Podcasts about new york r

Nate & Blake continue their annual eight-part series deep diving their fantasy projections for Ottawa, New York R, New York I, and New Jersey. Ottawa - 1:57New York R - 36:27New York I - 1:04:40New Jersey - 1:27:05Apples & Ginos Website: https://applesandginos.com/Apples & Ginos Discord server: https://discord.gg/pFMMJn5TFTApples & Ginos Patreon: https://www.patreon.com/applesginosApples & Ginos on Twitter: https://twitter.com/ApplesGinosBlake Creamer on Twitter: https://twitter.com/BlakeCreamerAGJosh Hutchinson on Twitter: https://twitter.com/JustJoshin41Mark Barbour on Twitter: https://twitter.com/18sktrsBoring and Alone by there there: https://open.spotify.com/track/5K0boiXusjKsVZ8gcabcUc?si=ccf8c35bb4b14b7f

Extrait : « … Au début je voulais mettre la chanson du film Diabolo menthe, tourné en 77 par Diane Kurys. En fait c'était surtout en souvenir de la jolie Éléonore Klarwein, la jeune actrice qui mettait le feu dans mes rêves adolescents. Mais c'eut été selon moi rendre un moindre hommage à ce dandy discret et lettré, aussi j'ai finalement choisi J'ai rêvé New York, sortie en 74 sur l'album « Respirer, chanter », une vision onirique et romantique de New York … »Pour commenter les épisodes, tu peux le faire sur ton appli de podcasts habituelle, c'est toujours bon pour l'audience. Mais également sur le site web dédié, il y a une section Le Bar, ouverte 24/24, pour causer du podcast ou de musique en général, je t'y attends avec impatience. Enfin, si tu souhaites me soumettre une chanson, c'est aussi sur le site web que ça se passe. Pour soutenir Good Morning Music et Gros Naze :1. Abonne-toi2. Laisse-moi un avis et 5 étoiles sur Apple Podcasts, ou Spotify et Podcast Addict3. Partage ton épisode préféré à 3 personnes autour de toi. Ou 3.000 si tu connais plein de monde. Good Morning Music Hébergé par Acast. Visitez acast.com/privacy pour plus d'informations.

The experts reveal their top open-source R libraries with us live from the New York R Conference! This Super Data Science Podcast episode features an exclusive panel with data science trailblazers Drew Conway, Jared Lander, Emily Zabor, and JD Long. They share their favorite R libraries and valuable insights to enhance your data science practice. Additional materials: www.superdatascience.com/790 Interested in sponsoring a SuperDataScience Podcast episode? Visit passionfroot.me/superdatascience for sponsorship information.

Du lundi au jeudi, Hélène Zelany reçoit un invité au centre de l'actualité.

Du lundi au jeudi, Hélène Zelany reçoit un invité au centre de l'actualité.

Support the SHOW https://www.buymeacoffee.com/derekosheashowSUPPORT THE SHOW : https://streamelements.com/theoneminutenews/tipWANT A MERCH aka SWAG: https://my-store-d4b9d0.creator-spring.com/Sam Bankman-Fried arrested in forcing Elton to Leave Twitter and Elon Musk shares pronouns#politics #politicalnews #breakingnews Some Sources:Elton John announces he's leaving Twitter over 'unchecked' misinformation — and Elon Musk respondsUkraine may get a lifeline from a NATO fund that had been earmarked for AfghanistanThe conversations about the new funds come at a time when Kyiv is asking for more support from western countries to fend off Russian advances in the coming months.https://www.politico.com/news/2022/12/07/nato-fund-ukraine-afghanistan-00072591Pentagon Worries Russian Released in Prisoner Swap May Return to Arms Traffickinghttps://12ft.io/proxy?ref=&q=https://freebeacon.com/biden-administration/report-pentagon-worries-russian-released-in-prisoner-swap-may-return-to-arms-trafficking/Biden Grants Historic Federal Bailout to Union Pension Fund Struggling in His Economyhttps://freebeacon.com/biden-administration/biden-grants-historic-federal-bailout-to-union-pension-fund-struggling-in-his-economy/Cambridge Dictionary just dropped a new definition of "woman."The Chief of U.S. Border Patrol reports there have been over 16,000 migrant encounters at the border in the last 48 hours. That's an average of 8,000 per day. Former Obama DHS Secretary Jeh Johnson once said 1,000 in a day would be a “crisis”. We are 8x that right now.FTX founder Sam Bankman-Fried arrested in the BahamasWhat does the president say to religious orgs who fear they will now be targeted by the government due to their beliefs in traditional marriage?"Jean-Pierre: "It takes that into account. Tomorrow is going to be a really important day and we cannot forget that."Jean-Pierre is asked about @elonmusk calling for Fauci to be prosecuted:"These personal attacks that we have been seeing are incredibly dangerous. They are disgusting and they are divorced from reality... We should be thankful to him."Reporter to Biden's National Security Advisor: “Does the administration consider Viktor Bout to be a terrorist?”A huge migrant caravan of over 1,000 people crossed illegally into El Paso, TX last night, making it the largest single group we have ever seen. The city of El Paso reports Border Patrol now has over 5,000 in custody & has released hundreds to city streets. @FoxNewsEmail: derekosheashow@gmail.comLocals:  https://locals.com/member/DerekOsheaShowYoutube: Rumble  : https://rumble.com/c/c-624233Podcast Audio Webpage: https://derekosheashow.buzzsprout.comApple Podcast : https://podcasts.apple.com/us/podcast/derek-oshea-show-comedy-news-show/id1508917484Spotify : https://open.spotify.com/show/3BNCK8HjbDOtyOlHMOVGTXOdysee: https://odysee.com/@DerekOsheaShowWebsite : https://theoneminutenews.wixsite.com/derekosheashowTwitter: https://twitter.com/DerekOsheaShowInstagram : https://www.instagram.com/derekosheashow/Bitchute: https://www.bitchute.com/channel/LgKyzhcXmm52/Gab: https://gab.com/TheOneMinuteNewsFacebook : https://www.facebook.com/DerekOsheaShowTikTok : https://www.tiktok.com/@derekosheashow?Twitch : https://www.twitch.tv/derekosheaBreaking News,Breaking News Live,Current Events,Daily News,Political News,Political Satire,Political Comedy,president donald trump,time person of 2022,john bolton,donald trump,trump news,biden news,housing market news,disney news,NY reperations,New York Reperations,California Reperations,Political Comedy News,Live Show,Live News,News,News ShowSupport the show

Det är supervarmt i länder som Spanien och Portugal just nu. Flygstrejk gör att 11-åriga Oliver och 14-åriga Sadie Koo inte kan åka hem till New York, så de får underhålla sig i Göteborg. 10-åriga Ida Ahlin gillar när det går fort - hon är på gokartläger.

Though we tend to think of "miraculous" healings as the domain of religious miracle workers, a number of UFO witnesses claim to have been spontaneously healed during or after their sightings. By examining these kinds of anomalous effects on witnesses, we probably won't learn where UFOs come from, but we may explain what they are doing here. Support us on Patreon: https://patreon.com/user?u=3375417 Donate on Paypal: https://ThinkAnomalous.com/support.html Watch the video version on YouTube: https://youtu.be/BVH9wu28yEQ Website: https://ThinkAnomalous.com Full sources & transcript: https://ThinkAnomalous.com/drx-ufo.html Facebook: https://facebook.com/ThinkAnomalous Twitter: https://twitter.com/Think_Anomalous Instagram: https://instagram.com/Think.Anomalous Think Anomalous is created by Jason Charbonneau. Illustration by Colin Campbell. Research by Clark Murphy. Music by Josh Chamberland. Animation by Brendan Barr. Sound design by Will Mountain and Josh Chamberland. Sources: Bidault, Bernard. OVNIs - Attention danger !. JMG Editions, 2003. Dennett, Preston E. The Healing Power of UFOs: 300 True Accounts of People Healed by Extraterrestrials. Independently published, 2019. Hopkins, Budd. Missing Time: A Documented Study of UFO Abductions. New York : R. Marek Publishers, 1981. Mack, John. Abduction: Human Encounters with Aliens. Scribner, 1994. Michel, Aimé. “The Strange Case of Dr ‘X.'” Flying Saucer Review special issue no. 3 (August/September 1969): 3-16. Translated from French by Gordon Creighton. Michel, Aimé. “The Strange Case of Dr. ‘X' - Part 2.” Flying Saucer Review Vol. 17, No. 6 (November/December 1971): 3-9. Translated from French by Gordon Creighton. Krippner, Stanley and Jeanne Achterberg. "Anomalous Healing Experiences." Varieties of anomalous experience: examining the scientific evidence. October 2012. Strieber, Whitley and Jeffrey Kripal. The Super Natural: A New Vision of the Unexplained. TarcherPerigee, 2016. Vallée, Jacques. “The Magonia Database: A Century of UFO Landings (1868-1968).” In Passport to Magonia: From Folklore to Flying Saucers. Casefile 921. Chicago, IL, U.S.A.: Publ. Henry Regnery Co., 1969. http://ufoinfo.com/magonia/part10.shtml UFO Case Review contains sound design with elements downloaded from Freesound.org. Typewriter_2rows.wav, Uploaded by Fatson under the Attribution License. This podcast also contains a free sound effect from SoundBible, recorded by BlastwwaveFx.com.

Though we tend to think of "miraculous" healings as the domain of religious miracle workers, a number of UFO witnesses claim to have been spontaneously healed during or after their sightings. By examining these kinds of anomalous effects on witnesses, we probably won't learn where UFOs come from, but we may explain what they are doing here. Support us on Patreon: https://patreon.com/user?u=3375417 Donate on Paypal: https://ThinkAnomalous.com/support.html Watch the video version on YouTube: https://youtu.be/BVH9wu28yEQ Website: https://ThinkAnomalous.com Full sources & transcript: https://ThinkAnomalous.com/drx-ufo.html Facebook: https://facebook.com/ThinkAnomalous Twitter: https://twitter.com/Think_Anomalous Instagram: https://instagram.com/Think.Anomalous Think Anomalous is created by Jason Charbonneau. Illustration by Colin Campbell. Research by Clark Murphy. Music by Josh Chamberland. Animation by Brendan Barr. Sound design by Will Mountain and Josh Chamberland. Sources: Bidault, Bernard. OVNIs - Attention danger !. JMG Editions, 2003. Dennett, Preston E. The Healing Power of UFOs: 300 True Accounts of People Healed by Extraterrestrials. Independently published, 2019. Hopkins, Budd. Missing Time: A Documented Study of UFO Abductions. New York : R. Marek Publishers, 1981. Mack, John. Abduction: Human Encounters with Aliens. Scribner, 1994. Michel, Aimé. “The Strange Case of Dr ‘X.'” Flying Saucer Review special issue no. 3 (August/September 1969): 3-16. Translated from French by Gordon Creighton. Michel, Aimé. “The Strange Case of Dr. ‘X' - Part 2.” Flying Saucer Review Vol. 17, No. 6 (November/December 1971): 3-9. Translated from French by Gordon Creighton. Krippner, Stanley and Jeanne Achterberg. "Anomalous Healing Experiences." Varieties of anomalous experience: examining the scientific evidence. October 2012. Strieber, Whitley and Jeffrey Kripal. The Super Natural: A New Vision of the Unexplained. TarcherPerigee, 2016. Vallée, Jacques. “The Magonia Database: A Century of UFO Landings (1868-1968).” In Passport to Magonia: From Folklore to Flying Saucers. Casefile 921. Chicago, IL, U.S.A.: Publ. Henry Regnery Co., 1969. http://ufoinfo.com/magonia/part10.shtml UFO Case Review contains sound design with elements downloaded from Freesound.org. Typewriter_2rows.wav, Uploaded by Fatson under the Attribution License. This podcast also contains a free sound effect from SoundBible, recorded by BlastwwaveFx.com.

ARTtoÙ Traccia-partitura-montaggio “...la musica...è accessibile soltanto attraverso il canto: suonare bene uno strumento significa...cantare bene sullo stesso strumento... Solo l'esatta comprensione del melos dà anche l'esatto movimento:...i nostri direttori non sanno nulla del tempo esatto per la ragione che non capiscono nulla di canto. Non mi sono ancora imbattuto in un Kappellmeister tedesco o altro direttore di musica che, con bella oppure brutta voce, sia veramente capace di cantare una melodia; per costoro la musica è una faccenda singolarmente astratta, un qualcosa di fluttuante tra grammatica, aritmetica e ginnastica, per cui si comprende molto bene che colui che in essa fu istruito, sia adatto come giusto insegnante in un conservatorio o un istituto di ginnastica musicale, non si può al contrario capire come costui sia in grado di infondere vita e anima ad un'esecuzione musicale.”*1 TITOLO: letto artù; come l'inglese “arte per” e dialettale italiana nominazione di Arturo: Come colui che dà la sua arte per. La direzione d'orchestra - dell'opera - in questo senso musicale: opera; mette in opera l'arte per... ARTtoÙ - MOMENTO 2: Durante il suo ultimo concerto nel '54, Toscanini ebbe un mancamento, perdendo - o appunto mancando - il tempo... “ quando Wagner buttò giù questo semplice accordo di la mag dato ai Violini e ai Legni, ho sempre immaginato che lui sia sparito dalla terra in momento di grande e sublime ispirazione...” *2 *1 R. Wagner - Scritti teorici e polemici: Del dirigere; p.105 - EDT *2 A.Toscanini - Lettere: p.416 - Ed. Il Saggiatore Introduzione/Montaggio: Lorenzo Fioravanti Dal concerto del 4 Aprile 1954 presso la Carnegie Hall di New York: R. Wagner, Tannhauser - Overture R. Wagner, Lohengrin, Atto I, Preludio

Using the helpers from usethis for pull request workflows, 2021 New York R conference videos now available, and the origins of the newly released ggalignment package for D&D inspired alignments. Plus, a new era of the podcast begins with our new co-host Mike Thomas! Episode Links This week's curator: Eric Nantz (@theRcast (https://twitter.com/thercast)) Welcome our brand new co-host Mike Thomas! (@mike_ketchbrook (https://twitter.com/mike_ketchbrook)) Pull Request Flow with usethis (https://www.garrickadenbuie.com/blog/pull-request-flow-usethis/) 2021 New York R Conference Videos (https://www.youtube.com/playlist?list=PLlzRFZmxVl9RVwRP6WKOUXTiRMFkF2cPF) {ggalignment} 1.0.0 (https://cran.r-project.org/package=ggalignment): Plots 'D&D'-Style Alignment Charts Entire issue available at rweekly.org/2021-W41 (https://rweekly.org/2021-W41.html) Supplement Resources {gert} (https://docs.ropensci.org/gert): Simple Git client for R Jared Lander's talk: GPU Computing in R (https://youtu.be/fKWaErupNKE) Megan Robertson's talk: Creating Production-Level Data Science Code (https://youtu.be/F3lC4qf84FI) Dungeons & Dragons alignment history on [Wikipedia](https://en.wikipedia.org/wiki/Alignment(Dungeons%26_Dragons) Afton Coombs' previous Twitch stream (https://www.twitch.tv/videos/1159958423) submitting {ggalignment} to CRAN!

On a Sunday afternoon drive, Alexander and his son drove past each of the churches in the city. When they passed a theatre, his son Lewis asked “Whose church is that, father?”and  Alexander told him, “That is the devil's church, my son".   Lewis left for California in 1849 from Philadelphia, his wife Elizabeth LeBreton Stickney and four children joined him two years later, in Sonora, California. If you live in, or have been to Sonora, chances are you are familiar with the Gunn House Hotel, built 1850 by Dr. Lewis C. Gunn, who published the Sonora Herald and other abolition papers inside the now present Hotel. The Princeton Theological Seminary was established in 1812, it was the first Seminary founded by the General Assembly of the Presbyterian Church. If you  do not  know, a seminary is an educational institute that also teaches scripture and theology.  Seminary can prepare someone to be a clergy member. This  was not the same school as Princeton University.  The College of New Jersey, later to become Princeton University, was supportive of this plan. Although the Princeton Theological Seminary did have the support of the school, and recognized that the specialized work required more attention than they could give. In 1835, Lewis was a student at the Princeton Theological Seminary, where the discussion of abolition was prohibited.  The 18 year old man learned that the American Anti-Slavery Society agent and abolitionist speaker, Amos Phelps had plans to visit the campus, against the will of the faculty and the local Presbyterian church.  Amos Phelps had graduated from Yale's Divinity School after graduating from Yale University. Training for the Christian ministry was a main purpose in the founding of Yale College in 1701.  Lewis wrote a letter to the Anti-Slavery agent Amos Phelps that March. He must have known the tremendous risk.  In this letter, Lewis told Amos Phelps that he should rent the second floor of a house for a private meeting. Lewis strongly advised against the use of a public gathering place. Lewis also directed Phelps to bring tickets, so that they could control who came in. The tickets would only be available to a small group of sympathetic students. Lastly, Lewis instruced Phelps to arrive without notice.  In the letter that Lewis wrote to Phelps, Lewis is quoted saying,  “The difficulty in holding a truly public meeting is that there are many very wild students in the college from the South, who would like no better frolic than to mob an antislavery man. For the sake of the cause of abolition here, as well as my peace while I remain in this place, I do not whisper it even though I have had a hand in bringing it about.”  September, 1835, the word on the street was that an abolitionist was in the area. The unsympathetic students were on high alert.   A group of students, all white were out and about on the fourth of September. The men decided to take a short cut through Princeton's black neighborhood. So the white men were all walking down Witherspoon Street in the black part of town, when someone in the group noticed that there was a white man inside one of the homes. The home of   Anthony Simmons, a professional caterer and a prominent member of Princeton's black community.  The assumption was made that this was the talk about the abolitionist, who was there to hold a meeting. The news of the rebellion spread fast. Soon, at least sixty undergraduates gathered on Witherspoon Street. The group made up almost a third of the entire student population of the Seminary. The men then mobbed down Witherspoon Street to the home of Anthony Simmons.  When they get to his house, Simmons attempted to block his door.  The crowd is demanding to know if Simmon's was hiding a white man inside.  At first, Simmons was frightened to death and answered no. The men aggressively continued the questioning until Anthony Simmons broke.  Leading the crowd was the freshman Thomas Ancrum, and the sophomore Hilliard Judge.  The two men barged into the home and grabbed  the hiding white man by the throat and drug him out onto Witherspoon Street.  While Ancrum and Judge rough the guy up, some of the students ransacked the man's belongings and quickly discovered that the man was an agent and author for many abolitionist publications. Papers like the Emancipator, the Liberator, and the Philanthropist. His books and notes were burned. The seething Seminary students were shouting suggestions for punishment. More local residents started to join in with the mob. “‘Lynch him', ‘kick him out of town', ‘kick him to death', ‘hang him', tar and feather him”.  The crowd voted to lynch the abolitionist. The man begged for his life, and the mob “told the man that they would let him go upon condition that he renounce abolition and swore by all that is holy he would have nothing more to do with it.”   On hearing that he had a family Judge who had been one of his most violent persecutors became his warmest advocate and said that no one should hurt the man unless he did it through him. They told the old fellow that they would let him go upon condition that he renounced abolition and swore by all that is holy he would have nothing more to do with it. He took the required oath and promised he would leave town directly, but they, to be more certain of his going and to have a little more fun with him, said they would accompany to the end of town. The parade was a warning to the rest of the students. Deterring them from pursuing talk of abolition.  They took him beyond the last house of the village, on the road leading to Phil, and letting him go told him to heel it for his life. Those who were there say they never saw a man run so fast before he soon got into a woods close by and they lost him. That you may not be astonished at his running so fast, I will just mention again the different kinds of punishment they threatened to inflict upon him if they caught him again; "tar and feather him,” "tar and feather him and set him on fire,” “put him in a hollow log stop up both end and heave him in the canal," “Lynch him," (which you know signifies thirty nine with the cowhide, tard and feathered, put in a canoe in the middle of the river without oars or paddle, and sent adrift) "hang him. The press announced the victim's name was Silas Tripp. This was the name found on the unpublished abolition papers he was writing, which were found and burned.  No such name is listed in any of the leading abolitionist publications of the era. Silas Tripp is believed to be the author's pseudonym.  Tripp told his attackers that he was married and lived in Philadelphia, and that it was for their support that he had undertaken this agency..  On the day following the attack, however, unspecified sources informed the students that he was single and from New York. Who really was the victim?  Two options. Was it the agent Amos Phelps, who would assume the editorship of the New York City-based Emancipator the following year? At the time of the attack, Phelps was married and had a child.   Or was it Lewis, the organizer of the secret meeting in Princeton, who was born in New York and graduated from Columbia? The newspapers in the south applauded the mob. The Princeton Administration did nothing. The discussion of abolition at the school was prohibited.   The faculty was committed to the act of colonization. The school was in deep opposition to abolition. That was well known.  The administration's silence gave insinuated approval of the mob's actions. Often, silence leads to violence.    The ringleader Thomas Ancrum left Princeton to run his family's plantation in South Carolina, where he came to own over 200 slaves.  He later assaulted Princeton Seminary alumnus and black abolitionist Theodore Wright at a Princeton graduation ceremony. Again, he faced no repercussions.    Whether Phelps made the journey to Princeton in 1835 is unclear. If Lewis' plan was successful, their meeting occurred in secret, with only a select few in town or on campus aware of it. If the meeting did occur, it may have contributed to the birth of a new anti-slavery society in Princeton.   Mob violence of this sort was not unusual in antebellum America. Historian David Grimsted counts thirty-five anti-abolition riots in the summer of 1835 alone. Violence occasionally erupted on college campuses encouraged by hostile or indifferent administrators and faculty members.  Abolitionist newspapers attracted special attention, and their presses were attacked and destroyed at least thirteen times during this period.    Lewis withdrew from Princeton and worked as a teacher until he moved to Philadelphia, where he started a printing company. Perhaps inspired by events at Princeton, Lewis abandoned secrecy altogether and specialized in abolitionist literature.    There he met Elizabeth Le Breton Stickney, who was also devoted to the antislavery cause and also spent much time visiting among the poor and black people of Philadelphia, trying to teach them to read and to become thrifty. They would marry two years later, and continue to live in Philadelphia.    Lewis also helped to organize a boycott of slave-produced goods. Responding to criticism that the boycott was impractical, he argued that it would keep the issue of slavery at the forefront of the public consciousness. “Free discussion,” he wrote, “is the vital air of abolitionism.”    In November 1837, Lewis' seminary classmate, Elijah Lovejoy, was shot to death while defending his printing press from an anti-abolition mob in Illinois.  Several months later, Lewis spoke on the right of free discussion, standing in front of a large crowd at the newly built Pennsylvania Hall, his voice booming. “There are two and a half millions of slaves who are never allowed to speak on their own behalf, or tell the world freely the story of their wrongs. There are also half a million of so-called free people of color, who are permitted to speak with but little more liberty than the slaves. Nor is this all. Even those who stand up in behalf of the down-trodden colored man, however white their skins may be, are slandered, persecuted, mobbed, hunted from city to city, imprisoned, and put to death! Without freedom of speech, we ourselves are slaves.”      Two days  later, that newly built Pennsylvania Hall was burned to the ground by an anti-abolition mob then pushed by local officials and politicians, leaving black families throughout the city under attack.     In 1838, Lewis wrote his address to Abolitionists and it was published by Merrihew & Gunn Printers in Philadelphia.      We are not about to tell you of the existence of slavery in our "land of the free," or to inform you that nearly three million of your countrymen are the victims of systematic and legalized robbery and oppression. This you know full well, and the knowledge has awakened your strong sympathy with the sufferers, and your soul-deep abhorrence of the system which crushes them. We mean not to prove that this system is condemned by every principle of justice, every precept of the Divine law, and every attribute of the Divine character, — or that no man can innocently sustain to his fellow man the relation it has established. You already believe this proposition, and build upon it as a fundamental doctrine, the whole superstructure of your anti-slavery creed and plan of operations. It is not our purpose to convince you that the slave, as your brother man, has a right to your compassion and assistance. You acknowledge his claim, and profess to be his fast and faithful friend. But we would propose to you a question of weight and serious import. Having settled your principles, do you practically carry them out in your daily life and conduct? To one point we would direct your attention. Do you faithfully abstain from using the products of the slave's extorted and unpaid labor? If not, having read thus far, do not immediately throw aside this address with an exclamation of contempt or indifference, but read it through with candor. Before entering upon a discussion of the question, whether our use of the products of slave-labor does not involve us in the guilt of slaveholding, we ask your attention to the two following propositions.     The love of money is the root of the evil of slavery — and the products of slave-labor are stolen goods.   The love of money is the root of the evil of slavery. We say that the whole system, with all its incidents, is to be traced to a mean and heartless avarice. Not that we suppose every individual slaveholder is actuated by a thirst for gold; but that slaveholders so generally hold slaves in order to make money by their labor, that, if this motive were withdrawn, the system would be abolished. If nothing were gained, it would not be long before the commercial staples would cease to be produced by slave-labor, and this would break the back-bone of the system. A comparison of the history of the cotton trade with that of slavery would show that every improvement in the cultivation and manufacture of cotton has infused new vigor into the system of slavery; that the inventions of Cartwright, Whitney and others, have diminished the proportional number of emancipations in the United States, enhanced the value of slaves, and given a degree of stability to the robbery system which it did not before possess. Indeed, every fluctuation in the price of cotton is accompanied by a corresponding change in the value of slaves.  It is the love of money, then, that leads to the buying and working of slaves. And all the laws forbidding education, sanctioning cruelty, binding the conscience, in a word, all the details of the system, flow from the buying of men and holding them as property, to which the love of money leads. Are we not, so far, correct?    Articles produced by slave-labor are stolen goods. Because every man has an inalienable right to the fruits of his own toil. It is unnecessary to prove this to abolitionists. Even slaveholders admit it. John C. Calhoun says: " He who earns the money — who digs it out of the earth with the sweat of his brow, has a just title to it against the universe. No one has a right to touch it without his consent, except his government, and it only to the extent of its legitimate wants; to take more, is robbery." This is what slaveholders do. By their own confession, then, they are robbers. In the language of Charles Stuart, "their bodies are stolen, their liberty, their right to their wives and children, their right to cultivate their minds, and to worship God as they please, their reputation, hope, all virtuous motives are taken away by a legalized system of most merciless and consummate iniquity. Such is the expense at which articles produced by slave-labor are obtained. They are always heavy with the groans, and often wet with the blood of the guiltless and suffering poor." But, say some, "we admit that the slaves are stolen property; and yet the cotton raised by their labor is not, strictly speaking, stolen, any more than the corn raised by means of a stolen horse." In reply, we say that it is stolen. In every particle of the fruit of a man's labor he holds  property until paid for that labor, the slave is under no such contract. He, therefore, who sells the produce of his toil before paying him, sells stolen property. If the case of the corn raised by means of a stolen horse is parallel, it only proves the duty of abstaining from that also. If it be not parallel, it proves nothing. If, then, the products of slave-labor are stolen goods, and not the slaveholder's property, he has no right to sell them. We are now prepared to examine the relation between the consumer of slave produce and the slaveholder, and to prove that it is guilty, all guilty.    Lewis and Elizabeth LeBreton Stickney made their home in Philadelphia after their marriage in 1839. Lewis left for California in 1849 from Philadelphia, his wife Elizabeth LeBreton Stickney and four children joined him two years later, in Sonora, California.  If you live in, or have been to Sonora, chances are you are familiar with the Gunn House Hotel, Built 1850, by Dr. Lewis C. Gunn, who published the Sonora Herald and other abolition papers inside the now present Hotel.    Enos Lewis Christman in July, 1850, printed the first number of the Sonora Herald, at Stockton, and carried it to Sonora on horseback, where it was circulated at 50 cents per copy. A printing office was soon established in a tent in Sonora, the first newspaper in southern mines and a little later he entered into partnership with Dr. Lewis C. Gunn, formerly of Philadelphia, running from 1850-1852, As well as the County Recorder's Office, where The Gunn House stands today.    The home of Dr. Gunn's family until 1861, the building is one of only a few original adobe structures in Sonora and the First Two-Story House in Sonora. According to the old tghhospital.com, the first Tuolumne General Hospital was built in 1861 on the northwest corner of Stewart and Lyon Streets in the notorious Tigre district of Chinatown. Right where Sonora has it's farmers market.   In 1873, the Lewis C. Gunn residence, now known as the Gunn House, was purchased, remodeled, and enlarged as Tuolumne General Hospital that remained until 1897.  Water was added to the facility in the mid 1870's.  Then made into a hotel called the Italia Hotel.  In 1960, the hotel was remodeled and renamed the Gunn House, which many say is haunted.  https://www.ptsem.edu/about/history [1]Lewis C. Gunn to Amos A. Phelps, 16 March 1835, MS A.21 v.5, p.20, Amos A. Phelps Correspondence, Rare Books and Manuscripts Department, Boston Public Library (Boston, MA); James H. Moorhead, “Slavery, Race, and Gender at Princeton Seminary: The Pre-Civil War Era,” Theology Today 69 (October 2012): 274-288. ⤴ [2]Amos A. Phelps, Lectures on Slavery and its Remedy (Boston: New-England Anti-Slavery Society, 1834); Edward A. Phelps, “Rev. Amos A. Phelps – Life and Extracts from Diary,” MS 1037, Amos A. Phelps Correspondence, Rare Books and Manuscripts Department, Boston Public Library (Boston, MA). ⤴ [3]William H. Hilliard, David Jones, and Paul Blount to William Lloyd Garrison, 30 July 1835, in the Liberator, 8 August 1835; John Frelinghuysen Hageman, History of Princeton and Its Institutions, vol. 2 (Philadelphia: J. B. Lippincott & Co., 1879), 217-227. ⤴ [4]My reconstruction of this event is based on three manuscript letters: Thomas M. Clark to John M. Clapp, 8 September 1835, Spared & Shared 4, accessed 1 September 2017, http://sparedshared4.wordpress.com/letters/1834-thomas-march-clark-to-john-milton-clapp/; Gilbert R. McCoy to Gilbert R. Fox, [10] September 1835, in the Princeton University Library Chronicle 25 (Spring 1964): 231-235; John W. Woods to Marianne Woods, 14 September 1835, folder 10, box 7, John Witherspoon Woods Letters, Student Correspondence and Writings Collection (AC334), Princeton University Archives, Department of Rare Books and Special Collections, Princeton University Library (Princeton, NJ). ⤴ [5]McCoy to Fox, [10] September 1835, Princeton University Library Collection; The Anti-Slavery Record, vol. 1 (New York: R. G. Williams, 1835), 84; “List of Letters,” Liberator, 12 July 1834; “Letter from Mr. Johnson,” Colored American, 30 January 1841; Rina Azumi, “John Anthony Simmons,” Princeton & Slavery Project, accessed 1 July 2017, slavery.princeton.edu/john-anthony-simmons. ⤴ [6]McCoy to Fox, [10] September 1835, Princeton University Library Collection; Princeton Whig, 8 September 1835. ⤴ [7]McCoy to Fox, [10] September 1835, Princeton University Library Collection; Woods to Woods, 14 September 1835, Student Correspondence and Writings Collection. ⤴ [8]David Grimsted, American Mobbing, 1828-1861: Toward Civil War (New York: Oxford University Press, 1998), 4, 35; “The Reign of Prejudice,” Abolitionist 1 (November 1833): 175; Craig Steven Wilder, Ebony & Ivy: Race, Slavery, and the Troubled History of America's Universities (New York: Bloomsbury Press, 2013), 271-272. ⤴ [9]Princeton Whig, 8 September 1835; Trenton Emporium & True American, 12 September, 1835; Charleston Courier, 17 September 1835. ⤴ [10]“Subscription $1000,” folder 5, box 23, Office of the President Records (AC #117), Princeton University Archives, Department of Rare Books and Special Collections, Princeton University Library (Princeton, NJ). ⤴ [11]William Edward Schenck, Biography of the Class of 1838 of the College of New Jersey, at Princeton, N.J. (Philadelphia: Jas. B. Rodgers Printing Co., 1889), 163; Faculty Meetings and Minutes, 29 March, 27 June 1836, vol. 4, Office of Dean of the Faculty Records (AC118), Princeton University Archives, Department of Rare Books and Special Collections, Princeton University Library (Princeton, NJ); “Shameful Outrage at Princeton, N.J.,” Emancipator, 27 October 1836; 1850 Federal Census (Slave Schedule), FamilySearch, accessed 30 June 2017, https://familysearch.org/ark:/61903/1:1:MVZB-P3B; C. Vann Woodward, ed., Mary Chesnut's Civil War (New Haven, CT: Yale University Press, 1981), 70. ⤴ [12]Faculty Meetings and Minutes, 21 July, 10 August 1835, vol. 3, Office of Dean of the Faculty Records (AC118), Princeton University Archives, Department of Rare Books and Special Collections, Princeton University Library (Princeton, NJ); Faculty Meetings and Minutes, 4 April 1837, vol. 4, ibid.; Hilliard M. Judge to John C. Calhoun, 29 April 1849, in The Papers of John C. Calhoun, vol. 26, ed. Clyde N. Wilson and Shirley Bright Cook (Columbia: University of South Carolina Press, 2001), 385; 1850 Federal Census (Slave Schedule), FamilySearch, accessed 30 June 2017, https://familysearch.org/ark:/61903/1:1:MV8H-CNG. ⤴ [13]Anna Lee Marston, ed., Records of a California Family: Journals and Letters of Lewis C. Gunn and Elizabeth Le Breton Gunn (San Diego: n.p., 1928), 4-5; Lewis C. Gunn, Address to Abolitionists (Philadelphia: Merrihew and Gunn, 1838), 12. ⤴ [14]History of Pennsylvania Hall, which was Destroyed by a Mob, on the 17th of May, 1838 (Philadelphia: Merrihew and Gunn, 1838), 62-64. ⤴ https://www.accessible-archives.com/wp-content/uploads/2013/11/gunn-address-to-abolitionists-1838.pdf   https://www.accessible-archives.com/2013/11/lewis-c-gunn-address-to-abolitionists-1838/   https://slavery.princeton.edu/sources/letter-from-lewis-c-gunn https://slavery.princeton.edu/sources/princeton-new-jersey-young-mens-anti-slavery-society   https://slavery.princeton.edu/sources/letter-from-gilbert-r-mccoy   https://slavery.princeton.edu/sources/letter-from-john-witherspoon-woods   https://slavery.princeton.edu/sources/report-on-anti-abolition-mob   https://slavery.princeton.edu/sources/hilliard-m-judge-dismissed   https://www.jstor.org/stable/3637548?seq=1   https://www.loc.gov/item/2011661680/   https://www.loc.gov/item/24022330/   https://www.hauntedplaces.org/item/gunn-house-hotel/?fbclid=IwAR20LwM48d3TigPthdelTYTE9ezK_n618cUoNwo8eCsSkk4DUIAxeELZ0hI     https://slavery.princeton.edu/stories/attempted-lynching     https://www.digitalcommonwealth.org/search/commonwealth:6w925v431     https://www.worldcat.org/title/address-to-abolitionists/oclc/505799665?referer=di&ht=edition   https://www.worldcat.org/title/age-to-come-the-present-organization-of-matter-called-earth-to-be-destroyed-by-fire-at-the-end-of-this-age-or-dispensation-also-before-the-event-christians-may-know-about-the-time-when-it-shall-occur/oclc/15192749   https://www.worldcat.org/title/time-revealed-and-to-be-understood/oclc/821694   https://en.wikipedia.org/wiki/Douglas_Gunn  

durée : 01:05:00 - Les Nuits de France Culture - par : Philippe Garbit, Albane Penaranda, Mathilde Wagman - Par Jean-Daniel Lafond et Pierre Perrault - Avec Bill Verreault (rêveur de Rivière au Tonnerr, Basse Côte Nord au Québec) et Michel Serres (écrivain et philosophe de Paris, en transit à New York) - Réalisation Jean-Daniel Lafond - réalisation : Virginie Mourthé

Homemaking is challenging when times are good, and can seem impossible when hardship comes, threatening to rob us of the hope and vision we have for our homes.  Join us as we explore how to persevere through hard times and unmet expectations in homemaking. RESOURCESWhere to Find Karen and Shop her Business:Casa Piedra Custom Nurseries by Karen HolmesInstagram @casapiedranurseriesMentioned in the episode:The Power of Praying for Your Adult Children by Stormie OmartianThe Lost Boys of Sudan Historical Homemaker Hints:Abell, L.G., The Skillful Housewife's Book: or Complete Guide to Domestic Cookery, Taste, Comfort and Economy. New York: R.T. Young, 1853.Recommended Resources for Episode Topics:Couples and RelationshipsThe Meaning of Marriage by Timothy KellerRelationships: A Mess Worth Making: Timothy S. Lane, Paul David TrippChoosing a Counselor: What to look for and questions to ask.CaregivingReal Love for Real Life by Andi AshworthRecognizing and Avoiding Caregiver Burnout (article)Caregiving Grace; How to Tend to Others Without Burning Out (article)Diabetic ResourcesAmerican Diabetes AssociationRefugee HospitalityBethany Christian Services; Helping refugee families feel at home in the U.S.Stay In Touch with The Art of Home PodcastWebsitewww.theartofhomepodcast.com Instagram@theartofhomepodcastEmailcontact@theartofhomepodcast.com

New York Times gazetesinin, akıllı telefon verilerine dayanarak çıkardığı rapora göre 2020 yılında sadece 2 ayda, 420 Bin New Yorklu şehri terk etti. Bu, New York nüfusunun beşte birine denk düşen devasa bir sayı. Peki insanlar New York'u neden terk ediyor? Propaganda'nın bu bölümünde, “Nerede o eski New York” diyeceğiniz gerçekleri anlatacağız. New York pek çok şeyiyle meşhur: Müzikaller, Pizza, Donatlar, 2000'lerde çekilmiş sit-kom dizileri ve daha pek çoğu. Hepsi de dünyanın en popüler şehirlerinden biri olan New York'u bir rüya şehri hâline getiren detaylardan. Ancak giderek daha fazla kişi, bu rüyanın artık bittiği düşüncesinde hem fikir. 7 Ocak'ta BBC'de çıkan bir makale, “New York ölmedi ama yaşam destek ünitesinde” başlığını taşıyor.

durée : 01:04:59 - Les Nuits de France Culture - par : Philippe Garbit, Albane Penaranda, Mathilde Wagman - Par Jean-Daniel Lafond et Pierre Perrault - Avec Joe Klipffel (écrivain et amateur de Saint Malo), Robert Grenier (archéologue subaquatique d'Ottawa), Jean Gagne (historien des sciences et navigateur du Québec) et Michel Serres (philosophe et marin de Paris en transit à New York) - Réalisation Jean-Daniel Lafond - réalisation : Virginie Mourthé

"Vom Aufstehen": Helga Schubert, nominiert für den Preis der Leipziger Buchmesse, erzählt ihr "Leben in Geschichten" als Kriegs-, Flüchtlings-, Teilungskind und Autorin in der DDR. Ein Gespräch / "Lesen ist Freiheit": Vor 100 Jahren wurde Sophie Scholl geboren. Barbara Ellermeier hat recherchiert wie existentiell für Sophie Scholl das Lesen war / "Autobiografie von Alice B. Toklas": Gertrude Stein macht die Biografie über ihre Gefährtin zur Autobiografie / "Asche und Sand": Mia Coutos epochale Kolonialgeschichte aus Mosambik. Zugeschaltet aus Maputo spricht er über seinen Roman und sein Schreiben / "Unerwartete Begegnungen": Auf der Leipziger Buchmesse kann Portugal als Gastland erst nächstes Jahr glänzen, Lese-Tipps aus etwa 50 Neuerscheinungen gibt es hier / Hörbuch der Woche: Brigitte Carlsen liest "Eine ganze Welt" von Goldie Goldbloom über chassidisches Leben in Williamsburg, New York / Rätsel: Wunschbuch zu gewinnen im Taxi von Wally alias Brigitte Hobmeier

Knicks podcastimiz NVNY'nin yeni bölümünde Devlet Karaz ve Uluç Ökten, NBA'i himayesi altına alan Julius Randle önderliğinde doğu dördüncüsü New York Knicks'i değerlendirip sizlerden gelen bütün soruları cevapladı.

This week’s episode looks at “My Boy Lollipop” and the origins of ska 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 “If You Wanna Be Happy” by Jimmy Soul. Tilt Araiza has assisted invaluably by doing a first-pass edit, and will hopefully be doing so from now on. Check out Tilt’s irregular podcasts at http://www.podnose.com/jaffa-cakes-for-proust and http://sitcomclub.com/ —-more—- Resources As usual, I have created a Mixcloud playlist containing every song heard in this episode — a content warning applies for the song “Bloodshot Eyes” by Wynonie Harris. The information about ska in general mostly comes from Bass Culture: When Reggae Was King by Lloyd Bradley, with some also from Reggae and Caribbean Music by Dave Thompson. Biographical information on Millie Small is largely from this article in Record Collector, plus a paywalled interview with Goldmine magazine (which I won’t link to because of the paywall). Millie’s early recordings with Owen Gray and Coxsone Dodd can be found on this compilation, along with a good selection of other recordings Dodd produced, while this compilation gives a good overview of her recordings for Island and Fontana. Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Erratum I refer to “Barbara Gaye” when I should say “Barbie Gaye” Transcript Today, we’re going to take our first look at a form of music that would go on to have an almost incalculable influence on the music of the seventies, eighties, and later, but which at the time we’re looking at was largely regarded as a novelty music, at least in Britain and America. We’re going to look at the birth of ska, and at the first ska record to break big outside of Jamaica. We’re going to look at “My Boy Lollipop” by Millie: [Excerpt: Millie, “My Boy Lollipop”] Most of the music we’ve looked at so far in the podcast has been from either America or Britain, and I’m afraid that that’s going to remain largely the case — while there has been great music made in every country in the world, American and British musicians have tended to be so parochial, and have dominated the music industry so much, that relatively little of that music has made itself felt widely enough to have any kind of impact on the wider history of rock music, much to rock’s detriment. But every so often something from outside the British Isles or North America manages to penetrate even the closed ears of Anglo-American musicians, and today we’re going to look at one of those records. Now, before we start this, this episode is, by necessity, going to be dealing in broad generalisations — I’m trying to give as much information about Jamaica’s musical culture in one episode as I’ve given about America’s in a hundred, so I am going to have to elide a lot of details. Some of those details will come up in future episodes, as we deal with more Jamaican artists, but be aware that I’m missing stuff out. The thing that needs to be understood about the Jamaican music culture of the fifties and early sixties is that it developed in conditions of absolute poverty. Much of the music we looked at in the first year or so of the podcast came from extremely impoverished communities, of course, but even given how utterly, soul-crushingly, poor many people in the Deep South were, or the miserable conditions that people in Liverpool and London lived in while Britain was rebuilding itself after the war, those people were living in rich countries, and so still had access to some things that were not available to the poor people of poorer countries. So in Jamaica in the 1950s, almost nobody had access to any kind of record player or radio themselves. You wouldn’t even *know* anyone who had one, unlike in the states where if you were very poor you might not have one yourself, but your better-off cousin might let you come round and listen to the radio  at their house. So music was, by necessity, a communal experience.  Jamaican music, or at least the music in Kingston, the biggest city in Jamaica, was organised around  sound systems — big public open-air systems run by DJs, playing records for dancing. These had originally started in shops as a way of getting customers in, but soon became so popular that people started doing them on their own. These sound systems played music that was very different from the music played on the radio, which was aimed mostly at people rich enough to own radios, which at that time mostly meant white British people — in the fifties, Jamaica was still part of the British Empire, and there was an extraordinary gap between the music the white British colonial class liked and the music that the rest of the population liked.  The music that the Jamaican population *made* was mostly a genre called mento. Now, this is somewhere where my ignorance of this music compared to other musics comes into play a bit. There seem to have been two genres referred to as mento. One of them, rural mento, was based around instruments like the banjo, and a home-made bass instrument called a “rhumba box”, and had a resemblance to a lot of American country music or British skiffle — this form of mento is often still called “country music” in Jamaica itself: [Excerpt: The Hiltonaires, “Matilda”] There was another variant of mento, urban mento, which dropped the acoustic and home-made instruments and replaced them with the same sort of instruments that R&B or jazz bands used. Everything I read about urban mento says that it’s a different genre from calypso music, which generally comes from Trinidad and Tobago rather than Jamaica, but nothing explains what that difference is, other than the location. Mento musicians would also call their music calypso in order to sell it to people like me who don’t know the difference, and so you would get mento groups called things like Count Lasher and His Calypsonians, Lord Lebby and the Jamaica Calypsonians, and Count Owen and His Calypsonians, songs called things like “Hoola Hoop Calypso”, and mentions of calypso in the lyrics. I am fairly familiar with calypso music — people like the Mighty Sparrow, Lord Melody, Roaring Lion, and so on — and I honestly can’t hear any difference between calypso proper and mento records like this one, by Lord Power and Trenton Spence: [Excerpt: Lord Power and Trenton Spence, “Strip Tease”] But I’ll defer to the experts in these genres and accept that there’s a difference I’m not hearing. Mento was primarily a music for live performance, at least at first — there were very few recording facilities in Jamaica, and to the extent that records were made at all there, they were mostly done in very small runs to sell to tourists, who wanted a souvenir to take home. The music that the first sound systems played would include some mento records, and they would also play a fair number of latin-flavoured records. But the bulk of what they played was music for dancing, imported from America, made by Black American musicians, many of them the same musicians we looked at in the early months of this podcast. Louis Jordan was a big favourite, as was Wynonie Harris — the biggest hit in the early years of the sound systems was Harris’ “Bloodshot Eyes”. I’m going to excerpt that here, because it was an important record in the evolution of Jamaican music, but be warned that the song trivialises intimate partner violence in a way that many people might find disturbing. If you might be upset by that, skip forward exactly thirty seconds now: [Excerpt: Wynonie Harris, “Bloodshot Eyes”] The other artists who get repeatedly named in the histories of the early sound systems along with Jordan and Harris are Fats Domino, Lloyd Price, Professor Longhair — a musician we’ve not talked about in the podcast, but who made New Orleans R&B music in the same style as Domino and Price, and for slow-dancing the Moonglows and Jesse Belvin. They would also play jazz — Dizzy Gillespie, Duke Ellington, and Sarah Vaughan were particular favourites. These records weren’t widely available in Jamaica — indeed, *no* records were really widely available . They found their way into Jamaica through merchant seamen, who would often be tasked by sound men with getting hold of new and exciting records, and paid with rum or marijuana. The “sound man” was the term used for the DJs who ran these sound systems, and they were performers as much as they were people who played records — they would talk and get the crowds going, they would invent dance steps and perform them, and they would also use the few bits of technology they had to alter the sound — usually by adding bass or echo. Their reputation was built by finding the most obscure records, but ones which the crowds would love. Every sound man worth his salt had a collection of records that nobody else had — if you were playing the same records that someone else had, you were a loser. As soon as a sound man got hold of a record, he’d scratch out all the identifying copy on the label and replace it with a new title, so that none of his rivals could get hold of their own copies. The rivalry between sound men could be serious — it started out just as friendly competition, with each man trying to build a bigger and louder system and draw a bigger crowd, but when the former policeman turned gangster Duke Reid started up his Trojan sound system, intimidating rivals with guns soon became par for the course. Reid had actually started out in music as an R&B radio DJ — one of the few in Jamaica — presenting a show whose theme song, Tab Smith’s “My Mother’s Eyes”, would become permanently identified with Reid: [Excerpt: Tab Smith, “My Mother’s Eyes”] Reid’s Trojan was one of the two biggest sound systems in Kingston, the other being Downbeat, run by Coxsone Dodd. Dodd’s system became so popular that he ended up having five different sound systems, all playing in different areas of the city every night, with the ones he didn’t perform at himself being run by assistants who later became big names in the Jamaican music world themselves, like Prince Buster and Lee “Scratch” Perry. Buster performed a few other functions for Dodd as well — one important one being that he  knew enough about R&B that he could go to Duke Reid’s shows, listen to the records he was playing, and figure out what they must be — he could recognise the different production styles of the different R&B labels well enough that he could use that, plus the lyrics, to work out the probable title and label of a record Reid was playing. Dodd would then get a merchant seaman to bring a copy of that record back from America, get a local record pressing plant to press up a bunch of copies of it, and sell it to the other sound men, thus destroying Reid’s edge. Eventually Prince Buster left Dodd and set up his own rival sound system, at which point the rivalry became a three-way one. Dodd knew about technology, and had the most powerful sound system with the best amps. Prince Buster was the best showman, who knew what the people wanted and gave it to them, and Duke Reid was connected and powerful enough that he could use intimidation to keep a grip on power, but he also had good enough musical instincts that his shows were genuinely popular in their own right. People started to see their favourite sound systems in the same way they see sports teams or political parties — as marks of identity that were worth getting into serious fights over. Supporters of one system would regularly attack supporters of another, and who your favourite sound system was *really mattered*. But there was a problem. While these systems were playing a handful of mento records, they were mostly relying on American records, and this had two problems. The most obvious was that if a record was available publicly, eventually someone else would find it. Coxsone Dodd managed to use one record, “Later For Gator” by Willis “Gatortail” Jackson, at every show for seven years, renaming it “Coxsone Hop”: [Excerpt: Willis “Gatortail” Jackson, “Later For Gator”] But eventually word got out that Duke Reid had tracked the song down and would play it at a dance. Dodd went along, and was allowed in unmolested — Reid wanted Dodd to know he’d been beaten.  Now, here I’m going to quote something Prince Buster said, and we hit a problem we’re likely to hit again when it comes to Jamaica. Buster spoke Jamaican Patois, a creole language that is mutually intelligible with, but different from, standard English. When quoting him, or any other Patois speaker, I have a choice of three different options, all bad. I could translate his words into standard English, thus misrepresenting him; I could read his words directly in my own accent, which has the problem that it can sound patronising, or like I’m mocking his language, because so much of Patois is to do with the way the words are pronounced; or I could attempt to approximate his own accent — which would probably come off as incredibly racist. As the least bad option of the three, I’m choosing the middle one here, and reading in my own accent, but I want people to be aware that this is not intended as mockery, and that I have at least given this some thought: “So we wait. Then as the clock struck midnight we hear “Baaap… bap da dap da dap, daaaa da daap!” And we see a bunch of them down from the dancehall coming up with the green bush. I was at the counter with Coxsone, he have a glass in him hand, he drop it and just collapse, sliding down the bar. I had to brace him against the bar, then get Phantom to give me a hand. The psychological impact had knocked him out. Nobody never hit him.” There was a second problem with using American records, as well — American musical tastes were starting to change, and Jamaican ones weren’t. Jamaican audiences wanted Louis Jordan, Fats Domino, and Gene & Eunice, but the Americans wanted Elvis and Jerry Lee Lewis and Bobby Darin. For a while, the sound men were able to just keep finding more and more obscure old R&B and jump band records, but there was a finite supply of these, and they couldn’t keep doing it forever. The solution eventually became obvious — they needed Jamaican R&B. And thankfully there was a ready supply. Every week, there was a big talent contest in Kingston, and the winners would get five pounds — a lot of money in that time and place. Many of the winners would then go to a disc-cutting service, one of those places that would record a single copy of a song for you, and use their prize money to record themselves. They could then sell that record to one of the sound men, who would be sure that nobody else would have a copy of it. At first, the only sound men they could sell to were the less successful ones, who didn’t have good connections with American records. A local record was clearly not as good as an American one, and so the big sound systems wouldn’t touch it, but it was better than nothing, and some of the small sound systems would find that the local records were a success for them, and eventually the bigger systems would start using the small ones as a test audience — if a local record went down well at a small system, one of the big operators would get in touch with the sound man of that system and buy the record from him. One of the big examples of this was “Lollipop Girl”, a song by Derrick Harriott and Claudie Sang. They recorded that, with just a piano backing, and sold their only copy to a small sound system owner. It went down so well that the small sound man traded his copy with Coxsone Dodd for an American record — and it went down so well when Dodd played it that Duke Reid bribed one of Dodd’s assistants to get hold of Dodd’s copy long enough to get a copy made for himself. When Dodd and Reid played a sound clash — a show where they went head to head to see who could win a crowd over — and Reid played his own copy of “Lollipop Girl”, Dodd pulled a gun on Reid, and it was only the fact that the clash was next door to the police station that kept the two men from killing each other. Reid eventually wore out his copy of “Lollipop Girl”, he played it so much, and so he did the only sensible thing — he went into the record business himself, and took Harriott into the studio, along with a bunch of musicians from the local big bands, and cut a new version of it with a full band backing Harriott. As well as playing this on his sound system, Reid released it as a record: [Excerpt: Derrick Harriott, “Lollipop Girl”] Reid didn’t make many more records at this point, but both Coxsone Dodd and Prince Buster started up their own labels, and started hiring local singers, plus people from a small pool of players who became the go-to session musicians for any record made in Jamaica at the time, like trombone player Rico Rodriguez and guitarist Ernest Ranglin. During the late 1950s, a new form of music developed from these recordings, which would become known as ska, and there are three records which are generally considered to be milestones in its development. The first was produced by a white businessman, Edward Seaga, who is now more famous for becoming the Prime Minister of Jamaica in the 1980s. At the time, though, Seaga had the idea to incorporate a little bit of a mento rhythm into an R&B record he was producing. In most music, if you have a four-four rhythm, you can divide it into eight on-beats and off-beats, and you normally stress the on-beats, so you stress “ONE and TWO and THREE and FOUR and”. In mento, though, you’d often have a banjo stress the off-beats, so the stresses would be “one AND two AND three AND four AND”. Seaga had the guitarist on “Manny Oh” by Higgs and Wilson do this, on a track that was otherwise a straightforward New Orleans style R&B song with a tresillo bassline. The change in stresses is almost imperceptible to modern ears, but it made the record sound uniquely Jamaican to its audience: [Excerpt: Higgs and Wilson, “Manny Oh”] The next record in the sequence was produced by Dodd, and is generally considered the first real ska record. There are a few different stories about where the term “ska” came from, but one of the more believable is that it came from Dodd directing Ernest Ranglin, who was the arranger for the record, to stress the off-beat more, saying “play it ska… ska… ska…” Where “Manny Oh” had been a Jamaican sounding R&B record, “Easy Snappin'” is definitely a blues-influenced ska record: [Excerpt: Theo Beckford, “Easy Snappin'”] But Duke Reid and Coxsone Dodd, at this point, still saw the music they were making as a substitute for American R&B. Prince Buster, on the other hand, by this point was a full-fledged Black nationalist, and wanted to make a purely Jamaican music. Buster was, in particular, an adherent of the Rastafari religion, and he brought in five drummers from the Rasta Nyabinghi tradition, most notably Count Ossie, who became the single most influential drummer in Jamaica, to record on the Folkes brothers single “Oh Carolina”, incorporating the rhythms of Rasta sacred music into Jamaican R&B for the first time: [Excerpt: The Folkes Brothers, “Oh Carolina”] 1962 was a turning point in Jamaican music in a variety of ways. Most obviously, it was the year that Jamaica became independent from the British Empire, and was able to take control of its own destiny. But it was also the year that saw the first recordings of a fourteen-year-old girl who would become ska’s first international star. Millie Small had started performing at the age of twelve, when she won the Vere Johns Opportunity Hour, the single biggest talent contest in Kingston. But it was two years later that she came to the attention of Coxsone Dodd, who was very interested in her because her voice sounded spookily like that of Shirley, from the duo Shirley and Lee. We mentioned Shirley and Lee briefly back in the episode on “Ko Ko Mo”, but they were a New Orleans R&B duo who had a string of hits in the early and mid fifties, recorded at Cosimo Matassa’s studio, pairing Leonard Lee’s baritone voice with Shirley Goodman’s soprano. Their early records had been knock-offs of the sound that Little Esther had created with Johnny Otis and his male vocalists — for example Shirley and Lee’s “Sweethearts”: [Excerpt: Shirley and Lee, “Sweethearts”] bears a very strong resemblance to “Double-Crossing Blues”: [Excerpt: Little Esther, Johnny Otis, and the Robins, “Double-Crossing Blues”] But they’d soon developed a more New Orleans style, with records like “Feel So Good” showing some of the Caribbean influence that many records from the area had: [Excerpt: Shirley and Lee, “Feel So Good”] Shirley and Lee only had minor chart success in the US, but spawned a host of imitators, including Gene and Eunice and Mickey and Sylvia, both of whom we looked at in the early months of the podcast, and Ike and Tina Turner who will be coming up later. Like much New Orleans R&B, Shirley and Lee were hugely popular among the sound system listeners, and Coxsone Dodd thought that Mille’s voice sounded enough like Shirley’s that it would be worth setting her up as part of his own Shirley and Lee soundalike duo, pairing her with a more established singer, Owen Gray, to record songs like “Sit and Cry”, a song which combined the vocal sound of Shirley and Lee with the melody of “The Twist”: [Excerpt: Owen and Millie, “Sit and Cry”] After Gray decided to continue performing on his own, Millie was instead teamed with another performer, Roy Panton, and “We’ll Meet” by Roy and Millie went to number one in Jamaica: [Excerpt: Roy and Millie, “We’ll Meet”] Meanwhile, in the UK, there was a growing interest in music from the Caribbean, especially Jamaica. Until very recently, Britain had been a very white country — there have always been Black people in the UK, especially in port towns, but there had been very few. As of 1950, there were only about twenty thousand people of colour living in the UK. But starting in 1948, there had been a massive wave of immigration from other parts of what was then still the British Empire, as the government encouraged people to come here to help rebuild the country after the war. By 1961 there were nearly two hundred thousand Black people in Britain, almost all of them from the Caribbean.  Those people obviously wanted to hear the music of their own culture, and one man in particular was giving it to them. Chris Blackwell was a remarkably privileged man. His father had been one of the heirs to the Crosse and Blackwell fortune, and young Chris had been educated at Harrow, but when not in school he had spent much of his youth in Jamaica. His mother, Blanche, lived in Jamaica, where she was a muse to many men — Noel Coward based a character on her, in a play he wrote in 1956 but which was considered so scandalous that it wasn’t performed in public until 2012. Blanche attended the premiere of that play, when she was ninety-nine years old. She had an affair with Errol Flynn, and was also Ian Fleming’s mistress — Fleming would go to his Jamaican villa, GoldenEye, every year to write, leaving his wife at home (where she was having her own affairs, with the Labour MPs Hugh Gaitskell and Roy Jenkins), and would hook up with Blanche while he was there — according to several sources, Fleming based the characters of Pussy Galore and Honeychile Ryder on Blanche. After Fleming’s death, his wife instructed the villa’s manager that it could be rented to literally anyone except Blanche Blackwell, but in the mid-1970s it was bought by Bob Marley, who in turn sold it to Chris Blackwell. Chris Blackwell had developed a fascination with Rasta culture after having crashed his boat while sailing, and being rescued by some Rasta fishermen, and he had decided that his goal was to promote Jamaican culture to the world. He’d started his own labels, Island Records, in 1959, using his parents’ money, and had soon produced a Jamaican number one, “Boogie in My Bones”, by Laurel Aitken: [Excerpt: Laurel Aitken, “Boogie in My Bones”] But music was still something of a hobby with Blackwell, to the point that he nearly quit it altogether in 1962. He’d been given a job as a gopher on the first James Bond film, Dr. No, thanks to his family connections, and had also had a cameo role in the film. Harry Saltzman, the producer, offered him a job, but Blackwell went to a fortune teller who told him to stick with music, and he did. Soon after that, he moved back to England, where he continued running Island Records, this time as a distributor of Jamaican records. The label would occasionally record some tracks of its own, but it made its money from releasing Jamaican records, which Blackwell would hand-sell to local record shops around immigrant communities in London, Manchester, and Birmingham. Island was not the biggest of the labels releasing Jamaican music in Britain at the time — there was another label, Blue Beat, which got most of the big records, and which was so popular that in Britain “bluebeat” became a common term for ska, used to describe the whole genre, in the same way as Motown might be. And ska was becoming popular enough that there was also local ska being made, by Jamaican musicians living in Britain, and it was starting to chart. The first ska record to hit the charts in Britain was a cover of a Jimmy Cliff song, “King of Kings”, performed by Ezz Reco and the Launchers: [Excerpt: Ezz Reco and the Launchers, “King of Kings”] That made the lower reaches of the top forty, and soon after came “Mockingbird Hill”, a ska remake of an old Les Paul and Mary Ford hit, recorded by the Migil Five, a white British R&B group whose main claim to fame was that one of them was Charlie Watts’ uncle, and Watts had occasionally filled in on drums for them before joining the Rolling Stones: [Excerpt: Migil Five, “Mockingbird Hill”] That made the top ten. Ska was becoming the in sound in Britain, to the point that in March 1964, the same month that “Mockingbird Hill” was released, the Beatles made a brief detour into ska in the instrumental break to “I Call Your Name”: [Excerpt: The Beatles, “I Call Your Name”] And it was into this atmosphere that Chris Blackwell decided to introduce Millie. Her early records had been selling well enough for him that in 1963 he had decided to call Millie’s mother and promise her that if her daughter came over to the UK, he would be able to make her into a star. Rather than release her records on Island, which didn’t have any wide distribution, he decided to license them to Fontana, a mid-sized British label. Millie’s first British single, “Don’t You Know”, was released in late 1963, and was standard British pop music of the time, with little to distinguish it, and so unsurprisingly it wasn’t a hit: [Excerpt: Millie, “Don’t You Know”] But the second single was something different. For that, Blackwell remembered a song that had been popular among the sound systems a few years earlier; an American record by a white singer named Barbara Gaye. Up to this point, Gaye’s biggest claim to fame had been that Ellie Greenwich had liked this record enough that she’d briefly performed under the stage name Ellie Gaye, before deciding against that. “My Boy Lollipop” had been written by Robert Spencer of the Cadillacs, the doo-wop group whose biggest hit had been “Speedoo”: [Excerpt: The Cadillacs, “Speedoo”] Spencer had written “My Boy Lollipop”, but lost the rights to it in a card game — and then Morris Levy bought the rights from the winner for a hundred dollars. Levy changed the songwriting credit to feature a mob acquaintance of his, Johnny Roberts, and then passed the song to Gaetano Vastola, another mobster, who had it recorded by Gaye, a teenage girl he managed, with the backing provided by the normal New York R&B session players, like Big Al Sears and Panama Francis: [Excerpt: Barbie Gaye, “My Boy Lollipop”] That hadn’t been a hit when it was released in 1956, but it had later been picked up by the Jamaican sound men, partly because of its resemblance to the ska style, and Blackwell had a tape recording of it. Blackwell got Ernest Ranglin, who had also worked on Dr. No, and who had moved over to the UK at the same time as Blackwell, to come up with an arrangement, and Ranglin hired a local band to perform the instrumental backing. That band, Jimmy Powell and the Five Dimensions, had previously been known as the Moontrekkers, and had worked with Joe Meek, recording “Night of the Vampire”: [Excerpt: The Moontrekkers, “Night of the Vampire”] Ranglin replaced the saxophone solo from the original record with a harmonica solo, to fit the current fad for the harmonica in the British charts, and there is some dispute about who played it, but Millie always insisted that it was the Five Dimensions’ harmonica player, Rod Stewart, though Stewart denies it: [Excerpt: Millie, “My Boy Lollipop”] “My Boy Lollipop” came out in early 1964 and became a massive hit, reaching number two on the charts both in the UK and the US, and Millie was now a star. She got her own UK TV special, as well as appearing on Around The Beatles, a special starring the Beatles and produced by Jack Good. She was romantically linked to Peter Asher of Peter and Gordon. Her next single, though, “Sweet William”, only made number thirty, as the brief first wave of interest in ska among the white public subsided: [Excerpt: Millie, “Sweet William”] Over the next few years, there were many attempts made to get her back in the charts, but the last thing that came near was a remake of “Bloodshot Eyes”, without the intimate partner violence references, which made number forty-eight on the UK charts at the end of 1965: [Excerpt: Millie, “Bloodshot Eyes”] She was also teamed with other artists in an attempt to replicate her success as a duet act. She recorded with Jimmy Cliff: [Excerpt: Millie and Jimmy Cliff, “Hey Boy, Hey Girl”] and Jackie Edwards: [Excerpt: Jackie and Millie, “Pledging My Love”] and she was also teamed with a rock group Blackwell had discovered, and who would soon become big stars themselves with versions of songs by Edwards, on a cover version of Ike and Tina Turner’s “I’m Blue (the Gong Gong Song)”: [Excerpt: The Spencer Davis Group, “I’m Blue (The Gong Gong Song)”] But the Spencer Davis Group didn’t revive her fortunes, and she moved on to a succession of smaller labels, with her final recordings coming in the early 1970s, when she recorded the track “Enoch Power”, in response to the racism stirred up by the right-wing politician Enoch Powell: [Excerpt: Millie Small, “Enoch Power”] Millie spent much of the next few decades in poverty. There was talk of a comeback in the early eighties, after the British ska revival group Bad Manners had a top ten hit with a gender-flipped remake of “My Boy Lollipop”: [Excerpt: Bad Manners, “My Girl Lollipop”] But she never performed again after the early seventies, and other than one brief interview in 2016 she kept her life private. She was given multiple honours by the people of Jamaica, including being made a Commander in the Order of Distinction, but never really got any financial benefit from her enormous chart success, or from being the first Jamaican artist to make an impact on Britain and America. She died last year, aged seventy-two.

The Clovers were one of the top R&B vocal groups of the 1950s scoring 21 chart-toppers between 1951 and 1959. These include "Don't You Know I Love You", "One Mint Julep", "Blue Velvet", "Ting-A-Ling", "Devil or Angel", and "Love Potion No. 9". On this installment of "Trick Bag", we'll hear a 2014 interview with Harold Winley, the group's bass singer and last surviving original member. Harold is a great raconteur and tells the story of the Clovers as only he can. This two-part series also features Clovers hits and obscurities, including several rare live performances from the mid '50s.In Part 2, Harold shares colorful stories about the Clovers' continued string of hits in the latter half of the 1950s. We'll hear the Clovers' bass man reminisce about many of the great New York R&B songwriters, the group's abrupt switch from Atlantic to United Artists Records, and what led to their disbanding in the 1960s. Also featured is a live performance by the Clovers with the Count Basie Orchestra done in New York for Alan Freed's radio show in 1956. This includes a rare duet between Harold and Etta James!Songs played in this episode:“Blue Velvet”“In the Morning Time”“Devil or Angel”“Hey, Doll Baby”“Your Tender Lips” (Live with Count Basie's band, 1956)“Dance with me Henry” (Live with Count Basie's band, 1956)“Love, Love, Love” (Live with Count Basie's band, 1956)“Love Potion #9”“Noni Cosi”“To Each His Own”“(That) Old Black Magic”“Try My Loving On You” See acast.com/privacy for privacy and opt-out information.

이번주 커튼콜은 클래식 유튜브 채널 '또모'의 백승준 대표, 황예은 이사 그리고 클래식 색소포니스트 브랜든 최 연주자를 만납니다. 클래식 색소폰의 매력을 알아갈 수 있는 '브랜든 최' 연주자의 이야기와, 오늘보다 내일이 더욱 기대되는 '또모'의 이야기를 지금 커튼콜에서 만나보세요. 오늘 커튼콜에서는 브랜든최 연주자의 색소폰 연주곡 세 곡을 함께 들어봅니다. ♬ 브랜든 최-Four pictures from New York R . Molineli Tango Club ♬ 브랜든 최-캐논판타지(편곡 오은철) ♬ 브랜든 최-Chant du menestrel 진행: SBS 이병희 아나운서, 김수현 기자 | 출연: 브랜든 최, 백승준, 황예은

이번주 커튼콜은 클래식 유튜브 채널 '또모'의 백승준 대표, 황예은 이사 그리고 클래식 색소포니스트 브랜든 최 연주자를 만납니다. 작년 5월, 처음으로 커튼콜을 방문했던 '또모'는 '클래식계의 구글을 꿈꾼다'라는 당찬 포부를 밝힌 바 있었는데요, 이후, 8개월 간 채널과 사업 확장에 힘을 쏟은 '또모'는 더욱 발전된 모습과 눈부신 성과로 커튼콜을 다시 찾았습니다.가장 눈에 띄는 변화는 유튜브 채널 '또모'의 '매니지먼트 사업'으로의 확장입니다. 클래식 음악을 소재로 비전공자와 전공자 모두에게 다채로운 콘텐츠를 선보여 왔던 '또모'는 최근 '또모매니지먼트'를 설립했는데요, 클래식 색소포니스트 브랜든 최 연주자를 1호 아티스트로 영입하며 본격적인 사업 확장에 시동을 걸고 있습니다. 1호 아티스트의 주인공 브랜든 최는 전 세계를 무대로 클래식 색소폰의 바람을 일으키고 있는데요,여러 매니지먼트에서 받은 러브콜에도 불구하고 '또모'와 손을 잡은 이유가 무엇인지, 클래식 색소폰에 입문하게 된 계기부터 의도적으로 공부를 포기한 학창시절 에피소드 등 다채로운 이야기를 나눴습니다. 또, 클래식의 대중화와 더불어 연주자들이 무대에 설 기회를 만들어 나가고 싶다는 '또모'로부터 사업 확장 과정에 있었던 비하인드 스토리를 들어봤습니다. 클래식 색소폰의 매력을 알아갈 수 있는 '브랜든 최' 연주자의 이야기와, 오늘보다 내일이 더욱 기대되는 '또모'의 이야기를 지금 커튼콜에서 만나보세요. 오늘 커튼콜에서는 브랜든 최 연주자의 색소폰 연주곡 세 곡을 함께 들어봅니다. ♬ 브랜든 최-Four pictures from New York R . Molineli Tango Club♬ 브랜든 최-캐논판타지(편곡 오은철)♬ 브랜든 최-Chant du ménestrel 진행: SBS 이병희 아나운서, 김수현 기자 | 출연: 브랜든 최, 백승준, 황예은

First, Jake discusses Joe Biden and Kamala Harris' historic win with senior Biden campaign adviser Symone Sanders. Then, Jake asks House Majority Whip Rep. James Clyburn about his role in Joe Biden's victory. Next, Jake presses Utah Sen. Mitt Romney on if it's time for President Trump to concede. Then, Jake breaks down Democrats' dramatic gains in Georgia with former Georgia gubernatorial candidate Stacey Abrams. Next, Jake talks to New York Rep. Alexandria Ocasio-Cortez about what Biden's win means for the progressive movement. Then, Jake asks Maryland Gov. Larry Hogan if he's disappointed that most Republicans have not joined him in acknowledging Biden as President-elect. Finally, Jake closes with a message for Republican officials who are standing by President Trump's baseless claims of election fraud. To learn more about how CNN protects listener privacy, visit cnn.com/privacy

This week, our pal EJ from LA’s own KIIS FM joins us to talk about why it always ends up working out and why sometimes you have to go to grow. EJ shares how he came up in radio and did NOT steal his name from Idris Elba, while he and Rory share a very specific music taste. Plus, the rhythm of comedy and radio and being grateful for gigs you didn’t get. Subscribe and follow us at @superexcitedpod Follow Rory: @itsRORYjames Follow EJ: @itismeEJ

Hanna är hemma i Stockholm och tjejerna är tillsammans i studion. Det har dejtats! Busters hybris växer! Hur går Lojsans sockerfria månad? Släng på lite prat om svartsjuka på det här och vi har den perfekta starten på veckan.

Einen Tag eher als gewohnt, aber keinesfalls ein Fehlstart: NXT TakeOver: New York bildet für viele den Auftakt in das große Wrestlemania-Wochenende und enttäuschte erneut nicht. Von der gewaltigen Schlacht um die UK-Championship zwischen Pete Dunne und WALTER bis zum 2-out-of-3-Falls-Match zwischen Adam Cole und Johnny Gargano - NXT TakeOver: New York liefert ab. Headlock-Host Olaf Bleich und Ulrich Steppberger, Redakteur beim Kult-Gaming-Magazin M! Games, besprechen den Event Match für Match. Gibt es bei aller Lobhudelei vielleicht doch Grund zur Kritik? Was waren Ulrichs und Olafs Lieblingskämpfe und vor allem: War dies das beste TakeOver-Event aller Zeiten? Headlock liefert euch alle Fakten, Ergebnisse und Meinungen zu NXT TakeOver: New York.

Ep 7 : Découvrez le mental qu’Ingrid Jean-Baptiste a su se forger et  fonder le festival international de films : le Chelsea film Festival de New York Résumé de l’épisode Aujourd’hui Ingrid Jean-Baptiste la co-fondatrice du Chelsea Film Festival est l’invité de Succès Made In Femme. Force de caractère, Ingrid  a su se redéfinir à chaque étape de sa vie et puiser le meilleur d’elle-même. Elle soutient à travers Le Chelsea Film Festival, festival international situé à New York, les réalisateurs, producteurs et acteurs émergents du monde entiers. Bien plus qu’un Festival, c’est une famille internationale qu’Ingrid a su créer en soutenant des causes globales. Ingrid témoigne de son expérience à transformer sa passion pour le cinéma en l’événement incontournable des festivals de New-York et des Etats-Unis. Elle dévoile, comment dès le plus jeune âge, ses voyages à travers le monde ont modelé la Femme qu’elle est aujourd’hui. Productrice, actrice, découvrez Ingrid Jean-Baptiste une Femme de conviction, déterminée,  dont le parcours est reconnu et récompensé notamment par le “Trophée des Français de l’étranger”.   Liens mentionnés Sonia Jean-Baptiste Chelsea Film Festival Ministère des Outre Mer Comité Martiniquais du Tourisme Goyave le film Festival Prix de court Festival Nouveaux Regards Créola Magazine Annonce Si vous souhaitez rejoindre une communauté de femmes qui désirent réaliser leurs projets et Level UP leur vie, rejoignez-nous ici :La communauté - Succès Made In Femme   Réseaux Sociaux – Contact IG: Ingrid Jean-Baptiste IG : Chelsea Film Festival FB : Chelsea Film Festival Twitter: Chelsea Film Succès Made in Femme  

Working Class Audio #217 with Tony Maserati!!! Tony Maserati is a Grammy Award winning mixer, and record producer / engineer. He was involved in the development of the New York R&B and Hip-Hop scene in the 1990s, working with Mary J. Blige, Notorious B.I.G., Puff Daddy, and Queen Latifah. Since then, he has worked on Grammy nominated projects with Beyonce (who he won “Best R&B Album” in 2003 with “Dangerously In Love”), Jason Mraz, Robin Thicke, Usher, and Selena Gomez. Tony has been nominated for a total of 10 Grammys, with four in the “Best Engineered Album, Non-Classical” category. About this Interview: Tony joins me to talk about his 90’s New York history, early adoption of technology, setting goals, contracts, not working for free and hip hop. -Enjoy Show Notes and LinksTony’s site: http://tonymaserati.com/WCA Patreon Subscriptions: https://goo.gl/iSPLTSOneMic Series: http://www.johncuniberti.com/onemic/Current Sponsors and Promos: https://bit.ly/2WmKbFw

We sit down with the Arm Chair Analyst himself, Matt Doyle of MLSSoccer.com and Extra Time Radio to hear his thoughts about the league and what teams are doing within it.  We talk about the inherent issues that plague fan bases and the biases that we all contend with.  From VAR to PKs, we try … MLS Wrap with Matt Doyle of MLSSoccer.com and Extra Time Radio Read More »

Which NHL goal horn is the horniest of them all? Also: John Lennon (sort of) imagines a world without hockey, and Taylor stumbles upon a galaxy brain level Jeff Goldblum joke. Timestamps (Spoilers!) 0:00 Puck Face Theme/Intro 2:00 News Jokes 5:32 Detroit 7:00 Detroit plus “Imagine” 7:41 Florida 10:24 Washington 12:02 New Jersey 14:38 Philadelphia 16:35 Anaheim 18:35 Colorado 20:36 Edmonton 22:09 Winnipeg 23:40 Vegas 25:33 St. Louis 27:57 Vancouver 29:54 Tampa Bay 31:33 Toronto 33:00 Carolina 35:21 Arizona 37:07 Ottawa 38:48 San Jose 39:58 New York (I) 42:24 Pittsburgh 43:49 Columbus 45:58 Minnesota 48:15 Buffalo 50:30 Montreal 52:49 Los Angeles 54:30 Dallas 58:12 Boston 58:34 Jeff Goldblum 61:59 Calgary 64:30 New York (R) 66:10 What’s Not Upsetting Taylor About the Canucks 67:07 The greatest goal horn of all time 68:48 Nashville 70:52 Chicago 73:12 “Imagine”: PFP Edition

Bara 22 år gammal fick Alice Wadström jobb på mångas drömarbetsplats, FN:s högkvarter, i New York. Nu tre år senare är hon fortfarande en av de yngsta där. Men livet som jurist i FN-skrapan och i New York kan vara allt annat än glamoröst. I Verkligheten ikväll tar Alice dig bakom kulisserna. Om skadedjur, seg byråkrati, plötsliga möten med indianer på hästar och rädslan att bli rotlös.

Annie Greer and Shelly Costello chat with internationally known pet and animal expert, Warren Eckstein. He has devoted over thirty years to teaching both pets and their people to live happily together through his unique "Hugs and Kisses" approach to animal behavior, care and training. In the second segment Annie and Shelly welcome Tommy Mara from the Doo Wop group, "The Crests." The Crests were a New York R&B doo-wop group of the late 1950s and early 1960s. Their most popular song was "16 Candles", which rose to number 2 on the Billboard Hot 100 chart in 1959. More details on this episode MP3 Podcast - Chatting About Pets... Doo Wah Doo Wah on Pet Life Radio