Hi y'all! In this episode Tori and I talk about how we can't just meander through life in hopes of getting it right! We need to seek out, ask, & press into the wisdom from the Lord!!Link to the Bible initiative pledge! hereLink to devo hereSubscribe to watch our Podcast on YouTube!Links to Talks with Tori!InstagramYoutubeApple PodcastsSpotifyFind us on YouTube and IG:YouTubeToriChadMWTM Podcast
Justin Trudeau went on a cocaine fueled bender at the G20 summit. Odessa Orlewicz is here to detail the success of the million man march in Canada and confirm that Canadian Prime Minister Justin Trudeau has a cocaine problem. China believes it has the right to govern America because they claim their ancestors were first to North America. Michael Yon is on the ground in Panama City, Panama and he joins to detail the coming violent uprising of Chinese Nationals in America. Some evangelicals are using leftist tactics and calling Christian Nationalism “racist”. Former Trump administration senior official William Wolfe is here to educate on the benefits of nations that submit to Christ as Lord. Watch this new show NOW at Stewpeters.com! Keep The Stew Peters Show FREE and ON THE AIR! SUPPORT THE SPONSORS Below! Protect your retirement and wealth, get up to $10k in FREE SILVER using this link: https://goldco.com/stew PURGE your Body of The Invaders! Go To https://purgesuddenly.com Stew has Launched his OWN Immunity Line! Go To https://www.pandemicprotocol.com High Quality Prepper Food, Now in $100 Buckets! Go to Https://heavensharvest.com use Promocode STEW Support Stew's Legal Fund, as He Fights the LGBTQ Mafia and Child Drag Shows: Https://givesendgo.com/defendstew NO FILTERS: Clean up your AIR with these high quality air filtration systems, and protect yourself from shedding: https://thetriadaer.com/ Promocode STEW All Natural Pain Patches that target pain and work in minutes, visit https://QEStrong.com/Stew Eliminate your painful inflammation & swelling in days. Just go to http://stopswollenfeet.com to get 58% OFF your order now! Gun Holsters, BIG SALE! Just go to https://www.vnsh.com/stew and get $50 OFF! Boost Testosterone with: https://nutronicslabs.com PROMOCODE:STEW Get Healthy Nutrients with https://fieldofgreens.com Use Promocode STEW BLOOD SUGAR BREAKTHROUGH: Control your blood sugar, naturally: https://bioptimizers.com/sp You can Eat 40 MG of Protein and It won't Matter Unless you take These ENZYMES for Absorption: https://bioptimizers.com/stew TAXATION IS THEFT! Before You Pay your Taxes, Consult Peymon at https://Freedomlawschool.org
Jennifer Cassara is a 30-year veteran of the fashion industry and a professional wardrobe stylist. She's held positions as buyer and divisional merchandise manager with retailers like Lord & Taylor, Filene's Basement and The Paper Store. She is currently the VP of Sales and Marketing with Periwinkle Jewelry and the founder of GoodRobe & Co., a women's apparel company dedicated to helping women build an effortlessly stylish wardrobe.
Jeb Beauchamp joins the podcast to talk about expanding the reach of the Gospel to people living with disability in the North Carolina area. As an Area Director with Joni and Friends and an ordained pastor, Jeb talks about shifting culture and overcoming barriers in churches to help people with disabilities experience true belonging. Jeb also shares about biblical counseling, and how the Word of God can speak to every person, regardless of life circumstances.You can be part of bringing the Joni and Friends vision to life: A world where every person with a disability finds hope, dignity, and their place in the body of Christ. Explore resources for building disability ministryVolunteer with Joni and FriendsSupport Joni and Friends financially KEY QUESTIONS:Why do churches struggle to become “disability friendly”?How can biblical counseling bring people with disabilities into the church?How can your church and community become more disability friendly? KEY SCRIPTURES:Luke 14:21, 23 (NIV): “Go out quickly in the streets and alleys of the town and bring in the poor, the crippled, the blind and the lame…. Go out to the roads and country lanes and compel them to come in, so that my house will be full.”Matthew 9:35–38: “When [Jesus] saw the crowds, he had compassion on them, because they were harassed and helpless, like sheep without a shepherd. Then he said to his disciples, ‘The harvest is plentiful but the workers are few. Ask the Lord of the harvest, therefore, to send out workers into his harvest field.'” ------- Find more encouragement on Joni Eareckson Tada's Sharing Hope podcast and daily devotional.Follow Joni and Friends on TikTok, Instagram, Facebook, and YouTube.Your support makes this podcast possible!Joni and Friends envisions a world where every person with a disability finds hope, dignity, and their place in the body of Christ. Founded by Joni Eareckson Tada, we provide Christ-centered care through Joni's House, Wheels for the World, and Retreats and Getaways, and offer disability ministry training.
Episode 2117 - Why are there No shortages at Tesla? Target closes more stores. Lord of War discussed. Trumps makes another pro life gaff. The UN is a satanic organization. What is black goo? What is an Alpha male. Have the churches been totally compromised? Why do ghettos destroy their own infrastructure? Plus much more. High energy must listen show!
Hearing reports about Jesus, Herod becomes curious and perplexed as he seeks for a way to meet the Lord. September 28, 2023 - Cathedral Rectory - Superior, WI Fr. Andrew Ricci - www.studyprayserve.com
This week, Ken and Grant talk with Stacey Campell about prophecies being the key to miracle breakthroughs. Stacey Campbell is the founder of Shiloh Global, an international prophetic ministry which gives insight and empowerment to leaders in all spheres of society. Stacey will be one of our speakers at the Fusion Conference 10/18/2023 - 10/21/2023. We want to see the work of the Lord accelerated so miracles become more common. Thanks for listening to the God Is Not A Theory, a podcast of Orbis Ministries. For more information, visit orbisministries.org (http://orbisministries.org/). If you'd like to hear more from Ken or join the Orbis Ministries community, you can download the free Orbis Ministries Mobile App here: https://get.theapp.co/kjwz (https://get.theapp.co/kjwz) Register for the Fusion Conference here: https://subspla.sh/r93gqpw/
Hebrews 11:6 reveals that the Lord "rewards those who earnestly seek Him." The reality is that there is no end to Jesus and His love, holiness, mercy, power, etc. However, many people grow dull in their walk with Him due to distractions. Join me this week as I share some important concepts regarding a lifestyle of holy fulfillment with the Lord as I talk about "The Primary Pursuit."
1 Chronicles 28 In this chapter, we see King David commissioning his son Solomon to build the Temple. This is a project David wanted to complete but God had other plans. Instead, David's son would undertake the work of seeing it completed. David had very specific things he wanted his son to think about and do… V. 9 - “And Solomon, my son, learn to know the God of your ancestors intimately. Worship and serve him with your whole heart and a willing mind…” Everything would flow out of this intimacy with the Lord. Knowing God sets everything else in the right direction, including our writing that we undertake for the Lord. V. 10 - “So take this seriously. The Lord has chosen you to build a Temple as his sanctuary. Be strong, and do the work.” Our call to write words that outlive us should be taken seriously. Like David said to Solomon, Jesus tells us Kingdom writers to be strong and do the work. V. 19 - “Every part of this plan,” David told Solomon, “was given to me in writing from the hand of the Lord.” God has a specific plan for the books He is calling us to write. He will lead us one sentence at a time. V. 20 - “Then David continued, “Be strong and courageous, and do the work. Don't be afraid or discouraged, for the Lord God, my God, is with you. He will not fail you or forsake you. He will see to it that all the work related to the Temple of the Lord is finished correctly.” This is similar to God telling Joshua to be strong and courageous as he leads Israel into the Promised Land. In the same way, God tells us to be strong and courageous as Kingdom writers. He won't forsake us. He will see to it that the work related to our books is finished correctly. You and I have been commissioned by the King of kings to write books that impact others for His glory! The Power of Having a Weekly Business Meeting with God Learn the simple steps you can take to implement a weekly business meeting with God. This is one of the most important actions you can take as a Christian writer to ask God for the strategies to write, publish, and market your books successfully. Get access to the video and PDF download now here.
In this episode, Jonny Ardavanis articulates three consequences of sin. In the life of a believer, we are no longer under sin's reign, but we still face the consequences that occur as a result of our sin and still receive discipline from the Lord.
Children often look like their parents. It could be facial features, the way they move their hands as they speak, or their laugh. And a child will often mimic his parents' mannerisms. Something about an apple not falling far from a tree. But ever since Eve was handed the fruit of one particular tree, Satan has been lying to us . . . and many now mimic his behavior. Today on A NEW BEGINNING, Pastor Greg Laurie helps us chart a course for our behavior from the Lord's 10 Commandments. Listen on harvest.org --- Learn more and subscribe to Harvest updates at harvest.org . A New Beginning is the daily half-hour program hosted by Greg Laurie, pastor of Harvest Christian Fellowship in Southern California. For over 30 years, Pastor Greg and Harvest Ministries have endeavored to know God and make Him known through media and large-scale evangelism. This podcast is supported by the generosity of our Harvest Partners.Support the show: https://harvest.org/supportSee omnystudio.com/listener for privacy information.
Relax and fall asleep fast to this Bible meditation for deep sleep with relaxing meditation music. Narrated by Melissa Disney. Let your body sleep and your mind rest as your taken to a city with a rich history and tremendous beauty in the heart of the Odenwald Mountains where you will remember that if you trust in the Lord, He will make your paths straight. Unlock the premium ad-free Christian Bible sleep meditation experience in the Abide app:https://abide.co/awesomeDiscover more Christian podcasts at lifeaudio.com and inquire about advertising opportunities at lifeaudio.com/contact-us
In Christian meditation, we are re-aligning ourselves vertically. We're remapping our horizontal realities with a vertical view/perspective. Enabling us to embody that vertical perspective replaces anxiety and tension with a calm confidence. If your podcast app is set to skip the silent sections, disable that in your podcast app for this podcast. Isaiah 43:10-11 ESV “You are my witnesses,” declares the LORD, “and my servant whom I have chosen, that you may know and believe me and understand that I am he. Before me no god was formed, nor shall there be any after me. I, I am the LORD, and besides me there is no savior.” “The LORD” in our English Bibles is indicating that in Hebrew God's name, Yahweh, is used. Yahweh is the ancient Hebrew verb form for “HE IS.” God's name in the Hebrew scriptures is used more than any other term for God. More than “God” is used. When we survey the various truths associated with God's name, HE IS, in the Hebrew scriptures (what we call the Old Testament), four important aspects of God are emphasized. HE IS the Creator and Sustainer of ALL that exists, including this entire universe. HE IS the Giver and Sustainer of ALL life everywhere always. HE IS Eternally God. HE IS ALWAYS 100% present with you and focused on you in every present moment (without being any less present or focused anywhere else in the universe, because HE IS infinite). These four realities of what God's name means are easy to memorize, and so to remember them when you “Praise the LORD” will help you replace anxieties and self-protective guarding with a calm confidence and peace. Who can you share this podcast with? If you found this episode helpful, consider sharing it on social media or texting it to a friend you think might benefit from it. Follow Dave Cover on Twitter @davecover Follow A Bigger Life on Twitter @ABiggerLifePod Our audio engineer is Matthew Matlack. This podcast is a ministry of The Crossing, a church in Columbia, Missouri, a college town where the flagship campus of the University of Missouri is located.
“We serve a God who meets us where we are and takes us where He wanted us to be.” When Carmen got married, she never imagined where she'd be in 2018. That raising kids would be so challenging. That her husband would get sick. That he would pass away.When Carmen's husband passed away six years ago, she began attending The Austin Stone. At that time, she was struggling with a growing reliance on alcohol. Carmen felt burdened with responsibility, and like many of us, and used alcohol to find some peace. But the Lord used a sermon about idolatry to explicitly call her back to Himself, and from that day forward, despite ups and downs, she was never the same.Carmen's is a story of God's relentless love for us. It's a story of relapse and recovery. Of a mother who wanted a brighter future for her children. And it's a story of God's unending pursuit of His children and His children's children.
Episode 168 of A History of Rock Music in Five Hundred Songs looks at “I Say a Little Prayer”, and the interaction of the sacred, political, and secular in Aretha Franklin's life and work. Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have a forty-five-minute bonus episode available, on "Abraham, Martin, and John" by Dion. Tilt Araiza has assisted invaluably by doing a first-pass edit, and will hopefully be doing so from now on. Check out Tilt's irregular podcasts at http://www.podnose.com/jaffa-cakes-for-proust and http://sitcomclub.com/ Resources No Mixcloud this week, as there are too many songs by Aretha Franklin. Even splitting it into multiple parts would have required six or seven mixes. My main biographical source for Aretha Franklin is Respect: The Life of Aretha Franklin by David Ritz, and this is where most of the quotes from musicians come from. Information on C.L. Franklin came from Singing in a Strange Land: C. L. Franklin, the Black Church, and the Transformation of America by Nick Salvatore. Country Soul by Charles L Hughes is a great overview of the soul music made in Muscle Shoals, Memphis, and Nashville in the sixties. Peter Guralnick's Sweet Soul Music: Rhythm And Blues And The Southern Dream Of Freedom is possibly less essential, but still definitely worth reading. Information about Martin Luther King came from Martin Luther King: A Religious Life by Paul Harvey. I also referred to Burt Bacharach's autobiography Anyone Who Had a Heart, Carole King's autobiography A Natural Woman, and Soul Serenade: King Curtis and his Immortal Saxophone by Timothy R. Hoover. For information about Amazing Grace I also used Aaron Cohen's 33 1/3 book on the album. The film of the concerts is also definitely worth watching. And the Aretha Now album is available in this five-album box set for a ludicrously cheap price. But it's actually worth getting this nineteen-CD set with her first sixteen Atlantic albums and a couple of bonus discs of demos and outtakes. There's barely a duff track in the whole nineteen discs. Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript A quick warning before I begin. This episode contains some moderate references to domestic abuse, death by cancer, racial violence, police violence, and political assassination. Anyone who might be upset by those subjects might want to check the transcript rather than listening to the episode. Also, as with the previous episode on Aretha Franklin, this episode presents something of a problem. Like many people in this narrative, Franklin's career was affected by personal troubles, which shaped many of her decisions. But where most of the subjects of the podcast have chosen to live their lives in public and share intimate details of every aspect of their personal lives, Franklin was an extremely private person, who chose to share only carefully sanitised versions of her life, and tried as far as possible to keep things to herself. This of course presents a dilemma for anyone who wants to tell her story -- because even though the information is out there in biographies, and even though she's dead, it's not right to disrespect someone's wish for a private life. I have therefore tried, wherever possible, to stay away from talk of her personal life except where it *absolutely* affects the work, or where other people involved have publicly shared their own stories, and even there I've tried to keep it to a minimum. This will occasionally lead to me saying less about some topics than other people might, even though the information is easily findable, because I don't think we have an absolute right to invade someone else's privacy for entertainment. When we left Aretha Franklin, she had just finally broken through into the mainstream after a decade of performing, with a version of Otis Redding's song "Respect" on which she had been backed by her sisters, Erma and Carolyn. "Respect", in Franklin's interpretation, had been turned from a rather chauvinist song about a man demanding respect from his woman into an anthem of feminism, of Black power, and of a new political awakening. For white people of a certain generation, the summer of 1967 was "the summer of love". For many Black people, it was rather different. There's a quote that goes around (I've seen it credited in reliable sources to both Ebony and Jet magazine, but not ever seen an issue cited, so I can't say for sure where it came from) saying that the summer of 67 was the summer of "'retha, Rap, and revolt", referring to the trifecta of Aretha Franklin, the Black power leader Jamil Abdullah al-Amin (who was at the time known as H. Rap Brown, a name he later disclaimed) and the rioting that broke out in several major cities, particularly in Detroit: [Excerpt: John Lee Hooker, "The Motor City is Burning"] The mid sixties were, in many ways, the high point not of Black rights in the US -- for the most part there has been a lot of progress in civil rights in the intervening decades, though not without inevitable setbacks and attacks from the far right, and as movements like the Black Lives Matter movement have shown there is still a long way to go -- but of *hope* for Black rights. The moral force of the arguments made by the civil rights movement were starting to cause real change to happen for Black people in the US for the first time since the Reconstruction nearly a century before. But those changes weren't happening fast enough, and as we heard in the episode on "I Was Made to Love Her", there was not only a growing unrest among Black people, but a recognition that it was actually possible for things to change. A combination of hope and frustration can be a powerful catalyst, and whether Franklin wanted it or not, she was at the centre of things, both because of her newfound prominence as a star with a hit single that couldn't be interpreted as anything other than a political statement and because of her intimate family connections to the struggle. Even the most racist of white people these days pays lip service to the memory of Dr Martin Luther King, and when they do they quote just a handful of sentences from one speech King made in 1963, as if that sums up the full theological and political philosophy of that most complex of men. And as we discussed the last time we looked at Aretha Franklin, King gave versions of that speech, the "I Have a Dream" speech, twice. The most famous version was at the March on Washington, but the first time was a few weeks earlier, at what was at the time the largest civil rights demonstration in American history, in Detroit. Aretha's family connection to that event is made clear by the very opening of King's speech: [Excerpt: Martin Luther King, "Original 'I Have a Dream' Speech"] So as summer 1967 got into swing, and white rock music was going to San Francisco to wear flowers in its hair, Aretha Franklin was at the centre of a very different kind of youth revolution. Franklin's second Atlantic album, Aretha Arrives, brought in some new personnel to the team that had recorded Aretha's first album for Atlantic. Along with the core Muscle Shoals players Jimmy Johnson, Spooner Oldham, Tommy Cogbill and Roger Hawkins, and a horn section led by King Curtis, Wexler and Dowd also brought in guitarist Joe South. South was a white session player from Georgia, who had had a few minor hits himself in the fifties -- he'd got his start recording a cover version of "The Purple People Eater Meets the Witch Doctor", the Big Bopper's B-side to "Chantilly Lace": [Excerpt: Joe South, "The Purple People Eater Meets the Witch Doctor"] He'd also written a few songs that had been recorded by people like Gene Vincent, but he'd mostly become a session player. He'd become a favourite musician of Bob Johnston's, and so he'd played guitar on Simon and Garfunkel's Sounds of Silence and Parsley, Sage, Rosemary and Thyme albums: [Excerpt: Simon and Garfunkel, "I am a Rock"] and bass on Bob Dylan's Blonde on Blonde, with Al Kooper particularly praising his playing on "Visions of Johanna": [Excerpt: Bob Dylan, "Visions of Johanna"] South would be the principal guitarist on this and Franklin's next album, before his own career took off in 1968 with "Games People Play": [Excerpt: Joe South, "Games People Play"] At this point, he had already written the other song he's best known for, "Hush", which later became a hit for Deep Purple: [Excerpt: Deep Purple, "Hush"] But he wasn't very well known, and was surprised to get the call for the Aretha Franklin session, especially because, as he put it "I was white and I was about to play behind the blackest genius since Ray Charles" But Jerry Wexler had told him that Franklin didn't care about the race of the musicians she played with, and South settled in as soon as Franklin smiled at him when he played a good guitar lick on her version of the blues standard "Going Down Slow": [Excerpt: Aretha Franklin, "Going Down Slow"] That was one of the few times Franklin smiled in those sessions though. Becoming an overnight success after years of trying and failing to make a name for herself had been a disorienting experience, and on top of that things weren't going well in her personal life. Her marriage to her manager Ted White was falling apart, and she was performing erratically thanks to the stress. In particular, at a gig in Georgia she had fallen off the stage and broken her arm. She soon returned to performing, but it meant she had problems with her right arm during the recording of the album, and didn't play as much piano as she would have previously -- on some of the faster songs she played only with her left hand. But the recording sessions had to go on, whether or not Aretha was physically capable of playing piano. As we discussed in the episode on Otis Redding, the owners of Atlantic Records were busily negotiating its sale to Warner Brothers in mid-1967. As Wexler said later “Everything in me said, Keep rolling, keep recording, keep the hits coming. She was red hot and I had no reason to believe that the streak wouldn't continue. I knew that it would be foolish—and even irresponsible—not to strike when the iron was hot. I also had personal motivation. A Wall Street financier had agreed to see what we could get for Atlantic Records. While Ahmet and Neshui had not agreed on a selling price, they had gone along with my plan to let the financier test our worth on the open market. I was always eager to pump out hits, but at this moment I was on overdrive. In this instance, I had a good partner in Ted White, who felt the same. He wanted as much product out there as possible." In truth, you can tell from Aretha Arrives that it's a record that was being thought of as "product" rather than one being made out of any kind of artistic impulse. It's a fine album -- in her ten-album run from I Never Loved a Man the Way I Love You through Amazing Grace there's not a bad album and barely a bad track -- but there's a lack of focus. There are only two originals on the album, neither of them written by Franklin herself, and the rest is an incoherent set of songs that show the tension between Franklin and her producers at Atlantic. Several songs are the kind of standards that Franklin had recorded for her old label Columbia, things like "You Are My Sunshine", or her version of "That's Life", which had been a hit for Frank Sinatra the previous year: [Excerpt: Aretha Franklin, "That's Life"] But mixed in with that are songs that are clearly the choice of Wexler. As we've discussed previously in episodes on Otis Redding and Wilson Pickett, at this point Atlantic had the idea that it was possible for soul artists to cross over into the white market by doing cover versions of white rock hits -- and indeed they'd had some success with that tactic. So while Franklin was suggesting Sinatra covers, Atlantic's hand is visible in the choices of songs like "(I Can't Get No) Satisfaction" and "96 Tears": [Excerpt: Aretha Franklin, "96 Tears'] Of the two originals on the album, one, the hit single "Baby I Love You" was written by Ronnie Shannon, the Detroit songwriter who had previously written "I Never Loved a Man (the Way I Love You)": [Excerpt: Aretha Franklin, "Baby I Love You"] As with the previous album, and several other songs on this one, that had backing vocals by Aretha's sisters, Erma and Carolyn. But the other original on the album, "Ain't Nobody (Gonna Turn Me Around)", didn't, even though it was written by Carolyn: [Excerpt: Aretha Franklin, "Ain't Nobody (Gonna Turn Me Around)"] To explain why, let's take a little detour and look at the co-writer of the song this episode is about, though we're not going to get to that for a little while yet. We've not talked much about Burt Bacharach in this series so far, but he's one of those figures who has come up a few times in the periphery and will come up again, so here is as good a time as any to discuss him, and bring everyone up to speed about his career up to 1967. Bacharach was one of the more privileged figures in the sixties pop music field. His father, Bert Bacharach (pronounced the same as his son, but spelled with an e rather than a u) had been a famous newspaper columnist, and his parents had bought him a Steinway grand piano to practice on -- they pushed him to learn the piano even though as a kid he wasn't interested in finger exercises and Debussy. What he was interested in, though, was jazz, and as a teenager he would often go into Manhattan and use a fake ID to see people like Dizzy Gillespie, who he idolised, and in his autobiography he talks rapturously of seeing Gillespie playing his bent trumpet -- he once saw Gillespie standing on a street corner with a pet monkey on his shoulder, and went home and tried to persuade his parents to buy him a monkey too. In particular, he talks about seeing the Count Basie band with Sonny Payne on drums as a teenager: [Excerpt: Count Basie, "Kid From Red Bank"] He saw them at Birdland, the club owned by Morris Levy where they would regularly play, and said of the performance "they were just so incredibly exciting that all of a sudden, I got into music in a way I never had before. What I heard in those clubs really turned my head around— it was like a big breath of fresh air when somebody throws open a window. That was when I knew for the first time how much I loved music and wanted to be connected to it in some way." Of course, there's a rather major problem with this story, as there is so often with narratives that musicians tell about their early career. In this case, Birdland didn't open until 1949, when Bacharach was twenty-one and stationed in Germany for his military service, while Sonny Payne didn't join Basie's band until 1954, when Bacharach had been a professional musician for many years. Also Dizzy Gillespie's trumpet bell only got bent on January 6, 1953. But presumably while Bacharach was conflating several memories, he did have some experience in some New York jazz club that led him to want to become a musician. Certainly there were enough great jazz musicians playing the clubs in those days. He went to McGill University to study music for two years, then went to study with Darius Milhaud, a hugely respected modernist composer. Milhaud was also one of the most important music teachers of the time -- among others he'd taught Stockhausen and Xenakkis, and would go on to teach Philip Glass and Steve Reich. This suited Bacharach, who by this point was a big fan of Schoenberg and Webern, and was trying to write atonal, difficult music. But Milhaud had also taught Dave Brubeck, and when Bacharach rather shamefacedly presented him with a composition which had an actual tune, he told Bacharach "Never be ashamed of writing a tune you can whistle". He dropped out of university and, like most men of his generation, had to serve in the armed forces. When he got out of the army, he continued his musical studies, still trying to learn to be an avant-garde composer, this time with Bohuslav Martinů and later with Henry Cowell, the experimental composer we've heard about quite a bit in previous episodes: [Excerpt: Henry Cowell, "Aeolian Harp and Sinister Resonance"] He was still listening to a lot of avant garde music, and would continue doing so throughout the fifties, going to see people like John Cage. But he spent much of that time working in music that was very different from the avant-garde. He got a job as the band leader for the crooner Vic Damone: [Excerpt: Vic Damone. "Ebb Tide"] He also played for the vocal group the Ames Brothers. He decided while he was working with the Ames Brothers that he could write better material than they were getting from their publishers, and that it would be better to have a job where he didn't have to travel, so he got himself a job as a staff songwriter in the Brill Building. He wrote a string of flops and nearly hits, starting with "Keep Me In Mind" for Patti Page: [Excerpt: Patti Page, "Keep Me In Mind"] From early in his career he worked with the lyricist Hal David, and the two of them together wrote two big hits, "Magic Moments" for Perry Como: [Excerpt: Perry Como, "Magic Moments"] and "The Story of My Life" for Marty Robbins: [Excerpt: "The Story of My Life"] But at that point Bacharach was still also writing with other writers, notably Hal David's brother Mack, with whom he wrote the theme tune to the film The Blob, as performed by The Five Blobs: [Excerpt: The Five Blobs, "The Blob"] But Bacharach's songwriting career wasn't taking off, and he got himself a job as musical director for Marlene Dietrich -- a job he kept even after it did start to take off. Part of the problem was that he intuitively wrote music that didn't quite fit into standard structures -- there would be odd bars of unusual time signatures thrown in, unusual harmonies, and structural irregularities -- but then he'd take feedback from publishers and producers who would tell him the song could only be recorded if he straightened it out. He said later "The truth is that I ruined a lot of songs by not believing in myself enough to tell these guys they were wrong." He started writing songs for Scepter Records, usually with Hal David, but also with Bob Hilliard and Mack David, and started having R&B hits. One song he wrote with Mack David, "I'll Cherish You", had the lyrics rewritten by Luther Dixon to make them more harsh-sounding for a Shirelles single -- but the single was otherwise just Bacharach's demo with the vocals replaced, and you can even hear his voice briefly at the beginning: [Excerpt: The Shirelles, "Baby, It's You"] But he'd also started becoming interested in the production side of records more generally. He'd iced that some producers, when recording his songs, would change the sound for the worse -- he thought Gene McDaniels' version of "Tower of Strength", for example, was too fast. But on the other hand, other producers got a better sound than he'd heard in his head. He and Hilliard had written a song called "Please Stay", which they'd given to Leiber and Stoller to record with the Drifters, and he thought that their arrangement of the song was much better than the one he'd originally thought up: [Excerpt: The Drifters, "Please Stay"] He asked Leiber and Stoller if he could attend all their New York sessions and learn about record production from them. He started doing so, and eventually they started asking him to assist them on records. He and Hilliard wrote a song called "Mexican Divorce" for the Drifters, which Leiber and Stoller were going to produce, and as he put it "they were so busy running Redbird Records that they asked me to rehearse the background singers for them in my office." [Excerpt: The Drifters, "Mexican Divorce"] The backing singers who had been brought in to augment the Drifters on that record were a group of vocalists who had started out as members of a gospel group called the Drinkard singers: [Excerpt: The Drinkard Singers, "Singing in My Soul"] The Drinkard Singers had originally been a family group, whose members included Cissy Drinkard, who joined the group aged five (and who on her marriage would become known as Cissy Houston -- her daughter Whitney would later join the family business), her aunt Lee Warrick, and Warrick's adopted daughter Judy Clay. That group were discovered by the great gospel singer Mahalia Jackson, and spent much of the fifties performing with gospel greats including Jackson herself, Clara Ward, and Sister Rosetta Tharpe. But Houston was also the musical director of a group at her church, the Gospelaires, which featured Lee Warrick's two daughters Dionne and Dee Dee Warwick (for those who don't know, the Warwick sisters' birth name was Warrick, spelled with two rs. A printing error led to it being misspelled the same way as the British city on a record label, and from that point on Dionne at least pronounced the w in her misspelled name). And slowly, the Gospelaires rather than the Drinkard Singers became the focus, with a lineup of Houston, the Warwick sisters, the Warwick sisters' cousin Doris Troy, and Clay's sister Sylvia Shemwell. The real change in the group's fortunes came when, as we talked about a while back in the episode on "The Loco-Motion", the original lineup of the Cookies largely stopped working as session singers to become Ray Charles' Raelettes. As we discussed in that episode, a new lineup of Cookies formed in 1961, but it took a while for them to get started, and in the meantime the producers who had been relying on them for backing vocals were looking elsewhere, and they looked to the Gospelaires. "Mexican Divorce" was the first record to feature the group as backing vocalists -- though reports vary as to how many of them are on the record, with some saying it's only Troy and the Warwicks, others saying Houston was there, and yet others saying it was all five of them. Some of these discrepancies were because these singers were so good that many of them left to become solo singers in fairly short order. Troy was the first to do so, with her hit "Just One Look", on which the other Gospelaires sang backing vocals: [Excerpt: Doris Troy, "Just One Look"] But the next one to go solo was Dionne Warwick, and that was because she'd started working with Bacharach and Hal David as their principal demo singer. She started singing lead on their demos, and hoping that she'd get to release them on her own. One early one was "Make it Easy On Yourself", which was recorded by Jerry Butler, formerly of the Impressions. That record was produced by Bacharach, one of the first records he produced without outside supervision: [Excerpt: Jerry Butler, "Make it Easy On Yourself"] Warwick was very jealous that a song she'd sung the demo of had become a massive hit for someone else, and blamed Bacharach and David. The way she tells the story -- Bacharach always claimed this never happened, but as we've already seen he was himself not always the most reliable of narrators of his own life -- she got so angry she complained to them, and said "Don't make me over, man!" And so Bacharach and David wrote her this: [Excerpt: Dionne Warwick, "Don't Make Me Over"] Incidentally, in the UK, the hit version of that was a cover by the Swinging Blue Jeans: [Excerpt: The Swinging Blue Jeans, "Don't Make Me Over"] who also had a huge hit with "You're No Good": [Excerpt: The Swinging Blue Jeans, "You're No Good"] And *that* was originally recorded by *Dee Dee* Warwick: [Excerpt: Dee Dee Warwick, "You're No Good"] Dee Dee also had a successful solo career, but Dionne's was the real success, making the names of herself, and of Bacharach and David. The team had more than twenty top forty hits together, before Bacharach and David had a falling out in 1971 and stopped working together, and Warwick sued both of them for breach of contract as a result. But prior to that they had hit after hit, with classic records like "Anyone Who Had a Heart": [Excerpt: Dionne Warwick, "Anyone Who Had a Heart"] And "Walk On By": [Excerpt: Dionne Warwick, "Walk On By"] With Doris, Dionne, and Dee Dee all going solo, the group's membership was naturally in flux -- though the departed members would occasionally join their former bandmates for sessions, and the remaining members would sing backing vocals on their ex-members' records. By 1965 the group consisted of Cissy Houston, Sylvia Shemwell, the Warwick sisters' cousin Myrna Smith, and Estelle Brown. The group became *the* go-to singers for soul and R&B records made in New York. They were regularly hired by Leiber and Stoller to sing on their records, and they were also the particular favourites of Bert Berns. They sang backing vocals on almost every record he produced. It's them doing the gospel wails on "Cry Baby" by Garnet Mimms: [Excerpt: Garnet Mimms, "Cry Baby"] And they sang backing vocals on both versions of "If You Need Me" -- Wilson Pickett's original and Solomon Burke's more successful cover version, produced by Berns: [Excerpt: Solomon Burke, "If You Need Me"] They're on such Berns records as "Show Me Your Monkey", by Kenny Hamber: [Excerpt: Kenny Hamber, "Show Me Your Monkey"] And it was a Berns production that ended up getting them to be Aretha Franklin's backing group. The group were becoming such an important part of the records that Atlantic and BANG Records, in particular, were putting out, that Jerry Wexler said "it was only a matter of common decency to put them under contract as a featured group". He signed them to Atlantic and renamed them from the Gospelaires to The Sweet Inspirations. Dan Penn and Spooner Oldham wrote a song for the group which became their only hit under their own name: [Excerpt: The Sweet Inspirations, "Sweet Inspiration"] But to start with, they released a cover of Pops Staples' civil rights song "Why (Am I treated So Bad)": [Excerpt: The Sweet Inspirations, "Why (Am I Treated So Bad?)"] That hadn't charted, and meanwhile, they'd all kept doing session work. Cissy had joined Erma and Carolyn Franklin on the backing vocals for Aretha's "I Never Loved a Man the Way I Love You": [Excerpt: Aretha Franklin, "I Never Loved a Man the Way I Love You"] Shortly after that, the whole group recorded backing vocals for Erma's single "Piece of My Heart", co-written and produced by Berns: [Excerpt: Erma Franklin, "Piece of My Heart"] That became a top ten record on the R&B charts, but that caused problems. Aretha Franklin had a few character flaws, and one of these was an extreme level of jealousy for any other female singer who had any level of success and came up in the business after her. She could be incredibly graceful towards anyone who had been successful before her -- she once gave one of her Grammies away to Esther Phillips, who had been up for the same award and had lost to her -- but she was terribly insecure, and saw any contemporary as a threat. She'd spent her time at Columbia Records fuming (with some justification) that Barbra Streisand was being given a much bigger marketing budget than her, and she saw Diana Ross, Gladys Knight, and Dionne Warwick as rivals rather than friends. And that went doubly for her sisters, who she was convinced should be supporting her because of family loyalty. She had been infuriated at John Hammond when Columbia had signed Erma, thinking he'd gone behind her back to create competition for her. And now Erma was recording with Bert Berns. Bert Berns who had for years been a colleague of Jerry Wexler and the Ertegun brothers at Atlantic. Aretha was convinced that Wexler had put Berns up to signing Erma as some kind of power play. There was only one problem with this -- it simply wasn't true. As Wexler later explained “Bert and I had suffered a bad falling-out, even though I had enormous respect for him. After all, he was the guy who brought over guitarist Jimmy Page from England to play on our sessions. Bert, Ahmet, Nesuhi, and I had started a label together—Bang!—where Bert produced Van Morrison's first album. But Bert also had a penchant for trouble. He courted the wise guys. He wanted total control over every last aspect of our business dealings. Finally it was too much, and the Erteguns and I let him go. He sued us for breach of contract and suddenly we were enemies. I felt that he signed Erma, an excellent singer, not merely for her talent but as a way to get back at me. If I could make a hit with Aretha, he'd show me up by making an even bigger hit on Erma. Because there was always an undercurrent of rivalry between the sisters, this only added to the tension.” There were two things that resulted from this paranoia on Aretha's part. The first was that she and Wexler, who had been on first-name terms up to that point, temporarily went back to being "Mr. Wexler" and "Miss Franklin" to each other. And the second was that Aretha no longer wanted Carolyn and Erma to be her main backing vocalists, though they would continue to appear on her future records on occasion. From this point on, the Sweet Inspirations would be the main backing vocalists for Aretha in the studio throughout her golden era [xxcut line (and when the Sweet Inspirations themselves weren't on the record, often it would be former members of the group taking their place)]: [Excerpt: Aretha Franklin, "Ain't Nobody (Gonna Turn Me Around)"] The last day of sessions for Aretha Arrives was July the twenty-third, 1967. And as we heard in the episode on "I Was Made to Love Her", that was the day that the Detroit riots started. To recap briefly, that was four days of rioting started because of a history of racist policing, made worse by those same racist police overreacting to the initial protests. By the end of those four days, the National Guard, 82nd Airborne Division, and the 101st Airborne from Clarksville were all called in to deal with the violence, which left forty-three dead (of whom thirty-three were Black and only one was a police officer), 1,189 people were injured, and over 7,200 arrested, almost all of them Black. Those days in July would be a turning point for almost every musician based in Detroit. In particular, the police had murdered three members of the soul group the Dramatics, in a massacre of which the author John Hersey, who had been asked by President Johnson to be part of the National Advisory Commission on Civil Disorders but had decided that would compromise his impartiality and did an independent journalistic investigation, said "The episode contained all the mythic themes of racial strife in the United States: the arm of the law taking the law into its own hands; interracial sex; the subtle poison of racist thinking by “decent” men who deny they are racists; the societal limbo into which, ever since slavery, so many young black men have been driven by our country; ambiguous justice in the courts; and the devastation in both black and white human lives that follows in the wake of violence as surely as ruinous and indiscriminate flood after torrents" But these were also the events that radicalised the MC5 -- the group had been playing a gig as Tim Buckley's support act when the rioting started, and guitarist Wayne Kramer decided afterwards to get stoned and watch the fires burning down the city through a telescope -- which police mistook for a rifle, leading to the National Guard knocking down Kramer's door. The MC5 would later cover "The Motor City is Burning", John Lee Hooker's song about the events: [Excerpt: The MC5, "The Motor City is Burning"] It would also be a turning point for Motown, too, in ways we'll talk about in a few future episodes. And it was a political turning point too -- Michigan Governor George Romney, a liberal Republican (at a time when such people existed) had been the favourite for the Republican Presidential candidacy when he'd entered the race in December 1966, but as racial tensions ramped up in Detroit during the early months of 1967 he'd started trailing Richard Nixon, a man who was consciously stoking racists' fears. President Johnson, the incumbent Democrat, who was at that point still considering standing for re-election, made sure to make it clear to everyone during the riots that the decision to call in the National Guard had been made at the State level, by Romney, rather than at the Federal level. That wasn't the only thing that removed the possibility of a Romney presidency, but it was a big part of the collapse of his campaign, and the, as it turned out, irrevocable turn towards right-authoritarianism that the party took with Nixon's Southern Strategy. Of course, Aretha Franklin had little way of knowing what was to come and how the riots would change the city and the country over the following decades. What she was primarily concerned about was the safety of her father, and to a lesser extent that of her sister-in-law Earline who was staying with him. Aretha, Carolyn, and Erma all tried to keep in constant touch with their father while they were out of town, and Aretha even talked about hiring private detectives to travel to Detroit, find her father, and get him out of the city to safety. But as her brother Cecil pointed out, he was probably the single most loved man among Black people in Detroit, and was unlikely to be harmed by the rioters, while he was too famous for the police to kill with impunity. Reverend Franklin had been having a stressful time anyway -- he had recently been fined for tax evasion, an action he was convinced the IRS had taken because of his friendship with Dr King and his role in the civil rights movement -- and according to Cecil "Aretha begged Daddy to move out of the city entirely. She wanted him to find another congregation in California, where he was especially popular—or at least move out to the suburbs. But he wouldn't budge. He said that, more than ever, he was needed to point out the root causes of the riots—the economic inequality, the pervasive racism in civic institutions, the woefully inadequate schools in inner-city Detroit, and the wholesale destruction of our neighborhoods by urban renewal. Some ministers fled the city, but not our father. The horror of what happened only recommitted him. He would not abandon his political agenda." To make things worse, Aretha was worried about her father in other ways -- as her marriage to Ted White was starting to disintegrate, she was looking to her father for guidance, and actually wanted him to take over her management. Eventually, Ruth Bowen, her booking agent, persuaded her brother Cecil that this was a job he could do, and that she would teach him everything he needed to know about the music business. She started training him up while Aretha was still married to White, in the expectation that that marriage couldn't last. Jerry Wexler, who only a few months earlier had been seeing Ted White as an ally in getting "product" from Franklin, had now changed his tune -- partly because the sale of Atlantic had gone through in the meantime. He later said “Sometimes she'd call me at night, and, in that barely audible little-girl voice of hers, she'd tell me that she wasn't sure she could go on. She always spoke in generalities. She never mentioned her husband, never gave me specifics of who was doing what to whom. And of course I knew better than to ask. She just said that she was tired of dealing with so much. My heart went out to her. She was a woman who suffered silently. She held so much in. I'd tell her to take as much time off as she needed. We had a lot of songs in the can that we could release without new material. ‘Oh, no, Jerry,' she'd say. ‘I can't stop recording. I've written some new songs, Carolyn's written some new songs. We gotta get in there and cut 'em.' ‘Are you sure?' I'd ask. ‘Positive,' she'd say. I'd set up the dates and typically she wouldn't show up for the first or second sessions. Carolyn or Erma would call me to say, ‘Ree's under the weather.' That was tough because we'd have asked people like Joe South and Bobby Womack to play on the sessions. Then I'd reschedule in the hopes she'd show." That third album she recorded in 1967, Lady Soul, was possibly her greatest achievement. The opening track, and second single, "Chain of Fools", released in November, was written by Don Covay -- or at least it's credited as having been written by Covay. There's a gospel record that came out around the same time on a very small label based in Houston -- "Pains of Life" by Rev. E. Fair And The Sensational Gladys Davis Trio: [Excerpt: Rev. E. Fair And The Sensational Gladys Davis Trio, "Pains of Life"] I've seen various claims online that that record came out shortly *before* "Chain of Fools", but I can't find any definitive evidence one way or the other -- it was on such a small label that release dates aren't available anywhere. Given that the B-side, which I haven't been able to track down online, is called "Wait Until the Midnight Hour", my guess is that rather than this being a case of Don Covay stealing the melody from an obscure gospel record he'd have had little chance to hear, it's the gospel record rewriting a then-current hit to be about religion, but I thought it worth mentioning. The song was actually written by Covay after Jerry Wexler asked him to come up with some songs for Otis Redding, but Wexler, after hearing it, decided it was better suited to Franklin, who gave an astonishing performance: [Excerpt: Aretha Franklin, "Chain of Fools"] Arif Mardin, the arranger of the album, said of that track “I was listed as the arranger of ‘Chain of Fools,' but I can't take credit. Aretha walked into the studio with the chart fully formed inside her head. The arrangement is based around the harmony vocals provided by Carolyn and Erma. To add heft, the Sweet Inspirations joined in. The vision of the song is entirely Aretha's.” According to Wexler, that's not *quite* true -- according to him, Joe South came up with the guitar part that makes up the intro, and he also said that when he played what he thought was the finished track to Ellie Greenwich, she came up with another vocal line for the backing vocals, which she overdubbed. But the core of the record's sound is definitely pure Aretha -- and Carolyn Franklin said that there was a reason for that. As she said later “Aretha didn't write ‘Chain,' but she might as well have. It was her story. When we were in the studio putting on the backgrounds with Ree doing lead, I knew she was singing about Ted. Listen to the lyrics talking about how for five long years she thought he was her man. Then she found out she was nothing but a link in the chain. Then she sings that her father told her to come on home. Well, he did. She sings about how her doctor said to take it easy. Well, he did too. She was drinking so much we thought she was on the verge of a breakdown. The line that slew me, though, was the one that said how one of these mornings the chain is gonna break but until then she'll take all she can take. That summed it up. Ree knew damn well that this man had been doggin' her since Jump Street. But somehow she held on and pushed it to the breaking point." [Excerpt: Aretha Franklin, "Chain of Fools"] That made number one on the R&B charts, and number two on the hot one hundred, kept from the top by "Judy In Disguise (With Glasses)" by John Fred and his Playboy Band -- a record that very few people would say has stood the test of time as well. The other most memorable track on the album was the one chosen as the first single, released in September. As Carole King told the story, she and Gerry Goffin were feeling like their career was in a slump. While they had had a huge run of hits in the early sixties through 1965, they had only had two new hits in 1966 -- "Goin' Back" for Dusty Springfield and "Don't Bring Me Down" for the Animals, and neither of those were anything like as massive as their previous hits. And up to that point in 1967, they'd only had one -- "Pleasant Valley Sunday" for the Monkees. They had managed to place several songs on Monkees albums and the TV show as well, so they weren't going to starve, but the rise of self-contained bands that were starting to dominate the charts, and Phil Spector's temporary retirement, meant there simply wasn't the opportunity for them to place material that there had been. They were also getting sick of travelling to the West Coast all the time, because as their children were growing slightly older they didn't want to disrupt their lives in New York, and were thinking of approaching some of the New York based labels and seeing if they needed songs. They were particularly considering Atlantic, because soul was more open to outside songwriters than other genres. As it happened, though, they didn't have to approach Atlantic, because Atlantic approached them. They were walking down Broadway when a limousine pulled up, and Jerry Wexler stuck his head out of the window. He'd come up with a good title that he wanted to use for a song for Aretha, would they be interested in writing a song called "Natural Woman"? They said of course they would, and Wexler drove off. They wrote the song that night, and King recorded a demo the next morning: [Excerpt: Carole King, "(You Make Me Feel Like) A Natural Woman (demo)"] They gave Wexler a co-writing credit because he had suggested the title. King later wrote in her autobiography "Hearing Aretha's performance of “Natural Woman” for the first time, I experienced a rare speechless moment. To this day I can't convey how I felt in mere words. Anyone who had written a song in 1967 hoping it would be performed by a singer who could take it to the highest level of excellence, emotional connection, and public exposure would surely have wanted that singer to be Aretha Franklin." She went on to say "But a recording that moves people is never just about the artist and the songwriters. It's about people like Jerry and Ahmet, who matched the songwriters with a great title and a gifted artist; Arif Mardin, whose magnificent orchestral arrangement deserves the place it will forever occupy in popular music history; Tom Dowd, whose engineering skills captured the magic of this memorable musical moment for posterity; and the musicians in the rhythm section, the orchestral players, and the vocal contributions of the background singers—among them the unforgettable “Ah-oo!” after the first line of the verse. And the promotion and marketing people helped this song reach more people than it might have without them." And that's correct -- unlike "Chain of Fools", this time Franklin did let Arif Mardin do most of the arrangement work -- though she came up with the piano part that Spooner Oldham plays on the record. Mardin said that because of the song's hymn-like feel they wanted to go for a more traditional written arrangement. He said "She loved the song to the point where she said she wanted to concentrate on the vocal and vocal alone. I had written a string chart and horn chart to augment the chorus and hired Ralph Burns to conduct. After just a couple of takes, we had it. That's when Ralph turned to me with wonder in his eyes. Ralph was one of the most celebrated arrangers of the modern era. He had done ‘Early Autumn' for Woody Herman and Stan Getz, and ‘Georgia on My Mind' for Ray Charles. He'd worked with everyone. ‘This woman comes from another planet' was all Ralph said. ‘She's just here visiting.'” [Excerpt: Aretha Franklin, "(You Make Me Feel Like) A Natural Woman"] By this point there was a well-functioning team making Franklin's records -- while the production credits would vary over the years, they were all essentially co-productions by the team of Franklin, Wexler, Mardin and Dowd, all collaborating and working together with a more-or-less unified purpose, and the backing was always by the same handful of session musicians and some combination of the Sweet Inspirations and Aretha's sisters. That didn't mean that occasional guests couldn't get involved -- as we discussed in the Cream episode, Eric Clapton played guitar on "Good to Me as I am to You": [Excerpt: Aretha Franklin, "Good to Me as I am to You"] Though that was one of the rare occasions on one of these records where something was overdubbed. Clapton apparently messed up the guitar part when playing behind Franklin, because he was too intimidated by playing with her, and came back the next day to redo his part without her in the studio. At this point, Aretha was at the height of her fame. Just before the final batch of album sessions began she appeared in the Macy's Thanksgiving Parade, and she was making regular TV appearances, like one on the Mike Douglas Show where she duetted with Frankie Valli on "That's Life": [Excerpt: Aretha Franklin and Frankie Valli, "That's Life"] But also, as Wexler said “Her career was kicking into high gear. Contending and resolving both the professional and personal challenges were too much. She didn't think she could do both, and I didn't blame her. Few people could. So she let the personal slide and concentrated on the professional. " Her concert promoter Ruth Bowen said of this time "Her father and Dr. King were putting pressure on her to sing everywhere, and she felt obligated. The record company was also screaming for more product. And I had a mountain of offers on my desk that kept getting higher with every passing hour. They wanted her in Europe. They wanted her in Latin America. They wanted her in every major venue in the U.S. TV was calling. She was being asked to do guest appearances on every show from Carol Burnett to Andy Williams to the Hollywood Palace. She wanted to do them all and she wanted to do none of them. She wanted to do them all because she's an entertainer who burns with ambition. She wanted to do none of them because she was emotionally drained. She needed to go away and renew her strength. I told her that at least a dozen times. She said she would, but she didn't listen to me." The pressures from her father and Dr King are a recurring motif in interviews with people about this period. Franklin was always a very political person, and would throughout her life volunteer time and money to liberal political causes and to the Democratic Party, but this was the height of her activism -- the Civil Rights movement was trying to capitalise on the gains it had made in the previous couple of years, and celebrity fundraisers and performances at rallies were an important way to do that. And at this point there were few bigger celebrities in America than Aretha Franklin. At a concert in her home town of Detroit on February the sixteenth, 1968, the Mayor declared the day Aretha Franklin Day. At the same show, Billboard, Record World *and* Cash Box magazines all presented her with plaques for being Female Vocalist of the Year. And Dr. King travelled up to be at the show and congratulate her publicly for all her work with his organisation, the Southern Christian Leadership Conference. Backstage at that show, Dr. King talked to Aretha's father, Reverend Franklin, about what he believed would be the next big battle -- a strike in Memphis: [Excerpt, Martin Luther King, "Mountaintop Speech" -- "And so, as a result of this, we are asking you tonight, to go out and tell your neighbors not to buy Coca-Cola in Memphis. Go by and tell them not to buy Sealtest milk. Tell them not to buy—what is the other bread?—Wonder Bread. And what is the other bread company, Jesse? Tell them not to buy Hart's bread. As Jesse Jackson has said, up to now, only the garbage men have been feeling pain; now we must kind of redistribute the pain. We are choosing these companies because they haven't been fair in their hiring policies; and we are choosing them because they can begin the process of saying, they are going to support the needs and the rights of these men who are on strike. And then they can move on downtown and tell Mayor Loeb to do what is right."] The strike in question was the Memphis Sanitation Workers' strike which had started a few days before. The struggle for Black labour rights was an integral part of the civil rights movement, and while it's not told that way in the sanitised version of the story that's made it into popular culture, the movement led by King was as much about economic justice as social justice -- King was a democratic socialist, and believed that economic oppression was both an effect of and cause of other forms of racial oppression, and that the rights of Black workers needed to be fought for. In 1967 he had set up a new organisation, the Poor People's Campaign, which was set to march on Washington to demand a program that included full employment, a guaranteed income -- King was strongly influenced in his later years by the ideas of Henry George, the proponent of a universal basic income based on land value tax -- the annual building of half a million affordable homes, and an end to the war in Vietnam. This was King's main focus in early 1968, and he saw the sanitation workers' strike as a major part of this campaign. Memphis was one of the most oppressive cities in the country, and its largely Black workforce of sanitation workers had been trying for most of the 1960s to unionise, and strike-breakers had been called in to stop them, and many of them had been fired by their white supervisors with no notice. They were working in unsafe conditions, for utterly inadequate wages, and the city government were ardent segregationists. After two workers had died on the first of February from using unsafe equipment, the union demanded changes -- safer working conditions, better wages, and recognition of the union. The city council refused, and almost all the sanitation workers stayed home and stopped work. After a few days, the council relented and agreed to their terms, but the Mayor, Henry Loeb, an ardent white supremacist who had stood on a platform of opposing desegregation, and who had previously been the Public Works Commissioner who had put these unsafe conditions in place, refused to listen. As far as he was concerned, he was the only one who could recognise the union, and he wouldn't. The workers continued their strike, marching holding signs that simply read "I am a Man": [Excerpt: Stevie Wonder, "Blowing in the Wind"] The Southern Christian Leadership Conference and the NAACP had been involved in organising support for the strikes from an early stage, and King visited Memphis many times. Much of the time he spent visiting there was spent negotiating with a group of more militant activists, who called themselves The Invaders and weren't completely convinced by King's nonviolent approach -- they believed that violence and rioting got more attention than non-violent protests. King explained to them that while he had been persuaded by Gandhi's writings of the moral case for nonviolent protest, he was also persuaded that it was pragmatically necessary -- asking the young men "how many guns do we have and how many guns do they have?", and pointing out as he often did that when it comes to violence a minority can't win against an armed majority. Rev Franklin went down to Memphis on the twenty-eighth of March to speak at a rally Dr. King was holding, but as it turned out the rally was cancelled -- the pre-rally march had got out of hand, with some people smashing windows, and Memphis police had, like the police in Detroit the previous year, violently overreacted, clubbing and gassing protestors and shooting and killing one unarmed teenage boy, Larry Payne. The day after Payne's funeral, Dr King was back in Memphis, though this time Rev Franklin was not with him. On April the third, he gave a speech which became known as the "Mountaintop Speech", in which he talked about the threats that had been made to his life: [Excerpt: Martin Luther King, "Mountaintop Speech": “And then I got to Memphis. And some began to say the threats, or talk about the threats that were out. What would happen to me from some of our sick white brothers? Well, I don't know what will happen now. We've got some difficult days ahead. But it doesn't matter with me now. Because I've been to the mountaintop. And I don't mind. Like anybody, I would like to live a long life. Longevity has its place. But I'm not concerned about that now. I just want to do God's will. And He's allowed me to go up to the mountain. And I've looked over. And I've seen the promised land. I may not get there with you. But I want you to know tonight, that we, as a people, will get to the promised land. So I'm happy, tonight. I'm not worried about anything. I'm not fearing any man. Mine eyes have seen the glory of the coming of the Lord."] The next day, Martin Luther King was shot dead. James Earl Ray, a white supremacist, pled guilty to the murder, and the evidence against him seems overwhelming from what I've read, but the King family have always claimed that the murder was part of a larger conspiracy and that Ray was not the gunman. Aretha was obviously distraught, and she attended the funeral, as did almost every other prominent Black public figure. James Baldwin wrote of the funeral: "In the pew directly before me sat Marlon Brando, Sammy Davis, Eartha Kitt—covered in black, looking like a lost, ten-year-old girl—and Sidney Poitier, in the same pew, or nearby. Marlon saw me, and nodded. The atmosphere was black, with a tension indescribable—as though something, perhaps the heavens, perhaps the earth, might crack. Everyone sat very still. The actual service sort of washed over me, in waves. It wasn't that it seemed unreal; it was the most real church service I've ever sat through in my life, or ever hope to sit through; but I have a childhood hangover thing about not weeping in public, and I was concentrating on holding myself together. I did not want to weep for Martin, tears seemed futile. But I may also have been afraid, and I could not have been the only one, that if I began to weep I would not be able to stop. There was more than enough to weep for, if one was to weep—so many of us, cut down, so soon. Medgar, Malcolm, Martin: and their widows, and their children. Reverend Ralph David Abernathy asked a certain sister to sing a song which Martin had loved—“Once more,” said Ralph David, “for Martin and for me,” and he sat down." Many articles and books on Aretha Franklin say that she sang at King's funeral. In fact she didn't, but there's a simple reason for the confusion. King's favourite song was the Thomas Dorsey gospel song "Take My Hand, Precious Lord", and indeed almost his last words were to ask a trumpet player, Ben Branch, if he would play the song at the rally he was going to be speaking at on the day of his death. At his request, Mahalia Jackson, his old friend, sang the song at his private funeral, which was not filmed, unlike the public part of the funeral that Baldwin described. Four months later, though, there was another public memorial for King, and Franklin did sing "Take My Hand, Precious Lord" at that service, in front of King's weeping widow and children, and that performance *was* filmed, and gets conflated in people's memories with Jackson's unfilmed earlier performance: [Excerpt: Aretha Franklin, "Take My Hand, Precious Lord (at Martin Luther King Memorial)"] Four years later, she would sing that at Mahalia Jackson's funeral. Through all this, Franklin had been working on her next album, Aretha Now, the sessions for which started more or less as soon as the sessions for Lady Soul had finished. The album was, in fact, bookended by deaths that affected Aretha. Just as King died at the end of the sessions, the beginning came around the time of the death of Otis Redding -- the sessions were cancelled for a day while Wexler travelled to Georgia for Redding's funeral, which Franklin was too devastated to attend, and Wexler would later say that the extra emotion in her performances on the album came from her emotional pain at Redding's death. The lead single on the album, "Think", was written by Franklin and -- according to the credits anyway -- her husband Ted White, and is very much in the same style as "Respect", and became another of her most-loved hits: [Excerpt: Aretha Franklin, "Think"] But probably the song on Aretha Now that now resonates the most is one that Jerry Wexler tried to persuade her not to record, and was only released as a B-side. Indeed, "I Say a Little Prayer" was a song that had already once been a hit after being a reject. Hal David, unlike Burt Bacharach, was a fairly political person and inspired by the protest song movement, and had been starting to incorporate his concerns about the political situation and the Vietnam War into his lyrics -- though as with many such writers, he did it in much less specific ways than a Phil Ochs or a Bob Dylan. This had started with "What the World Needs Now is Love", a song Bacharach and David had written for Jackie DeShannon in 1965: [Excerpt: Jackie DeShannon, "What the "World Needs Now is Love"] But he'd become much more overtly political for "The Windows of the World", a song they wrote for Dionne Warwick. Warwick has often said it's her favourite of her singles, but it wasn't a big hit -- Bacharach blamed himself for that, saying "Dionne recorded it as a single and I really blew it. I wrote a bad arrangement and the tempo was too fast, and I really regret making it the way I did because it's a good song." [Excerpt: Dionne Warwick, "The Windows of the World"] For that album, Bacharach and David had written another track, "I Say a Little Prayer", which was not as explicitly political, but was intended by David to have an implicit anti-war message, much like other songs of the period like "Last Train to Clarksville". David had sons who were the right age to be drafted, and while it's never stated, "I Say a Little Prayer" was written from the perspective of a woman whose partner is away fighting in the war, but is still in her thoughts: [Excerpt: Dionne Warwick, "I Say a Little Prayer"] The recording of Dionne Warwick's version was marked by stress. Bacharach had a particular way of writing music to tell the musicians the kind of feel he wanted for the part -- he'd write nonsense words above the stave, and tell the musicians to play the parts as if they were singing those words. The trumpet player hired for the session, Ernie Royal, got into a row with Bacharach about this unorthodox way of communicating musical feeling, and the track ended up taking ten takes (as opposed to the normal three for a Bacharach session), with Royal being replaced half-way through the session. Bacharach was never happy with the track even after all the work it had taken, and he fought to keep it from being released at all, saying the track was taken at too fast a tempo. It eventually came out as an album track nearly eighteen months after it was recorded -- an eternity in 1960s musical timescales -- and DJs started playing it almost as soon as it came out. Scepter records rushed out a single, over Bacharach's objections, but as he later said "One thing I love about the record business is how wrong I was. Disc jockeys all across the country started playing the track, and the song went to number four on the charts and then became the biggest hit Hal and I had ever written for Dionne." [Excerpt: Dionne Warwick, "I Say a Little Prayer"] Oddly, the B-side for Warwick's single, "Theme From the Valley of the Dolls" did even better, reaching number two. Almost as soon as the song was released as a single, Franklin started playing around with the song backstage, and in April 1968, right around the time of Dr. King's death, she recorded a version. Much as Burt Bacharach had been against releasing Dionne Warwick's version, Jerry Wexler was against Aretha even recording the song, saying later “I advised Aretha not to record it. I opposed it for two reasons. First, to cover a song only twelve weeks after the original reached the top of the charts was not smart business. You revisit such a hit eight months to a year later. That's standard practice. But more than that, Bacharach's melody, though lovely, was peculiarly suited to a lithe instrument like Dionne Warwick's—a light voice without the dark corners or emotional depths that define Aretha. Also, Hal David's lyric was also somewhat girlish and lacked the gravitas that Aretha required. “Aretha usually listened to me in the studio, but not this time. She had written a vocal arrangement for the Sweet Inspirations that was undoubtedly strong. Cissy Houston, Dionne's cousin, told me that Aretha was on the right track—she was seeing this song in a new way and had come up with a new groove. Cissy was on Aretha's side. Tommy Dowd and Arif were on Aretha's side. So I had no choice but to cave." It's quite possible that Wexler's objections made Franklin more, rather than less, determined to record the song. She regarded Warwick as a hated rival, as she did almost every prominent female singer of her generation and younger ones, and would undoubtedly have taken the implication that there was something that Warwick was simply better at than her to heart. [Excerpt: Aretha Franklin, "I Say a Little Prayer"] Wexler realised as soon as he heard it in the studio that Franklin's version was great, and Bacharach agreed, telling Franklin's biographer David Ritz “As much as I like the original recording by Dionne, there's no doubt that Aretha's is a better record. She imbued the song with heavy soul and took it to a far deeper place. Hers is the definitive version.” -- which is surprising because Franklin's version simplifies some of Bacharach's more unusual chord voicings, something he often found extremely upsetting. Wexler still though thought there was no way the song would be a hit, and it's understandable that he thought that way. Not only had it only just been on the charts a few months earlier, but it was the kind of song that wouldn't normally be a hit at all, and certainly not in the kind of rhythmic soul music for which Franklin was known. Almost everything she ever recorded is in simple time signatures -- 4/4, waltz time, or 6/8 -- but this is a Bacharach song so it's staggeringly metrically irregular. Normally even with semi-complex things I'm usually good at figuring out how to break it down into bars, but here I actually had to purchase a copy of the sheet music in order to be sure I was right about what's going on. I'm going to count beats along with the record here so you can see what I mean. The verse has three bars of 4/4, one bar of 2/4, and three more bars of 4/4, all repeated: [Excerpt: Aretha Franklin, "I Say a Little Prayer" with me counting bars over verse] While the chorus has a bar of 4/4, a bar of 3/4 but with a chord change half way through so it sounds like it's in two if you're paying attention to the harmonic changes, two bars of 4/4, another waltz-time bar sounding like it's in two, two bars of four, another bar of three sounding in two, a bar of four, then three more bars of four but the first of those is *written* as four but played as if it's in six-eight time (but you can keep the four/four pulse going if you're counting): [Excerpt: Aretha Franklin, "I Say a Little Prayer" with me counting bars over verse] I don't expect you to have necessarily followed that in great detail, but the point should be clear -- this was not some straightforward dance song. Incidentally, that bar played as if it's six/eight was something Aretha introduced to make the song even more irregular than how Bacharach wrote it. And on top of *that* of course the lyrics mixed the secular and the sacred, something that was still taboo in popular music at that time -- this is only a couple of years after Capitol records had been genuinely unsure about putting out the Beach Boys' "God Only Knows", and Franklin's gospel-inflected vocals made the religious connection even more obvious. But Franklin was insistent that the record go out as a single, and eventually it was released as the B-side to the far less impressive "The House That Jack Built". It became a double-sided hit, with the A-side making number two on the R&B chart and number seven on the Hot One Hundred, while "I Say a Little Prayer" made number three on the R&B chart and number ten overall. In the UK, "I Say a Little Prayer" made number four and became her biggest ever solo UK hit. It's now one of her most-remembered songs, while the A-side is largely forgotten: [Excerpt: Aretha Franklin, "I Say a Little Prayer"] For much of the
Get your copy of "The Marriage Gift: 365 Prayers For Our Marriage" today! HTTP://themarriagegift.comWelcome back to Part 2 of our enlightening 8-week series on prayer. Last week, we delved deep into understanding the essence of true prayer. If you missed it, don't fret! Simply hit play after this episode and enjoy a double dose of spiritual nourishment.Before we dive in, we have some exciting news! Alongside this podcast series, we've crafted an 8-part devotional exclusively for the Life Bible App. Head over to iTunes, download the app, and get ready for a soul-stirring read upon its release.Today, we address a question that many of us grapple with: "When should I pray?" The words of Spurgeon resonate deeply, reminding us that prayer should emanate from a heart's yearning, not just a routine. Drawing inspiration from 1 Thessalonians 5:17, we're encouraged to be in perpetual communion with God, praying without ceasing.As we gear up for the launch of our book, we've been sharing our personal journeys with prayer on various platforms. It's been a heartwarming experience, reminiscing about the pivotal moments when prayer played a crucial role in our lives. Whether it was Aaron's mom or my aunt, we were taught the significance of pausing and praying, irrespective of where we were.Sarah Hagerty's anecdotes about sneaking moments with the Lord amidst the chaos of motherhood further emphasize that prayer isn't confined to a specific setting. Whether you're at home, driving, or even at the gym, your heart should always be attuned to God. However, in this series, our focus is on Jesus' teachings from Matthew 6. Jesus emphasizes the importance of intentional prayer, urging us to find a secluded spot, away from the distractions of the world. Aaron beautifully highlights the essence of Jesus' teachings from Matthew chapters 5 to 7, emphasizing a genuine relationship with God, devoid of pretense or external validation.For all the mothers and fathers out there, it's crucial to carve out undistracted time for prayer. Whether it means waking up early or staying up late, the goal is to immerse oneself fully in the presence of God. When we "shut the door" to the world's noise, we open our hearts to a profound connection with the Divine.Our interpretation of "going into your room" varies. While I see it as a shared sacred space with a spouse, Aaron perceives it as a testament to the power of private prayers. The beauty of prayer lies in its ability to transform and mold our hearts, especially when we delve deep into our emotions and vulnerabilities.In today's fast-paced world, we often miss out on the profound intimacy that intentional prayer offers. But remember, our journey with prayer, though inspired by our book, is far from perfect. We advocate for prayer because we recognize its transformative power in our lives and the need to continually nurture our connection with God.Today, we invite you to embrace prayer in its deepest form. God yearns to hear from you, to connect with your heart, and to envelop you in His love. Set aside the distractions, sit in His presence, and let your heart converse with the Divine. Important LinksOur site: HTTP://marriageaftergod.comFree daily marriage prayer email: http://marriageprayerchallange.com 365 Prayers For Your Marriage: http://themarriagegift.com Social media: instagram.com/marriageaftergodinstagram.com/UnveiledWifeinstagram.com/Husbandrevolution
The Names of GodJehovah Hashopet - The Lord the JudgeJudgement is not an element of God's character. It is a response to the choices of His creation, and is always gracious, merciful, and loving towards us.For the Lord is our judge,The Lord is our lawgiver,The Lord is our king;He will save us—- Isaiah 33:22 NASB 1995The Lord is merciful and compassionate, slow to get angry and filled with unfailing love.- Psalm 145:8 NLTFor one day we will all be openly revealed before Christ on his throne so that each of us will be duly recompensed for our actions done in life, whether good or worthless.- 2 Corinthians 5:10 TPTWe also read from Psalm 50:6, and Psalm 76:8-9.What initially comes up when you think of the Lord as Judge? Is it punishment or reward?Blessing you to see and know Him as a holy God, receiving the grace to repent and turn back to the One who loves you more than anything in the world.Become a PatronCultivate Connection has reached listeners in 157 countries, averaging 1,100 downloads a week. Help us reach even more by sharing Cultivate Connection with others.If you are one of the many who have been blessed by Cultivate Connection, become a monthly patron. As a patron, your generosity helps us create, host, and promote experiences that help others grow their relationship with God. Learn more on our website at CultivateConnection.com
Rev. Joel Haak, pastor at St. John Lutheran Church and School in Fraser, MI, joins host Rev. Timothy Appel to study Leviticus 26:1-46. The LORD brings the book of Leviticus to a climax as He addresses Israel personally to teach them how He deals with them both in grace and wrath. The entire chapter is founded on the reality of the 1st Commandment: the LORD is Israel's God, and Israel is His people. As they walk in His Word, they will receive the blessings of His holiness. However, when they refuse to listen to His Word, He warns them of the increasingly severe consequences they will face. Such judgment is brought about by God for the purpose of giving His land rest and calling His people back to Himself. “The Holiness of God” is a series on Sharper Iron that goes through the book of Leviticus. Because God desired to dwell among His sinful people for their blessing rather than their destruction, He gave them the sacrifices and regulations of Leviticus to bestow His holiness upon them. In this way, the book of Leviticus points us to Christ who is our great High Priest who offered Himself as the perfect sacrifice to make us holy before God.
Texas AG agrees with us on how they stole the election.This is very straightforward: the Texas AG agrees with us on how the Party stole the election. The Texas Attorney General, Ken Paxton, survived an impeachment and is now speaking out, refusing to use anything but truthful language to explain the election fraud. In an interview with Tucker Carlson, Paxton explains how career Republicans blocked the prosecution of voter fraud. Something happens to a person when they have seen how corrupt the machine is. Join us today as we speak the truth about what is happening in our country.What does God's Word say? Proverbs 6:16-19 There are six things that the Lord hates, seven that are an abomination to him: haughty eyes, a lying tongue, and hands that shed innocent blood, a heart that devises wicked plans, feet that make haste to run to evil, a false witness who breathes out lies, and one who sows discord among brothers.Ephesians 6:11Put on the whole armor of God, that you may be able to stand against the schemes of the devil.Isaiah 54:17 No weapon that is fashioned against you shall succeed, and you shall refute every tongue that rises against you in judgment. This is the heritage of the servants of the Lord and their vindication from me, declares the Lord.”Episode Links:Texas Attorney General Ken Paxton explains how Democrats stole the election in 2020 when they stopped counting votes on election night.Ken Paxton's office was handling 900 cases of voter fraud and Texas House Speaker Dade Phelan blocked them all.The governor of Pennsylvania says he has the authority to automatically allow anyone who shows up at the DMV for a license of ID to be registered to vote, regardless of whether they're American citizens. The problem is, the PA governor has no such authority of any sort. In fact, it would be #TREASON, by law, under either Constitution, the original, or the 1873 revision.Non-Trump-supporting man from Wisconsin blows whistle on 100,000 Ballots.Whitmer says if she had to only rely on Michigan donors, she may not have been re-elected. She said she did ‘a lot' of traveling during her campaign to raise money. In 2021, Whitmer decried ‘out-of-state' money being used to criticize her harsh lockdown policies.The top organization that managed Warp Speed was the NSA, a spy agency! It's not Warp Speed, it started in 1980 at Ft Detrick, MD, when they just changed the sign from Institute of Biowarfare to National Cancer Institute! Deborah Birx and Robert Redfield injected the military with HIV in the 90s and they know it!Biden's DEI Tech Hubs Program; a new government grant program that aims to build "tech hubs" in the middle of nowhere is littered with political patronage, DEI tomfoolery, and self-erected barriers to success4Patriots https://4patriots.com Protect your family with Food kits, solar generators and more at 4Patriots. Use code TODD for 10% off your first purchase. Alan's Soaps https://alanssoaps.com/TODD Use coupon code ‘TODD' to save an additional 10% off the bundle price. American Financing https://americanfinancing.net Visit to see what American Financing can do for you or call 866-887-2275 BiOptimizers https://bioptimizers.com/todd Use promo code TODD for 10% off your order. Bonefrog https://bonefrog.us Enter promo code TODD at checkout to receive 10% off your subscription. Bulwark Capital http://KnowYourRiskRadio.com Find out how Bulwark Capital Actively Manages risk. Call 866-779-RISK or visit KnowYourRiskRadio.com Patriot Mobile https://patriotmobile.com/herman Get free activation today with offer code HERMAN. Visit or call 878-PATRIOT. RuffGreens https://ruffgreens.com/todd Get your FREE Jumpstart Trial Bag of Ruff Greens, simply cover shipping. Visit or call 877-MYDOG-64. SOTA Weight Loss https://sotaweightloss.com SOTA Weight Loss is, say it with me now, STATE OF THE ART! Sound of Freedom https://angel.com/freedom Join the two million and see Sound of Freedom in theaters July 4th. GreenHaven Interactive https://greenhaveninteractive.com Digital Marketing including search engine optimization and website design.
Jeremiah 4 - 1:11 . Jeremiah 5 - 9:34 . Jeremiah 6 - 17:49 . Psalm 118 - 24:47 . The Lord's love remains on Judah but he cannot allow her rampant evil and adulterous idol worship to continue. Time and again He has called them to repent, but they continue to love their wealth, their sin, and their idols more than the Lord their God. The Lord will send Assyria from the north to conquer Jerusalem and Judah, making it a desolate wasteland. He sends Jeremiah to ensure that everyone in Judah has heard, going throughout Israel with this message like a grape gatherer whose hand passes over the branches to make sure he has been thorough.:::Christian Standard Bible translation.All music written and produced by John Burgess Ross.Co-produced by Bobby Brown, Katelyn Pridgen, Eric Williamson & the Christian Standard Biblefacebook.com/commuterbibleinstagram.com/commuter_bibletwitter.com/CommuterPodpatreon.email@example.com
It doesn't matter how much we achieve, or how much we do to show ourselves as worthy, haunting doubts can creep in, making us question our value and undercutting our confidence. Sometimes these feelings stem from an internal comparison with others around us, as we measure our lives against others' highlight reels. However, there is a hope for the dark feelings we have that tell us we're not enough, or that no one truly cares. The transformative power of God's love encourages us to shed layers of self-doubt and replace them with an armor of self-acceptance and appreciation. In the face of this love, shame dwindles, losing its power to control our emotions and actions. This week, actress Kerry Washington plumbs the depths of her family history to vulnerably reveal her own history, and found that she carried shame which made her feel unworthy and unlovable—which manifested into anxiety she would carry into adulthood. Through the help of therapy, prayer, and understanding her story, Kerry began vulnerably sharing her deepest secrets, and learned to love herself by letting go of shame. With a mixture of home design styling, DIY projects, and preaching from God's Word, Anh Lin has created a truly unique space on her YouTube channel, Girl and The Word. Anh recalls one of her darkest moments when she thought to herself, No one truly loves you, when she felt God comforting her and assuring her of her worth. Now, she works to help others transform spaces into healing sanctuaries of peace and reflection. Links, Products, and Resources Mentioned: Jesus Calling Podcast Jesus Calling Jesus Always Jesus Listens Past interview: Carley Summers Upcoming interview: Kelly Lang Samaritan's Purse: https://sampur.se/44HesSt Kerry Washington Thicker Than Water Anh Lin Girl and The Word YouTube channel www.girlandtheword.com Forever Home Interview Quotes: “I really have been on a journey to figure out how to take care of myself and provide a sense of safety for myself that helps me stay out of depression and anxiety.” - Kerry Washington “We are each of us a child of God. We all deserve to be loved unconditionally. We are all worthy. We are no less than or no greater than any other person.” - Kerry Washington “We don't all have the same journeys, but we do share these common human, unifying experiences of wanting to be loved, wanting to be seen, knowing what it's like to be afraid, knowing what it's like to love, knowing what it's like to have our hearts broken.” - Kerry Washington “My children and my husband are 100% proof of God to me. Each of us is a crazy, brilliant miracle, just a God blessed miracle to be here.” - Kerry Washington “My deepest relationships with God have come in my most challenging times. I think those ebbs and flows in life happen to invite us to get closer to goodness, closer to faith, closer to God.” - Kerry Washington “I had that experience of [God] coming to me when I was at my darkest stage, when I had wanted nothing to do with Him or anything to do with any religion, He still saw His broken daughter and it broke His heart. And He reached out to me.” - Anh Lin “I generally just look at the things that surround me, such as land or paint or whatever I have within my vicinity, and I really allow the Lord to inspire me in what He wants me to do next, creative wise.” - Anh Lin “I feel like if we are searching for that next creative project that would really glorify Him, just allow Him to inspire us in unexpected ways, and then open the Bible and see what the scriptures have to say about that.” - Anh Lin ________________________ Enjoy watching these additional videos from Jesus Calling YouTube channel! Audio Episodes: https://bit.ly/3zvjbK7 Bonus Podcasts: https://bit.ly/3vfLlGw Jesus Listens: Stories of Prayer: https://bit.ly/3Sd0a6C Peace for Everyday Life: https://bit.ly/3zzwFoj Peace in Uncertain Times: https://bit.ly/3cHfB6u What's Good? https://bit.ly/3vc2cKj Enneagram: https://bit.ly/3hzRCCY ________________________ Connect with Jesus Calling Instagram Facebook Twitter Pinterest YouTube Website
It's that time again to talk about our IDENTITY. Who else needs a reset from all of the things we do or all of the hats we wear?? The Lord calls us His beloved. We are co-heirs with Christ. We are His daughters. Join us for Q&A and share your thoughts with us!
Lessons from Psalms 103106 include: It is only by the Holy Spirit that we can worship the Lord in spirit and in truth. Some of God's choicest servants never experienced healing at all. What we need today above everything is God's mercy. If God dealt with us according to our sins, none of us would be saved.