Podcasts about songa

Tonight, we have a real whistleblower on BGcast to expose the corruption and tyranny in pediatric healthcare. We will be covering her story of what's happening with her son, how the healthcare industry is full of conflicts of interest, procedural corruption in children's oncology, how there is a revolving door between healthcare/the legal system and more.Check out Joey S and high frequency content:https://www.youtube.com/@Highfrequencycontenthttps://www.facebook.com/joey.sky.2025# Donations for J:https://www.gofundme.com/f/donate-to-jamesons-healing-journey?attribution_id=sl%3Aa95c05e2-202e-49b0-b0c7-3c3fa7282baf&utm_campaign=fp_sharesheet&utm_medium=customer&utm_source=copy_link&fbclid=IwY2xjawJj2YBleHRuA2FlbQIxMAABHpMmmyouO3dtbHK_JIHgPmfLmy8Bn0f7HJCvSuXRYZgeOA-zWnA6BR7X6Z1R_aem_nw3MfXc2xs6kTL_QOFS2KgCheck out Forbidden Knowledge Network and support BOTH documentaries:www.forbiddenknowledge.newshttps://watch.amazon.com/detail?gti=amzn1.dv.gti.763483a7-ad3f-4990-b5b3-98897169249c&territory=US&ref_=share_ios_movie&r=webCheck out We Are Change Colorado!http://www.wearechangecolorado.com/http://www.youtube.com/user/WACCTVCheck out Gaia Avani Naturals!www.gaiaavaninaturals.comCheck out Root to Bloom!http://rtbwholehealth.com/Check out Milagro Mushroomswww.milagromushrooms.comWatch Jones Plantation!https://jonesplantationfilm.com/?fbclid=IwAR0zE6457BtHWhrH1iyHKUscUsnPCPZNkE7tS0wPfw8n3N1Jd6RakDNX38w I do not own the songA perfect circle - gravity

For many decades, whenever anyone at a Flood gathering was celebrating a birthday, the guys turned to David Peyton to lead them in a rousing rendition of … no, oh, hell no, not THAT song… (Does this bunch really look like “Happy Birthday to You” people?) No, Br'er Peyton suggested a much more appropriate nativity-observing song for the Flood flock. Not only that, Dave enhanced the tune with his own special touch, the addition of a juicy reference to a sex scandal that was rocking West Virginia politics. More on that little tidbit in a moment.For now, you can hear Dave's birthday tune — a sassy 1930s hokum number — by scrolling back to the top of this article and click the Play button on the video that Flood Manager Pamela Bowen shot 14 years ago this week. The occasion for Pamela's footage was a housewarming at the clubhouse at the Wyngate retirement village where devoted Flood fans Norman and Shirley Davis had just moved. For the fun evening, about 30 of the Davises' new neighbors were in the audience. Among them were guitarist Jacob Scarr's grandparents who were also new residents. The senior Scarrs had been regulars at Flood gigs ever since their grandson's joined the band several years earlier.The SongA highlight of the evening was Peyton's performance of the birthday song; The Flood's version of “You Can't Get That Stuff No More” with Charlie Bowen and Michelle Hoge's harmonies and solos by Dave, Jacob, Joe Dobbs and Doug Chaffin.Back in 2003, when a take on the tune was included on the I'd Rather Be Flooded album, the band described it as a 1932 Tampa Red/Georgia Tom song. That was correct as far as it went, but a little deeper research would have taught the guys that the song actually was written and recorded a year or two earlier by a remarkable young singer/actor/comedian named Sam Theard.Performing well into the 1970s under assorted stage names — including Lovin' Sam and Spo-Dee-O-Dee — Theard was born in New Orleans in 1904. Before he was 20, he was performing with a circus, then working in theaters and nightclubs.Meeting up with Flood heroes Tampa Red and Cow Cow Davenport, Theard recorded one of his best known songs — "(I'll Be Glad When You're Dead) You Rascal You” — for Brunswick in 1929. Over the years that song was covered by everyone from Louis Armstrong, Cab Calloway and The Mills Brothers to Fats Domino, Dr. John and Taj Mahal.In the 1930s and '40s, using the name Spo-Dee-O-Dee, Theard was a regular as a comedian at New York's Apollo Theater.It was during this period that he co-wrote his next famous song, “Let the Good Times Roll,” with Louis Jordan, who recorded it with his Tympany Five in 1946. In 1961 at the 3rd Annual Grammy Awards ceremony, Ray Charles won a Grammy for his version of that tune.In the 1950s, Theard wrote for a number of jazz greats, including Hot Lips Page, Count Basie, Eddie “Cleanhead” Vinson and Roy Eldridge.Then in the last decade of his life, Theard was discovered by television, appearing in episodes of a variety of shows, including “Sanford and Son” and “Little House of Prairie.”The Ickie Frye InfusionBut you're still thinking about that political sex scandal, aren't you? The one that Peyton worked into The Flood's version of “You Can't Get That Stuff No More”? Okay, here's that story:The original song, as recorded in 1932 by Tampa Red and Georgia Tom, included this verse: There goes Joe with a great big knife Somebody been messin' round with his wife.However, when The Flood recorded it in a marathon studio session in Charleston in November 2003, Dave sang the verse as: There's Ickie Frye with a great long knife. Somebody been a-messin' round with his wife…Uh, Ickie who? Sure, that's not a well-known name today, but if you were a news-reading West Virginian in 2003, you certainly would have known about Phillip “Ickie” Frye, a bass-playing TV/computer repairman who had just blown up Gov. Bob Wise's political career. Newspapers across the state trumpeted the news of how Frye revealed that his wife — state employee Angela Mascia, in charge of European projects for the state development office — was having an extramarital affair with the governor.Red-faced, Wise admitted his infidelity. “I apologize deeply,” Wise said, “to the people of our state for my actions. In my private life, I have let many people down." The following year, Frye even filed to run for governor to "dog Wise," he said, over the affair, but he dropped out when Wise himself announced he would not seek re-election. Soon after The Flood's album was released, Ickie Frye emailed Peyton to thank him for the shout-out on the tune. The ex-governor had no comment. This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit 1937flood.substack.com

Singer/songwriter Bob Gibson was a defining figure in the folk music revival starting in the late 1950s, but a crushing dependence on heroin and other drugs sank his career, his marriage and many of his long-time friendships.Gibson — who wrote songs like “Abilene” and “There's a Meeting Here Tonight” that were performed by artists such as Peter, Paul and Mary, The Limeliters and Simon and Garfunkel, as well as The Byrds, The Smothers Brothers and others — hit rock bottom in the late '60s.The Road Down“I left the business in '66,” Gibson wrote in his autobiography, I Come for to Sing. “It seemed to me working in clubs, being on the road, being in show business and around musicians caused me to use drugs. I thought if I got away from that, everything would be fine.”To that end, he spent almost three years in a country hideaway with his young family trying to get clean, but ultimately, he wrote, the hiatus failed its mission.The early 1970s found Gibson relocating again, this time to the West Coast, commuting for occasional gigs in clubs in Chicago and Los Angeles. “I was just hanging in,” he wrote, “doing the same set of songs, and I wasn't writing or learning.”Enter ShelBut then he reconnected with an old friend — writer/artist Shel Silverstein — who helped “in jarring me out of this,” Gibson said. “Shel would come up there and we'd write songs.”Meanwhile, what he called “a classic music business snafu” torpedoed his last major label release, so in 1974 — re-energized by the songs he had written with Shel — Gibson started one of the country's first-ever artist-owned record companies. In those days, his new Legend Enterprises label was a novel approach to making records.Bob's Funky In The Country was its first release, recorded live at the legendary Amazingrace Coffeehouse in Evanston, Ill., near Chicago.Buoyed by a rave review in Billboard magazine, the album gave the fledgling label a fine start, but it was quickly undermined by Gibson himself: The first stop on the road to promote his new album was a few months in rehab. By the time Bob was ready to travel again, the momentum had moved on.The SongA highlight of that lovely album — “Two Nineteen Blues” — is built around Gibson's imaginative reworking of several long-standing blues motifs.His chorus (“I'm going down to the river / Gonna take along my rocking chair”) comes from well-known versions of “Trouble in Mind” as sung by everyone from folkie Cisco Houston to soulful Sam Cooke to country's Johnny Cash.And the song's hook (“Gonna lay my head down on some lonesome railroad line / And let the two-nineteen come along and pacify my mind”) has even deeper blues roots.No less an authority than the great Jelly Roll Morton said “Mamie's Blues” — from which the line comes — was “no doubt the first blues I heard in my life. Mamie Desdunes, this was her favorite blues. She hardly could play anything else more, but she really could play this number.”Desdunes (sometimes written Desdoumes) was a well-known singer and pianist in “The District,” as New Orleanians called the area now generally remembered as “Storyville.”What's in a Name?Blues historian Elijah Wald notes the old song's title is often given as “2:19 Blues,” as if referring to a train time; however, jazz historian Charles Edward Smith recalled Morton explaining that the 219 was the train that “took the gals out on the T&P (Texas and Pacific railroad) to the sporting houses on the Texas side of the circuit.”Despite all its lyrical borrowings from blues antiquity, “Two Nineteen Blues” is unmistakably a Bob Gibson creation. He brought to it a completely new melody and fresh lyrics brimming with his trademark sass and winking understatement. For example, Bob sealed the deal in a final verse that finds his antagonist in a small-town jail, where: I hit the judge and I run like hell And the sheriff he's still askin' ‘round ‘bout me.Our Take on the TuneFor folks who know The Flood only from its studio albums, this is the first tune they may have ever heard from the band.That's because this rollicking composition was what the guys played on the opening track of their very first commercial album nearly a quarter of a century ago now. And speaking of names, because of a design error, the song was erroneously listed on that inaugural album as “Rocking Chair,” a name it has retained in the Floodisphere ever since.A lot changes in a band over the decades, but good old tunes — under whatever name — are like cherished letters from home. Here's a version from a recent rehearsal. This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit 1937flood.substack.com

Growing up, there was a fairly limited list of shows I was allowed to watch. One of those shows was called “Superbook: Bible Stories.” If you were to watch a few episodes of it, you'd notice that each one had essentially the same story arc: It opened in the normal life of a boy named Christopher, who at some point (along with his friends) would open a magic Bible and be suddenly transported into whatever Bible story they had opened to. Then, for most of that episode, they would be immersed in the world of that Bible story as they walked through the terrain, and interacted with the events and characters of that story. Then, unexpectedly they would be transported back to their normal world.Now that's a pretty common story arc: think the Narnia books, or another classic like the Magic Tree House series. It's just a great story arc! In part because of the adventure of discovering and exploring a world previously unknown. But also, because these journeys into another world would always have a lasting impact on the kind of boy Christopher was becoming back in his “normal life.”Similarly, this morning, we get to enter into the world of Psalm 81 which gives a vivid snapshot into times and places distant and foreign to us, and yet God in his wisdom intends for this Psalm to shape who we are becoming here and now. And so let's ask for His help before we enter Psalm 81. Father, we come here as your children. Rescued and adopted — and on a journey of ever-increasing satisfaction in you. And you will complete what you began in us. Would you meet us this morning, wherever we're coming from? Whatever we're bringing in with us — work in our hearts, by Your Spirit and through Your Word, we pray, in Jesus name, amen.If you're looking for a way to orient to Psalm 81, there are three main scenes that we'll focus on:A joyful songA tragic storyA hope-filled invitationScene 1: A Joyful SongIf we were transported into the context of Psalm 81, we would likely be greeted with the sights and smells of feasting and festivals. In fact, it might be helpful to imagine something like an ancient version of the state fair. The time of the year would be around early October, and it was a month filled with essentially back to back feasts and festivals. According to God's instruction in the book of Deuteronomy: At the beginning of that month (known by them as the new moon) they were to celebrate the Feast of Trumpets. This lasted 10 days leading into The Day of Atonement, which was the day at the center of the book of Leviticus — On the day of atonement, Israel would remember God's mercy in atoning for or covering the sins of his people.Then, about a week later, they would begin the Feast of Tabernacles — also known as the feast of booths or what we might call tents. This took place in the middle of the month (or their “full moon”) and that feast lasted about a week. Its focus was on remembering God's faithfulness and provision to the Exodus generation in the wilderness (hence the tents).And Psalm 81 was a song, especially for this season. We see that in verse 3 with the mention of the trumpet, the new moon, the full moon, and the feast day.So imagine this: we're making our way through this ancient festival … We're seeing crowds of people mingling, the smells of good food, the sounds of children playing and laughing … Until it's all drowned out by the blast of a trumpet — think of the same kinds of trumpets as Joshua used in Jericho, but in this case, the trumpets called God's people to gather to worship. And as they gather, the instruments play, and God's people begin gladly singing together. And the song itself begins with a call to worship. The psalmist is singing, and instructing them how to sing at the same time. It's kind of like the old song, “Come now is the time to worship.” God instructs his people in what their worship should look like. And central to that instruction is joy. “Sing aloud to God our strength, shout for joy to the God of Jacob! Raise a song: sound the tambourine, the sweet lyre with the harp” (Ps. 81:1-2).This corporate singing was meant to be a time of shared gladness and expressions of joy. Joy in God and in their common identity as God's people. This was an essential rhythm of their covenant renewal, a regular reminder of the happy reality of their identity as God's people and of their commitment to Him as their God.We know that joy isn't the only tone we see in the psalms. The Lord, in his wisdom, has given his people a wide range of psalms. There are songs of grief and lament, songs of repentance, of reverence and awe — all of which help us faithfully navigate the full range of our human experience, but the common thread, and most dominant tone of God's singing people is joy. And we see that tone here.God is the author of joy. He has created our capacity for it. And He created music and singing both for expressing that joy, and for deepening and cultivating it. God spread His joy throughout the world through a joyfully-singing people.In light of that, it is right and helpful to ask ourselves: Does my singing reflect the reality that God is my greatest joy? Is my heart impacted by the astonishing truths that my mouth is singing? And to whatever extent that isn't the case, it's important to ask, what is holding me back from God's call to joy-filled worship?Whether it's a lack of joy … or distractions, or fears and insecurities … whatever the hindrance, singing is an opportunity to search our hearts, surrender our affections to God, and to trust Him to shape our joy.Spurgeon commenting on these verses says,“It is to be regretted that the niceties of modern singing frighten our congregations from joining lustily in the hymns. For our part we delight in full bursts of praise, and had rather discover the ruggedness of a want of musical training than miss the heartiness of universal congregational song.”In other words, our singing doesn't need to be polished, but it should be full of joy.God commands not just our actions here, but also our affections. We are not helpless bystanders in our pursuit of joy. God's gift of singing is not only for the downstream expression of our joy, but also upstream as a habit that grows and deepens our joy in Him. Our singing cultivates our joy in God.One example that's helped me see this in a new light was my grandmother. My grandma passed away the week before my daughter, Elsie, was born. She had a deep love for Jesus, and she loved to sing. In her final years, she had a long decline both physically and cognitively. Eventually, her dementia had progressed beyond recognizing her children and grandchildren, and she spent most of her time bedridden. And yet, long after her mind could explain to you the deep joy that she had found in Jesus, she would often sit in her bed, holding a hymnal she could no longer read, and with a peaceful gladness, she would sing the hymns that had been engrained in her over a lifetime of praise with God's people. Even then, her song continued to testify to her all-satisfying God, and I am convinced, that it continued to deepen her joy in Jesus.That image has helped shape what “finishing well” looks like to me, and it especially comes to mind when I sing “Jesus Loves Me” with Elsie at bedtime. It also gives a glimpse of the deep significance of our singing together week after week.And so God calls his people to sing for joy. And as they do, God speaks to them in the song as it transitions to an oracle, or a word from the Lord. And as God speaks he begins to recount the tragedy of Israel's disobedience. And this leads us into our second scene.Scene 2: A Tragic StorySo imagine: now we're transported from the festival into the wilderness to join the Exodus generation.Verses 6-7a,“I relieved your shoulder of the burden;your hands were freed from the basket.In distress you called, and I delivered you…”God first recalls his past redemptive work in rescuing Israel from slavery. Notice how vivid these descriptions are. Commentator Derek Kidner says,“Instead of abstractions such as oppression and redemption, we read of shoulder and hands, burden and basket.”For 400 years Israel's day-to-day reality was back-breaking, soul-crushing slavery in Egypt. They had bruised shoulders, blistered hands, and heavy baskets. But then God stepped in to that reality. The Exodus was one of the most epic “But God” moments of the Old Testament: God heard the cries of his people, and he came to their rescue. God showed both his great strength and his commitment to Israel. God rescued his people.Then God continues to show not only what he rescued them from, but what he continued to do for them afterward — God did not drop them off in the wilderness and say “figure it out.” He did not leave them to fend for themselves. He took them under his wing, his care, his provision, and, his instruction.God's instruction is especially highlighted here: God himself instructed his people and his commands were a means of grace to them. This took place, most notably, at Mt. Sinai (which God refers to in verse 7 as “the secret place of thunder”). Mt. Sinai was where God gave his law to his people. And verses 9-10 also allude to that event. Verse 9,“There shall be no strange god among you; you shall not bow down to a foreign god.”This echoes the 1st and 2nd commandments in Exodus 20:3-5. Psalms 81:10, “I am the Lord your God, who brought you up out of the land of Egypt.”This echoes God's preface to the 10 commandments in Exodus 20:2.God makes himself clear to Israel through his commands. In them, Israel is meant to see who God is and what he expects from them. He is their God and so His word is their Law. He holds out his commands and says “Listen to me!”God's command to listen is the most repeated exhortation in this psalm. God is not just looking for mouths that sing to him, but also for ears that hear Him and obey. Verse 8,“Hear, O my people, while I admonish you! O Israel, if you would but listen to me!Verse 11,“But my people did not listen to my voice; Israel would not submit to me.”Verse 13,“Oh, that my people would listen to me,that Israel would walk in my ways!”God calls Israel to listen and obey. But instead his people respond with stubborn and obstinate hearts. And we see that clearly displayed with God's mention of Meribah in verse 7.The name “Meribah” means “quarreling” or “strife” — and it was a place in the wilderness that Israel passed through in Exodus 17, near the beginning of their journey through the wilderness, and then again in Deuteronomy 20, near the end of their journey. And both instances were complete disasters.Imagine, God had just miraculously delivered them out of Egypt, with great displays of power in his plagues on Egypt, and in parting the sea, and then swallowing their enemies in that sea. God then leads them through the wilderness in a pillar of smoke by day and a pillar of fire by night. He has already made bitter water sweet for them to drink, and given them manna from the sky for them to eat. And their response, in Exodus 17, when they get to Meribah and can't find water is to say: “is the Lord among us or not?” And then to turn to Moses (ready to stone him) and ask “did you bring us out of Egypt to kill us with thirst?” But God, in his patience and mercy, still gives them water from the rock. That was the first encounter with Meribah. Then we fast forward to Numbers 20, near the end of their time in the wilderness. At this point, not only had they received God's law at Sinai — his teaching, his instruction — but also decades of God patiently leading and training his people. Think 40 years of God's discipleship for his people, and they come up on Meribah again as if God saying “here's your chance, show me that you've been listening.” And instead, they turn again to Moses and through gritted teeth say: “why have you brought us into this wilderness to die?”And this time, even Moses fails to listen, ignoring God's clear instruction to speak to the rock. Instead, he hits the rock twice and as a result he too doesn't make it to the promised land. The whole scenario at Meribah is like the bookends of a 40 year train-wreck of God speaking, and Israel ignoring every word.Despite God having proven himself over and over they refused to listen to him and walk in his ways. They did not see God's instruction as the blessing that it was — and threw it off as an unwelcome constraint. They wanted God's benefits, but they did not want his rule. They wanted the water from the rock, but rejected the source. And it brings us to God's judgement in verse 12,“So I gave them over to their stubborn hearts, to follow their own counsels.”There is a scary, Romans 1, kind of giving them over here. God gives them over to the stubbornness and depravity of their own hearts as if God finally says, “okay, have it your way.” Not just freedom from Egypt, but “freedom” from God's rule … Unhindered in pursuing their own desires, and following their hearts, but it did not result in any satisfaction, but rather, a downward spiral into ruin.And that should sound familiar to us because it's the lie that Satan tries to sell us all the time. Follow your heart, and your desires. Don't let God's commands hinder your pursuit of satisfaction. In other words, God has no authority over you: You be God. It is self-idolatry, advertised as progress and human flourishing.It is the very opposite and perversion of “I am the Lord your God, you shall have no other Gods before me.” God makes it clear that a life of disobedience will result in judgement and it's reiterated in verse 15,“Those who hate the Lord would cringe toward him, and their fate would last forever.”But even in the middle of His judgement … Don't miss God's lament for Israel here. There is a sad tone of missed opportunity. Verse 13,“Oh, that my people would listen to me,that Israel would walk in my ways!”God's heart is to bless his people. And he longs for his wandering people to return to Him.Now, you might be wondering: wasn't this supposed to be a joyful song? Why does it have such a tragic ending? It feels like the beginning and the end don't belong in the same song. “Sing Aloud,” “Shout for joy,” and “Sound the tambourine” doesn't seem to fit with “I gave them over to their stubborn hearts to follow their own counsels.” At least, until we zoom out and recognize that this was a song sung by a future generation. And once we are transported back to that festival context the tone of this Psalm shifts from a tragic story to our final scene…Scene 3: A Hope-filled InvitationAs they sang this Psalm together, they heard not only God's cautionary tale but also his invitation. The tragic story of their fathers did not have to be their story. Instead of following in their fathers' steps of stubborn hearts and disobedience, God was inviting them to trust in Him to satisfy them. Verse 10, “Open wide your mouth and I will fill it.”It's a beautiful image of our hunger met by His provision, of our longings and His satisfaction. Just like the infant is satisfied by his mothers milk, we were made to be satisfied by God. It's not ultimately the water from the rock that we long for, but the rock Himself. It's not just the blessings that we want to be satisfied, but the source. And so behind the mouth that sings and the ear that listens is a heart that loves God above all else, turning to him to be satisfied. And God is both ready and eager to satisfy those who come to Him. And we've already seen in this psalm, two means by which he satisfies his people: Through his word as we listen to it and obey, and through our joy-filled singing. But I would like to briefly mention one more. And that is just to ask Him. Make it a regular part of your day to ask God to give you more of himself. That by His Spirit and through his word, you would grow in an ever deepening satisfaction in Him. That he would guard your heart from competing loves and disordered desires. And likewise, pray bold and specific prayers that take God at his word, and that deepen our heart's dependence on Him for satisfaction. God delights in answering those prayers.Verse 16,“But he would feed you with the finest of the wheat, and with honey from the rock I would satisfy you.”The psalm closes with more imagery of feasting as God invites his people to come and be satisfied by Him. And that brings us to this table.The TableThe Old Covenant feasts were a shadow pointing forward to a greater reality. God's Old Covenant rescue of Israel from Egypt was a shadow pointing forward to a greater rescue: God becoming a man to rescue his people from sin and judgment. Jesus, dwelt among us, took on our sins, and died in our place to rescue us from the judgment we deserved. And now the risen Jesus invites us to come to Him and be satisfied. Jesus says, “I am the bread of life; whoever comes to me shall not hunger, and whoever believes in me shall never thirst.”Let's pray.And so Father, as your children, rescued and redeemed, we come eager for more of you this morning. Help us be a joyfully singing people. Help us be a submissive people that listen to and obey your word. Work in our hearts, by your Spirit and through your word, to grow us in ever-deepening satisfaction in you. We pray these things in Jesus name, Amen.

Jätkame eile alustatud teemal ning räägime songast. Külas on Lääne-Tallinna Keskhaigla kirurg, dr Rainer Velbri, kes selgitab, miks ja kuhu song tekkida võib, mida sellisel juhul edasi tegema peaks ning milline on ravi. Saatejuht on Ingela Virkus.

Seekord räägime songast. Külas on Lääne-Tallinna Keskhaigla kirurg, dr Rainer Velbri, kes selgitab, miks ja kuhu song tekkida võib ning mida sellisel juhul edasi tegema peaks. Saatejuht on Ingela Virkus.

Songa and instruments

Hey friend! I'm back with another juicy convo - this time with my sister Kristi Worful.

In this episode, Riccardo Cosentino sits down with fellow Oxford alumni, Rachael Patel, to discuss integrated project delivery (IPD). With a background as a registered nurse, Rachael brings her unique expertise to her current role in the health sector specializing in strategic planning and execution of health services, research and infrastructure projects in North America. The pair discuss the impediments and challenges of adoption of the IPD model, specifically how it relates to private and public healthcare major infrastructure projects and the procurement process.“You add an integrated project delivery, where the idea is risk sharing and then you use that same methodology to calculate value for money, IPD will never win because IPDs base core base is sharing risk. It's two issues in our procurement, it's the idea of what value for money is and how we calculate money.”– Rachael Patel Key Takeaways: The origin of IPD and how its optimizing project design and construction Why value for money is problematic for IPDFinding a better way to allocate risk, relational over transactional  The policy associated in procurement and how it is hindering the marketplace shift to alternative models Links Mentioned: A critical perspective on Integrated Project Delivery (IPD) applied in a Norwegian public hospital projectBenefits and challenges to applying IPD: experiences from a Norwegian mega-project If you enjoyed this episode, make sure and give us a five star rating and leave us a review on iTunes, Podcast Addict, Podchaser or Castbox. The conversation doesn't stop here—connect and converse with our LinkedIn community: Navigating Major Programmes PodcastRiccardo CosentinoRachael Patel Transcript:Riccardo Cosentino  00:00If you're listening to Navigating Major Programmes, the podcast that aims to elevate the conversations happening in the infrastructure industry and inspire you to have a more efficient approach within it. I'm your host Riccardo Cosentino. I bring over 20 years of major programme management experience. Most recently, I graduated from Oxford Universities they business group, which shook my belief when it comes to navigating major problems. Now it's time to shake yours. Join me in each episode as a press the industry experts about the complexity of major program management, emerging digital trends and the critical leadership required to approach these multibillion dollar projects. Let's see where the conversation takes us.  Racheal Patel is an Associate Vice President and senior project manager at a global architecture and engineering firm. She's a registered nurse, and also the Master of Science in major program management from the University of Oxford, and a Master of nursing from the University of Toronto. Racheal is a skilled leader in the health sector specializing in strategic planning and execution of health services, research and infrastructure projects in Canada and the United States. Her expertise includes guiding organization for the initial strategic planning phase, through detailed planning and design to the implementation of transformative and innovative capital projects. Hello, everyone.  Welcome to another episode of navigating major programs. I'm here today with Richard Patel. I met Racheal at Oxford University when we were completing together our mastering major program management. And I asked Racheal today to join us on the podcast to discuss her dissertation, which is quite interesting and very relevant to the topics that we've been discussing on navigating major programs. How're you doing, Racheal? Racheal Patel  02:00I'm good Ricardo. And thanks for having me here. I'm excited to have a platform to talk about my dissertation and you providing that platform to talk about major programs. So thank you very much for having me.   Riccardo Cosentino  02:14It's my pleasure. So maybe since I've tucked up your dissertation a little bit, well, what was the topic of your dissertation?  Yeah, so my topic was actually looking at the challenges of adopting integrated project delivery in health infrastructure here specifically in Ontario. And I kind of was interested in this because here in Ontario, as you know, we've been in a transactional type of model for some time, and I wanted to see could we push the boundary and look at other project delivery models that would achieve the the goals of infrastructure for healthcare in a different manner? Interesting. And you talk about transactional contracting, and you talk about IPD, can you maybe explain for some of our listeners the difference or what was in the context of your, your research, what those terms mean? Racheal Patel  03:20So when we when I say transactional, it's more of a contractual obligation. So it's what we see today, like a p3, you know, alternative delivery model where you have a relationship based on some terms and conditions. Relational, it's a similar idea in that more, they're not similar, but it's a similar idea, in that it's a relationship based model where you're working together as a team, there's no one, you know, a buyer and a seller you are, I guess, in a way, a group or collaborative, all working towards the same goal and you have incentives and so forth, in a nutshell, that it's different. We in transactional, as you know, you have contractual requirements, you're obligated to meet certain things, whereas in relational, it's really about the relationships and the collaboration and the people and people organizations that come together to deliver. So it's, it's harder, sorry, relational is more softer compared to transactional in my non legal way of trying to explain. Riccardo Cosentino  04:41So another way of putting that is an is one that of an example that I use in the past is that transactional contracting or is more of a zero sum game where there is a party, a winning party in the losing party. We're in relational contracting. We're all on the same table, we all have one common goal, one common incentive. And all of the incentives are aligned providing a more collaborative environment.   Racheal Patel  05:11Yeah, yeah, that's probably more eloquent and articulate in the way I'm trying to explain it. That yeah, like, with relational, and specifically with IPD, you have everyone coming together with a common goal objective, and you're all measured on that same group of objectives or metrics metrics. And I would say transactional is a very much risk transfer moving risk to one party to hold that and your obligation to meet those risks, that transfer of that risk. But yes, I would say what you what you said is more eloquent than how I'm trying to explain it. Riccardo Cosentino  05:54No, yours is more is more detailed and more accurate by this very broad strokes. But maybe maybe for again, for our listeners, I know, in your research, you know, part of your literature review you you actually had a bit of a dive into IPD, which means integrated project delivery. And I actually cover some of that in my dissertation. So in a previous podcast, where I talked about IPD, Alliance and collaborative contracting, maybe just for those listeners that didn't listen to that podcast. Can you talk a little bit about the origin of IPD?  Yeah, no problem. So IPD, which is integrated project delivery is the definition. It's kind of vetted by the American Institute of Architects, or specifically the California Council that came up with this notion of IPD. Being that it's a project delivery model that integrates people, businesses, and legal structures into a process that drives collaboration, while it optimizes efficiencies in the design and the construction phases of a project. So what that really means is that your you know, you're kind of like a temporary project organization, or a temporary organization all set to one vision, a shared vision, purpose, and a goal. And you're all working together, in, in what we work in organizations to achieve that. And each part like, you know, you have a joint management decision making where you come together. It's not one party oversight on one, you have key party members within your organization that sit together make decisions, for the best project outcome, you agree on the targets and goals. So what what are we trying to like? What is our project mission values, but what are we trying to achieve with this, you bring everyone to the table. So it's early engagement of parties, like in our current models, or in some of the models, we're all used to, you know, you have owner, you know, their designers are the design team, and then they work together, then you bring in somebody else later in the game, whereas in this one, everyone's sitting at the table on day one, working together to achieve the vision. The other thing with integrated project delivery is that you're sharing the risks and rewards. So it's not self interest driven. It's more we work together, and we share the risk of the solutions we put together or the rewards of the solutions like we work together to do that. So it's a pain share gain kind of model, where if we all do it together, and we're successful, we profit in it together. If we made some bad judgments, we all suffer together in a nutshell. And then the other thing that's different than probably an alliance model, is that our life, reduce liability exposure. So there's no blame game, you know, you're waiving claim and liability between each other. I mean, I'm sure there are legal mechanisms that if it's willful, or negligent, like in that way, that it's purposeful, there's repercussions. But basically, what you're trying to do is create an environment that has trust or respect. And in order to do that, you don't have legal mechanisms that will point to someone and say, Well, you did this, now you're a blame because you all are all on the same page or sharing that reward or the risk or making the decisions.  Yeah, that's why I was That's why I was talking about a zero sum game, because I think what you described it, you know, I think the legal recourse creates a situation where there's going to be a winner and a loser in case things go wrong. I mean, at the end of the day, I mean, my my experience is that yeah, a contract. If a project goes well a contrast is on the shelves and nobody looks at it, but is when things start to go wrong, that you take out the contract. Look what the contract says and you pursue your legal remedies. I think what what you did ascribe to the IPD. And to a certain extent, even the Alliance model, or any relational contract allows for that. You know, if the project starts going badly, you don't reach for the contract to start appointing blame, but you actually have to sit at the table and come up with with a solution from the project team, rather than from the contract. Racheal Patel  10:25Yeah, like it's very much in this type of model. It's working together, you know, and in my experience, too, on the other types of contracts, if a project goes well, right, yeah, you're never gonna, you're never going to open it up and blame game. But I think, as the complexities of health infrastructure continues, and I'm talking health infrastructure, like continues to grow, I think we're more heading down the line. And I've seen it going down the line where that contract is open, and that blame game starts. Whereas an IP D, and what I like what I've seen in the industry, and those that have used it, you don't see those levels of escalation, or you don't hear about yourself as an escalation, because everyone that's in this delivery in this project are working together to achieve the same thing. So if, you know if blame is shared, everyone shares I mean, if blame is to be shared, everyone shares that blame. And so that that's the difference in this model, for sure.   Riccardo Cosentino  11:28Okay, so I think I think we've set the scene and we talked about IPD. So hopefully, people listening who are not familiar with a Marvel getting a sense. So like to take you back to your dissertation. And, you know, ask, I'd like to ask you, what were the key findings of your, of your, of your research. Racheal Patel  11:52So my, just to kind of give your listeners a little bit of context. So what I was trying to understand in this in this research is, what are the impediments or the challenges of adoption of this model? And so when I looked at, when I looked at, you know, how, how I would identify them, I interviewed individuals in Ontario, both in the public and the private end of health infrastructure, that are decision makers in the process and have been involved. And, you know, we looked at different categories. So is our market even ready to accept a model? Right? Like, are we are we in Ontario, even willing to say, hey, let's look at different project delivery models? You know, what's the impact of culture and environment? The legal ramifications, financial procurement, because we work through a different procurement body? And is there any impact of our regulatory authorities on how we go through it? And so I think, overarching, like one of the biggest findings, and the resounding is, the individuals that I interviewed, were all were like, We need a different model. So it was a resounding yes. The marketplace is saying we need to look at different ways to deliver these infrastructure projects. Because the complexities, the cost they're increasing. And the current models we have, while they deliver an amount saying that P3 are not good, but they do deliver. But for what we're delivering, it's not the best solution. And from a culture and environment, I think, you know, with integrated project delivery, it's about trust and collaboration. And our environment has a huge impact on trust, how we work together and so forth. So I think, I don't think are the culture we work in or in the environment. Everyone's like, it's going to be difficult to apply this model. And I think from a procurement perspective, one of the biggest, you know, ideas that came out was, you know, our procurement, the way we procure projects, that whole process, not necessarily, the broader procurement of the BPS has to change but we have to look at it in a different way to apply this type of model. I think those were some of the key big findings. Riccardo Cosentino  14:22Okay, so I think in your, your dissertation, you you talk about some of the challenges and some of the findings and I think procurement challenges is the one that I found quite interesting. And you talk about how the how the the process to secure funding for the developing new or new health infrastructure. creates challenges in adopting IPD. And also you look at the the value for money analysis used when procuring new infrastructure now that could be a barrier for the for the deployment of integrated project delivery. And so I'm very curious to draw upon your knowledge of what the MO Ministry of Health process is, and why is it detrimental? Racheal Patel  15:18So, I mean, it comes back to so the Ministry of Health process, if we look at, you know, how hospitals kind of work within our system, the hospitals are within, you know, the Ministry of Health. And it's not that they're regulated by the Ministry of Health, because each hospitals, independent corporations, they have their own board of directors, but they're tied to a lot of the operational funding the capital funding come through the Ministry of Health, so you have to work with them in order to get funding for whether it's a renovation or a new build. And so the capital, the health capital planning process, and I know they've changed it in in the last year, or they've added some different nomenclature of stages. But basically, it's separated into two different stages, in that you have your early planning, that talks about, you know, what is the infrastructure proposal how you're going to address it. And that then is requires approval to proceed further into the actual development of the health infrastructure structure project you want to actually implement. And so there's two different approval process within the government through the Treasury Board that your project has to go through. And then during that those approval processes, set dollar amount, whatever that is, whatever is established for that project, and that includes, you know, transaction fees. And so all the other fees that are held, that number is carried across the process. And that kind of is you're upset value or your total value of the project. But when you look at the process, the duration of this process is so long, and you know, healthcare projects can take 10, to, you know, 13 years to get through this process, where you actually go to a part where you go to RFP and start to bid and build, that there's such an evolution, the way we deliver healthcare, because it's rapidly changing with technology operations, and so forth, and different models of care, that what you first envisioned in your project, maybe you're one and where you ended up, when you're about to go to bed could change, but that number doesn't change. And so it's not agile enough to respond to the market. Riccardo Cosentino  17:36I guess another challenge is that when you know, because of the planning process, you develop a design and a solution. And you develop it to probably award 5% design completion. And so you lock in in certain certain things with your, with your master planning, you block schematic as you go through the approval process. And obviously, you wouldn't be able to have an IPD contractor on board, that early on to start that collaboration is that one of the findings, one of the challenges, Racheal Patel  18:11it is a challenge, but I think if you look at the way the US where IPDS is predominantly used for healthcare, you can have your business case written and your idea written, but then you know, when you get into blocks, or schematics, you engage that contractor into the process, right. And then together with the designer, the owner, the and the contractor in some of their sub trades, you start to build or design and plan for that future facility. So in the US, they do do that. Here in Ontario, we have a very process driven stream that contractors are not engaged and their value is not added until they get the bid documents. And so could the contractor come in earlier in the process? I believe it could. But that means you're procuring certain things earlier in order to have those conversations at the table. And they would have to be integrated into this. I don't see it being a barrier. I think it's a shift in mindset and how we approach it. And if this is the what we have to do with the ministry's process and Treasury board's approval for release of funding, then I think we have to look at, you know, when does a contract or when does the sub trades When did those key individuals get involved? Riccardo Cosentino  19:33Well, yeah, because what we have is a very linear process, you know, you have all these stages and you know, you can only is a Stage Gate approach. Well, I think without with IBD, you want a more fluid, more fluid approach that creates collaboration and interaction as early as possible because that's where that's where the value is created. And that's where optimization has appearance is it's at the early stages of the project. Racheal Patel  20:02Right. And it's also where the innovation happens, right? Like with the optimization, but it's innovation and maybe how we address mechanical I mean, you look at healthcare, mechanical, maybe 45, to, if not 50, but close to 50% of the value of our healthcare project is the engineering systems that run, not a name, excluding the equipment that you know, that it's put into the organization. But when you have such a heavy value of your costs sitting, like and you don't have those players that are going to build it at the table, it's a huge detriment, right. And we ended up having issues going down. And I think that's the benefit of this process of IPD. Everyone comes to the table early in design, so you can work out those solutions and the problems, say, you know, what's the best approach for, you know, air handling? What's the best approach for, you know, feature flexibility of data and so forth? I mean, I'm not an engineering to talk technical, but, you know, I've worked in situations where you have everyone at the table, and you can create something more efficient in its operation, but also in the price. Riccardo Cosentino  21:11Yes. Yeah. You know, enough to be dangerous. That's the mean. So, touched upon value for money. So let's, let's jump on to that. Because I think that's the other that, you know, and I worked for infrastructure, Ontario, and I know the value for money methodology. But, again, I think in your findings, you describe it beautifully. Why is problematic, so I won't steal your thunder. I leave, I leave you to explain why the VFM methodology is problematic. Racheal Patel  21:52Yeah, so So you, I get in trouble and not you. Alright. So I do believe that the value for money calculation that we use in Ontario is problematic, because the way we calculate value for money is that, and, again, I've listened and not at Infrastructure Ontario. So I can't say that with certainty. But my understanding of it is that when so let me take a step back when the idea of I think it's the idea of value for money first is problematic. When we think of value for money, we think of lowest price in Ontario. But when you look at what really value for money, it's the best, it's the best solution based on financial and non financial objectives. That's what value for money is value for money is not finding the cheapest bid. And I think, in Ontario, and I'm not just talking p3, but in Ontario, whether it's through supply chain procurement, so if we always look for this lowest price, because we believe that that is value for money, that itself is problematic for IPD. Because in IPD, its value for money is based on a number of other things, right? Value for money is on the team, it's on. It's not on a fixed price, it's how the team works together, right? Like, that's, you know, when you procure IPD, you're not procuring a fixed price, what you're procuring is the team that comes to the table that will work with you to develop the solution for what you're coming together for, you know, their qualifications, their experience, how they work together, their behaviors, that is what you're evaluating how you choose a team. It's not like, here's my lowest bid. And so I think that's one of the biggest challenges in Ontario is that we had this idea of low bid is the right solution. And then sorry, go   Riccardo Cosentino  21:52yeah, I was gonna I was gonna, you seem reluctant to come to the punch line. So I was gonna I was for you, in case you're too scared. Racheal Patel  24:00Scared, so but I just wanted to say, you know, like, so when you get to value for money calculation, and the way we do it is that it's about transferring the risk, right? So when you look at the value for money calculation, and how, you know, how one thing is, like one procurement model, p3 is better. It's because they're seeing the risk allocation, the transfers of the risk to the private sector is value for money for the public sector, because they're not burdened by that risk. And so that's kind of the premise. And I don't think that's correct, because you're measuring, you know, p3, the risk transference and against a traditional model where there isn't a risk transfer. So that's kind of the issue with the value for money calculation. Now you add an integrated project delivery, where the idea is risk sharing, and then you use that same methodology to calculate value for money IPD will never win because it's IPDs base core base is sharing risk. Because, you know, the definition is if you share a risk, you share solutions, right? Like you're working together to problem solve, as opposed to transferring that problem to somebody else doesn't get to the punch. Thank you. I'm not afraid to say it. But I just wanted to kind of, you know, I think it's two issues in our procurement, it's the idea of what value for money is and how we calculate money.   Riccardo Cosentino  25:26Okay, so I think I think that paints a pretty good picture of what what are the, in my mind, I mean, I'm your research talks about other challenges. And I think there's there's most the softer type challenges, which is, you know, resources, availability of resources, and culture and environment, which you talked at the beginning, but I'm a commercial person. So I always gravitate toward the heard liabilities and the heard numbers. So not that's not the sort of stuff but you know, the soft stuff is important. And yeah, I agree with you, I mean, value for money as to be and it to be to give credit to Infrastructure Ontario for for new projects. Now, on the civil side, they are starting to use more collaborative model, the studying to assess cognitive they do cognitive behavioral assessments for all the people that work on those project, because at the end of the day, there needs to be a culture of fit of everybody's at the table, because otherwise, you're not going to achieve the collaboration that you need. Racheal Patel  26:29100%. And, you know, I, I've spoken to people at Metrolinx, as well about the different ways they're trying to approach project delivery, civil projects are so complex, I would say probably even more so than a hospital delivery. You know, I think the hospital itself is a complex, but what Civil Works does, that's even more complex, but they're willing to try different models. And so if our partners here at Metrolinx, or other organizations are looking at different models, why can't we apply that? That's kind of also why I'm driving this idea. Like, let's look outside the box of what we've traditionally done here, Ontario. Riccardo Cosentino  27:06Yeah, I couldn't agree more. Okay. So jumping on, I wanted to maybe ask you more of a broader question, which, if you have actually had the chance to look at some case studies when you were doing your research, and if there's anything that that jumped out, you might you might have not actually looked at case study, because I know your literature literature review was a bit broader than that. But any, any anything that jumped out and key successes that jumped out,   Racheal Patel  27:34you know, IPD, in general, is permanently used in the US, but I think other countries are looking at it. So when I was doing this study, specifically, I was trying to find public hospitals or public systems that have applied integrated project delivery. The one organization I found was an I'm going to pronounce this wrong, because there is a lot over one of the letters, but it's in Norway, is the Songa project. And so the Norwegian government decided they've had enough with cost overruns, scheduled delays, adversarial relationships. And they actually implemented integrated project delivery in the redevelopment of hospitals, specifically one in this specific region and can't remember the name, but I can get you the reference or anybody that wants to know it after. And so they applied integrated project delivery, because they wanted more of a collaboration and a different approach to public infrastructure, it's probably the closest thing that you would see to a true definition of integrated project delivery, with the exception is that there is no multi party contract. So in integrated project delivery, all the individuals are under a multi party contracts, you all signed together. And so in this public project, that was the only key characteristics of a true IPD. That wasn't in there. But all of the risk sharing the reduced liability, not waiver of liability was there, you know, the the key concepts were there, with the exception of the multi party agreement. So that was probably the only one. There's still in the middle of the build stages. And if you do look it up. It's multi phase project. It's very complex redevelopment in this system. But they've just started issuing case studies or publishing case studies are starting to talk to the public or the global public about this specific example. And it's successful because they have delivered and they've achieved what they've wanted to they've had innovations through the process. But it's the first example of public system using integrated project delivery for health infrastructure. Riccardo Cosentino  29:43Interesting. Okay, I'll try. I'll try to get the details. We'll put in the shownotes. Search it up. Okay, so I guess, as maybe as a final question, probably quite a challenging question but are going to have Is there any way? What will be your recommendation to Ontario policymakers? entities like MOH, or Infrastructure Ontario? To what what would they have to do to embrace IPD for future projects? How can they navigate these challenges? Effectively?   does. I think, I think if I can paraphrase. I mean, there's a there's a need for a shift for a fundamental shift in the policy, because as you describe the fact that hospitals are risk averse, and they can't really absorb too much or cost overruns, or, you know, as lower risk. But that's a funding issue. Right? That's a policy issue there. I mean, at the end of the day, hospital are a creature of the Ministry of Health, right. So ultimately, the governance could allow could be put in place to allow a hospital to to have a different approach a different commercial approach. So it is it is within the gift of the policymaker and the politicians. Racheal Patel  33:45Yeah. And 100%. And I think, you know, when you're paraphrasing it better than I wrote it, I think, but I'm trying to put, you know, 60 pages into small answer. But if you look at you know, just even the allocation of how hospitals have funding for resources to do infrastructure. In the study, a lot of individuals brought up that thing that goes, there's not even enough money to do the current projects that we have with the lack of funding, you know, because they get a certain percentage of ancillary funding in order to pay their staff. But in this situation, when we do IPD, you're going to have a plethora of individuals and experts and stuff that have to sit in the hospital organization to do this. And a hospital isn't an infrastructure professional, right? They bring in the resources to do what they need to but they're they're there to deliver service and care to their community. And so they need to bring all these specialists in but if our if our ancillary costs are how until your cost is given and or funding is given to the hospitals to have the resources doesn't meet the need of these comp, this type of project delivery, you're never going to be able to add execute it. Right now, it supports more of the transactional. So yeah, to your point that also has to be done from a ministry level saying we need to look at how money is given the allocation of funding for these types. Riccardo Cosentino  35:15Okay, so I mean, if I gonna, I'm going to try to summarize I mean, I think my three takeaways is having the there needs to be a change in changing culture, and environment. In order to bring a different type of behaviors to the table, there needs to be a change in the way that risk is allocated, or better, we need to find a better way to share risk. We need to we will need to change some of the policies associated with procurement and project development. And if all this was to happen, then potentially we could have a rich IPD market in Ontario.  Yeah, I think you separated and I think maybe IPD, just in its and probably negate everything I just said about why I'm passionate about IPD. But I, I, I think this would be true for any relational type of contracting like Alliance, Alliance, as well as IPD. They have similarities as we talked about earlier. But what you've summarize are critical for our marketplace to allow for different models. And I think that's kind of the crux of the issue is that we have a marketplace that's set up for one specific type of delivery model. And if we need to look outside the box, we need to look at these issues. Okay, now, you said it better than me, well, Racheal Patel  36:44play off of you. Riccardo Cosentino  36:47Okay, I think I think that's all we have time for today. Thank you very much for joining me today. Racheal. This was a fascinating conversation about our own province, our own in our own country. So thank you for joining me and all the best for your future endeavors. Racheal Patel  37:02Thanks, Riccardo and thank you for the platform to talk about this right now. Riccardo Cosentino  37:08That's it for this episode on navigating major problems. I hope you found today's conversation as informative and thought provoking as I did. If you enjoyed this conversation, please consider subscribing and leaving a review. I would also like to personally invite you to continue the conversation by joining me on my personal LinkedIn at Riccardo Cosentino. Listening to the next episode, we will continue to explore the latest trends and challenges in major program management. Our next in depth conversation promises to continue to dive into topics such as leadership risk management, and the impact of emerging technology in infrastructure. It's a conversation you're not going to want to miss. Thanks for listening to Navigating Major Programmes and I look forward to keeping the conversation going  Music: "A New Tomorrow" by Chordial Music. Licensed through PremiumBeat.DISCLAIMER: The opinions, beliefs, and viewpoints expressed by the hosts and guests on this podcast do not necessarily represent or reflect the official policy, opinions, beliefs, and viewpoints of Disenyo.co LLC and its employees.

Born in New Orleans in 1899, Alonzo "Lonnie" Johnson was one of America's great blues and jazz artists, touring with Bessie Smith, recording with Louis Armstrong and Duke Ellington, with Charlie Christian and Eddie Lang, with stride piano giant James P. Johnson and so many more.He was a guitar pioneer. In fact, blues historian Gérard Herzhaft believes Johnson was "undeniably the creator of the guitar solo played note by note with a pick, which has become the standard in jazz, blues, country and rock.”He started that style as early as 1927 with his solo on "6/88 Glide" for Okeh Records.More Chops Than ThatBut while his guitar innovations reached both Delta blues and urban players who adapted and developed them into the modern electric blues style, Johnson also was known in the 1920s as a sophisticated and urbane singer and composer. In fact, "of the 40 ads for his records that appeared in The Chicago Defender between 1926 and 1931,” music historian Elijah Wald notes, “not one even mentioned that he played guitar."But when record sales plunged in the Depression, Johnson's output dwindled and he worked for a while at a Cleveland radio station, among other jobs, just to make ends meet. Things started looking up again in 1937 when he went to Chicago to begin recording for Decca. Two years later he joined Lester Melrose's roster at the new Bluebird Records, for which Lonnie recorded 34 tracks over the next five years.The SongA solo hit from one for the last of the Bluebird sessions was Johnson's composition, “He's a Jelly Roll Baker,” recorded Feb. 13, 1942, with Blind John Davis on piano and Andrew Harris on bass.In addition to its scintillating guitar break, the track's lyrics demonstrate Lonnie Johnson's growth as a savvy songwriter. “Jelly Roll Baker” presents a swaggering protagonist who proclaims his love-making prowess with women from all walks of society, from a judge's wife to a hospital nurse.InfluencesLonnie's second career — which included “I Know It's Love” on which he switched to the electric guitar that would be his signature instrument from then on — eventually disappeared under an avalanche of rock 'n' roll in the early ‘50s. Ironically, “Tomorrow Night,” a Johnson hit on King Records, was one of Elvis Presley's earliest pressings for Sam Phillips at the Sun studios. (Presley recorded it in September 1954, though it wasn't released for another dozen year.) Meanwhile, Lonnie Johnson gained acclaim with a new crowd 10 years later during the folk music revival. The Flood learned its version of “Jelly Roll Baker” from Tom Rush's debut Elektra album, released in 1965. Rush, who picked up the tune from fellow folkie Geoff Muldaur, recorded it with Bill Lee on bass and John Sebastian on harmonica.Lonnie's Last YearsJohnson life was cut short when he was hit by a car while walking on a sidewalk in Toronto in March 1969. Seriously injured, he suffered a broken hip and kidney damage. A benefit concert was held on in May 1969, with two dozen acts, including Ian and Sylvia, John Lee Hooker and Hagood Hardy. Never fully recovering from a subsequent stroke, Johnson died 13 months later.Our Take on the TuneAs noted, while this sassy song as written and recorded 80 years ago as a rhythm and blues hit, we owe our version to our folk music heroes of the 1960s.To this day, it's one of those perfect warmup tunes for us, because it provides plenty of stretching-out room for solos by everyone in the house, Danny and Sam, Randy and Jack.More Blues?If you're not ready to end today's blues infusion, you can get a big dose of Floodishness with the Blues Channel on our free Radio Floodango music streaming service. Click here to tune in and enjoy the jelly roll. This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit 1937flood.substack.com

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Aujourd'hui, nous allons rencontrer Immaculée Songa, survivante du génocide de 1994 contre les Tutsis au Rwanda. Pendant ce génocide, elle a perdu son mari, ses deux filles Raissa, âgée de 3 ans, et Clarisse, âgée de 5 ans, ainsi que de nombreux parents et amis. Lors de son passage à New York, elle a témoigné de sa douleur et a appelé à l'engagement de tous pour la prévention du génocide. Pour elle, la future génération a une grande responsabilité pour qu'il y ait une paix durable. Ecoutons son témoignage.Entretien et présentation : Florence Westergard

Édition spéciale pour cause de jour férié aux Nations Unies. Immaculée Songa est une survivante du génocide de 1994 contre les Tutsis au Rwanda. Pendant ce génocide, elle a perdu son mari, ses deux filles Raissa, âgée de 3 ans, et Clarisse, âgée de 5 ans, ainsi que de nombreux parents et amis.À l'occasion de l'exposition « Histoires de survie et de souvenir - Un appel à l'action pour la prévention du génocide », actuellement présentée au siège de l'ONU à New York, elle a témoigné de sa douleur, et de ce qui lui donne la force de parler de ses filles et faire en sorte qu'elles ne soient pas oubliées.  Présentation : Florence Westergard

Au menu de l'actualité :Tchad : soutien urgent nécessaire pour éviter des coupures dans l'assistance portée aux réfugiés (PAM)L'OIF apporte un appui contre la désinformation en période électoraleLe témoignage d'Immaculée Songa survivante du génocide rwandais contre les Tutsis Présentation : Cristina Silveiro

Immaculée Songa, survivante du génocide de 1994 contre les Tutsis au Rwanda, témoigne de sa douleur dans un entretien accordé à ONU Info à l'occasion de l'exposition « Histoires de survie et de souvenir - Un appel à l'action pour la prévention du génocide », actuellement présentée au siège de l'ONU à New York.Pendant le génocide au Rwanda, Immaculée Songa a perdu son mari, ses deux filles Raissa, âgée de 3 ans, et Clarisse, âgée de 5 ans, ainsi que de nombreux parents et amis.Immaculée Songa a apporté à l'exposition la robe de sa fille Raissa Umotoni, la robe et le gilet de sa fille Clarisse Uwonkunda, ainsi qu'un album de photos de famille.Pour elle, la future génération a une grande responsabilité pour qu'il y ait une paix durable. « Ce n'est pas un individu, ce n'est pas un gouvernement, c'est une force commune de la population, des jeunes. Et pour que cela ne se répète pas, il faut engager tout le monde », a-t-elle insisté.

This podcast episode is co-funded by the European Union. Its contents are the sole responsibility of The Charter Project Africa and do not necessarily reflect the views of the European Union The Charter Project Africa is a pan-African initiative supporting civil society to promote the continental commitments contained in the African Charter on Democracy, Elections and Governance (ACDEG) – the central African Union policy document to advance democratic governance in African Union member states. The project is led by six organisations and lasts for three years, starting in the course of 2021. It has a dedicated secretariat based in Addis Ababa which creates linkages between pan-African civil society and African Union policymakers. SIVIO Institute (SI) is an independent organisation focused on ensuring that citizens are at the centre of processes of socio-economic and policy change. It aims to contribute towards Africa's inclusive socio-economic transformation. It is borne out of a desire to enhance agency as a stimulus/catalyst for inclusive political and socio-economic transformation. In this episode, we spoke to Andrew Songa, the Civil Society Secretariat Coordinator at The Charter Project Africa who outlined the Charter Project Africa's Objectives. We also spoke to Eddah Jowah from the SIVIO Institute, one of the grantee organisations participating in the Project. Eddah Jowah is currently the Programs Manager at the SIVIO Institute. Eddah spoke to Nathi Mcetywa about what the SIVIO Institute's vision of a citizen-led democracy looks like and spoke about the measures they are taking to ensure that citizens are able to take the opportunity to get involved in democratic processes in Zimbabwe SIVIO Institute · Charter Project Africa · African Citizens Watch · SIVIO Institute Annual Barometer Report

Christian Historical Fiction Talk is listener supported. When you buy things through this site, we may earn an affiliate commission.Become a Patreon and enjoy special perks and bonus content.Ezekiel's SongA prophet's heart broken, a woman's joy gone. What does Yahweh have planned for His people?On the brink of Jerusalem's demise, devoted priest, Ezekiel, sees the insincerity of Judah's worship. Despite his efforts to call the people back to true worship of Yahweh, priests, artisans, valiant warriors, and royals are exiled to Babylon. When God gives him messages of continued judgment for the people in his homeland, his heart breaks. How can he minister to the people from so far away?The presence of the Lord is tangible when Shiriel sings in the temple, and her voice prepares the hearts of many to worship. When she is exiled to Babylon, her faith is shaken. Does the Lord's presence extend beyond Jerusalem and His holy temple? Ezekiel is struck mute and paralyzed as he begins his prophetic ministry, and Shiriel devises a plan to get the Lord's message back to the unfaithful people of Judah. Shiriel struggles with discontentment as serving the Lord looks nothing like she'd imagined. Can she provide for her family and carry out her husband's ministry when her joy is gone, and her own dreams are placed on hold?How will Yahweh save His people from themselves? Find out in Ezekiel's Song!Get your copy of Ezekiel's Song.Get to know Naomi CraigHi, I'm Naomi.Author of Biblical fiction, avid reader, Pastor's wife, and mom to an amazing young lady. I love reading the Bible and imagining how things were at the time. When I'm not serving in various areas at church, or trying to stay on top of mountains of dishes, you'll most likely find me enjoying a good book and a cup of coffee.Throughout my years in ministry, I've learned this:Life is hard. God is still good.My goal is to walk alongside you and offer support. Because you are not alone. You have value, even when you are feeling overwhelmed. You are an amazing work of art! You are loved and you belong.Hi, I'm Naomi.Author of Biblical fiction, avid reader, Pastor's wife, and mom to an amazing young lady. I love reading the Bible and imagining how things were at the time. When I'm not serving in various areas at church, or trying to stay on top of mountains of dishes, you'll most likely find me enjoying a good book and a cup of coffee.Throughout my years in ministry, I've learned this:Life is hard. God is still good.My goal is to walk alongside you and offer support. Because you are not alone. You have value, even when you are feeling overwhelmed. You are an amazing work of art! You are loved and you belong.Visit Naomi Craig's website.

Everybody needs inspirationEverybody needs a songA beautiful melody when the night's so longBecause there is no guaranteeThat this life is easyWhen my world is falling apartWhen there's no light to break up the darkThat's when I look at youWhen the waves are flooding the shoreAnd I can't find my way home anymoreThat's when I look at youWhen I look at you I see forgivenessI see the truthYou love me for who I amLike the stars hold the moonRight there where they belongAnd I know I'm not alone… --- Send in a voice message: https://podcasters.spotify.com/pod/show/sep-fanfic-readings/message

[Originally released Oct 2017] Zoe Samudzi is a black feminist writer whose work has appeared in a number of spaces including The New Inquiry, Warscapes, Truthout, ROAR Magazine, Teen Vogue,BGD, Bitch Media, and Verso, among others. She is also a member of the 2017/18 Public Imagination cohort of the Yerba Buena Center for the Arts (YBCA) Fellows Program, and she is a member of the Black Aesthetic, an Oakland-based group and film series exploring the multitudes and diversities of black imagination and creativity. She is presently a Sociology PhD student at the University of California, San Francisco in the Department of Social and Behavioral Sciences where academic interests include biomedicalization theory, productions of race and gender, and transgender health. She is a recipient of the 2016-17 Eugene Cota-Robles Fellowship. Her dissertation "'I don't believe I should be treated like a second citizen by anybody': Narratives of agency and exclusion amongst male and transgender female sex workers in Cape Town, South Africa" engages hegemonic gender constructs in South Africa as they affect identity construction and health of transgender women and cisgender men in sex work. Zoe sits down with Brett to apply critical race theory to our current US society. Topics Include: The Anarchism of Blackness, Double Consciousness, Zoe's experiences growing up as a black girl in the Midwest, the failures of white liberalism and the democratic party, Trump, racist and sexist tropes in film, the White Gaze, and much more! Here is Zoe's website: http://www.zoesamudzi.com/ Outro: "African Son" (featuring Chindo Man, Songa, Wise Man, Mic Crenshaw. Recorded at Watengwa Studios, Kijenge, Tanzania as part of the Afrikan Hiphop Caravan 2015) Support Rev Left Radio: https://www.patreon.com/RevLeftRadio

In this week's episode, Pesh and Ado Veli feature Kenyan cyphers. Ado Veli Podcast season 09 episode 04, which is episode number 212. Tracklist Giant, Master Yanki, Dandora And Bunny - Mnarani Cypher Season 1 0:00:00 Giant, Buda Love, Driim Kid, Yanki And Dandora - Mnarani Cypher 2 0:04:32 Breeder LW, Steph, Steph Kapela And Wakadinali - Hennessy Cypher 0:12:06 Boutross, Monski, Xtatic, Rekles And Elisha Elai - Hennessy Cypher 2.0 0:16:58 Kapnea, Elisha Elai, Jublak And Jakk Quill - Unkut The Cypher 0:33:04 Fress, Markus Ill, Edwin Mlayi And The Diagon - Unkut The Cypher 2 0:38:22 Rick Wylder, Tony Oriema, Jaan Christian, Muddah And Luka - The Nairoberry Cypher 0:48:23 Moka Mcee, Kalingunga, Rama Ray, C.P.U, Chibo Dee, Young Don Master, Dide And Kennedicto - Mtemi Halisi Cypher Season 1 0:53:22 Wakadinali - Rong Cypher 1:07:06 Monaja, Impeccable Speech, Kunta, Gamesis, Slim Chain The Eagle, Johnny Span One, Scripture And L7 - The All African Cypher 2021 1:12:03 Rio, Wahenga Music And Sanofa Taylor - UDS Cypher 1:31:40 Shukid ft Songa, Harry Lee, Dave The MC And Shatzy K - The Naisai Cypher 1:36:40 This episode was recorded at Radio 254 Listen to Ado Veli Podcast on; Apple Music, iTunes, Spotify, Boomplay, Google Podcasts, Mixcloud, TuneIn, Stitcher, Hearthis.at, audiomack and SoundCloud here; https://smarturl.it/adovelipodcast Tune in, listen and share your thoughts on social media with our official hashtag #AdoVeliPodcast. Follow us on; Facebook Page: https://www.facebook.com/penninah.wanjiru.902 https://www.facebook.com/ADOVELl/ Twitter: https://twitter.com/penninahwanjir1 https://twitter.com/AdoVeliRadio Instagram: https://www.instagram.com/penninah_wanjiru/ https://www.instagram.com/adoveli/ Email: adoveli7@gmail.com Host: Pesh And Ado Veli

Na cidade fictícia de Songa, os plásticos descartáveis foram proibidos. Pequenos comerciantes como Maria Rosa queixam-se das enormes dificuldades que têm em cumprir a proibição, recentemente decretada pelo governo.

Nesta história sobre os desafios causados pelo plástico e as suas consequências para o ambiente e a saúde vamos conhecer Maria Rosa, mãe solteira e com dois filhos: Yasmine e Camilo. Tem chovido muito nos últimos dias na cidade fictícia de Songa, algures em África, onde se passa esta história. Este primeiro capítulo começa com Maria Rosa, que tem um pequeno negócio no mercado de Songa.

A cidade de Songa tem sido assolada por fortes chuvas e trovoadas que, entre muitas outras consequências, inundaram a loja de Maria Rosa. No episódio de hoje, vamos conhecer Yasmine, a filha de Maria Rosa que estuda na cidade vizinha, onde também está a chover torrencialmente. Yasmine tenta regressar a casa após o encerramento da universidade por causa do mau tempo.

Por causa da tempestade, Yasmine e Alvim ficaram presos na cidade universitária onde estudam. Não conseguiram apanhar o último autocarro para Songa, a cidade de onde são naturais. A forte tempestade que se faz sentir nesta região está a condicionar a vida de todos.

Songa está a ser assolada por graves inundações. Quatro pessoas morreram afogadas e outras três estão desaparecidas. No episódio anterior, o Presidente decidiu seguir os conselhos da ministra da Saúde e punir quem continuar a usar plástico descartável no país. O decreto tem de ser respeitado, tanto pelo povo, como pelas grandes empresas da indústria do plástico.

Maria Rosa foi detida por continuar a vender os seus produtos em recipientes de plástico, seis meses após a publicação do decreto presidencial que proíbe o uso de plástico descartável. Entretanto, por causa das chuvas, Yasmine ficou presa na cidade vizinha de Shebwa, onde Alvim, outro estudante, lhe deu abrigo. Agora, estão os dois de regresso a Songa, a cidade natal de ambos.

Ontem o papo foi com ele, Cantor, Professor, Podcaster e Um dos Coordenadores do Site LGBTPodcasters Driko Hoster do Songa Mongas Podcast. Link para as Redes Sociais dele: Instagram: @songa.mongas Twitter: @songamongas Ouça o Podcast dele no link abaixo: https://pod.link/1486140647 Link para as nossas Redes Sociais: https://linktr.ee/Papo_incerto Edição: Rev --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app

Os vendedores estiveram reunidos no mercado de Songa para debaterem como poderão contornar a utilização dos recipientes de plástico. Os comerciantes continuam sem saber que produtos podem substituir os que estão habituados a usar. Neste episódio, Yasmine encontra-se com Alvim num restaurante, onde o jovem desabafa sobre o desaparecimento do pai.

Alvim foi até à esquadra da polícia de Songa, para falar com o inspetor Daniel sobre o desaparecimento do seu pai. Mas a conversa não correu como esperava: o inspetor ameaçou Alvim e mandou-o ficar em casa, para deixar a polícia fazer o seu trabalho. No episódio de hoje, voltamos à loja de Maria Rosa.

Com a proibição do uso de plástico descartável, os vendedores do mercado de Songa, incluindo Maria Rosa, estão a ter dificuldades em adaptar os seus negócios. O que poderão eles fazer? Neste episódio, os vendedores reúnem-se para discutir este tema.

As pequenas empresas da cidade de Songa continuam a tentar adaptar-se aos desafios trazidos pela recente proibição do uso de plástico descartável. Uma dessas empresárias é Maria Rosa, que torceu o tornozelo durante uma manifestação contra a nova lei, organizada pelos proprietários de bancas no mercado. Maria Rosa tem estado a descansar em casa.

The guys go over LastPass and password managers. But first, Gary is back and reviews our previous episodeNew intro songA webcam blackmail attempt a coworker receivedThe "new" Nintendo Switch (OLED)How Charlie loves selling his old tech to GaryAnonymous listener #1 joins us to go back over John McAfee in much more detailMorbid internet contentThe dark webJeff Bezos leaving AmazonNafis' willingness to leave everything behind to trade lives with Jeff Bezos todayJoey Chestnut in the Hot Dog Eating ContestGlizzys#loggedonFacebook stealing threads from TwitterTikToks can be 3 minutes long nowRobinhoodOur outro song (which is also our intro song) & more----------Support The Podcast:Instagram - Follow UsTwitter - Follow UsApple Podcasts - Listen,  Subscribe and RateSpotify - Listen & Follow

As chuvas deram finalmente tréguas na cidade africana de Songa. Mas a vida ainda não regressou à normalidade. Maria Rosa e outros empresários estão a tentar adaptar-se à nova vida sem plásticos descartáveis. Por sua vez, Camilo continua a ter pesadelos com o corpo que encontrou junto ao rio. E Alvim continua à procura do pai, que já está desaparecido há dez dias.

Os jovens de Songa começaram uma campanha de recolha voluntária de lixo no mercado. Depois de verem a quantidade de coisas que podem ser reaproveitadas, Yasmine e Alvim já pensam em transformar objetos para depois vender. Entretanto, o artigo de Yasmine sobre a importação de plástico parece estar a fazer estragos.

Heute wieder eine kleine Solo Runde von mir Mirko, da der gute Songa sich noch ein wenig sonnt. Ich habe ein wenig über die erste Runde der Playoffs gequatscht, was bisher geschah und was noch passieren wird.

This episode is also available as a blog post: https://winnienakiyingi.wordpress.com/2021/05/25/the-writing-mathematician-maurine-atieno-songa/

#Kwibuka27: Ubuhamya bw'abarokotse jenoside yakorewe abatutsi: Songa-Huye --- Send in a voice message: https://anchor.fm/radio-rwanda/message

We have a new telenovela! Host Dulce Valencia invites Aranza Marmolejo to discuss the iconic telenovela: Teresa. Starring Angelique Boyer this telenovela tells the tale of the Hembra Mala, Teresa Chavez a brilliant, beautiful, and poor young woman who dreams of being a lawyer and getting out of poverty. A tragic event will lead her to abandon any morals to do everything she can to get herself out of poverty. Entre ser y no ser, yo soy.Watch Teresa (we only talk about it until episode 7):Telenovela Theme Songs PlaylistMariano’s SongA donde Vamos a PararGloria Trevi PerformanceStay Connected!Instagram: @TelenovelasConDulceTwitter: @NovelasConDulceFacebook: Telenovelas Con DulceTikTok: @telenovelascondulceQuestions? telenovelascondulce@gmail.com

Bonolo Nkosi is talking to Rev. Abel Govender, CEO of Songa Mbele Foundation about the Songa Mbele Foundation. They look at the aspects of what is Songa Mbele Foundation, and its vision, how they have managed to help 200 rural schools with the necessary tools, food, and assistance to make sure each child has a bright future.

Bonolo Nkosi is talking to Rev. Abel Govender, CEO of Songa Mbele Foundation about the Songa Mbele Foundation. They look at the aspects of what is Songa Mbele Foundation, and its vision, how they have managed to help 200 rural schools with the necessary tools, food, and assistance to make sure each child has a bright future.

Morgenkaffen med Finansavisen er en daglig oppdatering om toppsakene i Finansavisen fra klokken 05.00. De viktigste nyhetene på to minutter, presentert av Henning Christensen og Torgeir Kveim Sti. See acast.com/privacy for privacy and opt-out information.

The proliferation of smart phone devices has led to more meaningful access to the internet as more Ugandans are using the internet to politically organise, speak truth to power. In this episode, I chat with Songa Stone about the role social media is playing in the 2021 general elections.

Tiago Songa é jornalista e criador da corrida Pé na Tabua, meu evento favorito do antigomobilismo brasileiro. Bora ouvir do Tiago como nasceu a ideia de colocar carros de mais de 80 anos pra acelerar pra valer na pista, como ele convenceu Nelsão Piquet a participar dessa maluquice, e porque a Kombi é o veiculo mais carismatico de todos os tempos. Aperta o cinto aí

För många kan ett säsongsjobb i fjällen vara första klivet ut i arbetslivet. Men kan man jobba säsong året runt? Lina och Micke började jobba i säsong i fjällen för flera år sen har idag ledande positioner på fjällanläggningen Stöten i Sälen. De berättar om sin resa och vill ge sina bästa tips till dig som vill säsongjobba och hur du ska sticka ut i mängden när du söker jobbet.

För många kan ett säsongsjobb i fjällen vara första klivet ut i arbetslivet. Men kan man jobba säsong året runt? Lina och Micke började jobba i säsong i fjällen för flera år sen har idag ledande positioner på fjällanläggningen Stöten i Sälen. De berättar om sin resa och vill ge sina bästa tips till dig som vill säsongjobba och hur du ska sticka ut i mängden när du söker jobbet. Gäster: Lina Säll Nilsson och Micke Eriksson från Stöten i SälenProgramledare: Charlotte LindmanTekniker: Per-Göran Nordström Skriv gärna till oss om du har idéer på vad du vill att vi ska prata om i podden:  podcast@arbetsformedlingen.se. Anmälan dig till vårt nyhetsbrev  HÄR  

Learn about why NASA doesn’t launch rockets in the rain (which is why there was a delay launching the SpaceX Crew Dragon spacecraft carrying NASA astronauts Robert Behnken and Douglas Hurley); why llamas are so promising for protecting humans against viruses like COVID-19; and why things get cold — when they’re wet, when you’re chewing mint gum, and when you blow air through narrowed lips. Why NASA doesn’t launch rockets in the rain by Cameron Duke Analysis of Apollo 12 Lightning Incident. (1970, February). Spaceflight.Nasa.Gov. https://spaceflight.nasa.gov/outreach/SignificantIncidents/assets/analysis-of-apollo-12-lightning-incident.pdf Apollo 12 Launch - CSM Onboard Audio. (2012). [YouTube Video]. In YouTube. https://www.youtube.com/watch?v=31qt9jgtMMI Apollo 12 Launch (Lightning Strike) - Onboard Voice Recorder. (2015). [YouTube Video]. In YouTube. https://www.youtube.com/watch?v=ivtpIGrMZpw Bartels, M. (2020, May 30). NASA and SpaceX eye weather for historic Demo-2 astronaut launch Saturday. Space.Com. https://www.space.com/spacex-demo-2-astronaut-launch-weather-concerns.html Basics of Space Flight: Rocket Propellants. (2019). Braeunig.Us. http://www.braeunig.us/space/propel.htm NASA -  Lightning and Launches. (2020). Nasa.Gov. https://www.nasa.gov/audience/foreducators/9-12/features/F_Lightning_and_Launches_9_12.html  Gohd, C. (2019, November 14). 50 Years Ago: NASA’s Apollo 12 Was Struck By Lightning Right After Launch ... Twice! (Video). Space.Com; Space. https://www.space.com/apollo-12-lightning-strike-twice-launch-video.html  Thorbecke, C. (2020, May 27). NASA’s SpaceX launch scrubbed due to weather, next chance on Saturday. ABC News; ABC News. https://abcnews.go.com/Technology/live-updates-nasa-spacex-launch-astronauts-iss/story?id=70902209  Shira Teitel, A. (2017). What Happened on Board when Apollo 12 was Struck by Lightning [YouTube Video]. In The Vintage Space. https://www.youtube.com/watch?v=9i6yD2c2Jho Why llamas are so promising for human virus protection by Cameron Duke Leslie, M. (2018, May 10). Mini-antibodies discovered in sharks and camels could lead to drugs for cancer and other diseases. Science | AAAS. https://www.sciencemag.org/news/2018/05/mini-antibodies-discovered-sharks-and-camels-could-lead-drugs-cancer-and-other-diseases#  Brulliard, K. and Johnson, C.Y. (2020, May 6). The urgent quest for a coronavirus treatment involves door-to-door blood collection and a llama named Winter. The Washington Post. https://www.washingtonpost.com/science/2020/05/06/urgent-quest-coronavirus-treatment-involves-door-to-door-blood-collection-llama-named-winter/  Dr. Francis Collins. (2018, November 13). Looking to Llamas for New Ways to Fight the Flu. NIH Director’s Blog. https://directorsblog.nih.gov/2018/11/13/looking-to-llamas-for-new-ways-to-fight-the-flu/  Hamers-Casterman, C., Atarhouch, T., Muyldermans, S., Robinson, G., Hammers, C., Songa, E. B., Bendahman, N., & Hammers, R. (1993). Naturally occurring antibodies devoid of light chains. Nature, 363(6428), 446–448. https://doi.org/10.1038/363446a0  Wrapp, Daniel, et al. (2020). Structural Basis for Potent Neutralization of Betacoronaviruses by Single-Domain Camelid Antibodies. Cell. https://doi.org/10.1016/j.cell.2020.04.031  Zimmer, C. (2018, November 1). How to Turbocharge Flu Protection (Llamas Required). The New York Times. https://www.nytimes.com/2018/11/01/science/flu-vaccinations.html  Three questions about cold by Ashley Hamer (Listener questions from Joshua, Brescia, and Likith) Bautista, D. M., Siemens, J., Glazer, J. M., Tsuruda, P. R., Basbaum, A. I., Stucky, C. L., Jordt, S.-E., & Julius, D. (2007). The menthol receptor TRPM8 is the principal detector of environmental cold. Nature, 448(7150), 204–208. https://doi.org/10.1038/nature05910  Lecklitner, I. (2016, November 9). Why Does My Mouth Freeze When I Drink Water After Chewing... Dollar Shave Club Original Content; Dollar Shave Club Original Content. https://www.dollarshaveclub.com/content/story/why-does-my-mouth-freeze-when-i-drink-water-after-chewing-gum  WIRED Staff. (2010, September 22). Why Does Spicy Food Taste Hot? WIRED; WIRED. https://www.wired.com/2010/09/why-does-spicy-food-taste-hot/  Chicago Tribune. (2011, August 9). Ask Tom why: Why does wet skin feel cold? Chicagotribune.com. https://www.chicagotribune.com/news/ct-xpm-2011-08-09-ct-wea-0809-asktom-20110809-story.html  Heat of Vaporization. (2013, October 2). Chemistry LibreTexts. https://chem.libretexts.org/Bookshelves/Physical_and_Theoretical_Chemistry_Textbook_Maps/Supplemental_Modules_(Physical_and_Theoretical_Chemistry)/Thermodynamics/Energies_and_Potentials/Enthalpy/Heat_of_Vaporization  Fluid or Air Entrainment. (2020). Lanecc.Edu. https://media.lanecc.edu/users/driscolln/RT112/Air_Flow_Fluidics/Air_Flow_Fluidics7.html  Subscribe to Curiosity Daily to learn something new every day with Cody Gough and Ashley Hamer. You can also listen to our podcast as part of your Alexa Flash Briefing; Amazon smart speakers users, click/tap “enable” here: https://www.amazon.com/Curiosity-com-Curiosity-Daily-from/dp/B07CP17DJY 

今天分享一段非常朗朗上口又美丽的小诗Christmas Time,它之所以读起来非常好听，主要是因为每段都有非常整齐的韵脚： Christmas time is finally hereIt only comes but once a yearAnd it's a time to spread good cheerTo those we love and hold so dear圣诞节终于到了一年只有一次它是传播欢声笑语的时节给那些我们深爱和珍视的人 Christmas time is a time of gleeA time when peace and love run freeA time for those like you and meTo sit beneath the Christmas tree圣诞节是欢乐的时节到处洋溢着爱与和平它是对你和我这样的人来说坐在圣诞树下的日子 Christmas time is a time of joyA time to sit back and enjoyThe smile on each girl and boyAs they play with a Christmas toy圣诞节是快乐的时节轻松坐下来并享受的时节当他们玩圣诞玩具时每个男孩和女孩的脸上都洋溢着微笑 Christmas time is a time for songA time for us to get alongTo make us feel Lord Jesus strongForgive all those who did us wrong圣诞节是歌声的时节我们和睦相处我们感到主耶稣的强大原谅所有对我们不公的人 Christmas time is a time to prayPut love and kindness on displayShow compassion along the wayChristmas time should be every day圣诞节是祈祷的时刻，把爱和善展示出来，一路上表现出同情心。圣诞节应该每天都有。

今天分享一段非常朗朗上口又美丽的小诗Christmas Time,它之所以读起来非常好听，主要是因为每段都有非常整齐的韵脚： Christmas time is finally hereIt only comes but once a yearAnd it's a time to spread good cheerTo those we love and hold so dear圣诞节终于到了一年只有一次它是传播欢声笑语的时节给那些我们深爱和珍视的人 Christmas time is a time of gleeA time when peace and love run freeA time for those like you and meTo sit beneath the Christmas tree圣诞节是欢乐的时节到处洋溢着爱与和平它是对你和我这样的人来说坐在圣诞树下的日子 Christmas time is a time of joyA time to sit back and enjoyThe smile on each girl and boyAs they play with a Christmas toy圣诞节是快乐的时节轻松坐下来并享受的时节当他们玩圣诞玩具时每个男孩和女孩的脸上都洋溢着微笑 Christmas time is a time for songA time for us to get alongTo make us feel Lord Jesus strongForgive all those who did us wrong圣诞节是歌声的时节我们和睦相处我们感到主耶稣的强大原谅所有对我们不公的人 Christmas time is a time to prayPut love and kindness on displayShow compassion along the wayChristmas time should be every day圣诞节是祈祷的时刻，把爱和善展示出来，一路上表现出同情心。圣诞节应该每天都有。

今天分享一段非常朗朗上口又美丽的小诗Christmas Time,它之所以读起来非常好听，主要是因为每段都有非常整齐的韵脚： Christmas time is finally hereIt only comes but once a yearAnd it's a time to spread good cheerTo those we love and hold so dear圣诞节终于到了一年只有一次它是传播欢声笑语的时节给那些我们深爱和珍视的人 Christmas time is a time of gleeA time when peace and love run freeA time for those like you and meTo sit beneath the Christmas tree圣诞节是欢乐的时节到处洋溢着爱与和平它是对你和我这样的人来说坐在圣诞树下的日子 Christmas time is a time of joyA time to sit back and enjoyThe smile on each girl and boyAs they play with a Christmas toy圣诞节是快乐的时节轻松坐下来并享受的时节当他们玩圣诞玩具时每个男孩和女孩的脸上都洋溢着微笑 Christmas time is a time for songA time for us to get alongTo make us feel Lord Jesus strongForgive all those who did us wrong圣诞节是歌声的时节我们和睦相处我们感到主耶稣的强大原谅所有对我们不公的人 Christmas time is a time to prayPut love and kindness on displayShow compassion along the wayChristmas time should be every day圣诞节是祈祷的时刻，把爱和善展示出来，一路上表现出同情心。圣诞节应该每天都有。

As promised, here is a video episode for you. This week, Pepper and Victor engage in a tournament that sees some of the biggest musicians from today and yesteryears pitted against each other. 2:10 Going about music distribution 14:09 Songa music app controversy 23:45 Artist Tournament Joined by Sam, Kevin, Sandra & Michelle Michelle: https://www.instagram.com/michelledonde/ Kevin: https://www.instagram.com/kjamesalpha/ Sam: https://www.instagram.com/sam_thamu/ Sandra: https://www.instagram.com/sandra.mwateni/ Follow What is This Instagram: https://www.instagram.com/whatisthispod/ Twitter: https://twitter.com/whatisthispod Anchor: https://anchor.fm/whatsthis All previous episodes here: https://lnk.bio/97zA Subscribe to the podcast on iTunes: https://itunes.apple.com/ke/podcast/what-is-this/id1378080206?mt=2 Video shot by @michelledonde https://www.instagram.com/michelledonde/

Zoe Samudzi is a black feminist writer whose work has appeared in a number of spaces including The New Inquiry, Warscapes, Truthout, ROAR Magazine, Teen Vogue, BGD, Bitch Media, and Verso, among others. She is also a member of the 2017/18 Public Imagination cohort of the Yerba Buena Center for the Arts (YBCA) Fellows Program, and she is a member of the Black Aesthetic, an Oakland-based group and film series exploring the multitudes and diversities of black imagination and creativity. She is presently a Sociology PhD student at the University of California, San Francisco in the Department of Social and Behavioral Sciences where academic interests include biomedicalization theory, productions of race and gender, and transgender health. She is a recipient of the 2016-17 Eugene Cota-Robles Fellowship. Her dissertation "'I don’t believe I should be treated like a second citizen by anybody': Narratives of agency and exclusion amongst male and transgender female sex workers in Cape Town, South Africa" engages hegemonic gender constructs in South Africa as they affect identity construction and health of transgender women and cisgender men in sex work. Zoe sits down with Brett to apply critical race theory to our current US society. Topics Include: The Anarchism of Blackness, Double Consciousness, Zoe's experiences growing up as a black girl in the Midwest, the failures of white liberalism and the democratic party, Trump, racist and sexist tropes in film, the White Gaze, and much more! Here is Zoe's website: http://www.zoesamudzi.com/ Follow Zoe on Twitter: https://twitter.com/ztsamudzi Our Outro Music is "African Son" (featuring Chindo Man, Songa, Wise Man, Mic Crenshaw. Recorded at Watengwa Studios, Kijenge, Tanzania as part of the Afrikan Hiphop Caravan 2015): https://soundcloud.com/mic-crenshaw/african-sonprod-double Check out Mic Crenshaw, who was our guest for the Anti-Racist Action episode, and his music here: https://www.miccrenshaw.com/   Please support us on Patreon: https://www.patreon.com/RevLeftRadio  and follow us on Twitter @RevLeftRadio  Follow us on FB at "Revolutionary Left Radio" Theme song by The String-Bo String Duo which you can find here: https://tsbsd.bandcamp.com/album/smash-the-state-distribute-bread  

Join us today for Women Lead Radio as Michelle Bergquist, your host of Women Who Lead, interviews Sarah Sternberg, Owner and Founder of Songa Designs. Sarah and Michelle discuss the challenges and success of leaving the safe confines of the corporate world in order to create a business that empowers women worldwide! Sarah built Songa Designs after the 2008 recession and being laid off from the corporate real estate industry. She decided to take a chance, do something unique and volunteered for a nonprofit in Rwanda.  How many of you have started a business after volunteering for a good cause?  Sarah shares her adventurous journey on not only building her business but the story that goes with helping under-resourced women build a business too! Songa Designs is a socially conscious, eco-fashion lifestyle brand. Songa exists to create jobs for skilled women in under-resourced countries so they can earn their way to economic independence. Sarah’s vision for empowering women is cultivating a culture of self-sufficient, strong businesswomen in new ways. By providing these women the tools needed to earn their way and prosper in business and entrepreneurship, Songa Designs is building markets and new opportunities in developing countries, all the while empowering the women behind them. As the CEO and Co-Founder of Connected Women of Influence, Michelle Bergquist is a passionate advocate for women in business. At Connected Women of Influence, we believe that more women need to lead in business and everything we do is center-focused on designing platforms, programs, connections and collaborative opportunities for b2b women to prosper, succeed and lead the way in business today!

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Symphony of Science is a site that posts songs made from clips of shows dealing with science. so far they only have three songs, all here. Songa are listed with people in them. A Glorious Dawn-Carl Sagen & Stephen Hawking We Are All Connected-Carl Sagan, Richard Feynman, Neil deGrasse Tyson & Bill Nye Our Place In The Universe-Carl Sagan, Richard Dawkins, Michio Kaku & Robert Jastrow