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3 episodes with Phil Moore
3 episodes with Phil Moore
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2 episodes with Phil Moore
2 episodes with Phil Moore
3 episodes with Phil Moore
2 episodes with Phil Moore
2 episodes with Phil Moore
3 episodes with Phil Moore
22 episodes with Phil Moore
2 episodes with Phil Moore
2 episodes with Phil Moore
3 episodes with Phil Moore
2 episodes with Phil Moore
2 episodes with Phil Moore
2 episodes with Phil Moore
5 episodes with Phil Moore
5 episodes with Phil Moore
J.John speaks with Phil Moore, an evangelist who is passionate about sharing the Good News of Jesus with those he encounters.
BUCK CLAYTON “KANSAS CITY FIVE” New York, March 18, 1938Laughing at life, Good morning blues, I know that you know, Love me or leave meBuck Clayton (tp) Eddie Durham (el-g) Freddie Green (g) Walter Page (b) Jo Jones (d) BUD FREEMAN “THE BUD FREEMAN TRIO” New York, April 13, 1938Keep smiling at trouble, At sundown, My honey's lovin' arms, I don't believe itBud Freeman (ts) Jess Stacy (p) George Wettling (d) IVIE ANDERSON “PHIL MOORE ORCHESTRA” Los Angeles, September or October 1946He's tall, dark and handsome, Butter and egg man, Twice too many, Empty bed blues Ivie Anderson (vcl) acc by Karl George (tp) unidentified (tp) Willie Smith (as) 2 unidentified (reeds), Lucky Thompson (ts) Phil Moore (p,arr) Irving Ashby (g) poss. Continue reading Puro Jazz 01 de abril, 2025 at PuroJazz.
BUCK CLAYTON “KANSAS CITY FIVE” New York, March 18, 1938Laughing at life, Good morning blues, I know that you know, Love me or leave meBuck Clayton (tp) Eddie Durham (el-g) Freddie Green (g) Walter Page (b) Jo Jones (d) BUD FREEMAN “THE BUD FREEMAN TRIO” New York, April 13, 1938Keep smiling at trouble, At sundown, My honey's lovin' arms, I don't believe itBud Freeman (ts) Jess Stacy (p) George Wettling (d) IVIE ANDERSON “PHIL MOORE ORCHESTRA” Los Angeles, September or October 1946He's tall, dark and handsome, Butter and egg man, Twice too many, Empty bed blues Ivie Anderson (vcl) acc by Karl George (tp) unidentified (tp) Willie Smith (as) 2 unidentified (reeds), Lucky Thompson (ts) Phil Moore (p,arr) Irving Ashby (g) poss. Continue reading Puro Jazz 01 de abril, 2025 at PuroJazz.
My guest today is Phil Moore, author of the book "The Forgotten Manifesto of Jesus." Phil is a former megachurch pastor in London who went through a major shift during the pandemic. See, Phil was leading this thriving church, doing all the things we're told to do to grow a big, successful congregation. But then COVID hit, and everything changed. Why? Because Phil started asking some hard questions - is what we're doing really working? Is this the way Jesus wants us to make disciples? What Phil discovered by connecting with disciple-making movements in places like Iran and India completely upended his approach. He realized the key to mature disciples of Jesus isn't about gathering big crowds, but about empowering everyday believers to make disciples who make disciples. It's a radically decentralized, reproducible model. As Phil will share, when we rediscover the simple, revolutionary teachings of Jesus in Matthew 10 and Luke 10, it has the power to transform not just our churches, but the very way we think about the Great Commission. This is a conversation that could be a real game-changer for how discipleship works in the body of Christ. So join us as we learn how to make disciples that make disciples. Phil is an author, speaker and teacher based in London, UK. Phil came to faith as a student at Cambridge University and was trained within the Newfrontiers family of churches. He serves as a teacher, speaker, DMM leader and encourager of churches, both in the UK and beyond. He is the author of "The Bible in 100 Pages", "The Forgotten Manifesto of Jesus" and the "Straight to the Heart" series of devotional commentaries.In his latest book, "The Forgotten Manifesto of Jesus", Phil has the privilege of telling the story of underground house church movements across India, Iran, Afghanistan and the Middle East. The leaders of these movements are skilled at hiding their identities, but they were able to communicate securely with Phil so that he could pass on their amazing story of God's faithfulness to the world.Phil is married to Ruth and they have four young children. Together, they love eating strange and exotic food, as well as anything to do with campervans. They also love Roald Dahl, which makes Phil's children complain that his own books do not contain enough pictures, talking animals or chocolate factories.Phil's Book:The Forgotten Manifesto of JesusPhil's Recommendation:Spirit WalkJoin Our Patreon for Early Access and More: PatreonConnect with Joshua: jjohnson@allnations.usGo to www.shiftingculturepodcast.com to interact and donate. Every donation helps to produce more podcasts for you to enjoy.Follow on Facebook, Instagram, Twitter, or Threads at www.facebook.com/shiftingculturepodcasthttps://www.instagram.com/shiftingculturepodcast/https://twitter.com/shiftingcultur2https://www.threads.net/@shiftingculturepodcasthttps://www.yFaith Meets Academia Transform faith-based values into personal growth, career success and academic excellence.Listen on: Apple Podcasts SpotifySupport the show
We’re talking about a fresh view of the Great Commission as revival sweeps Iran.Your support sends the gospel to every corner of Australia through broadcast, online and print media: https://vision.org.au/donateSee omnystudio.com/listener for privacy information.
The Gospel is Jesus Christ (Battersea) - Phil Moore - Vineyard 61 Church by Vineyard 61 Church
On today's episode Cynthia talks with Phil Moore, a church pastor in the UK, who began exploring disciple multiplication and was introduced to movement leaders in Iran who asked him to share their extraordinary story. We talk about finding Persons of Peace, how to motivate yourself and others to intercede, humility and more.
This week Phil Moore, church leader and author of the excellent Straight to the Heart Bible Commentary series, joins Matt to discuss his most recent book, called The Forgotten Manifesto of Jesus, in which he shares stories and lessons learnt from the revival in Iran and its overflow in other nations. Post Covid 19, Phil moved on from leading a large and thriving church in SW London to focus on taking the gospel personally into the streets, bars and council estates in his neighbourhood, where he's looking to meet those who would not be likely to come to church. He has been inspired, mentored and taught by the leaders of the underground Iranian church who have drawn him back to some of the key teachings of Jesus in the gospels about mission. Phil challenges the church in the West to adopt a humble posture, to learn from where the church is growing and to consider radically different models of disciple-making that we have been used to.To contact Phil, visit https://philmoorebooks.com/contactAs mentioned at the end of the episode, we have our Neighbours and Nations Day on the 23rd November. If you'd like to find out more find the details here.Neighbours & Nations Conference: Saturday 23rd November 2024High Wycombe, UKTo sign up for free tickets: http://geni.us/frontiers2024_________________________________________________________________________________Do get in touch if you have any questions for Matt or for any of his guests.matt@frontiers.org.ukYou can find out more about us by visiting www.frontiers.org.ukOr, if you're outside the UK, visit www.frontiers.org (then select from one of our national offices). For social media in the UK:Instagram: frontiers_ukFacebook: @frontiersukfriendsAnd do check out the free and outstanding 6 week video course for churches and small groups, called MomentumYes:www.momentumyes.com (USA)www.momentumyes.org.uk (UK) _________________________________________________________________________________
The Forgotten Manifesto of JesusYour support sends the gospel to every corner of Australia through broadcast, online and print media: https://vision.org.au/donateSee omnystudio.com/listener for privacy information.
As airlines look to decarbonize and governments crack down on heavy industry carbon emissions, some in the aviation industry are turning to sustainable aviation fuel (SAF). In this episode, correspondents Camellia Moors and Camilla Naschert speak with experts from across the SAF industry about what SAF is, how it's being used, its potential to curb carbon emissions and the biggest challenges and opportunities in its global uptake. Today's guests are Andrew Chen, principal for aviation decarbonization at RMI; Dick Benschop, board member and senior fellow at the Mission Possible Partnership; Phil Moore, global head of sustainable aviation fuel at EcoCeres; and Daniel Chereau, head of fuel at the International Air Transport Association. Subscribe to Energy Evolution to stay current on the energy transition and its implications. Veteran journalists Dan Testa and Taylor Kuykendall co-host the show, which routinely features regular correspondents Camilla Naschert and Camellia Moors.
As airlines look to decarbonize and governments crack down on heavy industry carbon emissions, some in the aviation industry are turning to sustainable aviation fuel (SAF). In this episode, correspondents Camellia Moors and Camilla Naschert speak with experts from across the SAF industry about what SAF is, how it's being used, its potential to curb carbon emissions and the biggest challenges and opportunities in its global uptake. Today's guests are Andrew Chen, principal for aviation decarbonization at RMI; Dick Benschop, board member and senior fellow at the Mission Possible Partnership; Phil Moore, global head of sustainable aviation fuel at EcoCeres; and Daniel Chereau, head of fuel at the International Air Transport Association. Subscribe to Energy Evolution to stay current on the energy transition and its implications. Veteran journalists Dan Testa and Taylor Kuykendall co-host the show, which routinely features regular correspondents Camilla Naschert and Camellia Moors.
Dan & Manny welcome back the director of The Orange Years & This is GWAR, Scott Barber, to talk about the Kickstarter for his new project Game Changers, a docu series about the videogames that changed everything! Scott talks about what he's been up to since the last time we had him on to discuss his documentary The Orange Years, he tells us about his new project with Phil Moore (host of Nick Arcade) called Game Changers, why he thinks this is the perfect timing for a docu series like Game Changers, some of his favorite nostalgic videogames, his obsession with the Nintendo Power Glove, how kids are coming back to retro games in a big way, and he shares a cautionary tale about being an indie filmmaker that we feel ALL indie artists need to hear. HELP FUND GAME CHANGERS!!! Scott produced and co-directed The Orange Years: The Nickelodeon Story - a documentary chronicling the rise of the Nickelodeon network throughout the 80s and 90s. The film is currently available on Amazon Prime VIdeo, Apple TV, and most places you can buy and rent streaming movies. He also directed This Is GWAR, a documentary about the infamous art collective/performance art/monster band, currently on AMC+, Shudder, and for rent on Amazon Prime Video, Apple TV, and more. He is currently working on a new show called Game Changers, with Phil Moore of Nick Arcade! Some Episode Notes Game Changers Kickstarter! The Orange Years (Movie 2018) 40:
Support Our Sponsor: Blackout Coffee - https://www.blackoutcoffee.com?p=BoNofhazE / Use PROMO CODE CHRIA20 and save 20% on your next purchase. On this episode of CHRIS AKIN PRESENTS..., Chris sits down with Phil Moore and Scott Barber of the new docuseries GAME CHANGERS. They talk about development of this new docuseries, the worlds of gaming and pinball, the old days at Nickelodeon and more. Join The Crowd Funding Campaign Here: https://www.kickstarter.com/projects/gamechangersseries/game-changers-the-stories-behind-your-favorite-video-games **NOTE: Everything said here, and on every episode of all of our shows are 100% the opinions of the hosts. Nothing is stated as fact. Do your own research to see if their opinions are true or not.** Please SUBSCRIBE, click the notification bell, leave a comment or a like, and share this episode! Watch LIVE every Monday at 8pm Eastern at www.chrisakin.net, CMStv.net, Rumble or X. Facebook: www.facebook.com/chrisakinpresentsInstagram: www.instagram.com/chrisakinpresentsTwitter: www.twitter.com/realchrisakinYoutube: https://www.youtube.com/@chrisakinpresents?sub_confirmation=1
Chris sits down with Phil Moore and Scott Barber of the new docuseries GAME CHANGERS. They talk about development of this new docuseries, the worlds of gaming and pinball, the old days at Nickelodeon and more.
Scott Barber is a documentarian/film maker with such credits under his belt as "The Orange Years," a story about the history of Nickelodeon and "This Is GWAR," a compelling look at the band GWAR- from the inside out. His next project is a documentary series all about retro-gaming called "Game Changers." This series will be co-hosted by none other than Phil Moore of "Nick Arcade." Currently, Scott and team are crowdfunding the project through a Kickstarter campaign and that can be found here:https://www.kickstarter.com/projects/gamechangersseries/game-changers-the-stories-behind-your-favorite-video-games/
Send us a Text Message.Iconic host of "Nick Arcade" on Nickelodeon in the 90's, Phil Moore and director Scott Barber join us to talk about their upcoming video game docuseries: "Game Changers"Support the crowdfunding campaign for Game Changers here: https://www.kickstarter.com/projects/gamechangersseries/game-changers-the-stories-behind-your-favorite-video-gameswww.BetterHelp.com/TheBarnhttp://www.betterhelp.com/TheBarn http://www.betterhelp.com/TheBarnThis episode is sponsored by www.betterhelp.com/TheBarn and brought to you as always by The Barn Media Group. YOUTUBE https://www.youtube.com/@TheBarnPodcastNetwork SPOTIFY https://open.spotify.com/show/09neXeCS8I0U8OZJroUGd4?si=2f9b8dfa5d2c4504 APPLE https://podcasts.apple.com/podcast/id1625411141 I HEART RADIO https://www.iheart.com/podcast/97160034/ AMAZON https://music.amazon.com/podcasts/7aff7d00-c41b-4154-94cf-221a808e3595/the-barn
When the creator of "The Orange Years" emails you and asks to be on your show with Phil Moore to promote their latest project, the only answer is yes! Scott Barber returns for one last surprise conversation this season. He and Phil Moore are working on a new series called, "Game Changers." What is it? Tune in with us to find out! Support their kickstarter: https://www.kickstarter.com/projects/gamechangersseries/game-changers-the-stories-behind-your-favorite-video-games/description Follow them on Instagram: https://www.instagram.com/gamechangersseries/ Unlock Bonus Content on Patreon Shop at our Splat Attack Merch Store Email Us: SplatAttack2021@gmail.com YouTube: Splat Attack! Podcast Instagram: @SplatAttackPodcast Please leave us a review in your podcast app!
Asia Biofuels & Net Zero Deputy Editor Lauren Moffitt speaks to EcoCeres' Global Head of SAF, Phil Moore, on recent issues affecting SAF markets and their implications for the nascent Asian industry. Topics include impacts of the anti-dumping investigations the EU and UK have launched into Chinese biofuels imports, regional and global developments in SAF mandates and how they will affect the Asian market, changes to SAF feedstocks accepted in the US and EU and pricing trends and outlook.
Welcome to the Keswick Convention podcast 2024, meeting some of the speakers and seminar leaders to unpack the content and topics that feature at the Convention 2024, where the big theme is ‘Resurrection'.Hosted by Graham Albans and Matt Holden.PHIL MOORE & COLIN WEBSTERPhil Moore and Colin Webster are both at Cornerstone church in Nottingham, where Colin is a minister and Phil is the Director of Ministry for Youth/Music. They're often leading worship together at national events and conferences, and this year Phil is leading worship in the main tent during Week 2. You can also catch Phil in concert on Wednesday night of Week 2. www.cornerstoneworship.co.ukYou may also be interested in Andrew Peterson's Week 3 seminars called ‘Art Making and the Redemption of Time' and ‘The Creative Process as Light in the Darkness'.BOOKS10ofThose have kindly provided a discount code for listeners of this podcast, and a link to find all the titles mentioned in this series. Simply visit https://uk.10ofthose.com/partners/keswick-podcast and use the discount code: Keswick5Books mentioned in this episode:- Worship Matters: Bob Kauflin - Time Well Spent: Colin Webster Support the Show.Visit the Keswick Ministries website for more resources. The Keswick Convention is free and runs from 13th July until 2nd August 2024. https://keswickministries.org/
Sometimes in our lives we feel that God is distant and has forgotten about us and is far away from us, our prayers are bouncing off the ceiling and we are alone dealing with a situation. We can get frustrated and angry or disappointed with God and take things into our own hands to try and get them sorted out – most often with disastrous results! We only need to read the Psalms to remind ourselves how honest David was with GodPsalm 102Psalm 13We all feel like this from time to time in our lives. Hagar (OT)God has already promised to Abram that he will be the father of many nations Genesis 15:2-5Genesis 16:1–15According to the prevailing culture of the day if a wife was barren (which was a sign of gods displeasure) she could offer her servant as a surrogate mother to her husband so Sarai gave Hagar to Abram and she became pregnant. This caused jealousy and arguments and such ill treatment of Hagar that she runs away into the desert. Abram and Sarai took things into their own hands rather than waiting on God. Waiting is hard – and yet that place is where God would stretch our faith and trust in him to deliver what he has promised – It's a hard lesson.Hagar was out of Sarai and Abrams eyes but she wasn't out of God sight – she encountered God in the desert – Notice God knows her name and exactly who she isv8This is an amazing story of God's grace as God's covenant is with Abram and Sarai and yet we have here an Egyptian slave with no rights who God sees, directs and names her son. She is the first person in the bible to receive a visit from the angel of the Lord and her baby is the first baby named by God whilst still in the womb. Hagar comes to know God, who sees her and is invited into a relationship with the living God – something she believed was only for Abram and Sarai – and in doing so reveals part of Gods very character – Jehovah EL ROI – "I am the God who sees you" This is a wonderful story of God's heart for all men and women. However, there are consequences to Abrams actions which he has during his lifetime with Ishmael – Hagar's son which we are still struggling with today.Phil Moore in his commentary says:"...Whenever we hear news reports of fighting between Jews and Arabs over who should control Palestine, we are hearing the echo of what happened between Abram and Hagar"In the midst of our mess God's grace is wonderful – He is Jehovah El Roi – the God who sees you!The second person I want to look at is Nathanael (NT) John 1:43-51The Chosen – https://www.youtube.com/watch?v=HAbwGTcPA_kJesus is God and therefore is the God who sees – he sees Nathanael under the fig tree in despair and his plight is not ignoredv48 Notice that Nathanael cries "DO YOU SEE ME" and quotes Psalm 102 which we started with today – Jehovah El ROI – I am the God who SEES – what a wonderful revelation to Nathanael – so much so that he immediately declares " Rabbi you are the son of God- the King Of Israel"God watches over you, he knows your situation, he knows the trial you are going through, your concerns and your fears – Even when you are at your lowest ebb and its 4.00am and you feel all alone He loves you and he wants the best for you – always to give you a future and a hope (Jeremiah 29:13) – Jesus is always moved with compassion in our lowest moments when we cry out to him – he is Jehovah EL ROI – the God who seesPsalm 33:12-22Questions1. Why do you think we take things into our own hands so often? What stops us trusting God?2. What about the similarities and differences between Hagar and Nathanael's situations? What does this show us about God?3. How does the fact that God is the God who sees us help me in my daily life?4.
Actor/producer/writer Phil Moore joins the show to chat with Derek about starting in showbusiness as a stand-up comedian, how an observant moment led him to becoming host of "Nick Arcade", some of his favorite moments of the show, and why the 90s are considered to be the "golden age" of Nickelodeon.Follow Phil Moore on social media:https://facebook.com/PhilMoore4uhttps://twitter.com/philmoore4uhttps://instagram.com/philmoore4uFollow and subscribe to the show:https://linktree.com/ddiamondpodcast Hosted on Acast. See acast.com/privacy for more information.
Nice reality you got there, be a shame if someone made it... virtual! Welcome to the Nick Arcade, home of the Video Zone and Bonkers Comedy Club Legend, Phil Moore! Screaming kids, great games, endless nostalgia and no editing, this show has everything! Our old pal J. W. Crump put another quarter in before time ran out, so he's back for analysis and jokes galore. ----------- Hosts Geoff Kerbis Max Singer Rich Inman --- Support this podcast: https://podcasters.spotify.com/pod/show/pilotslicense/support
Phil was a ‘successful' respected, high-profile pastor leading a growing multi-site church in London… and then the Covid pandemic forced him into a costly, radical and liberating reassessment of what church should look like. Warning: this is very challenging indeed to listen to and engage with… Check out philmoorebooks.com and you can contact him there. --- Sign up for More Than Conquerors: greatlakesoutreach.org/mtc Support us: greatlakesoutreach.org/inspired --- Weekly episode WhatsApp link: greatlakesoutreach.org/whatsapp | Weekly email notification: greatlakesoutreach.org/inspiredemail For more from Simon, visit: simonguillebaud.com --- Produced by Great Lakes Outreach - Transforming Burundi & Beyond: greatlakesoutreach.org
This episode of the GreenPlanet BluePlanet podcast explores regenerative education with three professionals who have created brain trusts and/or started new schools based on the whole child, social emotional learning, gardening, real world projects and experienced-based learning, to name a few. While the nascent regenerative education movement has a lot of momentum, it still has a long way to go to become mainstream. This podcast may be just in time. Guests Hope Paterson, Catherine Fraise and Phil Moore are educators and thought leaders who are designing schools for the future. Love is the key. Hope Paterson(@hopepaterson4266) is the founder of the Hope Sparks Network + Hope Braintrust. Catherine Fraise is a former teacher who created Workspace Education, a physical learning lab in Bethel, CT, and is the founder of 100 Roads Design, specializing in virtual campuses for education. Phil Moore now “in his third rewirement” and living in the Blue Ridge Mountains, is the co-creator of the independent Upland Hills School and Upland Hills Ecological Awareness Center established in 1971 in Oxford, Michigan. He is the author of The Future of Children: Providing a Love Based Education for Every Child, published in 2017. Join GreenPlanet BluePlanet Host Julian Guderley (@JulianGuderley) on Better Worlds to hear what the academics, researchers, dreamers - younger and older - are envisioning for a regenerative education to transform the ages, and how AI can play a role. --- Support this podcast: https://podcasters.spotify.com/pod/show/julian-guderley/support
Season 5: Episode 2.2 of Epic Briefs Media Podcast has arrived - Chris joins Claudius to share a little about the chill time they had at the 10th annual Southern Fried Gaming Expo in Atlanta.
Mark 4:35-41 to Mark 5:1-8 Jesus Calms the stormJesus has spent the whole of Ch 4 to this point explaining what the kingdom of God is like and speaking in parables to those listening and to the disciples - v9, v24Then we come into the story of the boat on the Sea of Galilee – and Jesus discovers just how much or how little the disciples have listened and understood!Jesus decides where they are going. He wants to cross to the non-Jewish side, inhabited by gentiles and the region of the Gerasene's.As they set out a fierce storm erupts from nowhere and the boat begins to take on water – Jesus remains asleep throughout the storm and they have to wake him as they fear for their lives – whatever they have or have not learnt through the teachings is forgotten and they panic and wake Jesus saying that “teacher don't you care that we are going to drown”?Phil Moore says thisJesus knows that his life will end on the cross at Calvary and not at the bottom of Lake Galilee and yet his disciples do not share his confidence! They have heard and forgotten – Jesus brought them into the storm to give them an opportunity to see and remember- which they fail! The wind and the waves have caused them to forget his identity and his mission. – He challenges them – where is your faith?They need to learn to handle storms before they can start to play their own part in his story.Identify with this? How do we cope in the storms of life? Do we forget Jesus identity and mission – his promises and his faithfulness?Tom Wright“Go on – wake Jesus up, pray to him in your fear and anger – but don't be surprised when he turns to you and asks “where is your faith?”Remember who he is: Psalms 89:8-9, v11Jesus wakes and rebukes the wind and the waves, “Silence be still”. In the Greek he speaks two words which translated are “Shush. Be muzzled”. Is this storm is not just a normal storm but is in fact from the enemy? Jesus rebuking the wind and waves says the same words he uses when dealing with the enemy and his forces. Jesus does not need to rebuke his creation – it's his – he can just say “be still” and it will be.The enemy knows where Jesus is going (Ch 5) and what's going to happen when he gets there and will do anything to stop him.4:41 – The disciples5:5 – The demonsThe demons recognise Jesus who is revealed in all his power and authority in this story and they have to flee and the man is set free and in his right mind – it's a great story! He is King of all the earth – they had to obey, they had no choice! He even has to give them permission to enter the swine – they cannot just go – He is in control!Ephesians 1:19-22ALL things – creation, the wind and the waves, every scheme of the enemy, your life, your struggles, your work situation, your school situation, your finances, your job, your boss, your weaknesses, your sin and your health.Let's see and remember who Jesus is and the authority he has – in ALL things! It's all about FAITH. Faith in the storms,Jesus's first two miracles in Ch 6 are about FAITH.The woman with the issue of blood – Jesus says “Daughter your faith has made you well” Jairus's daughter – She died because Jesus was delayed – Jesus says“Have faith – she is not dead but asleep.When the storms come Jesus wants us to have faith in him and trust him – he has got this!John Ortberg says this“Peace doesn't come from finding a lake with no storms: it comes from having Jesus in the boat with you through those storms”Questions1. Why do you think the disciples struggled to have faith whilst in the boat?2. What are some of the reasons we struggle when the storms of life hit us?3. If we don't have faith - what's the opposite?4. Why does the story about the demonised man help
Warning ⚠️ Full Spoilers ⚠️Please Join us as we chat about one of the most anticipated movies
This sermon was preached by Phil Moore at CCM Gorton on Sunday 2nd July 2023 from John 20.
This was a blast! Join me as I chat with the host of the hit 90's Nickelodeon show Nick Arcade, Phil Moore. We talk about his early days as a warm up comedian on MTV's Remote Control, his life changing encounter with Television legend Dick Clark, His time on Nick Arcade and so much more. Oh and of course we chat about Cereal
The ninjas are back for another episode. This week they review Disney's The little Mermaid, they discuss the 2023 Playstation Showcase, the possibility of Fast & Furious spin-offs and Dom and Bobby sit down to interview the host of Nickelodeon's Nick Arcade Phil Moore. 3 Ninjas Podcast Twitch: www.twitch.tv/3ninjaspodcastBobby's Twitch: https://www.twitch.tv/emprodabobDomino's Twitch: https://www.twitch.tv/hkdominoHesh's Twitch: https://www.twitch.tv/heshjones86Check out 3NinjasPodcast.com for merch, links, Patreon, and more!Join the Discord: https://discord.gg/RKpjgVBUQXPatreon: www.patreon.com/3ninjaspodcastiTunes: itunes.apple.com/us/podcast/3ninjaspodcastTwitter: twitter.com/3ninjaspodcastInstagram: www.instagram.com/3ninjaspodcastFacebook: www.facebook.com/3NinjasPodcastSpreaker: https://www.spreaker.com/show/3-ninjas-podcast3 Ninjas Podcast Youtube Channel: https://www.youtube.com/c/3NinjasPodcast/videosCheck out Domino's Youtube Channel "Round 12 Gaming" www.youtube.com/channel/UC3b6...You Got Questions, Ninjas got answers. Tweet, DM or email us questions for our "Ask a Ninja" segment at 3ninjaspodcast@gmail.com|Follow the team| @3NinjasPodcast on Twitter @3NinjasPodcast on IG @HK_Domino @HeshbJones @EmproDaBoB #3NinjasPodcast #Comedy #blacknerds #CT #PodcastTopics0:00 - Intro30:05 - The Little Mermaid50:20 - Tom Cruise52:20 - John Wick 559:40 - Fast & Furious1:01:50 - Las Vegas Pokemon neighborhood1:04:30 - Mortal Kombat 1 1:06:30 - Dolphin Emulator1:12:15 - Playstation Showcase1:14:45 - Phil MooreThis show is part of the Spreaker Prime Network, if you are interested in advertising on this podcast, contact us at https://www.spreaker.com/show/4652058/advertisement
Join me for a beautiful conversation with Phil Moore (author of The Future of Children) and life-long Love-Based Leader & Educator. Phil and I dive into a deep conversation about the future of education, children and how WE -- the collective can better serve and support the growth, development, imaginations and learning of children. If you love kids or you're an educator, you will love this wide-ranging conversation. Join the Future of Children Retirement Training with Phil Moore at https://futureofchildrentraining.com Apply to join the Creators Club where Chela and I will coach you around leveraging your life's work at https://majikmedia.com/creators-club
Jeff Carreira speaks with author, Phil Moore about The Future of Children Rewirement Training. By the end of the 3-day live virtual training you will have an expanded toolbox of ideas and initiatives that you can apply in your classroom, family or community immediately, which will provide the life skills and preparation for these children to confidently & skillfully navigate the world of the unknown. w: https://futureofchildrentraining.com/
Todays guest is wisdom-keeper Phillip Moore, he returns for another sit down conversation with Julian. Check out Phil's newest training for Educating the Future of Children In a nutshell, Phil Moore leads with his heart. He puts this extraordinary heart capacity to work by playing the infinite game. A game where there are no losers and winning means oneing.(from me to we). Where you play with the rules rather than by them. An infinite game player plays to leave an invisible legacy in the hearts and minds of others.This kind of open heart—willing to give and receive, attracts allies and seeds possibilities. For his entire life as a teacher, husband, father, Granda, mentor, writer and leader, Phil has been an artist of possibilities. This artistry opens doors, forges bonds, spreads inspiration and astonishing learning happens for everyone in his orbit. Thanks to Phil, the lives of many have been changed from his loving humanity.Phil has always been driven by his love for children, for his love of the wild and for building and sustaining a learning community. From the age of 23 he was asked to embody and serve a community for more than four decades that grew from over fifty children, to nearly 100. Over half a century later, this learning community is alive, evolving, and serving one foundational goal: To Love Children into Being. This living legacy is shifting entire communities from the dominant paradigm to a new paradigm that is based on love and deep inter-relatedness.It's tricky to measure this legacy and impact, yet easy to share some of the tangible ways Phil has shared his heart across the world. A few to mention:- His book The Future Of Children grew out of over four decades of direct experience with children who have been educated in a school that was based on love. These children have grown up to be very different kinds of people. Their direct connection to the natural world has influenced them to feel a deep connection with life. - Loved thousands of children and their extended families in ways that helped us navigate challenging and difficult times. - Created loving bonds between teachers, parents, neighbors, and friends. - Built a campus, over 4 decades, that is currently serving close to 100 students and teachers based on doing more with less, using regenerative non-extracting technologies. - Influenced an unknown number of people who attended: workshops, retreats, concerts, tours, films, ceremonies, conferences, and events designed to uplift our spirits and inspire others to become infinite game players.Inspired love-based initiatives, and innovations in education communities across the globe. Learn more about his work and teachings: https://futureofchildrentraining.com/ --- Support this podcast: https://podcasters.spotify.com/pod/show/julian-guderley/support
What is the place of singing in church life and how can church leaders help people sing well? In this episode, Adrian Reynolds (Head of National Ministries) is joined by Sally Jackman (Contagious Bible Ministries) to talk about her experience as a singer in church ministry, why singing is important in church life, and how we can help one another sing well. 00:00 - Introduction 02:21 - Why do we sing? 08:07 - How do you choose what to sing in church? 13:55 - Teaching new songs 17:10 - Learning new songs with few resources 20:35 - Planning songs in a Sunday service 26:11 - How do you lead sung worship? 31:21 - Will we have perfect pitch in heaven? You can watch a video of this episode and get more resources for church leaders on the FIEC website. Resources mentioned in this episode Piano Playing (with Phil Moore) (fiec.org.uk) Leading Worship with a Guitar (with Andy Fenton) (fiec.org.uk) Rhythms of Grace, Mike Cosper (10ofthose.com) City Alight (cityalight.com) Sovereign Grace Music (sovereigngracemusic.org) Getty Music (gettymusic.com) Phil Moore (cornerstoneworship.co.uk) FIEC Centenary Song (fiec.org.uk) About In:Dependence: In:Dependence is FIEC's official podcast, where you'll hear teaching and resources for church leaders from the FIEC Ministry Team and guests from FIEC churches and partners. You can access video podcasts by subscribing to the FIEC YouTube channel. About FIEC: We are a fellowship of Independent churches with members of the family across England, Scotland and Wales. Our mission is to see those Independent churches working together with a big vision: to reach Britain for Christ. Being part of FIEC links you to a growing number of Independent evangelical churches and there are now more than 50,000 people who are part of churches affiliated to FIEC. Follow FIEC on social media: Instagram Facebook Twitter
Phil Moore is a church planter and pastor. Here he joins us to talk about the church structures and practices he uses to cultivate a sense of belonging, the purpose of decentralizing the pastor, and why he is still so captivated by the church - even as a twenty-something-year-old pastor. Episode References: This Here Flesh by Cole Arthur Riley Searching for Sunday by Rachel Held Evans Learn more about our work in the Office of Church Engagement at www.whitworth.edu/oce
Brooke is joined by Dr. Phil Moore, Dr. Ashley Rickey, and P.A. Amanda from Novant Health Vein Specialists to hear the scoop on all things veins and vascular health. The trio explains the benefits of the practice's monthly free screenings, warning signs to look for when it comes to vein and vascular issues, and why they love working together as a team. Find Novant Health Vein Specialists online: Website: www.salemveins.com
Mike talks with Ben Schwartz about improv, acting, and hustling; and then speaks with Caroline Weaver of CW Pencil Enterprise. Ian Goldstein chats with comedian and former Nick Arcade host Phil Moore about a new game show he’s creating. Rob discovers a unique summer camp. This episode was produced by Rob Schulte Brought to you By: The Sonar Network
Mike talks with Ben Schwartz about improv, acting, and hustling; and then speaks with Caroline Weaver of CW Pencil Enterprise. Ian Goldstein chats with comedian and former Nick Arcade host Phil Moore about a new game show he's creating. Rob discovers a unique summer camp. This episode was produced by Rob Schulte See acast.com/privacy for privacy and opt-out information.
Episode 149 of A History of Rock Music in Five Hundred Songs looks at “Respect", and the journey of Aretha Franklin from teenage gospel singer to the Queen of Soul. Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have a fifteen-minute bonus episode available, on "I'm Just a Mops" by the Mops. 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/ Also, people may be interested in a Facebook discussion group for the podcast, run by a friend of mine (I'm not on FB myself) which can be found at https://www.facebook.com/groups/293630102611672/ Errata I say "Rock-a-Bye Your Baby to a Dixie Melody" instead of "Rock-a-Bye Your Baby With a Dixie Melody". Also I say Spooner Oldham co-wrote "Do Right Woman". I meant Chips Moman. Resources No Mixcloud this week, as there are too many songs by Aretha Franklin. My main biographical source for Aretha Franklin is Respect: The Life of Aretha Franklin by David Ritz, and this is where most of the quotes from musicians come from. I also relied heavily on I Never Loved a Man the Way I Loved You by Matt Dobkin. Information on C.L. Franklin came from Singing in a Strange Land: C. L. Franklin, the Black Church, and the Transformation of America by Nick Salvatore. Rick Hall's The Man From Muscle Shoals: My Journey from Shame to Fame contains his side of the story. Country Soul by Charles L Hughes is a great overview of the soul music made in Muscle Shoals, Memphis, and Nashville in the sixties. Peter Guralnick's Sweet Soul Music: Rhythm And Blues And The Southern Dream Of Freedom is possibly less essential, but still definitely worth reading. And the I Never Loved a Man album is available in this five-album box set for a ludicrously cheap price. But it's actually worth getting this nineteen-CD set with her first sixteen Atlantic albums and a couple of bonus discs of demos and outtakes. There's barely a duff track in the whole nineteen discs. Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript Before I start this episode, I have to say that there are some things people may want to be aware of before listening to this. This episode has to deal, at least in passing, with subjects including child sexual abuse, intimate partner abuse, racism, and misogyny. I will of course try to deal with those subjects as tactfully as possible, but those of you who may be upset by those topics may want to check the episode transcript before or instead of listening. Those of you who leave comments or send me messages saying "why can't you just talk about the music instead of all this woke virtue-signalling?" may also want to skip this episode. You can go ahead and skip all the future ones as well, I won't mind. And one more thing to say before I get into the meat of the episode -- this episode puts me in a more difficult position than most other episodes of the podcast have. When I've talked about awful things that have happened in the course of this podcast previously, I have either been talking about perpetrators -- people like Phil Spector or Jerry Lee Lewis who did truly reprehensible things -- or about victims who have talked very publicly about the abuse they've suffered, people like Ronnie Spector or Tina Turner, who said very clearly "this is what happened to me and I want it on the public record". In the case of Aretha Franklin, she has been portrayed as a victim *by others*, and there are things that have been said about her life and her relationships which suggest that she suffered in some very terrible ways. But she herself apparently never saw herself as a victim, and didn't want some aspects of her private life talking about. At the start of David Ritz's biography of her, which is one of my main sources here, he recounts a conversation he had with her: "When I mentioned the possibility of my writing an independent biography, she said, “As long as I can approve it before it's published.” “Then it wouldn't be independent,” I said. “Why should it be independent?” “So I can tell the story from my point of view.” “But it's not your story, it's mine.” “You're an important historical figure, Aretha. Others will inevitably come along to tell your story. That's the blessing and burden of being a public figure.” “More burden than blessing,” she said." Now, Aretha Franklin is sadly dead, but I think that she still deserves the basic respect of being allowed privacy. So I will talk here about public matters, things she acknowledged in her own autobiography, and things that she and the people around her did in public situations like recording studios and concert venues. But there are aspects to the story of Aretha Franklin as that story is commonly told, which may well be true, but are of mostly prurient interest, don't add much to the story of how the music came to be made, and which she herself didn't want people talking about. So there will be things people might expect me to talk about in this episode, incidents where people in her life, usually men, treated her badly, that I'm going to leave out. That information is out there if people want to look for it, but I don't see myself as under any obligation to share it. That's not me making excuses for people who did inexcusable things, that's me showing some respect to one of the towering artistic figures of the latter half of the twentieth century. Because, of course, respect is what this is all about: [Excerpt: Aretha Franklin, "Respect"] One name that's come up a few times in this podcast, but who we haven't really talked about that much, is Bobby "Blue" Bland. We mentioned him as the single biggest influence on the style of Van Morrison, but Bland was an important figure in the Memphis music scene of the early fifties, which we talked about in several early episodes. He was one of the Beale Streeters, the loose aggregation of musicians that also included B.B. King and Johnny Ace, he worked with Ike Turner, and was one of the key links between blues and soul in the fifties and early sixties, with records like "Turn on Your Love Light": [Excerpt: Bobby "Blue" Bland, "Turn on Your Love Light"] But while Bland was influenced by many musicians we've talked about, his biggest influence wasn't a singer at all. It was a preacher he saw give a sermon in the early 1940s. As he said decades later: "Wasn't his words that got me—I couldn't tell you what he talked on that day, couldn't tell you what any of it meant, but it was the way he talked. He talked like he was singing. He talked music. The thing that really got me, though, was this squall-like sound he made to emphasize a certain word. He'd catch the word in his mouth, let it roll around and squeeze it with his tongue. When it popped on out, it exploded, and the ladies started waving and shouting. I liked all that. I started popping and shouting too. That next week I asked Mama when we were going back to Memphis to church. “‘Since when you so keen on church?' Mama asked. “‘I like that preacher,' I said. “‘Reverend Franklin?' she asked. “‘Well, if he's the one who sings when he preaches, that's the one I like.'" Bland was impressed by C.L. Franklin, and so were other Memphis musicians. Long after Franklin had moved to Detroit, they remembered him, and Bland and B.B. King would go to Franklin's church to see him preach whenever they were in the city. And Bland studied Franklin's records. He said later "I liked whatever was on the radio, especially those first things Nat Cole did with his trio. Naturally I liked the blues singers like Roy Brown, the jump singers like Louis Jordan, and the ballad singers like Billy Eckstine, but, brother, the man who really shaped me was Reverend Franklin." Bland would study Franklin's records, and would take the style that Franklin used in recorded sermons like "The Eagle Stirreth Her Nest": [Excerpt: C.L. Franklin, "The Eagle Stirreth Her Nest"] And you can definitely hear that preaching style on records like Bland's "I Pity the Fool": [Excerpt: Bobby "Blue" Bland, "I Pity the Fool"] But of course, that wasn't the only influence the Reverend C.L. Franklin had on the course of soul music. C.L. Franklin had grown up poor, on a Mississippi farm, and had not even finished grade school because he was needed to work behind the mule, ploughing the farm for his stepfather. But he had a fierce intelligence and became an autodidact, travelling regularly to the nearest library, thirty miles away, on a horse-drawn wagon, and reading everything he could get his hands on. At the age of sixteen he received what he believed to be a message from God, and decided to become an itinerant preacher. He would travel between many small country churches and build up audiences there -- and he would also study everyone else preaching there, analysing their sermons, seeing if he could anticipate their line of argument and get ahead of them, figuring out the structure. But unlike many people in the conservative Black Baptist churches of the time, he never saw the spiritual and secular worlds as incompatible. He saw blues music and Black church sermons as both being part of the same thing -- a Black culture and folklore that was worthy of respect in both its spiritual and secular aspects. He soon built up a small circuit of local churches where he would preach occasionally, but wasn't the main pastor at any of them. He got married aged twenty, though that marriage didn't last, and he seems to have been ambitious for a greater respectability. When that marriage failed, in June 1936, he married Barbara Siggers, a very intelligent, cultured, young single mother who had attended Booker T Washington High School, the best Black school in Memphis, and he adopted her son Vaughn. While he was mostly still doing churches in Mississippi, he took on one in Memphis as well, in an extremely poor area, but it gave him a foot in the door to the biggest Black city in the US. Barbara would later be called "one of the really great gospel singers" by no less than Mahalia Jackson. We don't have any recordings of Barbara singing, but Mahalia Jackson certainly knew what she was talking about when it came to great gospel singers: [Excerpt: Mahalia Jackson, "Precious Lord, Take My Hand"] Rev. Franklin was hugely personally ambitious, and he also wanted to get out of rural Mississippi, where the Klan were very active at this time, especially after his daughter Erma was born in 1938. They moved to Memphis in 1939, where he got a full-time position at New Salem Baptist Church, where for the first time he was able to earn a steady living from just one church and not have to tour round multiple churches. He soon became so popular that if you wanted to get a seat for the service at noon, you had to turn up for the 8AM Sunday School or you'd be forced to stand. He also enrolled for college courses at LeMoyne College. He didn't get a degree, but spent three years as a part-time student studying theology, literature, and sociology, and soon developed a liberal theology that was very different from the conservative fundamentalism he'd grown up in, though still very much part of the Baptist church. Where he'd grown up with a literalism that said the Bible was literally true, he started to accept things like evolution, and to see much of the Bible as metaphor. Now, we talked in the last episode about how impossible it is to get an accurate picture of the lives of religious leaders, because their life stories are told by those who admire them, and that's very much the case for C.L. Franklin. Franklin was a man who had many, many, admirable qualities -- he was fiercely intelligent, well-read, a superb public speaker, a man who was by all accounts genuinely compassionate towards those in need, and he became one of the leaders of the civil rights movement and inspired tens of thousands, maybe even millions, of people, directly and indirectly, to change the world for the better. He also raised several children who loved and admired him and were protective of his memory. And as such, there is an inevitable bias in the sources on Franklin's life. And so there's a tendency to soften the very worst things he did, some of which were very, very bad. For example in Nick Salvatore's biography of him, he talks about Franklin, in 1940, fathering a daughter with someone who is described as "a teenager" and "quite young". No details of her age other than that are given, and a few paragraphs later the age of a girl who was then sixteen *is* given, talking about having known the girl in question, and so the impression is given that the girl he impregnated was also probably in her late teens. Which would still be bad, but a man in his early twenties fathering a child with a girl in her late teens is something that can perhaps be forgiven as being a different time. But while the girl in question may have been a teenager when she gave birth, she was *twelve years old* when she became pregnant, by C.L. Franklin, the pastor of her church, who was in a position of power over her in multiple ways. Twelve years old. And this is not the only awful thing that Franklin did -- he was also known to regularly beat up women he was having affairs with, in public. I mention this now because everything else I say about him in this episode is filtered through sources who saw these things as forgivable character flaws in an otherwise admirable human being, and I can't correct for those biases because I don't know the truth. So it's going to sound like he was a truly great man. But bear those facts in mind. Barbara stayed with Franklin for the present, after discovering what he had done, but their marriage was a difficult one, and they split up and reconciled a handful of times. They had three more children together -- Cecil, Aretha, and Carolyn -- and remained together as Franklin moved on first to a church in Buffalo, New York, and then to New Bethel Church, in Detroit, on Hastings Street, a street which was the centre of Black nightlife in the city, as immortalised in John Lee Hooker's "Boogie Chillun": [Excerpt: John Lee Hooker, "Boogie Chillen"] Before moving to Detroit, Franklin had already started to get more political, as his congregation in Buffalo had largely been union members, and being free from the worst excesses of segregation allowed him to talk more openly about civil rights, but that only accelerated when he moved to Detroit, which had been torn apart just a couple of years earlier by police violence against Black protestors. Franklin had started building a reputation when in Memphis using radio broadcasts, and by the time he moved to Detroit he was able to command a very high salary, and not only that, his family were given a mansion by the church, in a rich part of town far away from most of his congregation. Smokey Robinson, who was Cecil Franklin's best friend and a frequent visitor to the mansion through most of his childhood, described it later, saying "Once inside, I'm awestruck -- oil paintings, velvet tapestries, silk curtains, mahogany cabinets filled with ornate objects of silver and gold. Man, I've never seen nothing like that before!" He made a lot of money, but he also increased church attendance so much that he earned that money. He had already been broadcasting on the radio, but when he started his Sunday night broadcasts in Detroit, he came up with a trick of having his sermons run long, so the show would end before the climax. People listening decided that they would have to start turning up in person to hear the end of the sermons, and soon he became so popular that the church would be so full that crowds would have to form on the street outside to listen. Other churches rescheduled their services so they wouldn't clash with Franklin's, and most of the other Black Baptist ministers in the city would go along to watch him preach. In 1948 though, a couple of years after moving to Detroit, Barbara finally left her husband. She took Vaughn with her and moved back to Buffalo, leaving the four biological children she'd had with C.L. with their father. But it's important to note that she didn't leave her children -- they would visit her on a regular basis, and stay with her over school holidays. Aretha later said "Despite the fact that it has been written innumerable times, it is an absolute lie that my mother abandoned us. In no way, shape, form, or fashion did our mother desert us." Barbara's place in the home was filled by many women -- C.L. Franklin's mother moved up from Mississippi to help him take care of the children, the ladies from the church would often help out, and even stars like Mahalia Jackson would turn up and cook meals for the children. There were also the women with whom Franklin carried on affairs, including Anna Gordy, Ruth Brown, and Dinah Washington, the most important female jazz and blues singer of the fifties, who had major R&B hits with records like her version of "Cold Cold Heart": [Excerpt: Dinah Washington, "Cold Cold Heart"] Although my own favourite record of hers is "Big Long Slidin' Thing", which she made with arranger Quincy Jones: [Excerpt: Dinah Washington, "Big Long Slidin' Thing"] It's about a trombone. Get your minds out of the gutter. Washington was one of the biggest vocal influences on young Aretha, but the single biggest influence was Clara Ward, another of C.L. Franklin's many girlfriends. Ward was the longest-lasting of these, and there seems to have been a lot of hope on both her part and Aretha's that she and Rev. Franklin would marry, though Franklin always made it very clear that monogamy wouldn't suit him. Ward was one of the three major female gospel singers of the middle part of the century, and possibly even more technically impressive as a vocalist than the other two, Sister Rosetta Tharpe and Mahalia Jackson. Where Jackson was an austere performer, who refused to perform in secular contexts at all for most of her life, and took herself and her music very seriously, and Tharpe was a raunchier, funnier, more down-to-earth performer who was happy to play for blues audiences and even to play secular music on occasion, Ward was a *glamorous* performer, who wore sequined dresses and piled her hair high on her head. Ward had become a singer in 1931 when her mother had what she later talked about as a religious epiphany, and decided she wasn't going to be a labourer any more, she was going to devote her life to gospel music. Ward's mother had formed a vocal group with her two daughters, and Clara quickly became the star and her mother's meal ticket -- and her mother was very possessive of that ticket, to the extent that Ward, who was a bisexual woman who mostly preferred men, had more relationships with women, because her mother wouldn't let her be alone with the men she was attracted to. But Ward did manage to keep a relationship going with C.L. Franklin, and Aretha Franklin talked about the moment she decided to become a singer, when she saw Ward singing "Peace in the Valley" at a funeral: [Excerpt: Clara Ward, "Peace in the Valley"] As well as looking towards Ward as a vocal influence, Aretha was also influenced by her as a person -- she became a mother figure to Aretha, who would talk later about watching Ward eat, and noting her taking little delicate bites, and getting an idea of what it meant to be ladylike from her. After Ward's death in 1973, a notebook was found in which she had written her opinions of other singers. For Aretha she wrote “My baby Aretha, she doesn't know how good she is. Doubts self. Some day—to the moon. I love that girl.” Ward's influence became especially important to Aretha and her siblings after their mother died of a heart attack a few years after leaving her husband, when Aretha was ten, and Aretha, already a very introverted child, became even more so. Everyone who knew Aretha said that her later diva-ish reputation came out of a deep sense of insecurity and introversion -- that she was a desperately private, closed-off, person who would rarely express her emotions at all, and who would look away from you rather than make eye contact. The only time she let herself express emotions was when she performed music. And music was hugely important in the Franklin household. Most preachers in the Black church at that time were a bit dismissive of gospel music, because they thought the music took away from their prestige -- they saw it as a necessary evil, and resented it taking up space when their congregations could have been listening to them. But Rev. Franklin was himself a rather good singer, and even made a few gospel records himself in 1950, recording for Joe Von Battle, who owned a record shop on Hastings Street and also put out records by blues singers: [Excerpt: C.L. Franklin, "I Am Climbing Higher Mountains" ] The church's musical director was James Cleveland, one of the most important gospel artists of the fifties and sixties, who sang with groups like the Caravans: [Excerpt: The Caravans, "What Kind of Man is This?" ] Cleveland, who had started out in the choir run by Thomas Dorsey, the writer of “Take My Hand Precious Lord” and “Peace in the Valley”, moved in with the Franklin family for a while, and he gave the girls tips on playing the piano -- much later he would play piano on Aretha's album Amazing Grace, and she said of him “He showed me some real nice chords, and I liked his deep, deep sound”. Other than Clara Ward, he was probably the single biggest musical influence on Aretha. And all the touring gospel musicians would make appearances at New Bethel Church, not least of them Sam Cooke, who first appeared there with the Highway QCs and would continue to do so after joining the Soul Stirrers: [Excerpt: The Soul Stirrers, "Touch the Hem of his Garment"] Young Aretha and her older sister Erma both had massive crushes on Cooke, and there were rumours that he had an affair with one or both of them when they were in their teens, though both denied it. Aretha later said "When I first saw him, all I could do was sigh... Sam was love on first hearing, love at first sight." But it wasn't just gospel music that filled the house. One of the major ways that C.L. Franklin's liberalism showed was in his love of secular music, especially jazz and blues, which he regarded as just as important in Black cultural life as gospel music. We already talked about Dinah Washington being a regular visitor to the house, but every major Black entertainer would visit the Franklin residence when they were in Detroit. Both Aretha and Cecil Franklin vividly remembered visits from Art Tatum, who would sit at the piano and play for the family and their guests: [Excerpt: Art Tatum, "Tiger Rag"] Tatum was such a spectacular pianist that there's now a musicological term, the tatum, named after him, for the smallest possible discernible rhythmic interval between two notes. Young Aretha was thrilled by his technique, and by that of Oscar Peterson, who also regularly came to the Franklin home, sometimes along with Ella Fitzgerald. Nat "King" Cole was another regular visitor. The Franklin children all absorbed the music these people -- the most important musicians of the time -- were playing in their home, and young Aretha in particular became an astonishing singer and also an accomplished pianist. Smokey Robinson later said: “The other thing that knocked us out about Aretha was her piano playing. There was a grand piano in the Franklin living room, and we all liked to mess around. We'd pick out little melodies with one finger. But when Aretha sat down, even as a seven-year-old, she started playing chords—big chords. Later I'd recognize them as complex church chords, the kind used to accompany the preacher and the solo singer. At the time, though, all I could do was view Aretha as a wonder child. Mind you, this was Detroit, where musical talent ran strong and free. Everyone was singing and harmonizing; everyone was playing piano and guitar. Aretha came out of this world, but she also came out of another far-off magical world none of us really understood. She came from a distant musical planet where children are born with their gifts fully formed.” C.L. Franklin became more involved in the music business still when Joe Von Battle started releasing records of his sermons, which had become steadily more politically aware: [Excerpt: C.L. Franklin, "Dry Bones in the Valley"] Franklin was not a Marxist -- he was a liberal, but like many liberals was willing to stand with Marxists where they had shared interests, even when it was dangerous. For example in 1954, at the height of McCarthyism, he had James and Grace Lee Boggs, two Marxist revolutionaries, come to the pulpit and talk about their support for the anti-colonial revolution in Kenya, and they sold four hundred copies of their pamphlet after their talk, because he saw that the struggle of Black Africans to get out from white colonial rule was the same struggle as that of Black Americans. And Franklin's powerful sermons started getting broadcast on the radio in areas further out from Detroit, as Chess Records picked up the distribution for them and people started playing the records on other stations. People like future Congressman John Lewis and the Reverend Jesse Jackson would later talk about listening to C.L. Franklin's records on the radio and being inspired -- a whole generation of Black Civil Rights leaders took their cues from him, and as the 1950s and 60s went on he became closer and closer to Martin Luther King in particular. But C.L. Franklin was always as much an ambitious showman as an activist, and he started putting together gospel tours, consisting mostly of music but with himself giving a sermon as the headline act. And he became very, very wealthy from these tours. On one trip in the south, his car broke down, and he couldn't find a mechanic willing to work on it. A group of white men started mocking him with racist terms, trying to provoke him, as he was dressed well and driving a nice car (albeit one that had broken down). Rather than arguing with them, he walked to a car dealership, and bought a new car with the cash that he had on him. By 1956 he was getting around $4000 per appearance, roughly equivalent to $43,000 today, and he was making a *lot* of appearances. He also sold half a million records that year. Various gospel singers, including the Clara Ward Singers, would perform on the tours he organised, and one of those performers was Franklin's middle daughter Aretha. Aretha had become pregnant when she was twelve, and after giving birth to the child she dropped out of school, but her grandmother did most of the child-rearing for her, while she accompanied her father on tour. Aretha's first recordings, made when she was just fourteen, show what an astonishing talent she already was at that young age. She would grow as an artist, of course, as she aged and gained experience, but those early gospel records already show an astounding maturity and ability. It's jaw-dropping to listen to these records of a fourteen-year-old, and immediately recognise them as a fully-formed Aretha Franklin. [Excerpt: Aretha Franklin, "There is a Fountain Filled With Blood"] Smokey Robinson's assessment that she was born with her gifts fully formed doesn't seem like an exaggeration when you hear that. For the latter half of the fifties, Aretha toured with her father, performing on the gospel circuit and becoming known there. But the Franklin sisters were starting to get ideas about moving into secular music. This was largely because their family friend Sam Cooke had done just that, with "You Send Me": [Excerpt: Sam Cooke, "You Send Me"] Aretha and Erma still worshipped Cooke, and Aretha would later talk about getting dressed up just to watch Cooke appear on the TV. Their brother Cecil later said "I remember the night Sam came to sing at the Flame Show Bar in Detroit. Erma and Ree said they weren't going because they were so heartbroken that Sam had recently married. I didn't believe them. And I knew I was right when they started getting dressed about noon for the nine o'clock show. Because they were underage, they put on a ton of makeup to look older. It didn't matter 'cause Berry Gordy's sisters, Anna and Gwen, worked the photo concession down there, taking pictures of the party people. Anna was tight with Daddy and was sure to let my sisters in. She did, and they came home with stars in their eyes.” Moving from gospel to secular music still had a stigma against it in the gospel world, but Rev. Franklin had never seen secular music as sinful, and he encouraged his daughters in their ambitions. Erma was the first to go secular, forming a girl group, the Cleo-Patrettes, at the suggestion of the Four Tops, who were family friends, and recording a single for Joe Von Battle's J-V-B label, "No Other Love": [Excerpt: The Cleo-Patrettes, "No Other Love"] But the group didn't go any further, as Rev. Franklin insisted that his eldest daughter had to finish school and go to university before she could become a professional singer. Erma missed other opportunities for different reasons, though -- Berry Gordy, at this time still a jobbing songwriter, offered her a song he'd written with his sister and Roquel Davis, but Erma thought of herself as a jazz singer and didn't want to do R&B, and so "All I Could Do Was Cry" was given to Etta James instead, who had a top forty pop hit with it: [Excerpt: Etta James, "All I Could Do Was Cry"] While Erma's move into secular music was slowed by her father wanting her to have an education, there was no such pressure on Aretha, as she had already dropped out. But Aretha had a different problem -- she was very insecure, and said that church audiences "weren't critics, but worshippers", but she was worried that nightclub audiences in particular were just the kind of people who would just be looking for flaws, rather than wanting to support the performer as church audiences did. But eventually she got up the nerve to make the move. There was the possibility of her getting signed to Motown -- her brother was still best friends with Smokey Robinson, while the Gordy family were close to her father -- but Rev. Franklin had his eye on bigger things. He wanted her to be signed to Columbia, which in 1960 was the most prestigious of all the major labels. As Aretha's brother Cecil later said "He wanted Ree on Columbia, the label that recorded Mahalia Jackson, Duke Ellington, Johnny Mathis, Tony Bennett, Percy Faith, and Doris Day. Daddy said that Columbia was the biggest and best record company in the world. Leonard Bernstein recorded for Columbia." They went out to New York to see Phil Moore, a legendary vocal coach and arranger who had helped make Lena Horne and Dorothy Dandridge into stars, but Moore actually refused to take her on as a client, saying "She does not require my services. Her style has already been developed. Her style is in place. It is a unique style that, in my professional opinion, requires no alteration. It simply requires the right material. Her stage presentation is not of immediate concern. All that will come later. The immediate concern is the material that will suit her best. And the reason that concern will not be easily addressed is because I can't imagine any material that will not suit her." That last would become a problem for the next few years, but the immediate issue was to get someone at Columbia to listen to her, and Moore could help with that -- he was friends with John Hammond. Hammond is a name that's come up several times in the podcast already -- we mentioned him in the very earliest episodes, and also in episode ninety-eight, where we looked at his signing of Bob Dylan. But Hammond was a legend in the music business. He had produced sessions for Bessie Smith, had discovered Count Basie and Billie Holiday, had convinced Benny Goodman to hire Charlie Christian and Lionel Hampton, had signed Pete Seeger and the Weavers to Columbia, had organised the Spirituals to Swing concerts which we talked about in the first few episodes of this podcast, and was about to put out the first album of Robert Johnson's recordings. Of all the executives at Columbia, he was the one who had the greatest eye for talent, and the greatest understanding of Black musical culture. Moore suggested that the Franklins get Major Holley to produce a demo recording that he could get Hammond to listen to. Major Holley was a family friend, and a jazz bassist who had played with Oscar Peterson and Coleman Hawkins among others, and he put together a set of songs for Aretha that would emphasise the jazz side of her abilities, pitching her as a Dinah Washington style bluesy jazz singer. The highlight of the demo was a version of "Today I Sing the Blues", a song that had originally been recorded by Helen Humes, the singer who we last heard of recording “Be Baba Leba” with Bill Doggett: [Excerpt: Helen Humes, "Today I Sing the Blues"] That original version had been produced by Hammond, but the song had also recently been covered by Aretha's idol, Sam Cooke: [Excerpt: Sam Cooke, "Today I Sing the Blues"] Hammond was hugely impressed by the demo, and signed Aretha straight away, and got to work producing her first album. But he and Rev. Franklin had different ideas about what Aretha should do. Hammond wanted to make a fairly raw-sounding bluesy jazz album, the kind of recording he had produced with Bessie Smith or Billie Holiday, but Rev. Franklin wanted his daughter to make music that would cross over to the white pop market -- he was aiming for the same kind of audience that Nat "King" Cole or Harry Belafonte had, and he wanted her recording standards like "Over the Rainbow". This showed a lack of understanding on Rev. Franklin's part of how such crossovers actually worked at this point. As Etta James later said, "If you wanna have Black hits, you gotta understand the Black streets, you gotta work those streets and work those DJs to get airplay on Black stations... Or looking at it another way, in those days you had to get the Black audience to love the hell outta you and then hope the love would cross over to the white side. Columbia didn't know nothing 'bout crossing over.” But Hammond knew they had to make a record quickly, because Sam Cooke had been working on RCA Records, trying to get them to sign Aretha, and Rev. Franklin wanted an album out so they could start booking club dates for her, and was saying that if they didn't get one done quickly he'd take up that offer, and so they came up with a compromise set of songs which satisfied nobody, but did produce two R&B top ten hits, "Won't Be Long" and Aretha's version of "Today I Sing the Blues": [Excerpt: Aretha Franklin, "Today I Sing the Blues"] This is not to say that Aretha herself saw this as a compromise -- she later said "I have never compromised my material. Even then, I knew a good song from a bad one. And if Hammond, one of the legends of the business, didn't know how to produce a record, who does? No, the fault was with promotion." And this is something important to bear in mind as we talk about her Columbia records. Many, *many* people have presented those records as Aretha being told what to do by producers who didn't understand her art and were making her record songs that didn't fit her style. That's not what's happening with the Columbia records. Everyone actually involved said that Aretha was very involved in the choices made -- and there are some genuinely great tracks on those albums. The problem is that they're *unfocused*. Aretha was only eighteen when she signed to the label, and she loved all sorts of music -- blues, jazz, soul, standards, gospel, middle-of-the-road pop music -- and wanted to sing all those kinds of music. And she *could* sing all those kinds of music, and sing them well. But it meant the records weren't coherent. You didn't know what you were getting, and there was no artistic personality that dominated them, it was just what Aretha felt like recording. Around this time, Aretha started to think that maybe her father didn't know what he was talking about when it came to popular music success, even though she idolised him in most areas, and she turned to another figure, who would soon become both her husband and manager. Ted White. Her sister Erma, who was at that time touring with Lloyd Price, had introduced them, but in fact Aretha had first seen White years earlier, in her own house -- he had been Dinah Washington's boyfriend in the fifties, and her first sight of him had been carrying a drunk Washington out of the house after a party. In interviews with David Ritz, who wrote biographies of many major soul stars including both Aretha Franklin and Etta James, James had a lot to say about White, saying “Ted White was famous even before he got with Aretha. My boyfriend at the time, Harvey Fuqua, used to talk about him. Ted was supposed to be the slickest pimp in Detroit. When I learned that Aretha married him, I wasn't surprised. A lot of the big-time singers who we idolized as girls—like Billie Holiday and Sarah Vaughan—had pimps for boyfriends and managers. That was standard operating procedure. My own mother had made a living turning tricks. When we were getting started, that way of life was part of the music business. It was in our genes. Part of the lure of pimps was that they got us paid." She compared White to Ike Turner, saying "Ike made Tina, no doubt about it. He developed her talent. He showed her what it meant to be a performer. He got her famous. Of course, Ted White was not a performer, but he was savvy about the world. When Harvey Fuqua introduced me to him—this was the fifties, before he was with Aretha—I saw him as a super-hip extra-smooth cat. I liked him. He knew music. He knew songwriters who were writing hit songs. He had manners. Later, when I ran into him and Aretha—this was the sixties—I saw that she wasn't as shy as she used to be." White was a pimp, but he was also someone with music business experience -- he owned an unsuccessful publishing company, and also ran a chain of jukeboxes. He was also thirty, while Aretha was only eighteen. But White didn't like the people in Aretha's life at the time -- he didn't get on well with her father, and he also clashed with John Hammond. And Aretha was also annoyed at Hammond, because her sister Erma had signed to Epic, a Columbia subsidiary, and was releasing her own singles: [Excerpt: Erma Franklin, "Hello Again"] Aretha was certain that Hammond had signed Erma, even though Hammond had nothing to do with Epic Records, and Erma had actually been recommended by Lloyd Price. And Aretha, while for much of her career she would support her sister, was also terrified that her sister might have a big hit before her and leave Aretha in her shadow. Hammond was still the credited producer on Aretha's second album, The Electrifying Aretha Franklin, but his lack of say in the sessions can be shown in the choice of lead-off single. "Rock-a-Bye Your Baby With a Dixie Melody" was originally recorded by Al Jolson in 1918: [Excerpt: Al Jolson, "Rock-a-Bye Your Baby With a Dixie Melody"] Rev. Franklin pushed for the song, as he was a fan of Jolson -- Jolson, oddly, had a large Black fanbase, despite his having been a blackface performer, because he had *also* been a strong advocate of Black musicians like Cab Calloway, and the level of racism in the media of the twenties through forties was so astonishingly high that even a blackface performer could seem comparatively OK. Aretha's performance was good, but it was hardly the kind of thing that audiences were clamouring for in 1961: [Excerpt: Aretha Franklin, "Rock-a-Bye Your Baby With a Dixie Melody"] That single came out the month after _Down Beat_ magazine gave Aretha the "new-star female vocalist award", and it oddly made the pop top forty, her first record to do so, and the B-side made the R&B top ten, but for the next few years both chart success and critical acclaim eluded her. None of her next nine singles would make higher than number eighty-six on the Hot One Hundred, and none would make the R&B charts at all. After that transitional second album, she was paired with producer Bob Mersey, who was precisely the kind of white pop producer that one would expect for someone who hoped for crossover success. Mersey was the producer for many of Columbia's biggest stars at the time -- people like Barbra Streisand, Andy Williams, Julie Andrews, Patti Page, and Mel Tormé -- and it was that kind of audience that Aretha wanted to go for at this point. To give an example of the kind of thing that Mersey was doing, just the month before he started work on his first collaboration with Aretha, _The Tender, the Moving, the Swinging Aretha Franklin_, his production of Andy Williams singing "Moon River" was released: [Excerpt: Andy Williams, "Moon River"] This was the kind of audience Aretha was going for when it came to record sales – the person she compared herself to most frequently at this point was Barbra Streisand – though in live performances she was playing with a small jazz group in jazz venues, and going for the same kind of jazz-soul crossover audience as Dinah Washington or Ray Charles. The strategy seems to have been to get something like the success of her idol Sam Cooke, who could play to soul audiences but also play the Copacabana, but the problem was that Cooke had built an audience before doing that -- she hadn't. But even though she hadn't built up an audience, musicians were starting to pay attention. Ted White, who was still in touch with Dinah Washington, later said “Women are very catty. They'll see a girl who's dressed very well and they'll say, Yeah, but look at those shoes, or look at that hairdo. Aretha was the only singer I've ever known that Dinah had no negative comments about. She just stood with her mouth open when she heard Aretha sing.” The great jazz vocalist Carmen McRea went to see Aretha at the Village Vanguard in New York around this time, having heard the comparisons to Dinah Washington, and met her afterwards. She later said "Given how emotionally she sang, I expected her to have a supercharged emotional personality like Dinah. Instead, she was the shyest thing I've ever met. Would hardly look me in the eye. Didn't say more than two words. I mean, this bitch gave bashful a new meaning. Anyway, I didn't give her any advice because she didn't ask for any, but I knew goddamn well that, no matter how good she was—and she was absolutely wonderful—she'd have to make up her mind whether she wanted to be Della Reese, Dinah Washington, or Sarah Vaughan. I also had a feeling she wouldn't have minded being Leslie Uggams or Diahann Carroll. I remember thinking that if she didn't figure out who she was—and quick—she was gonna get lost in the weeds of the music biz." So musicians were listening to Aretha, even if everyone else wasn't. The Tender, the Moving, the Swinging Aretha Franklin, for example, was full of old standards like "Try a Little Tenderness": [Excerpt: Aretha Franklin, "Try a Little Tenderness"] That performance inspired Otis Redding to cut his own version of that song a few years later: [Excerpt: Otis Redding, "Try a Little Tenderness"] And it might also have inspired Aretha's friend and idol Sam Cooke to include the song in his own lounge sets. The Tender, the Moving, the Swinging Aretha Franklin also included Aretha's first original composition, but in general it wasn't a very well-received album. In 1963, the first cracks started to develop in Aretha's relationship with Ted White. According to her siblings, part of the strain was because Aretha's increasing commitment to the civil rights movement was costing her professional opportunities. Her brother Cecil later said "Ted White had complete sway over her when it came to what engagements to accept and what songs to sing. But if Daddy called and said, ‘Ree, I want you to sing for Dr. King,' she'd drop everything and do just that. I don't think Ted had objections to her support of Dr. King's cause, and he realized it would raise her visibility. But I do remember the time that there was a conflict between a big club gig and doing a benefit for Dr. King. Ted said, ‘Take the club gig. We need the money.' But Ree said, ‘Dr. King needs me more.' She defied her husband. Maybe that was the start of their marital trouble. Their thing was always troubled because it was based on each of them using the other. Whatever the case, my sister proved to be a strong soldier in the civil rights fight. That made me proud of her and it kept her relationship with Daddy from collapsing entirely." In part her increasing activism was because of her father's own increase in activity. The benefit that Cecil is talking about there is probably one in Chicago organised by Mahalia Jackson, where Aretha headlined on a bill that also included Jackson, Eartha Kitt, and the comedian Dick Gregory. That was less than a month before her father organised the Detroit Walk to Freedom, a trial run for the more famous March on Washington a few weeks later. The Detroit Walk to Freedom was run by the Detroit Council for Human Rights, which was formed by Rev. Franklin and Rev. Albert Cleage, a much more radical Black nationalist who often differed with Franklin's more moderate integrationist stance. They both worked together to organise the Walk to Freedom, but Franklin's stance predominated, as several white liberal politicians, like the Mayor of Detroit, Jerome Cavanagh, were included in the largely-Black March. It drew crowds of 125,000 people, and Dr. King called it "one of the most wonderful things that has happened in America", and it was the largest civil rights demonstration in American history up to that point. King's speech in Detroit was recorded and released on Motown Records: [Excerpt: Martin Luther King, "Original 'I Have a Dream' Speech”] He later returned to the same ideas in his more famous speech in Washington. During that civil rights spring and summer of 1963, Aretha also recorded what many think of as the best of her Columbia albums, a collection of jazz standards called Laughing on the Outside, which included songs like "Solitude", "Ol' Man River" and "I Wanna Be Around": [Excerpt: Aretha Franklin, "I Wanna Be Around"] The opening track, "Skylark", was Etta James' favourite ever Aretha Franklin performance, and is regarded by many as the definitive take on the song: [Excerpt: Aretha Franklin, "Skylark"] Etta James later talked about discussing the track with the great jazz singer Sarah Vaughan, one of Aretha's early influences, who had recorded her own version of the song: "Sarah said, ‘Have you heard of this Aretha Franklin girl?' I said, ‘You heard her do “Skylark,” didn't you?' Sarah said, ‘Yes, I did, and I'm never singing that song again.” But while the album got noticed by other musicians, it didn't get much attention from the wider public. Mersey decided that a change in direction was needed, and they needed to get in someone with more of a jazz background to work with Aretha. He brought in pianist and arranger Bobby Scott, who had previously worked with people like Lester Young, and Scott said of their first meeting “My first memory of Aretha is that she wouldn't look at me when I spoke. She withdrew from the encounter in a way that intrigued me. At first I thought she was just shy—and she was—but I also felt her reading me...For all her deference to my experience and her reluctance to speak up, when she did look me in the eye, she did so with a quiet intensity before saying, ‘I like all your ideas, Mr. Scott, but please remember I do want hits.'” They started recording together, but the sides they cut wouldn't be released for a few years. Instead, Aretha and Mersey went in yet another direction. Dinah Washington died suddenly in December 1963, and given that Aretha was already being compared to Washington by almost everyone, and that Washington had been a huge influence on her, as well as having been close to both her father and her husband/manager, it made sense to go into the studio and quickly cut a tribute album, with Aretha singing Washington's hits: [Excerpt: Aretha Franklin, "Cold Cold Heart"] Unfortunately, while Washington had been wildly popular, and one of the most important figures in jazz and R&B in the forties and fifties, her style was out of date. The tribute album, titled Unforgettable, came out in February 1964, the same month that Beatlemania hit the US. Dinah Washington was the past, and trying to position Aretha as "the new Dinah Washington" would doom her to obscurity. John Hammond later said "I remember thinking that if Aretha never does another album she will be remembered for this one. No, the problem was timing. Dinah had died, and, outside the black community, interest in her had waned dramatically. Popular music was in a radical and revolutionary moment, and that moment had nothing to do with Dinah Washington, great as she was and will always be.” At this point, Columbia brought in Clyde Otis, an independent producer and songwriter who had worked with artists like Washington and Sarah Vaughan, and indeed had written one of the songs on Unforgettable, but had also worked with people like Brook Benton, who had a much more R&B audience. For example, he'd written "Baby, You Got What It Takes" for Benton and Washington to do as a duet: [Excerpt: Brook Benton and Dinah Washington, "Baby, You Got What it Takes"] In 1962, when he was working at Mercury Records before going independent, Otis had produced thirty-three of the fifty-one singles the label put out that year that had charted. Columbia had decided that they were going to position Aretha firmly in the R&B market, and assigned Otis to do just that. At first, though, Otis had no more luck with getting Aretha to sing R&B than anyone else had. He later said "Aretha, though, couldn't be deterred from her determination to beat Barbra Streisand at Barbra's own game. I kept saying, ‘Ree, you can outsing Streisand any day of the week. That's not the point. The point is to find a hit.' But that summer she just wanted straight-up ballads. She insisted that she do ‘People,' Streisand's smash. Aretha sang the hell out of it, but no one's gonna beat Barbra at her own game." But after several months of this, eventually Aretha and White came round to the idea of making an R&B record. Otis produced an album of contemporary R&B, with covers of music from the more sophisticated end of the soul market, songs like "My Guy", "Every Little Bit Hurts", and "Walk on By", along with a few new originals brought in by Otis. The title track, "Runnin' Out of Fools", became her biggest hit in three years, making number fifty-seven on the pop charts and number thirty on the R&B charts: [Excerpt: Aretha Franklin, "Runnin' Out of Fools"] After that album, they recorded another album with Otis producing, a live-in-the-studio jazz album, but again nobody involved could agree on a style for her. By this time it was obvious that she was unhappy with Columbia and would be leaving the label soon, and they wanted to get as much material in the can as they could, so they could continue releasing material after she left. But her working relationship with Otis was deteriorating -- Otis and Ted White did not get on, Aretha and White were having their own problems, and Aretha had started just not showing up for some sessions, with nobody knowing where she was. Columbia passed her on to yet another producer, this time Bob Johnston, who had just had a hit with Patti Page, "Hush, Hush, Sweet Charlotte": [Excerpt: Patti Page, "Hush, Hush, Sweet Charlotte"] Johnston was just about to hit an incredible hot streak as a producer. At the same time as his sessions with Aretha, he was also producing Bob Dylan's Highway 61 Revisited, and just after the sessions finished he'd go on to produce Simon & Garfunkel's Sounds of Silence album. In the next few years he would produce a run of classic Dylan albums like Blonde on Blonde, John Wesley Harding, and New Morning, Simon & Garfunkel's follow up Parsley, Sage, Rosemary & Thyme, Leonard Cohen's first three albums, and Johnny Cash's comeback with the Live at Folsom Prison album and its follow up At San Quentin. He also produced records for Marty Robbins, Flatt & Scruggs, the Byrds, and Burl Ives during that time period. But you may notice that while that's as great a run of records as any producer was putting out at the time, it has little to do with the kind of music that Aretha Franklin was making then, or would become famous with. Johnston produced a string-heavy session in which Aretha once again tried to sing old standards by people like Oscar Hammerstein and Jerome Kern. She then just didn't turn up for some more sessions, until one final session in August, when she recorded songs like "Swanee" and "You Made Me Love You". For more than a year, she didn't go into a studio. She also missed many gigs and disappeared from her family's life for periods of time. Columbia kept putting out records of things she'd already recorded, but none of them had any success at all. Many of the records she'd made for Columbia had been genuinely great -- there's a popular perception that she was being held back by a record company that forced her to sing material she didn't like, but in fact she *loved* old standards, and jazz tunes, and contemporary pop at least as much as any other kind of music. Truly great musicians tend to have extremely eclectic tastes, and Aretha Franklin was a truly great musician if anyone was. Her Columbia albums are as good as any albums in those genres put out in that time period, and she remained proud of them for the rest of her life. But that very eclecticism had meant that she hadn't established a strong identity as a performer -- everyone who heard her records knew she was a great singer, but nobody knew what "an Aretha Franklin record" really meant -- and she hadn't had a single real hit, which was the thing she wanted more than anything. All that changed when in the early hours of the morning, Jerry Wexler was at FAME Studios in Muscle Shoals recording a Wilson Pickett track -- from the timeline, it was probably the session for "Mustang Sally", which coincidentally was published by Ted White's publishing company, as Sir Mack Rice, the writer, was a neighbour of White and Franklin, and to which Aretha had made an uncredited songwriting contribution: [Excerpt: Wilson Pickett, "Mustang Sally"] Whatever the session, it wasn't going well. Percy Sledge, another Atlantic artist who recorded at Muscle Shoals, had turned up and had started winding Pickett up, telling him he sounded just like James Brown. Pickett *hated* Brown -- it seems like almost every male soul singer of the sixties hated James Brown -- and went to physically attack Sledge. Wexler got between the two men to protect his investments in them -- both were the kind of men who could easily cause some serious damage to anyone they hit -- and Pickett threw him to one side and charged at Sledge. At that moment the phone went, and Wexler yelled at the two of them to calm down so he could talk on the phone. The call was telling him that Aretha Franklin was interested in recording for Atlantic. Rev. Louise Bishop, later a Democratic politician in Pennsylvania, was at this time a broadcaster, presenting a radio gospel programme, and she knew Aretha. She'd been to see her perform, and had been astonished by Aretha's performance of a recent Otis Redding single, "Respect": [Excerpt: Otis Redding, "Respect"] Redding will, by the way, be getting his own episode in a few months' time, which is why I've not covered the making of that record here. Bishop thought that Aretha did the song even better than Redding -- something Bishop hadn't thought possible. When she got talking to Aretha after the show, she discovered that her contract with Columbia was up, and Aretha didn't really know what she was going to do -- maybe she'd start her own label or something. She hadn't been into the studio in more than a year, but she did have some songs she'd been working on. Bishop was good friends with Jerry Wexler, and she knew that he was a big fan of Aretha's, and had been saying for a while that when her contract was up he'd like to sign her. Bishop offered to make the connection, and then went back home and phoned Wexler's wife, waking her up -- it was one in the morning by this point, but Bishop was accustomed to phoning Wexler late at night when it was something important. Wexler's wife then phoned him in Muscle Shoals, and he phoned Bishop back and made the arrangements to meet up. Initially, Wexler wasn't thinking about producing Aretha himself -- this was still the period when he and the Ertegun brothers were thinking of selling Atlantic and getting out of the music business, and so while he signed her to the label he was originally going to hand her over to Jim Stewart at Stax to record, as he had with Sam and Dave. But in a baffling turn of events, Jim Stewart didn't actually want to record her, and so Wexler determined that he had better do it himself. And he didn't want to do it with slick New York musicians -- he wanted to bring out the gospel sound in her voice, and he thought the best way to do that was with musicians from what Charles Hughes refers to as "the country-soul triangle" of Nashville, Memphis, and Muscle Shoals. So he booked a week's worth of sessions at FAME studios, and got in FAME's regular rhythm section, plus a couple of musicians from American Recordings in Memphis -- Chips Moman and Spooner Oldham. Oldham's friend and songwriting partner Dan Penn came along as well -- he wasn't officially part of the session, but he was a fan of Aretha's and wasn't going to miss this. Penn had been the first person that Rick Hall, the owner of FAME, had called when Wexler had booked the studio, because Hall hadn't actually heard of Aretha Franklin up to that point, but didn't want to let Wexler know that. Penn had assured him that Aretha was one of the all-time great talents, and that she just needed the right production to become massive. As Hall put it in his autobiography, "Dan tended in those days to hate anything he didn't write, so I figured if he felt that strongly about her, then she was probably going to be a big star." Charlie Chalmers, a horn player who regularly played with these musicians, was tasked with putting together a horn section. The first song they recorded that day was one that the musicians weren't that impressed with at first. "I Never Loved a Man (the Way I Love You)" was written by a songwriter named Ronnie Shannon, who had driven from Georgia to Detroit hoping to sell his songs to Motown. He'd popped into a barber's shop where Ted White was having his hair cut to ask for directions to Motown, and White had signed him to his own publishing company and got him to write songs for Aretha. On hearing the demo, the musicians thought that the song was mediocre and a bit shapeless: [Excerpt: Aretha Franklin "I Never Loved a Man (the Way I Love You) (demo)"] But everyone there was agreed that Aretha herself was spectacular. She didn't speak much to the musicians, just went to the piano and sat down and started playing, and Jerry Wexler later compared her playing to Thelonius Monk (who was indeed one of the jazz musicians who had influenced her). While Spooner Oldham had been booked to play piano, it was quickly decided to switch him to electric piano and organ, leaving the acoustic piano for Aretha to play, and she would play piano on all the sessions Wexler produced for her in future. Although while Wexler is the credited producer (and on this initial session Rick Hall at FAME is a credited co-producer), everyone involved, including Wexler, said that the musicians were taking their cues from Aretha rather than anyone else. She would outline the arrangements at the piano, and everyone else would fit in with what she was doing, coming up with head arrangements directed by her. But Wexler played a vital role in mediating between her and the musicians and engineering staff, all of whom he knew and she didn't. As Rick Hall said "After her brief introduction by Wexler, she said very little to me or anyone else in the studio other than Jerry or her husband for the rest of the day. I don't think Aretha and I ever made eye contact after our introduction, simply because we were both so totally focused on our music and consumed by what we were doing." The musicians started working on "I Never Loved a Man (the Way I Love You)", and at first found it difficult to get the groove, but then Oldham came up with an electric piano lick which everyone involved thought of as the key that unlocked the song for them: [Excerpt: Aretha Franklin, "I Never Loved a Man (the Way I Love You)"] After that, they took a break. Most of them were pleased with the track, though Rick Hall wasn't especially happy. But then Rick Hall wasn't especially happy about anything at that point. He'd always used mono for his recordings until then, but had been basically forced to install at least a two-track system by Tom Dowd, Atlantic's chief engineer, and was resentful of this imposition. During the break, Dan Penn went off to finish a song he and Spooner Oldham had been writing, which he hoped Aretha would record at the session: [Excerpt: Dan Penn and Spooner Oldham, "Do Right Woman, Do Right Man"] They had the basic structure of the song down, but hadn't quite finished the middle eight, and both Jerry Wexler and Aretha Franklin chipped in uncredited lyrical contributions -- Aretha's line was "as long as we're together baby, you'd better show some respect to me". Penn, Oldham, Chips Moman, Roger Hawkins, and Tommy Cogbill started cutting a backing track for the song, with Penn singing lead initially with the idea that Aretha would overdub her vocal. But while they were doing this, things had been going wrong with the other participants. All the FAME and American rhythm section players were white, as were Wexler, Hall, and Dowd, and Wexler had been very aware of this, and of the fact that they were recording in Alabama, where Aretha and her husband might not feel totally safe, so he'd specifically requested that the horn section at least contain some Black musicians. But Charlie Chalmers hadn't been able to get any of the Black musicians he would normally call when putting together a horn section, and had ended up with an all-white horn section as well, including one player, a trumpet player called Ken Laxton, who had a reputation as a good player but had never worked with any of the other musicians there -- he was an outsider in a group of people who regularly worked together and had a pre-existing relationship. As the two outsiders, Laxton and Ted White had, at first, bonded, and indeed had started drinking vodka together, passing a bottle between themselves, in a way that Rick Hall would normally not allow in a session -- at the time, the county the studio was in was still a dry county. But as Wexler said, “A redneck patronizing a Black man is a dangerous camaraderie,” and White and Laxton soon had a major falling out. Everyone involved tells a different story about what it was that caused them to start rowing, though it seems to have been to do with Laxton not showing the proper respect for Aretha, or even actually sexually assaulting her -- Dan Penn later said “I always heard he patted her on the butt or somethin', and what would have been wrong with that anyway?”, which says an awful lot about the attitudes of these white Southern men who thought of themselves as very progressive, and were -- for white Southern men in early 1967. Either way, White got very, very annoyed, and insisted that Laxton get fired from the session, which he was, but that still didn't satisfy White, and he stormed off to the motel, drunk and angry. The rest of them finished cutting a basic track for "Do Right Woman", but nobody was very happy with it. Oldham said later “She liked the song but hadn't had time to practice it or settle into it I remember there was Roger playing the drums and Cogbill playing the bass. And I'm on these little simplistic chords on organ, just holding chords so the song would be understood. And that was sort of where it was left. Dan had to sing the vocal, because she didn't know the song, in the wrong key for him. That's what they left with—Dan singing the wrong-key vocal and this little simplistic organ and a bass and a drum. We had a whole week to do everything—we had plenty of time—so there was no hurry to do anything in particular.” Penn was less optimistic, saying "But as I rem
In this bonus episode, Phil Moore (Cornerstone Church, Nottingham) shares tips and insights with Adrian Reynolds (FIEC Head of National Ministries) about leading sung worship in church from a piano. Resources mentioned in this episode Music and Singing in the Local Church (fiec.org.uk) Music Ministry UK conferences (music-ministry.org) About In:Dependence: In:Dependence is FIEC's official podcast, where you'll hear teaching and resources for church leaders from the FIEC Ministry Team and guests from FIEC churches and partners. You can access video podcasts by subscribing to the FIEC YouTube channel. About FIEC: We are a fellowship of Independent churches with members of the family across England, Scotland and Wales. Our mission is to see those Independent churches working together with a big vision: to reach Britain for Christ. Being part of FIEC links you to a growing number of Independent evangelical churches and there are now more than 50,000 people who are part of churches affiliated to FIEC. Follow FIEC on social media: Instagram Facebook Twitter
Music and singing is important in church life. Who is responsible for the songs we sing in church, and how should we choose them? In this episode, Adrian Reynolds (FIEC Head of national Ministries) is joined by Phil Moore, one of the Directors of Ministry at Cornerstone Church in Nottingham, to talk about the importance of music and singing in church, and who should be responsible for the songs we sing. Resources mentioned in this episode: Music Ministry UK (music-ministry.org). The Music Ministry Service Planner (music-ministry.org). The Praise! hymnbook with modernised words (praise.org.uk). CCLI's Song Select database (songselect.ccli.com). About In:Dependence: In:Dependence is FIEC's official podcast, where you'll hear teaching and resources for church leaders from the FIEC Ministry Team and guests from FIEC churches and partners. You can access video podcasts by subscribing to the FIEC YouTube channel. About FIEC: We are a fellowship of Independent churches with members of the family across England, Scotland and Wales. Our mission is to see those Independent churches working together with a big vision: to reach Britain for Christ. Being part of FIEC links you to a growing number of Independent evangelical churches and there are now more than 50,000 people who are part of churches affiliated to FIEC. Follow FIEC on social media: Instagram Facebook Twitter
Ultra rare Japanese CD reissues feat. music by Phil Moore, Hawaii Calls, and Arthur Lyman
Ultra rare Japanese CD reissues of Hawaiian LPs. Feat. Phil Moore, Hawaii Calls, Gene Rains Group and Arthur Lyman
Blow out your Nintendo cartridges, plug in your controllers and most importantly, get on your gear! We are going into The Video Zone. Co-hosts Brett & Alex discuss the history of Nickelodeon Arcade as they celebrate the 30th anniversary with the show's host himself, Phil Moore! Links and Resources: Get in touch with Phil Moore on Instagram, Twitter, and Facebook @Philmoore4u Join the conversation with fellow Slimesters and Gakoids on Instagram @Splatattackpodcast, or talk to us individually @Brettwilsonart (Brett) or @True90snickelodeon (Alex)
Welcome to NICKELODEON MONTH! On this installment we are joined by the legendary host of NICK ARCADE , PHIL MOORE ! We hear how Phil got the job as the host to begin with and talk about the creation of Nick Arcade. Also , we learn how to actually make the famous green slime ! @PHILMOORE4U TRUEXACTRADIO.COM @TRUEXACTRADIO on all platforms @BRIAN_NJ43 @ERIKHASJUST @SCHWARTZIE4 CATCH ALL NEW MUSIC ON YOUTUBE/SPOTIFY - TRUEXACT
Welcome to Ken Goes Live! A bi-weekly show from host Ken Napzok here on the Good People Association. Guests, facts, advice, great moments in pop and sports culture, hot trends, and more. That's right... more! For this episode, Ken is joined by his former producer and legendary Nick Arcade host Phil Moore! #KenGoesLive #TheGoodPeopleAssociation #FindTheGood Support The Good People Association and become a 'BUCKET CLUB' member! https://thegpa.fun/ Find us on Twitch! twitch.tv/goodpeoplegpa Follow us: Good People Association: https://twitter.com/GoodPeopleGPA Good People Association on IG: https://www.instagram.com/goodpeoplegpa/ Ken Napzok: https://twitter.com/KenNapzok Phil Moore https://twitter.com/PhilMoore4u Subscribe to this channel: https://www.youtube.com/c/thegoodpeopleassociation Learn more about your ad choices. Visit podcastchoices.com/adchoices
Bowerbirds have been off the radar musically since 2012's The Clearing. Lots has changed for the B-Birds, which now centers solely around Phil Moore since his bandmate and former partner Beth Tacular has left to concentrate on her own artwork. 2021 sees a new Bowerbirds album, becalmyounglovers, and a new version of Phil himself. He writes to his fans “It's been 8 years since you've heard new Bowerbirds music and you and I have changed in ways that we couldn't have imagined back then.” Phil's intense connection to nature remains, as he has always been drawn to the outside world starting as a kid, going to college for biology and moving to North Carolina in 2005 for a job as a bird tracker. In our conversation, we probably spend way too much time talking about birds and birdwatching. I came to find a real appreciation for the activity hearing about it through Phil's experience and just might be inspired to pick up a field notebook and night vision monocular myself. It seems like a very calm and grounding experience, which can also be said for the music of Bowerbirds.There's also a deep dive into different kinds of anxiety that Phil experiences, which seems to be mostly logistical/non performance panic. He talks about different ways he understands and manages fear and anxiety. I also basically give him a lecture about how important his music is to people because it has meant so much and helped me through so much. Helping people has been one of Phil's main objectives for Bowerbirds and I'm here to tell him straight to his face that he's doing it. Now let's all go birding. Phil is so good. Thank you Phil. Advertising Inquiries: https://redcircle.com/brands
How can churches make the most of the opportunities available for evangelism this Easter, even as we are limited by the Covid crisis? In this Leadership in Lockdown webinar, FIEC National Director John Stevens is joined by a panel to speak about what churches can do this Easter during Covid times: Danny Rurlander, Moorlands Church, Lancaster; Tim Bongers, Banstead Community Church, London; Phil Moore, Cornerstone Church, Nottingham; Gareth Mitchell, Christ Church Dunstable, Bedfordshire; Ed Drew, Fath in Kids; Jonathan Carswell, 10ofThose. You can watch this ebinar and access further resources on the FIEC website.
POWER HALF HOUR with John Tsai and Phil Moore on July 22, 2020. In this POWER HALF HOUR I am interviewing Top Vancouver real estate agent Phil Moore! Phil has been in real estate for over 30 years and consistently sells over 150 plus homes in Vancouver; beyond selling homes, Phil is a philanthropist and has been a huge contribution to the local realtor community sharing his knowledge and helping realtors be productive. Phil will share with his 3 top secrets on how he stays on top of his game!!! Connect with Phil https://www.dorisgee.com/ ---------- If you haven't already, please SUBSCRIBE to my channel :) ---------- What is the POWER HALF HOUR? The Power Half Hour started in March 2020. It is a concise 30 minute interview with a top performer/influencer; usually in real estate. It was created with the intention to motivate, inspire, and influence realtors in their craft, and also keep us all connected. You can join in on these live Wednesday Power Half Hour interviews via Zoom or Facebook Live. Connect with John Tsai for those links. ---------- STAY CONNECTED with John Tsai Instagram https://www.instagram.com/tsairealestate YouTube https://www.youtube.com/johntsaiprec ---------- STAY TUNED for my upcoming coaching program and book! Coming Early 2021!
In this episode of Come Sit With Us, Mark and Isaiah invite Emmy Award winning host, and the host of the Nickelodeon game show "Nick Arcade" Phil Moore to the show! That's right! Mark and Isaiah talk with Phil on his journey from hosting warm ups for television spots in Orlando to being on the show that got him started. (There's even a fantastic story that involves Dick Clark, and a pile of elephant crap). The guys also ask Phil about his decade at Nickelodeon Studios and how it felt being around one of the most prominent batch of television hosts of the 90s. Mark and Isaiah had a blast during this show and we encourage you to tune in to this very exciting episode of Come Sit With Us, you won't be disappointed!
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