Podcasts about sufi

Real Stories & Practical Tools to Choose Love Over Fear: In this special episode of A Call for Love, Linda Orsini gathers the wisdom of five previous guests to explore one pivotal question: How do you follow a call for love in your life? This unique episode weaves together thoughtful answers from wise and open-hearted guests, offering a tapestry of insights, vulnerability, and heart-centred practices for choosing love, peace, and joy, especially in times of fear, stress, or anxiety.Gems you can add to your life:Choosing Love & AuthenticityMaggie Habieda emphasizes living authentically and expressing love, considering authenticity as the new luxury.The role of embracing your truth and letting go of masks, especially in both personal and professional life.The Power of Surrender & StillnessSandra Tadros Guirguis discusses surrendering control, practicing humility, and allowing a higher power to guide the journey.Importance of 'being still' as a spiritual practice.Empowering Presence with Difficult EmotionsSamantha Manchulenko shares how she addresses physical and emotional pain by meeting it with mindful presence, curiosity, and non-resistance rather than avoidance or labelling.Healing with Ritual & NatureLyndsay Jenkinson and Carrie Chilcott discuss the importance of connecting with nature, grounding, meditation, breathwork, and yoga for emotional healing and maintaining a high vibration.Sacred Sound & Sufi PracticesAyeda Husain discourages spiritual bypassing, encouraging listeners to sit with difficult emotions before moving beyond them.Ida Sen shares the healing power of sacred music and Sufi chanting (“zikr”), using sound vibrations to lift the spirit and heal the heart.Don't forget to subscribe, share your thoughts, and connect with us for upcoming episodes!From our hearts to yours, and remember: perfection isn't the goal, love is.Linda's Website: https://www.globalwellnesseducation.com Excerpts from the following episodes: #85 Living Unfiltered: The Courage to Show Up as Yourself #84 Making Peace With Your Thoughts#77 Grief and Staying Connected to Loved Ones #79 Feet First: Reflexology for Holistic Healing#71 The Sufi Path of LoveFollow Linda on Instagram: https://www.instagram.com/lindaorsiniwellness About Linda:Have you ever battled overwhelming anxiety, fear, self-limiting beliefs, soul fatigue or stress? It can leave you feeling so lonely and helpless. We've all been taught how to be courageous when we face physical threats but when it comes to matters of the heart and soul we are often left to learn, "the hard way."As a school teacher for over 30+ years, struggling with these very issues, my doctor suggested...

For those who haven't heard the announcement I posted, songs from this point on will sometimes be split among multiple episodes, so this is the second part of a two-episode look at the song “Who Knows Where The Time Goes?” by Fairport Convention, and the intertwining careers of Joe Boyd, Sandy Denny, and Richard Thompson. Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have a forty-one-minute bonus episode available, on Judy Collins’ version of this song. Tilt Araiza has assisted invaluably by editing, and will hopefully be doing so from now on. Check out Tilt's irregular podcasts at http://www.podnose.com/jaffa-cakes-for-proust and http://sitcomclub.com/ Erratum For about an hour this was uploaded with the wrong Elton John clip in place of “Saturday Sun”. This has now been fixed. Resources Because of the increasing problems with Mixcloud’s restrictions, I have decided to start sharing streaming playlists of the songs used in episodes instead of Mixcloud ones. This Tunemymusic link will let you listen to the playlist I created on your streaming platform of choice — however please note that not all the songs excerpted are currently available on streaming. The songs missing from the Tidal version are “Shanten Bells” by the Ian Campbell Folk Group, “Tom’s Gone to Hilo” by A.L. Lloyd, two by Paul McNeill and Linda Peters, three by Elton John & Linda Peters, “What Will I Do With Tomorrow” by Sandy Denny and “You Never Know” by Charlie Drake, but the other fifty-nine are there. Other songs may be missing from other services. The main books I used on Fairport Convention as a whole were Patrick Humphries' Meet On The Ledge, Clinton Heylin's What We Did Instead of Holidays, and Kevan Furbank's Fairport Convention on Track. Rob Young's Electric Eden is the most important book on the British folk-rock movement. Information on Richard Thompson comes from Patrick Humphries' Richard Thompson: Strange Affair and Thompson's own autobiography Beeswing.  Information on Sandy Denny comes from Clinton Heylin's No More Sad Refrains and Mick Houghton's I've Always Kept a Unicorn. I also used Joe Boyd's autobiography White Bicycles and Chris Blackwell's The Islander.  And this three-CD set is the best introduction to Fairport's music currently in print. Transcript Before we begin, this episode contains reference to alcohol and cocaine abuse and medical neglect leading to death. It also starts with some discussion of the fatal car accident that ended last episode. There’s also some mention of child neglect and spousal violence. If that’s likely to upset you, you might want to skip this episode or read the transcript. One of the inspirations for this podcast when I started it back in 2018 was a project by Richard Thompson, which appears (like many things in Thompson’s life) to have started out of sheer bloody-mindedness. In 1999 Playboy magazine asked various people to list their “songs of the Millennium”, and most of them, understanding the brief, chose a handful of songs from the latter half of the twentieth century. But Thompson determined that he was going to list his favourite songs *of the millennium*. He didn’t quite manage that, but he did cover seven hundred and forty years, and when Playboy chose not to publish it, he decided to turn it into a touring show, in which he covered all his favourite songs from “Sumer Is Icumen In” from 1260: [Excerpt: Richard Thompson, “Sumer is Icumen In”] Through numerous traditional folk songs, union songs like “Blackleg Miner”, pieces by early-modern composers, Victorian and Edwardian music hall songs, and songs by the Beatles, the Ink Spots, the Kinks, and the Who, all the way to “Oops! I Did It Again”: [Excerpt: Richard Thompson, “Oops! I Did it Again”] And to finish the show, and to show how all this music actually ties together, he would play what he described as a “medieval tune from Brittany”, “Marry, Ageyn Hic Hev Donne Yt”: [Excerpt: Richard Thompson, “Marry, Ageyn Hic Hev Donne Yt”] We have said many times in this podcast that there is no first anything, but there’s a reason that Liege and Lief, Fairport Convention’s third album of 1969, and the album other than Unhalfbricking on which their reputation largely rests, was advertised with the slogan “The first (literally) British folk rock album ever”. Folk-rock, as the term had come to be known, and as it is still usually used today, had very little to do with traditional folk music. Rather, the records of bands like The Byrds or Simon and Garfunkel were essentially taking the sounds of British beat groups of the early sixties, particularly the Searchers, and applying those sounds to material by contemporary singer-songwriters. People like Paul Simon and Bob Dylan had come up through folk clubs, and their songs were called folk music because of that, but they weren’t what folk music had meant up to that point — songs that had been collected after being handed down through the folk process, changed by each individual singer, with no single identifiable author. They were authored songs by very idiosyncratic writers. But over their last few albums, Fairport Convention had done one or two tracks per album that weren’t like that, that were instead recordings of traditional folk songs, but arranged with rock instrumentation. They were not necessarily the first band to try traditional folk music with electric instruments — around the same time that Fairport started experimenting with the idea, so did an Irish band named Sweeney’s Men, who brought in a young electric guitarist named Henry McCullough briefly. But they do seem to have been the first to have fully embraced the idea. They had done so to an extent with “A Sailor’s Life” on Unhalfbricking, but now they were going to go much further: [Excerpt: Fairport Convention, “Matty Groves” (from about 4:30)] There had been some doubt as to whether Fairport Convention would even continue to exist — by the time Unhalfbricking, their second album of the year, was released, they had been through the terrible car accident that had killed Martin Lamble, the band’s drummer, and Jeannie Franklyn, Richard Thompson’s girlfriend. Most of the rest of the band had been seriously injured, and they had made a conscious decision not to discuss the future of the band until they were all out of hospital. Ashley Hutchings was hospitalised the longest, and Simon Nicol, Richard Thompson, and Sandy Denny, the other three surviving members of the band, flew over to LA with their producer and manager, Joe Boyd, to recuperate there and get to know the American music scene. When they came back, the group all met up in the flat belonging to Denny’s boyfriend Trevor Lucas, and decided that they were going to continue the band. They made a few decisions then — they needed a new drummer, and as well as a drummer they wanted to get in Dave Swarbrick. Swarbrick had played violin on several tracks on Unhalfbricking as a session player, and they had all been thrilled to work with him. Swarbrick was one of the most experienced musicians on the British folk circuit. He had started out in the fifties playing guitar with Beryl Marriott’s Ceilidh Band before switching to fiddle, and in 1963, long before Fairport had formed, he had already appeared on TV with the Ian Campbell Folk Group, led by Ian Campbell, the father of Ali and Robin Campbell, later of UB40: [Excerpt: The Ian Campbell Folk Group, “Shanten Bells (medley on Hullaballoo!)”] He’d sung with Ewan MacColl and A.L. Lloyd: [Excerpt: A.L. Lloyd, “Tom’s Gone to Hilo” ] And he’d formed his hugely successful duo with Martin Carthy, releasing records like “Byker Hill” which are often considered among the best British folk music of all time: [Excerpt: Martin Carthy and Dave Swarbrick, “Byker Hill”] By the time Fairport had invited him to play on Unhalfbricking, Swarbrick had already performed on twenty albums as a core band member, plus dozens more EPs, singles, and odd tracks on compilations. They had no reason to think they could actually get him to join their band. But they had three advantages. The first was that Swarbrick was sick of the traditional folk scene at the time, saying later “I didn’t like seven-eighths of the people involved in it, and it was extremely opportune to leave. I was suddenly presented with the possibilities of exploring the dramatic content of the songs to the full.” The second was that he was hugely excited to be playing with Richard Thompson, who was one of the most innovative guitarists of his generation, and Martin Carthy remembers him raving about Thompson after their initial sessions. (Carthy himself was and is no slouch on the guitar of course, and there was even talk of getting him to join the band at this point, though they decided against it — much to the relief of rhythm guitarist Simon Nicol, who is a perfectly fine player himself but didn’t want to be outclassed by *two* of the best guitarists in Britain at the same time). And the third was that Joe Boyd told him that Fairport were doing so well — they had a single just about to hit the charts with “Si Tu Dois Partir” — that he would only have to play a dozen gigs with Fairport in order to retire. As it turned out, Swarbrick would play with the group for a decade, and would never retire — I saw him on his last tour in 2015, only eight months before he died. The drummer the group picked was also a far more experienced musician than any of the rest, though in a very different genre. Dave Mattacks had no knowledge at all of the kind of music they played, having previously been a player in dance bands. When asked by Hutchings if he wanted to join the band, Mattacks’ response was “I don’t know anything about the music. I don’t understand it… I can’t tell one tune from another, they all sound the same… but if you want me to join the group, fine, because I really like it. I’m enjoying myself musically.” Mattacks brought a new level of professionalism to the band, thanks to his different background. Nicol said of him later “He was dilligent, clean, used to taking three white shirts to a gig… The application he could bring to his playing was amazing. With us, you only played well when you were feeling well.” This distinction applied to his playing as well. Nicol would later describe the difference between Mattacks’ drumming and Lamble’s by saying “Martin’s strength was as an imaginative drummer. DM came in with a strongly developed sense of rhythm, through keeping a big band of drunken saxophone players in order. A great time-keeper.” With this new line-up and a new sense of purpose, the group did as many of their contemporaries were doing and “got their heads together in the country”. Joe Boyd rented the group a mansion, Farley House, in Farley Chamberlayne, Hampshire, and they stayed there together for three months. At the start, the group seem to have thought that they were going to make another record like Unhalfbricking, with some originals, some songs by American songwriters, and a few traditional songs. Even after their stay in Farley Chamberlayne, in fact, they recorded a few of the American songs they’d rehearsed at the start of the process, Richard Farina’s “Quiet Joys of Brotherhood” and Bob Dylan and Roger McGuinn’s “Ballad of Easy Rider”: [Excerpt: Fairport Convention, “Ballad of Easy Rider”] Indeed, the whole idea of “getting our heads together in the country” (as the cliche quickly became in the late sixties as half of the bands in Britain went through much the same kind of process as Fairport were doing — but usually for reasons more to do with drug burnout or trend following than recovering from serious life-changing trauma) seems to have been inspired by Bob Dylan and the Band getting together in Big Pink. But very quickly they decided to follow the lead of Ashley Hutchings, who had had something of a Damascene conversion to the cause of traditional English folk music. They were listening mostly to Music From Big Pink by the Band, and to the first album by Sweeney’s Men: [Excerpt: Sweeney’s Men, “The Handsome Cabin Boy”] And they decided that they were going to make something that was as English as those records were North American and Irish (though in the event there were also a few Scottish songs included on the record). Hutchings in particular was becoming something of a scholar of traditional music, regularly visiting Cecil Sharp House and having long conversations with A.L. Lloyd, discovering versions of different traditional songs he’d never encountered before. This was both amusing and bemusing Sandy Denny, who had joined a rock group in part to get away from traditional music; but she was comfortable singing the material, and knew a lot of it and could make a lot of suggestions herself. Swarbrick obviously knew the repertoire intimately, and Nicol was amenable, while Mattacks was utterly clueless about the folk tradition at this point but knew this was the music he wanted to make. Thompson knew very little about traditional music, and of all the band members except Denny he was the one who has shown the least interest in the genre in his subsequent career — but as we heard at the beginning, showing the least interest in the genre is a relative thing, and while Thompson was not hugely familiar with the genre, he *was* able to work with it, and was also more than capable of writing songs that fit in with the genre. Of the eleven songs on the album, which was titled Liege and Lief (which means, roughly, Lord and Loyalty), there were no cover versions of singer-songwriters. Eight were traditional songs, and three were originals, all written in the style of traditional songs. The album opened with “Come All Ye”, an introduction written by Denny and Hutchings (the only time the two would ever write together): [Excerpt: Fairport Convention, “Come All Ye”] The other two originals were songs where Thompson had written new lyrics to traditional melodies. On “Crazy Man Michael”, Swarbrick had said to Thompson that the tune to which he had set his new words was weaker than the lyrics, to which Thompson had replied that if Swarbrick felt that way he should feel free to write a new melody. He did, and it became the first of the small number of Thompson/Swarbrick collaborations: [Excerpt: Fairport Convention, “Crazy Man Michael”] Thompson and Swarbrick would become a brief songwriting team, but as much as anything else it was down to proximity — the two respected each other as musicians, but never got on very well. In 1981 Swarbrick would say “Richard and I never got on in the early days of FC… we thought we did, but we never did. We composed some bloody good songs together, but it was purely on a basis of “you write that and I’ll write this, and we’ll put it together.” But we never sat down and had real good chats.” The third original on the album, and by far the most affecting, is another song where Thompson put lyrics to a traditional tune. In this case he thought he was putting the lyrics to the tune of “Willie O'Winsbury”, but he was basing it on a recording by Sweeney’s Men. The problem was that Sweeney’s Men had accidentally sung the lyrics of “Willie O'Winsbury'” to the tune of a totally different song, “Fause Foodrage”: [Excerpt: Sweeney’s Men, “Willie O’Winsbury”] Thompson took that melody, and set to it lyrics about loss and separation. Thompson has never been one to discuss the meanings of his lyrics in any great detail, and in the case of this one has said “I really don't know what it means. This song came out of a dream, and I pretty much wrote it as I dreamt it (it was the sixties), and didn't spend very long analyzing it. So interpret as you wish – or replace with your own lines.” But in the context of the traffic accident that had killed his tailor girlfriend and a bandmate, and injured most of his other bandmates, the lyrics about lonely travellers, the winding road, bruised and beaten sons, saying goodbye, and never cutting cloth, seem fairly self-explanatory: [Excerpt: Fairport Convention, “Farewell, Farewell”] The rest of the album, though, was taken up by traditional tunes. There was a long medley of four different fiddle reels; a version of “Reynardine” (a song about a seductive man — or is he a fox? Or perhaps both — which had been recorded by Swarbrick and Carthy on their most recent album); a 19th century song about a deserter saved from the firing squad by Prince Albert; and a long take on “Tam Lin”, one of the most famous pieces in the Scottish folk music canon, a song that has been adapted in different ways by everyone from the experimental noise band Current 93 to the dub poet Benjamin Zephaniah to the comics writer Grant Morrison: [Excerpt: Fairport Convention, “Tam Lin”] And “Matty Groves”, a song about a man killing his cheating wife and her lover, which actually has a surprisingly similar story to that of “1921” from another great concept album from that year, the Who’s Tommy. “Matty Groves” became an excuse for long solos and shows of instrumental virtuosity: [Excerpt: Fairport Convention, “Matty Groves”] The album was recorded in September 1969, after their return from their break in the country and a triumphal performance at the Royal Festival Hall, headlining over fellow Witchseason artists John and Beverly Martyn and Nick Drake. It became a classic of the traditional folk genre — arguably *the* classic of the traditional folk genre. In 2007 BBC Radio 2’s Folk Music Awards gave it an award for most influential folk album of all time, and while such things are hard to measure, I doubt there’s anyone with even the most cursory knowledge of British folk and folk-rock music who would not at least consider that a reasonable claim. But once again, by the time the album came out in November, the band had changed lineups yet again. There was a fundamental split in the band – on one side were Sandy Denny and Richard Thompson, whose stance was, roughly, that Liege and Lief was a great experiment and a fun thing to do once, but really the band had two first-rate songwriters in themselves, and that they should be concentrating on their own new material, not doing these old songs, good as they were. They wanted to take the form of the traditional songs and use that form for new material — they wanted to make British folk-rock, but with the emphasis on the rock side of things. Hutchings, on the other hand, was equally sure that he wanted to make traditional music and go further down the rabbit hole of antiquity. With the zeal of the convert he had gone in a couple of years from being the leader of a band who were labelled “the British Jefferson Airplane” to becoming a serious scholar of traditional folk music. Denny was tired of touring, as well — she wanted to spend more time at home with Trevor Lucas, who was sleeping with other women when she was away and making her insecure. When the time came for the group to go on a tour of Denmark, Denny decided she couldn’t make it, and Hutchings was jubilant — he decided he was going to get A.L. Lloyd into the band in her place and become a *real* folk group. Then Denny reconsidered, and Hutchings was crushed. He realised that while he had always been the leader, he wasn’t going to be able to lead the band any further in the traditionalist direction, and quit the group — but not before he was delegated by the other band members to fire Denny. Until the publication of Richard Thompson’s autobiography in 2022, every book on the group or its members said that Denny quit the band again, which was presumably a polite fiction that the band agreed, but according to Thompson “Before we flew home, we decided to fire Sandy. I don't remember who asked her to leave – it was probably Ashley, who usually did the dirty work. She was reportedly shocked that we would take that step. She may have been fragile beneath the confident facade, but she still knew her worth.” Thompson goes on to explain that the reasons for kicking her out were that “I suppose we felt that in her mind she had already left” and that “We were probably suffering from post-traumatic stress disorder, though there wasn't a name for it back then.” They had considered inviting Trevor Lucas to join the band to make Denny more comfortable, but came to the (probably correct) conclusion that while he was someone they got on well with personally, he would be another big ego in a band that already had several, and that being around Denny and Lucas’ volatile relationship would, in Thompson’s phrasing, “have not always given one a feeling of peace and stability.” Hutchings originally decided he was going to join Sweeney’s Men, but that group were falling apart, and their first rehearsal with Hutchings would also be their last as a group, with only Hutchings and guitarist and mandolin player Terry Woods left in the band. They added Woods’ wife Gay, and another couple, Tim Hart and Maddy Prior, and formed a group called Steeleye Span, a name given them by Martin Carthy. That group, like Fairport, went to “get their heads together in the country” for three months and recorded an album of electric versions of traditional songs, Hark the Village Wait, on which Mattacks and another drummer, Gerry Conway, guested as Steeleye Span didn’t at the time have their own drummer: [Excerpt: Steeleye Span, “Blackleg Miner”] Steeleye Span would go on to have a moderately successful chart career in the seventies, but by that time most of the original lineup, including Hutchings, had left — Hutchings stayed with them for a few albums, then went on to form the first of a series of bands, all called the Albion Band or variations on that name, which continue to this day. And this is something that needs to be pointed out at this point — it is impossible to follow every single individual in this narrative as they move between bands. There is enough material in the history of the British folk-rock scene that someone could do a 500 Songs-style podcast just on that, and every time someone left Fairport, or Steeleye Span, or the Albion Band, or Matthews’ Southern Comfort, or any of the other bands we have mentioned or will mention, they would go off and form another band which would then fission, and some of its members would often join one of those other bands. There was a point in the mid-1970s where the Albion Band had two original members of Fairport Convention while Fairport Convention had none. So just in order to keep the narrative anything like wieldy, I’m going to keep the narrative concentrated on the two figures from Fairport — Sandy Denny and Richard Thompson — whose work outside the group has had the most influence on the wider world of rock music more broadly, and only deal with the other members when, as they often did, their careers intersected with those two. That doesn’t mean the other members are not themselves hugely important musicians, just that their importance has been primarily to the folk side of the folk-rock genre, and so somewhat outside the scope of this podcast. While Hutchings decided to form a band that would allow him to go deeper and deeper into traditional folk music, Sandy Denny’s next venture was rather different. For a long time she had been writing far more songs than she had ever played for her bandmates, like “Nothing More”, a song that many have suggested is about Thompson: [Excerpt: Fotheringay, “Nothing More”] When Joe Boyd heard that Denny was leaving Fairport Convention, he was at first elated. Fairport’s records were being distributed by A&M in the US at that point, but Island Records was in the process of opening up a new US subsidiary which would then release all future Fairport product — *but*, as far as A&M were concerned, Sandy Denny *was* Fairport Convention. They were only interested in her. Boyd, on the other hand, loved Denny’s work intensely, but from his point of view *Richard Thompson* was Fairport Convention. If he could get Denny signed directly to A&M as a solo artist before Island started its US operations, Witchseason could get a huge advance on her first solo record, while Fairport could continue making records for Island — he’d have two lucrative acts, on different labels. Boyd went over and spoke to A&M and got an agreement in principle that they would give Denny a forty-thousand-dollar advance on her first solo album — twice what they were paying for Fairport albums. The problem was that Denny didn’t want to be a solo act. She wanted to be the lead singer of a band. She gave many reasons for this — the one she gave to many journalists was that she had seen a Judy Collins show and been impressed, but noticed that Collins’ band were definitely a “backing group”, and as she put it “But that's all they were – a backing group. I suddenly thought, If you're playing together on a stage you might as well be TOGETHER.” Most other people in her life, though, say that the main reason for her wanting to be in a band was her desire to be with her boyfriend, Trevor Lucas. Partly this was due to a genuine desire to spend more time with someone with whom she was very much in love, partly it was a fear that he would cheat on her if she was away from him for long periods of time, and part of it seems to have been Lucas’ dislike of being *too* overshadowed by his talented girlfriend — he didn’t mind acknowledging that she was a major talent, but he wanted to be thought of as at least a minor one. So instead of going solo, Denny formed Fotheringay, named after the song she had written for Fairport. This new band consisted at first of Denny on vocals and occasional piano, Lucas on vocals and rhythm guitar, and Lucas’ old Eclection bandmate Gerry Conway on drums. For a lead guitarist, they asked Richard Thompson who the best guitarist in Britain was, and he told them Albert Lee. Lee in turn brought in bass player Pat Donaldson, but this lineup of the band barely survived a fortnight. Lee *was* arguably the best guitarist in Britain, certainly a reasonable candidate if you could ever have a singular best (as indeed was Thompson himself), but he was the best *country* guitarist in Britain, and his style simply didn’t fit with Fotheringay’s folk-influenced songs. He was replaced by American guitarist Jerry Donahue, who was not anything like as proficient as Lee, but who was still very good, and fit the band’s style much better. The new group rehearsed together for a few weeks, did a quick tour, and then went into the recording studio to record their debut, self-titled, album. Joe Boyd produced the album, but admitted himself that he only paid attention to those songs he considered worthwhile — the album contained one song by Lucas, “The Ballad of Ned Kelly”, and two cover versions of American singer-songwriter material with Lucas singing lead. But everyone knew that the songs that actually *mattered* were Sandy Denny’s, and Boyd was far more interested in them, particularly the songs “The Sea” and “The Pond and the Stream”: [Excerpt: Fotheringay, “The Pond and the Stream”] Fotheringay almost immediately hit financial problems, though. While other Witchseason acts were used to touring on the cheap, all packed together in the back of a Transit van with inexpensive equipment, Trevor Lucas had ambitions of being a rock star and wanted to put together a touring production to match, with expensive transport and equipment, including a speaker system that got nicknamed “Stonehenge” — but at the same time, Denny was unhappy being on the road, and didn’t play many gigs. As well as the band itself, the Fotheringay album also featured backing vocals from a couple of other people, including Denny’s friend Linda Peters. Peters was another singer from the folk clubs, and a good one, though less well-known than Denny — at this point she had only released a couple of singles, and those singles seemed to have been as much as anything else released as a novelty. The first of those, a version of Dylan’s “You Ain’t Goin’ Nowhere” had been released as by “Paul McNeill and Linda Peters”: [Excerpt: Paul McNeill and Linda Peters, “You Ain’t Goin’ Nowhere”] But their second single, a version of John D. Loudermilk’s “You’re Taking My Bag”, was released on the tiny Page One label, owned by Larry Page, and was released under the name “Paul and Linda”, clearly with the intent of confusing particularly gullible members of the record-buying public into thinking this was the McCartneys: [Excerpt: Paul and Linda, “You’re Taking My Bag”] Peters was though more financially successful than almost anyone else in this story, as she was making a great deal of money as a session singer. She actually did another session involving most of Fotheringay around this time. Witchseason had a number of excellent songwriters on its roster, and had had some success getting covers by people like Judy Collins, but Joe Boyd thought that they might possibly do better at getting cover versions if they were performed in less idiosyncratic arrangements. Donahue, Donaldson, and Conway went into the studio to record backing tracks, and vocals were added by Peters and another session singer, who according to some sources also provided piano. They cut songs by Mike Heron of the Incredible String Band: [Excerpt: Linda Peters, “You Get Brighter”] Ed Carter, formerly of The New Nadir but by this time firmly ensconced in the Beach Boys’ touring band where he would remain for the next quarter-century: [Excerpt: Linda Peters, “I Don’t Mind”] John and Beverly Martyn, and Nick Drake: [Excerpt: Elton John, “Saturday Sun”] There are different lineups of musicians credited for those sessions in different sources, but I tend to believe that it’s mostly Fotheringay for the simple reason that Donahue says it was him, Donaldson and Conway who talked Lucas and Denny into the mistake that destroyed Fotheringay because of these sessions. Fotheringay were in financial trouble already, spending far more money than they were bringing in, but their album made the top twenty and they were getting respect both from critics and from the public — in September, Sandy Denny was voted best British female singer by the readers of Melody Maker in their annual poll, which led to shocked headlines in the tabloids about how this “unknown” could have beaten such big names as Dusty Springfield and Cilla Black. Only a couple of weeks after that, they were due to headline at the Albert Hall. It should have been a triumph. But Donahue, Donaldson, and Conway had asked that singing pianist to be their support act. As Donahue said later “That was a terrible miscast. It was our fault. He asked if [he] could do it. Actually Pat, Gerry and I had to talk Sandy and Trevor into [it]… We'd done these demos and the way he was playing – he was a wonderful piano player – he was sensitive enough. We knew very little about his stage-show. We thought he'd be a really good opener for us.” Unfortunately, Elton John was rather *too* good. As Donahue continued “we had no idea what he had in mind, that he was going to do the most incredible rock & roll show ever. He pretty much blew us off the stage before we even got on the stage.” To make matters worse, Fotheringay’s set, which was mostly comprised of new material, was underrehearsed and sloppy, and from that point on no matter what they did people were counting the hours until the band split up. They struggled along for a while though, and started working on a second record, with Boyd again producing, though as Boyd later said “I probably shouldn't have been producing the record. My lack of respect for the group was clear, and couldn't have helped the atmosphere. We'd put out a record that had sold disappointingly, A&M was unhappy. Sandy's tracks on the first record are among the best things she ever did – the rest of it, who cares? And the artwork, Trevor's sister, was terrible. It would have been one thing if I'd been unhappy with it and it sold, and the group was working all the time, making money, but that wasn't the case … I knew what Sandy was capable of, and it was very upsetting to me.” The record would not be released for thirty-eight years: [Excerpt: Fotheringay, “Wild Mountain Thyme”] Witchseason was going badly into debt. Given all the fissioning of bands that we’ve already been talking about, Boyd had been stretched thin — he produced sixteen albums in 1970, and almost all of them lost money for the company. And he was getting more and more disillusioned with the people he was producing. He loved Beverly Martyn’s work, but had little time for her abusive husband John, who was dominating her recording and life more and more and would soon become a solo artist while making her stay at home (and stealing her ideas without giving her songwriting credit). The Incredible String Band were great, but they had recently converted to Scientology, which Boyd found annoying, and while he was working with all sorts of exciting artists like Vashti Bunyan and Nico, he was finding himself less and less important to the artists he mentored. Fairport Convention were a good example of this. After Denny and Hutchings had left the group, they’d decided to carry on as an electric folk group, performing an equal mix of originals by the Swarbrick and Thompson songwriting team and arrangements of traditional songs. The group were now far enough away from the “British Jefferson Airplane” label that they decided they didn’t need a female vocalist — and more realistically, while they’d been able to replace Judy Dyble, nobody was going to replace Sandy Denny. Though it’s rather surprising when one considers Thompson’s subsequent career that nobody seems to have thought of bringing in Denny’s friend Linda Peters, who was dating Joe Boyd at the time (as Denny had been before she met Lucas) as Denny’s replacement. Instead, they decided that Swarbrick and Thompson were going to share the vocals between them. They did, though, need a bass player to replace Hutchings. Swarbrick wanted to bring in Dave Pegg, with whom he had played in the Ian Campbell Folk Group, but the other band members initially thought the idea was a bad one. At the time, while they respected Swarbrick as a musician, they didn’t think he fully understood rock and roll yet, and they thought the idea of getting in a folkie who had played double bass rather than an electric rock bassist ridiculous. But they auditioned him to mollify Swarbrick, and found that he was exactly what they needed. As Joe Boyd later said “All those bass lines were great, Ashley invented them all, but he never could play them that well. He thought of them, but he was technically not a terrific bass player. He was a very inventive, melodic, bass player, but not a very powerful one technically. But having had the part explained to him once, Pegg was playing it better than Ashley had ever played it… In some rock bands, I think, ultimately, the bands that sound great, you can generally trace it to the bass player… it was at that point they became a great band, when they had Pegg.” The new lineup of Fairport decided to move in together, and found a former pub called the Angel, into which all the band members moved, along with their partners and children (Thompson was the only one who was single at this point) and their roadies. The group lived together quite happily, and one gets the impression that this was the period when they were most comfortable with each other, even though by this point they were a disparate group with disparate tastes, in music as in everything else. Several people have said that the only music all the band members could agree they liked at this point was the first two albums by The Band. With the departure of Hutchings from the band, Swarbrick and Thompson, as the strongest personalities and soloists, became in effect the joint leaders of the group, and they became collaborators as songwriters, trying to write new songs that were inspired by traditional music. Thompson described the process as “let’s take one line of this reel and slow it down and move it up a minor third and see what that does to it; let’s take one line of this ballad and make a whole song out of it. Chopping up the tradition to find new things to do… like a collage.” Generally speaking, Swarbrick and Thompson would sit by the fire and Swarbrick would play a melody he’d been working on, the two would work on it for a while, and Thompson would then go away and write the lyrics. This is how the two came up with songs like the nine-minute “Sloth”, a highlight of the next album, Full House, and one that would remain in Fairport’s live set for much of their career: [Excerpt: Fairport Convention, “Sloth”] “Sloth” was titled that way because Thompson and Swarbrick were working on two tunes, a slow one and a fast one, and they jokingly named them “Sloth” and “Fasth”, but the latter got renamed to “Walk Awhile”, while “Sloth” kept its working title. But by this point, Boyd and Thompson were having a lot of conflict in the studio. Boyd was never the most technical of producers — he was one of those producers whose job is to gently guide the artists in the studio and create a space for the music to flourish, rather than the Joe Meek type with an intimate technical knowledge of the studio — and as the artists he was working with gained confidence in their own work they felt they had less and less need of him. During the making of the Full House album, Thompson and Boyd, according to Boyd, clashed on everything — every time Boyd thought Thompson had done a good solo, Thompson would say to erase it and let him have another go, while every time Boyd thought Thompson could do better, Thompson would say that was the take to keep. One of their biggest clashes was over Thompson’s song “Poor Will and the Jolly Hangman”, which was originally intended for release on the album, and is included in current reissues of it: [Excerpt: Fairport Convention, “Poor Will and the Jolly Hangman”] Thompson had written that song inspired by what he thought was the unjust treatment of Alex Bramham, the driver in Fairport’s fatal car crash, by the courts — Bramham had been given a prison sentence of a few months for dangerous driving, while the group members thought he had not been at fault. Boyd thought it was one of the best things recorded for the album, but Thompson wasn’t happy with his vocal — there was one note at the top of the melody that he couldn’t quite hit — and insisted it be kept off the record, even though that meant it would be a shorter album than normal. He did this at such a late stage that early copies of the album actually had the title printed on the sleeve, but then blacked out. He now says in his autobiography “I could have persevered, double-tracked the voice, warmed up for longer – anything. It was a good track, and the record was lacking without it. When the album was re-released, the track was restored with a more confident vocal, and it has stayed there ever since.” During the sessions for Full House the group also recorded one non-album single, Thompson and Swarbrick’s “Now Be Thankful”: [Excerpt, Fairport Convention, “Now Be Thankful”] The B-side to that was a medley of two traditional tunes plus a Swarbrick original, but was given the deliberately ridiculous title “Sir B. McKenzie’s Daughter’s Lament For The 77th Mounted Lancers Retreat From The Straits Of Loch Knombe, In The Year Of Our Lord 1727, On The Occasion Of The Announcement Of Her Marriage To The Laird Of Kinleakie”: [Excerpt: Fairport Convention, “Sir B. McKenzie’s Daughter’s Lament For The 77th Mounted Lancers Retreat From The Straits Of Loch Knombe, In The Year Of Our Lord 1727, On The Occasion Of The Announcement Of Her Marriage To The Laird Of Kinleakie”] The B. McKenzie in the title was a reference to the comic-strip character Barry McKenzie, a stereotype drunk Australian created for Private Eye magazine by the comedian Barry Humphries (later to become better known for his Dame Edna Everage character) but the title was chosen for one reason only — to get into the Guinness Book of Records for the song with the longest title. Which they did, though they were later displaced by the industrial band Test Dept, and their song “Long Live British Democracy Which Flourishes and Is Constantly Perfected Under the Immaculate Guidance of the Great, Honourable, Generous and Correct Margaret Hilda Thatcher. She Is the Blue Sky in the Hearts of All Nations. Our People Pay Homage and Bow in Deep Respect and Gratitude to Her. The Milk of Human Kindness”. Full House got excellent reviews in the music press, with Rolling Stone saying “The music shows that England has finally gotten her own equivalent to The Band… By calling Fairport an English equivalent of the Band, I meant that they have soaked up enough of the tradition of their countryfolk that it begins to show all over, while they maintain their roots in rock.” Off the back of this, the group went on their first US tour, culminating in a series of shows at the Troubadour in LA, on the same bill as Rick Nelson, which were recorded and later released as a live album: [Excerpt: Fairport Convention, “Sloth (live)”] The Troubadour was one of the hippest venues at the time, and over their residency there the group got seen by many celebrities, some of whom joined them on stage. The first was Linda Ronstadt, who initially demurred, saying she didn’t know any of their songs. On being told they knew all of hers, she joined in with a rendition of “Silver Threads and Golden Needles”. Thompson was later asked to join Ronstadt’s backing band, who would go on to become the Eagles, but he said later of this offer “I would have hated it. I’d have hated being on the road with four or five miserable Americans — they always seem miserable. And if you see them now, they still look miserable on stage — like they don’t want to be there and they don’t like each other.” The group were also joined on stage at the Troubadour on one memorable night by some former bandmates of Pegg’s. Before joining the Ian Campbell Folk Group, Pegg had played around the Birmingham beat scene, and had been in bands with John Bonham and Robert Plant, who turned up to the Troubadour with their Led Zeppelin bandmate Jimmy Page (reports differ on whether the fourth member of Zeppelin, John Paul Jones, also came along). They all got up on stage together and jammed on songs like “Hey Joe”, “Louie Louie”, and various old Elvis tunes. The show was recorded, and the tapes are apparently still in the possession of Joe Boyd, who has said he refuses to release them in case he is murdered by the ghost of Peter Grant. According to Thompson, that night ended in a three-way drinking contest between Pegg, Bonham, and Janis Joplin, and it’s testament to how strong the drinking culture is around Fairport and the British folk scene in general that Pegg outdrank both of them. According to Thompson, Bonham was found naked by a swimming pool two days later, having missed two gigs. For all their hard rock image, Led Zeppelin were admirers of a lot of the British folk and folk-rock scene, and a few months later Sandy Denny would become the only outside vocalist ever to appear on a Led Zeppelin record when she duetted with Plant on “The Battle of Evermore” on the group’s fourth album: [Excerpt: Led Zeppelin, “The Battle of Evermore”] Denny would never actually get paid for her appearance on one of the best-selling albums of all time. That was, incidentally, not the only session that Denny was involved in around this time — she also sang on the soundtrack to a soft porn film titled Swedish Fly Girls, whose soundtrack was produced by Manfred Mann: [Excerpt: Sandy Denny, “What Will I Do With Tomorrow?”] Shortly after Fairport’s trip to America, Joe Boyd decided he was giving up on Witchseason. The company was now losing money, and he was finding himself having to produce work for more and more acts as the various bands fissioned. The only ones he really cared about were Richard Thompson, who he was finding it more and more difficult to work with, Nick Drake, who wanted to do his next album with just an acoustic guitar anyway, Sandy Denny, who he felt was wasting her talents in Fotheringay, and Mike Heron of the Incredible String Band, who was more distant since his conversion to Scientology. Boyd did make some attempts to keep the company going. On a trip to Sweden, he negotiated an agreement with the manager and publisher of a Swedish band whose songs he’d found intriguing, the Hep Stars. Boyd was going to publish their songs in the UK, and in return that publisher, Stig Anderson, would get the rights to Witchseason’s catalogue in Scandinavia — a straight swap, with no money changing hands. But before Boyd could get round to signing the paperwork, he got a better offer from Mo Ostin of Warners — Ostin wanted Boyd to come over to LA and head up Warners’ new film music department. Boyd sold Witchseason to Island Records and moved to LA with his fiancee Linda Peters, spending the next few years working on music for films like Deliverance and A Clockwork Orange, as well as making his own documentary about Jimi Hendrix, and thus missed out on getting the UK publishing rights for ABBA, and all the income that would have brought him, for no money. And it was that decision that led to the breakup of Fotheringay. Just before Christmas 1970, Fotheringay were having a difficult session, recording the track “John the Gun”: [Excerpt: Fotheringay, “John the Gun”] Boyd got frustrated and kicked everyone out of the session, and went for a meal and several drinks with Denny. He kept insisting that she should dump the band and just go solo, and then something happened that the two of them would always describe differently. She asked him if he would continue to produce her records if she went solo, and he said he would. According to Boyd’s recollection of the events, he meant that he would fly back from California at some point to produce her records. According to Denny, he told her that if she went solo he would stay in Britain and not take the job in LA. This miscommunication was only discovered after Denny told the rest of Fotheringay after the Christmas break that she was splitting the band. Jerry Donahue has described that as the worst moment of his life, and Denny felt very guilty about breaking up a band with some of her closest friends in — and then when Boyd went over to the US anyway she felt a profound betrayal. Two days before Fotheringay’s final concert, in January 1971, Sandy Denny signed a solo deal with Island records, but her first solo album would not end up produced by Joe Boyd. Instead, The North Star Grassman and the Ravens was co-produced by Denny, John Wood — the engineer who had worked with Boyd on pretty much everything he’d produced, and Richard Thompson, who had just quit Fairport Convention, though he continued living with them at the Angel, at least until a truck crashed into the building in February 1971, destroying its entire front wall and forcing them to relocate. The songs chosen for The North Star Grassman and the Ravens reflected the kind of choices Denny would make on her future albums, and her eclectic taste in music. There was, of course, the obligatory Dylan cover, and the traditional folk ballad “Blackwaterside”, but there was also a cover version of Brenda Lee’s “Let’s Jump the Broomstick”: [Excerpt: Sandy Denny, “Let’s Jump the Broomstick”] Most of the album, though, was made up of originals about various people in Denny’s life, like “Next Time Around”, about her ex-boyfriend Jackson C Frank: [Excerpt: Sandy Denny, “Next Time Around”] The album made the top forty in the UK — Denny’s only solo album to do so — and led to her once again winning the “best female singer” award in Melody Maker’s readers’ poll that year — the male singer award was won by Rod Stewart. Both Stewart and Denny appeared the next year on the London Symphony Orchestra’s all-star version of The Who’s Tommy, which had originally been intended as a vehicle for Stewart before Roger Daltrey got involved. Stewart’s role was reduced to a single song, “Pinball Wizard”, while Denny sang on “It’s a Boy”: [Excerpt: Sandy Denny, “It’s a Boy”] While Fotheringay had split up, all the band members play on The North Star Grassman and the Ravens. Guitarists Donahue and Lucas only play on a couple of the tracks, with Richard Thompson playing most of the guitar on the record. But Fotheringay’s rhythm section of Pat Donaldson and Gerry Conway play on almost every track. Another musician on the album, Ian Whiteman, would possibly have a profound effect on the future direction of Richard Thompson’s career and life. Whiteman was the former keyboard player for the mod band The Action, having joined them just before they became the blues-rock band Mighty Baby. But Mighty Baby had split up when all of the band except the lead singer had converted to Islam. Richard Thompson was on his own spiritual journey at this point, and became a Sufi – the same branch of Islam as Whiteman – soon after the session, though Thompson has said that his conversion was independent of Whiteman’s. The two did become very close and work together a lot in the mid-seventies though. Thompson had supposedly left Fairport because he was writing material that wasn’t suited to the band, but he spent more than a year after quitting the group working on sessions rather than doing anything with his own material, and these sessions tended to involve the same core group of musicians. One of the more unusual was a folk-rock supergroup called The Bunch, put together by Trevor Lucas. Richard Branson had recently bought a recording studio, and wanted a band to test it out before opening it up for commercial customers, so with this free studio time Lucas decided to record a set of fifties rock and roll covers. He gathered together Thompson, Denny, Whiteman, Ashley Hutchings, Dave Mattacks, Pat Donaldson, Gerry Conway, pianist Tony Cox, the horn section that would later form the core of the Average White Band, and Linda Peters, who had now split up with Joe Boyd and returned to the UK, and who had started dating Thompson. They recorded an album of covers of songs by Jerry Lee Lewis, the Everly Brothers, Johnny Otis and others: [Excerpt: The Bunch, “Willie and the Hand Jive”] The early seventies was a hugely productive time for this group of musicians, as they all continued playing on each other’s projects. One notable album was No Roses by Shirley Collins, which featured Thompson, Mattacks, Whiteman, Simon Nicol, Lal and Mike Waterson, and Ashley Hutchings, who was at that point married to Collins, as well as some more unusual musicians like the free jazz saxophonist Lol Coxhill: [Excerpt: Shirley Collins and the Albion Country Band, “Claudy Banks”] Collins was at the time the most respected female singer in British traditional music, and already had a substantial career including a series of important records made with her sister Dolly, work with guitarists like Davey Graham, and time spent in the 1950s collecting folk songs in the Southern US with her then partner Alan Lomax – according to Collins she did much of the actual work, but Lomax only mentioned her in a single sentence in his book on this work. Some of the same group of musicians went on to work on an album of traditional Morris dancing tunes, titled Morris On, credited to “Ashley Hutchings, Richard Thompson, Dave Mattacks, John Kirkpatrick and Barry Dransfield”, with Collins singing lead on two tracks: [Excerpt: Ashley Hutchings, Richard Thompson, Dave Mattacks, John Kirkpatrick and Barry Dransfield with Shirley Collins, “The Willow Tree”] Thompson thought that that album was the best of the various side projects he was involved in at the time, comparing it favourably to Rock On, which he thought was rather slight, saying later “Conceptually, Fairport, Ashley and myself and Sandy were developing a more fragile style of music that nobody else was particularly interested in, a British Folk Rock idea that had a logical development to it, although we all presented it our own way. Morris On was rather more true to what we were doing. Rock On was rather a retro step. I'm not sure it was lasting enough as a record but Sandy did sing really well on the Buddy Holly songs.” Hutchings used the musicians on No Roses and Morris On as the basis for his band the Albion Band, which continues to this day. Simon Nicol and Dave Mattacks both quit Fairport to join the Albion Band, though Mattacks soon returned. Nicol would not return to Fairport for several years, though, and for a long period in the mid-seventies Fairport Convention had no original members. Unfortunately, while Collins was involved in the Albion Band early on, she and Hutchings ended up divorcing, and the stress from the divorce led to Collins developing spasmodic dysphonia, a stress-related illness which makes it impossible for the sufferer to sing. She did eventually regain her vocal ability, but between 1978 and 2016 she was unable to perform at all, and lost decades of her career. Richard Thompson occasionally performed with the Albion Band early on, but he was getting stretched a little thin with all these sessions. Linda Peters said later of him “When I came back from America, he was working in Sandy’s band, and doing sessions by the score. Always with Pat Donaldson and Dave Mattacks. Richard would turn up with his guitar, one day he went along to do a session with one of those folkie lady singers — and there were Pat and DM. They all cracked. Richard smashed his amp and said “Right! No more sessions!” In 1972 he got round to releasing his first solo album, Henry the Human Fly, which featured guest appearances by Linda Peters and Sandy Denny among others: [Excerpt: Richard Thompson, “The Angels Took My Racehorse Away”] Unfortunately, while that album has later become regarded as one of the classics of its genre, at the time it was absolutely slated by the music press. The review in Melody Maker, for example, read in part “Some of Richard Thompson’s ideas sound great – which is really the saving grace of this album, because most of the music doesn’t. The tragedy is that Thompson’s “British rock music” is such an unconvincing concoction… Even the songs that do integrate rock and traditional styles of electric guitar rhythms and accordion and fiddle decoration – and also include explicit, meaningful lyrics are marred by bottle-up vocals, uninspiring guitar phrases and a general lack of conviction in performance.” Henry the Human Fly was released in the US by Warners, who had a reciprocal licensing deal with Island (and for whom Joe Boyd was working at the time, which may have had something to do with that) but according to Thompson it became the lowest-selling record that Warners ever put out (though I’ve also seen that claim made about Van Dyke Parks’ Song Cycle, another album that has later been rediscovered). Thompson was hugely depressed by this reaction, and blamed his own singing. Happily, though, by this point he and Linda had become a couple — they would marry in 1972 — and they started playing folk clubs as a duo, or sometimes in a trio with Simon Nicol. Thompson was also playing with Sandy Denny’s backing band at this point, and played on every track on her second solo album, Sandy. This album was meant to be her big commercial breakthrough, with a glamorous cover photo by David Bailey, and with a more American sound, including steel guitar by Sneaky Pete Kleinow of the Flying Burrito Brothers (whose overdubs were supervised in LA by Joe Boyd): [Excerpt: Sandy Denny, “Tomorrow is a Long Time”] The album was given a big marketing push by Island, and “Listen, Listen” was made single of the week on the Radio 1 Breakfast show: [Excerpt: Sandy Denny, “Listen, Listen”] But it did even worse than the previous album, sending her into something of a depression. Linda Thompson (as the former Linda Peters now was) said of this period “After the Sandy album, it got her down that her popularity didn't suddenly increase in leaps and bounds, and that was the start of her really fretting about the way her career was going. Things only escalated after that. People like me or Martin Carthy or Norma Waterson would think, ‘What are you on about? This is folk music.'” After Sandy’s release, Denny realised she could no longer afford to tour with a band, and so went back to performing just acoustically or on piano. The only new music to be released by either of these ex-members of Fairport Convention in 1973 was, oddly, on an album by the band they were no longer members of. After Thompson had left Fairport, the group had managed to release two whole albums with the same lineup — Swarbrick, Nicol, Pegg, and Mattacks. But then Nicol and Mattacks had both quit the band to join the Albion Band with their former bandmate Ashley Hutchings, leading to a situation where the Albion Band had two original members of Fairport plus their longtime drummer while Fairport Convention itself had no original members and was down to just Swarbrick and Pegg. Needing to fulfil their contracts, they then recruited three former members of Fotheringay — Lucas on vocals and rhythm guitar, Donahue on lead guitar, and Conway on drums. Conway was only a session player at the time, and Mattacks soon returned to the band, but Lucas and Donahue became full-time members. This new lineup of Fairport Convention released two albums in 1973, widely regarded as the group’s most inconsistent records, and on the title track of the first, “Rosie”, Richard Thompson guested on guitar, with Sandy Denny and Linda Thompson on backing vocals: [Excerpt: Fairport Convention, “Rosie”] Neither Sandy Denny nor Richard Thompson released a record themselves in 1973, but in neither case was this through the artists’ choice. The record industry was changing in the early 1970s, as we’ll see in later episodes, and was less inclined to throw good money after bad in the pursuit of art. Island Records prided itself on being a home for great artists, but it was still a business, and needed to make money. We’ll talk about the OPEC oil crisis and its effect on the music industry much more when the podcast gets to 1973, but in brief, the production of oil by the US peaked in 1970 and started to decrease, leading to them importing more and more oil from the Middle East. As a result of this, oil prices rose slowly between 1971 and 1973, then very quickly towards the end of 1973 as a result of the Arab-Israeli conflict that year. As vinyl is made of oil, suddenly producing records became much more expensive, and in this period a lot of labels decided not to release already-completed albums, until what they hoped would be a brief period of shortages passed. Both Denny and Thompson recorded albums at this point that got put to one side by Island. In the case of Thompson, it was the first album by Richard and Linda as a duo, I Want to See the Bright Lights Tonight: [Excerpt: Richard and Linda Thompson, “I Want to See the Bright Lights Tonight”] Today, I Want to See the Bright Lights Tonight is widely regarded as one of the greatest albums of all time, and as one of the two masterpieces that bookended Richard and Linda’s career as a duo and their marriage. But when they recorded the album, full of Richard’s dark songs, it was the opposite of commercial. Even a song that’s more or less a boy-girl song, like “Has He Got a Friend for Me?” has lyrics like “He wouldn’t notice me passing by/I could be in the gutter, or dangling down from a tree” [Excerpt: Richard and Linda Thompson, “Has He got a Friend For Me?”] While something like “The Calvary Cross” is oblique and haunted, and seems to cast a pall over the entire album: [Excerpt: Richard and Linda Thompson, “The Calvary Cross”] The album itself had been cheap to make — it had been recorded in only a week, with Thompson bringing in musicians he knew well and had worked with a lot previously to cut the tracks as-live in only a handful of takes — but Island didn’t think it was worth releasing. The record stayed on the shelf for nearly a year after recording, until Island got a new head of A&R, Richard Williams. Williams said of the album’s release “Muff Winwood had been doing A&R, but he was more interested in production… I had a conversation with Muff as soon as I got there, and he said there are a few hangovers, some outstanding problems. And one of them was Richard Thompson. He said there’s this album we gave him the money to make — which was I Want to See the Bright Lights Tonight — and nobody’s very interested in it. Henry the Human Fly had been a bit of a commercial disappointment, and although Island was altruistic and independent and known for only recording good stuff, success was important… Either a record had to do well or somebody had to believe in it a lot. And it seemed as if neither of those things were true at that point of Richard.” Williams, though, was hugely impressed when he listened to the album. He compared Richard Thompson’s guitar playing to John Coltrane’s sax, and called Thompson “the folk poet of the rainy streets”, but also said “Linda brightened it, made it more commercial. and I thought that “Bright Lights” itself seemed a really commercial song.” The rest of the management at Island got caught up in Williams’ enthusiasm, and even decided to release the title track as a single: [Excerpt: Richard and Linda Thompson, “I Want to See the Bright Lights Tonight”] Neither single nor album charted — indeed it would not be until 1991 that Richard Thompson would make a record that made the top forty in the UK — but the album got enough critical respect that Richard and Linda released two albums the year after. The first of these, Hokey Pokey, is a much more upbeat record than their previous one — Richard Thompson has called it “quite a music-hall influenced record” and cited the influence of George Formby and Harry Lauder. For once, the claim of music hall influence is audible in the music. Usually when a British musician is claimed to have a music ha

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Episode Description: Awakening the Healer Within – A Conversation with Cheryl Stelte In this extraordinary episode of the Stuck In My Mind Podcast, host Wize El Jefe sits down with visionary healer, author, and spiritual coach Cheryl Stelte for an inspiring journey into the world of holistic healing, self-empowerment, and awakening the healer within. Cheryl's unique blend of experience, wisdom, and authenticity radiates throughout the conversation, offering listeners practical tools, profound stories, and spiritual insights that speak to those seeking transformation, purpose, and a deeper connection to their authentic selves. From Tragedy to Transformation Cheryl opens up about the pivotal spiritual experience that changed her life—the day her deceased brother visited her in a profound moment of love and guidance on a beach in Western Canada. Through an impromptu kinesiology session, Cheryl encountered a “ball of white light” and received a clear message from her brother: to begin meditating as a way to connect with him and herself on a deeper level. This encounter set Cheryl on an unexpected spiritual path—one that would lead to discovering the life-changing power of meditation, breathwork, and inner healing. She candidly shares the struggle of being lost after such an event, navigating a world that thirty years ago was less receptive to meditation and spiritual exploration, and the perseverance that helped her sustain these practices over the decades. Navigating Darkness: Overcoming Depression with Spiritual Practice Delving into her personal journey through depression and moments of despair, Cheryl reveals how her spiritual practices, particularly meditation, became her medicine and lifeline. Through consistent meditation, she began to process years of emotional trauma and unexpressed pain—gradually moving from surviving to thriving, and ultimately exchanging antidepressants for transformative self-care. Cheryl's story underscores the importance of self-compassion, honoring our emotional wounds, and the power of spiritual practice in finding light through the darkest times. Azaria's Energy Healing: An Integration of Traditions Listeners are introduced to Cheryl's signature healing modality, Azaria's Energy Healing—a powerful synthesis of meditation, Sufi breathwork, shamanic practices, Reiki, and acupressure. Cheryl recounts her journey through various healing systems from around the globe, studying with masters and embracing techniques that focus on deep, root-level transformation. A unique aspect of her approach is her commitment to teaching others to heal themselves, fostering lasting empowerment. Cheryl shares stories of working with clients who experienced breakthroughs where “no one else could go as deep,” highlighting the profound nature of her work and her dedication to those truly ready for healing. Heart-Centered Shamanism: Journey Inward Cheryl introduces the concept of heart-centered shamanism—an approach that contrasts traditional shamanic practices. Instead of “leaving the body” for spiritual journeys, Cheryl teaches going inward: connecting with the heart, the soul, and the body's innate intelligence. Citing her experience reading chakras—where she identifies both the superpowers and the wounds within—Cheryl explains the transformative and protective power of remaining grounded in one's own body during healing work. Global Insights: Lessons from the Maasai and Samburu Drawing on her time living with the Maasai and Samburu tribes in Africa, Cheryl shares deeply moving observations about collective and individual experiences of love, survival, and the absence of emotional connection in some communities. She explains how the realization that love—and the ability to both give and receive it—is the foundation for abundance, healing, and true well-being. Cheryl's stories provide a rich, cross-cultural lens through which to understand spiritual connection and the universal longing for love. Becoming a Client Magnet: Energetics of Authenticity What does it mean to become a “client magnet”? Cheryl explains the energetic mechanics behind it: when you release internal blocks and align with your soul's purpose, you naturally radiate the energy that attracts those who are meant to work with you. The episode details practical cues and signs for noticing energetic blockages—like throat chakra issues manifesting as difficulties expressing one's truth, struggling to be heard, or fearing visibility—and how to recognize the genuine call to become a healer. Stuck in the Mind—Finding the Path Forward The conversation takes a beautifully vulnerable turn as Wize shares his own struggles with doubt and launching the podcast, resonating with listeners who've found themselves “stuck” and afraid to step into their unique greatness. Cheryl affirms that such fears often point to our biggest potential, echoing the importance of “getting out of the head and into the body.” The supportive banter between Cheryl and Wize illustrates the healing force of authentic connection and community. Integrating Spirituality and the Practical World Cheryl offers wisdom for those feeling spiritually awakened yet lost in the practical world, identifying key signs such as being ungrounded or experiencing the “dark night of the soul”—a developmental passage characterized by a profound sense of disconnection and surrender. She details how energy healing can help individuals release subconscious blocks rooted in childhood, without reliving trauma, and move into a place of true empowerment. Virtual Healing, Daily Rituals, and Cheryl's Vision Emphasizing the power and efficacy of virtual healing, Cheryl and Wize both reflect on their experiences with digital energy exchange, reinforcing the idea that true spiritual connection transcends physical proximity. Cheryl graciously shares her daily practices—decades of meditation, mindful walks, the Five Tibetan Rites, and yearly personal retreats—and stresses the importance of evolving rituals as one's journey unfolds. Cheryl's ultimate vision with the Star of Divine Light Institute is to help people recognize their authentic power, become empowered beyond belief, and awaken to their true selves as radiant beings of light. Resources, Books, and Continuing the Journey At the end of the episode, Cheryl highlights her three books: Heal Your Neck Issues and Let Your Throat Chakra Shine Client Magnet From Blocked to Powerful She invites listeners for chakra readings and to access free resources on her website: starofdivinelight.com, and encourages connecting with her on Instagram (@stelte.cheryl). Why You Should Listen This episode is a deep dive into the interplay between spirituality and real-world challenges, a blueprint for awakening the latent healer within, and a heartfelt reminder that even in our most “stuck” moments, transformation is possible. Whether you are on your own healing path, aspiring to work as a healer, or simply seeking inspiration to move past doubt and step into your purpose, this conversation promises to spark insight, hope, and renewed motivation. Tune in and join the Stuck In My Mind community for a conversation that might just awaken the healer—and the greatness—already inside you.

Love in Sufi Literature: Ibn ‘Ajiba's Understanding of the Divine Word (Routledge, 2023) explores the role of divine love in the Quranic commentary of the Moroccan Sufi scholar Aḥmad Ibn ʿAjība (d. 1224/1809). Through close textual analysis of Ibn ʿAjība's exegesis al-Baḥr al-madīd—The Abundant Ocean—and drawing on his other Sufi writings the book illuminates the scholar's theory of divine love, drawn from his scholarly antecedents, to elucidate its role and the scholar's impact on the wider field of Quranic scholarship. This close analysis is supplemented by a comparative approach focusing on several other eminent and influential Sufi commentaries. What is displayed is that Ibn ʿAjība's exegesis connected theoretical works on the concept of divine love to their practical application, a breakthrough in Sufi literature. The study situates Ibn ‘Ajība's thought in theological and historical perspective, engaging with his mystical approach which integrates his theory of divine love with other Sufi doctrines in an accessible manner. As such, the Moroccan scholar's work left an indelible impact on future generations of Quranic exegetes within North Africa and across the Islamic world. Love in Sufi Literature makes important contributions to the study of Sufism, Islam in North Africa, and late pre-modern Islamic intellectual history. Omneya Ayad is Assistant Professor of Sufi Studies at Üsküdar University in Istanbul, Türkiye. Yaseen Christian Andrewsen is a DPhil Candidate at the University of Oxford specialising in Islamic intellectual history in West Africa, focused on issues in Sufism, theology, and authority. Yaseen is a co-host for the New Books in Islamic Studies podcast. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/literary-studies

Love in Sufi Literature: Ibn ‘Ajiba's Understanding of the Divine Word (Routledge, 2023) explores the role of divine love in the Quranic commentary of the Moroccan Sufi scholar Aḥmad Ibn ʿAjība (d. 1224/1809). Through close textual analysis of Ibn ʿAjība's exegesis al-Baḥr al-madīd—The Abundant Ocean—and drawing on his other Sufi writings the book illuminates the scholar's theory of divine love, drawn from his scholarly antecedents, to elucidate its role and the scholar's impact on the wider field of Quranic scholarship. This close analysis is supplemented by a comparative approach focusing on several other eminent and influential Sufi commentaries. What is displayed is that Ibn ʿAjība's exegesis connected theoretical works on the concept of divine love to their practical application, a breakthrough in Sufi literature. The study situates Ibn ‘Ajība's thought in theological and historical perspective, engaging with his mystical approach which integrates his theory of divine love with other Sufi doctrines in an accessible manner. As such, the Moroccan scholar's work left an indelible impact on future generations of Quranic exegetes within North Africa and across the Islamic world. Love in Sufi Literature makes important contributions to the study of Sufism, Islam in North Africa, and late pre-modern Islamic intellectual history. Omneya Ayad is Assistant Professor of Sufi Studies at Üsküdar University in Istanbul, Türkiye. Yaseen Christian Andrewsen is a DPhil Candidate at the University of Oxford specialising in Islamic intellectual history in West Africa, focused on issues in Sufism, theology, and authority. Yaseen is a co-host for the New Books in Islamic Studies podcast. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

Love in Sufi Literature: Ibn ‘Ajiba's Understanding of the Divine Word (Routledge, 2023) explores the role of divine love in the Quranic commentary of the Moroccan Sufi scholar Aḥmad Ibn ʿAjība (d. 1224/1809). Through close textual analysis of Ibn ʿAjība's exegesis al-Baḥr al-madīd—The Abundant Ocean—and drawing on his other Sufi writings the book illuminates the scholar's theory of divine love, drawn from his scholarly antecedents, to elucidate its role and the scholar's impact on the wider field of Quranic scholarship. This close analysis is supplemented by a comparative approach focusing on several other eminent and influential Sufi commentaries. What is displayed is that Ibn ʿAjība's exegesis connected theoretical works on the concept of divine love to their practical application, a breakthrough in Sufi literature. The study situates Ibn ‘Ajība's thought in theological and historical perspective, engaging with his mystical approach which integrates his theory of divine love with other Sufi doctrines in an accessible manner. As such, the Moroccan scholar's work left an indelible impact on future generations of Quranic exegetes within North Africa and across the Islamic world. Love in Sufi Literature makes important contributions to the study of Sufism, Islam in North Africa, and late pre-modern Islamic intellectual history. Omneya Ayad is Assistant Professor of Sufi Studies at Üsküdar University in Istanbul, Türkiye. Yaseen Christian Andrewsen is a DPhil Candidate at the University of Oxford specialising in Islamic intellectual history in West Africa, focused on issues in Sufism, theology, and authority. Yaseen is a co-host for the New Books in Islamic Studies podcast. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/islamic-studies

Love in Sufi Literature: Ibn ‘Ajiba's Understanding of the Divine Word (Routledge, 2023) explores the role of divine love in the Quranic commentary of the Moroccan Sufi scholar Aḥmad Ibn ʿAjība (d. 1224/1809). Through close textual analysis of Ibn ʿAjība's exegesis al-Baḥr al-madīd—The Abundant Ocean—and drawing on his other Sufi writings the book illuminates the scholar's theory of divine love, drawn from his scholarly antecedents, to elucidate its role and the scholar's impact on the wider field of Quranic scholarship. This close analysis is supplemented by a comparative approach focusing on several other eminent and influential Sufi commentaries. What is displayed is that Ibn ʿAjība's exegesis connected theoretical works on the concept of divine love to their practical application, a breakthrough in Sufi literature. The study situates Ibn ‘Ajība's thought in theological and historical perspective, engaging with his mystical approach which integrates his theory of divine love with other Sufi doctrines in an accessible manner. As such, the Moroccan scholar's work left an indelible impact on future generations of Quranic exegetes within North Africa and across the Islamic world. Love in Sufi Literature makes important contributions to the study of Sufism, Islam in North Africa, and late pre-modern Islamic intellectual history. Omneya Ayad is Assistant Professor of Sufi Studies at Üsküdar University in Istanbul, Türkiye. Yaseen Christian Andrewsen is a DPhil Candidate at the University of Oxford specialising in Islamic intellectual history in West Africa, focused on issues in Sufism, theology, and authority. Yaseen is a co-host for the New Books in Islamic Studies podcast. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/literature

Send us a textWhat happens when the faith you were raised with no longer feels like home? Raised in a Sufi Muslim family in Kashmir, Daisy Khan carried a deep sense of Divine presence from childhood. But as a young immigrant in America, she found herself lost, disillusioned, and searching for God in unexpected places, including ashrams and Buddhist retreats. In this raw and honest conversation, Daisy shares how a hidden Sufi bookstore in New York pulled her back into a connection with the Divine. She discusses how zikr is an embodied healing practice, the quiet power of spiritual community, and what it means to reclaim faith on your own terms.Dr. Daisy Khan is an award-winning speaker, author, and founder of WISE, advocating for Muslim women's rights and spiritual leadership. Her memoir Born with Wings and latest book 30 Rights of Muslim Women reclaim the narrative on women's agency in Islam. Featured in TIME's 100 Most Influential People, BBC, CNN, The New York Times and more, she is recognized globally as a bridge builder and thought leader.Find Daisy online:daisykhan.com or wisemuslimwomen.org, as well as on Facebook, LinkedIn, IG (@daisykhan.nyc), and X (@daisykhan).Support the showFind out more about Rose's work here: https://lnk.bio/dr.rose.aslanWebsite: https://compassionflow.comSupport Rahma with Rose so I can keep producing more episodes here: https://www.buzzsprout.com/2197727/supporters/new Music credits: Vocals: Zeynep Dilara Aslan; Ney/drum: Elif Önal; Tanbur: Katherine Hreib; Rebap: Hatice Gülbahar Hepsev

We exist in a world of whispers, where we're constantly monitoring our volume, constantly worried about disturbing others. You're in your apartment, your house, your office - and the idea of just letting out a primal scream? It feels absolutely mortifying. While the world teaches us to suppress our voice, to stay quiet, to 'be appropriate'... ancient masters understood that your authentic sound carries the frequency of your soul's liberation. They knew that trapped in your throat chakra lies not just your voice - but your power to reshape reality itself. Think about it - when was the last time you actually let your voice go to its full power? When did you last express exactly what you were feeling without filtering it through 'what will people think?' We've been so conditioned to keep quiet, to be polite, to never be 'too much' that we've literally forgotten what our authentic voice even sounds like. For decades, this knowledge was hidden in expensive therapy sessions and exclusive spiritual circles. But what I'm about to share with you comes from the deepest levels of consciousness research, backed by measurable brain science, and validated by thousands of years of spiritual practice. Because here's what they don't want you to know: your voice isn't just how you communicate - it's how you create. And when you unleash its full power through the primal scream, you don't just release trauma... you literally activate dormant DNA, awaken kundalini energy, and step into a higher version of yourself. In ancient Greece, the Anastenaria rituals combined fire-walking with music and cathartic vocalization - they understood that sound could literally purify the soul and heal trauma. Tibetan monks have used singing bowls in their monasteries for over a thousand years, believing that pure karma produces clear, powerful tones while impure karma creates weak, distorted sounds. The Sufi mystics knew this secret too - their dhikr practices use rhythmic vocalization to achieve direct divine connection. Indigenous shamans across every continent - from the Australian Aboriginal didgeridoo healers to the Amazonian curanderos with their sacred icaros - they all discovered the same truth: sound is the bridge between the physical and spiritual realms.  

Day 12: Jaz Sufi reads her poem, “Ode to My Lover's Sequined Dress.” Queer Poem-a-Day is honored to be the first publication of this poem.  Jaz Sufi (she/hers) is a queer Iranian-American poet and arts educator. Her work has been published or is upcoming in Best New Poets, Best of the Net, AGNI, Black Warrior Review, Muzzle, and elsewhere. She is a National Poetry Slam finalist and has received fellowships from Kundiman, the Watering Hole, and New York University, where she received her MFA. She is the current Poet Laureate of San Ramon, CA, where she lives with her dog, Apollo. Text of today's poem and more details about our program can be found at: deerfieldlibrary.org/queerpoemaday/ Find books from participating poets in our library's catalog.  Queer Poem-a-Day is a program from the Adult Services Department at the Library and may include adult language.  Queer Poem-a-Day is founded and co-directed by poet and professor Lisa Hiton and Dylan Zavagno, Adult Services Coordinator at the Library and host of the Deerfield Public Library Podcast. Music for this fifth year of our series is “L'Ange Verrier” from Le Rossignol Éperdu by Reynaldo Hahn, performed by pianist Daniel Baer. Queer Poem-a-Day is supported by generous donations from the Friends of the Deerfield Public Library and the Deerfield Fine Arts Commission.  

Kiran Ahluwalia (pronounced KIR-un all-oo-WAHL-iya) is making waves with her innovative sound, melding Indian vocal traditions with influences as varied as Malian blues, rock, and jazz. Kiran Ahluwalia joined Wake Up Tri-Counties to talk about her music and upcoming performance at the Levitt Amp Galva Music Festival on June 22, 2025. Raised in Canada, Ahluwalia leads a dynamic six-piece band, consisting of electric guitar, accordion, organ, tabla, bass, and drum kit, that brings her artistic vision to life. Her latest album, titled "Comfort Food," doesn't just explore musical boundaries—it dives into pressing social issues, earning widespread praise from critics. As a two-time Juno Award winner, Ahluwalia continues to expand her global reach, inviting listeners into a rich tapestry of sounds and stories rooted in her diverse musical journey. Ahluwalia and her band will take the stage at 7:15 PM. Kiran Ahluwalia stands as an influential force in the world of contemporary global music. Drawing from Sufi, Qawalli, Ghazal, and Punjabi folk traditions, she crafts a vibrant and boundary-crossing sound, blending Indian classical roots with elements of blues, jazz, and R&B. Her 6-piece ensemble features electric guitar, accordion, tabla, and more, offering a rich, dynamic backdrop to reflective and socially conscious songs. Ahluwalia's latest album, "Comfort Food," includes collaborations with international artists and challenges rising Hindu fundamentalism and nationalism. Her achievements include two Juno Awards and the recent Canadian Folk Music Award for ‘Pushing Boundaries.' “When I was growing up in India, there were concerts that people from all over would crowd into. These concerts featured a repertoire, language and content that was both demanding and beyond the experience of a child. I was, however, entranced by the sound and feel of the music, even from an early age. My father would play tapes of Indian music for me and we would also listen to Bollywood on the radio,” Ahluwalia recalls. “So when a song came on that I wanted to learn, my mother would quickly write down the lyrics for me and I would sing along to learn the melody."

Embark on a sonic journey through centuries of melody, tradition, and cross-cultural fusion! In this episode, we dive into the soundscapes of Muslim lands, featuring legendary musician Jordi Savall, renowned for reviving medieval and early music, and Fairouz Nishanova, Director of the Aga Khan Music Programme.  Please note the first 26 minutes of this episode is in French. English subtitles are available on the video version. Discover how medieval music evolved through Islamic empires, where improvisation was an art form and cultural exchange thrived along trade routes. Jordi shares insights into his lifelong quest to resurrect forgotten harmonies, while Fairouz illuminates the AKMP's groundbreaking work in preserving endangered musical heritage - from empowering local artists to bridging ancient traditions with modern innovation.   How did political upheaval nearly silence Central Asia's musical legacy? What role does education play in reviving these traditions today? And why is improvisation a universal language of resilience? From the Sufi rhythms of Samarkand to the Andalusian echoes of Córdoba, this episode celebrates music as a living archive of history, identity, and human connection.

Barsaat Ki Raat – 1960 की वो फ़िल्म जो आज भी इश्क़ की बारिश बनकर दिलों पर बरसती है।इस एपिसोड में मैं, Nidhi Sharma, आपको ले चलूंगी एक ऐसी रोमांटिक और सूफ़ियाना सफर पर, जिसमें हैं शेरो-शायरी, मोहब्बत, और अदाकारी |हम बात करेंगे:Bharat Bhushan और Madhubala की दिल छू लेने वाली अदाकारी कीSahir Ludhianvi की बेमिसाल शायरी और गानों कीRoshan के संगीत की जादूगरी कीऔर इस फिल्म की cultural legacy की, जो आज भी ज़िंदा हैअगर आप हैं old Bollywood के दीवाने, तो ये एपिसोड आपको ज़रूर सुनना चाहिए।

To mark 25 years of spreading the soul of Qawwali across the world, legendary Sufi group Fanna-Fi-Allah return to the UK and EU for a powerful anniversary tour kicking off June 17 in Cambridge. Ahead of their much-anticipated performances, frontman Tahir joins Shabnam Sahi for a heartfelt conversation about the group's musical journey, the sacred roots of Qawwali, and the enduring magic of that Sufiana andaaz. The UK's number one commercial Asian station brings you a medley of stories, interviews, opinions and chat on matters we are passionate about - Bollywood, music, politics, books and more. Many of your favourite presenters from the radio, are here to entertain you in a podcast. Listen to Sunrise Radio on 963/972 am | DAB |  Sunrise Radio App | Sunriseradio.com | Smart Speakers 

On today's episode, Brandon decides to jump into the time machine and re-share an episode from 2021. In it, Brandon discusses a Sufi saying about abundance and also reads a case from the book Destiny of Souls where a departed soul tries to connect with a loved one that is still in the physical world. Care to play a game with the youniverse? Ask the universe the episode you would most benefit from hearing next and click positivehead.com/game.  Download The Golden Key audio or e-book at GoldenKey.Gift with the Code: POSITIVEHEAD

Jesus tells us that “unless a kernel of wheat is planted in the soil and dies, it remains alone.” Rumi, the Sufi poet, echoes this wisdom, declaring that, “Except for dying…no other skill impresses God.” What does this mean? How do we “die before we die?” Prepare to enter the mystery in this episode and discover what “plentiful harvest” awaits on the other side of life.   Upcoming, in-person offerings with Thomas: 7-day meditation retreat (September 30th - October 7th) 9-month deep dive in the contemplative life (still accepting applications)  

Send us a textSo Who Is This God/Allah Guy/Gal? shaykh ibrahim ansariQ:  I've read a lot of Sufi books, been to Zikr, watched a lot of YouTube videos, and even been to the Mosque a couple times. I love Rumi and the Turning. But I don't have a clue how to put it all together, I mean, I'm not even sure what I am feeling. I've tried Zikr and meditating…So where is this Guy or Lady God? Who is Allah?Q: I have put a lot of time and energy into calling on Allah, the Turning, and the Sohbets (spiritual discussions) are fun and supportive and enjoyable. The chanting, the drumming, the discussions all feel real and maybe just a bit cultish. But what's supposed to happen? When do the ‘mystical experiences' happen?A: First, let's put aside the idea of gender. There is no old man with a beard, or goddess waving her wand. This has nothing to do with a single entity or being. If we use the word He, it is just a symbol for something so vast yet intimate. Allah is greater than you can imagine, yet accessible.If you follow anything scientifically to its source, you will discover that everything is connected to everything. That is the physical truth. If I was to start linking, say, taking your next breath, some of its source is from the oxygen exhaled from your house plants, and some may be from trees near by a river. That river is connected to the water cycle, and the plants are connected to the chlorophyl cycle, all grown from recycled soil, animals, rocks and weather. Every little thing, alive or inanimate, has its source. Tracking that source will bring you eventually back around again. It has no end.Or, every complex atom on this planet came from stars colliding, and smashing the simple hydrogen and helium atoms to create our amazing Periodic Table of Elements. This also includes the stuff that makes you. Now, that is just the physical manifestation. Next we might look for a spiritual marker - for example, survival. All life has this energy and built-in desire to survive: to live. The Life Force. But where did it start? Whether you look at it physically or spiritually, you end up with the same mystery: we do not know. So, what if we were to say that life was Willed into being out of Love? That a loving intelligence weaves and connects all living and non-living things, and the purpose of this life is to love, be loved, and make more love? Maybe we could even add in: To learn, to Grow, to appreciate and enjoy creation.I believe that every one of us is born with a spiritual intelligence, a desire to feel connected to life and love. There are a few  circumstances that get in the way of this connection, one is when someone is afraid or hurt by love, or thinks they are more intelligent than they actually are, and imagining that they are independent. No one is totally independent. Sometimes rejecting spirituality is politically correct and the cool thing to do.Many have also been abused by those who practice one of the traditional religions, where the core of the teachings has been lost, and one is forced to believe in a deity of fear. The religiouSalaam Alaykum, murids, seekers, curious and interested listeners,We appreciate you, and are happy to share our Sufi Message. Your donation will help support our Sufi Centre in Sydney where we offer Zikr, Sohbet, spiritual counselling and healing services. We believe the message should be free, but it costs equipment, rental, services, software and hardware to get this to you. Thank you for choosing our podcast amongst all the millions available. If Support the showPlease send your questions to: shaykhibrahim@ansarisufiorder.org

Best Selling Author Will Johnson and his latest book “The Radical Path of Somatic Dharma: Radiant Body, Radiant Mind” Inner Traditions (January 7, 2025). Will is the director of the Institute for Embodiment Training and the founder of Bambu Hueco, a retreat center in Costa Rica that views the body as the doorway to spiritual growth and transformation. Book Description: The modern practice of seated meditation is in serious need of reformation. What began as a living, vibrant, and felt practice—the primary practice of the Buddhist path to spiritual realization—has painted itself into a corner of frozen stillness, divorced from lived, bodily experience. Presenting an accessible and deeply felt guide to sitting meditation as an active exploration, Will Johnson offers a revitalized understanding of this essential spiritual practice through deeper connection with the body. Johnson argues that the thought-focused mode of consciousness of modern rigid seated meditation introduces patterns of holding and tension into our bodies and virtually guarantees that awakening will not occur. He explains how our focus on thought, rather than embodied experience, results in a numbing of our connection to our physical self and the dimming of the body's natural somatic radiance, which in turn leads to the nagging presence of chronic pain, a general sense of malaise, and the inability to get comfortable in our own bodies. However, this “consciousness of separation” can be overcome. Johnson presents a wide range of practices, including 14 meditations, to support the awakening of breath and presence in the body, drawing on techniques from Buddhist, Sufi, and somatic wisdom traditions as well as methods from his studies with Ida Rolf and Judith Aston. Through the radical path of conscious sitting, Johnson shows how to transform your sitting meditation practice into a fully natural mudra of greater grace from which radiance will naturally flow. As the egoic perspective is dissolved, and chronic pain and discomfort are lessened, practitioners begin to feel a new, enlightened, bodily radiance—what Johnson calls “The Great Wide Open.” Thoughts about Will Johnson and his new book: Every time the Buddhist dharma (teachings) have moved to a new territory the form of the teachings have changed due to its interaction with the cultural/spiritual reality of the new territory. The gentle Chinese monks arrive on the shores of Japan where they encounter the samurai, and zen becomes fierce. The teachers from northern India climb up onto the Tibetan plateau where they encounter the shamanistic and animistic culture of the indigenous Bon-po, and suddenly images of wrathful and peaceful deities enter the Buddhist world. The teachings are now moving to the West, and there is no way that a uniquely Western Dharma—different from the forms coming over from Asia—won't be created. Will Johnson's new book is a forward visioning presentation of just what those changes will look like.

“Khuda ek Gorakh Dhanda hai.”Why do poets and mystics describe God as a riddle — not a rulebook?In this episode, we dive into the heart of Hindi–Urdu mystical poetry to explore one of the most haunting ideas: God as a paradox — unknowable, undefinable, yet deeply felt.

Simon Stjernholm's new book Sensing Islam: Engaging and Contesting the Senses in Muslim Religiosity (Bloomsbury Press, 2025) considers specific case studies of embodiment and oratory productions by Muslims in Denmark, Sweden, and Cyprus. In the chapter on approaching God, we learn how rituals such as du‘a (intercessory prayers) or dhikr (remembrance of God) informs sensorial experiences of the divine, particularly intimate ones, while the discussion on meditating on Muhammad considers the bodily aspects of Prophet Muhammad, such as his saliva, urine, and sweat that influence mawlid literatures and ritual performance of them within Sufi communities like the Naqshbandi-Haqqanis. Though rituals emerging from embodied understandings of holy figures are not without some tension, as we learn throughout the book but especially during the discussion on graves. Here the interred bodies of Sufi saints are caught up in debates around the permissibility of shrine visitation, a topic that comes up amongst lectures given by Swedish Muslim leaders. Overall, then, through analysis of Danish and Swedish podcast materials, ritual practices, such as devotion to the Prophet Muhammad and Sufi saints, we understand more about the sonic and pious dimensions of Islam and the Muslim authorial voices and listening that shapes them. This book will be of interest to those who work on sound studies, material culture, Sufism and Islam in Europe. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

Simon Stjernholm's new book Sensing Islam: Engaging and Contesting the Senses in Muslim Religiosity (Bloomsbury Press, 2025) considers specific case studies of embodiment and oratory productions by Muslims in Denmark, Sweden, and Cyprus. In the chapter on approaching God, we learn how rituals such as du‘a (intercessory prayers) or dhikr (remembrance of God) informs sensorial experiences of the divine, particularly intimate ones, while the discussion on meditating on Muhammad considers the bodily aspects of Prophet Muhammad, such as his saliva, urine, and sweat that influence mawlid literatures and ritual performance of them within Sufi communities like the Naqshbandi-Haqqanis. Though rituals emerging from embodied understandings of holy figures are not without some tension, as we learn throughout the book but especially during the discussion on graves. Here the interred bodies of Sufi saints are caught up in debates around the permissibility of shrine visitation, a topic that comes up amongst lectures given by Swedish Muslim leaders. Overall, then, through analysis of Danish and Swedish podcast materials, ritual practices, such as devotion to the Prophet Muhammad and Sufi saints, we understand more about the sonic and pious dimensions of Islam and the Muslim authorial voices and listening that shapes them. This book will be of interest to those who work on sound studies, material culture, Sufism and Islam in Europe. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/islamic-studies

Simon Stjernholm's new book Sensing Islam: Engaging and Contesting the Senses in Muslim Religiosity (Bloomsbury Press, 2025) considers specific case studies of embodiment and oratory productions by Muslims in Denmark, Sweden, and Cyprus. In the chapter on approaching God, we learn how rituals such as du‘a (intercessory prayers) or dhikr (remembrance of God) informs sensorial experiences of the divine, particularly intimate ones, while the discussion on meditating on Muhammad considers the bodily aspects of Prophet Muhammad, such as his saliva, urine, and sweat that influence mawlid literatures and ritual performance of them within Sufi communities like the Naqshbandi-Haqqanis. Though rituals emerging from embodied understandings of holy figures are not without some tension, as we learn throughout the book but especially during the discussion on graves. Here the interred bodies of Sufi saints are caught up in debates around the permissibility of shrine visitation, a topic that comes up amongst lectures given by Swedish Muslim leaders. Overall, then, through analysis of Danish and Swedish podcast materials, ritual practices, such as devotion to the Prophet Muhammad and Sufi saints, we understand more about the sonic and pious dimensions of Islam and the Muslim authorial voices and listening that shapes them. This book will be of interest to those who work on sound studies, material culture, Sufism and Islam in Europe. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/european-studies

Simon Stjernholm's new book Sensing Islam: Engaging and Contesting the Senses in Muslim Religiosity (Bloomsbury Press, 2025) considers specific case studies of embodiment and oratory productions by Muslims in Denmark, Sweden, and Cyprus. In the chapter on approaching God, we learn how rituals such as du‘a (intercessory prayers) or dhikr (remembrance of God) informs sensorial experiences of the divine, particularly intimate ones, while the discussion on meditating on Muhammad considers the bodily aspects of Prophet Muhammad, such as his saliva, urine, and sweat that influence mawlid literatures and ritual performance of them within Sufi communities like the Naqshbandi-Haqqanis. Though rituals emerging from embodied understandings of holy figures are not without some tension, as we learn throughout the book but especially during the discussion on graves. Here the interred bodies of Sufi saints are caught up in debates around the permissibility of shrine visitation, a topic that comes up amongst lectures given by Swedish Muslim leaders. Overall, then, through analysis of Danish and Swedish podcast materials, ritual practices, such as devotion to the Prophet Muhammad and Sufi saints, we understand more about the sonic and pious dimensions of Islam and the Muslim authorial voices and listening that shapes them. This book will be of interest to those who work on sound studies, material culture, Sufism and Islam in Europe. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/religion

Simon Stjernholm's new book Sensing Islam: Engaging and Contesting the Senses in Muslim Religiosity (Bloomsbury Press, 2025) considers specific case studies of embodiment and oratory productions by Muslims in Denmark, Sweden, and Cyprus. In the chapter on approaching God, we learn how rituals such as du‘a (intercessory prayers) or dhikr (remembrance of God) informs sensorial experiences of the divine, particularly intimate ones, while the discussion on meditating on Muhammad considers the bodily aspects of Prophet Muhammad, such as his saliva, urine, and sweat that influence mawlid literatures and ritual performance of them within Sufi communities like the Naqshbandi-Haqqanis. Though rituals emerging from embodied understandings of holy figures are not without some tension, as we learn throughout the book but especially during the discussion on graves. Here the interred bodies of Sufi saints are caught up in debates around the permissibility of shrine visitation, a topic that comes up amongst lectures given by Swedish Muslim leaders. Overall, then, through analysis of Danish and Swedish podcast materials, ritual practices, such as devotion to the Prophet Muhammad and Sufi saints, we understand more about the sonic and pious dimensions of Islam and the Muslim authorial voices and listening that shapes them. This book will be of interest to those who work on sound studies, material culture, Sufism and Islam in Europe. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/sound-studies

 What if the beliefs you've held close, the very things that gave you purpose, suddenly seemed like strangers?How do you hold on to meaning when it feels like it's slipping through your fingers?These were the questions that weighed down the wealthy, famous writer Tolstoy.Even though he had a loving family and children…Nothing was missing to enjoy his life…Yet, he was consumed by an inner emptiness.In his 50s, he faced an existential crisis…What is my life's purpose?What is all of this for?Why am I here?Why should I continue living if everything I love and cherish will ultimately fade away?Tolstoy's own meaning of life—his fame and success—felt like an illusion to him.Because it is so…For a religious seeker, fame, success, money, and family are just illusions.He wanted to find something that would last and give him a reason to keep going.For every religious person, worldly life is meaningless and often disgusting.In his autobiography, Confession, his search for meaning brought him to the verge of suicide.Personal satisfaction becomes a hollow pursuit; it doesn't give us meaning.In the end, he discovered a truth that was as simple as it was profound…But meaningless for religious people!Tolstoy realized that meaning could not be found in grand pursuits or intellectual answers but in acts of humility, connecting with others, and accepting life as it is.Only by merging myself with the whole of humanity could I find my life's purpose!Life has no meaning, nor is it meaningless. (Quote Bhagwan or Osho.)Tolstoy failed. Without a spiritual connection to God—found through contemplation—life has no meaning.You have to look beyond your physical body, emotions, and thoughts.“I can't die; I am energy.” These were the last words of Wilhelm Einstein.I don't want to brag, but I was clinically dead three times or had three near-death experiences.I read everything I could find about near-death experiences… Guess what? What I experienced is normal, and what all religions say about death is a big lie to exploit people.You can never die! There is no hell, no paradise, no Moksha, and no Nirvana. But there is God!You have never felt such unlimited freedom as many feel when leaving their bodies.God wanted me to come back into my body—my cage—and so I did.If you surrender your life to God, your life will make sense to you!Instead of running like a hungry dog after worldly pleasures! (Quote Attar, the greatest Sufi.)When my child died, my life fell apart…My only focus in life became my spiritual journey, and God came to me… God became my purpose.I spent over ten years in meditation retreats because life doesn't make sense without surrendering to God.We have the choice: to be slaves to our egos or to God.When religions lost their grip on people, they began searching for purpose or meaning in their lives—or to make a difference in the world.How disgusting is this sentence? I call this megalomania!How does one become humble by serving the Lord?Do it for God!The meaning of life or purpose is for irreligious people.  My Video:  Tolstoy's Surprising Solution to the Meaning of Life https://youtu.be/FpsQNNtXqvsMy Audio: https://divinesuccess.net/wp-content/uploads/2021/Podcast4/Tolstoy's-Surprising-Solution-to-the-Meaning-of-Life.mp3

In a distant town nestled between hills and rivers, there lived a man known for his piety and dedication to Allah SWT (God). He was a scholar, not only in knowledge but in his devotion to worship. For years, he would rise before dawn, praying with full sincerity, fast during the long days, and spend his nights immersed in the remembrance of Allah (dhikr). His worship was not just an outward display but an inner surrender to the Divine. He became known among the people for his disciplined lifestyle, and many came to seek his guidance, hoping to emulate his deep connection with Allah SWT.The scholar's devotion did not go unnoticed in the heavens. As he continued in his piety, he felt the sweetness of faith settle deep in his heart. Year after year, decade after decade, he gave his every breath in worship, believing that his long years of unwavering devotion would certainly earn him a place in Jannah Firdaus Paradise. His thoughts often turned to this great reward, and he became convinced that his 500 years of worship had earned him the right to ask for his place in the afterlife.

Let's connect! Get free gifts when you join my “Abundant Life” newsletter here => https://bobbakerinspiration.com/free - Watch the YouTube video version of this podcast at https://youtu.be/grXCVh_eA6AWhat if a forgotten 13th-century affirmation held the key to transforming your life today? In this powerful spoken-word meditation, I reveal a rare affirmation prayer inspired by the legendary Sufi mystic Rumi — rediscovered and reimagined to help you embrace change, release resistance, and align with divine flow. Based on a timeless Rumi quote, this recording offers four potent affirmations designed to open your heart and shift your energy fast. Words and music by Bob Baker (c) 2025.All of my recordings appear first on YouTube. Please take a moment to subscribe to my channel.You'll also find many of my affirmations and guided meditations on Spotify, Amazon,  Apple Music, Insight Timer, and most streaming platforms under the artist name Bob Baker's Inspiration Project.Listen to my affirmation songs ...Money Is Coming to Me Now https://youtu.be/ILT_Ry0Gf_oI Am Capable Powerful Wonderful Strong https://youtu.be/MuGYU_aiYzcLife Is Good and I Am Grateful https://youtu.be/SPd4WRnStX0I Welcome Joy Into My Life https://youtu.be/c-sdgHwZDFUWake Up Happy! https://youtu.be/_1dTYL0RcE4Check out my Positive Music Playlist on YouTube. Hear more music like this at https://soulmassage.bandcamp.com/Send me a quick messageGet your free copy of my new guide, "The IMPACT Formula: 6 Steps to Grow an Audience, Make an Impact, and Leave a Legacy" at https://BobBakerInspiration.com/impact Get free gifts when you join the “Abundant Life” newsletter, where I share inspirational messages and go deeper with you than the affirmations on my YouTube channel and podcast https://bobbakerinspiration.com/freeSupport the show

He was born in Thessalonica and, though baptised a Christian, he accepted Islam as a young man, eventually becoming a Sufi (one of a mystical sect among the Muslims). But in time he began to repent, and concluded that martyrdom was the only way for him to cleanse himself from the stain of his denial of Christ. Having repented, he presented himself to the Turks dressed as a Christian. He was thrown into prison and tortured, but in response to every enticement, threat or torment, he would only say 'I was born a Christian, and as a Christian I shall die.' Finally he was sentenced to death, which Alexander joyfully accepted as a sign of God's forgiveness. He was slain by the sword in Smyrna in 1794.

ORIGINALLY RELEASED Feb 17, 2025 Dr. Rory Dickson is a professor of Islamic Religion and Culture and author of several publications on Sufism, the mystical path within Islam. He joins Breht to have an incredibly deep conversation about the Sufi poet Rumi, his life and work, Rumi's relationship to his teacher Shams of Tabriz, the concepts of fana (annihilation of the self) and baqa (subsistence in God), the spiritual practices of Sufism, non-duality and perennialism, "dying before you die", Buddhist enlightenment, the Quran, Serving the People in politics and religion, the role of Divine Love in spiritual transformation, transcending the ego, Bodhicitta and the Heart of the Bodhisattva, the counter-cultural aspects of the historical dervishes, The Masnavi  (aka the "Persian Quran"), Christian Mysticism, the evolution of human consciousness, the linguistics of translation, and much, much more! Check out Rory's book "Dissolving into Being: The Wisdom of Sufi Philosophy" Recommendations for Further Exploration: Rumi's World: The Life and Work of the Great Sufi Poet The Sufi Path of Love: The Spiritual Teachings of Rumi Check out our related episodes with Dr. Adnan Husain: Sufism: Islamic Mysticism and the Annihilation of Self in God St. Francis of Assisi: Patron Saint of Ecology & Brother to All Creation ------------------------------------------------------------ Outro Music: Something's Out There by Neva Dinova Support Rev Left and get bonus episodes on Patreon Make a one-time donation to Rev Left at BuyMeACoffee.com/revleftradio Learn more about Rev Left HERE

You “kinda” don't want to miss this week's episode of Hey Sis, Eat This, as we welcome special guests Julie Paiva, a talented screenwriter known for Kinda Pregnant, now airing on Netflix, and her wonderful sister Lisa. Together, they share a heartfelt and humorous look at their unconventional childhood in Northern California, celebrating the life lessons and creativity imparted by their remarkable mother, Momma Bibi. We rewind to the ‘80s, when Momma Bibi and Dad Michael divorced when the sisters were seven and ten. Bibi chose stability first when co-parenting, keeping her girls in their childhood home with their dad, while still fostering a close relationship with them through foodie filled adventures. Daddy Michael tackled single-parent mode with “French-Toast Thursdays,” microwave-cooking classes, and a very liberal kitchen-only cigarette policy that cured any teen smoking phase fast . A Sufi seeker who swaps small talk for theories on the nature of time, Momma Bibi raised her daughters on spiritual “square dancing” and Cheez Whiz with jarred beef on annual camping trips. Her trademark Bibi-isms (“blow your nose, get a little glass of orange juice, take two sips then tell me what happened”) still echo whenever life gets wobbly . Tune in to hear how Bibi instilled in her daughters the importance of love, peace, and connection, and how she encouraged them to embrace their individuality and celebrate their own unique paths. Also, make sure to check out Julie's hit movie, Kinda Pregnant, starring Amy Schumer, now playing on Netflix and her next venture, a children's book series launching with The Lucky Penny, inspired by Momma Bibi's DIY optimism. Everything Julie Paiva Kinda Pregnant - Now playing on Netflix Julie on Instagram: @julieannepaiva What you'll hear: What we've been cookin', who we've been entertainin', and any kitchen conundrums of the week... often in our Momma's Texas accent Chatting with siblings about what it was like around their dinner table growing up, favorite family recipes and stories that celebrate moms Interviews with celebrity chefs, restaurateurs, and culinary entrepreneurs about the influence and inspiration from their moms Weekly recipes from us and our guests posted out the Hey Sis, Eat This website - Website: https://www.heysiseatthis.com   - Recipes from our Us and Our Guests: https://www.heysiseatthis.com/our-recipes  - Call into the Hey Sis Hotline: 1-866-4 HEY SIS or 1-866-443-9747 - Email: hello@heysiseatthis.com   - Instagram: https://www.instagram.com/heysiseatthis/  - Facebook: https://www.facebook.com/heysiseatthis  - YouTube: https://www.youtube.com/@heysiseatthis 

This week we embark on a 5-week deep dive through the Elements. Contrary to my nature – we are not going to cover all of the elements in one session. We'll dive into one each week. We begin this week with Part 1 - Ether: The Light of Truth. We tap into the inner light that is your core consciousness - the Higher Light within you. We use the Sacred Sounds of the Elemental Globes to feel the radiance and immerse into the light of truth that anchors you, that you are here to BE. As a microcosm of the macrocosm, we call on the Light of God, An-Nur Illahi, to connect with the divine light within at the center of the heart.I share readings from a book written by my spiritual teacher: Music of the Soul, by Sufi master and guide, Shaykh Muhammad Sa'id al-Jamal ar-Rafa'i as-Shadhuli. (Sidi Muhammad Press, 1994, 1997, 2002) Listen to this episode to connect with your inner divine light and BE the light you are here to be in the world. You're invited to join us LIVE for The Meditation & Healing Circle - every Sunday at 10am US ET / 7am US PT. When you join live, you can stay on after the recorded meditation for Q&A, support and discussion. https://CommunityforConsciousLiving.com

Britt Hartley is a certified spiritual director, meditation teacher, and leading voice in secular spirituality, specializing in religious trauma, deconstruction, and nihilism recovery. With a Master's in Applied Theology, doctoral work in Open and Relational Theology (ABD), and training across Sufi, Mormon, and meditation traditions, she is the author of No Nonsense Spirituality: All the Tools, No Faith Required and a respected scholar on Gen Z and the future of American religion.   Britt Hartley: Website | Instagram | YouTube    Each quarter, John engages in thought-provoking extended conversations with a leading expert in psychology, philosophy, and spirituality. Each season offers a unique exploration, bringing together their diverse fields of knowledge to create fresh insights and understanding. These in-depth discussions, chaptered for your convenience, offer nuanced perspectives and integrative approaches to navigating our complex world.   The first episode is free and publicly available. To follow the rest of the season as well as gain access to previous discussions, you can sign up at the Beta Tier (and above) on The Lectern at the Lectern Lounge.   If you would like to donate purely out of goodwill to support John's work, please consider joining our Patreon. The Vervaeke Foundation is committed to advancing the scientific pursuit of wisdom and creating a significant impact on the world. Learn more about our work.    If you would like to learn and engage regularly in practices that are informed, developed and endorsed by John and his work, visit Awaken to Meaning's calendar to explore practices that enhance your virtues and foster deeper connections with reality and relationships. Join Practice.   John Vervaeke: Website | Twitter | YouTube | Patreon   "How can someone rebuild meaning, a sense of the sacred, and genuine connection after religion, without having to adopt beliefs they no longer hold?" John Vervaeke is joined by Atheist Spiritual Director, Britt Hartley to explore what happens after belief falls apart. Britt shares her personal journey through suicidal nihilism and how mysticism, resonance, and play led her to rediscover meaning and orientation in life without needing to return to religion. John and Britt challenge the limits of therapeutic models, explore the difference between propositional truth and lived wisdom, and ask whether modern secular culture has lost the capacity to sustain sacredness. This Lectern is a philosophical act of compassion, bridging ancient spiritual technologies and contemporary existential pain. John and Britt offer pathways for transformation that bypass belief while restoring depth, connectedness, and awe. Notes:  (0:00) Welcome to The Lectern (2:00) Meet Britt Hartley - Theological Background and Faith Crisis (5:00) The Descent into Suicidal Nihilism (10:00) Religion's Collapse and the Meaning Crisis (15:00) Philosophical vs. Clinical Healing (16:00) Why Therapy ‘Fails' the Nihilist (21:00) Religion, Secularism, and Building Your Own Path (26:30) Balancing Fundamentalism and Nihilism (31:00)  ”The most spiritual atheist and the most deconstructed Christian, the space in between those two people when you actually look at their life is just a hair.” - Britt Hartley (34:30) The Triple Transcendent and Sacredness (40:30) Mysticism and the Sacred (45:30) Building a Life Worth Experiencing (53:00) The Role of Play and Resonance (55:00) Embodied Knowing and Existential Shifts (58:00) Trauma, Depression, and Resonance Recovery (1:09:30) Exploring 'Holy Envy' and Interfaith Learning (1:12:00) The Transformative Power of Sufism (1:19:00)  Feminine Perspective on Religion (1:25:30) The Value of Tailored Spiritual Practices  

Rābiʻa al-ʻAdawiyya al-Qaysiyya or Rabiʿa al-Basri (717-801 C.E.) is a highly regarded Sufi saint born in Basra, Iraq. Oral traditions and later written records suggest that she was also a poet. She is thought to be one of the first female Sufi saints and a key figure in developing Ishq-e-Haqeeqi or “divine love,” a central tenet in Sufism. For Further Reading: Rabia al Basri - Science and Nonduality (SAND) Biographical encyclopaedia of Sufis: Basri, Hazrat Rabia al-Adwiyya [O my Lord] | The Poetry Foundation Rabi'a From Narrative to Myth: The Many Faces of Islam's Most Famous Woman Saint, Rabi'a al-'Adawiyya This month, we’re talking about Word Weavers — people who coined terms, popularized words, and even created entirely new languages. These activists, writers, artists, and scholars used language to shape ideas and give voice to experiences that once had no name. History classes can get a bad rap, and sometimes for good reason. When we were students, we couldn’t help wondering... where were all the ladies at? Why were so many incredible stories missing from the typical curriculum? Enter, Womanica. On this Wonder Media Network podcast we explore the lives of inspiring women in history you may not know about, but definitely should. Every weekday, listeners explore the trials, tragedies, and triumphs of groundbreaking women throughout history who have dramatically shaped the world around us. In each 5 minute episode, we’ll dive into the story behind one woman listeners may or may not know–but definitely should. These diverse women from across space and time are grouped into easily accessible and engaging monthly themes like Educators, Villains, Indigenous Storytellers, Activists, and many more. Womanica is hosted by WMN co-founder and award-winning journalist Jenny Kaplan. The bite-sized episodes pack painstakingly researched content into fun, entertaining, and addictive daily adventures. Womanica was created by Liz Kaplan and Jenny Kaplan, executive produced by Jenny Kaplan, and produced by Grace Lynch, Maddy Foley, Brittany Martinez, Edie Allard, Carmen Borca-Carrillo, Taylor Williamson, Sara Schleede, Paloma Moreno Jimenez, Luci Jones, Abbey Delk, Adrien Behn, Alyia Yates, Vanessa Handy, Melia Agudelo, and Joia Putnoi. Special thanks to Shira Atkins. Follow Wonder Media Network: Website Instagram Twitter See omnystudio.com/listener for privacy information.

Caroline re-plays her still humming with pertinence conversing with Pir Zia… from 2009….. Pir Zia is the first son of Pir Vilayat Inayat Khan and Taj Inayat, born in 1971 in Novato, California. He grew up in California, New York, and New Mexico. Since 2004 Pir Zia has served as Head of theInayati Order, guiding Sufi communities in the North America, South America, Europe, the Middle East, Asia, and the South Pacific. To provide opportunities for intensive Sufi study, Pir Zia founded the Suluk Academy. Based at the Abode of the Message in upstate New York, the Suluk Academy currently offers courses for Sufi initiates in New York, California, and France. https://inayativancouver.org/pir-zia-biography/   *Woof*Woof*Wanna*Play?!?* · www.CoyoteNetworkNews.com · The Visionary Activist Show on Patreon The post The Visionary Activist Show – Green Hermeticism appeared first on KPFA.

Laila Brady Walzer has spent decades exploring music, sound, and healing, transforming her own life through Sufi-based healing, Qur'anic recitation, and Divine Love. A Muqaddim Mirrabi-Rouhi in the Shadhuliyya Sufi tariqa, she blends deep spiritual wisdom with musical mastery. She holds degrees in Music, Sociolinguistics (Swarthmore College), and a Master of Divinity (University of Sufism). Laila is a graduate of Grammy Award-winning David Darling's Music for People improvisation facilitation training, and has studied with Bobby McFerrin, Rhiannon, and John McCutcheon, among others. She has immersed herself in interfaith work, global musical traditions, and lived in Africa, Ireland, and Germany, enriching her spiritual and artistic path. The University of Sufism presents Healing Sounds of the Abrahamic Faiths, a groundbreaking program exploring the mystical power of sacred sound in Islam, Christianity, and Judaism. Learn from renowned masters as they unveil how sacred vibrations can restore balance, elevate consciousness, and awaken the divine within. Enroll now and begin your path toward sacred sound healing. Visit www.sufiuniversity.org to learn more or call 800-238-3060 x701 to speak with an admissions counselor. Full program course descriptions: https://sufiuniversity.org/healing-sounds-of-the-abrahamic-faiths/healing-sounds-course-list/ Natalie Brown, host of Sounds Heal Podcast: http://www.soundshealstudio.com http://www.facebook.com/soundshealstudio http://www.instagram.com/nataliebrownsoundsheal http://www.youtube.com/soundshealstudio Music by Natalie Brown, Hope & Heart http://www.youtu.be/hZPx6zJX6yA

In a season of Stillness—but I'm still here. ❤️‍

In a season of Stillness—but I'm still here. ❤️‍

We are proud to introduce the 3rd podcast in the Judaism Unbound family of podcasts: Survival Guide for a Spiritual Wilderness, hosted by Jericho Vincent. "We are the ancestors of the future." This new podcast offers a spiritual home for listeners seeking to connect Jewish ancestral, feminist wisdom with their own svara: moral intuition. Each episode of this limited series delves into a different story of our ancestor Miriam, illuminating her mystical teachings and offering practical tools for navigating and flourishing in personal or political spiritual wildernesses. We're thrilled to periodically feature episodes of Survival Guide for a Spiritual Wilderness here on Judaism Unbound. But we don't only feature those episodes alone. Lex Rofeberg and Rena Yehuda Newman, two members of Judaism Unbound's team, supplement each episode with some gemara (commentary) as well. We hope that our ideas will help spur you to form your own gemara, and channel your unique teachings -- about this podcast and beyond -- into the world. Delving into Miriam's Torah of patience and presence, this episode explores the Jewish mystical teaching of Chakeh-Mah, the ability to “wait for what.” we'll talk about the power of a Sufi sermon, the narrow place, Spiritual Chutzpah, razzle dazzle slave economics, time travel, moishiachtzeit, and a practice for bringing Miriam's living Torah into our own lives. R' Jericho talks about the definition of wisdom, Wait for What, what kind of salt we want to be, a concussion, descent for the sake of ascent, why you're alive in this moment, and a practice for bringing Miriam's living Torah into our own lives.Subscribe to Survival Guide for a Spiritual Wilderness anywhere that podcasts are found!

Gargie Verma is an award-winning, genre-defying artist whose voice carries the soul of centuries and the spark of modern fire. Gargie's journey began in a traditional Vedic Hindu family in India, where she was immersed in ancient devotional music from birth. But her destiny was far from conventional. Drawn to the sounds of the world, she has traveled to over 17 countries, absorbing and collaborating across cultures, evolving into a singular voice in global music.A rare force in today's musical landscape, Gargie expresses her artistry through multiple powerful identities — each a portal to a different world of sound and spirit. As Halo Reminiscence, she unveils sensual, mystical pop infused with poetry and emotion. With Mama India Music, she offers sacred sound journeys rooted in Dhrupad, Nada Yoga, and rare Vedic traditions, awakening healing and presence through voice. And in her electrifying act Forbidden Lovers, Gargie fuses ancient Indian folk, Sufi, and classical melodies with English hip-hop, EDM, and modern dance music — delivering cinematic, high-energy performances that ignite the senses and turn every stage into a realm of story, rhythm, and rebellion. Forbidden Lovers is not just a show — it's a dazzling fusion experience that turns the lamp on in the dark.Having made her mark in Mumbai through Bollywood music and live performances, Gargie has since worked in films, cross-genre music projects, and global festivals, crafting a body of work that's emotionally raw, spiritually charged, and artistically fearless.Today, she is deeply rooted in the Dhrupad tradition and committed to preserving and reviving ancient, endangered musical forms from around the world. With every breath and every note, she bridges past and future, earth and cosmos.Gargie Verma is not just an artist — she is a bridge between worlds, a living symphony of soul, story, and sound.We talk about Gargie's life journey, her family, finding Dhrupad, her musical projects, freedom, fearlessness, and love.  She shares some live music, and we listen to Jugni a song she recorded about the free goddess. She has a sound bath on May 9th, Forbidden Lovers is performing at the Colony on July 11th, and she holds Dhrupad classes on Thursdays and Sundays in Woodstock. You can find all that on her Instagram Accounts MamaIndia, Halo,  Forbidden Lovers, and on Facebook.Today's show was engineered by Ian Seda from Radiokingston.org.Our show music is from Shana Falana!Feel free to email me, say hello: she@iwantwhatshehas.org** Please: SUBSCRIBE to the pod and leave a REVIEW wherever you are listening, it helps other users FIND IThttp://iwantwhatshehas.org/podcastITUNES | SPOTIFYITUNES: https://itunes.apple.com/us/podcast/i-want-what-she-has/id1451648361?mt=2SPOTIFY:https://open.spotify.com/show/77pmJwS2q9vTywz7Uhiyff?si=G2eYCjLjT3KltgdfA6XXCAFollow:INSTAGRAM * https://www.instagram.com/iwantwhatshehaspodcast/FACEBOOK * https://www.facebook.com/iwantwhatshehaspodcast

In this Hip Deep program, we explore musical connections between Africa and India. First up is the story of the Afro-Indian Sidi community. In the 13th century, Africans arrived in India as soldiers in the armies of Muslim conquerors. Some were able to rise through the ranks to become military leaders and even rulers. Their descendants continue to live in India today, performing African-influenced Sufi trance music at shrines to the black Muslim saint named Baba Gor. Next, we dive into the swinging jazz era of 1930s Bombay, when African-American jazz musicians arrived by the dozen to perform at the glitzy Taj Mahal Hotel. They trained a generation of Indian jazz musicians who would become instrumental in the rise of India's Hindi film music industry. Then we head south to the island of Sri Lanka, where Africans have had a presence for almost 500 years. We explore their history through the groovy Afro-Indo-Portuguese pop music style known as baila, popularized by 1960s star Wally Bastiansz and still performed at parties in Sri Lanka today. Finally, we speak with Deepak Ram, a Indian jazz flutist who recounts his experiences growing up Indian in apartheid South Africa. Throughout, we hear from leading experts, and of course, introduce fantastic and often-unexpected music. Produced by Marlon Bishop APWW #663

Selected excertps of poems from Rumi taken from Kulliyat-e Shams, 21 and Ode 314 - translated by Nevit Oguz Ergin.Jalāl ad-Dīn Muhammad Rūmī (30 September 1207 – 17 December 1273), was a 13th-century Persian poet, faqih, Islamic scholar, theologian, and Sufi mystic originally from Greater Khorasan in Greater Iran. Rumi's influence transcends national borders and ethnic divisions.