Podcasts about meet again

This week on the Talk Without Rhythm Podcast I'm fulfilling a Patreon Pick from TWoRP Elite Patron Kehaar with two Post-War British nautical films based on the writings of Nicholas Monsarrat: 1953's The Cruel Sea and 1955's The Ship That Died of Shame. [00:00] INTRO [01:40] Projection Booth Promo [02:50] RANDOM CONVERSATION [11:00] The Cruel Sea (1953) [47:43] The Ship That Died of Shame (1955) [01:11:08] FEEDBACK [01:28:11] ENDING MUSIC: We'll Meet Again by Vera Lynn Buy The Cruel Sea (1953) Buy The Ship That Died of Shame (1955) Support TWoRP Contact Us talkwithoutrhythm@gmail.com

Kali ini simpel aja, gue minta tolong temen gue namanya fani buat isi suara ini. gue ngerasa banyak orang sekeliling gue ngerasain yang namanya perbedaan, dan jadilah ini untuk nemenin kalain tidur. follow ig gue di @agamfernanda91 thanks buat fani walaupun capek masih sempet bantu, kalian bisa cek ignya di @dih.fan untuk backsound gue pake lagu free copyright dari Jeremy Blake yang judulnya I'll Remember You dan We'll Meet Again

Season 2 kicks off with my guest, performing artist, Sarah Luby, and our discussion about what it's like to have an invisible illness. Sarah has not one, but two invisible illnesses and yet that is not stopping her from living her dream, instead it inspired her to help others through the power of song. In this episode we discuss:what it's like to have an invisible illnesswhy Sarah decided to advocate for the community through songwhat Sarah has found to be most helpful in dealing with her illnesses on a daily basishow Sarah looks to the futureGuest Bio:An award-winning vocalist, Sarah Luby is known for her work in both theatre and film. She is a graduate of the Desautels Faculty of Music with a BMus in Vocal Performance. In May of 2021, Sarah completed RMTC's Inaugural National Mentorship with David Connolly (Associate Artistic Director of Drayton Entertainment) with a focus on Disability Representation in the Arts. Sarah has appeared on stages such as RB Stage, WSO, MB Opera, and can be seen as Tracy Bennet on Lifetime's “Let's Meet Again on Christmas Eve” and Natalie Cross on CBC's “Burden of Truth”. Sarah is an Ambassador for the Invisible Disabilities Association, bringing awareness, education and visibility to Invisible Disabilities. You can hear her debut single “INVISIBLE”, out now!Follow Sarah on Instagram @sarah_luby14Check out her website: www.sarahvluby.comAnd don't forget to download Invisible.Follow the show on Instagram @chronically.living_Support the show on Patreon. Spoonie and Warrior Tier members will get an extended version of the song Invisible to listen to as well as additional commentary on the episode.Sign up for the exclusive Instacart offer by following this link.Original music by Nicole Skura.Original artwork by Charity Williams.

Five minutes of civilised calm, recorded in East London, as the capital starts to wake up. Sign up at https://marcsalmanac.substack.com With a poem by Laurence Binyon, For The Fallen. "At the going down of the sun and in the morning We will remember them..." From the show: Opening/closing music courtesy of Chillhop: Philanthrope, Leavv - What Was Before https://chll.to/d6b0ec27 On this day: 7th May 1945, General Jodl signs Germany's unconditional surrender, ending the Second World War in Europe On this day: 7th May 1952, Geoffrey Dummer gives the first public talk laying out the idea of the integrated circuit, better known today as the microchip, and the basis for all modern computers Music to wake you up – We'll Meet Again by Vera Lynn Sign up to receive email alerts and show notes with links when a new episode goes live at https://marcsalmanac.substack.com Please share this with anyone who might need a touch of calm, and please keep sending in your messages and requests. You can leave a voice message at https://anchor.fm/marc-sidwell/message. If you like Marc's Almanac please do leave a review on Apple podcasts. It really helps new listeners to find me. Have a lovely day. --- Send in a voice message: https://anchor.fm/marc-sidwell/message

Ann Curry is an award-winning journalist and photojournalist. She is a former NBC News Network anchor and international correspondent and has reported on conflicts in Syria, Afghanistan, Iraq, Somalia, Darfur, Congo, the Central African Republic, Serbia, Lebanon, and Israel; on nuclear tensions from North Korea and Iran and on numerous humanitarian disasters, including the tsunamis in Southeast Asia and Japan, and the massive 2010 earthquake in Haiti. Her awards for journalism include 7 Emmys. She has also been given numerous humanitarian awards, including from Refugees International, Americares, and Save the Children.  One award she especially prizes is a Medal of Valor from the Simon Wiesenthal Center, for her dedication to reporting about genocide.She has also reported and executive produced a documentary series about people caught in transformative world events entitled “We’ll Meet Again,” anchored and executive produced a live series about medical care in America entitled “Chasing the Cure,” and is a contributing writer for National Geographic Magazine and will be a Fellow at American University spring semester 2021, where she will be teaching seminars on Journalism, including about credibility, ethics, frontline reporting and interviewing. Resources:Ann’s TedTalk on Restoring JournalismMan's Search for Meaning by Viktor Frankl

Known affectionately to many of those he commanded as ‘Uncle Bill', FIELD MARSHAL VISCOUNT SLIM is widely regarded as ‘a soldier's general', but he was just as effective in managing relationships with those alongside and above him, as military historian ROBERT LYMAN illustrates in this podcast. In 2011, a NATIONAL ARMY MUSEUM poll ranked him, jointly with the Duke of Wellington, as BRITAIN's GREATEST GENERAL. But despite his outstanding leadership of the 14th Army in the Burma Campaign, and his later appointment as Chief of the Imperial General Staff (CIGS), he is much less well known outside of military historical circles than, for example, his immediate predecessor as CIGS, VISCOUNT MONTGOMERY OF ALAMEIN. This podcast was commissioned by THE GURKHA MUSEUM to complement an online exhibition on SLIM AND HIS LEADERSHIP LEGACY. Visit the MUSEUM'S website www.Thegurkhamuseum.co.uk to find out more about the history and heritage of this unique fighting force that has loyally served Great Britain for over 200 years. DR ROBERT LYMAN FRHistS is a writer and historian. He has published widely on the Second World War in Europe, North Africa and Asia and is Field Marshal Bill Slim's military biographer. His presentation of the case for Slim won a NATIONAL MUSEUM ARMY DEBATE in 2011 for BRITAIN'S GREATEST GENERAL and his case for Kohima/Imphal won a National Army Museum debate in 2013 for Britain's Greatest Battle. His new account of the Burma Campaign, A WAR OF EMPIRES, is being published in November 2021. https://robertlyman.com/ ARCHIVE AUDIO | General Slim speaks at 14th Army Reunion, Royal Albert Hall, 1947 – licensed courtesy of British Pathé. MUSIC | We'll Meet Again sung by Vera Lynn – recording licensed courtesy of Naxos Music UK Ltd. Words & Music by Ross Parker & Hughie Charles, © Copyright 1939 Chester Music Limited trading as Dash Music Co. All Rights Reserved. International Copyright Secured. READINGS & QUOTED SOURCES | (1) Slim's Principles of Jungle Warfare by kind permission of the 3rd Viscount Slim; (2) George Macdonald Fraser on ‘Uncle Bill' by kind permission of the author; (3) Unto the Hills by John Twells by kind permission of Christopher Twells; (4) Frank McLynn on Slim; (5) Antony Brett-James on Slim; (6) General Slim's Special Order of the Day, 8 April 1945, read by Meghbahadur Rai, The Gurkha Museum. PRODUCTION | Producer - Catriona Oliphant for ChromeRadio | Post-production - Catriona Oliphant & Chris Sharp.

Hi there. I know many of you out there are enduring another lockdown period, keeping you away from your extended family and friends over Christmas. Here is a little something which might provide a musical escape and distraction - Delivering an early treat for you ahead of the holidays, a 4 hour journey End of Year Countdown mix for 2020. Staring out deep and wondrous, and slowly move through the gears through techno towards uplifting melodies to create the right vibe.   Hope you enjoy, and wishing you all a very Merry Christmas. Looking forward to delivering the always very special and much anticipated Global DJ Broadcast Classics Showcase episode for you next week.   Tracklist:   01. Way Out West - Earth (Orkidea Pure Progressive Mix) 02. Antrim & Ezequiel Arias - White Moon (Night Mix) 03. Kyau & Albert - Beehive 04. Khen - A Hero 05. DJ Zombi & Shai T - High in the Sky 06. Bandes - Borealis 07. Deadmau5 - Luxuria (ov) (Tinlicker Remix) 08. Mees Salome - The Border 09. Armin van Buuren & AVIRA - Illusion 10. Markus Schulz - Bells of Planaxis 11. Robert Nickson presents RNX - Painting the Skies 12. Jerome Isma-Ae & Alastor - Tiger (Subside Remix) 13. Tinlicker vs. Robert Miles - Children 14. Spencer Brown & ALPHA 9 - Ariel 15. Fonzerelli - Hope 16. Monika Kruse - Craving Desire 17. Rafael Osmo - Loader 18. Mike EFEX - The Fallen 19. Markus Schulz - Sunday Chords 20. JES - Two Souls (Andy Moor Remix) 21. Layton Giordani - Living Simulation 22. Andrea Signore - Blackout 23. CamelPhat & Will Easton - Witching Hour 24. Manic Brothers & Alpha Particle Assembly - Exist (Pierre Blanche Remix) 25. Saad Ayub & Daniel Ortgiess - Psychosis 26. ID 27. Marco V presents Vision 20/20 - HO/PE 28. SUDO - Journey 29. Sian - City Bleeds (Raito Remix) 30. Yilmaz Altanhan - Eighties (Mike EFEX Remix) 31. Airwave featuring Markus Schulz - Angelica (2020 Re-Invented Mix) 32. ID 33. The Blizzard & C-Systems - Dark Days 34. Markus Schulz - Escape 35. Ben McConnell - Spelga 36. Darkness Falls - Absent Mind 37. NOMADsignal - Legasov 38. Anske - Reaching Up 39. Ilan Bluestone presents StoneBlue featuring Emma Hewitt - Hypnotized (Markus Schulz Remix) 40. Push - Strange World (Joyhauser Remix) 41. Assaf & Dave Neven - Transcend 42. Nifra & Mia Koo - Forever Forever (Beatsole Remix) 43. Klauss Goulart - Bashert (We'll Meet Again) 44. Johan Gielen vs. Virtual Vault - Blue Fire (Markus Schulz Big Room Reconstruction) 45. DJ T.H. & Jan Johnston - Stealing Time (Markus schulz In Search of Sunrise Rework) 46. Mario Ochoa - Utopia 47. NOMADsignal presents Isotapes - Thorium-238 48. Hypaton - No Man's Sky 49. Leon Bolier - Perpetual 50. Claus Backslash - Legendary Places 51. Little Wonder - Eclipse (Fictivision & C-Quence Remix) 52. Daxson - While We Wait 53. F. Massif - Understatement (Arkham Knights Remix) 54. i_o - Castles in the Sky 55. Yelow & Ad Astra - Blankensee (Markus Schulz In Search of Sunrise Rework) 56. Robert Nickson - Heliopause 57. The Thrillseekers presents Hydra - Crystalline 58. Markus Schulz & HALIENE - Tidal Wave (Daxson Remix) 59. Alex M.O.R.P.H. - Starfleet Commander 60. Bogdan Vix & Claudiu Adam vs. HamzeH - Hyperion 61. Markus Schulz & Christina Novelli - Not Afraid to Fall (Markus Schulz Escape Mix) 62. Zirenz - Edge of Space (Whiteroom Remix)  

Typically when people talk about human trafficking they are not thinking of the millions of workers who come here legally but are denied basic human rights, or of the thousands of children separated from their parents at the border and detained, deported, or adopted out to white families. In this episode of Community Voz, Rosalinda speaks with author and professor Grace Chang and C2C Researcher Tomas Madrigal about the legal human trafficking that is happening all around us everyday, and the conditions of capitalism that demand these practices continue.You can take action now by calling your representative and demanding that they stop the deportation of detained children. More information here.Songs in this episode:American Dream by Raye ZaragozaQuiet Dog by Mos DefMother, We'll Meet Again by Raye ZaragozaSupport the show (https://foodjustice.ourpowerbase.net/civicrm/contribute/transact?reset=1&id=2)

Pop Culture Update: New 2024 Olympic Sports + Keyshia Cole vs. Ashanti Verzuz + E40 vs. Too Short Verzuz + Cleveland Indians Name Change + Disney LIVE Action Little Mermaid Cast + New Disney Animated series What Mimi is Watching: RHOA Returns + Let's Meet Again on Christmas Eve LIFETIME + Christmas Dilemma TV ONE + Station 19 + Grey's Anatomy + House of Ho HBO Max + Canvas NETFLIX + The Prom NETFLIX + All Rise + Desus & Mero Obama Interview Topic: I am Christmas ready, I share all of my Christmas magic. Follow me @mimicutelips everywhere on social. Share your thoughts on the episode on social using the hashtag #MimiSaidWhat --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app Support this podcast: https://anchor.fm/mimisaidwhat/support

S3E47 - We are joined this week by actress and producer, Sorrell Sanders who sings 2020 Holiday Carols with us, Abigail leads us in a character study game, and George and Alexandria update us on their Holiday TV Movie Binge. (Airdate: 12/12/2020)   EPISODE 47 NOTES * Thank you to Sorrell Sanders for joining us this week.   * 2020 Carols written by: - "The First Hotel," "Tattle Tales", and "Down on the Beltline" written by Abigail Williams - "Hark the Herald Angels Sing" and "Fauci Did You Know?" by George N Koulouris - "Joy to the World," "Silent Night," and "This Christmas" by Alexandria Sweatt   * George & Alexandria's Nice List: Let's Meet Again on Christmas Eve (Lifetime), Feliz NaviDAD (Lifetime), Forever Christmas (Lifetime), Dear Christmas (Lifetime), If I Only Had Christmas (Hallmark), Time for Us to Come Home for Christmas (Hallmark)   * George & Alexandria's Naughty List: Dear Christmas (Lifetime), Christmas in Evergreen: Bells are Ringing (Hallmark), Candy Cane Christmas (Lifetime)   * See the trailer for A Recipe for Seduction, the KFC-Lifetime movie 

Reviews of Time for Us to Come Home for Christmas, Let's Meet Again on Christmas Eve, Christmas Ever After. Time for Us to Come Home for Christmas (Hallmark Movies & Mysteries): Five guests are mysteriously invited to an inn to celebrate Christmas. With the help of the owner Ben, Sarah discovers that an event from the past may connect them and change their lives forever. Starring Lacey Chabert, Stephen Huszar. Let's Meet Again on Christmas Eve (Lifetime): When college sweethearts, Corinne (Kyla Pratt) and Rob (Brooks Darnell), get opportunities on opposite sides of the world, they decide to part ways and meet again in two years on Christmas Eve to see if they are really meant to be. However, when one shows up and the other doesn’t, the fate of their romance seems to have reached the end. Many years later the two end up bumping into one another when they are both hired to help bring together a Christmas Eve wedding. With many questions left unanswered, they are about to embark on a journey filled with romance and magic, just in time for Christmas Eve. Christmas Ever After (Lifetime): Popular romance novelist Izzi Simmons (Tony® winner Ali Stroker) spends every Christmas at her favorite snowy bed & breakfast, but this year, she’s faced with an impending deadline and a severe case of writer’s block. Luckily, inspiration strikes in the unlikely form of the B&B’s new owner Matt (Daniel di Tomasso), who bears an uncanny resemblance to the handsome hero from Izzi’s novels. As both partake in the lodge’s annual itinerary of Christmas activities, Izzi’s writer’s block is cured and the first pages of her and Matt’s own love story may just be beginning.

On this episode, Les, Kurt, and Jason welcome the hilarious Jacquetta Szathmari, one of the hosts of the podcasts Hey You Know It (www.heyyouknowit.com @heyyouknowit), and there is SO much to talk about! The guys are excited about the Sexy Colonel Sanders in the upcoming Lifetime branded content starring Mario Lopez (which leads to the realization that there is probably a Colonel Sanders porn fetish). Rita Ora overshadows the Blac Chyna news with an unbelievable amount of shade towards her ex Rob Kardashian. Jackee is returning to soaps (though she's likely no longer Jackee at a 2). And, critically, Jaquetta asks: are the Masked Singers (and Dancers) furries?!?! Then, it's time to dissect Lifetime's Let's Meet Again on Christmas Eve, a movie a couple that should never have broken up in the first place reconnecting as they are forced to plan a last minute Christmas wedding for the most budget billionaires ever who are easily wowed by pinecones and ill-fitting dresses but inexplicably like to (poorly) decorate things that are already decorated. What the movie lacked in logic it made up for in a clean set from the Covid crew (Kurt is a fan of their work) and lessons in money management. Is Jewish Bernie actually Santa? What movie was Jason's backdrop for a makeout session with an old girlfriend? Should everyone watch A Very Brady Christmas? Vivica, come defend your wig and find out! Facebook : alifetimeofhallmark Instagram : lifetimeofhallmarkpodcast Theme song generously donated by purple-planet.com

Kerrie and Stephanie cover the latest Hallmark and Lifetime Christmas movie premieres! We have columnists, investigative journalists, and novelists, OH MY! This weekend was chockful of writers, but it actually, kinda worked? "Too Close for Christmas" starring Chad Michael Murray and Jessica Lowndes (00:14) "Time for Us to Come Home for Christmas" starring Lacey Chabert and Stephen Huszar (6:56) "Let's Meet Again on Christmas Eve" starring Kyla Pratt and Brooks Darnell (13:13) "Christmas She Wrote" starring Danica McKellar and Dylan Neal (21:05) "A Little Christmas Charm" starring Ashley Greene and Brendan Penny (24:05) "Christmas Ever After" starring Ali Stroker and Daniel Di Tomasso (29:23) Let us know what you thought by following us on Instagram and/or Facebook: @loveandnonsensepodcast

Episode 20—Half-Time Show: Top 6 Chick’s Picks (So Far…)Hosted by: K.L. & Kathleen Music Producer and Editor: Will B on IG @ManCaveMusic25Podcast: Apple, Spotify, Google, iHeartRadio, and more. https://www.buzzsprout.com/1174634/podcast/websiteFollow us on Twitter: @chixonXmasflix Follow us on IG: @chicksonChristmasflicks Thank you for listening in to Chicks on Christmas Flicks podcast! This week’s movies and give you our Hot (or Not) Chick Picks! Ho-Ho-Ho Holiday Movie Headlines · Review.org Announces Who Gets paid $2500 to watch Christmas Movies · Netflix Releases Just Another Christmas (Latinx Groundhog Day) · Mariah Carey Christmas Special · And…Book-to-Movie News for one of the Chicks! Based on: The Christmas Books that Make the Movies· Will add later Top Six So Far (K.L.’s List)6.Cranberry Christmas (Hallmark Movies & Mysteries) – Honorable Mention – Happiest Season (Netflix), Meet Me at Christmas (Hallmark Movies & Mysteries)5.Christmas by Starlight (Hallmark)4.Feliz NaviDAD (Lifetime)3.People Presents: Once Upon a Main Street (Lifetime)2.The 12 Dates of Christmas (Hallmark) 1.Five Star Christmas (Hallmark); Honorable Mention: Jingle Jangle Coming up next week…1. A Little Christmas Charm (Hallmark)2. Christmas on the Range (UpTV) 3. The Christmas Dilemma (TVOne) 4. Inn Love By Christmas (Hallmark veterans) 5. The Christmas Setup (Lifetime) 6. Christmas Ever After (Lifetime) 7. Love, Lights, Hannukah (Hallmark) 8. Christmas She Wrote (Hallmark)9. The Christmas Lottery (BET) 10. The Santa Squad (Lifetime)11. Let’s Meet Again on Christmas Eve (Lifetime) If you enjoy the show, please don't forget to subscribe. Until next time remember: You cannot have too many Christmas movies. You can only have not enough Christmas movies [inside joke from the show]. Don't forget to check out our sponsors: Read Your Next Favorite Christmas Novel: The 12 Daves of Christmas Five Golden Rings Seven Minutes of Christmas MagicAnd Find Your Next Favorite Author and Heartwarming Christmas Movie at: Diverse Romance

Stephanie and Kerrie cover the Premieres for December 4th through the 7th:  Spotlight on Christmas - Lifetime (0:40) Christmas in Evergreen: Bells are Ringing - Hallmark (4:05)  Time for Us to Come Home for Christmas - Hallmark Movies & Mysteries (5:48) Let’s Meet Again on Christmas Eve - Lifetime (7:22) Christmas on the Range - UPtv (9:43) Christmas She Wrote - Hallmark (11:05)  A Little Christmas Charm - Hallmark Movies & Mysteries (13:24)  Christmas Ever After - Lifetime (17:10)  The Santa Squad (22:19)  Follow us on our Social Media Platforms, and get in on the conversation about all the movies we love, and some we don’t!  Instagram: https://www.instagram.com/loveandnonsensepodcast/ (@loveandnonsensepodcast) Facebook: https://www.facebook.com/LoveAndNonsensePodcast/?eid=ARAJXNXdpDiQX2KMfx1N2m8Ge5K4Orz-mxcjQxA6oUD4aS5fVTuhWp-Ha07kLVPIEjQNoshTvbpz1P14 (Love and Nonsense Podcast Page) 

En este episodio hablamos de uno de los directores de cine más aclamados y reconocidos de la historia. ¿Era tan bueno como lo pintan? ¿Sus películas realmente están a la altura de la figura que se ha formado a su alrededor? Con nuestro invitado especial, Federico Castillo, nos sentamos a discutir sobre Kubrick y sus películas. ► ¡Suscríbete y síguenos en redes sociales! ■ Instagram - @charlasyuncafe ■ Twitter - @UnCharlas ■ Facebook - Charlas y un café ► Nuestras redes sociales: ■ Joss Olivares - (Twitter) @JoseIvanO202 ■ Luis León - (Twitter) @lleon_779 ■ Isaac Vázquez - (Instagram) isaac_g_vazquez ■ Federico Castillo - (Instagram) federratas.99 ► Nuestros proyectos individuales: ■ Cuenta de Instagram de dibujos - @caja_de_dibujos ■ Canal de YouTube de videojuegos - https://www.youtube.com/channel/UCYXxaePzvhdYoFYSTAWWj7w/ ■ Canal de YouTube de TikTok - https://www.youtube.com/channel/UC7yjRkZ-EmGGsUUYb1FpaTQ ■ Canal de pinturas - https://www.youtube.com/channel/UCLq_rwn3ho9ks573yzo28xg ► Créditos musicales ■ Aruarian Music. (2017). Just chilling. Recuperado de: https://youtu.be/TdBSoy9F9NA ■ Fledermaus1990. (2011). Beethoven - Symphony No. 9 "Choral" - II. Scherzo: Molto Vivace - Presto. Recuperado de: https://youtu.be/xxXf1cUdOzQ ■ vidAcc256. (2010). Aram Khachaturian - Gayane Ballet Suite (Adagio). Recuperado de: https://youtu.be/EB3IokHelRk ■ Boccaccio1812. (2010). ROSSINI: William Tell Overture (full version). Recuperado de: https://youtu.be/xoBE69wdSkQ ■ Fledermaus1990. (2011). Johann Strauss II - An der schönen, blauen Donau - Walzer, Op. 314. Recuperado de: https://youtu.be/ENETOpNpIiI ■ Fledermaus1990. (2011). Gioacchino Rossini - La gazza ladra - Overture. Recuperado de: https://youtu.be/3MRvDGd02mA ■ Grigory Sokolov - Topic. (2018). Schubert: 4 Impromptus, Op.90, D.899 - No.1 In C Minor (Allegro molto moderato). Recuperado de: https://youtu.be/QBRnLSAsQKU ■ TheDayThemusicDidDie. (2010). Vera Lynn - We'll Meet Again. Recuperado de: https://youtu.be/HsM_VmN6ytk

Dr. William Payn, Music Director & Conductor of the Susquehanna Valley Chorale, speaking with WVIA's Fiona Powell about the SVC response to the Covid-19 pandemic and the posting of performances on the ensemble's website, including "We'll Meet Again" recorded by the SVC Scholarship Singers. www.svcmusic.org/

Show Notes – Episode 13Chicks Picks: Must Watch TV Christmas Movies for 2020 (Part II of II)Hosted by: K.L. Brady klbradyauthor.com Music Producer and Editor: Will B on IG @ManCaveMusic25Podcast: Apple, Spotify, Google, iHeartRadio, and more. http://klbradyauthor.com/chicksonchristmasflicks/Follow us on Twitter: @chixonXmasflix Follow us on IG: @chixonXmasflix Thank you for listening in to Chicks on Christmas Flicks podcast! This week, we've got one chick, K.L. Brady, and I detail our list of must watch TV Christmas Movies for 2020 through Thanksgiving.Ho-Ho-Ho Holiday Movie Headlines UPTv Christmas Movie App Based on: The Christmas Books that Make the Movies· Will Update Book List Later Chicks Picks from Thanksgiving Weekend to the New Year 1. November 27th - Christmas by Starlight (Hallmark) and Dear Christmas (Lifetime)2. November 28th - Merry Liddle Christmas Wedding (Lifetime) 3. November 29th - Once Upon a Main Street (Lifetime)4, December 5th - Christmas in Evergreen – Bells are Ringing (Hallmark); Let’s Meet Again on Christmas Eve (Lifetime)5. December 6th A Godwink Christmas: First Loves, Second Chances (Hallmark Movies and Mysteries); Ghosting: The Spirit of Christmas (Freeform)6. December 13th - Christmas Comes Twice 7. December 6th - Christmas Ever After (Lifetime)8. December 10th - The Mistle-Tones (Freeform)9. December 11th - 12 Dates of Christmas; Same Time, Next Christmas (Freeform10. December 12th - A Glenbrooke Christmas (Hallmark Movies and Mysteries; The Christmas Set up (Lifetime); Snow (Freeform)11. December 13th - Sugar and Spice Holiday (Lifetime); Christmas Carnival (Hallmark)12. December 19th - A Christmas Exchange (Lifetime) – 13. December 20th - Love, Lights, and Hanukkah! Dec 20Next time –Recap of October 23rd Weekend If you enjoy the show, please don't forget to subscribe. Until next time remember: You cannot have too many Christmas movies. You can only have not enough Christmas movies [inside joke from the show]. Don't forget to check out our sponsors: Read Your Next Favorite Christmas Novel: The 12 Daves of Christmas Five Golden Rings And Find Your Next Favorite Author and Heartwarming Christmas Movie at: Diverse Romance

The guest for this episode is the Oregon-born, Los Angeles-based DJ and producer LP Giobbi. She just released her new EP Playing My Role (featuring Hermixalot) via Thrive Music, the follow up to her summer club smash “Meet Again” (featuring Little Boots). LP is co-owner of Animal Talk, a hybrid publishing company (a joint venture with Third Side Music), event brand, traveling party and artist collective she co-founded with GRAMMY-nominated electronic duo SOFI TUKKER. LP also founded FEMME HOUSE, an educational platform created to address the lack of representation and equity in electronic music by empowering women to learn the language of the studio. During our chat, we talked about her upbringing in music, becoming a DJ and producer, and linking up with SOFI TUKKER. We also get into her motivation in starting FEMME HOUSE and the reasons it important to continuously fight for representation and equity in electronic music. Stream/Purchase Playing My Role: thrive.fanlink.to/PlayingMyRole Follow LP Giobbi: Website: lpgiobbi.com Instagram: instagram.com/lpgiobbi Soundcloud: soundcloud.com/lpgiobbi Facebook: facebook.com/LPGiobbi Twitter: twitter.com/lpgiobbi SUBSCRIBE/RATE/REVIEW FRESH IS THE WORD: Subscribe on all major streaming platforms. Please rate and review on Apple Podcast and Stitcher. List of where Fresh is the Word streams: linktr.ee/freshisthewordpodcast or just search “Fresh is the Word”. Also available on IHeartRadio. THEME MUSIC Courtesy of STEVE O. Check out more music at eyeamsteveo.bandcamp.com. Support via Patreon If you want to support Fresh is the Word, please consider pledging via Patreon at Patreon.com/freshistheword. Support via Paypal If you don’t want to do Patreon, you can donate via Paypal: PayPal.Me/kfreshistheword --- Send in a voice message: https://anchor.fm/freshistheword/message

LA-based boundary breaking artist LP Giobbi crushes the dance floor with “Meet Again” featuring Little Boots. It’s a song that captures the current climate with lyrics like, “Say hello to all my friends, it won’t be long until this ends. We’ll go out like we used to do, we’ll shine bright like the sun and moon.”

我要是有钱了，就把“要是”两个字去掉……【参与节目互动】留言区留言 【文字版、投稿】公众号：采采【广告合作】加微信 hanyue_3kmbgm:Leslie Clio - My Heart Ain't That Broken,TheFatRat,Laura Brehm - We'll Meet Again,Fréro Delavega - Price Tag

I know what I said last time. This, however, is going to be the only episode this week because it's a quadruple episode!!!!!! It covers WWI in film from the New Zealand and Australian perspective. Now I need a lie-down! Music:- "Run, Rabbit, Run", Flanagan & Allen; "I Did What I Could With My Gas Mask", George Formby; "Painting The Clouds With Sunshine", Jack Hilton; "We'll Meet Again", Vera Lynn.

【主播】小树、百元【嘉宾】小熊【剪辑】大卫【封面】咩咩【上传】ACE【文案】小树 本期节目的主题，是逐梦演艺圈，但逐梦的主人公主要是那些非科班、非名校的野生影视“民工”。 我们打算从如何拍摄自己的第一部短片入手，聊聊这个过程中，在没有接受过专业的训练，又没有同学、校友帮忙的情况下：如何找投资？如何寻找合作伙伴、搭建团队？如何在有限的金钱和时间下拍摄创作？作品出来后又如何寻找出路？ 本期书单《导演创作完全手册》《故事片创作完全手册》《创意制片完全手册》《如何指导演员》 本期歌单片尾曲：Meet Again作曲：久石让

Episode ninety of A History of Rock Music in Five Hundred Songs looks at "Runaway" by Del Shannon, and at the early use of synthesised sound in rock music. Click the full post to read liner notes, links to more information, and a transcript of the episode.   Patreon backers also have a ten-minute bonus episode available, on "Blue Moon" by the Marcels. Tilt Araiza has assisted invaluably by doing a first-pass edit, and will hopefully be doing so from now on. Check out Tilt's irregular podcasts at http://www.podnose.com/jaffa-cakes-for-proust and http://sitcomclub.com/ ----more---- A note Almost every version of “Runaway” currently available is in stereo, and the stereo version of the song has a slightly different vocal take to the original mono version. Unfortunately, there appear to be multiple “original mono versions” too. To check that what I'm using here, a mono track available as a bonus on a reissue of the album Runaway With Del Shannon, is actually the hit single version, I downloaded two vinyl rips of the single and one vinyl rip of a mono hits compilation from the sixties that had been uploaded to YouTube. Unfortunately no two copies of the song I could find online would play in synch – they all appear to be mastered at slightly different speeds, possibly due to the varispeeding I talk about in the episode. I've gone with the version I did because it's a clean-sounding mono version, but it may not be exactly what people heard in 1961. Resources As always, I've created a Mixcloud streaming playlist with full versions of all the songs in the episode. This one is in two parts because of the number of songs by Del Shannon in the mix. Part one, part two. Only one biography of Del Shannon has ever been written, and that's out of print and (to judge from the Amazon reviews) not very well written, so I've relied again on other sources. Those include the liner notes to this CD, a good selection of Shannon's work (with the proviso that "Runaway" is in stereo -- see above; the articles on Shannon and Max Crook on This Is My Story, the official Del Shannon website,  and the Internet Archive's cached copy of Max Crook's old website. Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them?   Transcript Today's episode is an odd one to write, as just as I put the finishing touches to the script I discovered that Max Crook, the keyboard player at the centre of this story, died less than two weeks ago. The news wasn't widely reported, and I only discovered this by double-checking a detail and discovering an obituary of him. Crook was one of the great early pioneers of electronic music, and a massive talent, and he's a big part of the story I'm telling today, so before we go into the story proper I just wanted to take a moment to acknowledge his passing, and to regret that it hasn't been more widely noted. One of the things we've not talked about much in this podcast so far is the technology of music. We've discussed it a bit -- we've looked at how things like the change from 78s to 45s affected the music industry, at the transition from recording on discs to recording on tape, at the electrification of the guitar, and at Les Paul's inventions. But in general, the music we've looked at has been made in a fairly straightforward manner -- some people with some combination of guitars, bass, piano, drums, and saxophone, and maybe a few string players on the most recent recordings, get together in front of a microphone and sing and play those instruments. But today, we're going to look at the start of synthesisers being used in rock and roll music. Today we're going to look at "Runaway" by Del Shannon: [Excerpt: Del Shannon, "Runaway"] Synthesised sound has a far longer pedigree than you might expect. The use of electronics to create music goes back to the invention of the theremin and the ondes martenot in the 1920s, and by the 1930s, people had already started using polyphonic keyboard-based electronic instruments. The Novachord was produced by the Hammond organ company between 1938 and 1942, and was introduced at the World's Fair in 1939, where Ferdinand Grofe, who we talked about a little in the episode on "Cathy's Clown", led a group consisting only of Novachord players in a public performance. The Novachord never achieved mass popularity because of World War II halting its production, but it was still used in a few recordings. One that's of particular interest to those of us interested in early rock and roll is Slim Gaillard's "Novachord Boogie": [Excerpt: Slim Gaillard, "Novachord Boogie"] But also it was used on one of the most famous records of the late thirties. These days, when you hear "We'll Meet Again" by Vera Lynn on documentaries about the second world war, this is the version you hear: [Excerpt: Vera Lynn, "We'll Meet Again"] But the record that people actually listened to in World War II didn't have any of that orchestration. It was Lynn accompanied by a single instrument, a Novachord played by Arthur Young, and is notably more interesting and less syrupy: [Excerpt: Vera Lynn with Arthur Young on Novachord, "We'll Meet Again"] So even in the late thirties, synthesised sounds were making their way on to extremely popular recordings, but it wasn't until after the war that electronic instruments started getting used in a major way. And the most popular of those instruments was a monophonic keyboard instrument called the clavioline, which was first produced in 1947. The clavioline was mostly used as a novelty element, but it appeared on several hit records. We're going to devote a whole episode in a few months' time to a record with the clavioline as lead instrument, but you can hear it on several fifties novelty records, like "Little Red Monkey" by Frank Chacksfield's Tunesmiths, a UK top ten hit from 1953: [Excerpt: Frank Chacksfield's Tunesmiths, "Little Red Monkey"] But while the clavioline itself was in use quite widely in the fifties, the first big rock and roll hit with an electronic synthesiser actually used a modified clavioline called a musitron, which was put together by an electronics amateur and keyboard player named Max Crook, from Ann Arbor, Michigan. Crook had built his musitron using a clavioline as a base, but adding parts from TVs, reel-to-reel recorders, and bits of whatever electronic junk he could salvage parts from. He'd started playing electronic instruments in his teens, and had built his own recording studio. Sadly, the early records Crook made are not easily available. The only place I've been able to track down copies of his early singles in a digital format is one grey-market CD, which I wasn't able to obtain in time to include the tracks here and which only seems to be available from one shop in Cornwall. His first band, the White Bucks, released a single, "Get That Fly" backed with "Orny", on Dot Records, but I can tell you from experience that if you search anywhere online for "White Bucks Orny" you will find... well, not that record, anyway. Even more interestingly, he apparently recorded a version of "Bumble Boogie", the novelty instrumental that would later become a hit for B. Bumble and the Stingers, with Berry Gordy at some point in the late fifties. Sadly, that too is not generally available. But it wasn't until he auditioned for Charlie Johnson and the Big Little Show Band that Max Crook met the people who were going to become his most important collaborators. The Big Little Show Band had started as Doug DeMott and The Moonlight Ramblers, a honky-tonk band that played at the Hi-Lo Club in Battle Creek, Michigan. Battle Creek is a company town, midway between Chicago and Detroit, which is most famous as being the headquarters of the Kellogg company, the cereal manufacturer and largest employer there. It's not somewhere you'd expect great rock and roll to come from, being as it is a dull medium-sized town with little in the way of culture or nightlife. The Hi-Lo Club was a rough place, frequented by hard-working, hard-drinking people, and Doug DeMott had been a hard drinker himself -- so hard a drinker, in fact, that he was soon sacked. The group's rhythm guitarist, Charles Westover, had changed his name to Charlie Johnson and put together a new lineup of the group based around himself and the bass player, Loren Dugger. They got in a new drummer, Dick Parker, and then went through a couple of guitarists before deciding to hire a keyboard player instead. Once they auditioned Crook, with his musitron, which he could clip to the piano and thus provide chordal piano accompaniment while playing a lead melody on his musitron, they knew they had the right player for them. Crook had a friend, a black DJ named Ollie McLaughlin, who had music industry connections, and had been involved in the White Bucks recordings. Crook and Johnson started writing songs and recording demos for McLaughlin, who got Johnson a session with Irving Micahnik and Harry Balk, two record producers who were working with Johnny and the Hurricanes, an instrumental group who'd had a big hit with "Red River Rock" a year or so previously: [Excerpt: Johnny and the Hurricanes, "Red River Rock"] Johnson recorded two songs in New York, without his normal musicians backing him. However, Micahnik and Balk thought that the tracks were too dirgey, and Johnson was singing flat -- and listening to them it's not hard to see why they thought that: [Excerpt: Del Shannon, "The Search"] They told him to go back and come up with some more material that was less dirgey. Two things did come out of the association straight away, though. The first was that Charles Johnson changed his name again, combining a forename he chose to be reminiscent of the Cadillac Coup deVille with a surname he took from an aspiring wrestler he knew, Mark Shannon, to become Del Shannon. The second was that Johnny and the Hurricanes recorded one of Max Crook's instrumentals, "Mr Lonely", as a B-side, and you can hear in the Hammond organ part the kind of part that Crook would have been playing on his Musitron: [Excerpt: Johnny and the Hurricanes, "Mr Lonely"] Shannon and Crook recorded a tape of many other songs they were working on for McLaughlin to play to Micahnik and Balk, but they weren't interested -- until they heard a fragment of a song that Shannon and Crook had recorded, and which they'd then mostly taped over. That song, "Runaway", was the one they wanted. "Runaway" had been an idea that had happened almost by accident. The band had been jamming on stage, and Crook had hit a chord change that Shannon thought sounded interesting -- in later tellings of the story, this is always the Am-G chord change that opens the song, but I suspect the actual chord change that caught his ear was the one where they go to an E major chord rather than the expected G or E minor on the line “As our hearts were young”. That's the only truly unusual chord change in the song. But whatever it was, Shannon liked the changes that Crook was playing -- he and Crook would both later talk about how bored he was with the standard doo-wop progression that made up the majority of the songs they were playing at the time -- and the band ended up jamming on the new chord sequence for fifteen or twenty minutes before the club owner told them to play something else. The next day, Shannon took his guitar to the carpet shop where he worked, and when there were no customers in, he would play the song to himself and write lyrics. He initially wrote two verses, but decided to scrap one. They performed the song, then titled "My Little Runaway", that night, and it became a regular part of their set. The crucial element in the song, though, came during that first performance. Shannon said, just before they started, "Max, when I point to you, play something". And so when Shannon got to the end of the chorus, he pointed, and Crook played this: [Excerpt: Del Shannon, "Runaway"] When they were told that Micahnik and Balk liked the fragment of song that they'd heard, Shannon and Crook recorded a full demo of the song and sent it on to them. The producers weren't hugely impressed with the finished song, saying they thought it sounded like three songs trying to coexist, and they also didn't like Shannon's voice, but they *did* like Crook and the Musitron, and so they invited Crook and Shannon to come to New York to record. The two men drove seven hundred miles in a broken-down car, with their wives, to get from Michigan to New York. It was the middle of winter, the car had no heating, and Shannon smoked while Crook was allergic to tobacco smoke, so they had to keep the windows open. The session they were going to do was a split session -- they were going to record two Del Shannon vocal tracks, and two instrumentals by Crook, who was recording under the name "Maximilian" without a surname (though the "Max" in his name was actually short for Maxfield). Crook was definitely the one they were interested in -- he rearranged the way the microphones were arranged in the studio, to get the sound he wanted rather than the standard studio sound, and he also had a bag full of gadgets that the studio engineers were fascinated by, for altering the Musitron's sound. The first single released as by "Maximilian" was "The Snake", which featured Crook and Shannon's wives on handclaps, along with an additional clapper who was found on the street and paid forty dollars to come in and clap along: [Excerpt: Maximilian, "The Snake"] After that, the two women got bored and wandered off down Broadway. They eventually found themselves in the audience for a TV game show, Beat the Clock, and Joann Crook ended up a contestant on the show -- their husbands didn't believe them, when they explained later where they'd been, until acquaintances mentioned having seen Joann on TV. Meanwhile, the two men were working on another Maximillian track, and on two Del Shannon tracks, one of which was "Runaway". They couldn't afford to stay overnight in New York, so they drove back to Michigan, but when the record company listened to "Runaway", they discovered that Shannon had been singing flat due to nerves. Shannon had to go back to New York, this time by plane, to rerecord his vocals. According to Crook, even this wasn't enough, and the engineers eventually had to varispeed his vocals to get them in key with the backing track. I'm not at all sure how this would have worked, as speeding up his vocals would have also meant that he was singing at a different tempo, but that's what Crook said, and the vocal does have a slightly different quality to it. And Harry Balk backed Crook up, saying "We finally got Del on key, and it sounded great, but it didn't sound like Del. We mixed it anyhow, and it came out wonderful. When I brought Ollie and Del into my office to hear it, Del had a bit of a fit. He said, 'Harry, that doesn't even sound like me!' I just remember saying, 'Yeah but Del, nobody knows what the hell you sound like!" Like most great records, "Runaway" was the sum of many parts. Shannon later broke down all the elements that went into the song, saying: "I learned falsetto from The Ink Spots' 'We Three,'": [Excerpt: The Ink Spots, "We Three (My Echo, My Shadow, and Me)"] "I eventually got hooked on Jimmy Jones' 'Handy Man' in '59 and would sing that at the Hi-Lo Club.": [Excerpt: Jimmy Jones, "Handy Man"] "I always had the idea of 'running away' somewhere in the back of my mind. 'I wa-wa-wa-wa-wonder, why...' I borrowed from Dion & The Belmonts' 'I Wonder Why.'" [Excerpt: Dion and the Belmonts, "I Wonder Why"] "The beats you hear in there, '...I wonder, bam-bam-bam, I wa-wa...' I stole from Bobby Darin's 'Dream Lover.'" [Excerpt: Bobby Darin, "Dream Lover"] Listening to the song, you can definitely hear all those elements that Shannon identifies in there, but what emerges is something fresh and original, unlike anything else out at the time: [Excerpt: Del Shannon, "Runaway"] "Runaway" went to number one in almost every country that had a chart at the time, and top five in most of the rest. In America, the song it knocked off the top was "Blue Moon" by the Marcels, one of those songs with the doo-wop progression that Shannon had been so bored with. At its peak, it was selling eighty thousand copies a day, and Billboard put it at number three hundred and sixty four on the all-time charts in 2018. It was a massive success, and a game-changer in the music industry. Maximilian's single, on the other hand, only made the top forty in Argentina. Clearly, Del Shannon was the artist who was going to be worth following, but they did release a few more singles by Maximilian, things like "The Twisting Ghost": [Excerpt: Maximilian, "The Twisting Ghost"] That made the Canadian top forty, but Maximilian never became a star in his own right. Shannon, on the other hand, recorded a string of hits, though none were as successful as "Runaway". The most successful was the follow-up, "Hats off to Larry", which was very much "Runaway part 2": [Excerpt: Del Shannon, "Hats off to Larry"] But every single he released after that was slightly less successful than the one before. He soon stopped working with Crook, who remained at the Hi-Lo Club with the rest of the band while Shannon toured the country, and without Crook's Musitron playing his records were far less interesting than his earliest singles, though he did have the distinction of being one of the few singers of this era to write the bulk of his own material. He managed to further sabotage his career by suing Micahnik and Balk, and by 1963 he was largely washed up, though he did do one more thing that would make him at least a footnote in music history for something other than "Runaway". He was more popular in the UK than in the US, and he even appeared in the film "It's Trad Dad!", a cheap cash-in on the trad jazz craze, starring Helen Shapiro and Craig Douglas as teenagers who try to persuade the stuffy adults who hate the young people's music that the Dukes of Dixieland, Mr. Acker Bilk and the Temperance Seven are not dangerous obscene noises threatening the morals of the nation's youth. That film also featured Gene Vincent and Chubby Checker along with a lot of British trumpet players, and was the first feature film made by Richard Lester, who we'll be hearing more about in this story. So Shannon spent a fair amount of time in the UK, and in 1963 he noticed a song by a new British group that was rising up the UK charts and covered it. His version of "From Me to You" only made number seventy-seven on the US charts, but it was still the first version of a Lennon/McCartney song to make the Hot One Hundred: [Excerpt: Del Shannon, "From Me to You"] He made some interesting records in the rest of the sixties, and had the occasional fluke hit, but the music he was making, a unique blend of hard garage rock and soft white doo-wop, was increasingly out of step with the rest of the industry. In the mid and late sixties, his biggest successes came with songwriting and productions for other artists. He wrote "I Go to Pieces" which became a hit for Peter & Gordon: [Excerpt: Peter and Gordon, "I Go to Pieces"] Produced the band Smith in their cover version of "Baby It's You", which made the top five: [Excerpt: Smith, "Baby It's You"] And produced Brian Hyland's million-selling version of a Curtis Mayfield song that I'm not going to play, because its title used a racial slur against Romani people which most non-Romani people didn't then regard as a slur, but which is a great record if you can get past that. That Hyland record featured Crook, reunited briefly with Shannon. But over the seventies Shannon seemed increasingly lost, and while he continued to make records, including some good ones made in the UK with production by Dave Edmunds and Jeff Lynne, he was increasingly unwell with alcoholism. He finally got sober in 1978, and managed to have a fluke hit in 1981 with a cover version of Phil Phillips' "Sea of Love", produced by Tom Petty and with Petty's band the Heartbreakers backing him: [Excerpt: Del Shannon, "Sea of Love"] He also came to people's attention when a rerecorded version of "Runaway" with new lyrics was used as the theme for the TV show Crime Story. In 1989, Del Shannon was working on a comeback album, with Jeff Lynne producing and members of Tom Petty and the Heartbreakers as backing musicians. The same people had previously worked on Roy Orbison's last album, which had been his biggest success in decades, and Lynne was gaining a reputation for resuscitating the careers of older musicians. Both Lynne and Petty were fans of Shannon and had worked with him previously, and it seemed likely that he might be able to have a hit with some of the material he was working on. Certainly "Walk Away", which Shannon co-wrote with Lynne and Petty, sounds like the kind of thing that was getting radio play around that time: [Excerpt: Del Shannon, "Walk Away"] There were even rumours that Lynne and Petty were thinking of inviting Shannon to join the Travelling Wilburys to replace Roy Orbison, though that seems unlikely to me. Unfortunately, by the time the album came out, Shannon was dead. He'd been suffering from depression for decades, and he died of suicide in early 1990, aged fifty-five. His widow later sued the manufacturers of the new wonder drug, Prozac, which he'd been prescribed a couple of weeks earlier, claiming that it caused his death. Max Crook, meanwhile, had become a firefighter and burglar alarm installer, while also pursuing a low-key career in music, mostly making religious music. When Shannon was posthumously inducted into the Rock and Roll Hall of Fame, Crook volunteered to perform at the ceremony, playing his original Musitron, but his offer was ignored. In later years he would regularly show up at annual celebrations of Shannon, and talk about the music they made together, and play for their fans. He died on July the first this year, aged eighty-three.

Episode ninety of A History of Rock Music in Five Hundred Songs looks at “Runaway” by Del Shannon, and at the early use of synthesised sound in rock music. Click the full post to read liner notes, links to more information, and a transcript of the episode.   Patreon backers also have a ten-minute bonus episode available, on “Blue Moon” by the Marcels. Tilt Araiza has assisted invaluably by doing a first-pass edit, and will hopefully be doing so from now on. Check out Tilt’s irregular podcasts at http://www.podnose.com/jaffa-cakes-for-proust and http://sitcomclub.com/ —-more—- A note Almost every version of “Runaway” currently available is in stereo, and the stereo version of the song has a slightly different vocal take to the original mono version. Unfortunately, there appear to be multiple “original mono versions” too. To check that what I’m using here, a mono track available as a bonus on a reissue of the album Runaway With Del Shannon, is actually the hit single version, I downloaded two vinyl rips of the single and one vinyl rip of a mono hits compilation from the sixties that had been uploaded to YouTube. Unfortunately no two copies of the song I could find online would play in synch – they all appear to be mastered at slightly different speeds, possibly due to the varispeeding I talk about in the episode. I’ve gone with the version I did because it’s a clean-sounding mono version, but it may not be exactly what people heard in 1961. Resources As always, I’ve created a Mixcloud streaming playlist with full versions of all the songs in the episode. This one is in two parts because of the number of songs by Del Shannon in the mix. Part one, part two. Only one biography of Del Shannon has ever been written, and that’s out of print and (to judge from the Amazon reviews) not very well written, so I’ve relied again on other sources. Those include the liner notes to this CD, a good selection of Shannon’s work (with the proviso that “Runaway” is in stereo — see above; the articles on Shannon and Max Crook on This Is My Story, the official Del Shannon website,  and the Internet Archive’s cached copy of Max Crook’s old website. Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them?   Transcript Today’s episode is an odd one to write, as just as I put the finishing touches to the script I discovered that Max Crook, the keyboard player at the centre of this story, died less than two weeks ago. The news wasn’t widely reported, and I only discovered this by double-checking a detail and discovering an obituary of him. Crook was one of the great early pioneers of electronic music, and a massive talent, and he’s a big part of the story I’m telling today, so before we go into the story proper I just wanted to take a moment to acknowledge his passing, and to regret that it hasn’t been more widely noted. One of the things we’ve not talked about much in this podcast so far is the technology of music. We’ve discussed it a bit — we’ve looked at how things like the change from 78s to 45s affected the music industry, at the transition from recording on discs to recording on tape, at the electrification of the guitar, and at Les Paul’s inventions. But in general, the music we’ve looked at has been made in a fairly straightforward manner — some people with some combination of guitars, bass, piano, drums, and saxophone, and maybe a few string players on the most recent recordings, get together in front of a microphone and sing and play those instruments. But today, we’re going to look at the start of synthesisers being used in rock and roll music. Today we’re going to look at “Runaway” by Del Shannon: [Excerpt: Del Shannon, “Runaway”] Synthesised sound has a far longer pedigree than you might expect. The use of electronics to create music goes back to the invention of the theremin and the ondes martenot in the 1920s, and by the 1930s, people had already started using polyphonic keyboard-based electronic instruments. The Novachord was produced by the Hammond organ company between 1938 and 1942, and was introduced at the World’s Fair in 1939, where Ferdinand Grofe, who we talked about a little in the episode on “Cathy’s Clown”, led a group consisting only of Novachord players in a public performance. The Novachord never achieved mass popularity because of World War II halting its production, but it was still used in a few recordings. One that’s of particular interest to those of us interested in early rock and roll is Slim Gaillard’s “Novachord Boogie”: [Excerpt: Slim Gaillard, “Novachord Boogie”] But also it was used on one of the most famous records of the late thirties. These days, when you hear “We’ll Meet Again” by Vera Lynn on documentaries about the second world war, this is the version you hear: [Excerpt: Vera Lynn, “We’ll Meet Again”] But the record that people actually listened to in World War II didn’t have any of that orchestration. It was Lynn accompanied by a single instrument, a Novachord played by Arthur Young, and is notably more interesting and less syrupy: [Excerpt: Vera Lynn with Arthur Young on Novachord, “We’ll Meet Again”] So even in the late thirties, synthesised sounds were making their way on to extremely popular recordings, but it wasn’t until after the war that electronic instruments started getting used in a major way. And the most popular of those instruments was a monophonic keyboard instrument called the clavioline, which was first produced in 1947. The clavioline was mostly used as a novelty element, but it appeared on several hit records. We’re going to devote a whole episode in a few months’ time to a record with the clavioline as lead instrument, but you can hear it on several fifties novelty records, like “Little Red Monkey” by Frank Chacksfield’s Tunesmiths, a UK top ten hit from 1953: [Excerpt: Frank Chacksfield’s Tunesmiths, “Little Red Monkey”] But while the clavioline itself was in use quite widely in the fifties, the first big rock and roll hit with an electronic synthesiser actually used a modified clavioline called a musitron, which was put together by an electronics amateur and keyboard player named Max Crook, from Ann Arbor, Michigan. Crook had built his musitron using a clavioline as a base, but adding parts from TVs, reel-to-reel recorders, and bits of whatever electronic junk he could salvage parts from. He’d started playing electronic instruments in his teens, and had built his own recording studio. Sadly, the early records Crook made are not easily available. The only place I’ve been able to track down copies of his early singles in a digital format is one grey-market CD, which I wasn’t able to obtain in time to include the tracks here and which only seems to be available from one shop in Cornwall. His first band, the White Bucks, released a single, “Get That Fly” backed with “Orny”, on Dot Records, but I can tell you from experience that if you search anywhere online for “White Bucks Orny” you will find… well, not that record, anyway. Even more interestingly, he apparently recorded a version of “Bumble Boogie”, the novelty instrumental that would later become a hit for B. Bumble and the Stingers, with Berry Gordy at some point in the late fifties. Sadly, that too is not generally available. But it wasn’t until he auditioned for Charlie Johnson and the Big Little Show Band that Max Crook met the people who were going to become his most important collaborators. The Big Little Show Band had started as Doug DeMott and The Moonlight Ramblers, a honky-tonk band that played at the Hi-Lo Club in Battle Creek, Michigan. Battle Creek is a company town, midway between Chicago and Detroit, which is most famous as being the headquarters of the Kellogg company, the cereal manufacturer and largest employer there. It’s not somewhere you’d expect great rock and roll to come from, being as it is a dull medium-sized town with little in the way of culture or nightlife. The Hi-Lo Club was a rough place, frequented by hard-working, hard-drinking people, and Doug DeMott had been a hard drinker himself — so hard a drinker, in fact, that he was soon sacked. The group’s rhythm guitarist, Charles Westover, had changed his name to Charlie Johnson and put together a new lineup of the group based around himself and the bass player, Loren Dugger. They got in a new drummer, Dick Parker, and then went through a couple of guitarists before deciding to hire a keyboard player instead. Once they auditioned Crook, with his musitron, which he could clip to the piano and thus provide chordal piano accompaniment while playing a lead melody on his musitron, they knew they had the right player for them. Crook had a friend, a black DJ named Ollie McLaughlin, who had music industry connections, and had been involved in the White Bucks recordings. Crook and Johnson started writing songs and recording demos for McLaughlin, who got Johnson a session with Irving Micahnik and Harry Balk, two record producers who were working with Johnny and the Hurricanes, an instrumental group who’d had a big hit with “Red River Rock” a year or so previously: [Excerpt: Johnny and the Hurricanes, “Red River Rock”] Johnson recorded two songs in New York, without his normal musicians backing him. However, Micahnik and Balk thought that the tracks were too dirgey, and Johnson was singing flat — and listening to them it’s not hard to see why they thought that: [Excerpt: Del Shannon, “The Search”] They told him to go back and come up with some more material that was less dirgey. Two things did come out of the association straight away, though. The first was that Charles Johnson changed his name again, combining a forename he chose to be reminiscent of the Cadillac Coup deVille with a surname he took from an aspiring wrestler he knew, Mark Shannon, to become Del Shannon. The second was that Johnny and the Hurricanes recorded one of Max Crook’s instrumentals, “Mr Lonely”, as a B-side, and you can hear in the Hammond organ part the kind of part that Crook would have been playing on his Musitron: [Excerpt: Johnny and the Hurricanes, “Mr Lonely”] Shannon and Crook recorded a tape of many other songs they were working on for McLaughlin to play to Micahnik and Balk, but they weren’t interested — until they heard a fragment of a song that Shannon and Crook had recorded, and which they’d then mostly taped over. That song, “Runaway”, was the one they wanted. “Runaway” had been an idea that had happened almost by accident. The band had been jamming on stage, and Crook had hit a chord change that Shannon thought sounded interesting — in later tellings of the story, this is always the Am-G chord change that opens the song, but I suspect the actual chord change that caught his ear was the one where they go to an E major chord rather than the expected G or E minor on the line “As our hearts were young”. That’s the only truly unusual chord change in the song. But whatever it was, Shannon liked the changes that Crook was playing — he and Crook would both later talk about how bored he was with the standard doo-wop progression that made up the majority of the songs they were playing at the time — and the band ended up jamming on the new chord sequence for fifteen or twenty minutes before the club owner told them to play something else. The next day, Shannon took his guitar to the carpet shop where he worked, and when there were no customers in, he would play the song to himself and write lyrics. He initially wrote two verses, but decided to scrap one. They performed the song, then titled “My Little Runaway”, that night, and it became a regular part of their set. The crucial element in the song, though, came during that first performance. Shannon said, just before they started, “Max, when I point to you, play something”. And so when Shannon got to the end of the chorus, he pointed, and Crook played this: [Excerpt: Del Shannon, “Runaway”] When they were told that Micahnik and Balk liked the fragment of song that they’d heard, Shannon and Crook recorded a full demo of the song and sent it on to them. The producers weren’t hugely impressed with the finished song, saying they thought it sounded like three songs trying to coexist, and they also didn’t like Shannon’s voice, but they *did* like Crook and the Musitron, and so they invited Crook and Shannon to come to New York to record. The two men drove seven hundred miles in a broken-down car, with their wives, to get from Michigan to New York. It was the middle of winter, the car had no heating, and Shannon smoked while Crook was allergic to tobacco smoke, so they had to keep the windows open. The session they were going to do was a split session — they were going to record two Del Shannon vocal tracks, and two instrumentals by Crook, who was recording under the name “Maximilian” without a surname (though the “Max” in his name was actually short for Maxfield). Crook was definitely the one they were interested in — he rearranged the way the microphones were arranged in the studio, to get the sound he wanted rather than the standard studio sound, and he also had a bag full of gadgets that the studio engineers were fascinated by, for altering the Musitron’s sound. The first single released as by “Maximilian” was “The Snake”, which featured Crook and Shannon’s wives on handclaps, along with an additional clapper who was found on the street and paid forty dollars to come in and clap along: [Excerpt: Maximilian, “The Snake”] After that, the two women got bored and wandered off down Broadway. They eventually found themselves in the audience for a TV game show, Beat the Clock, and Joann Crook ended up a contestant on the show — their husbands didn’t believe them, when they explained later where they’d been, until acquaintances mentioned having seen Joann on TV. Meanwhile, the two men were working on another Maximillian track, and on two Del Shannon tracks, one of which was “Runaway”. They couldn’t afford to stay overnight in New York, so they drove back to Michigan, but when the record company listened to “Runaway”, they discovered that Shannon had been singing flat due to nerves. Shannon had to go back to New York, this time by plane, to rerecord his vocals. According to Crook, even this wasn’t enough, and the engineers eventually had to varispeed his vocals to get them in key with the backing track. I’m not at all sure how this would have worked, as speeding up his vocals would have also meant that he was singing at a different tempo, but that’s what Crook said, and the vocal does have a slightly different quality to it. And Harry Balk backed Crook up, saying “We finally got Del on key, and it sounded great, but it didn’t sound like Del. We mixed it anyhow, and it came out wonderful. When I brought Ollie and Del into my office to hear it, Del had a bit of a fit. He said, ‘Harry, that doesn’t even sound like me!’ I just remember saying, ‘Yeah but Del, nobody knows what the hell you sound like!” Like most great records, “Runaway” was the sum of many parts. Shannon later broke down all the elements that went into the song, saying: “I learned falsetto from The Ink Spots’ ‘We Three,'”: [Excerpt: The Ink Spots, “We Three (My Echo, My Shadow, and Me)”] “I eventually got hooked on Jimmy Jones’ ‘Handy Man’ in ’59 and would sing that at the Hi-Lo Club.”: [Excerpt: Jimmy Jones, “Handy Man”] “I always had the idea of ‘running away’ somewhere in the back of my mind. ‘I wa-wa-wa-wa-wonder, why…’ I borrowed from Dion & The Belmonts’ ‘I Wonder Why.'” [Excerpt: Dion and the Belmonts, “I Wonder Why”] “The beats you hear in there, ‘…I wonder, bam-bam-bam, I wa-wa…’ I stole from Bobby Darin’s ‘Dream Lover.'” [Excerpt: Bobby Darin, “Dream Lover”] Listening to the song, you can definitely hear all those elements that Shannon identifies in there, but what emerges is something fresh and original, unlike anything else out at the time: [Excerpt: Del Shannon, “Runaway”] “Runaway” went to number one in almost every country that had a chart at the time, and top five in most of the rest. In America, the song it knocked off the top was “Blue Moon” by the Marcels, one of those songs with the doo-wop progression that Shannon had been so bored with. At its peak, it was selling eighty thousand copies a day, and Billboard put it at number three hundred and sixty four on the all-time charts in 2018. It was a massive success, and a game-changer in the music industry. Maximilian’s single, on the other hand, only made the top forty in Argentina. Clearly, Del Shannon was the artist who was going to be worth following, but they did release a few more singles by Maximilian, things like “The Twisting Ghost”: [Excerpt: Maximilian, “The Twisting Ghost”] That made the Canadian top forty, but Maximilian never became a star in his own right. Shannon, on the other hand, recorded a string of hits, though none were as successful as “Runaway”. The most successful was the follow-up, “Hats off to Larry”, which was very much “Runaway part 2”: [Excerpt: Del Shannon, “Hats off to Larry”] But every single he released after that was slightly less successful than the one before. He soon stopped working with Crook, who remained at the Hi-Lo Club with the rest of the band while Shannon toured the country, and without Crook’s Musitron playing his records were far less interesting than his earliest singles, though he did have the distinction of being one of the few singers of this era to write the bulk of his own material. He managed to further sabotage his career by suing Micahnik and Balk, and by 1963 he was largely washed up, though he did do one more thing that would make him at least a footnote in music history for something other than “Runaway”. He was more popular in the UK than in the US, and he even appeared in the film “It’s Trad Dad!”, a cheap cash-in on the trad jazz craze, starring Helen Shapiro and Craig Douglas as teenagers who try to persuade the stuffy adults who hate the young people’s music that the Dukes of Dixieland, Mr. Acker Bilk and the Temperance Seven are not dangerous obscene noises threatening the morals of the nation’s youth. That film also featured Gene Vincent and Chubby Checker along with a lot of British trumpet players, and was the first feature film made by Richard Lester, who we’ll be hearing more about in this story. So Shannon spent a fair amount of time in the UK, and in 1963 he noticed a song by a new British group that was rising up the UK charts and covered it. His version of “From Me to You” only made number seventy-seven on the US charts, but it was still the first version of a Lennon/McCartney song to make the Hot One Hundred: [Excerpt: Del Shannon, “From Me to You”] He made some interesting records in the rest of the sixties, and had the occasional fluke hit, but the music he was making, a unique blend of hard garage rock and soft white doo-wop, was increasingly out of step with the rest of the industry. In the mid and late sixties, his biggest successes came with songwriting and productions for other artists. He wrote “I Go to Pieces” which became a hit for Peter & Gordon: [Excerpt: Peter and Gordon, “I Go to Pieces”] Produced the band Smith in their cover version of “Baby It’s You”, which made the top five: [Excerpt: Smith, “Baby It’s You”] And produced Brian Hyland’s million-selling version of a Curtis Mayfield song that I’m not going to play, because its title used a racial slur against Romani people which most non-Romani people didn’t then regard as a slur, but which is a great record if you can get past that. That Hyland record featured Crook, reunited briefly with Shannon. But over the seventies Shannon seemed increasingly lost, and while he continued to make records, including some good ones made in the UK with production by Dave Edmunds and Jeff Lynne, he was increasingly unwell with alcoholism. He finally got sober in 1978, and managed to have a fluke hit in 1981 with a cover version of Phil Phillips’ “Sea of Love”, produced by Tom Petty and with Petty’s band the Heartbreakers backing him: [Excerpt: Del Shannon, “Sea of Love”] He also came to people’s attention when a rerecorded version of “Runaway” with new lyrics was used as the theme for the TV show Crime Story. In 1989, Del Shannon was working on a comeback album, with Jeff Lynne producing and members of Tom Petty and the Heartbreakers as backing musicians. The same people had previously worked on Roy Orbison’s last album, which had been his biggest success in decades, and Lynne was gaining a reputation for resuscitating the careers of older musicians. Both Lynne and Petty were fans of Shannon and had worked with him previously, and it seemed likely that he might be able to have a hit with some of the material he was working on. Certainly “Walk Away”, which Shannon co-wrote with Lynne and Petty, sounds like the kind of thing that was getting radio play around that time: [Excerpt: Del Shannon, “Walk Away”] There were even rumours that Lynne and Petty were thinking of inviting Shannon to join the Travelling Wilburys to replace Roy Orbison, though that seems unlikely to me. Unfortunately, by the time the album came out, Shannon was dead. He’d been suffering from depression for decades, and he died of suicide in early 1990, aged fifty-five. His widow later sued the manufacturers of the new wonder drug, Prozac, which he’d been prescribed a couple of weeks earlier, claiming that it caused his death. Max Crook, meanwhile, had become a firefighter and burglar alarm installer, while also pursuing a low-key career in music, mostly making religious music. When Shannon was posthumously inducted into the Rock and Roll Hall of Fame, Crook volunteered to perform at the ceremony, playing his original Musitron, but his offer was ignored. In later years he would regularly show up at annual celebrations of Shannon, and talk about the music they made together, and play for their fans. He died on July the first this year, aged eighty-three.

In this podcast, we'll be talking to pianist, singer, musical arranger, director and producer Dominic Ferris. Dominic's credits include producing for well-known singers such as Michael Ball, Alfie Boe and, currently, the final studio album of Dame Shirley Bassey. His collaborations with the Royal Philharmonic Orchestra have sold over 3 million albums worldwide. He joined the Royal Philharmonic Concert Orchestra as assistant musical director and pianist for the Elvis Presley: If I Can Dream UK arena tour, and the Memphis Symphony Orchestra for the USA anniversary tour, ending at Graceland with Priscilla Presley for the Elvis 40th Anniversary Celebrations. Dominic also tours around the world with his piano duo The Piano Brothers. He is one half of musical theatre double act Ferris & Milnes, who have become known for their medleys of Stephen Sondheim, George Gershwin and Lord Andrew Lloyd Webber. Dominic is a classically-trained musician, having studied piano performance, singing and conducting at the Royal College of Music in London. In this podcast, we'll be hearing about his varied background in the classical, pop and musical theatre genres. We also discuss the crossover market and the process that goes into producing and creating a crossover album. In particular, he talks about working with Michael Ball and Alfie Boe. Interestingly, Dominic says that crossover albums are among the last that people listen to in full. This leads to a really fascinating discussion about the creation of music releases in an age of streaming and the current pop music market. Having exposure to many different genres of music, it seems, can contribute to one's musicianship and musicality and this is certainly the case in Dominic's work. Finally, we talk about a poignant video project he helped to produce: a performance of "We'll Meet Again," the iconic wartime song made famous by Dame Vera Lynn. It was given by some of the top names in the West End and entertainment to boost morale for the UK theatre industry. Many thanks to Dominic for taking the time to talk especially for this podcast! Podcast released 16 July 2020; interview recorded 29 June 2020. https://dominicferris.com Dame Vera Lynn with West End Stars perform We'll Meet Again 2020: https://www.youtube.com/watch?v=dTWy9jim7Mw Updated 14 August 2020 - Since this podcast was recorded, it has been announced that the current West End production of The Phantom of the Opera has closed until further notice due to the ongoing Coronavirus pandemic.

Originally released for the Nintendo GameBoy Advanced in Japan in 2001, The Ace attorney series was well received by critics and gamers alike with Capcom even crediting the series with helping to popularized the visual novel genre to Western audiences when it debuted for the Nintendo DS in 2005. with that being said we here at the Nostalgia Road Trip Network think that the greatest aspect of the series is its Music. SO, with that out of the way it’s time to gather your evidence as we cross examine these amazing tracks in this stage of the Retro VGM Revival Hour as we cover the ACE ATTORNEY SERIES! ++===========Game – Composer – Title – Company========++ 1.) Phoenix Wright: Ace Attorney – Masakazu Sugimori & Naoto Tanaka – “Cross Examination (Allegro 2001), Pursuit (Cornered), Confess the Truth 2001 & Phoenix Wright (Objection! 2001)“ 2.) Phoenix Wright: Ace Attorney − Justice for All – Naoto Tanaka – “Phoenix Wright (Objection! 2002), The Truth Revealed 2002, Berry Big Circus & Maya Fey (Turnabout Sisters 2002)“ 3.) Phoenix Wright: Ace Attorney − Trials and Tribulations – Noriyuki Iwadare – “Defendant Lobby (So it Will Always Begin), Cross Examination (Allegro 2004), Pursuit/Catch the Culprit (Variation) & Godot/The Fragrance of Darkness That is Coffee” 4.) Apollo Justice: Ace Attorney – Toshihiko Horiyama & Hideki Okugawa – “Cross Examination (Moderato 2007), Pursuit (Must Corner), Klavier Gavin (LOVE LOVE GUILTY), Troupe Gramarye & Apollo Justice: A New Chapter of Trials!“ 5.) Phoenix Wright: Ace Attorney − Dual Destinies – Noriyuki Iwadare – “Phoenix Wright (Objection! 2013), Suspense 2013, Confess the Truth 2013, Florent L’Belle (I am Beauty) & Apollo Justice: A New Chapter of Trials! 2013” 6.) Phoenix Wright: Ace Attorney − Spirit of Justice – Noriyuki Iwadare, Toshihiko Horiyama & Masami Onodera – “Andistan’dhin (Head Banging), Troupe Gramarye 2016, Ema Skye: The Scientific Detective 2016 & Athena Cykes: Courtroom Révolutionnaire 2016“ – June 9, 2016 (Digital Only) 7.) Ace Attorney Investigations: Miles Edgeworth – Noriyuki Iwadare & Yasuko Yamada – “Confess the Truth 2009, Shi-Long Lang (Speak Up, Pup!), Reminiscing (False Relationships), Crisis of Fate & Prosecutor’s Murmur: Promise to Meet Again“ 8.) Ace Attorney Investigations 2 (Ace Attorney Investigations: Miles Edgeworth 2) – Noriyuki Iwadare – “Confrontation (Moderato 2011), Miles Edgeworth (Objection! 2011), Confrontation (Presto 2011), Trial of Fate & Sebastian Debeste (First Class Farewell)” – February 3, 2011 (Japan Only) 9.) Professor Layton vs. Phoenix Wright: Ace Attorney – Tomohito Nishiura & Yasumasa Kitagawa – “Bewitching Puzzles, Labyrinthia, Professor Layton’s Theme (ver.1), In Flight & Phoenix Wright (Objection! 2012)” 10.) Dai Gyakuten Saiban: Naruhodō Ryūnosuke no Bōken (The Great Ace Attorney: The Adventure of Ryūnosuke Naruhodō) – Yasumasa Kitagawa & Hiromitsu Maeba – “Naruhodou Ryuunosuke (Prelude of an Adventure), The Great Straying (Suspense 1), Naruhodou Ryuunosuke (Objection!), Sherlock Holmes (The Great Detective of the Foggy Town) & Barok van Zieks (Grim Reaper of the Great Court)” 11.) Dai Gyakuten Saiban 2: Naruhodō Ryūnosuke no Kakugo (The Great Ace Attorney 2: The Resolve of Ryūnosuke Naruhodō) – Yasumasa Kitagawa, Yoshiya Terayama & Hiromitsu Maeba – “Prelude to a Girl Defense Attorney, The Great Detective’s Friendship, The Great Secret Trial (Court Begins), Partners (The Game is Afoot!) & Prelude to Pursuit“ 12.) Project X Zone 2 – Masakazu Sugimori – “Pursuit/Cornered (Ace Attorney)” 13.) Ultimate Marvel vs. Capcom 3 – Hideyuki Fukasawa – “Theme of Phoenix Wright :Turnabout Mode (Pressing Pursuit) & Objection! 2001” Edgar Velasco: @MoonSpiderHugs www.patreon.com/nostalgiaroadtrip Youtube: www.youtube.com/c/NostalgiaRoadTripChannel Official Site: nostalgiaroadtrip.com/ FaceBook: www.facebook.com/groups/nostalgiaroadtrip/ Official Twitter: @NRoadTripCast

Children’s Bedtime Stories: ‘Tracey the Triceratops’ written & narrated by Alice Goulding ‘Carlos & Horace go Ballooning’ – written by Graham Emmett & narrated by Uncle Roger ‘Trisky & Freddie have a Close Shave’ – written & narrated by Crazy Grandma ‘Little Blue Duck and the Rainy Day’ – written & narrated by Lyn Perryment   Wednesday’s Short Story:    ‘The Last sail of the Sunset’ written by Graham Emmett & narrated by Kevin Dalley Poetry Corner:                        ‘Tribute to Dame Vera Lynn’ written by Isabel Cooke and narrated by Sue Rodwell Smith Children’s Poetry Corner:      ‘Saying Goodbye’ written & narrated by Julie Stevens (Jumping Jules) Story at Midnight:                   ‘We’ll Meet Again’ written by Rosemary Emmett & narrated by Kevin Dalley ]

Peter Ford tells John the song “We’ll Meet Again” came out at the right time and Vera was by far the favorite of the armed forces in front of Bing Crosby and Frank Sinatra.   For her 100th birthday they projected her image onto the white cliffs of dover and the Queen turned up to her surprise 100th birthday party.

A new MP3 sermon from Crich Baptist Church is now available on SermonAudio with the following details: Title: Being Eager to Meet Again Subtitle: Visiting Preacher Speaker: Jonathan Bayes Broadcaster: Crich Baptist Church Event: Sunday - AM Date: 6/7/2020 Bible: Acts 28:11-15 Length: 38 min.

We praten na over de persconferentie van minister-president Mark Rutte en Hugo de Jonge. In hoeverre worden de coronamaatregelen verder versoepeld en wat betekent dit voor ons? We bespreken het met generatie-expert Talitha Muusse, journalist Hella Hueck, politiek verslaggever Tom-Jan Meeus en journalist en schrijver Jeroen Smit. Benny Sings treeedt op met - het voor vandaag zeer toepasselijke - 'Sunny Afternoon' op ons We'll Meet Again podium.

Pershore, England lockdown sound recorded by Jayne Lewis. "Behind where I live are the community meadows. Everyday people are walking across the meadows and parallel ‘people tracks’ are being marked through knee high buttercups. Today I saw three cygnets hatch beneath a swan who has been sitting each day for six weeks. People have shown such engaged protective interest in the two breeding pairs of swans this year who have sat on their eggs during this whole lockdown.  "Yesterday I saw 6 cygnets in another swan family emerge onto a lake for their first swim. Usually at this time you hear above everything the calls of the cuckoo both male and female. They cut across everything.  "Today, with so little traffic or sounds from workplaces, I was able to watch and listen to this solitary sedge warbler. It was particularly special as this is the bird that the cuckoo parasites to raise its own chicks.  "Last night I sang and played the clarinet, my husband played his alto saxophone and the neighbour opposite played her clarinet for the song We’ll Meet Again after the Clap for Carers on the pavement. The neighbour’s husband was in Trafalgar Square in the midst of the VE Day celebrations. He is a frail older gentleman and was determined to cross the road to tell us his story whilst we carefully retreated as he came closer and closer to tell us, he doesn’t understand the invisible enemy that is amongst us at present." Part of the #StayHomeSounds project, documenting the sounds of the global coronavirus lockdown around the world - for more information, see http://www.citiesandmemory.com/covid19-sounds

                                     Copperplate Time 313                                    presented by Alan O'Leary                                www.copperplatemailorder.com                                                1. The Bothy Band: Green Groves of Erin/Flowers of Red Hill. 1975 2. Island Eddy:      Larry Redigan’s/The Leitrim Lilter.                               Island Eddy                                               3. Burke/Conway/Dolan:   Molloy’s Jig/Humours of Castlelyons.                                 A Tribute to Andy McGann4. Rita Gallagher:    The Heathery Hills.   The Heathery Hills5. Brendan McGlinchey:   McGlinchey’s/The Acrobat.                         Music of A Champion                                                      6. Tim Dennehy:    The Parted Years.    The Blue Green Door 7. Neil Mulligan:  Bimis ag Ol ag Pogadh na mBan.   An Tobar Gle 8. Brian Conway:    The Peeler’s Jacket/Lucy Campbell/                       Humours of  Westport.       Consider The Source 9. The Lennon Family:  Dance of the Honey Bees.  Duchas Ceoil. 10. Christy Moore:  Reel in the Flickering Light.    Magic Nights 11. Michael Coleman:   Doctor Gilbert’s/The Queen of May.                             Michael Coleman 1891 - 1945  12. Seamus Ennis:   Na Ceannbhain Bhana/The Gold Ring.                                  Ceol. Scealta & Amhrain 13. Willie Clancy:  The Erin’s Lovely.  The Minstrel from Clare 14.  Canny, O’Loughlin/Murphy/Cotter:          Queen of the Fair/High Part of the Road.  Friends of Note 15. Joe Burke & Matt Molloy:       The Gooseberry Bush/The Limestone Rock.  Geantrai Compilation 16. Carrig:    The Piper’s Jig/The Swan Among the  Reeds/                       Behind The Bush.      Airs & Graces 17. The Hydes :   Rivers Run.  Green & Blue 19. Dick Gaughan   A Song for Ireland.   The Harvard Tapes 20. Ralph McTell:    Masks & Gowns.  Download 21. Joe McDonald: The Man from Athabaska. The Vanguard Years 22. Andy Irvine:   The Dodgers Song.    Parallel Lines 23. The Byrds:    We’ll Meet Again.    Mr Tambourine Man 22. The Bothy Band:  Green Groves of Erin/Flowers of Red Hill.  1975

Hello from Suffolk, England. Here's five minutes of civilised calm to start your day right. With a poem by William Shakespeare, John of Gaunt's speech from Richard II. "This royal throne of kings, this sceptr'd isle, This earth of majesty, this seat of Mars..." From the show: Charlotte Bronte's Jane Eyre, just one of the remarkable novels from her richly-talented family The Single Petal of a Rose, from Duke Ellington's Queen's Suite Nub.news – hyperlocal news sites around the UK, sharing Marc's Almanac on its Suffolk sites for Felixstowe and the Shotley Peninsula A song to wake up to – We'll Meet Again, sung by Johnny Cash (Listen to the full playlist on YouTube) Sign up to receive email alerts and show notes with links when a new episode goes live at marcsalmanac.substack.com Please share this with anyone who might need a touch of calm, and keep sending in your messages and requests. You can leave a voice message at https://anchor.fm/marc-sidwell/message. If you like Marc's Almanac please do leave a review on Apple podcasts. It really helps new listeners to find me. Have a lovely day. --- Send in a voice message: https://anchor.fm/marc-sidwell/message

In today's edition of Sunday Book Review: ·       Where are the Children? ·       A Stranger is Watching ·       We'll Meet Again ·       The Second Time Around Learn more about your ad choices. Visit megaphone.fm/adchoices

为你读英语美文 · 第344期 回顾2019，读《现代爱情》，用爱点亮新的一年主播：严喆坐标：德国 · 维尔茨堡Let's Meet Again in Five Years让我们五年后再见吧作者：Karen B. Kaplan,翻译：永清，严喆来源：New York Times, Modern LoveWhen I told Howard that we should meet again in five years to see if we were meant to be together, I thought I was just being practical. My idea was less about romance than hedging our bets.当我告诉霍华德我们应该五年后再见，看看我们是否注定会在一起时，我想当下我只是非常务实。我的想法与其说是为了浪漫，不如说是为了减少风险。I was only 18 then, a freshman at Cornell, and he was barely 21. We had dated since September and now it was spring. Soon we would be headed back to opposite coasts, he to San Francisco and me to suburban New Jersey. The impending separation was forcing us to re-evaluate. Our dorm-room conversation went something like this:那时我才18岁，康奈尔大学的大一新生，他才21岁。我们从九月开始约会，现在是春天。很快我们就会回到相隔的海岸，他回旧金山，我回新泽西郊区。即将到来的离别迫使我们重新评估我们的关系。我们在宿舍的谈话是这样的：Me: “I think finding The One is a matter of person, place and time. What if we're both the right person but this is the wrong place and time? We'd miss our chance and regret it.”我：“我认为找到对的人，是人，地点和时间的问题。如果我们都是对的人，但却是错误的时间和地点怎么办？我们会错过机会，而且会后悔。”Him: “So, are you saying we should stay together?”他：“那么，你是说我们应该在一起吗？”Me: “No. I don't want to marry the first guy I'm serious about. I'm saying, let's give ourselves a second chance. Let's meet in five years. I'll be 23, and you'll be 26. We'll see if we want to get back together.”我：“不，我不想嫁给自己第一个认真约会的人。我是说，让我们都给自己一次机会。我们五年后再见吧。那时我23岁，你26岁。再看看我们是不是还想在一起。”Howard agreed. We settled on meeting at the New York Public Library, near the uptown lion, at 4 p.m. on the first Sunday in April, five years from that spring. We wrote our pledge on a dollar bill, tore it in half and gave each other the half we'd written on.霍华德同意了。我们决定在4月的第一个星期天下午4点在靠近上城的纽约公共图书馆门口的狮子前见面，距离那个时间还有5年。我们在一张一美元的钞票上写下了誓言，撕成两半，把我们写的那一半给了对方。Meeting in a public place would minimize any unwanted intimacy if things felt awkward. Four o'clock made sense because we could start with a drink, and if things went well, we could proceed to dinner and go from there. If things weren't going well, we could go our separate ways.在公共场所见面，可以最大程度地减少亲密接触，如果感觉到尴尬的话。四点钟是有道理的，因为我们可以先喝一杯，如果一切顺利，我们可以继续吃晚饭，然后再进行别的。如果不顺利，我们就可以各自回家。The New York Public Library was a sentimental choice; as English majors, we had spent a lot of time around books. And it was an easy landmark to find, one that was likely to still exist in five years, unlike a restaurant or bar.纽约公共图书馆是一个感性的选择；作为英语专业的学生，我们花了很多时间看书。这是一个很容易找的地标，五年后仍会存在，不像餐馆或酒吧。Although the first Sunday in April was our original choice, I soon realized that could fall on Easter, and my mother, a firm Catholic, would never abide my heading into New York City that day; we'd be having a family celebration.尽管4月的第一个星期天是我们最初的选择，但我很快意识到可能是在复活节，我的母亲，一个坚定的天主教徒，永远不会容忍我那天去纽约；我们要举行家庭庆祝活动。So Howard and I took back our half dollar bills, crossed out April, wrote May and handed them back to each other.所以我和霍华德拿回了我们的半张美钞，划掉了四月，写了五月，然后还给了对方。And then we failed to break up. In fact, we stayed together that summer and through the whole next school year. It wasn't until the next semester, when he took a leave of absence and lived in Manhattan, that our relationship finally ended. (I started seeing someone else, he found out, and that was that.)接下来，我们其实并没有分手。事实上，那年夏天我们一直在一起，直到下一学年。下学期他请假住去了曼哈顿，我们的关系才最终结束。（他发现我开始和别人约会，于是就结束了。）We had three and a half years before our meeting.我们有三年半没有见面。I used that time well. I had relationships, flings, crushes. With a few of those men, I wondered, “Is he The One?” For various reasons, the answer was never “Yes.” Might it have been “Yes” if Howard and I didn't have our date planned?我很好地利用了那段时间。我有过恋爱，摇摆，热恋。我问自己，在和我在一起的那些男人中，“他就是我的真命天子吗？由于种种原因，答案从来不是“Yes”。如果霍华德和我没有计划好约会的话，答案可能会是“Yes”吧？Maybe, maybe not. In any case, most of my interactions with men, whether short or long-lasting, only strengthened my sense that Howard probably was The One and that I had been prudent to arrange our second chance.也许，也许不是。无论如何，我和男人的交往，无论是短暂的还是长久的，只会强化我的意识：霍华德很可能就是我的真命天子，那个我谨慎地给了第二次机会的人。A part of our agreement that didn't make it onto the dollar bill was that we would tell no one, a rule I promptly forgot. At some point, I told my best friend. She thought the plan was creative (but felt bad for the guy I was seeing at the time). I also told my mother, which was a mistake.我们的约定中有一部分没有写在美元上，那就是我们不会告诉任何人，但这条约定我很快就忘了。在某个时候，我告诉了我最好的朋友。她觉得这个计划很有创意（对于当时我正在约会的人，我感到糟糕）。我还告诉了我妈妈，这显然是个错误。At the five-year mark, I was living in Minneapolis. I was in a relationship that had been staggering along for months. As for Howard and me, we hadn't spoken or communicated at all for a couple of years. I vaguely knew of his whereabouts from mutual friends, but this was before cellphones, the internet and email, a bygone era where you could actually lose touch with people and not know how to contact them even if you wanted to.到了第五年的时候，我住在明尼阿波利斯。我当时还在一段关系中，但这段关系已经摇摇欲坠几个月了。至于霍华德和我，我们已经有好几年没有联系了。我隐约从共同的朋友那知道了他的情况，但这是在手机、互联网和电子邮件出现之前，在以前的时代，你可能真会和人失去联系，即使你想联系，也不知道怎么联系。That's what had happened with us.我们就是这样的。Nevertheless, a few days before that first Sunday in May, I flew home to the Jersey suburbs for a visit with my mother, planning to head into the city for the weekend. My sister had an apartment on the Upper West Side, and it would be nothing unusual for me to stay with her because I always did when I visited.尽管如此，在五月的第一个星期天的前几天，我飞回泽西郊区的家里看望母亲，计划周末去趟市区。我姐姐在纽约上西区有套公寓，我过去姐姐那里再平常不过，因为我每次去看望她时都住她那儿。But my mother kept suggesting an alternative plan, arguing that it would be better to go into New York when my sister wasn't working (as a restaurant employee, she was busiest on weekends).但我母亲一直在提议，她认为最好在我姐姐不工作的时候去纽约（作为一名餐厅员工，她周末最忙）。“No,” I said. “I have to go in this weekend. I'm meeting Howard on Sunday.”“不，”我说。“我得这周末去。星期天我要去见霍华德。”That stopped her. “I didn't know you two were still in touch.”这句话打断了她，“我不知道你们俩还在联系。”“We haven't been,” I said. “But we agreed to meet on the first Sunday in May this year, so I have to be in the city.”“我们没有联系，”我说。“但我们约定在今年5月的第一个星期天见面，所以我必须去纽约。”“When did you make this agreement?”“你们什么时候的约定？”“Five years ago.” I said.“五年前。”我说。“Oh my God! Five years ago? Are you out of your mind? Doesn't he live in California? He's not going to fly all the way to New York for this.”“天哪！五年前？你疯了吗？他不是住在加利福尼亚吗？他不会为了这个约定而一路飞到纽约的。”“Yes, he will. I'm sure he'll be there.”“他会的。我肯定他会来的。”While I was on the train into Manhattan, my mother called my sister and urged her to keep me from following through, fearing I'd be heartbroken when Howard didn't show.当我坐火车去曼哈顿的时候，母亲打电话给姐姐，要她劝我不要去，她担心霍华德不来的话我会伤心。When I arrived, my sister said, “You're trying to live your life like a movie. Real life doesn't work like that. He's not even going to remember, much less travel 3,000 miles. You're setting yourself up for big disappointment.”我到了以后，姐姐说：“你是在把生活活成电影。现实生活不是这样的。他甚至都不会想起来，更不用说跑3000英里过来了。你就准备着大失所望吧。”I disagreed.我不同意。She had to work that afternoon and evening, so I was (quite happily) on my own for the walk from the Upper West Side to Midtown. A few minutes before 4 p.m., I found myself standing across the street from the library, scanning the small crowd in front, when suddenly I saw Howard heading toward the library's steps.那天下午和晚上她都得工作，所以我（很高兴）独自一人从上西区步行到市中心。下午4点的前几分钟，我恍然发现自己已经站在图书馆对面的大街上，扫视着前面的人群，突然，我看到霍华德朝图书馆的台阶走去。We saw each other, smiled and waved. I crossed the street and we hugged in front of the lion (Fortitude, I learned later), then sat down on the steps and started talking.我们见到了彼此，微笑着挥手。我过了马路，我们在狮子前相拥（后来我才知道那座狮像叫“坚毅“），然后坐在台阶上开始说话。Our conversation lasted two days. Then Howard caught a plane back to California.我们的谈话持续了两天。然后，霍华德飞回了加利福尼亚。It wasn't immediately “happily ever after” for us. I had to extricate myself from the relationship with the other guy. Howard and I also had to figure out how we were going to live in the same city.对我们来说，这并不是马上就开始了“从此，他们幸福地生活下去”的生活。我不得不从和另一个人的关系中解脱出来。霍华德和我还得想好我们如何到同一个城市生活。That fall I moved to the Bay Area for a couple of months on a work assignment. A few months later, he moved to Minneapolis, where we stayed for two years before moving to New York. And, yes, once we were back east, we married.那年秋天，我搬到湾区工作了几个月。几个月后，他搬到了明尼阿波利斯，在那里我们呆了两年才搬到纽约。是的，一旦我们回到东部，就结婚了。I still resisted calling our story romantic. Friends who had heard the story tended to exaggerate the details, saying things like, “And you didn't see each other for 10 years?”我还是不愿意把我们的故事说得浪漫。听过这个故事的朋友往往会夸大细节，说“你们有10年没见面了？”Actually, it was a five-year plan. And it was only three years that we were fully out of touch.实际上，这是一个五年计划。我们只有三年完全没有联系。Or they'll say: “And you always knew …”或者他们会说：“你总是知道的…”No, that was the whole point of the agreement. We didn't always know. Even after the meeting, it took a while for us to move in together. When we moved to New York, we agreed we would have to see how things worked out with jobs before making any promises.不，这就是约定的意义。我们并不知道。即使在见面以后，我们也花了一段时间才住在一起。当我们搬到纽约时，我们一致认为，在做出任何承诺之前，我们必须先看看工作情况如何。What is true is how the story has helped sustain our relationship through times of trouble. I would have hated to end the story with, “Unfortunately, it didn't work out.” With a story like that, of course we had to stay together. A romantic past, we've discovered, can help keep you belted in place until you find equilibrium.讲真，这个故事帮助我们在想要放弃这段关系的时候坚持了下来。我不想以“很不幸，没能成功”来结束这个故事，因为这个故事，我们一定要在一起。我们发现，一段浪漫的经历可以帮你找到平衡。Still, I insisted the story was about foresight and prudence, not romance. I only shared the story with people who wouldn't think I was trying to live my life like a movie — who would know the story was about being smart in love, not starry-eyed.尽管如此，我还是坚持认为，这个故事是关于远见和谨慎，而不是浪漫。我只和那些不认为我想把自己的生活过成电影的人分享这个故事——他们会知道这个故事是关于爱情中的智慧，而不是盲目乐观。For years, I ended the story with: “I thought I was just being practical in giving us a second chance. It turned out to be a good plan.”多年来，我一直以这样的方式来结束这个故事“我以为我只是很务实地给了我们第二次机会。才发现，这是个很好的计划。”“Well, the plan may have been practical,” a friend said recently. “But the fact that you both showed up: There's the romance.”一位朋友最近说：“嗯，这个计划可能是务实的。”，“但你们都赴约了的事实说明这就是爱情。”He was right. It was our complete faith in the other person — despite others' cautions — that defined the romance. We showed up for each other.他是对的。正是我们对另一个人的完全信任——不顾别人的警告——才造就了这段恋情。我们为彼此赴约了。We now have been married for 35 years. Howard still shows up for me, and I show up for him. The torn dollar bill is in a frame on his dresser.现在，我们已经结婚35年了。霍华德仍会为我出现，我也会为他出现。那张破旧的美元钞票一直在他梳妆台的镜框里。

为你读英语美文 · 第344期 《现代爱情》纯享版主播：严喆，坐标：德国 · 维尔茨堡Let's Meet Again in Five Years让我们五年后再见吧作者：Karen B. Kaplan,翻译：永清，严喆来源：New York Times, Modern LoveWhen I told Howard that we should meet again in five years to see if we were meant to be together, I thought I was just being practical. My idea was less about romance than hedging our bets.当我告诉霍华德我们应该五年后再见，看看我们是否注定会在一起时，我想当下我只是非常务实。我的想法与其说是为了浪漫，不如说是为了减少风险。I was only 18 then, a freshman at Cornell, and he was barely 21. We had dated since September and now it was spring. Soon we would be headed back to opposite coasts, he to San Francisco and me to suburban New Jersey. The impending separation was forcing us to re-evaluate. Our dorm-room conversation went something like this:那时我才18岁，康奈尔大学的大一新生，他才21岁。我们从九月开始约会，现在是春天。很快我们就会回到相隔的海岸，他回旧金山，我回新泽西郊区。即将到来的离别迫使我们重新评估我们的关系。我们在宿舍的谈话是这样的：Me: “I think finding The One is a matter of person, place and time. What if we're both the right person but this is the wrong place and time? We'd miss our chance and regret it.”我：“我认为找到对的人，是人，地点和时间的问题。如果我们都是对的人，但却是错误的时间和地点怎么办？我们会错过机会，而且会后悔。”Him: “So, are you saying we should stay together?”他：“那么，你是说我们应该在一起吗？”Me: “No. I don't want to marry the first guy I'm serious about. I'm saying, let's give ourselves a second chance. Let's meet in five years. I'll be 23, and you'll be 26. We'll see if we want to get back together.”我：“不，我不想嫁给自己第一个认真约会的人。我是说，让我们都给自己一次机会。我们五年后再见吧。那时我23岁，你26岁。再看看我们是不是还想在一起。”Howard agreed. We settled on meeting at the New York Public Library, near the uptown lion, at 4 p.m. on the first Sunday in April, five years from that spring. We wrote our pledge on a dollar bill, tore it in half and gave each other the half we'd written on.霍华德同意了。我们决定在4月的第一个星期天下午4点在靠近上城的纽约公共图书馆门口的狮子前见面，距离那个时间还有5年。我们在一张一美元的钞票上写下了誓言，撕成两半，把我们写的那一半给了对方。Meeting in a public place would minimize any unwanted intimacy if things felt awkward. Four o'clock made sense because we could start with a drink, and if things went well, we could proceed to dinner and go from there. If things weren't going well, we could go our separate ways.在公共场所见面，可以最大程度地减少亲密接触，如果感觉到尴尬的话。四点钟是有道理的，因为我们可以先喝一杯，如果一切顺利，我们可以继续吃晚饭，然后再进行别的。如果不顺利，我们就可以各自回家。The New York Public Library was a sentimental choice; as English majors, we had spent a lot of time around books. And it was an easy landmark to find, one that was likely to still exist in five years, unlike a restaurant or bar.纽约公共图书馆是一个感性的选择；作为英语专业的学生，我们花了很多时间看书。这是一个很容易找的地标，五年后仍会存在，不像餐馆或酒吧。Although the first Sunday in April was our original choice, I soon realized that could fall on Easter, and my mother, a firm Catholic, would never abide my heading into New York City that day; we'd be having a family celebration.尽管4月的第一个星期天是我们最初的选择，但我很快意识到可能是在复活节，我的母亲，一个坚定的天主教徒，永远不会容忍我那天去纽约；我们要举行家庭庆祝活动。So Howard and I took back our half dollar bills, crossed out April, wrote May and handed them back to each other.所以我和霍华德拿回了我们的半张美钞，划掉了四月，写了五月，然后还给了对方。And then we failed to break up. In fact, we stayed together that summer and through the whole next school year. It wasn't until the next semester, when he took a leave of absence and lived in Manhattan, that our relationship finally ended. (I started seeing someone else, he found out, and that was that.)接下来，我们其实并没有分手。事实上，那年夏天我们一直在一起，直到下一学年。下学期他请假住去了曼哈顿，我们的关系才最终结束。（他发现我开始和别人约会，于是就结束了。）We had three and a half years before our meeting.我们有三年半没有见面。I used that time well. I had relationships, flings, crushes. With a few of those men, I wondered, “Is he The One?” For various reasons, the answer was never “Yes.” Might it have been “Yes” if Howard and I didn't have our date planned?我很好地利用了那段时间。我有过恋爱，摇摆，热恋。我问自己，在和我在一起的那些男人中，“他就是我的真命天子吗？由于种种原因，答案从来不是“Yes”。如果霍华德和我没有计划好约会的话，答案可能会是“Yes”吧？Maybe, maybe not. In any case, most of my interactions with men, whether short or long-lasting, only strengthened my sense that Howard probably was The One and that I had been prudent to arrange our second chance.也许，也许不是。无论如何，我和男人的交往，无论是短暂的还是长久的，只会强化我的意识：霍华德很可能就是我的真命天子，那个我谨慎地给了第二次机会的人。A part of our agreement that didn't make it onto the dollar bill was that we would tell no one, a rule I promptly forgot. At some point, I told my best friend. She thought the plan was creative (but felt bad for the guy I was seeing at the time). I also told my mother, which was a mistake.我们的约定中有一部分没有写在美元上，那就是我们不会告诉任何人，但这条约定我很快就忘了。在某个时候，我告诉了我最好的朋友。她觉得这个计划很有创意（对于当时我正在约会的人，我感到糟糕）。我还告诉了我妈妈，这显然是个错误。At the five-year mark, I was living in Minneapolis. I was in a relationship that had been staggering along for months. As for Howard and me, we hadn't spoken or communicated at all for a couple of years. I vaguely knew of his whereabouts from mutual friends, but this was before cellphones, the internet and email, a bygone era where you could actually lose touch with people and not know how to contact them even if you wanted to.到了第五年的时候，我住在明尼阿波利斯。我当时还在一段关系中，但这段关系已经摇摇欲坠几个月了。至于霍华德和我，我们已经有好几年没有联系了。我隐约从共同的朋友那知道了他的情况，但这是在手机、互联网和电子邮件出现之前，在以前的时代，你可能真会和人失去联系，即使你想联系，也不知道怎么联系。That's what had happened with us.我们就是这样的。Nevertheless, a few days before that first Sunday in May, I flew home to the Jersey suburbs for a visit with my mother, planning to head into the city for the weekend. My sister had an apartment on the Upper West Side, and it would be nothing unusual for me to stay with her because I always did when I visited.尽管如此，在五月的第一个星期天的前几天，我飞回泽西郊区的家里看望母亲，计划周末去趟市区。我姐姐在纽约上西区有套公寓，我过去姐姐那里再平常不过，因为我每次去看望她时都住她那儿。But my mother kept suggesting an alternative plan, arguing that it would be better to go into New York when my sister wasn't working (as a restaurant employee, she was busiest on weekends).但我母亲一直在提议，她认为最好在我姐姐不工作的时候去纽约（作为一名餐厅员工，她周末最忙）。“No,” I said. “I have to go in this weekend. I'm meeting Howard on Sunday.”“不，”我说。“我得这周末去。星期天我要去见霍华德。”That stopped her. “I didn't know you two were still in touch.”这句话打断了她，“我不知道你们俩还在联系。”“We haven't been,” I said. “But we agreed to meet on the first Sunday in May this year, so I have to be in the city.”“我们没有联系，”我说。“但我们约定在今年5月的第一个星期天见面，所以我必须去纽约。”“When did you make this agreement?”“你们什么时候的约定？”“Five years ago.” I said.“五年前。”我说。“Oh my God! Five years ago? Are you out of your mind? Doesn't he live in California? He's not going to fly all the way to New York for this.”“天哪！五年前？你疯了吗？他不是住在加利福尼亚吗？他不会为了这个约定而一路飞到纽约的。”“Yes, he will. I'm sure he'll be there.”“他会的。我肯定他会来的。”While I was on the train into Manhattan, my mother called my sister and urged her to keep me from following through, fearing I'd be heartbroken when Howard didn't show.当我坐火车去曼哈顿的时候，母亲打电话给姐姐，要她劝我不要去，她担心霍华德不来的话我会伤心。When I arrived, my sister said, “You're trying to live your life like a movie. Real life doesn't work like that. He's not even going to remember, much less travel 3,000 miles. You're setting yourself up for big disappointment.”我到了以后，姐姐说：“你是在把生活活成电影。现实生活不是这样的。他甚至都不会想起来，更不用说跑3000英里过来了。你就准备着大失所望吧。”I disagreed.我不同意。She had to work that afternoon and evening, so I was (quite happily) on my own for the walk from the Upper West Side to Midtown. A few minutes before 4 p.m., I found myself standing across the street from the library, scanning the small crowd in front, when suddenly I saw Howard heading toward the library's steps.那天下午和晚上她都得工作，所以我（很高兴）独自一人从上西区步行到市中心。下午4点的前几分钟，我恍然发现自己已经站在图书馆对面的大街上，扫视着前面的人群，突然，我看到霍华德朝图书馆的台阶走去。We saw each other, smiled and waved. I crossed the street and we hugged in front of the lion (Fortitude, I learned later), then sat down on the steps and started talking.我们见到了彼此，微笑着挥手。我过了马路，我们在狮子前相拥（后来我才知道那座狮像叫“坚毅“），然后坐在台阶上开始说话。Our conversation lasted two days. Then Howard caught a plane back to California.我们的谈话持续了两天。然后，霍华德飞回了加利福尼亚。It wasn't immediately “happily ever after” for us. I had to extricate myself from the relationship with the other guy. Howard and I also had to figure out how we were going to live in the same city.对我们来说，这并不是马上就开始了“从此，他们幸福地生活下去”的生活。我不得不从和另一个人的关系中解脱出来。霍华德和我还得想好我们如何到同一个城市生活。That fall I moved to the Bay Area for a couple of months on a work assignment. A few months later, he moved to Minneapolis, where we stayed for two years before moving to New York. And, yes, once we were back east, we married.那年秋天，我搬到湾区工作了几个月。几个月后，他搬到了明尼阿波利斯，在那里我们呆了两年才搬到纽约。是的，一旦我们回到东部，就结婚了。I still resisted calling our story romantic. Friends who had heard the story tended to exaggerate the details, saying things like, “And you didn't see each other for 10 years?”我还是不愿意把我们的故事说得浪漫。听过这个故事的朋友往往会夸大细节，说“你们有10年没见面了？”Actually, it was a five-year plan. And it was only three years that we were fully out of touch.实际上，这是一个五年计划。我们只有三年完全没有联系。Or they'll say: “And you always knew …”或者他们会说：“你总是知道的…”No, that was the whole point of the agreement. We didn't always know. Even after the meeting, it took a while for us to move in together. When we moved to New York, we agreed we would have to see how things worked out with jobs before making any promises.不，这就是约定的意义。我们并不知道。即使在见面以后，我们也花了一段时间才住在一起。当我们搬到纽约时，我们一致认为，在做出任何承诺之前，我们必须先看看工作情况如何。What is true is how the story has helped sustain our relationship through times of trouble. I would have hated to end the story with, “Unfortunately, it didn't work out.” With a story like that, of course we had to stay together. A romantic past, we've discovered, can help keep you belted in place until you find equilibrium.讲真，这个故事帮助我们在想要放弃这段关系的时候坚持了下来。我不想以“很不幸，没能成功”来结束这个故事，因为这个故事，我们一定要在一起。我们发现，一段浪漫的经历可以帮你找到平衡。Still, I insisted the story was about foresight and prudence, not romance. I only shared the story with people who wouldn't think I was trying to live my life like a movie — who would know the story was about being smart in love, not starry-eyed.尽管如此，我还是坚持认为，这个故事是关于远见和谨慎，而不是浪漫。我只和那些不认为我想把自己的生活过成电影的人分享这个故事——他们会知道这个故事是关于爱情中的智慧，而不是盲目乐观。For years, I ended the story with: “I thought I was just being practical in giving us a second chance. It turned out to be a good plan.”多年来，我一直以这样的方式来结束这个故事“我以为我只是很务实地给了我们第二次机会。才发现，这是个很好的计划。”“Well, the plan may have been practical,” a friend said recently. “But the fact that you both showed up: There's the romance.”一位朋友最近说：“嗯，这个计划可能是务实的。”，“但你们都赴约了的事实说明这就是爱情。”He was right. It was our complete faith in the other person — despite others' cautions — that defined the romance. We showed up for each other.他是对的。正是我们对另一个人的完全信任——不顾别人的警告——才造就了这段恋情。我们为彼此赴约了。We now have been married for 35 years. Howard still shows up for me, and I show up for him. The torn dollar bill is in a frame on his dresser.现在，我们已经结婚35年了。霍华德仍会为我出现，我也会为他出现。那张破旧的美元钞票一直在他梳妆台的镜框里。

'Misty’ by Erroll Garner and ‘We’ll Meet Again’ by Vera Lynn

Writer’s Corner Podcast w/c 4th November 2019 Children’s Corner:   ‘Larry & Penny, the Dinosaurs of Dino Dell’ written and narrated by Alice Goulding Poetry Corner:         ‘Without a Sound’ written and narrated by Colin Reeves Scribbler’s Hour:      The poems of FPJ Harwood recited by Sue Rodwell Smith Story at Midnight:     ‘We’ll Meet Again’ written by Rosemary Emmett and narrated by Kevin Dalley

Welcome to episode 30 of "3:17 The Drop" Podcast Bops are as followed -Meet Again by Maxo Cream -Fake Names by Freddie Gibbs -Real Games by Lucky Daye Follow us on instagram and twitter "@317TheDrop"........Like/Subscribe to our facebook "3:17 The Drop" email us 317thedrop@gmail.com WE DO NOT OWN THE RIGHTS TO ANY MUSIC INCLUDED IN TODAYS EPISODE!!!!!!

Introducing Sum'n to Hear, where Jah, Yoh and Christina discuss the newcomers who have caught their attention. This month's playlist features: Benny the Butcher's "18 Wheeler," Maxo Kream's "Meet Again," Summerella's "Pretty Bitch in the Trap," Ari Lennox's "BMO" and Kenny Mason's "Hit."

Disruption is a word that gets thrown around easily these days. But the Legal Information Institute at Cornell Law School truly was a disruptor. Founded in 1992 with the mission of making legal information available to everyone without cost, it was literally the first legal site on the Internet. It continues strong today, with readership last year of 32 million individuals in 246 countries and territories. On this episode of LawNext, we talk with Thomas R. Bruce, who is retiring June 30 after 27 years leading the LII. In 1992, Bruce and former Cornell Law Dean Peter W. Martin founded the LII. They codirected it until Martin retired in 2003, after which Bruce continued as sole director. The LII blazed the trail of publishing law online for free, inspiring the creation of some two dozen similar organizations throughout the world, and carrying the banner for the right of citizens to have access to the laws that govern them. Bruce says he is most proud that he was able to break the monopoly on legal information held by commercial publishers. “The time was ripe for change, and we were the first to use the Web to try our hands at it.” A graduate of the Yale School of Drama, Tom started his career as a stage and production manager before joining Cornell Law School as director of educational technologies. The first seeds of the LII were sowed, Bruce once wrote, with two gin-and-tonics, consumed by someone else. The rest, as they say, is history -- a history Bruce recounts in this episode. Related links: End of an Era: Tom Bruce, Trailblazing Director of LII, to Retire after 27 Years. We’ll Meet Again, Don’t Know Where, Don’t Know When. On Law Technology Now: A Conversation With Legal Information Institute Cofounder Tom Bruce On Its 25th Anniversary. NEW: We are now on Patreon! Subscribe to our page to be able to access show transcripts, or to submit a question for our guests. Comment on this show: Record a voice comment on your mobile phone and send it to info@lawnext.com.

Brother Can You Spare A Dime, Ronnie Lane's Slim Chance and We’ll Meet Again, Johnny Cash

Richard and Aasmah are joined by Jo Malone CBE, who left school aged 15 with no qualifications and became a scent supremo and one of the UKs best known entrepreneurs. We also have comedian aka 'Badman' Humza Arshad who made his success online, took it mainstream and has written his first children's book: Little Badman and the Killer Aunties. There is Ishbel Holmes whose difficult upbringing prompted her, aged 21, to cycle the world rescuing street dogs and Saturday Live listener Catherine Spencer who, as a holidaymaker, got caught up in a coup in Kenya and Robin Moffitt talks about how to rescue bats. Plus: the Inheritance Tracks of Shakin' Stevens who chooses Brother Can You Spare A Dime performed by Ronnie Lane's Slim Chance and We’ll Meet Again performed by Johnny Cash. Producer: Corinna Jones Editor: Eleanor Garland

Reddington faces two trials this week. One to get the gun thrown out as in-admissible. The second, avoid getting voted out by his business associates. Fate it turns out, much like a coin is two sided. But on which side will the coin land? Support the Show! Be sure to #FillTheFedora on Patreon. Case Profile for #131 Alter Ego Alter Ego sounds amazing. Essentially it’s an organization that makes your dreams come true. Are you a gay man wanting to fake a wedding? Done. Do you want to convince your best friends you date supermodels? You got it! Sadly for Timothy Peterson, the actors at Alter Ego have other plans. Deidre and her friends concoct a plot to date Timothy, a poor trailer park resident, and convince him he has a long lost sister with a husband attached, and then off his real father, so Timothy inherits all the cash. Then get pregnant with Timothy's kid and then kill Timothy too so Deidre and her friends get the inheritance money. Meanwhile, Red looks to get the gun thrown out as in-admissible evidence by trying to prove the search was unwarranted. This leads us to find out that the caller who tipped off the cops was recorded. How soon does Liz try to break in to yet another evidence locker to protect herself, this time from Red. Be sure to answer our profiling question of the week: Will Red get out of prison legally or illegally? Visit our feedback page to leave a response or call +1 (304) 837-2278. Alter Ego In Pictures Here are a just a few of our favorite scenes from this week. The Music of Alter Ego Wasted opportunity to play Skid Row’s “Monkey Business”, just saying. But instead we get Vera Lynn’s “We’ll Meet Again” which for some reason had a really creepy eerie feeling when paired with this opening scene. Then at the end of the episode as Samar finally understands the concept of Words With Friends, “Summer Skeletons” plays from a repeat favorite artist of the Blacklist, Radical Face. You can hear these songs via the official Blacklist playlist on Spotify or the same playlist recreated by us on Apple Music. Keep Connected Each week of The Blacklist Exposed will take a deep look at both the minor and major plot lines to this fantastic series. Be sure to subscribe and review us in Apple Podcasts, Stitcher, or through whichever podcast app you prefer. Also check out our other Golden Spiral Media Podcasts. A special thanks to Veruca Crews for creating our podcast cover art. If you love it, be sure to check out the rest of her Blacklist and other artwork on her tumblr page. Thanks for listening! We’ll talk to you soon. In the meantime, be sure to keep yourself off, The Blacklist.  Send Us Feedback: Check out our Feedback Form! Call our voicemail: (304)837-2278 Email Us Connect With Us: Facebook Community Twitter Instagram Tumblr Troy's Twitter Aaron's Twitter   Subscribe to The Blacklist Exposed: Apple Podcasts,  Google Podcasts,  Spotify,  Pandora,  RSS Feed

Episode 20 of the Mavens Do It Better Podcast features Zoe Nicholson, activist, lecturer, teacher, fighter for the Equal Rights Amendment, LGBTQ Rights, Alice Paul Scholar and tour de force in the world of non-violent protest. Zoe is a living legacy with a wealth of knowledge.In honor of Alice Paul’s, Equal Rights Amendment writer and champion, 134th birthday, Zoe and Heather caught up virtually from Long Beach, CA and Marina Del Rey, CA.Listen in as Heather Newman talks with Zoe about:The implications of the passing of the Equal Rights Amendment, which needs one more state to ratifyThoughts on the upcoming Women’s March activities around the worldWhy Alice Paul and her suffrage tactics and methodologies are an important study for all today.Her segment on PBS’ We’ll Meet Again with Ann Curry that aired on January 8, 2019.Follow Zoe Nicholson at:Instagram| Facebook | Twitterwww.zoenicholson.com

Episode 16 of the Mavens Do It Better Podcast features Zoe Nicholson, activist, lecturer, teacher, fighter for the Equal Rights Amendment, LGBTQ Rights, Alice Paul Scholar and tour de force in the world of non-violent protest. Zoe is a living legacy with a wealth of knowledge.Zoe and Heather caught up in Los Angeles, CA & Long Beach, CA.Listen in as Heather Newman talks with Zoe about:Her beautiful one-woman show on Alice Paul, Tea with Alice & Me and the 19th AmendmentZoe’s lifetime of activism, study, and fight to see the Equal Rights Amendment come into lawWhat equality, intersectionality and being an equality activist meansHer upcoming segment on PBS’ We’ll Meet Again with Ann Curry that airs on January 8, 2019.Follow Zoe Nicholson at:Instagram| Facebook | Twitterwww.zoenicholson.com

The chairman of the House Veterans Affairs oversight committee has more questions about the VA hospital under construction in Aurora. Then, a Boulder company’s app lets workers award small bonuses to their peers. We’re launching a cooking tour of Colorado. First stop: Denver’s Hop Alley. And, 'We'll Meet Again' on PBS reunites a civil rights activist with her former colleague’s family.

A Wrapup to the Dog Days of Podcasting.  I’ll be taking a wee bit of time.   It’s not a goodbye though.  It’s till I see ya next time, ok? Pinky Swear! I do have a facebook page. Here’s a link to it. And I also have a twitter account!  You can find me @JoulesPodcaster … Continue reading "Five Degrees Off Normal: Episode 39 (Farewell DDOP. We’ll Meet Again)"

Newcastle-based singer-songwriter Ditte Elly is set to release her long-awaited contemporary folk-infused debut album. Ditte will launch Songs at a special gig at Trinity Church in Gosforth on March 12, with the album officially released at the beginning of April. The nine-track album will feature recordings, including Ditte’s two previously released singles, I Am Only (What You Make Me) and You Find It Easy, and is the follow-up to her 2012 EP, We’ll Meet Again. Music has always been an important part of Ditte’s life, as she grew up in Oxford listening to her parents’ musical influences and used to sing in a choir with her mum. But it wasn’t until she left school and took a year out that she began experimenting with music.

ESTER BENJAMIN SHIFREN is a published author, artist, musician, and dynamic international speaker. In 2005, she was featured in the British BBC1 program “We’ll Meet Again,” and was a guest lecturer for several days at the Imperial War Museum.Ester’s book “Hiding in a Cave of Trunks” details all facets of Shanghai’s colorful multi-ethnic population as she relates the saga of her family’s century-long existence in China. In 1943 their privileged lifestyle was abruptly terminated by internment in a Japanese POW camp. In 1948 they relocated to Hong Kong, where the Korean War embargo eventually caused their financial collapse. Ester will also discuss the techniques she used to weave history into her fascinating memoir. Endorsed as a “must read” by authorities on Shanghai’s Jewish history, Chinese Professors Pan Guang and Xu Xin, and Jerusalem Professor Yitzchak Kerem, authority on Sephardic and Eastern Jewry.

Supporting the 4 String Forum Topic, "We'll Meet Again." - - - ''Compass 56.'' I called on the style of legendary country pianist, Mr "Floyd Cramer" to help me out with this one. Courtesy off Band In A Box. Key G, tuning CGBD., - - - hopin' you enjoy.

Supporting the 4 String Forum Topic, "We'll Meet Again." - - - ''Compass 56.'' I called on the style of legendary country pianist, Mr "Floyd Cramer" to help me out with this one. Courtesy off Band In A Box. Key G, tuning CGBD., - - - hopin' you enjoy.

A song from WWII. Sung by Vera Lynn, considered the sweetheart of the allied forces. She had many heart warming songs that lifted the spirits of the boys fighting so far from home. Other hits included: There'll Be Bluebirds Over The White Cliffs Of Dover, When The Lights Go On Again All Over the World & We'll Meet Again.

A song from WWII. Sung by Vera Lynn, considered the sweetheart of the allied forces. She had many heart warming songs that lifted the spirits of the boys fighting so far from home. Other hits included: There'll Be Bluebirds Over The White Cliffs Of Dover, When The Lights Go On Again All Over the World & We'll Meet Again.

Cd de aniversario Now Music con los hits que solo escuchaste en www.nowmusicradio.com Bittersweet .- Jodie harsh mix Inna .- Sun is Up If we ever Meet Again.- Katy Perry Alizeé .- le collines Stereo Love .- Edward Maya Bad Romance .- Lady Gaga Saparks.- TATU Starstruck .- Katy Perry We are the world .- 25 artist for haití . 3 way the Golden Rule .- Lady Gaga feat Justin Timberlake Heartbeat .- Nicole Scherzinger Alice.- Avril Lavigne Bonamana.-SuperjUnior Chica Boom.- Dan Balan I dont wanna Dance .- hey Monday Un Momento .- Inna On to the Next One.- Jay Z Never forget you.- Lena Katina Like a Robot .- Aqua Dancing Crazy.- Miranda Cosgrove End of the Line .- Negative Mundian tu bachke .- I love you.- 2NE1 Lemonade .- Alexandra Stan Locked ou of heaven .- Bruno Mars Titanium .- David Guetta I can only Imagine .- David Guetta Kilye Minogue.- Time Bomb Summertime Sadness .- Lana del Rey Primmadonna.- Marina and the Diamonds Arianna Grande .- The way The Spark .- Afrojack One Direction .- Redfoo .- Lets get Ridicoluos A light that never comes .- Linkin Park Kangaroo Court .- Capital Cities Dido .- NYC One direction .- one way or another Psy.- Gentleman Wighfield Saturday Night

Cd de aniversario Now Music con los hits que solo escuchaste en www.nowmusicradio.com Bittersweet .- Jodie harsh mix Inna .- Sun is Up If we ever Meet Again.- Katy Perry Alizeé .- le collines Stereo Love .- Edward Maya Bad Romance .- Lady Gaga Saparks.- TATU Starstruck .- Katy Perry We are the world .- 25 artist for haití . 3 way the Golden Rule .- Lady Gaga feat Justin Timberlake Heartbeat .- Nicole Scherzinger Alice.- Avril Lavigne Bonamana.-SuperjUnior Chica Boom.- Dan Balan I dont wanna Dance .- hey Monday Un Momento .- Inna On to the Next One.- Jay Z Never forget you.- Lena Katina Like a Robot .- Aqua Dancing Crazy.- Miranda Cosgrove End of the Line .- Negative Mundian tu bachke .- I love you.- 2NE1 Lemonade .- Alexandra Stan Locked ou of heaven .- Bruno Mars Titanium .- David Guetta I can only Imagine .- David Guetta Kilye Minogue.- Time Bomb Summertime Sadness .- Lana del Rey Primmadonna.- Marina and the Diamonds Arianna Grande .- The way The Spark .- Afrojack One Direction .- Redfoo .- Lets get Ridicoluos A light that never comes .- Linkin Park Kangaroo Court .- Capital Cities Dido .- NYC One direction .- one way or another Psy.- Gentleman Wighfield Saturday Night

Apple Acknowledges iMessage Issue for Some in iOS 7 Apple Insider: Steps to Fix iMessage Issue in iOS 7 (Maybe) Greek Lockscreen Locking People Out of iPhones BGR Expects iOS 7.0.3 to Ship Next Week 9 to 5 Mac Sees Evidence of iOS 7.0.3 in Its Analytics Apple Issues Firmware Updates for A Few Laptops Kantar Worldpanel: Windows Phone Sees Significant Growth Across Europe Bloomberg Looks at the Many Ways the iPhone Won’t Take Over India Apple TV in Germany Gets Vevo, NHL Icahn Says He and Cook to Meet Again in Three Weeks Fortune Says Apple Stock Pops on Icahn Twitter Message Icahn Says Meeting Got a Little Testy; Boards Not Appointed by God

Join us as we discuss the True Blood season five episode four entitled, “We’ll Meet Again”.