006, with 15 songs recorded at a 3 night performance at the Pantages Theater in Los Angeles. The album featured a violinist, Pat Smear joining in and a three song encore with Dave playing “Best of You”, “Everlong”, and “Friend of a Friend”. The record debuted at number 21 on the Billboard 200, sold 49,000 copies in its first week and over 357,000 total.    Foo Fighters released its sixth album, Echoes, Silence, Patience & Grace, in 2007 and recruited producer Gil Norton, who worked on the band's “The Colour and the Shape”. This was primarily because Dave felt the songs were different from the band's previous input and "had the potential to be something great". So, he considered that instead of doing something like the last three albums, the band had to go out of "our own comfort zone" and "needed someone to push us out of there".   Preparing to record this album was extensive: first Dave started off developing demos with Taylor, but for the first time he tried to input vocals and lyrics early in the writing phase. After finalizing the song's composition with guitarist Chris and bassist Nate, Dave spent two weeks with Gil Norton discussing "arrangements, harmony and melody" and condensing the song ideas. They then spent four weeks rehearsing, and playing "a song a day, from noon to midnight". Taylor stated that "we basically played each of these songs 100 different times, trying every little thing every different way" and that it was the first time since The Colour and the Shape ``that Dave had to deal with someone in the room questioning all his ideas". Dave claimed the choices were for the "most powerful, dramatic songs" and that there was an effort to "make everything sound as natural as possible – just like on the albums we grew up listening to".    On this album's sound, Taylor Hawkins said: "We haven't been ready to write a record like this until now. I know that Dave wouldn't have been comfortable putting violins on a song before. But for whatever reasons, it just felt like the right time to explore those things now. The last record, obviously, was half heavy stuff, half acoustic songs. So it really was like two sides of the coin. It sounds obvious, but this time around we weren't afraid of incorporating everything into one song if it felt right." The first single, “The Pretender”, topped Billboard's modern rock chart for 19 weeks. Other singles from this album were “Long Road to Ruin”, “Let It Die” and “Cheer Up Boys”. It was nominated for five Grammys, winning Best Rock Album and Best Hard Rock Performance and won the Brit Award, (Britain's version of the American Recording Academy) for Best International Album.   Foo Fighters hit the road again in 2007 on a world tour and at the European MTV Music Awards, Pat Smear was confirmed as a returned member of the band.   June 7th, 2008 saw Foo Fighters headline the world renowned Wembley Stadium in London, England. Jimmy Page and John Paul Jones from Led Zeppelin joined them on stage and after rocking out the songs “Rock and Roll” and “Ramble On”, Dave excitedly shouted “Welcome to the greatest fucking day of my whole entire life!”   The attendance at this amazing sold out concert was 85,000.  In August 2010, the band began recording their seventh studio album with the return of producer Butch Vig. The album was recorded in Dave's garage using only analog equipment. The album won five Grammys and was nominated for six.    Planning the seventh album, Dave realized he was bored of the band's typical recording process. Even though the group own 606 Studios, he is still a punk rocker at heart, and found himself yearning for a grittier, wholly analogue approach to recording. One night in his hotel room in Melbourne, while on tour with Them Crooked Vultures (his side project with Josh Homme and John Paul Jones), he hatched a plan to return to recording basics for what was to become Wasting Light. Dave told Sound on Sound.com, "I thought, rather than just record the album in the most expensive studio with the most state‑of‑the‑art equipment, what if Butch and I were to get back together after 20 years and dust off the tape machines and put them in my garage? We've recorded an album somewhere where no‑one has ever recorded before. We've not gone to the studio where Zeppelin made In Through The Out Door, we've gone into my garage. The only person that's recorded in my garage before is me for shitty demos that I've done for the last two records.”   The first single from Wasting Light, "Rope", was released to radio in February 2011. On April 16, 2011, Foo Fighters released an album of covers, Medium Rare, as a limited-edition vinyl for Record Store Day. Wasting Light debuted at number one on the Billboard 200 chart, becoming the band's first album to do so. Other singles for the album were "Walk", "Arlandria", "These Days", and "Bridge Burning". Alongside Wasting Light's release, the band released a rockumentary, directed by Academy Award-winner James Moll. The film, titled Back and Forth, chronicles the band's career. Current and past members, and producer Butch Vig, tell the story of the band through interviews. After debuting on March 15, 2011, at the SXSW festival in Austin, Texas, it was released on DVD three months later.   The first batch of ‘Wasting Light' CDs include pieces of the album's analog tape master Look inside your CD copy of the band's Wasting Light album. If you were one of the first fans to pick one up, chances are it includes a piece of the original analog tape the album was recorded on. After announcing a break after touring in support of Wasting Light, Dave said in 2013 that they were starting to write new material for their 8th studio album, “Sonic Highways”, bringing back Butch Vig. They announced their return to the stage by posting a video of Erik Estrada, one of the main actors from the 70's motorcycle cop show, CHIPS, riding a motorcycle and delivering each member of the band an invitation to play in Mexico.    They announced that their eighth album would be released in November of 2014 and they would commemorate it and their 20th anniversary with an HBO TV series called “Sonic Highways”, directed by Dave, himself.    Eight songs were written and recorded in eight studios in eight different American cities with video capturing the history and feel of each town. Each track features contributions from one or more musicians with ties to that city's musical history.   The album debuted at number two on the Billboard 200, with sales of 190,000 copies in the United States. It has sold over 617,500 copies in the US and had amazing songs like “Something From Nothing”, “The Feast and the Famine”, and “Congregation” featuring country artist, Zac Brown Foo Fighters were the last musical performance on Late Show with David Letterman on May 20th, 2015, as he retired from his 33 year career as a late night show host.   On June 12th, 2015, Dave had the misfortune of falling off the stage in Gothenburg, Sweden and breaking his leg during the second song. The band kept playing while Dave was fixed up by the medical staff and then RETURNED TO THE STAGE to finish the last two hours of their set while sitting in a chair and a medic taking care of his leg. He was flown to London, England after the show and received six metal pins to stabilize the fracture in his leg.   There was speculation that Foo Fighters would drop out of their 20th anniversary, fourth of July bash, after canceling their remaining European dates following Dave's accident. Instead, The band performed for 48,000 people with Dave in a custom-built moving throne which he claimed to have designed himself while on painkillers. They renamed the following tour the “Broken Leg Tour”.   November 25th, 2015 Foo Fighters released a surprise EP named “Saint Cecilia”, available for digital download, and Dave announced an indefinite hiatus. This EP peaked at number 3 on Billboard's mainstream rock songs chart.   Krist Novoselic, who played with Grohl in Nirvana, described Saint Cecilia as Foo Fighters' "statement on how they are the biggest rock band in the world". Novoselic also said that "Saint Cecilia is more straight-ahead rock that is done really well", and went on to say that "I went to the Foo's last gig at the Moda Center in Portland and they rocked a packed house. I love the drummer Matt Sorum (Guns and Roses). However, he is so wrong in his statement about danger and the Foo's somehow lacking it. First off all, I know about danger in rock. I was the bassist in Flipper — and survived! Look at a band like Queen, who totally rocked. They were way more dandy than danger. Queen knows how to rock a stadium. So do the Foo Fighters and you'll hear big rock on Saint Cecilia". Rumors about Foo Fighters breaking up were everywhere so, the band released a mockumentary video in March 2016 portraying Grohl leaving the band to pursue an electronic music career and Nick Lachey (formerly of 98 Degrees) becoming the group's new singer, ending with: "For the millionth time, we're not breaking up. And nobody's going fucking solo!"   Dave announced that the band would spend most of 2017 recording their ninth studio album, “Concrete and Gold”. On June 1, 2017, their new single "Run" was released. Run topped the US Billboard Mainstream Rock Songs chart the following month. On June 20, 2017, the band announced that their new album, Concrete and Gold, would be released in September. On August 23, 2017, The Sky Is a Neighborhood was released as the second single and topped the Mainstream Rock chart. The Line was released in promotion of the album and later as the third single in 2018. Concrete and Gold was officially released on September 15, 2017, produced by Greg Kurstin. Concrete and Gold also features Justin Timberlake on vocals for Make It Right, Shawn Stockman of Boyz II Menon backing vocals for the song Concrete and Gold, and Paul McCartney on the drums for Sunday Rain.   Concrete and Gold has sold over 262,000 units.   In October 2019, the band announced that they were recording their tenth studio album based on Dave's demos. In November 2019, the band began releasing a series of EPs under the umbrella name of the Foo Files, largely consisting of previously released B sides and live performances. By February 2020, Dave  announced that the new album was complete but by May, it was delayed indefinitely because of a little unforeseen event called the COVID-19 pandemic, saying, "We've kind of shelved it for now to figure out exactly when it's going to happen." Starting in November 2020, promotion for the album ramped up. Its title, Medicine at Midnight, and release date, February 5, 2021, were announced. The band released three singles ahead of the album: "Shame Shame", "No Son of Mine", and "Waiting on a War".  On February 10, 2021, Foo Fighters were announced as one of the 2021 Rock and Roll Hall of Fame nominees in their first year of eligibility as their debut album had been released 25 years prior. On May 12, 2021, Foo Fighters were announced as one of 6 performer inductees. For Record Store Day on July 17, 2021, the Foo Fighters released an album of disco covers, Hail Satin, under the name Dee Gees. The album contains four Bee Gees covers, a cover of Andy Gibb's "Shadow Dancing", plus five live versions of Medicine at Midnight tracks.] On February 25, 2022, the band released a comedy horror film, Studio 666, directed by BJ McDonnell. It stars the band members as themselves, alongside Will Forte, Whitney Cummings, Jeff Garlin, and Jenna Ortega. In the movie, the band attempts to record an album in a haunted mansion; Dave is possessed by a demonic spirit and the other members are killed off one by one.  It was filmed in the same mansion in which the band had recorded their most recent album, Medicine at Midnight. Studio 666 is currently available on Amazon Prime Video.    Dave has recently released an EP of songs from the film, Dream Widow, on March 25, 2022. On March 25, 2022, Foo Fighters drummer Taylor Hawkins died in his room at the Casa Medina hotel in Bogotá, Colombia. No cause of death was given. Taylor had suffered chest pain, and had ten substances in his system at the time of his death, including opioids, benzodiazepines, tricyclic antidepressants, and THC. Foo Fighters were scheduled to perform that night at the Estéreo Picnic Festival as part of their ongoing South American tour; the festival stage was turned into a candlelight vigil for Taylor. A few days later, the band canceled all remaining tour dates. According to Sony Music Japan, FOO FIGHTERS sold over 32,000,000 albums worldwide, including 9,065,000 in the United States and 5,260,000 in the United Kingdom. The best-selling album by FOO FIGHTERS is GREATEST HITS, which sold over 2,775,000 copies .

This weeks episode is a topical discussion on what we mean when we say to people that our hobby has value.Paul is also back bringing you all the latest gaming news, gossip and crowdfunding campaigns we think you need to know about including:Viticulture World by Stonemaier GamesUKGE, UK Games Expo 2022D&D BeyondHasbroWizards of the CoastFandomRoll20 One More MultiverseCortexCosmic Encounter: Cosmic Odyssey by Fantasy Flight GamesCosmic Encounter: 45th Anniversary Edition by Fantasy Flight GamesTom VaselDice TowerDon't Let It Die by Thunk Board GamesLost in Jurassica by Thunk Board GamesLost in Valhalla by Thunk Board GamesGet To Da Checkpoint by Thunk Board GamesMaster Dater by Cyanide and Happinesssayu by Khanat Sadomwattanairo by Khanat SadomwattanaReversi/OthelloTriple Triad - Final Fantasy 8Mid Sussex MeeplesDungeon CrawleySurrey Board Game GroupCrawley Gaming ClubCrawley Gaming CommunityHorsham GamersHaywards Heath Board Game AssociationBrighton Board Gaming /  Board Games @ The BarnWorthing Board Gamers @ Dice WorthingLewes Board Game Club @ the Trinity Gaming CafeDice @ Drinks in Burgess Hill--------------------------------------------------------------------------------------------------------------------Find our audio Podcast on all good podcast platforms or find the links on our host site .  https://meepleminded.buzzsprout.com/You can join the ever growing Meeple Minded communityhttps://www.facebook.com/MeepleMindedMediahttps://discord.gg/HtgzKDABhttps://twitter.com/MeepleMindedhttps://www.instagram.com/meepleminded/Please also Like, Share & Subscribe here on Youtubehttps://www.youtube.com/channel/UCInqK3k50OVrutTCodvw3FA--------------------------------------------------------------------------------------------------------------------Thank you all so much for choosing to listen to our humble down to earth Table top gaming podcast. If you do like what you hear, please do subscribe as we will be uploading a new show every Tuesday @ 7am GMT, ready for that commute into work, or gym session :)

Caz Parker presents this weeks StoneDead Festival Radio show, and this week it's packed with new releases and a bunch of classics that you are going to love. Also including the first UK radio play of Marco Mendoza's new single Take It To the Limit a week ahead of release.   Tracklist: 1 Bon Jovi – Blood On Blood 2 Bryan Adams – It's only Love 3 Tyketto – Rescue me 4 Billy Idol – Rebel Yell 5 Skid Row – The Gangs All Here 6 HEAT – Back To The Rhythm 7 Wig Wam – Hypnotised 8 DIO – Rainbow In the Dark 9 Vince Neil - Tattoos and Tequila 10 Marco Mendoza – Take It to the Limit 11 Deep Purple – Burn 12 Lynyrd Skynyrd – Sweet Home Alabama 13 AC/DC – Touch Too Much 14 Statement – Indestructible 15 Death Valley Knights - Fenris Endures 16 Twister – Don't Play Nice 17 Esprit D'Air – Dead Zone 18 Def Leppard - Animal 19 Just A Ride – Razor 20 Matt Mitchell – C'Mon C'Mon 21 Gun – Steal Your Fire 22 Sam Millar – Fooling Yourself 23 White Raven Down -  Lost Your Hold 24 Venomous Rose – Rock (Don't Let It Die) 25 Stop Stop – Stop Stop

"When he heard this, Jesus said, "This sickness will not end in death. No, it is for God's glory so that Gods' son may be glorified through it." John 11:4 NIV Lets talk about the things we've had to let die in order for Gods purpose to come alive, and how we handle those things. Make sure to subscribe and share Follow on instagram: www.instagram.com/xo_teph

OZZY OSBOURNE sempre foi um inquieto e sempre procurou atualizar a sonoridade da sua música. Com o SCREAM não foi diferente, álbum lançado em 2010, que incorporou sem medo as novas tendências do rock e foi o último do príncipe das trevas em 10 anos, até o retorno com o ORDINARY MAN, em 2020. Além de Ozzy, a banda era formada por Gus G. (guitarra), Rob Nicholson (baixo), Adam Wakeman (teclado) e Tommy Clufetos (bateria e percussão). As faixas do álbum são: "Let It Die", "Let Me Hear You Scream", "Soul Sucker", "Life Won't Wait", "Diggin' Me Down", "Crucify", "Fearless", "Time", "I Want It More", "Latimer's Mercy" e "I Love You All". Então, convidamos Jay Roxx ( @Resenhando Rock ) para tomar uma para falar sobre cada uma das faixas do SCREAM, de OZZY OSBOURNE! ******************************************** SEJA MEMBRO DO CLUBE TUPFS E TENHA ACESSO A UMA SÉRIE DE VANTAGENS! Você pode escolher um dos planos abaixo: HEADBANGER (R$ 1,99 por mês) Seu nome divulgado durante os vídeos, selo de fidelidade ao lado do seu nome sempre que deixar um comentário e emojis exclusivos! ROCKSTAR (R$ 7,99 por mês) Além dos benefícios anteriores, você terá acesso ao nosso ao grupo exclusivo no WhatsApp, pode dar nota nas resenhas e participar das listening parties, que viram podcast! METAL GOD (R$ 24,99 por mês) Além de todos os benefícios anteriores e dar uma grande ajuda financeira para a nossa criação de conteúdo, você terá acesso antecipado aos vídeos do canal, vídeos exclusivos, vai poder escolher tema de episódio, deixar perguntas para as entrevistas e participar de vídeos e lives. Também terá prioridade em brindes e descontos no merchandising do canal, quando disponíveis! SEJA MEMBRO: https://www.youtube.com/channel/UCo1lgalkCBW9Uv3GyrzhhkA/join ******************************************** Nos siga nas redes sociais: Twitter: @iurimoreira / @rafael2099 Instagram: @iurimoreira / rafaelaraujo2099

Nesta listening party, reunimos o clube de membros do TOMAR UMA para ouvir e debater o álbum "SCREAM", de OZZY OSBOURNE! OZZY OSBOURNE sempre foi um inquieto e sempre procurou atualizar a sonoridade da sua música. Com o SCREAM não foi diferente, álbum lançado em 2010, que incorporou sem medo as novas tendências do rock e foi o último do príncipe das trevas em 10 anos, até o retorno com o ORDINARY MAN, em 2020. Além de Ozzy, a banda era formada por Gus G. (guitarra), Rob Nicholson (baixo), Adam Wakeman (teclado) e Tommy Clufetos (bateria e percussão). As faixas do álbum são: "Let It Die", "Let Me Hear You Scream", "Soul Sucker", "Life Won't Wait", "Diggin' Me Down", "Crucify", "Fearless", "Time", "I Want It More", "Latimer's Mercy" e "I Love You All". ******************************************** SEJA MEMBRO DO CLUBE TUPFS E TENHA ACESSO A UMA SÉRIE DE VANTAGENS! Você pode escolher um dos planos abaixo: HEADBANGER (R$ 1,99 por mês) Seu nome divulgado durante os vídeos, selo de fidelidade ao lado do seu nome sempre que deixar um comentário e emojis exclusivos! ROCKSTAR (R$ 7,99 por mês) Além dos benefícios anteriores, você terá acesso ao nosso ao grupo exclusivo no WhatsApp, pode dar nota nas resenhas e participar das listening parties, que viram podcast! METAL GOD (R$ 24,99 por mês) Além de todos os benefícios anteriores e dar uma grande ajuda financeira para a nossa criação de conteúdo, você terá acesso antecipado aos vídeos do canal, vídeos exclusivos, vai poder escolher tema de episódio, deixar perguntas para as entrevistas e participar de vídeos e lives. Também terá prioridade em brindes e descontos no merchandising do canal, quando disponíveis! SEJA MEMBRO: https://www.youtube.com/channel/UCo1lgalkCBW9Uv3GyrzhhkA/join ******************************************** Nos siga nas redes sociais: Twitter: @iurimoreira / @rafael2099 Instagram: @iurimoreira / rafaelaraujo2099

In this episode, we're joined by Brad Sorensen of the Pop Culture Yearbook Podcast, to make the case for our respective Foo Fighters playlists! Just please, don't throw any Footos at us if you disagree! Vote now for YOUR favorite playlists, hear the results of past episodes & listen to ALL of the playlists at: http://www.playlistwarspodcast.com If you'd like to support Playlist Wars, then consider becoming a Patreon subscriber: http://www.patreon.com/playlistwars. Tiers include: Patreon exclusive content; early access to ad-free episodes; & join the show as a guest for a "Playlist An Album" mini episode or a full-length episode! SONGS DISCUSSED INCLUDE Arlandria, All My Life, Best Of You, Breakout, Burn Away, But Honestly, Cloudspotter, Dear Rosemary, Enough Space, Everlong, I'll Stick Around, Learn To Fly, Let It Die, Monkey Wrench, My Hero, The Neverending Sigh, The One, The Pretender, Something From Nothing, Times Like These & Walk CONNECT WITH PLAYLIST WARS Facebook: https://www.facebook.com/playlistwars Twitter: http://twitter.com/playlistwars Instagram: https://www.instagram.com/playlistwarspodcast YouTube: https://www.youtube.com/channel/UCcW7NibxehYRf8_UZ88Qtbg FOR MORE ON POP CULTURE YEARBOOK Websites: https://linktr.ee/PopCultureYearbook Buy Me A Coffee: https://buymeacoffee.com/PCYearbook Facebook: https://facebook.com/popyearbook Twitter: https://twitter.com/PopYearbook Instagram: https://instagram.com/popyearbook/ --- Support this podcast: https://anchor.fm/playlistwars/support

In this guided self-reflection, you'll find yourself faced with the gift of choice: you get to choose if you bring your ideas to life, or if you let them die. You get to choose to believe your fear, worry, and self-doubt...or to have faith in self-trust and believe if there's a will, there's a way.You can sit, lie down, or take a walk during this short session. Having a journal nearby may come in handy, as you may be prompted to write down your ideas & indulge in what life could look like if you brought them to life.Work with Jayme (Creative Expression & Meditation) - apply to work 1:1 with Jayme  here. Contact Jayme via email: jayme@moodbodystudio.com or on IG: @moodbodyjayme

NEW | Don't let it die after your death - Important - Mufti Menk

It's time to get spoOoOoOoky on this special Halloween episode of Big Week in Gaming for 31 Oct 2021. And what's scarier than Mark Zuckerberg's plan to imprison the world in a virtual uncanny valley hell?This week we cover Facebook's name change and how it impacts Oculus and VR gaming in the future, Let It Die and Star Ocean getting unexpected sequels, Tomb Raider's 25th anniversary and reboot prototype, Switch Nintendo 64 emulation impressions (spoiler: it sucks) and a review of the indie throwback JRPG Light Fairytale Episode 2.But what would Halloween be without some scary video games? Tune in to find out what truly spooky titles we played to celebrate.

Human nature sinks low without God. Speak up! Endure the ego pain; don't listen to thoughts. Do you have a heart of stone or love? Church with Jesse Lee Peterson, Sunday, October 3, 2021: After a couple of people talk about dealing with family, Jesse reflects on human nature sinking without God. In the olden days, black Americans did not consider stealing on-camera with no shame. Now white Americans are falling for leaders and similar mess. Do you speak up? // Feel the ego pain, and endure it quietly, whether it's over a girlfriend or whatever. Stop listening to the thoughts — all thoughts are all lies, all the time! // We answer the Biblical Question: Do you have a heart of stone or a heart of love? New Biblical Question: Do you walk in the spirit? ANNOUNCEMENTS: Men's Forum this week, first Thursday of the month, 7 PM at BOND in Los Angeles! // We have some openings for a front office job and a producer internship at BOND. // If you've been helped, support BOND! We have a matching grant from a man who is matching up to $1,000. https://rebuildingtheman.com/donate TIME STAMPS 0:00:00 Pre-Church talk 0:02:35 Welcome to Church 0:03:16 Opening Q's, input 0:13:21 Human nature 0:23:12 Do you speak up? 0:27:14 Truth with perfect love 0:36:19 Feel the ego pain 0:42:00 White people 0:46:48 Christianity fading 0:52:09 Man feeling the pain 1:03:00 Pain over girlfriend 1:11:41 Count it all joy 1:13:03 Stop listening to the lie 1:19:26 Deal with the little things 1:26:12 What Jesus did 1:28:36 Govt wants blacks worse 1:31:55 BQ: Stone or love? 1:39:03 BQ Answered 1:40:26 New BQ 1:43:21 Closing / Announcements BLOG POST and PODCAST: https://rebuildingtheman.com/10-03-21-endure-the-ego-pain-let-it-die-and-live-church/ Church with Jesse Lee Peterson, Sunday 11 AM Pacific Time at BOND in Los Angeles, California, USA - http://rebuildingtheman.com/church SILENT PRAYER: http://silentprayer.video | AUDIO https://soundcloud.com/rebuildingtheman/silent-prayer

Am I dating? When do you know it's time? Have you cut off a friend before? I hope you enjoy Episode 30 of the Saintly Not Salty Podcast. Thank you to JasTho the Hero and DinD for your questions! Special thanks to BB (@offbrandcoke) for the new pod cover art. I would love to hear from you! You can say hi, submit a question, an entry into the gratitude journal or feedback by emailing saintlynotsalty@gmail.com, through the google form (bit.ly/snspod) , or find us on instagram @saintlynotsalty Peace be with you Friendos! --- Send in a voice message: https://anchor.fm/saintlynotsalty/message

#15-11Intro/Outro: Skinny Love by Birdy15. Fleetwood Mac (Say You Love Me & Rhiannon)14. The Eagles (Take It Easy & One of These Nights)13. Foo Fighters (Monkey Wrench & Let It Die)12. Beastie Boys (So What'cha Want & Three MC's and One DJ)11. The Tallest Man on Earth (The Gardener & Leading Me Now)

People assume I’ve interviewed Tunde Wey—the artist, writer, and cook whose work has been the subject of other people’s award-winning profiles—before because I’m a big public fan of his work, but I hadn’t felt myself properly prepared. His work touches on everything from racism to immigration to colonialism to capitalist extraction, and I didn’t really know my way into a focused interview. I was nervous, basically. But I think we had a good conversation, one that gets at a lot of issues with food as a lens toward bigger systems and problems.In many cases—most cases, if I’m honest—I’m doing an interview in order to work out a problem I’ve been thinking about, and this one was no different. We waded into whether food can really be an agent of change in a capitalist world, because I’ve been wavering on that idea myself, and Wey has the economic knowledge to discuss why it isn’t so in depth. Listen above, or read below.Alicia: Hi, Tunde. Thank you so much for taking the time. Tunde: Thank you. (:07) Alicia: And I know you are in Lagos, now. Can you tell us about how that's going, what you're doing there?Tunde: Oh, I'm actually not in Lagos. [Laughs.] I was supposed to fly two weeks ago, and my COVID result didn’t come in time. So I just pushed for my flight till a couple of months from now. Next month or something.Alicia: Ok, cool. Well, can you tell us about where you grew up and what you ate?Tunde: Yeah.I grew up in Lagos. I ate regional Western Nigerian food, I guess. So I'm Yoruba, so I ate Yoruba food. My mom is Edo, so I ate that food as well. My dad is also part Efik, so I ate that as well. So I'd Yoruba, Efik, and sort of the Delta region food, so Edo, Itsekiri food. And then we ate, I guess, white food too.Alicia: Which white food? Tunde: When we were growing up, we used to call it breakfast things. But when I came here, then it was lunch meats and s**t like that. So sausages and hams and stuff like that. So, we ate that. So it was a mix. We usually would eat that on Sundays. My dad would cook, and we'd go out to this store. My data would buy a whole bunch of things, and then he'll cook. Pasta. My mom would mix s**t like beef stroganoff, just random s**t. She went to school in England, so she came back with certain notions around food. So, we have those kinds of things. And growing up in Nigeria, I came from a middle-class background. It wasn't out of the norm for folks to eat that kind of stuff. So cereals and pancakes, stuff like that. Plus, we also watched a lot of American television with that kind of stuff on the TV.Alicia: Right, right. Yeah. And you self-identify as an artist, a cook and a writer. And I wanted to ask, which were you first and how did the rest come? [Laughter.] Tunde: Which was up first? [Laughs.] Alicia: Yeah, yeah. Which identity? Or which came to you first, in terms of your work? Tunde: Right. I don't know how to answer that question. I feel like it just depends on who I'm, who I am talking to. I think I say I'm an artist because it's just easier to convey what I'm trying to do. I remember, I was trying to raise money for a restaurant. And I was telling people that this restaurant is not going to make any money. And they couldn't understand that. They were like, ‘Huh, what does this mean?’ But then if I was talking to, say, a curator, and I'm like, ‘Well, this project is this and I need this amount of money,’ then they get it. So it just depends on who I'm talking to. So I guess in the chronology of what is on public records? Artist came last, and it's probably still not on record. So, maybe that’s the first time.Alicia: Well, it is difficult, I think, for multi-disciplinary people to use that word, to make themselves legible, I suppose, in a world where you have to make everything legible to obtain what you need to do your work at all. You have to be very, very strict about what you are. That is really funny that saying artist allowed you to get the capital for the projects that you needed, that you wanted to do. [Laughs.]Tunde: Yeah, I have a friend who's a curator. She's a friend, but she's also a colleague. She's based in Pittsburgh, Chenoa, and she was the first person—I did a dinner in New Orleans, and she happened to be there ’cause she was there for the opening of some hotel or something. And she had read about it. She just came through. And then, that's how we became friends. But she saw it as art. And then she gave me sort of the words to be able to describe myself to myself and to other people. And then she sponsored the project as art. So I'm like, ‘All right, I f**k with this.’Alicia: Right. And your work focuses on power, colonialism, capitalism, racism. You've written for food sections and food outlets. But lately, you've been self-publishing, I wanted to ask if that was a conscious decision to move out of traditional media, or whether this is something that—if you're just not finding the space in food media.Tunde: Yeah. So I'm not sure how it is for you. But I never pitched anything, just because that's not—I didn't grow up. I mean, I wasn't a journalist or anything so I didn't understand pitching. And the way I got my writing gig with the Chronicle was through a relationship. All that to say is if I want to publish something, I don't know who to contact. And I also don't like rejection. And then also, I'm not necessarily interested—because this has happened a couple of times, when people will reach out to me and then I’ll propose something and they have a different idea of what I should do, which is fine. But I just tend to want to write what I want to write. So I think that the medium of posting on Instagram or using my newsletter just seems to make more sense. And I have been recently fortunate where I'm not reliant on my writing to bring in an income. So it's fine to just release it on Instagram.I remember when I put it out, when I put out—when I started putting out my essays on Instagram, a friend told me, she was like, ‘This is very difficult to read.’ [Laughter.] I think it was this awkward, ‘I can't read your 75-post essay on food.’ And I was like, ‘All right, f**k it.’ And I kept doing it.But I think there's something about, interesting about playing with the medium, at least, on the ‘Gram, which making the posts be these essays that nobody wants to read. Alicia: Yeah. [Laughs.]Well, I mean, you've been written about a lot, interviewed a lot . People kind of set you up one way as sort of a provocateur in food. Do you feel that that gets your work right? It's funny to ask you this while interviewing you, but when you're—when people interview you and write about you, do you—How does that feel? Do you see yourself when someone actually is writing about you?Tunde: I mean, I guess it depends on what was written or, you know? Yeah, I don't know. I think sometimes I step into—and I think you get this too—people writing about you, too, right?Alicia: Not really. [Laughs.]Tunde: Then you do more of the writing?Alicia: I mean, I do want to understand this because it is—I have a book coming out and everything. And I know it's going to be a weird position to be in.Tunde: Oh, right. To be quizzed. Alicia: Yeah. [Laughs.]Tunde: Yeah.I guess it just depends on who was writing and what they’re writing about. I think this is not because of anything that I've done but just just who I am, that when I read something about me, I'm interested. So I separate myself from whoever—from the person who's reading it, me, from the person who is being portrayed in whatever the piece. And I'm just looking at it interestingly. So if it's interesting, I'm interested. If it's not interesting, then I'm not interested. But then all these labels too, they all find it—they all find use for me in context. If somebody is calling me provacautour, depending on the context, that's true. Other times, that's not true. Depending on how I feel, too, that's true. So yeah, it's just all those things. How would you describe me to yourself?Alicia: I think of you as a writer and an artist. And I don't think of you necessarily as a provocateur. I think of you as someone who bends the narrative in different ways than we are accustomed to seeing in food especially, which is a very, very boring cultural field. [Laughs.] It's a young cultural field, I suppose, in terms of cultural criticism. And so, I do think that anyone who says anything somewhat outside the norm of the narratives we get gets labeled an activist. A provocateur. Tunde: Yeah. I imagine that, depending on who is talking about your work, they are saying the same thing. So again, the context is everything. To a lot of folks, I am—people have told me this to my face—I'm not radical at all.Alicia: Yeah, no, I feel that way, too. Just by doing anything for money, I am ultimately a bad person and not radical enough. And that's fine with me. I've really made peace with that. I think in the last year or so, it's like, ‘I'm sorry, I have to live.’ [Laughs.]Tunde: Did you make more peace as you made more money? Is that how it happened? Alicia: Exactly. Yeah. [Laughter.] I was like, ‘You know what, there's no use for—I'm of better use to people this way. [Laughs.] I'm of better use to people when I'm not broke and worried and have to go work in a bar, or do whatever the f**k to to keep myself going. I'm a better writer when I don't have to worry about those things.’Tunde: Yeah.I think having resources, whether you want to call them money or whatever, that is pretty pertinent to survival. Alicia: Yeah. No, you can't do good work if you're not—if you're worried about survival, and so it is what it is.Tunde: Some people don't worry about money, and so their resources are different. But most of us need it.Alicia: Yeah. [Laughs.]Well, I wanted to ask you about last year’s ‘Let It Die’ essay was a big hit. Was it the first time we wrote an essay on Instagram? Or maybe it was just it really took off. People were obsessed with it. Tunde: Right. I don't know if it was the first time. I don't remember. Oh, sorry. Was that a question?Alicia: Yeah. Tell me about ‘Let It Die,’ yeah. [Laughs.]unde: Oh. Yeah, well, I do want to correct one thing, but transgression is just part of how I see the media landscape, which is I don't know how much it took off until Helen Rosner wrote about it. I'm pretty sure it didn't take off until Helen Rosner wrote about it. [Laughs.] So yeah, so that was it. It just happens to be the essay that Helen Rosner decided to write about. Not to say that the essay is not strong. But to say that for it to get to a certain critical mass of people, it needs a lever, and the New Yorker was the lever.Alicia: Right. And around that time, though, you did tell WBUR ‘What is important to us is not necessarily how it tastes. It's more about the theater around the thing.’ And I think this is what I was talking about when I was saying you've been bending narratives that we're not used to seeing. And that most people take things very literally, I think, ’cause I wrote something about the death of the chef and people were totally up in arms about, I want to put the guillotine on chefs or something. And it's like, ‘No, that's not the idea. The idea is like, ‘What does this idea mean to us? What does this narrative mean to us? How can we change that narrative so that we create different systems that are better for people?’ But food media at large, I think, is extremely literal in its thinking.And so, I wanted to ask you what do you expect as a result of your work? Do you have an expectation around anything concrete, or do you have an expectation more around changing ideas and changing narratives?Tunde: Yeah, so I think that I'm interested in really big things. To be very specific, I'm interested in changing the material conditions of people who are disenfranchised, specifically people in Nigeria, West Africa, Africa, Sub-Saharan Africa. That is my interest. So, do I think writing is gonna do that? No. Do I even think that any of the work that I do affects the material conditions of folks in such a way as to change them permanently, or even temporarily? No. But then maybe people impacted by some of the work to think differently, to act differently on an individual scale, and depending on their sphere of influence, have that different action influence other people? I think, possibly. Yeah, that's what I think.Alicia: Yeah.No, and in your recent essay about returning to your home of Nigeria, you write, ‘All these convoluted numbers to say that Nigeria is fucked, and it is this ‘fuckedness’ that is termed underdevelopment.’ And I love this essay. It was such an immediate—it was just really good. The writing was really good. And so, there are so many types of food system futures that are discussed from the global north perspective. And I saw connections between this piece and your piece, ‘what is profit, and how is it made,’ where you wrote, ‘for capitalist food production to flourish it has to eliminate indigenous food production, and one important way this dismantling occurs is through displacement.’ And these are connected by the idea that Indigenous food production, the ‘underdeveloped country’ , requires change by colonialist entities by capitalist production, which we already know is unsustainable. And so much of what I get stuck on right now in my writing is that one of the only ways we've created concrete responses to these problems and to these structures developed by colonialism is that we have fair-trade food. And we have these other food projects working in the global south. You've worked with Burlap & Barrel. And it's kind of just a re-tinkering of the old systems where the capital is still concentrated somewhere else. It's just through these sort of really pined means that we are kind of trying to make more equity there. And so, you know, I guess I wanted to ask you what do you think of these kinds of food projects? What are the limits of working with them, and what are the possibilities of working with them?Tunde: Yeah, wow. Yeah, I think the problem is big, obvious. Ok, the problem that I'm talking about, which is a racist problem, talking about Nigeria, which is kind of getting to West Africa and the continent as a whole, because Nigeria is the biggest country on the continent in terms of population size, and GDP. Fair trade doesn't solve that problem. By fair trade, I mean this—engaging in global capitalist trade, we're trying to do it with sort of fair, more ‘fair terms.’ That doesn't solve our problem. Yeah, that problem is historic. It’s contemporary. So I don't know, I know that that is its own problem. I know that. What solves the problem? I don't quite know yet. I'm still thinking about it. And I also know that there’s a solution. So it's not the end of my thoughts, and after it’s going to emerge. I think that whatever people are terming radical, whoever is talking about that, that sort of radical progress happens in stages. We're not going to end capitalism tomorrow, or in 10 years. At least, the people who I f**k with who think about this kind of stuff think about it in in terms of transitions and long periods of time and a continuum. I don't think of our economic system or capitalism as this system that holds everything that is bad. I think that what is true to all the different economic systems possible is—as humans, we are the constant. What is inherent in us is to a certain extent to be selfish and to—not selfish, but to have differences in wants and needs and perspectives.Anyway, all that to say is we can move from a capitalist mode of production to, I don't know, socialist or communist, and we could still experience the same, or some of the same things that are happening with the degradation of the planet with exploitation and other things. So, fair trade is not the answer. That's what I’m saying. [Laughter.] Alicia: Yeah, no.I was writing a piece about sugar, and I just had this moment of being like, ‘Everything—there is no way to fix this at all.’ I mean, there are ways to fix it, but it's so historically rotten at its core that it is—the whole world would have to change for our relationship to sugar to not be something completely extractive and completely—Just to take one thing, one foodstuff and look at it. The whole system would have to change for this to not be an absolutely terrible product for us to use every single day. When we think about equitable trade, it's just such a limited idea. Tunde: Well, just to be just to be specific, when we talk—I'm assuming that when we're talking about fair trade, we're talking about the stickers they put on products. Not talking about global trade, which is a completely different thing, which—that will change everything if it was actually fair trade between countries.I'm reading this book, and the writer talks about—or at least so far has referenced this idea of comparative advantage, which, when I was in school, in primary school in Nigeria, so—or secondary school—I learned that comparative advantage is how you grow your economy. It’s you find out what you're really good at, and then you develop that and you sell it to other people and people buy them. Then you have this trade. But the way the global system is what happens to be what, say, Nigeria is good at is what Nigeria has been shaped to be good at to benefit the West. So Nigeria happens to be good at having mineral resources in the ground. Then it has a, an overdeveloped extractive sector to the detriment of everything else. So all of that to say is that real fair trade doesn't happen on a product by product basis.To your point about sugar, the whole ship needs to change.Alicia: Change. Yeah, exactly. No, and as you mentioned before, your project is about getting resources to those who have historically lacked access to resources. And whether that's you charge white people more for food, or you price an issue of Sandwich that you get started at $100, or the salt that was $100. And I think about these things constantly. There's a literal law where Americans from the U.S. get, can pay 4% in their taxes. But Puerto Ricans aren't able to get that same break. And then now, there's this problem with the bitcoin people buying up all the property. The tourists have made where I live, Old San Juan, so unlivable that basically anyone who owns property is looking to sell it to the highest bidder, which is going to basically just mean displacement by bitcoin bros ‘cause they have the capital In cash to buy it. And I think, of course, in terms of food about everything. So I'm like, ‘All right, how if we-’ I think we just talked about this, but if you—if we saw those real changes on a fundamental global level, what would the food world look like? What would change in the way we have a relationship to food? Tunde: Yeah.Full disclosure, I'm invested in Bitcoin. Not on that scale. Ok, so maybe I’ll say something controversial. I think that there's a difference between fault and responsibility. So we're all responsible, but—and responsibility has their degrees of responsibility. So I think as long as you're born and you participate in the system, you're responsible. But depending on your power and your sort of subjective position, that responsibility either grows or shrinks. But then there's sort of people at fault, but even that is a very complicated thing, too. So I feel it’s maybe a little disingenuous to complain about the effects of the economic system if you are actively participating in the economic system. And by that I mean that what—the sort of speculative nature of Bitcoin is the same, is not the exact same thing, but it's connected to, say, the continuous production of vehicles every year. Last year, Ford produced 1.5 million vehicles. Tesla produced 500, or manufactured 500,000 vehicles. That sort of investment in consumption goods, and the proliferation of credit and debt and all that s**t. That s**t is connected to Bitcoin. That s**t is connected to the housing market soaring. That s**t is connected to everything. So we can pick and choose. We can pick and choose if we want to, but the truth is that it's all connected. So, of course, that's what's gonna happen in certain communities, because that's what money does in this economic system. That is not to say that it's right, or it's going. I'm just saying that. And I feel if maybe a lot more people were talking about the, were actively trying in little ways and big ways to address the economic reality, in general, as opposed to specifically when it makes them uncomfortable, then things would be—I don't know about better, but things would maybe be different. I'm also just not very interested in the food system as a lens to experience transformation, just because it's connected to everything else. I don't necessarily think that it is the lever that could change things. I’m sure it’s one of the many levers, but I think that it's probably not the first lever, if that makes sense. Did that make sense or not? Alicia: That makes sense. Yeah. Yeah. [Laughs.]Tunde: Just be more specific. I think that monetary policy, fiscal policy, reining in, say, the financial industry, financial services. That drives the economy. And addressing that probably has a greater impact than working on, working directly on food policy. But they're all connected.Alicia: Well, do you feel that you're getting away from food as a lens then to look at the world and politics?Tunde: No, I don't think so. Food is a lens to appreciate all the politics. I think that when you're talking about policy and changing things on a global scale—if you're talking about sugar, for example. Changing how sugar is produced is just a, maybe a really difficult way to change the system if the whole system needs to change. But focusing on, say, the global mechanics of fair trade is a better way to do that. But if you look at sugar production and consumption, then you see the global mechanics of trade, and these other aspects of the system that are kind of fucked up. But when it comes to actualizing change, I'm not sure that food is the place that we start from.Alicia: No, that makes complete sense. Yeah. [Laughs.] We don't maybe acknowledge that enough. When I say we, I say food writers, that we're not enough engaged with all the other aspects of the world and the reasons these problems ultimately exist. It’s all about—Yeah, these small things that maybe allow you to see the bigger picture, but don't give you the tools to necessarily engage on a deep intellectual level with those issues. If that makes sense. [Laughs.]Tunde: Yeah, that makes sense. Alicia: But well, actually, to get back to food, because you have—I know that you worked with the Beard Foundation. And then also on the Sandwich Magazine you worked with—I think, Sir Kensington's owns that, which is owned by Unilever. So you've worked with these big organizations that have a lot of kind of power. But you also have written that ‘And in all spaces, food and society, we see the faithful and continuous reproduction of this social control, which reinforces the idea that white domination is the natural order of things.’Tunde: I’ve said some s**t, huh?Alicia: I'm sorry, I read, re-read everything you've written, obviously, to talk to you. I know, it's weird to have your stuff read back to you. What do you see the role of interacting with these kinds of—the Beard Foundation with, a magazine owned by a company, what is the purpose of this engagement? Tunde: I do want to shout out my partner Ruth on the magazine. So, I guess it just depends. So, what did I work with the Beard Foundation on? I don’t remember.Alicia: Did you edit some pieces, I think, for the blog? I know Mayukh wrote a piece for you. Tunde: Yeah, I wrote a piece. Yes. I just wrote a piece about the work that I was doing. At the time, Mitchell was the VP. Yeah, he reached out and I wrote a piece. Yeah, it just depends. But if we're talking about money and capitalism. This is how I feel about money. Nobody owns money. That s**t is for everybody. Like they say, money belongs to the game. I don't care. I don't have a problem taking money. I think there's certain monies that I wouldn't take, not because I think the money is ‘bad.’ It’s just that it’d make me look crazy. Yeah. And I don't want to look crazy. Money’s so not real. And it has such real consequences. And nobody owns it in my mind. It belongs to everybody, or it should. So I'll take money. All that to say, organizations and just the way our economy or the global system is structured is that capital accumulates in certain places. It accumulates in the states and accumulates in corporations and organizations and individuals. It is unevenly distributed. So I don't care who you are. If you're looking for some sort of sustenance, you're not printing dollars or mining gold by yourself. You have to go to the deposits where they are. And huge corporations—they have the money. The state has the money. By the state, I mean, the nation state’s structure. Sir Kensington, specifically, and Unilever, the kind of work that we were trying to do at the time, Ruth and I, was to talk about certain global systems. It was fantastic that it was Unilever, because Unilever is an antagonist in our story. And we had conversations with them about that. Ruth and I were interested in the possibility of extracting just something so small from them, something tiny relative to how much they've taken from Africa, from Nigeria, in particular for me. So to me, that made sense to work with them on that. So, yeah, it depends on the opportunity. But I think when we're talking about money and resources, the folks who have that money are the ones who are distributing that money. And so if you want it, whether you get it directly or indirectly from them, you're getting it from the same source. So, that’s how I think about that.Alicia: No, it's a really useful way of thinking about things. [Laughs.] ’Cause I think if you're very online, and you're sort of on the left, all of this becomes a very, very personal responsibility issue rather than an issue of taking the money from who has it when you need it. And every move you make is sort of either an endorsement or a rejection of massive things, when actually it's really none of that. It's a useful way of thinking about things that I think isn't—it doesn't get enough attention, to talk about it in that way.Tunde: Yeah.There's obviously money that comes with caveats. And most money does, soif  the caveat sort of infringes on certain things for me, then I won’t take that money. But if it's relatively chill—for example, with the magazine, I think they told us that we couldn't specifically—we couldn't make the whole magazine about Unilever as an evil corporation. That would be a little too much, right? And then we're like, ‘Sure.’ It doesn't mean that we didn't critique what Unilever's stands for? Whatever. So there's that. But I think more about now, more about how—I just think about how I'm hoarding money, as opposed to where I'm getting money? So, if I get money, I think about like, ‘Okay, this money that I have now, what am I going to do with this money? How can I use money to further my mission?’ And then I think in that way, I think of my stewardship of resources as opposed to wondering about the optics, which is like, ‘How do I get it?’ Which is I do, but I'm less interested in the optics and more interested in how the money that I have can maybe do something different. But it's such a small number that—Alicia: [Laughs.] That's extremely useful. Thank you for that. —film projects. Tunde: I'm sorry, I lost the first part of that question. Alicia: Are you working more in film now?Tunde: Yeah. So my production partner and I, Ruth and I, we got a grant. And we're working on a docu—series on food, using food to explore the sort of larger questions. So yeah, that's sort of what we're doing. Alicia: That's exciting. Yeah. Tunde: And speaking of money, and—sorry, just one thing and the grant. We got money from a couple of foundations. So you have people who maybe take money from foundations, but then criticize how other people make their money off foundations. A lot of them are invested in the stock market. I don't care if you're invested in ESG or whatever. You're invested in a very speculative medium. And that sort of speculation, that sort of idle capital that is sitting in bank accounts, or what do you call them? In ledgers? That is money that is, or that is a system that is deeply exploitative. So, we don't get to pick and choose. I try not to, especially, even with money. And I just think about how the money that I have, again, to what I say, can be used differently. Alicia: Right. And for you, is cooking a political act? Tunde: Just at home, just chilling and cooking?Alicia: Cooking in general. I ask this question to everyone. It's usually just a kind of a Rorschach test of what they think of the word ‘cooking’ and the word ‘political.’ [Laughs.]Tunde: I don't know. I mean, if I'm just cooking by myself, no. If I'm doing a dinner series, or something, then possibly. I could be wrong, but I don't think of cooking—I think identity is political. So, sometimes just being is political. But all of this is contextual. Your identity in a particular place is political. But I don't think of cooking as an identity. I think of cooking as—yeah, it's an act. I don't think of necessarily actions as inherently political. Most things are contextual. I think it’s not everything. So, just depends on the context. Alicia: Yeah, yeah. Well, thank you so much for taking the time today. Tunde: Yeah, I have a question for you, actually.Alicia: Ok. [Laughs.]Do you want to ask me while we're recording, or–Tunde: Yeah, yeah, yeah.Alicia: Ok.Tunde: So something that is just fascinating about—to me—about your work is, and I could be wrong, because I get your newsletter, but I don't read it every week. But I read enough to know that you talk about the same things. By that I mean, your perspective is the same, which is anti-capitalist. I want to say anti-racist, but I'm not sure how you describe yourself.But you have this perspective. And you keep writing like every week, right? Every week you’re writing, every week. And just, how haven't you exhausted? No, really, I'm so serious, ’cause I feel I—when I wrote for the Chronicle, I wrote four essays. And I'm like, ‘The next four are going to be about the same thing. And the next eight after that.’ And so I'm just curious about how you keep the s**t fresh.Alicia: Right.No, I mean, I think a lot of people would say I don't keep it fresh, that I have a shtick, that I’m just always saying, ‘Capitalism is bad. Climate change is bad. We have to stop climate change. We have to eat less meat,’ like that. I just bang the same drums over and over again, which is valid. I think I have a beat, so to speak, as a writer. These are the things I cover, is how our cultural relationships to food are part of these larger systems—of economy, policy, white supremacy, all a part of larger systems that control our everyday ways of being and thinking. And that is my beat. That is what I write about. But I do think, obviously, within that there is so much to write about. There is so much to think about. I don't know. I think during the more peak of the pandemic, I really exhausted everything that I had to say for years, but no one ever let me say as a food writer. And then I think now, I'm interacting more with the world again and finding more ways into the things I have always written about and thought about, but they're more rooted in my interactions with other people. I don't know. I've always been a compulsive writer. So it's not hard for me. This is the natural way in which I communicate. It's easier for me to write something down then it is to say it. Yeah, just to communicate in writing. That's my way of communicating. Yeah, I'm happy to talk to you, but I find it is—I'm going to feel tired after I do this, because I—it's a less natural way for me to communicate, you know?Tunde: Yeah, no, I dig it. I think that makes a lot of sense. Yeah, if that's easier for you, then it makes sense that you do that. Because most people say the same thing, anyway, over and over again with their mouth. But you’re just writing it. Another thing that I want to tell you is I met a man through you. Mr. Byrne.Alicia: Mark Byrne. Tunde: Yeah, from Good Vodka. I was in Lagos. So this is a super short story. We're filming for the docu series in Lagos in Kogi State, which is central Nigeria. And we had this really delicious local drink. I was blown away by it. And I just kept thinking, ‘F**k, this is so delicious. I need to f*****g bottle this and sell it or something.’And then I was in Lagos a couple of—a month after.I had read the interview that you did with him. And then I'm like, ‘I need to call this man or email this man and see if he'll work with me.’ So I emailed him, and he agreed to work with me. So I don't know, sometime in some soon future we will be releasing a Nigerian palm spirit. Alicia: Oh, that's amazing!Tunde: Yeah. It's not a commercially viable product. I guess it's a project about exploitation again. Alicia: Yeah. [Laughs.]Well, Good Vodka is basically that as well. I mean, it's a product and it's a commercial product. But it's also more about how spirits exist and are made. The history of spirits is, it's usually made from waste rather than growing things to make spirits, which is a bad way of doing it. [Laughs.]But that's amazing. I love that. I love talking about—and maybe when it comes out, we'll talk again, but I love talking about spirits. [Laughs.] I love talking about alcohol. Because I do think people have a really weird and complicated relationship to it, obviously. But it's nice to talk about it on a level of appreciation rather than the very, very American perspective on alcohol, which is wildly problematic. [Laughs.]Tunde: I don't know much about spirits. I just know to the point, earlier point about seeing all the systems and everything, I just know that just a really small thing, the Indigenous production of alcohol at scale. That s**t is happening. Folks in the Niger Delta region of Nigeria servicing half the country with this s**t. And you're doing it from these small, small camps, all these different small camps by the water. And so just thinking about thinking about what that means, and thinking about how the disparities that exist between, say, African production and European production is what inspires me to do this kind of thing as opposed to like the actual food product or beverage product. So yeah, I’m excited about it. Alicia: That's awesome. Yeah. [Laughs.]Well, thank you again, I'm so excited about that, and everything else. Tunde: Absolutely. Thank you.Alicia: Thank you. This is a public episode. Get access to private episodes at www.aliciakennedy.news/subscribe This is a public episode. Get access to private episodes at www.aliciakennedy.news/subscribe

This episode is also available as a blog post: http://psalm34one.com/2021/07/07/let-it-die/ --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app

https://instagram.com/terrorzonepodcast   Well well well.... This is just crazy. I'm pleased to share this episode because these dudes have done so much for the hardcore scene over the years. Especially back in the early 00s. Jeff Sanchez and Chris Trestain go over their forming and insane years of their time with the band Let it Die. They are both very successful in what they do now but music is clearly their passion. While working within the field they still have sought time to do something great for Detroit and bring back great memories and create new ones who weren't lucky enough to witness a Let it Die in their prime.  Obviously, this is being posted with a flyer so you know we are going to talk about the awesome show that they are going to put on. I can't describe how awesome is that they are going out of their way and invited three other bands that aren't very active anymore to do a big reunion show, along with 4 bands that are foaming at the mouth to get stage time since this last year has been grinded to a halt. This is just absolutely mind blowing. Get yourself insurance before October if you plan on going to this show. Y'all dead.   

Attachment theory has received a lot of attention in education over the last 20 years - but is it just plain wrong? Are attachment interventions used in school built a foundation of sand?In today's controversial episode, distinguished professor and author Jerome Kagan explains why we should let attachment theory die, why the evidence to support it is so poor, and what we should be doing to help our students instead.Important links:Get our FREE SEN Behaviour Handbook: https://beaconschoolsupport.co.uk/SEN-handbook.phpJoin our Inner Circle membership programme: https://beaconschoolsupport.co.uk/inner_circle.phpJoin our FREE Classroom Management and Student Behaviour FB Group: https://www.facebook.com/groups/school.behaviourDownload other FREE behaviour resources for use in school: https://beaconschoolsupport.co.uk/resources.php

Today we focus on areas of our lives which we’ve held back from God because, honestly, they’re too precious to relinquish. Pastor Tim Keller often refers to the human heart as an idol factory, by which he means that we relentlessly worship the wrong things. We misplace our allegiance, our life’s work, our focus, our adoration and – ultimately – the love of our hearts, on things that make us feel secure, significant, and temporarily satisfied. Instead of giving ourselves – and our worship -- to the Lord, we hide away these idols for ourselves like kids with a secret candy stash. The tricky thing about idols is that they aren’t bad things, necessarily. In fact, they’re often really great, God-blessed, things that we’ve put in the wrong position in our lives because they are easier to control.

Sam and Nick of Night on the Sun dropped by the studio for the February 1st edition of Look At My Records! The duo treated us to a live performance of two songs, and premiered a brand new track called "Let It Die." Tune in to hear all about Night on the Sun and their Bed-Stuy DIY venue The Tar Heel Lounge. They also picked some great records, including Alvvays' self-titled debut (Tom's favorite album of the 2010s), Neil Young, and New Radicals. The episode kicks off with new tunes from Johnny Dynamite and HNRY FLWR. Night on the Sun's music is available on all streaming platforms, including Spotify. Keep your eyes glued to the band's Facebook page and Instagram for the official release of "Let It Die," show announcements, and more!

On this week's Sidetrack we take a look at Feist's second studio album ​Let It Die ​with a quick listen ​​​of track 5, "Leisure Suite". Feist also appears in a couple tracks on Kings of Convenience's ​Riot On An Empty Street​, which was covered on last week's No Filler episode. We intro this Sidetrack with a clip from "Know How", which features Feist's vocals. For more info, check out the shown notes: https://www.nofillerpodcast.com/episode/ep-7-kings-of-convenience-riot-on-an-empty-street#sidetrack

On today's show, Marc returns to the PlayStation 4 after a long vacation, talking about Let It Die while also not talking about it, as well as the rodent-filled Tooth and Tail. After that, they talk a wee bit about movie, including Call Me by Your Name and Black Panther. Anyway, something-something dually and shocky, cheers and enjoy the anime-zing(ly lovey-dovey) show. Anyway, that's it and that's all folks, and, if you're feeling extra generous, you can become a patron, donate a little something-something, or subscribe to show your support for the site, podcast(s), and all the ridiculous jazz we make over here at Pixelated Sausage. And don't forget, you can also support the site by shopping at Amazon if that's your jam--you can probably buy your favorite blueberry jam on Amazon too.

Ryan and Matt "This Bit" Amberg are back and running out of b-words about The Devil's Candy, Ryan's 2 new consoles, Fantastic Beasts and Where to Find Them, Ip Man 2, and Assassin's Creed: The Movie: The Disappointment before it's on to 2-weeks-worth of time spent with The Unfinished Swan, Bloodborne by-way-of Let It Die, Ghost Recon Wildlands, Overwatch's new character, Outland, and the end of Abzu. Then it's a little bit of ketchup mixed with Mass Effect Andromeda, the latest on the Nintendo Switch, YouTube personality problems, and GameStop just doing its thing! (slowly going out of business)

Arrancamos el nuevo mes con un programa cargado de contenido. Primero, una de novedades, haciendo especial hincapié en el próximo EVO 2017. Despues el primer juego del día, Let It Die, una gran sorpresa que podeis adquirir sin coste alguno en vuestras PS4. Seguimos con el que es para muchos el mejor de su saga Dragon Quest VIII con motivo de su reciente lanzamiento en 3DS. Para acabar, otra opción gratuita, esta vez en Android e IOS de la mano de Nintendo: Fire Emblem Heroes. Todo esto y más acompañado de un humor que ocho de cada diez expertos considera

The Christmas break is over so, naturally, all Gav, Rory and Joe want to talk about is what they did over the Christmas break. Super Mario Run, Let It Die and the joys of playing remotely playing PS4 games on a mobile phone because it cannot be overstated how crazy the future is.

Welcome to show 361 This week we played lots of video games, including Overwatch, Titanfall 2, Mini Metro, The Witcher 3 Blood and Wine, Owlboy, The Beginning Hour, Let It Die and Parappa The Rappa. Chinny covered off the news, which included a lot of Sony stuff and talked about the winners and losers at this years Game Awards. As always we rounded out the show with emails and other social media stuff. Enjoy Send Speakpipes to www.speakpipe.com/veterangamers Follow us on twitter @veterangamersuk and if you have any opinions or questions, send emails to: podcast@veterangamers.co.uk Gamertags Chinny – 360 ChinChinny, PS3 Chinny1985 The Daddy – 360 Big Daddy Blast, Steam BigDaddyBlaster, PS3 xXBig-DaddyXx Duke – 360 DukeSkath, PS3 DukeSkath, Steam DukeSkath