Podcasts about One Way Love

On this day in 2002, the world shifted — a new energy entered the Earth. My son, Zion Grant, was born. Today, he turns 23 years old.This episode is a deeply personal tribute — not just to my son, but to the journey of fatherhood, faith, and fulfillment. From the moment we named him after the Holy City, I knew he would carry light. And he has. Zion, you've been the “adult double digits” since 20, and every year since has only magnified your purpose.Through life's many trials and triumphs, we've stood strong. I've watched promises come to life in you. I'm grateful beyond words to be your father.Quote of the Episode:“God has kept us through sooo many trials and tests… yet we welcome the challenges and choose to make impossible cry day after day.”  * Special Heavenly Shoutout Tangie Wilson - Thank you for the gift of our most amazing Son. * Special Heavenly Born Day Shoutout.. Nasim Al Hakim aka..  LIVE -  Thank you Brother for always being the best twin Ive ever could have asked for. 

2/2/2025, Preacher: Josh White

There is a roughly four-minute sequence in the middle of the first Superman movie (1978) that hits the stratosphere of movie emotion -- and of real-life emotion, too. It is the scene in which Superman takes Lois Lane's hand and flies her leisuredly over Manhattan Island. As the pair glide over the city, Lois Lane (played by Margot Kidder) confides her innermost thoughts to the viewer: she has fallen completely in love with Superman, and that is because he has singled her out as the object of his most personal regard. The sequence is monumental in feeling and memory because it sums up the sequence of romantic loving -- and also the sequence of God's loving of poor us. Because Superman has singled out Lois for his most tender regard, she responds with her entire self. She voices her feelings in this way: "Here I am like a kid out of school. Holding hands with a god. I'm a fool. Will you look at me? Quivering. Like a little girl shivering. You can see right through me. Can you read my mind? Can you picture the things I'm thinking of? Wondering why you are all the wonderful things you are. You can fly! You belong in the sky. You and I could belong to each other. If you need a friend, I'm the one to fly to. If you need to be loved, here I am. Read my mind." What this demonstrates is that love does not start with loving someone, but rather with being loved by someone. I need to be the object of someone's love before I can actually love someone myself. Now capitalize the 's' - S - and the analogy to the Christian Gospel becomes palpable. Instantly palpable! All love begins as One-Way Love: not love from me but love to me. So go now and look up that sequence in Superman from 1978. It's easy to find. And it's the truth of life. And not a truth of life. But the truth of life. LUV U.

I so want to connect with my hearers when I preach or speak. Yes, one has a Message -- the One-Way Love of God embodied in the Compassionate Christ. But if it doesn't really connect with the listener -- with the sufferer! -- it is not able to do its job. J.B. Priestley (d. 1984), who had basically lost whatever faith he had been exposed to as a child, spent a lot of years looking for... something. He would gladly have capitalized "something" (i.e., Something). In 1960 Priestley wrote specifically about the decline of Christianity in the West. He wrote that the only way the "Church" could 'come back' -- which he would have welcomed given the cultural despair and nihilism he observed everywhere around him -- was to get through to the unconscious. Christianity's original, great and contagious strength had been to reach individuals in their depth/s. I agree with JBP. For many years Mary and I have listened to sermons that are sincere, sound theologically, and well prepared exegetically. Yet we often leave the service untouched, un-addressed, un-healed. As Herr Kaesemann said once, after listening to a sermon during a conference at Yale Divinity School: "Es gibt keine Anrede!" In other words, the Word has to address me in the deeps. The preacher's "deeps" need to be calling out to mine (Psalm 42:7). This cast draws on Priestley's "Presence of the Absence"; a John Wyndham paperback from 1953; and -- wait for it -- Spanky & Our Gang. The last track, from 1969, is IMO pure perfection. Oh, and "Out of the Deeps" is dedicated to Mary Zahl, whose recent talk to the Women of the Advent in Birmingham, entitled "The Things That Remain" (https://talkingbird.fireside.fm/400) is as fine as anything I have ever heard her present. LUV U.

I'm thinking about ecclesiology today. Rarely do. But a combination of J.B. Priestley's "low anthropology", a couple of recent lightning bolts from outside space and (present) time, and a fresh glimpse of the touching statue of "The Compassionate Christ" outside Cathedral Church of the Advent in Birmingham: Well, they got me thinking of what the Christian Church is centrally and anchoredly about. Add to that the third verse of Lou Christie's number-one song from 1966, "Lightnin' Strikes"; and it's probably all there. One's ecclesiology, I mean. "Dangerous Corner" by J.B. Priestley, which was first performed in London in 1932, unmasks the human tragedy of self-serving, manipulation, and deception in about as unrelieved a manner as could be imagined. The last scene but one, which leads directly to a character's suicide, surely rips the curtain off our world's endemic conspiratorial malice. It is almost a pure enactment of the "low anthropology" that is endemic to us. But the playwright offers us no hope. He actually, explicitly dismisses the antidote of faith in God. I so want to enter that scene myself, speaking sincerely and personally, and address the desperate "hero". He's got it mostly right, you see; his diagnosis is accurate. But we believe in God -- and not a "deistic"/hands-off sort of force, but rather: Pure Empathy, Pure Sympathy, Pure Mercy, Pure Grace. Our ecclesiology, therefore, is the Church, in whatever form, as Embodiment of One-Way Love. That's PZ's ecclesiology. That's Lou Christie's "chapel in the pines" (1966). That's the churches of refuge at the end of War of the Worlds (1953), that's 'Mr. Carpenter' in Day the Earth Stood Still (1951), that's the Isaiah 2, verse 4 climax of The Colossus of New York (1958), that's the hymn chorale at the end of The Space Children (1958), that's the Christ-figure at the conclusion of The Incredible Shrinking Man (1957). And so it goes. When the curtain is ripped away on life as it really is and people as they really are, all that's needed is One Helping Hand, One "Next Voice You Hear" (1951), One... Man from Galilee (Ocean, 1971/Elvis, 1972), One Jesus Christ Superstar. LUV U.

Mockingbirder Joey Goodall recently composed a public note of praise for 'PZ's Podcast', and his very act motivated this caster to record a new one. Joey's approbation instantly created within me the desire to put some fresh thoughts out there. Instantly! That's the way love works -- which is to say, "We love" (i.e., embody the fruit of outreach to others) "because He first loved us" (i.e., embodied one-way Love in our direction). Herr Goodall's endorsement instantly and spontaneously birthed the effect of my immediate response. Today's cast begins as an appreciation of a Joe Meek track from the days (in 1957) when he was not a record producer but just a lowly engineer. Yet even then, Joe was so possessed and inspired by Genius that his hand is all over this track. (You'll hear what I'm talking about. It comes in the last 30 seconds.) But my Joe Meek appreciation is just a set-up to what I really wish to say, for the cast is really about Prior Love (Stevie Winwood, 1986)! The cast concerns the Center of Christianity, God's one-way love for us confused and seduced racketeers. Oh, and that is not one of three or four key affirmations. No, it is The Center of everything. It stimulates other ideas and other principles and other consanguine affirmations. But it is the Center. Moreover, it is uniquely presented by -- are you ready? -- by the clumsy character named 'Ginnie Moorehead' in the movie Some Came Running (1958). Shirley MacLaine plays her. And 'Ginnie' oddly but perfectly embodies the sure and true character of One-Way Love. Which is anchored in Christ's Love. It's not a stretch. Today's podcast is dedicated to David Babikow.

Hope Church Utah - I AM (You're Not) - One Way Love - July 28,2024 by Hope Church Utah

Guest Speaker, Pastor Viet Le, preaching at Cork Church, Wednesday June 12th 2024.If you were blessed by this message; and would like to donate to our ministry please visit:https://www.corkchurch.com/givingFor more information visit www.corkchurch.comStay connected:Facebook : https://www.facebook.com/corkchurch/Instagram: https://www.instagram.com/corkchurch/YouTube: https://www.youtube.com/corkchurch Hosted on Acast. See acast.com/privacy for more information.

I keep hearing the word "nimble" these days. It comes up in relation to declining and therefore merging church institutions, in which a press release declares that the sale of a church property or the merger of two diminished churches or dioceses will now enable the Church to be more "nimble" in relation to community outreach or the desire to build bridges to the world. What the word hides is institutional attrition. It is a way of putting a brave face on empirical defeat. (It's a little like the adjective "nuanced". Watch out.) I saw so clearly at the recent Mockingbird Conference that the renewal of the Christian Church is not tied to a horizontal strategy or even a quality of enterprise. The renewal of the Church consists in its re-affirmation of the One-Way Love of the Gospel of God. The pain of individual experience is so widespread that all it takes is a word -- a pastoral "position", we might say -- of empathetic attentive love for the person in pain to be helped beyond measure. Because the word of empathy and compassion is the Word of God's Grace. One saw this in almost innumerable one-to-one conversations at the Mockingbird Conference. (Didn't you?) Personally, I could not feel less "nimble" -- tho' you may remember that I was a total jock in PZ's school days! The fact is, helping is not about nimble. It's about One-Way Love and the Divine Compassion for sufferers in all shapes and sizes. That's the ticket. Oh, and even if Noel Coward was a committed agnostic, the scene between disconsolate mother and ghostly son in Scene Two of Coward's play "Post-Mortem" (1930) touches on the Greatest Thing in the World. I don't think he ever wrote a greater paragraph than the speech which the grieving mother makes to her ghostly son. LUV U. (And it's not "complicated".)

Mary Zahl was recently the guest on an episode of a podcast known as "The Brothers Zahl" (out this summer). The subject of the cast was parenting, and I can think of no better illustration of a good parent. Mary listed three core themes of enduring motherhood/fatherhood that feel utterly right to me. They are (1) complete dependability when your child is little; (2) no control or pressure when your child is growing -- let them or her pursue their own interests; and (3) try to detach from your grown child's life most of the time, tho' not always. Sometimes -- if very occasionally -- you may have to intervene. I was awed by my wife's reflections, the mother of our three grown sons. I also couldn't help theologizing a little, for each of her three themes has a direct relation to the Christian Gospel. (1) mirrors the One-Way Love of God's Grace. (2) suggests the continuing solution of Grace to the problem of Law. (3) connects the "Eastern"-sounding insight of non-attachment with the Christian fact of God's Incarnation -- God's personal intervention in this septic world. This cast is also a sort of pre-op moment for the Mockingbird Conference, which begins this Thursday in Manhattan. Do join us if you can. Mary and I will be there, and hundreds of others, too. I'll speak about parenting, tho' Mary (by my side) is the best authority on that front. This cast is dedicated to Larry Brudi and Bob Smith, and reverentially, to Dickey Betts.

So I was in Henley-on-Thames last week and there was this almost hidden bookshop next to a place called "The Ferret". (I kid you not.) High on a shelf there was an old leather-bound copy of Charles Dickens' lesser known Christmas stories. Not the long ones like "A Christmas Carol" or "The Chimes" or "The Haunted Man"; but short ones like "The Child's Story", "The Seven Poor Travellers", and "What Christmas Is As We Grow Older". What these stories all reveal -- for I started reading them on the airplane home -- is an explicit (tho' never didactic nor even artificial) dynamic of Christian Grace and One-Way Love. The author makes it clear in every tale that the core transaction of life in this world is the possibility of new beginning, new birth, resurrected hope, and empathic out-reaching love. Dickens always traces such dynamic beneficence specifically to Christ and His (Christmas) Goodness towards the lonely, the desperate, the poor, and even the rogues. In short, each story in this collection sets out the Whole Loaf. For many years -- many decades, it feels like sometimes -- I was perpetually mining my movies, my novels and my TV shows for implicit Christianity -- implicit Gospel, implicit Grace. And it can be found! But then one day I actually read Victor Hugo's Les Miserables and found the Whole Loaf in that celebrated novel. And then one day I read Leo Tolstoy's Resurrection and again: the Whole Loaf. And now I read Charles Dickens' short Christmas stories and again, Behold: the Whole Loaf. Part of the Loaf can be very good. Say, General Public (1980s), Nik Kershaw (ditto), Frankie Goes to Hollywood (ditto). But the Whole Loaf is better. And how the world needs it now. LUV U.

Well, we have all experienced glimpses of one-way love throughout our lives. How about that time your parents didn't punish you when you knew you deserved it? What about that time you said something mean to your friend and they responded in love? Has anyone ever been kind to you when all you did was gripe and complain? There are likely many other instances you can think of that are glimpses of what one-way love looks like; each one is special and is radically different from what we are accustomed to. One-way love is unconditional love. It's love that is always extended in your direction. It doesn't ask anything of its recipient. As the famous worship song declares, “Oh, the overwhelming, never ending, reckless love of God. Oh, it chases me down, fights ‘til I'm found, leaves the ninety-nine. I couldn't EARN it, I don't DESERVE it, still, You give Yourself away.” Owing and deserving have no place in one-way love! In other words, God doesn't bait you into the Kingdom with unconditional love and then make you earn it for the remainder of your Christian life. --- Support this podcast: https://podcasters.spotify.com/pod/show/thekingdom4everyone/support

In your own life or the life of others, have you noticed that people don't seem to love one another that much? In Three Short Years, Jesus chose to love others radically. How? One-way love. What is it? And to live it, what will it require of us?

Sometimes I hear a 'Grace' sermon that is just terrific... until the last five minutes. During the last five minutes, the preacher seems pressed to tell me how I should respond, at least mentally, to the message of God's One-Way Love. The preacher -- in good faith and sincerity, to be sure -- tells me to "relax into the Message", "accept the Gift", "live into It", "let It sink in", "allow It to become part of you". And although that sounds good, it ends up, at least for me, feeling abstract. It may even convey a(n un-intended) sense of pressure, as there is still something to do. Which I can't seem to do. It's a little like what Roman Catholics sometimes describe as the need to perpetually return to the Confessional because they haven't quite taken it in, i.e., the forgiveness they were told they had last week. Luther taught something different. (As did St. Paul.) They both taught that one's response to the Gospel is automatic. When you are "One-Way-LUV'd", you automatically wish to respond -- with love! Belovedness engenders loving back. I mean, look: it's true in Romantic Love. When you are sincerely loved by another person, no one needs to tell you how to respond. You always, or almost always, respond by desiring to love the other altruistically -- selflessly -- empathetically. That just happens. You don't need imperatives, even subtle ones; nor instructions. That's the point of this 350th Episode of PZ's Podcast. I am particularly proud of it. It is dedicated to Tullian Tchividjian and his remarkable ministry of One-Way Love. "Bleib bei Mir fuer alle Zeiten."

In this episode, I reflect on the holiday season and welcome the New Year by talking through a myriad of holiday-themed articles I've been chewing on recently, each of which serve to remind us of the one-way love of Christmas.Resources.“O Come All Ye Faithful, Except When Christmas Falls on a Sunday,” Ruth Graham“There Is No Mary Problem in ‘It's a Wonderful Life',” Clare Coffey“Link by Link, Yard by Yard,” Samuel D. James“Christmas From Below,” John T. Pless“The Child Who Came Among Us,” Stephen FreemanGrace: So Much More Than You Know and So Much Better Than You Think, Brad J. GraySponsor.Ministry Minded is sponsored by Fresh Roasted Coffee, a locally owned and operated coffee house in the heart of Central Pennsylvania that produces the freshest coffee and delivers it at peak drinkability. Use offer code “GRACE10” at checkout to get a discount off your next order. Buy some coffee!Credits.Intro music: “Explorers (Instrumental Version)” by The Midnight, The Midnight Music LLC, 2018.Ad music: “Coffee Stains” by Finley, licensed under CC BY 4.0. This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit www.graceupongrace.net

The Gospel of God's One-Way Love can find an appealing, commodious platform within the Anglican tradition. This is because when that tradition is allowed to be fully itself -- historically, theologically, and even aesthetically -- it supports the Good News and pastorally embodies it. On the other hand, like any ancient tradition, 'Anglicanism' can become dry and even choking. When the tradition becomes an end rather than a means to an end -- a "thing" rather than a fountain -- then it can desiccate the very soil on which it was first planted. In this cast I tell something of my own Anglican story, which goes back to 1960. There is within it some of the Good, the Bad and the Ugly -- and when it comes to the Church of England, mostly the Good. If you're an Episcopalian, I hope you'll be encouraged. Mary's and my story within the Church is also quite funny (at least to me). Hope you'll laugh along. Incidentally, the opening music is the very first song my suite-mates played for me when I arrived at a C. of E. theological college in September 1973. It was counter-intuitive, to say the least. LUV U! P.S. The second song they played was... "China Grove" by the Doobie Brothers. (That one I knew.)

In episode 52, Dustin & Zak discuss 1987's Summer School, “Mind Over Matter” by E.G. Daily, & notable moments from the year of its release!In prep for their upcoming interview with two stars from ‘87's Summer School (Richard Horvitz & Dean Cameron), the dudes playfully debate how good Summer School really is, whether “Mind Over Matter” by E.G. Daily is better or worse than “One Way Love” from Better Off Dead, & pop culture moments from 1987! It's a summer spectacular you won't wanna miss!NEW EPISODES EVERY TWO WEEKS!Please follow us on Spotify & subscribe, rate and review us 5 stars on Apple Podcasts (aka iTunes)Support Us On Patreon: www.patreon.com/twodollarlatefeeInstagram: @twodollarlatefeeZak on Instagram: @zakshafferDustin on Instagram: @dustinrubinvoCheck out the intro/outro music on Bandcamp: jvamusic1.bandcamp.comFacebook: facebook.com/Two-Dollar-Late-Fee-PodcastMerch: https://www.teepublic.com/user/two-dollar-late-feeIMDB: https://www.imdb.comiTunes: podcasts.apple.com/us/podcast/two-dollar-late-feeSpotify: open.spotify.com/show/Amazon: music.amazon.com/podcastsPodchaser: https://www.podchaser.comRadioPublic: radiopublic.com/two-dollar-late-feePodbean: twodollarlatefee.podbean.comStitcher: www.stitcher.com

CPR's Clubhouse Live! (Double Feature: Interviews with Aby Cruz and Tito Puente Jr.) This week we had the honor to conduct 2 interviews on CPR"s Clubhouse Live! https://youtu.be/B8hfYfb20C4 On this audio episode we speak to Mr. One Way Love and AKTual voices of TKA, Aby Cruz on his new solo song, It Won't Be Long (recorded live on social media (06.30.2021) https://youtu.be/Y-gsw29ftE8 https://www.youtube.com/watch?v=enj4oLmJR0k We also celebrate 20 years of Tito Puente with his Son, Tito Puente Jr discussing his new album "THE KING AND I" (recorded 06.28.2021) So get ready as we tackle the world of Freesyle and Salsa and how their roads connect Click here to get your copy of Aby - It Won't Be Long http://smarturl.it/AR418006ABYCRUZ?fb… Click here on details on how to get your own copy https://www.facebook.com/titopuenteju... Catch CPR's Clubhouse on FM Radio Club House Dance Music 90.7 FM WTCC Thursdays 6pm est Fridays 8pm est Click here to listen live https://tunein.com/radio/WTCC-907-s23… featuring CPR Jose Ortiz, The Duchess, Cheryl Rodriguez and mini mixes by DJ Cliff Potts Rhythm 105.9 FM California CPR's Clubhouse Crew: CA featuring CPR Jose Ortiz and DJ Cliff Potts 10pm est 7pm pst https://rhythm1059fm.com/ CPR's Clubhouse Crew : NYC Sundays 5pm est – 7pm est https://party1019.com/ https://www.iheart.com/live/party-101.9 CPR's Clubhouse: The Freestyle Podcast Click the link https://link.chtbl.com/_li89zL2?fbcli…

CPR's Clubhouse (It Won't Be Long) It's another edition of CPR's Clubhouse featuring CPR's Freestyle Countdown, New Music from Aby Cruz and a mix by DJ Cliff Potts, The Vinly Assassin Check out the debut and interview on the CPR's Clubhouse Live! Channel on YOUTUBE Episode 702 https://youtu.be/B8hfYfb20C4 CPR's Clubhouse Live! featuring Aby Cruz Mr. One Way Love, Aby Cruz joins us on CPR's Clubhouse Live! to debut his solo song, It Won't Be Long available July 2, 2021 on Artistik/ 418 Freestyle Click here to get your copy http://smarturl.it/AR418006ABYCRUZ?fb... with special guests Kayel - Executive Producer Luis Marte - Writter Catch CPR's Clubhouse on FM Radio Club House Dance Music 90.7 FM WTCC Thursdays 6pm est Fridays 8pm est Click here to listen live https://tunein.com/radio/WTCC-907-s23… featuring CPR Jose Ortiz, The Duchess, Cheryl Rodriguez and mini mixes by DJ Cliff Potts Rhythm 105.9 FM California CPR's Clubhouse Crew: CA featuring CPR Jose Ortiz and DJ Cliff Potts 10pm est 7pm pst https://rhythm1059fm.com/ CPR's Clubhouse Crew : NYC Sundays 5pm est – 7pm est https://party1019.com/ https://www.iheart.com/live/party-101.9 CPR's Clubhouse: The Freestyle Podcast Click the link https://link.chtbl.com/_li89zL2?fbcli...

Aby Cruz "Music Freestyle Legend "And His Wife Ayna Take A One Way Trip To Poughkeepsie NY To Visit #ThereSh3Goes . We Discussed Upcoming Music And Shows ... It Was Such An Honor To Have " Mr One Way Love " On Our Podcast --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app

Episode 125 of A History of Rock Music in Five Hundred Songs looks at “Here Comes the Night", Them, the early career of Van Morrison, and the continuing success of Bert Berns.  Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have a twenty-minute bonus episode available, on "Dirty Water" by the Standells. Tilt Araiza has assisted invaluably by doing a first-pass edit, and will hopefully be doing so from now on. Check out Tilt's irregular podcasts at http://www.podnose.com/jaffa-cakes-for-proust and http://sitcomclub.com/ Resources As usual, I've created a Mixcloud playlist, with full versions of all the songs excerpted in this episode. The information about Bert Berns comes from Here Comes the Night: The Dark Soul of Bert Berns and the Dirty Business of Rhythm and Blues by Joel Selvin. I've used two biographies of Van Morrison. Van Morrison: Into the Music by Ritchie Yorke is so sycophantic towards Morrison that the word "hagiography" would be, if anything, an understatement. Van Morrison: No Surrender by Johnny Rogan, on the other hand, is the kind of book that talks in the introduction about how the author has had to avoid discussing certain topics because of legal threats from the subject. I also used information from the liner notes to The Complete Them 1964-1967, which as the title suggests is a collection of all the recordings the group made while Van Morrison was in the band. Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript Today we're going to take a look at a band whose lead singer, sadly, is more controversial now than he was at the period we're looking at. I would normally not want to explicitly talk about current events upfront at the start of an episode, but Van Morrison has been in the headlines in the last few weeks for promoting dangerous conspiracy theories about covid, and has also been accused of perpetuating antisemitic stereotypes with a recent single.  So I would like to take this opportunity just to say that no positive comments I make about the Van Morrison of 1965 in this episode should be taken as any kind of approval of the Van Morrison of 2021 -- and this should also be taken as read for one of the similarly-controversial subjects of next week's episode...   Anyway, that aside, today we're going to take a look at the first classic rock and roll records made by a band from Northern Ireland, and at the links between the British R&B scene and the American Brill Building. We're going to look at Van Morrison, Bert Berns, and "Here Comes the Night" by Them:   [Excerpt: Them, "Here Comes the Night"]   When we last looked at Bert Berns, he was just starting to gain some prominence in the East Coast recording scene with his productions for artists like Solomon Burke and the Isley Brothers. We've also, though it wasn't always made explicit, come across several of his productions when talking about other artists -- when Leiber and Stoller stopped working for Atlantic, Berns took over production of their artists, as well as all the other recordings he was making, and so many of the mid-sixties Drifters records we looked at in the episode on "Stand By Me" were Berns productions. But while he was producing soul classics in New York, Berns was also becoming aware of the new music coming from the United Kingdom -- in early 1963 he started receiving large royalty cheques for a cover version of his song "Twist and Shout" by some English band he'd never heard of. He decided that there was a market here for his songs, and made a trip to the UK, where he linked up with Dick Rowe at Decca.    While most of the money Berns had been making from "Twist and Shout" had been from the Beatles' version, a big chunk of it had also come from Brian Poole and the Tremeloes, the band that Rowe had signed to Decca instead of the Beatles. After the Beatles became big, the Tremeloes used the Beatles' arrangement of "Twist and Shout", which had been released on an album and an EP but not a single, and had a top ten hit with their own version of it:   [Excerpt: Brian Poole and the Tremeloes, "Twist and Shout"]   Rowe was someone who kept an eye on the American market, and saw that Berns was a great source of potential hits. He brought Berns over to the UK, and linked him up with Larry Page, the manager who gave Rowe an endless supply of teen idols, and with Phil Solomon, an Irish manager who had been the publicist for the crooner Ruby Murray, and had recently brought Rowe the group The Bachelors, who had had a string of hits like "Charmaine":   [Excerpt: The Bachelors, "Charmaine"]   Page, Solomon, and Rowe were currently trying to promote something called "Brum Beat", as a Birmingham rival to Mersey beat, and so all the acts Berns worked with were from Birmingham. The most notable of these acts was one called Gerry Levene and the Avengers. Berns wrote and produced the B-side of that group's only single, with Levene backed by session musicians, but I've been unable to find a copy of that B-side anywhere in the digital domain. However, the A-side, which does exist and wasn't produced by Berns, is of some interest:   [Excerpt: Gerry Levene and the Avengers, "Dr. Feelgood"]   The lineup of the band playing on that included guitarist Roy Wood, who would go on to be one of the most important and interesting British musicians of the later sixties and early seventies, and drummer Graeme Edge, who went on to join the Moody Blues. Apparently at another point, their drummer was John Bonham.   None of the tracks Berns recorded for Decca in 1963 had any real success, but Berns had made some useful contacts with Rowe and Solomon, and most importantly had met a British arranger, Mike Leander, who came over to the US to continue working with Berns, including providing the string arrangements for Berns' production of "Under the Boardwalk" for the Drifters:   [Excerpt: The Drifters, "Under the Boardwalk"]   In May 1964, the month when that track was recorded, Berns was about the only person keeping Atlantic Records afloat -- we've already seen that they were having little success in the mid sixties, but in mid-May, even given the British Invasion taking over the charts, Berns had five records in the Hot One Hundred as either writer or producer -- the Beatles' version of "Twist and Shout" was the highest charting, but he also had hits with "One Way Love" by the Drifters:   [Excerpt: The Drifters, "One Way Love"]   "That's When it Hurts" by Ben E. King:   [Excerpt: Ben E. King, "That's When it Hurts"]   "Goodbye Baby (Baby Goodbye)" by Solomon Burke:   [Excerpt: Solomon Burke, "Goodbye Baby (Baby Goodbye)"]   And "My Girl Sloopy" by the Vibrations:   [Excerpt: The Vibrations, "My Girl Sloopy"]   And a week after the production of "Under the Boardwalk", Berns was back in the studio with Solomon Burke, producing Burke's classic "Everybody Needs Somebody to Love", though that track would lead to a major falling-out with Burke, as Berns and Atlantic executive Jerry Wexler took co-writing credit they hadn't earned on Burke's song -- Berns was finally at the point in his career where he was big enough that he could start stealing Black men's credits rather than having to earn them for himself:   [Excerpt: Solomon Burke, "Everybody Needs Somebody to Love"]   Not everything was a hit, of course -- he wrote a dance track with Mike Leander, "Show Me Your Monkey", which was definitely not a big hit -- but he had a strike rate that most other producers and writers would have killed for. And he was also having hits in the UK with the new British Invasion bands -- the Animals had made a big hit from "Baby Let Me Take You Home", the old folk tune that Berns had rewritten for Hoagy Lands. And he was still in touch with Phil Solomon and Dick Rowe, both of whom came over to New York for Berns' wedding in July.   It might have been while they were at the wedding that they first suggested to Berns that he might be interested in producing a new band that Solomon was managing, named Them, and in particular their lead singer, Van Morrison.   Van Morrison was always a misfit, from his earliest days. He grew up in Belfast, a city that is notoriously divided along sectarian lines between a Catholic minority who (for the most part) want a united Ireland, and a Presbyterian majority who want Northern Ireland to remain part of the UK. But in a city where the joke goes that a Jewish person would be asked "but are you a Catholic Jew or a Protestant Jew?", Morrison was raised as a Jehovah's Witness, and for the rest of his life he would be resistant to fitting into any of the categories anyone tried to put him in, both for good and ill.   While most of the musicians from the UK we've looked at so far have been from middle-class backgrounds, and generally attended art school, Morrison had gone to a secondary modern school, and left at fourteen to become a window cleaner. But he had an advantage that many of his contemporaries didn't -- he had relatives living in America and Canada, and his father had once spent a big chunk of time working in Detroit, where at one point the Morrison family planned to move. This exposed Morrison senior to all sorts of music that would not normally be heard in the UK, and he returned with a fascination for country and blues music, and built up a huge record collection. Young Van Morrison was brought up listening to Hank Williams, Sister Rosetta Tharpe,  Jimmie Rodgers, Louis Jordan, Jelly Roll Morton, and his particular favourite, Lead Belly. The first record he bought with his own money was "Hootin' Blues" by the Sonny Terry Trio:   [Excerpt: The Sonny Terry Trio, "Hootin' Blues"]   Like everyone, Van Morrison joined a skiffle group, but he became vastly more ambitious in 1959 when he visited a relative in Canada. His aunt smuggled him into a nightclub where an actual American rock and roll group were playing -- Ronnie Hawkins and the Hawks:   [Excerpt: Ronnie Hawkins, "Mary Lou"]   Hawkins had been inspired to get into the music business by his uncle Delmar, a fiddle player whose son, Dale Hawkins, we looked at back in episode sixty-three. His band, the Hawks, had a reputation as the hottest band in Canada -- at this point they were still all Americans, but other than their drummer Levon Helm they would soon be replaced one by one with Canadian musicians, starting with bass player Robbie Robertson.   Morrison was enthused and decided he was going to become a professional musician. He already played a bit of guitar, but started playing the saxophone too, as that was an instrument that would be more likely to get him work at this point.   He joined a showband called the Monarchs, as saxophone player and occasional vocalist. Showbands were a uniquely Irish phenomenon -- they were eight- or nine-piece groups, rhythm sections with a small horn section and usually a couple of different singers, who would play every kind of music for dancing, ranging from traditional pop to country and western to rock and roll, and would also perform choreographed dance routines and comedy sketches.    The Monarchs were never a successful band, but they managed to scrape a living playing the Irish showband circuit, and in the early sixties they travelled to Germany, where audiences of Black American servicemen wanted them to play more soulful music like songs by Ray Charles, an opportunity Morrison eagerly grabbed. It was also a Black American soldier who introduced Morrison to the music of Bobby Bland, whose "Turn on Your Love Light" was soon introduced to the band's set:   [Excerpt Bobby "Blue" Bland, "Turn on Your Love Light"]   But they were still mostly having to play chart hits by Billy J Kramer or Gerry and the Pacemakers, and Morrison was getting frustrated. The Monarchs did get a chance to record a single in Germany, as Georgie and the Monarchs, with another member, George Jones (not the famous country singer) singing lead, but the results were not impressive:   [Excerpt: Georgie and the Monarchs, "O Twingy Baby"]   Morrison moved between several different showbands, but became increasingly dissatisfied with what he was doing. Then another showband he was in, the Manhattan Showband, briefly visited London, and Morrison and several of his bandmates went to a club called Studio 51, run by Ken Colyer. There they saw a band called The Downliners Sect, who had hair so long that the Manhattan members at first thought they were a girl group, until their lead singer came on stage wearing a deerstalker hat. The Downliners Sect played exactly the kind of aggressive R&B that Morrison thought he should be playing:   [Excerpt: The Downliners Sect, "Be a Sect Maniac"]   Morrison asked if he could sit in with the group on harmonica, but was refused -- and this was rather a pattern with the Downliners Sect, who had a habit of attracting harmonica players who wanted to be frontmen. Both Rod Stewart and Steve Marriott did play harmonica with the group for a while, and wanted to join full-time, but were refused as they clearly wanted to be lead singers and the group didn't need another one of them.   On returning to Belfast, Morrison decided that he needed to start his own R&B band, and his own R&B club night. At first he tried to put together a sort of supergroup of showband regulars, but most of the musicians he approached weren't interested in leaving their steady gigs. Eventually, he joined a band called the Gamblers, led by guitarist and vocalist Billy Harrison. The Gamblers had started out as an instrumental group, playing rock and roll in the style of Johnny and the Hurricanes, but they'd slowly been moving in a more R&B direction, and playing Chuck Berry and Bo Diddley material. Morrison joined the group on saxophone and vocals -- trading off leads with Harrison -- and the group renamed themselves after a monster movie from a few years before:   [Excerpt: THEM! trailer]   The newly renamed Them took up a regular gig at the Maritime Hotel, a venue which had previously attracted a trad jazz crowd, and quickly grew a substantial local following. Van Morrison later often said that their residency at the Maritime was the only time Them were any good, but that period was remarkably short -- three months after their first gig, the group had been signed to a management, publishing, and production deal with Philip Solomon, who called in Dick Rowe to see them in Belfast. Rowe agreed to the same kind of licensing deal with Solomon that Andrew Oldham had already got from him for the Stones -- Them would record for Solomon's company, and Decca would license the recordings.   This also led to the first of the many, many, lineup changes that would bedevil the group for its short existence -- between 1964 and 1966 there were eighteen different members of the group. Eric Wrixon, the keyboard player, was still at school, and his parents didn't think he should become a musician, so while he came along to the first recording session, he didn't sign the contract because he wasn't allowed to stay with the group once his next term at school started. However, he wasn't needed -- while Them's guitarist and bass player were allowed to play on the records, Dick Rowe brought in session keyboard player Arthur Greenslade and drummer Bobby Graham -- the same musicians who had augmented the Kinks on their early singles -- to play with them.   The first single, a cover version of Slim Harpo's "Don't Start Crying Now", did precisely nothing commercially:   [Excerpt: Them, "Don't Start Crying Now"]   The group started touring the UK, now as Decca recording artistes, but they almost immediately started to have clashes with their management. Phil Solomon was not used to aggressive teenage R&B musicians, and didn't appreciate things like them just not turning up for one gig they were booked for, saying to them "The Bachelors never missed a date in their lives. One of them even had an accident on their way to do a pantomime in Bristol and went on with his leg in plaster and twenty-one stitches in his head."   Them were not particularly interested in performing in pantomimes in Bristol, or anywhere else, but the British music scene was still intimately tied in with the older showbiz tradition, and Solomon had connections throughout that industry -- as well as owning a publishing and production company he was also a major shareholder in Radio Caroline, one of the pirate radio stations that broadcast from ships anchored just outside British territorial waters to avoid broadcasting regulations, and his father was a major shareholder in Decca itself.    Given Solomon's connections, it wasn't surprising that Them were chosen to be one of the Decca acts produced by Bert Berns on his next UK trip in August 1964. The track earmarked for their next single was their rearrangement of "Baby Please Don't Go", a Delta blues song that had originally been recorded in 1935 by Big Joe Williams and included on the Harry Smith Anthology:   [Excerpt: Big Joe Williams' Washboard Blues Singers , "Baby Please Don't Go"]   though it's likely that Them had learned it from Muddy Waters' version, which is much closer to theirs:   [Excerpt: Muddy Waters, "Baby Please Don't Go"]   Bert Berns helped the group tighten up their arrangement, which featured a new riff thought up by Billy Harrison, and he also brought in a session guitarist, Jimmy Page, to play rhythm guitar. Again he used a session drummer, this time Andy White who had played on "Love Me Do". Everyone agreed that the result was a surefire hit:   [Excerpt: Them, "Baby Please Don't Go"]   At the session with Berns, Them cut several other songs, including some written by Berns, but it was eventually decided that the B-side should be a song of Morrison's, written in tribute to his dead cousin Gloria, which they'd recorded at their first session with Dick Rowe:   [Excerpt: Them, "Gloria"]   "Baby Please Don't Go" backed with "Gloria" was one of the great double-sided singles of the sixties, but it initially did nothing on the charts, and the group were getting depressed at their lack of success, Morrison and Harrison were constantly arguing as each thought of himself as the leader of the group, and the group's drummer quit in frustration. Pat McAuley, the group's new keyboard player, switched to drums, and brought in his brother Jackie to replace him on keyboards.    To make matters worse, while "Baby Please Don't Go" had flopped, the group had hoped that their next single would be one of the songs they'd recorded with Berns, a Berns song called "Here Comes the Night". Unfortunately for them, Berns had also recorded another version of it for Decca, this one with Lulu, a Scottish singer who had recently had a hit with a cover of the Isley Brothers' "Shout!", and her version was released as a single:   [Excerpt: Lulu, "Here Comes the Night"]   Luckily for Them, though unluckily for Lulu, her record didn't make the top forty, so there was still the potential for Them to release their version of it.   Phil Solomon hadn't given up on "Baby Please Don't Go", though, and he began a media campaign for the record. He moved the group into the same London hotel where Jimmy Savile was staying -- Savile is now best known for his monstrous crimes, which I won't go into here except to say that you shouldn't google him if you don't know about them, but at the time he was Britain's most popular DJ, the presenter of Top of the Pops, the BBC's major TV pop show, and a columnist in a major newspaper. Savile started promoting Them, and they would later credit him with a big part of their success.   But Solomon was doing a lot of other things to promote the group as well. He part-owned Radio Caroline, and so "Baby Please Don't Go" went into regular rotation on the station. He called in a favour with the makers of Ready Steady Go! and got "Baby Please Don't Go" made into the show's new theme tune for two months, and soon the record, which had been a flop on its first release, crawled its way up into the top ten.   For the group's next single, Decca put out their version of "Here Comes the Night", and that was even more successful, making it all the way to number two on the charts, and making the American top thirty:   [Excerpt: Them, "Here Comes the Night"]   As that was at its chart peak, the group also performed at the NME Poll-Winners' Party at Wembley Stadium, a show hosted by Savile and featuring The Moody Blues, Freddie and the Dreamers, Georgie Fame and the Blue Flames, Herman's Hermits, Cilla Black, Donovan, The Searchers, Dusty Springfield, The Animals,The Kinks, the Rolling Stones, and the Beatles, among others. Even on that bill, reviewers singled out Them's seven-minute performance of Bobby Bland's "Turn on Your Love Light" for special praise, though watching the video of it it seems a relatively sloppy performance.   But the group were already starting to fall apart. Jackie McAuley was sacked from the group shortly after that Wembley show -- according to some of the group, because of his use of amphetamines, but it's telling that when the Protestant bass player Alan Henderson told the Catholic McAuley he was out of the group, he felt the need to emphasise that "I've got nothing against" -- and then use a term that's often regarded as an anti-Catholic slur...   On top of this, the group were also starting to get a bad reputation among the press -- they would simply refuse to answer questions, or answer them in monosyllables, or just swear at journalists. Where groups like the Rolling Stones carefully cultivated a "bad boy" image, but were doing so knowingly and within carefully delineated limits, Them were just unpleasant and rude because that's who they were.   Bert Berns came back to the UK to produce a couple of tracks for the group's first album, but he soon had to go back to America, as he had work to do there -- he'd just started up his own label, a rival to Red Bird, called BANG, which stood for Bert, Ahmet, Neshui, Gerald -- Berns had co-founded it with the Ertegun brothers and Jerry Wexler, though he soon took total control over it. BANG had just scored a big hit with "I Want Candy" by the Strangeloves, a song Berns had co-written:   [Excerpt: The Strangeloves, "I Want Candy"]   And the Strangeloves in turn had discovered a singer called Rick Derringer, and Bang put out a single by him under the name "The McCoys", using a backing track Berns had produced as a Strangeloves album track, their version of his earlier hit "My Girl Sloopy". The retitled "Hang on Sloopy" went to number one:   [Excerpt: The McCoys, "Hang on Sloopy"]   Berns was also getting interested in signing a young Brill Building songwriter named Neil Diamond... The upshot was that rather than continuing to work with Berns, Them were instead handed over to Tommy Scott, an associate of Solomon's who'd sung backing vocals on "Here Comes the Night", but who was best known for having produced "Terry" by Twinkle:   [Excerpt: Twinkle, "Terry"]   The group were not impressed with Scott's productions, and their next two singles flopped badly, not making the charts at all. Billy Harrison and Morrison were becoming less and less able to tolerate each other, and eventually Morrison and Henderson forced Harrison out. Pat McAuley quit two weeks later,    The McAuley brothers formed their own rival lineup of Them, which initially also featured Billy Harrison, though he soon left, and they got signed to a management contract with Reg Calvert, a rival of Solomon's who as well as managing several pop groups also owned Radio City, a pirate station that was in competition with Radio Caroline. Calvert registered the trademark in the name Them, something that Solomon had never done for the group, and suddenly there was a legal dispute over the name.   Solomon retaliated by registering trademarks for the names "The Fortunes" and "Pinkerton's Assorted Colours" -- two groups Calvert managed -- and putting together rival versions of those groups. However the problem soon resolved itself, albeit tragically -- Calvert got into a huge row with Major Oliver Smedley, a failed right-libertarian politician who, when not co-founding the Institute for Economic Affairs and quitting the Liberal Party for their pro-European stance and left-wing economics, was one of Solomon's co-directors of Radio Caroline. Smedley shot Calvert, killing him, and successfully pled self-defence at his subsequent trial. The jury let Smedley off after only a minute of deliberation, and awarded Smedley two hundred and fifty guineas to pay for his costs.   The McAuley brothers' group renamed themselves to Them Belfast -- and the word beginning with g that some Romany people regard as a slur for their ethnic group -- and made some records, mostly only released in Sweden, produced by Kim Fowley, who would always look for any way to cash in on a hit record, and wrote "Gloria's Dream" for them:   [Excerpt: Them Belfast G***ies, "Gloria's Dream"]   Morrison and Henderson continued their group, and had a surprise hit in the US when Decca issued "Mystic Eyes", an album track they'd recorded for their first album, as a single in the US, and it made the top forty:   [Excerpt: Them, "Mystic Eyes"]   On the back of that, Them toured the US, and got a long residency at the Whisky a Go-Go in LA, where they were supported by a whole string of the Sunset Strip's most exciting new bands -- Captain Beefheart and the Magic Band, The Association, Buffalo Springfield, and the Doors. The group became particularly friendly with the Doors, with the group's new guitarist getting thrown out of clubs with Jim Morrison for shouting "Johnny Rivers is a wanker!" at Rivers while Rivers was on stage, and Jim Morrison joining them on stage for duets, though the Doors were staggered at how much the Belfast group could drink -- their drink bill for their first week at the Whisky A Go-Go was $5400.   And those expenses caused problems, because Van Morrison agreed before the tour started that he would be on a fixed salary, paid by Phil Solomon, and Solomon would get all the money from the promoters. But then Morrison found out how much Solomon was making, and decided that it wasn't fair that Solomon would get all that money when Morrison was only getting the comparatively small amount he'd agreed to. When Tommy Scott, who Solomon had sent over to look after the group on tour, tried to collect the takings from the promoters, he was told "Van Morrison's already taken the money".    Solomon naturally dropped the group, who continued touring the US without any management, and sued them. Various Mafia types offered to take up the group's management contract, and even to have Solomon murdered, but the group ended up just falling apart.    Van Morrison quit the group, and Alan Henderson struggled on for another five years with various different lineups of session men, recording albums as Them which nobody bought. He finally stopped performing as Them in 1972. He reunited with Billy Harrison and Eric Wrixon, the group's original keyboardist, in 1979, and they recorded another album and toured briefly. Wrixon later formed another lineup of Them, which for a while included Billy Harrison, and toured with that group, billed as Them The Belfast Blues Band, until Wrixon's death in 2015.   Morrison, meanwhile, had other plans. Now that Them's two-year contract with Solomon was over, he wanted to have the solo career people had been telling him he deserved. And he knew how he was going to do it. All along, he'd thought that Bert Berns had been the only person in the music industry who understood him as an artist, and now of course Berns had his own record label. Van Morrison was going to sign to BANG Records, and he was going to work again with Bert Berns, the man who was making hits for everyone he worked with.   But the story of "Brown-Eyed Girl", and Van Morrison going solo, and the death of Bert Berns, is a story for another time...

Join me as I sit down with Rosemary Manint, Sandra Douglas, and Trey Brownfield as they tell me about their vision to end teen homelessness in St. Tammany Parish.

The best days are the ones you didn't expect to be great. Your expectations wereRead More »One-Way Love

INTRODUCTION Why do Black people love a country that doesn't love them back? What does it mean to be a Black patriot? Greg and Robert are joined by community activist, Cameron to chop it up on what it means to be Black and an American. Welcome Back. Thanks for subscribing and listening. Find us on Apple Podcasts on iTunes, Spotify, Soundcloud and Libsyn   BLOWING SMOKE    SESSION OF THE DAY  - Black Patriotism - Black Nationalism - No one more entitled to this Country's loyalty than Black people who built this  - America has no conscience - Those in charge with of empire will never get in touch with their better selves to build a country free of exploitation and injustice.    WHAT THE F*CK NEWS SEGMENT   Rudy Giulani and Borat         - Shonda Rimes Quits ABC       - Teacher Black Lives Matter Lesson   THANK YOU Thanks for joining us this episode of All Out of Fucks Podcast! Make sure to check us out on Instagram @alloutoffuckspodcast, Twitter @AllOutofFuxPod, and our website at alloutoffuckspodcast.com, where you can subscribe to the show in iTunes, Stitcher or via RSS so you'll never miss a show. While you're at it, if you liked what you heard, then we'd appreciate you heading over to iTunes and giving us a 5 star rating or just tell a friend about the show.

The Twilight Lounge Episode 51 ~ Freestyle Friday! It’s another edition of Freestyle Friday, this time with almost 90 minutes of your favorite Freestyle tracks from the 80’s.  Whether you like Latin Freestyle or something with more of a House-Y Feel, I got you covered.  Get ready to hear artists Like: Shannon, TKA, Company B, Nayobe, C-Bank and so many more ………….Enjoy!Freestyle Music LIVES at The Twilight Lounge mixed A-Live by Yours Truly, DJ Ash.  Check Out the set list below:----more----1. Let The Music Play2. One Way Love 3. Do You Wanna Dance4. The Mexican5. One More Shot6. Honey To A Bee7. Take it While It’s Hot8. Give Me Tonight9. On The Upside10. All Night Passion11. Fascinated12. Crash Goes Love13. There’s No Reason For You To Cry14. Together Forever15. My Sweet Love16. Wondering17. I Won’t Stop Loving You18. Please Don’t Go19. Don’t Break My Heart20. You Are The One For Me21. If You Leave Me Now22. Party Your Body23. Diamond Girl Comments or Requests? Drop me a line…….DJ-Ash@comcast.net   

Tullian Tchividjian, pastor of Sanctuary Church in Florida. Author of One Way Love. Grandson of the man, the myth Billy Graham. Tullian, is a pastor who has a story to tell and we loved having him on to discuss life, redemption, and grace. Jess and Daniel talk after the episode about the ending of an era, Jess moving and her no longer being Daniel's boss...Support You Friends this week is Weekend Creative they produce amazing content, including PMS vitamins, trust me.

In episode 13, Dustin Rubin & Zak Shaffer discuss the 1985 film Better Off Dead and the song “One Way Love” by EG Daily!Dustin professes his love of this cult classic along with EG’s rocking tune, while Zak offers insight into why Swedish Fish are delicious and why you should never close a car door on your finger. Hilarity ensues from the moment you push “play!” Growing up in 1985, crank calls by ex girlfriends, protest at summer camp, and deviations & digressions! This episode has it all and is also the perfect companion piece to our upcoming Diane Franklin interview!NEW EPISODES EVERY TWO WEEKS!Please rate and review us 5 stars on Apple Podcasts (aka iTunes)Instagram: @twodollarlatefeepodcastZak on Instagram: @zakshafferDustin on Instagram: @dustinrubinvoCheck out the intro/outro music on Bandcamp: jvamusic1.bandcamp.comFacebook: facebook.com/Two-Dollar-Late-Fee-PodcastSpotify: open.spotify.com/show/RadioPublic: radiopublic.com/two-dollar-late-feePodbean: twodollarlatefee.podbean.comStitcher: www.stitcher.comiTunes: podcasts.apple.com/us/podcast/two-dollar-late-fee

In this edition of the Ministry Minded podcast, I reflect on the one-way love of God as it is seen and proclaimed in a wonderful passage from a sermon originally delivered by Alexander Maclaren. Connect with the show: https://graceupongrace.net/ --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app

Minute 45 starts with Elizabeth Daily jamming out and singing the song, "One Way Love" and ends with Charles DeMar laughing uncontrollably at a joke made by Roy Stalin.

CONNECT WITH US:Send in your questions on life, theology, God, the Church, etc. to our podcast email: renewpodcast@gmail.comChurch leaders! If you are a pastor on staff at a church, I am making my book “Sons of Liberty: Discovering Freedom Through the Father’s Embrace” available to you FOR FREE as a PDF. Send us an email (above) with your name, the church you serve at, what position you fill, and your request for the PDF version, and we’ll send that out to you!RESOURCES MENTIONED:“Sons of Liberty” by EJ Martone, click here“One Way Love” by Tullian Tchividjian, click hereTALKING POINTS:“Grace” is not simply “forgiveness.” The popular definition that grace is “unmerited favor” is true, but an oversimplification.In the original Greek language, the word grace means “extending oneself freely towards another.” In other words: God is not just showing favor, or declaring favor…He GIVES HIMSELF to you!Ephesians 2:8 — “For by grace you have been saved, through faith…”- Paul equates the saving work of Jesus’ sacrifice on the cross with grace.To understand grace, you have to talk about love, because they are inseparable.1 John 4:8 — “…God is love…”- This love that pairs with grace is not just an emotion, it’s a person: God- Agapé is the word used to describe both God’s love and God Himself. It is a selfless, unconditional love that expects nothing in return.John 1:1 identifies Jesus as the “Word” that was with God in the beginning before all creation.- Before mankind ever took a breath—The Son of God knew that Man would fail, sin, and condemn themselves to death- Despite that foreknowledge, God still viewed Man worthy in His sight to not only to create, but to die for them!!!2 Corinthians 5:17-18 tells us that God has reconciled the sin of the world and that He is no longer counting sin against us.This message comes full circle when you understand that although we’ve been forgiven, that our sin is not being held against us, that if God is love then He holds no records of our wrong, and that this love was the motivation behind the cross, then you can receive this love and grace through faith as Paul says in Ephesians“Faith” is trusting in God that is the product of relationship with God.This love and grace is what separates the biblical God from all the other gods that Man has created.QUOTES:“No matter how much you do or don’t do—good or bad—God will always be full of love, kindness, and mercy for you!”“You can’t talk about the grace of God without talking about the love of God, because the act of grace was motivated by the love of God.”“My foreknowledge of my son’s SIN—his deception and his sneaking—did not affect my love for him or my willingness to lay down my life for Him.”“Before you ever took a breath, before you ever had the chance to sin—Jesus forgave you!”

Minute 44 starts with JoAnne Greenwald telling Lane that she is only going out with him as a favor to her dad and ends with Elizabeth Daily singing the song, "One Way Love," as a smoke pot explodes behind her on stage.

Honey Cone [00:23] a side: "One Monkey Don't Stop No Show (Part I)" b side: "One Monkey Don't Stop No Show (Part II)" Hot Wax HS 7110 1971 Of course the show is going on when I've got more monkey tunes to spin. Fun fact: lead singer Edna Wright is the sister of Darlene Love. Reached #5 on the R&B charts and #15 on the Hot 100. Another fun fact: Hot Wax was started by the great Holland, Dozier and Holland when they left Motown in 1968. Murray Head [07:20] a side: "One Night in Bangkok" b side: "Merano" MCA Records PB-13988 1984 The sound of 80s musicals is alive and well in this production from ABBA's Bjorn and Benny teaming up with Tim Rice, featuring Murray Head doing to the spoken word bits. Oh right, it's a musical about Chess... called Chess. The great Frank Rich described the Broadway production thusly: "a suite of temper tantrums, [where] the characters ... yell at one another to rock music". INXS [19:35] a side: "The One Thing" b side: "Phantim of the Opera" ATCO Records 7-99905 1982 The lead single from their 1982 album Shabooh Shoobah, released in the US in 1983. The b-side is a tongue in cheek reference to yes, the Phantom of the Opera and INXS lead guitarist Tim Farriss. The Damned [26:15] a side: "One Way Love" b side: "Don't Cry Wolf" Stiff Records BUY 24 1977 A 1981 Re-release of their second single originally release in 1977, this time with the sides flipped around. Interestingly enough, this was produced by Nick Mason after the band originally tried to get the ever reclusive Syd Barrett to produce. Bonnie 'Prince' Billy [34:39] a side: "One with the Birds" b side: "Southside of the World" Palace Records PR20 1998 The first official release of the newly minted Bonnie 'Prince' Billy, after a brief spell recording and performing as Will Oldham, after a slightly longer spell recording and performing of all the Palace iterations. Brenton Wood [42:53] a side: "The Oogum Boogum Song" b side: "I Like the Way You Love Me" Double Shot Records 111 1967 Hot stuff and cool stuff from Brenton Wood. This single reached #19 on the R&B charts and #34 on the Hot 100 in 1967. Seems like it should have gone much higher than that if you ask me. The Marmalade [48:25] a side: "Otherwise It's Been a Perfect Day" b side: "I See the Rain" Epic Records 5-10236 1967 Sorta Kinksian, sort Bacharachian a-side from these Glaswegians. But that flipside! Some excellent psyche pop. Tommy Boyce & Bobby Hart [55:07] a side: "Out & About" b side: "My Little Chickadee" A&M Records 858 Or as they say in Canada, Oot and Aboot. Super singer/songwriters release a bit of their own magic that reached #39 on the Hot 100 in 1967. And the nostalgic b-side sort of sets us up for when we reach Sonny & Cher's 1967 single "Podunk" in a few episodes from now. Fun fact: Jeanie was their drummer, and Phil Spector approves. (https://youtu.be/R5GoGClBvOg) "I Dream of Jeanie Closing Theme" by Hugo Montenegro and Buddy Kaye

Moundsville Baptist Church

As we dig deeper into what Jesus has to say that directs us to live with a one way love, we find that the source of this love is none other than our great God Himself.

As we dig deeper into what Jesus has to say that directs us to live with a one way love, we find that the source of this love is none other than our great God Himself.

Jesus shocks our senses with His call to love others even when there's no chance of a positve return on our investment. It's a call to One Way Love from the One Way to eternal life.

Jesus shocks our senses with His call to love others even when there's no chance of a positve return on our investment. It's a call to One Way Love from the One Way to eternal life.

I'm always surprised when proponents of One Way Love fail to apply it in concrete cases. In other words, we can talk a good game -- about how Christ is always there, gets there first (!), when we are at our lowest ebb, in our worst place of sin and paralysis -- how no sin, no sinner is ever beyond the reach of His "saving embrace" -- but when we or someone close to us -- someone we really KNOW, in other words -- is lying there bleeding to death from a self-inflicted wound, well, then... I just don't know. What I am saying is that One Way Love is easy to talk about, but rarely happens in concrete instances. I almost wince now when I hear or read bold expressions concerning One Way Love, because experience has taught me that it's usually just words. And to tell the truth, the institutional church is, formally, almost never the dispenser of grace to sinners -- except maybe some particular category of persons that fits a current "narrative". Jacques Demy's movies display wondrous examples of total conversion, last-minute conversion, sudden but decisive change of heart within everyday people. "Bay of Angels" (1963), with Jeanne Moreau, concludes with the most dramatic of these sudden changes of heart. In that connection, an artist like Demy shows Christians what they themselves supposedly believe. Ask yourself, is all this (wonderful) talk of "radical grace" -- and it really is radical, tho' no more radical than the entire focus of the New Testament -- just words or do you mean it? The whole core of life, and the Gospel, is summed up in the once famous expression "Love Means Never Having to Say You're Sorry". It works in Eric Segal's novel, it works in the 1969 movie, and it works with your nearest and dearest. It's actually a whole new world ("Aladdin", 1992).

Should we Evangelicals forgive Tullian Tchividjian? If you have any real understanding of how grace works, then the answer, of course, is “yes.” But when public figures break our trust by acting in ways contrary to their public persona, it is tough to find that requisite forgiveness we all are supposed to grant. I understand. So did Absalom — King David’s son who could never forgive his father’s disgraces. But Jesus calls us to do just that, to forgive those who hurt us. In a candid interview, Tullian opens up his heart revealing his ongoing struggles with guilt and shame tied to the impact it had on his children. He shares his desperate need for God’s grace and how the Father’s “One Way Love” is now more important to him than ever before. The post Tullian Tchividjian On Finding Grace After Your Life Has Been Destroyed | GOF77 appeared first on Grace Nation with Dr. Jonathan G. Smith.

by Gil Kracke

by Gil Kracke

by Gil Kracke

by Gil Kracke

by Gil Kracke

by Gil Kracke

Freestyle at Lehman Center for the Performing Arts on Saturday, March 5th.  Deardra Shuler hosts Topically Yours featuring her guest K7 of TKA.  The group's first single was "One Way Love", a major hit in the Latin club communities of New York and Miami, which was followed by "Come Get My Love". An album was then recorded, titled Scars of Love, which included the first two singles. The title track was then released as a single, followed by "Tears May Fall," "X-Ray Vision," and "Don't Be Afraid".  Other songs: You Are The One, Louder Than Love and I Won't Give Up On You."  From Spanish Harlem, K7 is a songwriter, performer and prodigy.

One Way Love - John 14: 1 - 14 by TheChapelFH

Learn about the one thing that will transform your family and aid you in all your relationships.

Vineyard Church

Vineyard Church

I (Dan) recently had the opportunity to read Tullian Tchividjian’s latest book One Way Love – Inexhaustible Grace for an Exhausted World. This book was highly anticipated – not only because of his relationship to Billy Graham (Tullian is his grandson), but also the subject matter on “Grace”, which is the very topic of The Gospel Coalition – Atlantic Canada‘s conference this coming August 5-7, 2014 in Charlottetown PEI.I will say it’s easy to be cynical of an author that has a total of 28 endorsements at the front of the book from all walks of life. It seems that there is a lot of convincing to do at the front end to get you to read the book, but all-in-all, the book is well worth the read and will give you an immense sense of hope in your position and relationship with Christ and literally rock your world if you come from a legalistic background.This book is full of quote-worthy statements and definitely will not leave you questioning what Tullian’s point is. This having been said, it is a tad repetitive and you may find Tullian’s perspective on Grace to be radical – even uncomfortable – grace. I submit, though, that you can’t read the Old and New Testament without coming to the realization that God’s grace is indeed radical; Jesus’ death, burial, and resurrection miraculous; and His call to follow Him uncomfortable. See acast.com/privacy for privacy and opt-out information.

You can trace grace all over the place.

You can trace grace all over the place.

Sermon preached by the Rev. Benson Shelton at St. Francis Episcopal Church, Great Falls, Virginia, on 5 Epiphany February 9, 2014.Text is Matthew 5:13-20. Direct quotations are from The Guardian, "Have you ever told a family member what a disappointment they are?" (Nov. 19,2012);"Grace in Practice: A Theology of Everyday Life" by Paul F.M. Zahl; and, "One Way Love" by Tullian Tchividjian.

• Interview with Tullian Tchividjian about his latest book, One Way Love • Encore: The Gospel for those Broken by the Church by Dr. Rod Rosenbladt

This tape was made for the girls who have realized that the boy that they have been dating is only interested in one thing. Here's a hint, it isn't her charming personality or polite conversation. Girls kick them to the curb and enjoy this mix while you throw his clothes out onto the front lawn. 1. Love is the Seventh Wave, Sting. (music bed) 2. Movie clip "Spellbound". 3. One Way Love, E.G. Daily. 4. Jerk, Kim Stockwood. 5. If I Were a Boy, Sam Fly. 6. Nobody In The Whole Wide World, Greg Trooper. 7. Take A Bow, Rihanna. 8. The More Boys I Meet, Carrie Underwood. 9. Bang Bang Bang, Christina Perry. 10. Leave (get out), JoJo. 11. Stupid Boy, Sarah Buxton. 12. Goodbye To You, Patty Smyth featuring Scandal. 13. Bye, Bye, Baby. Jackie Brubaker. 14. Movie Clip, "Spellbound" 15. Hit The Road Jack, Ray Charles.