Ancient civilization and historical region in Southern Mesopotamia
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What if the ancient myths of gods descending from the stars weren't just stories—but evidence of something real? Dive into The First Memory: Unraveling the Cosmic Conspiracy, a gripping podcast that explores the tantalizing possibility that humanity's origins were shaped by otherworldly visitors. From the sky gods of Sumer and Egypt to modern UFO encounters at Skinwalker Ranch, each episode weaves together ancient texts, cutting-edge science, and chilling mysteries to ask: Were we engineered? Are we still being watched? With haunting narration and mind-bending revelations, this podcast will leave you questioning everything you thought you knew about our past, our present, and our future. Tune in, and uncover the truth hidden in our bones—before it's too late.Become a supporter of this podcast: https://www.spreaker.com/podcast/total-disclosure-ufos-coverups-conspiracy--5975113/support.
Send us a textLando Norris fights back to win the final race heading into Sumer break, trimming Oscar's championship lead to just 16 points. All that and lots of Ferrari drama as we get ready for the final stretch of the 2025 Formula 1 season.#f1 #formula1 #hungariangp #podcast #racingSupport the show
In this mind-expanding episode, we dive deep into ancient history, extraterrestrial theory, and humanity's mysterious origins with our guest, Mad Mark Jones. Known for connecting the dots others don't dare to, Mark explores the fascinating story of the Anunnaki—an advanced alien race said to have created humans as a labor force to mine gold.From the temples of ancient Sumer to the pyramids of Egypt, the ziggurats of Babylon, and possibly even the ruins of the Mayan civilization, Mark reveals how traces of the Anunnaki can be found throughout history. Are these ancient deities actually spacefaring visitors? Were early humans genetically engineered by beings from beyond the stars?Join us as we explore questions that challenge mainstream narratives and venture into the possibility that we are not alone—and never have been.****If you enjoyed this episode, please follow the show, share it with a friend and consider leaving a review on Spotify and/or YouTube https://open.spotify.com/show/4JfM1ZitoXTP6DXXfUbqRm?si=9f68c2de30a5446f ****www.youtube.com/@Phase4PodcastConnect with Mark https://madmarktv.com/ @MadMarkTVOfficial https://www.youtube.com/channel/UCPCgPkOoeaUk7iYCA9wduiQ Connect with Jp https://linktr.ee/NextStepsAcademy
Woher kommt unser uralter Glaube an Untote? In Episode 1 werfen wir einen Blick auf die frühesten Spuren vampirischer Vorstellungen: Von Gräbern mit verstümmelten Skeletten im alten Sumer und steinzeitlichen Europa über untote Hexen und lebende Tote auf babylonischen Tontafeln bis zu den blutrünstigen Draugar der nordischen Heldensagen. Was verraten diese frühen Quellen über die Angst vor den Toten – und wie wurden aus ihnen die ersten Vorfahren unserer modernen Vampire?Ein archäologischer und mythologischer Auftakt in die dunkle Geschichte der Untoten.#vampire #dracula #draugar #wikinger #geschichte #podcastBand 1 von Leifs Draugar-Saga: https://www.amazon.de/Die-Saga-Ragnar-Draugabani-Dark-Fantasy-Roman/dp/375841802X---Youtube-Kanalmitglied werden und exklusive Vorteile erhalten: https://www.youtube.com/channel/UC8d09rKkWS5MkIdAuzUpkmA/joinDir gefällt der Podcast? Dann kannst du uns gerne auf Patreon unterstützen: https://www.patreon.com/allezeitderweltWir würden uns ebenfalls riesig darüber freuen, wenn du uns eine Bewertung hinterlässt und uns auf YouTube (https://www.youtube.com/@allezeitderwelt) folgst!Danke für deine Unterstützung!---
durée : 01:03:41 - Les Nuits de France Culture - par : Antoine Dhulster - Dans ce seizième volet d'une série des "Après-midi de France Culture" sur les grandes civilisations, l'archéologue Pierre Amiet, conservateur en chef du département des antiquités orientales du musée du Louvre, détaille les origines de la civilisation mésopotamienne. Une émission de janvier 1980. - réalisation : Antoine Larcher
Intro: One More Night – Can Here Comes the Summer – The Undertones (1:41) 2. Summer Holiday – Cliff Richard & the Shadows (2:06) 3. Sumer is Icumen in – Huelgas Ensemble/Van Nevel (2:36) 4. I Feel Love – Donna Summer (3:45) 5. The Summer Wind – Frank Sinatra (2:52) 6. A Summer Wasting – Belle & Sebastian (1:59) Hot Fun in the Summertime – Sly & the Family Stone (2:39) 8. Long Hot Summer Night – Jimi Hendrix Experience (3:26) 9. Celebrated Summer – Hüsker Dü (4:02) 10. Two Weeks Last Summer – Fotheringay (3:51) 11. Endless Summer – Fennesz (8:29) 12. White Summer of Love – Acid Mothers Temple & the Melting Paraiso U.F.O. (2:50) 13. Some Summer Day – John Fahey (3:28) The Hissing of Summer Lawns – Joni Mitchell (3:01) 15. Summer Nights – Bobby Hutcherson (7:06) 16. Shall I Compare Thee to a Summer's Day? (Sonnet 18) – Cleo Laine, featuring John Dankworth (2:24) 17. Summer Evening – John Ireland, Parkin (4:49) 18. Summertime – Galaxie 500 (5:59) Summertime – Miles Davis (3:17) 20. Some Summers They Drop Like Flies – Dirty Three (6:22) 21. Estate – João Gilberto (6:28) 22. Summer Sketch – Russ Freeman & Chet Baker (4:35) Summertime Blues – The Flying Lizards (3:33) 24. I Know Where The Summer Goes – Belle & Sebastian (4:37) 25. Summer ‘68 – Pink Floyd (5:29) 26. Bummer in the Summer – Love (2:24) 27. Summer Wine – Nancy Sinatra & Lee Hazlewood (4:17) 28. Summer Babe (Winter Version) – Pavement (3:15) Outro: Pogles Walk – Vernon Elliott Ensemble
***ATTENTION*** We had a few audio quality/connection issues, particularly early on, but please stick with us - Phil This Sunday at 8PM UK time, we welcome back author and researcher Chris Tolworthy, returning to The Amish Inquisition for the first time since 2022!
Do the Cuckoos of today still sound the same as the Cuckoos of the past? Well, yes, they do. An ancient musical composition from 1250 named 'Sumer is icumen in' features a vocal representation of a Cuckoo. Ian Pittaway, accomplished singer and expert in early music, speaks to us about the song and gives us his rendition.
Anunnaki in the Bible? This Changes EVERYTHING!Cub Kuker Supernatural Podcast (S5/EP28)Are the Watchers, Anakim, and Elohim the Same Beings as the Anunnaki?For centuries, scholars and seekers alike have wrestled with the ancient texts of Sumer and Israel, trying to separate myth from a terrifying truth—that we are not alone in the universe. But what if the beings known as the Anunnaki in the Sumerian tablets are the very same entities referred to in the Bible as the Watchers, the Sons of God, the Elohim, and the ancestors of the Anakim?▶︎ Cub Kuker Supernatural™ Official Resources: https://www.CubKuker.com/“Discover Supernatural Secrets of the Bible and Beyond with Cub Kuker Supernatural” Hey there, I'm Jacob Kuker (Cub)—a Christian mystic, ancient astronaut theorist, and content creator. Join me on the Cub Kuker Supernatural™ Podcast for a live, unfiltered exploration of faith, spirituality, and the paranormal. I'm not here to play guru or convince you to adopt my beliefs. My mission is to spark a passion for uncovering hidden truths—together. From humanity's ancient origins to unfolding prophecy and the deeper mission of Christ beyond traditional teachings, I'm walking this path with you.Legal Disclaimer:Content is originally created by Jacob Kuker (Cub) and is provided is for entertainment purposes only. Please conduct your own research or consult a licensed professional before making any significant decisions. The views expressed are those of the presenters, We are not liable for any actions you take based on the content. Some links may be affiliate links, generating affiliate commission for this channel. All payments are voluntary, non-refundable, and made without warranty. Financial support, including tips and donations, is not tax-deductible. Our services and media are offered to all, regardless of race, religion, or orientation. Jacob Kuker (Cub), Cub Kuker Supernatural, and CubKuker.com are trademarked content distribution channels operating under JTK Creative Ventures, LLC, a creative media service provider. Full legal disclaimers can be viewed at www.cubkuker.com/legal.© 2025 JTK Creative Ventures LLC
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
L'ABC de Bertrand Chameroy diffusé le jeudi 19 juin 2025 à 20h50 sur France 5.Tous les soirs à la table de “C à Vous”, Bertrand Chameroy propose un tour d'horizon décalé des événements qui font l'actualité.
In this episode, we offer a close reading of "Sumer is icumen in," a Middle English song that anticipates the abundant joys of summer. Thanks to the Pias Group for granting us permission to share the Hilliard Ensemble's rendition of this song. You can find the manuscript that includes the lyrics and music at the British Library (https://blogs.bl.uk/digitisedmanuscripts/2012/06/sumer-is-icumen-in.html).
For a majority of history, women were the main brewers. Only within the last hundred years has the industry been dominated by men. What changed? Join historian Joel and the team as they dive into the millennia-old story of women in brewing, from ancient Sumer to the Enlightenment. PATREONSupport the show! Get episodes 1 week early and bonus merch: patreon.com/respectingthebeerpodcastFACEBOOK GROUPGot a question about beer or just want to get social? Join the RtB Facebook group: https://www.facebook.com/groups/respectingthebeerEMAILGot a question? Email us at respectingthebeer@gmail.com--TIMELINE00:00 Welcome to Respecting the Beer!02:23 Women in Brewing History04:37 Ancient Brewing Dominated By Women08:13 Science, Religion, and Beer11:00 Cultural Significance of Beer16:16 Women's Role in Medieval Brewing23:01 Monastic Brewing Practices26:54 Physical Demands of Brewing28:59 Hildegard of Bingen's Contributions30:11 Why Women Were Phased Out34:42 Hildegard's Legacy and Modern Brewing38:03 Visit the Brewery and see the Prohibition Room!--CREDITSHosts:Bobby FleshmanAllison FleshmanJoel HermansanGary ArdntMusic by Sarah Lynn HussRecorded & Produced by David KalsowBrought to you by McFleshman's Brewing CoMentioned in this episode:Gary's Everything Everywhere Daily - 5 Year AnniversaryCome and join the party to celebrate Gary's podcast turning 5. RSVP here -> https://www.facebook.com/share/1HvAwzVVZ4/
I'm back behind the controllers and in the mix for another exciting episode of Hypnotised Radio, with summer now in full affect you can expect to hear a slightly Sumer time mix but still keeping it on that Raw, Hypnotic Techno tip. Expect to hear more new hot releases from artist such as Claudio PRC, Rene Wise, Chlar, Gene Richards Jr, Marco Zenker, and a Len faki remix of killer track by Planetary Assault Systems called Give It up, along with more of my latest productions coming out later in the year. ⚡️Like the Show? Click the [Repost] ↻ button so more people can hear it!
Fellow podcaster Scott Chesworth, from The Ancient World has a new season. I'm excited to introduce “The Ancient World – Ages”, a series covering the Early Bronze Age Collapse (c. 2200 BC) and the remaking of Southwest Eurasia. In this feed swap, you'll hear episode A3 – The Kings of Kish. It covers the period c.2900 BCE and 2350 BCE, also known as the Early Dynastic Period in Sumer. A time of kings, emerging from legends. Figures like Gilgamesh, burial sites like the Royal Cemetery of Ur, and the legendary conflict between the gods Lagash and Umma, recorded on the Stela of the Vultures. Along the way, Scott will introduce you to history's earliest-known diplomacy, bilateral treaty, and legal codes. Finally, Scott will set the stage for the most famous conqueror of the day: Sargon of Akkad. The Ancient World – Ages promises to by an exciting, big picture history of this ancient period. While the Egyptians were focused on pyramids, rulers in Mesopotamia were kicking Kish and taking names. Please, consider joining Scott on this epic journey. Website: https://ancientworldpodcast.com/ Scott Chesworth's The Ancient World is available on Spotify, Apple, and all good podcasting apps. Learn more about your ad choices. Visit megaphone.fm/adchoices
Send us a textIn this episode: Christi Powell and Angela Gardner introduce their exciting new guest, Sumer Furlong, a young and dynamic land development manager at ReproLand. As a recent graduate of Greenville Technical Institute's Construction Engineering Technology program and a youth mentor at her local church, Sumer shares her journey into the construction industry, the challenges she faces as one of the youngest in her field, and her passion for mentoring the next generation. She also discusses her decision to forego further formal education for hands-on experience based on valuable external advice. Sumer shares personal anecdotes from mission trips and highlights the importance of building relationships and giving back. Tune in for an inspiring conversation about navigating a traditionally male-dominated industry with passion, resilience, and a commitment to mentorship. Thanks for Listening!Support the show
Synopsis: This episode covers the Early Dynastic Period in Sumer and northern Syria. “Eannatum gave the great battle net of Enlil to the leader of Umma and made him swear to him by it. The leader of Umma swore to Eannatum: ‘By the life of Enlil, king of heaven and earth! I may exploit the field of Ningirsu as an interest-bearing loan. I shall not destroy the irrigation channel! Forever and evermore, I shall not transgress the territory of Ningirsu! I shall not shift the course of its irrigation channels and canals! I shall not smash its monuments! Whenever I do transgress, may the great battle net of Enlil, king of heaven and earth, by which I have sworn, descend upon Umma'.” – The Stele of the Vultures Original Episode Art by Mike Oeming: https://michaelavonoeming.com Map of SW Eurasia: https://audio.ancientworldpodcast.com/A3_Map.png Map of Sumer and Northern Syria (c. 2380 BC): https://audio.ancientworldpodcast.com/A3_Sumer.png Kings List: https://audio.ancientworldpodcast.com/A3_Kings.pdf Images: https://www.flickr.com/photos/75506172@N07/albums/72177720326251557/ References and Further Reading: https://audio.ancientworldpodcast.com/A3_References.pdf Please contact advertising@airwavemedia.com if you would like to advertise on this podcast. Learn more about your ad choices. Visit megaphone.fm/adchoices
AVISO: (Este episodio ha sido realizado desde el respeto hacia todos los creyentes y la fe que procesen, sin intención de ofender a nadie con ello, pero ejerciendo una plena libertad de análisis e investigación. De igual manera indicar que el Antiguo Testamento no deba ser tomado en consideración como libro histórico alguno, sino como un conjunto de metáforas, alegorías y arquetipos que en última instancia tratan de ocultar el verdadero conocimiento). El presente episodio implica un exhaustivo análisis del Génesis bíblico, desde un punto de vista tan objetivo como libre de dogmas y extraído de mi primer libro “Matar a Dios” – La Biblia y otros engaños, una extensa saga de ensayo fundamentada en el análisis de las antiguas escrituras, además de un profundo y revelador cuaderno de bitácora de lo acontecido especialmente a partir del año 2020. Dicho episodio está realizado desde el máximo respeto hacia todos los creyentes como indicara y como no podría ser de otra manera, por lo que nadie deba sentirse ofendido por ello, dado que cuestionar lo interpuesto es un derecho más sagrado si cabe que la propia imposición de textos que indiquen ser igualmente sagrados, especialmente cuando sabemos que han sido profundamente tergiversados. Arquetipos y avanzadas enseñanzas codificadas aparte, analizaremos la figura de Jehová o Yahvé, al igual que sus acciones, las cuales lo señalan como un líder tan déspota como sanguinario, en contraposición absoluta al mensaje de Jesús, quien podamos considerar su antagonista. Un episodio que no puedes perderte para igualmente alcanzar a comprender el verdadero paralelismo existente entre infinidad de culturas y civilizaciones, que a fin de cuentas nos hablaran de los mismos eventos y de los mismos protagonistas bajo diferentes nombres. Con este episodio, centrado especialmente en la figura de José de Egipto, concluimos esta serie dedicada al análisis del Génesis bíblico, el cual espero sea de vuestro agrado. BIBLIOGRAFÍA: ANÓNIMO. Enuma Elish - 1.900 a. C. - 1.600 a. C. ENCICLOPEDIA BRITÁNICA. Talmud y Midrash - 2006. ENOC. El libro de Enoc - 300 a. C. - 100 d. C. FREKE, T. y GANDY, P. Los misterios de Jesús. El origen oculto de la religión cristiana - 1999. GARCÍA BAZÁN, F. y MONTSERRAT TORRENT, J. Textos gnósticos: Biblioteca de Nag Hammadi I - 1997. GARCÍA BAZÁN, F. / MONTSERRAT TORRENT, J. y PIÑERO, A. Textos gnósticos: Biblioteca de Nag Hamamdi II - 2016. GREENBERG, A. y CHUPP, S. El libro de Nod - 1993. LARA PEINADO, F. Mitos sumerios y acadios - 1984. NOAH KRAMER, S. La historia empieza en Sumer - 1956. REINA VALERA. La Biblia - 1960. TRES INICIADOS. El Kybalion - 1908. VALVERDE MERINO, I. "Matar a Dios" La Biblia y otros engaños - 2022. Si deseas adquirir un ejemplar de cualquiera de mis libros tan solo tienes que ponerte en contacto a través de la dirección de correo electrónico y gustosamente recibirás uno en tu domicilio o lugar que elijas para la recogida. No hay ánimo de lucro en ello, sino que son vendidos a precio de coste para poder financiar futuras entregas. "Matar a Dios" - La Biblia y otros engaños - 2022. El huevo escamado - La Biblia y otros engaños II - 2023. Pandemónium - La Biblia y otros engaños III - 2024. CONTACTO: eliniciado@yahoo.com Este programa no tiene ánimo de lucro ni será monetizado, por el contrario el único afán es la máxima difusión de cuestiones que nos atañen a todos.
This Friends Like Us, Marina Franklin and Hollie Harper chat with the incredible Sumer Strawbree, a 15-year-old CEO inspiring young girls with her empowering coloring books and confidence-building affirmations! Sumer Strawbree, is a 15 year old speaker, author and affirmations authority. She helps girls unleash the power of positive "I Am" affirmations to improve their confidence and mental health. "I Am"...two words that speak directly to your subconscious mind. Between 8 and 14, girls' confidence levels drop by 30%. As Seen on, ABC, CBS, NBC, FOX, at LA Comic Con & More... After she was bullied at school, this young CEO has independently sold over 10,000 worldwide copies of her Affirmations Coloring Books through her publishing company that features positive images of Black and Brown girls equating to 10,000 girls inspired. She teaches girls how to unlock their subconscious mindsets to bring out the SUPERHERO that is already inside of them, through her I Am Confident University™ Affirmations and Vision Board workshops, workbooks and books. Hollie Harper is a comedy nerd from South Jersey. She is currently the creator and co-exec producer of Hella Late! with Hollie Harper on BRIC TV and a co-host of the nationally trending Twitter Storytelling Chat “BlerdDating.” Hella Late! with Hollie Harper was recently in the 2021 NYC Web Fest where she was nominated as Best Actress. Hollie was a semi-finalist in the 2019 NBC Standup Competition and has been featured on NY1, and in Black Enterprise Magazine, Thrive Global, Confessional Magazine and Black San Diego Magazine. Her popular sketch comedy show AMERICAN CANDY has played the Comic Strip, Gotham Comedy Club, BAM Café as well as the Chicago Sketch Comedy Festival. Time Out Chicago named them one of the five groups to watch. Hollie is a regular host for West Side Comedy Club in NYC and works with Gold Comedy and Stand Up Girls, two programs that empower young women by teaching them standup comedy. She was recently the talent coordinator and casting for “Blood Lassi” on Spotify, written by Pratima Mani, and moderated the panel for the Emmy Award winning, WOC editing team of Black Lady Sketch Show for The Black TV and Film Collective. She is also the Creative Consultant for the very successful Black Women in Comedy Laff Fest. Always hosted by Marina Franklin - One Hour Comedy Special: Single Black Female ( Amazon Prime, CW Network), TBS's The Last O.G, Last Week Tonight with John Oliver, Hysterical on FX, The Movie Trainwreck, Louie Season V, The Jim Gaffigan Show, Conan O'Brien, Stephen Colbert, HBO's Crashing, and The Breaks with Michelle Wolf. Writer for HBO's 'Divorce' and the new Tracy Morgan show on Paramount Plus: 'Crutch'.
TONIGHT!!!!! I'm releasing a special episode. One where I hope family can will come together and talk about this important story. @Sumer Strawbree 15 year old best selling author was bullied and instead of allowing it to defeat her. She turned it into a business.
Understanding context; Nature of man and God; (Tree of) Knowledge?; What is true?; Information sources; (Dis)respecter of persons; Holy Spirit; Enoch?; Abraham's vision; Rivers in Genesis; Furnace and burning lamp; Caudrons in cities of blood; Welfare snares; Becoming merchandise; No coveting!; Gen 15:6; Learning from our mistakes; Seeking kingdom of God; Government of, for and by the people; Man and woman; Gen 16:1; Sarah and Haggar; "handmaid"; shin-pi-chet-hay+kuf; Who was Hagar?; Freewill offerings only; Haran; Put to death; Terah and Nimrod; Idolatry; "Pure Religion"; Turtledove goddess of Sumer; Bondage of Egypt; Altars of sacrifice; Gen 16:2; Respecting Sarai; Importance of children; Population collapse?; Lessons to be learned; kuy-lamad-lamad+tav (despise); Hagar left; Destroying the character of society; Duty?; Serving one another; Temptation of oppression; ayin-nun-tav (humbly submit); tav-hey-tav (to her authority); Modern Christians not knowing the Lord; Civil corban; Setting the captive free; Learning to do your duty; Ishmael; Serving without benefit; Kadesh and Bered; Hagar's vision; Muslims; Artificial duty; "Kadesh" = homosexual; Oppression of women; Knowing Holy Spirit; Ministering for God; 70% on welfare? Duty to fellowman; Being Israel; Public religion; Public school?; Repentance; Doing what Christ said to do; Covetous practices; God's judgment; Linking Gen 16 to Christ; Two witnesses; Willingness to see yourself; Fleeing Holy Spirit; "Beerlahairoi" (0883); "was called" kuf-resh-aleph - redemptive; biet-aleph-resh (Beer) lamad-heh-yod (lahai) resh-aleph-yod (roi); Hagar going back to serve Sarai; Dying on a cross; Testing your forgiveness; Aleph = relationship of God and man; Yod = divine spark; Awakening of leaders; Returning to God; Sin of Sodom; Strengthening the poor; Caring for one another; Leaven; Freewill vs force; Presidential salvation?; Charity; Are you ready for truth?; To whom do you serve?; Trust Holy Spirit.
night night bitch: esoteric stories for sleep and meditation
There's a reason the story of Cinderella lingers in our bones. Beneath the soot, the glass slipper, and the pumpkin-turned-chariot lies an ancient memory. A memory of the soul's exile, longing, and return.Tonight, we're not reading a children's fairy tale. We're whispering open a door to the sacred. Anne Baring's breathtaking interpretation reveals Cinderella as an echo of lost goddess traditions, Gnostic myth, and the wounded feminine hidden deep inside the human psyche. This is the story of the soul forgotten in the ashes, the Divine Mother disguised as a fairy godmother, and the holy marriage between Spirit and Matter, waiting to be reawakened inside you.In this dreamlike descent, you'll trace Cinderella's soot-stained journey through ancient Sumer, Gnostic lamentations, and the shimmering wisdom of the Song of Songs. You'll see why the gown of light and the lost slipper are not just symbols of enchantment, but the soul's own cry for reunion with the Source. This episode is a spell, a remembering, an initiation. Press play, close your eyes, and step into the ashes. The gold is buried there.Read the original article by Anne Baring here. CONNECT WITH ME + CHECK OUT MORE OF MY WORK: To dive deeper into these themes and explore more of my original work, follow my other podcast, Back From The Borderline, on your favorite podcast player or visit backfromtheborderline.com. You can also connect with me on Instagram @backfromtheborderline, where I share my favorite reads, tools, and all things inner alchemy. Hosted on Acast. See acast.com/privacy for more information.
Send us a textGods, ETs, or both? Does our creation narrative tell of a cosmic battle high up in the Heavens? The stories we've cherished for millennia as divine revelations may have very ancient—and potentially extraterrestrial—origins than most realize. Our dive into the Enuma Elish, the Babylonian creation myth that predates Genesis by over a thousand years, reveals shocking parallels that challenge conventional religious understanding.When 19th-century archaeologists unearthed the Library of Ashurbanipal in Nineveh, they discovered clay tablets containing creation narratives startlingly similar to Biblical accounts. The Enuma Elish, an epic poem written in Akkadian cuneiform script, tells of primordial waters dividing, skies forming, and humans being created to serve gods. These are all elements found in the Book of Genesis, but with dramatically more detail about cosmic battles and involving multiple deities.We explore the provocative question proposed by ancient astronaut theorists: what if these weren't mythologies at all, but attempts by ancient humans to document encounters with advanced beings using the limited vocabulary available to them? As Zecharia Sitchin pointed out, while later cultures might create myths, how does the very first civilization—Sumer—get a myth? Perhaps their accounts weren't metaphorical but historical and then filtered down through generations of oral tradition before being condensed into the Biblical form that we know today.The evidence suggests the Old Testament's formation occurred much later than many believe—compiled after the Babylonian exile around 520 BCE, allowing ample time for Mesopotamian cosmologies to influence Hebrew thought. Archaeological discoveries even reveal that early Israelite religion included a female consort for Yahweh named Asherah, paralleling the divine couples in surrounding cultures, before later theological developments emphasized monotheism and abstraction.Whether you approach these texts through faith, historical interest, or the ancient alien perspective, they demand the same rigorous standards of evidence and critical thinking. The striking similarities between these accounts offer profound insights into humanity's earliest attempts to understand our origins and purpose. We must ask how they continue to shape our worldviews today?"Space Journey" by Geoff HarveyCopyright © 2021 Melody Loops LPFull License Royalty-Free Music https://www.melodyloops.com Support the showVisit our website
Chaque jour, Jean-Luc Lemoine vous offre une session de rattrapage de tout ce qu'il ne fallait pas manquer dans les médias.Distribué par Audiomeans. Visitez audiomeans.fr/politique-de-confidentialite pour plus d'informations.
Chaque jour, Jean-Luc Lemoine vous offre une session de rattrapage de tout ce qu'il ne fallait pas manquer dans les médias.Distribué par Audiomeans. Visitez audiomeans.fr/politique-de-confidentialite pour plus d'informations.
Chaque jour, Jean-Luc Lemoine vous offre une session de rattrapage de tout ce qu'il ne fallait pas manquer dans les médias.Distribué par Audiomeans. Visitez audiomeans.fr/politique-de-confidentialite pour plus d'informations.
Spurs Chat: Discussing all Things Tottenham Hotspur: Hosted by Chris Cowlin: The Daily Tottenham/Spurs Podcast Hosted on Acast. See acast.com/privacy for more information.
In this enlightening episode of the Prometheus Lens Podcast, host Justin engages with Douglas Elwell, author of 'Planet X, the Sign of the Son of Man and the End of the Age.' The conversation delves into the intriguing connections between ancient mythology, biblical prophecies, and modern astronomical theories surrounding Planet X. Elwell shares his journey from studying ancient texts to exploring the scientific basis of Planet X theory, discussing its implications for understanding the creation of Earth and the potential for future cosmic events. In this conversation, Doug Elwell discusses the connections between ancient texts, particularly the Book of Job and the Enuma Elish, and their implications regarding the destruction of Sumer and the role of Planet X. He explores the mythological representations of Planet X, its significance in biblical prophecy, and the potential for its return. The discussion also touches on themes of deception, technology, and the cyclical nature of divine judgment throughout history. #Astronomy #Space #PlanetX #Prophecy #AncientSumer #Bible #Jesus #Christ #LostHistory #PrometheusLensPodcastHead over to http://www.prometheuslenspodcast.com to sign up for the "All Access Pass" and get early access to episodes, private community, members only episodes, private Q & A's, and coming documentaries. We also have a $4 dollar a month package that gets you early access and an ad free listening experience!Apple Podcast:https://podcasts.apple.com/us/podcast/prometheus-lens/id1701912463Spotify:https://open.spotify.com/show/6aUS57bWUuyAL0y9nmrBEX?si=_amAFj7wT8meWhgtzGpgBQThe Epic of Esau book:https://a.co/d/dU8d7x9Love the quality of these videos? Sign up for Riverside.fm through this link for a special offer!https://www.riverside.fm/?utm_campaign=campaign_5&utm_medium=affiliate&utm_source=rewardful&via=justin-brownDoug Elwell:https://planet-x.infoSPONSORS:Squatch Survival Gear:http://www.squatchsurvivalgear.comNeed help with video or audio? Give my boy Jason a shout! Tamayo.jason@gmail.comWant to donate to the show? Send your one time donation to “Elrod32” on Venmo or PayPal. All donations will get a shout out and thank you on a recording.Have you written a book? Have a show idea? Had a supernatural experience you'd like to share on the show? Go to the website and click the contact link. I'd love to hear from you!
A cross-cultural comparison of ancient beliefs about death and the afterlife • Reveals the powerful influence of near-death experiences (NDEs) on the formation of religious beliefs, mystical literature, and ritual practices • Focuses on the afterlife beliefs of five ancient world regions: Old and Middle Kingdom Egypt, Sumer and Old Babylonian Mesopotamia, Vedic India, pre-Buddhist China, and Maya and Aztec Mesoamerica • Shows how the similarities among afterlife beliefs and their correspondences with NDEs reveal that they both stem from universal truths Taking readers on a thought-provoking journey into our ancestors' beliefs about death, dying, and the afterlife, Gregory Shushan, Ph.D., reveals the powerful influence of near-death experiences (NDEs) on religious beliefs and ritual practices throughout human history. Focusing on five ancient world regions in Egypt, Mesopotamia, India, China, and Mesoamerica, Shushan expertly explores each civilization's afterlife beliefs. He explains how each of these civilizations developed independently of one another, yet there is a series of similarities among afterlife beliefs too consistent and specific to be mere coincidence. This leads to the profound implication that afterlife beliefs are not entirely invented by cultures: they also stem from universal truths derived from NDEs. Drawing on anthropology, psychology, and philosophy, the author explores how each civilization interpreted NDEs and how afterlife beliefs develop over time. He also explores the metaphysical implications of his discoveries, including what an actual afterlife would look like. Revealing that NDEs have occurred throughout human history, Shushan shows how they continue to influence our understanding of what lies beyond death to this day.
Kingdom of God - seek it and righteousness; Common themes of Old and New testament; Jacob vs Israel?; Loins out of joint?; Making Israel stink; Praying with supplication; Gen 10:16; Amorites; Bondage of Egypt; "Corvee"; Bible about government; Sloth leads to tribute; Consent; Socialism vs capitalism; Morality?; Repentance; Removing delusion; Learning to be Israel; Denominational Jews?; Hiding and fleeing from God; Identity; What are you missing?; Understanding "leaven"; Gen 50:1; Relationship of Family; Roman revolution; Republic; Volunteerism; Governments of Cain, Nimrod, Sumer, Egypt…; Strengthening by persecution; Importance of Family; "biet-kuf-hey" (Wept); Sphinx?; Joseph's request of Pharoah; Wrestling with God; "Elders"; Corporation of God; Mourning Jacob; "Threshing floor"; Getting the basics; Gen 13:2; Classes of citizens; Corruption; Saul: first king in Israel; Recognizing congregationalism vs kingdom; Vengeance; Freewill offerings; Jacob's command to Joseph; Forgiveness; Knowing yourself; Coming together as families; Christ's alternative system; Loving our enemy; Juries; Early Rome mimicking Israel; Excusing immorality; Death of Joseph; Land of Israel; Property tax?; Abraham's altars; "licking" blood; Modern vs Early Church; Religion; Doctrines; Covetousness; "One purse"; Social safety net?; What do you really own?; Moral bondage?; Electing new Sauls; Legal charity; Coming to the aid of your neighbor; Early Church ministers; "Not of this world"; Christ's system = charity alone; World system = force; Following Christ's way; Your daily bread; Lacking knowledge; Living altars; 1 Sam 8; Social Security; Christ's commands; Charity = Love, The truth shall set you free.
A rollicking adventure starring three free-spirited Victorians on a twenty-year quest to decipher cuneiform, the oldest writing in the world—from the New York Times bestselling author of The Bad-Ass Librarians of Timbuktu.It was one of history's great vanishing acts.Around 3,400 BCE—as humans were gathering in complex urban settlements—a scribe in the mud-walled city-state of Uruk picked up a reed stylus to press tiny symbols into clay. For three millennia, wedge shape cuneiform script would record the military conquests, scientific discoveries, and epic literature of the great Mesopotamian kingdoms of Sumer, Assyria, and Babylon and of Persia's mighty Achaemenid Empire, along with precious minutiae about everyday life in the cradle of civilization. And then…the meaning of the characters was lost.London, 1857. In an era obsessed with human progress, mysterious palaces emerging from the desert sands had captured the Victorian public's imagination. Yet Europe's best philologists struggled to decipher the bizarre inscriptions excavators were digging up.Enter a swashbuckling archaeologist, a suave British military officer turned diplomat, and a cloistered Irish rector, all vying for glory in a race to decipher this script that would enable them to peek farther back into human history than ever before.From the ruins of Persepolis to lawless outposts of the crumbling Ottoman Empire, The Mesopotamian Riddle whisks you on a wild adventure through the golden age of archaeology in an epic quest to understand our past.Joshua Hammer is a veteran foreign and war correspondent for Newsweek who has covered conflicts on four continents. He is the author of two previous books, A Season in Bethlehem and Chosen by God: A Brother's Journey. He has contributed articles to The New Yorker, Smithsonian, and many other publications. He lives in Cape Town, South Africa, with his wife and two sons.Become a supporter of this podcast: https://www.spreaker.com/podcast/earth-ancients--2790919/support.
Millennias ago, the world's first-recorded priestesses served as the vessel and voice of the Goddess for powerful kings and empires across Mesopotamia, Anatolia and the Levant. My guest this week, Lisa Moriah, is a Mesopotamian and Biblical goddess wisdom keeper, shamanic priestess, somatic sound healer, and temple sales & marketing coach. Her work supports ancient-future devotion that is steeped in text and history, bridging the millennias between the earliest-recorded priestesses and modern women. Lisa believes your body and voice are portals to ancient power and she shares this wisdom and more in this episode.On this guest episode, I ask Lisa to explain how sound is the most feminine of all healing modalities, what is “somatic sound?” and how women use this to perform self-healing for trauma. She shares about how she uses some very ancient technologies for sound healing, based in Abrahamic religious tradition and finding Goddess in Abrahamic religious tradition. I ask how she came to specialize in transmitting the presence of Goddess in sacred texts and where does Goddess reclamation work intersect with sound. Lisa is creating a safe harbor for Women who are ready to reclaim the Goddess within free from standard religion, a beautiful offering and fascinating work! BIO: Lisa Moriah is a Mesopotamian and Biblical goddess wisdom keeper, shamanic priestess, somatic sound healer, and temple sales & marketing coach. Her work supports ancient-future devotion that is steeped in text and history, bridging the millennias between the earliest-recorded priestesses and modern women. She loves nothing more than amplifying the wisdom of ancient feminine voices for audiences today. Sound is Lisa Moriah's primary healing tool—including voice, rhythm, early temple instruments, and Eastern musical modes called makams. By reviving the path of the En priestesses of Sumer, and the Qadosha priestesses of the Israelite temple, she helps women re-member the goddess heritage that birthed their Abrahamic faith of origin. Practically, this work also activates authentic voice and dissolves inner blocks—so feminine creativity and leadership can flow unhindered. Lisa Moriah's ritual and transformational work is underpinned by seven years of goddess devotion and ritual, ten years of online business, and twenty years of professional writing. Learn more about Lisa here:lisamoriah.com browse current offerings at schoolofdivineradiance.com. Follow her on Instagram @ lisamoriahspeaksListen to her weekly podcast, Sound of the Goddess, https://creators.spotify.com/pod/show/sound-of-the-goddess/
In this episode of Small Town Big Business, co-hosts Deb Barnett and Russ Williams introduce Sumer Oglesby, founder of Sumer School in Marion, Illinois. Sumer School began in 2021 to address educational gaps exacerbated by COVID-19, evolving from a tutoring service into a comprehensive enrichment program offering art, science, and more. Summer, a third-grade teacher with 13 years of experience, discusses her transition from public school teaching to entrepreneurship, focusing on providing hands-on, technology-free learning experiences. Facing the challenges of balancing two full-time roles and the intricacies of business management, Sumer shares her dedication to fostering an inclusive and engaging environment for students. Community support and the importance of allowing children to learn at their own pace without the constraints of age-specific curriculum are highlighted. 00:00 Welcome to Small Town Big Business 01:03 Meet Our Special Guest: Sumer Oglesby 01:40 Sumer's Teaching Journey 03:26 The Birth of Sumer School 04:58 Innovative Learning Approaches 10:41 Building and Expanding Sumer School 12:23 Balancing Teaching and Business 14:11 Identifying Core Responsibilities 14:42 Delegating Tasks for Growth 17:21 Community Support and Sponsorship 18:48 Marketing Challenges and Strategies 21:07 Educational Programs and Services 23:13 The Motivation Behind the Mission 26:07 Conclusion and Contact Information Recorded at EThOs Small Business Incubator and Co-working Spaces in Marion, Illinois. https://members.ethosmarion.org/ SUBSCRIBE TO THE PODCAST Our guest: https://www.sumerschool.com/
It's taken 5 appearances from JJ Johnson of Southern Demonology for us to get to demons. But, here there be demons. The views of demons changed very much once Christianity spread versus before. So we start with Mesopotamia in Sumer, Babylon, Akka and the Levant. We visit and clarify on certain figures like Lilith, Lamasu, Pazzuzu, Peimon and Moloch. Is Beelzebub Ba'al or the reverse? Or neither? How did Zoroastrianism change everything? Some familiar numbers are discussed. Of course, we cover Satan, Lucifer, the Devil and other topics. Which writings are worth your time. Which aren't might surprise you. Are Djinn demons? Are Nephilim demons? Let's dive into the underworld and beyond to discuss actual demonology according to actual canonical texts and some adjacent writings.
Darkness Radio presents: Near Death Experience In Ancient Civilizations with Researcher/Author, Gregory Shushan, PhD! Millions of people have had near-death experiences (NDE's)through hstory. What are they - a simple trick of the mind and body or something more? What are we to make of them, and do they tell us anything about religion or are they shaped by our individual beliefs. culture, or the time that we are living in??! Author/Researcher Gregory Shushan, PhD joins Darkness Radio today to discuss the ancient afterlife beliefs of five world regions: Egypt, Sumer and Mesopotamia, India, China, and Maya and Aztec Mesoamerica, revealing their similarities with NDEs and comparing them with each other. Dr. Shushan also shares tales of these individual cultures and talks about how science can learn from these ancient tales. Get your copy of Near-Death Experience In Ancient Civilizations: The Origins of the World's Afterlife Beliefs here: https://www.innertraditions.com/near-death-experience-in-ancient-civilizations Come see Tim this weekend at Missouri Paracon: https://www.missouriparacon.com/ Find out where the crew will be in your area: https://www.darknessradioshow.com/p/events/ #paranormal #supernatural #metaphysical #paranormalpodcasts #darknessradio #timdennis #gregoryshushan #neardeathexperienceinancientcivilizations #theoriginsoftheworldsafterlifebeliefs #neardeatheexperience #shareddeathexperience #ancientcivilizations #ancientegypt #sumer #babylonianmesopotamia #vedicindia #prebuddihistchina #mayaandaztecmesoamerica #gods #monsters #ghosts #spirits #spectres #hauntings #hauntedhouses #demons #exorcisms #angels #guardianangels #spiritguides #Psychics #mediums #dreams #paralleldimensions #cern #theology
Darkness Radio presents: Near Death Experience In Ancient Civilizations with Researcher/Author, Gregory Shushan, PhD! Millions of people have had near-death experiences (NDE's)through hstory. What are they - a simple trick of the mind and body or something more? What are we to make of them, and do they tell us anything about religion or are they shaped by our individual beliefs. culture, or the time that we are living in??! Author/Researcher Gregory Shushan, PhD joins Darkness Radio today to discuss the ancient afterlife beliefs of five world regions: Egypt, Sumer and Mesopotamia, India, China, and Maya and Aztec Mesoamerica, revealing their similarities with NDEs and comparing them with each other. Dr. Shushan also shares tales of these individual cultures and talks about how science can learn from these ancient tales. Get your copy of Near-Death Experience In Ancient Civilizations: The Origins of the World's Afterlife Beliefs here: https://www.innertraditions.com/near-death-experience-in-ancient-civilizations Come see Tim this weekend at Missouri Paracon: https://www.missouriparacon.com/ Find out where the crew will be in your area: https://www.darknessradioshow.com/p/events/ #paranormal #supernatural #metaphysical #paranormalpodcasts #darknessradio #timdennis #gregoryshushan #neardeathexperienceinancientcivilizations #theoriginsoftheworldsafterlifebeliefs #neardeatheexperience #shareddeathexperience #ancientcivilizations #ancientegypt #sumer #babylonianmesopotamia #vedicindia #prebuddihistchina #mayaandaztecmesoamerica #gods #monsters #ghosts #spirits #spectres #hauntings #hauntedhouses #demons #exorcisms #angels #guardianangels #spiritguides #Psychics #mediums #dreams #paralleldimensions #cern #theology
• Reveals the powerful influence of near-death experiences (NDEs) on the formation of religious beliefs, mystical literature, and ritual practices• Focuses on the afterlife beliefs of five ancient world regions: Old and Middle Kingdom Egypt, Sumer and Old Babylonian Mesopotamia, Vedic India, pre-Buddhist China, and Maya and Aztec Mesoamerica• Shows how the similarities among afterlife beliefs and their correspondences with NDEs reveal that they both stem from universal truthsTaking readers on a thought-provoking journey into our ancestors' beliefs about death, dying, and the afterlife, Gregory Shushan, Ph.D., reveals the powerful influence of near-death experiences (NDEs) on religious beliefs and ritual practices throughout human history. Focusing on five ancient world regions in Egypt, Mesopotamia, India, China, and Mesoamerica, Shushan expertly explores each civilization's afterlife beliefs. He explains how each of these civilizations developed independently of one another, yet there is a series of similarities among afterlife beliefs too consistent and specific to be mere coincidence. This leads to the profound implication that afterlife beliefs are not entirely invented by cultures: they also stem from universal truths derived from NDEs.Drawing on anthropology, psychology, and philosophy, the author explores how each civilization interpreted NDEs and how afterlife beliefs develop over time. He also explores the metaphysical implications of his discoveries, including what an actual afterlife would look like. Revealing that NDEs have occurred throughout human history, Shushan shows how they continue to influence our understanding of what lies beyond death to this day.BioGregory Shushan, Ph.D., is the leading authority on near-death experiences and afterlife beliefs across cultures and throughout history. He is an award-winning author affiliated with Birmingham Newman University, University of Winchester, Marian University, and the Parapsychology Foundation. A former researcher at the University of Oxford and University of Wales, he lives in San Francisco.https://www.amazon.com/dp/B0D4MDW98Y/https://www.gregoryshushan.com/(Twitter): @GregoryShushanInstagram Profile: @gregoryshushanFacebook Page: facebook.com/gregoryshushanYouTube Channel: Gregory Shushan https://www.pastliveshypnosis.co.uk/https://www.patreon.com/ourparanormalafterlife
• Reveals the powerful influence of near-death experiences (NDEs) on the formation of religious beliefs, mystical literature, and ritual practices• Focuses on the afterlife beliefs of five ancient world regions: Old and Middle Kingdom Egypt, Sumer and Old Babylonian Mesopotamia, Vedic India, pre-Buddhist China, and Maya and Aztec Mesoamerica• Shows how the similarities among afterlife beliefs and their correspondences with NDEs reveal that they both stem from universal truthsTaking readers on a thought-provoking journey into our ancestors' beliefs about death, dying, and the afterlife, Gregory Shushan, Ph.D., reveals the powerful influence of near-death experiences (NDEs) on religious beliefs and ritual practices throughout human history. Focusing on five ancient world regions in Egypt, Mesopotamia, India, China, and Mesoamerica, Shushan expertly explores each civilization's afterlife beliefs. He explains how each of these civilizations developed independently of one another, yet there is a series of similarities among afterlife beliefs too consistent and specific to be mere coincidence. This leads to the profound implication that afterlife beliefs are not entirely invented by cultures: they also stem from universal truths derived from NDEs.Drawing on anthropology, psychology, and philosophy, the author explores how each civilization interpreted NDEs and how afterlife beliefs develop over time. He also explores the metaphysical implications of his discoveries, including what an actual afterlife would look like. Revealing that NDEs have occurred throughout human history, Shushan shows how they continue to influence our understanding of what lies beyond death to this day.BioGregory Shushan, Ph.D., is the leading authority on near-death experiences and afterlife beliefs across cultures and throughout history. He is an award-winning author affiliated with Birmingham Newman University, University of Winchester, Marian University, and the Parapsychology Foundation. A former researcher at the University of Oxford and University of Wales, he lives in San Francisco.https://www.amazon.com/dp/B0D4MDW98Y/https://www.gregoryshushan.com/(Twitter): @GregoryShushanInstagram Profile: @gregoryshushanFacebook Page: facebook.com/gregoryshushanYouTube Channel: Gregory Shushan https://www.pastliveshypnosis.co.uk/https://www.patreon.com/ourparanormalafterlife
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Bobby, Mike, and Steve previewed Super Bowl LIX between the Kansas City Chiefs and Philadelphia Eagles. Bobby said Eagles quarterback Jalen Hurts has much to gain if he captures Philadelphia's second Super Bowl title. The guys also celebrated Eagles running back Saquon Barkley's historic 2024 campaign. Former Tulane linebacker Sam Bruchhaus, a data scientist & draft analyst for Sumer Sports, joined Bobby, Mike, and Steve to promote Sumer's AI, which assists them in pre-draft analysis. Bobby, Mike, and Steve shared their thoughts on Eagles OC Kellen Moore, who Bobby said will be the next head coach of the Saints. Audacy NFL Insider Mark Schlereth, the host of "The Stinkin' Truth" podcast, broke down Super Bowl LIX with the guys. Bobby, Mike, and Steve shared their thoughts on the earth-shattering Luka Doncic-Anthony Davis trade. Bobby, Mike, and Steve reviewed the complaints about Kansas City's perceived officiating advantage. Dan Israel, an executive producer & host on the Chiefs radio network, joined Bobby, Mike and Steve. Israel shared his thoughts on Kansas City's consistency, TE Travis Kelce's potential retirement, and DC Steve Spagnuolo's Hall of Fame resume. Mike told a story about Chiefs head coach Andy Reid. The guys also spoke to a WWL listener about the Super Bowl's opening night and Moore's candidacy for the Saints' head coaching vacancy.
Former Tulane linebacker Sam Bruchhaus, a data scientist & draft analyst for Sumer Sports, joined Bobby, Mike, and Steve. Bruchhaus promoted Sumer's AI, which assists them in pre-draft analysis. Bruchhaus also shared his thoughts on the upcoming NFL Draft, highlighting the DL class, Colorado star Travis Hunter, and LSU LT Will Campbell.
Bobby, Mike, and Steve previewed Super Bowl LIX between the Kansas City Chiefs and Philadelphia Eagles. Bobby said Eagles quarterback Jalen Hurts has much to gain if he captures Philadelphia's second Super Bowl title. The guys also celebrated Eagles running back Saquon Barkley's historic 2024 campaign. Former Tulane linebacker Sam Bruchhaus, a data scientist & draft analyst for Sumer Sports, joined Bobby, Mike, and Steve. Bruchhaus promoted Sumer's AI, which assists them in pre-draft analysis. Bobby, Mike, and Steve shared their thoughts on Eagles OC Kellen Moore, who Bobby said will be the next head coach of the Saints.
Former NFL GM & Sumer's Sports Thomas Dimitroff joins the show to discuss the Myles Garrett rumors, and hit on the rest of this NFL offseason news. To learn more about listener data and our privacy practices visit: https://www.audacyinc.com/privacy-policy Learn more about your ad choices. Visit https://podcastchoices.com/adchoices
We missed you, Bumpies! After a long summer break, Farmer Jayde and Trucker Sophie are back in your earholes, ready to kick off another year of Beyond the Bump. In this episode, we're catching you up on all the highs, lows, and hilarious moments from our summer break. From family chaos to much-needed downtime, we're sharing it all! As always, we hope you enjoy this episode! Beyond the Bump is a podcast brought to you by Jayde Couldwell and Sophie Pearce! A podcast targeted at mums, just like you! A place to have real conversations with honest and authentic people. Follow us on Instagram at @beyondthebump.podcast to stay up to date with behind the scenes and future episodes. Join our Facebook chat Beyond the Bump Community Chats! Sign up to our newsletter HERE Email us HERE This episode is proudly sponsored by iL Tutto! iL Tutto is giving you 20% off full-priced items with our code BUMP20 at checkout. Just head to https://www.iltutto.com.au/ and take advantage before the deal ends on March 4, 2025!
Avant qu'on commence à gribouiller des signes sur des pierres, des tablettes ou du papier, l'humanité était dans une espèce de flou artistique où tout était oral. On se contentait simplement de se raconter des histoires autour du feu, un peu comme en colo. Et tant pis pour ceux et celles qui avaient une mauvaise mémoire. Mais tout a changé vers 3500 avant J.-C., en Mésopotamie, et plus précisément dans le pays de Sumer : c'est là-bas, entre le Tigre et l'Euphrate, que l'humanité est entrée dans l'Histoire. Hébergé par Audion. Visitez https://www.audion.fm/fr/privacy-policy pour plus d'informations.
Notes - https://www.generationword.com/notes/Genesis/27-Genesis_14_1-24-Eastern_Kings_Invade.pdf
Cutting Through the Matrix with Alan Watt Podcast (.xml Format)
--{ "Men Who Would Be Gods, and Revolutionaries"}-- What happened after the recent soccer match in Amsterdam? Was it a pogrom or hooliganism? - The pantheon of gods surrounding Donald Trump. Musk as Puck, RFK Jr. as Horus - Who is Alex Karp? The CEO of Palantir, a company providing surveillance tech to Israel. - How old is this religion of the ruling elite? What are the mystery schools? - Alan Watt discusses the coronation of Queen Elizabeth, the Anunnaki, Egypt, Sumer, and the Khazars.
DEFENSE ministers for the G7 nations are meeting in Italy and things don't look good for Volodomyr Zelensky. The Ukrainian president has taken a different approach in recent days. Where once he was thankful for the hundreds of billions of dollars in financial and military aid from the West, he's now demanding either membership in NATO or nuclear weapons. Neither option appears to be on the table as far as the US, UK, France, and Germany are concerned. Meanwhile, Kamala Harris's campaign hit more speed bumps with news that she plagiarized large sections of her 2009 book and her awful interview with Bret Baier of Fox News. Her body language revealed her discomfort as she tried to word-salad her way out of the fact that she's trying to run against her own record. We also discuss this week's super moon and worship of the moon-god in the ancient world, known as Nanna in Sumer, Sîn (pronounced “seen”) in Babylonia, and Yarikh to the Amorites—from which the city of Jericho gets its name. The archaeological evidence suggests a connection between Jericho and the Nuraghic culture of Sardinia, which is home to hundreds of “giant's tombs.” There are also around 200 dolmens on the island of Sardinia, tens of thousands of which are found in Israel and Jordan between Mount Hermon and the Dead Sea. We've written extensively about dolmens in our books Veneration and our new book The Gates of Hell, which is, as of this recording, Amazon's #1 New Release in the Theology category. (Thank you!) Our new book The Gates of Hell is now available in paperback, Kindle, and as an audiobook at Audible! Sharon's niece, Sarah Sachleben, was recently diagnosed with stage 4 bowel cancer, and the medical bills are piling up. If you are led to help, please go to GilbertHouse.org/hopeforsarah. Follow us! X (formerly Twitter): @pidradio | @sharonkgilbert | @derekgilbert | @gilberthouse_tvTelegram: t.me/gilberthouse | t.me/sharonsroom | t.me/viewfromthebunkerYouTube: @GilbertHouse | @UnravelingRevelationFacebook.com/pidradio ——————Thank you for making our Build Barn Better project a reality! Our 1,200 square foot pole barn has a new HVAC system, epoxy floor, 100-amp electric service, new windows, insulation, lights, and ceiling fans! If you are so led, you can help out by clicking here: gilberthouse.org/donate. Get our free app! It connects you to this podcast, our weekly Bible studies, and our weekly video programs Unraveling Revelation and A View from the Bunker. The app is available for iOS, Android, Roku, and Apple TV. Links to the app stores are at pidradio.com/app. Video on demand of our best teachings! Stream presentations and teachings based on our research at our new video on demand site: gilberthouse.org/video! Check out our online store! GilbertHouse.org/store is a virtual book table with books and DVDs related to our weekly Bible study. Take advantage of our monthly specials! And check out our new line of T-shirts and mugs! Think better, feel better! Our partners at Simply Clean Foods offer freeze-dried, 100% GMO-free food and delicious, vacuum-packed fair trade coffee from Honduras. Find out more at GilbertHouse.org/store/.——————WE'RE GOING BACK TO ISRAEL! Our 2025 tour features special guests Dr. Judd Burton and Doug Van Dorn! We will tour the Holy Land March 25–April 3, 2025, with an optional three-day extension in Jordan. For more information, log on to GilbertHouse.org/travel. PLEASE NOTE: Due to security concerns, our Solidarity Mission planned for November 6–13, 2024 has been canceled.
durée : 00:03:43 - Le Pourquoi du comment : philo - par : Frédéric Worms - Peut-on résumer une philosophie en une seule phrase ? Découvrez comment le langage et des concepts clés, comme "Je pense, donc je suis" de Descartes, capturent l'essence des idées philosophiques. Qu'est-ce qui rend certaines phrases mémorables et inoubliables ? - réalisation : Riyad Cairat
Send Robert a Text! The Bakersfield Californian described the Summer of 1947 as "the Sumer of the flying saucers". A nationwide flying saucer craze was occurring, and even Bakersfield got caught up in it. Notorious Bakersfield: The Book is available for purchase!Order your copy here: https://a.co/d/3b1jj4F
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