Podcasts about The Temptations

The Book of Acts is filled with powerful examples of the wonderful works of God. In this series we'll explore the Book of Acts and discover hidden mysteries that will change your life forever. www.kingdomrock.org Mission Tabernacle Outreach

We reflect on a temptation and how to fight differently in the future! Join my Soul, Mind and Body Group!

The show that strives to provide the BEST music EVER written, performed, and recorded, this show, along with historical and composition notes, runs the musical gamut from Beethoven to Pablo Cruise, from Mozart to Buddy Rich, from Miles Davis to Segovia, from Count Basie and Brahms, to the Temptations and Frank Sinatra. You will not be disappointed with the music on this show!  Plus, with Paul's anecdotes and tidbits from his own performing and composition career, you will walk away each day a bit enlightened with the world of music! On our radio station at 1:00 pm ET and 11:00 pm ET seven days/night a week! http://streaming.radio.co/sb17f7f4fa/listen Brand new show every MONDAY at: 1:00 pm ET WebPage: https://pod.co/impactclassics Email Address: ImpactClassics@gmail.com

“Do not pray for easy lives. Pray to be stronger men.”  John F. Kennedy As we work our way through this series, we are first stopping at the age of men youngest and most impressionable:  those young adult (high school/college) and single men.  Yes this is a large age group to cover.  Yes a lot happens in these years.  But there are some common tenets these younger men must adhere to; certain traits they must develop in Christ.  We see a firm foundation of truth must be laid.  We see an avoidance of the world's trappings and temptations (and necessary boundaries/preventative measures established).  Finally we see that in charting a course in life (finding a career, a spouse, a calling) involves seeking the Lord's heart and following His lead.  This is a crucial part of a man's life.  This is a time to either press in and put down roots OR waste and squander the potential we have.  I pray this is an episode that will minister to young men in this stage of life.  Please feel free to share with those who you think might need to hear this teaching.  Mentioned in this episode:Whom Shall I Send? - Isaiah 6 (Prayers Of The Bible) blog articleEvery Man's Battle by Stephen Arterburn and Fred Stoeker (Book on Amazon)

All temptation is an attack against the love present in a person, the degree of temptation depending on the degree of that love. If love is not attacked there is no temptation. (Secrets of Heaven 1690:3)

Welcome to Part 2 of my interview with Vinnie Ciesielski!Before I say anything else, let me point out that the link I share to access the show notes during the episode is incorrect. The show notes for this episode are https://trumpetdynamics.com/trumpetvinnie2. I believe I left out the number 2 during the interview because I initially planned to have this be one giant episode, but wisely chose to break it into two parts.And what a part this is. Vinnie and I dove deep into the "why" of playing trumpet. The "How" tends to be rather superficial, which is why I don't have much interest in podcasts like that. But the "why" is what gets me excited, and Vinnie surely did not disappoint with his insightful comments in this one.Enjoy!What you'll hear in this episode:-More in-depth dialogue on the "good day and great day" concept...05:05-The need for healthy lifestyle for success on trumpet and overall quality of life...08:30-Self-loathing equates to loathing your environment...13:30-Why and how Vinnie has played with a rare condition that causes loss of feeling on the left side of his body...17:20-If you can feel your face, you're ahead of the game!...25:00-Shame is a wasted emotion...32:00-Keeping things real regarding the importance of trumpet...36:00-Adapting to radically changed physicality, and thoughtfully losing weight so it stays off...43:30-Music a salve for tremendous joy and intense loss...53:45-Are we "called" to trumpet?...58:45-A father's offhand comment while watching TV proves prophetic...01:03:30-Plus whatever your discerning ears deem worthy of your time and interest...Resources mentioned:Vinnie's websiteMy Fitness Pal appTrumpet Dynamics podcast with Beth PeroutkaAbout the Guest:Attending Towson University in Maryland, Vinnie Ciesielski majored in music performance on trumpet, which he has played professionally for over 50 years.Since coming to Nashville in 1992, Vinnie has played on thousands of recordings with artists such as Lyle Lovett, Travis Tritt, Tracy Byrd, Smokey Norful, Tanya Tucker, Glenn Frey, T.D. Jakes, Lynyrd Skynyrd, Bad Company, Gregg Allman, Kirk Franklin, Queen Latifah, Yolanda Adams, Donnie McClurkin, Israel Houghton, Demi Lovato, Grace Potter, Delbert McClinton, Alison Krauss, Taylor Swift, The Clark Sisters, Thomas Rhett, Nuno Betencort, Marcus Scott (Tower of Power) Steven Tyler, Vince Gill, Michael McDonald, Keb Mo, Johnny Taylor, Bobby Blue Bland, Via Con Dios, Martina McBride, Don Was, Zac Brown Band, and many more.He has performed live with artists such as Bruce Springsteen, Gladys Knight, Kid Rock, Keith Richards, Jimmy Buffett, Paul Simon, Sting, Tony Bennett, Glenn Frey, Don Henley, Kenny Rogers, Shelby Lynne, The Temptations, The Four Tops, The O'Jays, Aretha Franklin, Percy Sledge, Shawn Colvin, Eddie Floyd, Booker T. and the MGs, Vince Gill, Amy Grant, Bob Hope, Frankie Valli, Sheryl Crow, Adrian Belew, Bruce Hornsby, Michael McDonald, Carrie Underwood, Jennifer Nettles and The Beach Boys.He has also appeared on The Tonight Show with Jay Leno,, Late Night with David Letterman, Conan O'Brien, Jimmy Kimmel, Good Morning America, The Today Show, The Tonight Show with Jimmy Fallon, CBS New Years Eve Bash, The Road, SoundStage, Disney and Universal TV specials, Nashville Now, Music City Tonight, Austin City Limits, Grand Old Opry, Rosie...

The Book of Acts is filled with powerful examples of the wonderful works of God. In this series we'll explore the Book of Acts and discover hidden mysteries that will change your life forever. www.kingdomrock.org Mission Tabernacle Outreach

Matthew 18:1–20 Who Is the Greatest? [1] At that time the disciples came to Jesus, saying, “Who is the greatest in the kingdom of heaven?” [2] And calling to him a child, he put him in the midst of them [3] and said, “Truly, I say to you, unless you turn and become like children, you will never enter the kingdom of heaven. [4] Whoever humbles himself like this child is the greatest in the kingdom of heaven. [5] “Whoever receives one such child in my name receives me, [6] but whoever causes one of these little ones who believe in me to sin, it would be better for him to have a great millstone fastened around his neck and to be drowned in the depth of the sea. Temptations to Sin [7] “Woe to the world for temptations to sin! For it is necessary that temptations come, but woe to the one by whom the temptation comes! [8] And if your hand or your foot causes you to sin, cut it off and throw it away. It is better for you to enter life crippled or lame than with two hands or two feet to be thrown into the eternal fire. [9] And if your eye causes you to sin, tear it out and throw it away. It is better for you to enter life with one eye than with two eyes to be thrown into the hell of fire. The Parable of the Lost Sheep [10] “See that you do not despise one of these little ones. For I tell you that in heaven their angels always see the face of my Father who is in heaven. [12] What do you think? If a man has a hundred sheep, and one of them has gone astray, does he not leave the ninety-nine on the mountains and go in search of the one that went astray? [13] And if he finds it, truly, I say to you, he rejoices over it more than over the ninety-nine that never went astray. [14] So it is not the will of my Father who is in heaven that one of these little ones should perish. If Your Brother Sins Against You [15] “If your brother sins against you, go and tell him his fault, between you and him alone. If he listens to you, you have gained your brother. [16] But if he does not listen, take one or two others along with you, that every charge may be established by the evidence of two or three witnesses. [17] If he refuses to listen to them, tell it to the church. And if he refuses to listen even to the church, let him be to you as a Gentile and a tax collector. [18] Truly, I say to you, whatever you bind on earth shall be bound in heaven, and whatever you loose on earth shall be loosed in heaven. [19] Again I say to you, if two of you agree on earth about anything they ask, it will be done for them by my Father in heaven. [20] For where two or three are gathered in my name, there am I among them.” (ESV)

What do you do that you know is bad for you?  How are these sabotaging the future you are building?  Today we are going to give you strategies to have power over the temptations in your life.  On this episode we discuss: Understand what is holding you back You have power over your behaviors Using replacement behaviors to create new habits You have power over your emotions Learning to engage with emotional sobriety Recognizing the anxiety and externalizing it Stepping back from incorrect thinking The role that your phone can play in your thinking Using support to move forward from temptation Resources:Shatterproof Yourself Video: 7 ACTIONS to START Building Your LegacyDecide Your Legacy Corporate & Group WorkshopsThanks for listening, be sure to subscribe and leave us a review!Be sure to follow me on Instagram @adamgragg Connect with Decide Your Legacy! Adam Gragg is a Legacy Coach, Blogger, Podcaster, Speaker, & Mental Health Professional for nearly 25 years. Adam's life purpose is helping people & organizations find transformational clarity that propels them forward to face their biggest fears to LIVE & leave their chosen legacy. He's ultra-practical in his approach, convinced that engaging in self-reflective ACTION & practical tools, practiced consistently, WILL transform your life. He specializes in life transitions, career issues, and helping clients overcome anxiety, depression & trauma. Contact Adam HERE. if you're interested in getting started on deciding YOUR legacy. Be sure to check out Escape Artists Travel and tell them Decide Your Legacy sent you!

Have you ever wondered why we find it so hard to resist certain temptations, even when we know they may not be in our best interest? Well, you're in for a thought-provoking episode as we explore "The Pleasure Trap" with our esteemed guest, Dr. Doug Lisle.Now, I know some of you may be thinking, "Wait, an atheist and evolutionist on a show aimed at Christians?" And that's precisely why I invited Dr. Lisle here today—to challenge our perspectives and open our minds to new ideas. Dr. Lisle brings a wealth of knowledge and expertise on this subject, and he'll shed light on how the pursuit of pleasure can sometimes lead us down a path we didn't anticipate—the notorious "pleasure trap."Whether you're a Christian, a follower of Jesus, or simply curious about the complexities of human behavior, this episode promises to be enlightening. We'll learn how the pleasure signal can be both a blessing and a curse and discover strategies to navigate this intricate web of desires in pursuit of a more fulfilling life.So, grab your favorite beverage, find a comfortable listening chair, and get ready to challenge your beliefs and expand your understanding about the "Pleasure Trap"!Here's a bit of what you'll hear in today's episode:-What is the Pleasure Trap?...04:45-Energy Conservation, evolution, and how pursuing the path of least resistance impacts our health...11:05-The first step to escaping the pleasure trap...16:15-Thoughts on food and drink correlated to the pleasure trap...24:00-What about those who have "tried" and things didn't work out?...30:30-When the pain is greater than the circumstances, change is on the horizon...34:45-Advice for those struggling with mental health as it pertains to the pleasure trap...40:00-And much more...Resources mentioned:Visibly Fit episode with Evan QuelerEsteem DynamicsConnect with today's guest:Dr. Lisle has been the clinical psychologist at the TrueNorth Health Center for over 30 years. He has published numerous articles in the scientific literature. He is the co-author of The Pleasure Trap and is in private practice, conducting psychotherapy at the TrueNorth Health Center.Delightfully candid and warm, Dr. Douglas Lisle is one of psychology's most innovative and curious minds. Deeply dedicated to exploring the mysteries of human behavior from fresh, uncharted waters, his research in evolutionary psychology and its impact on health, happiness and the pursuit of pleasure is generating critical acclaim.Dr. Lisle is a graduate of the University of California at San Diego (Summa Cum Laude). He received the President's Fellowship and was a Dupont Scholar at the University of Virginia where he completed his Ph.D. in Clinical Psychology. He was then appointed Lecturer in Psychology at Stanford University and was on the staff at the National Center for Posttraumatic Stress Disorder at the Veterans Affairs Hospital in Palo Alto, California.Dr. Lisle worked as a forensic psychologist for the criminal justice system in Dallas, Texas and as a consultant for the National Institute of Health Clinical Trial on Cognitive Therapy for Recurrent Depression at the University of Texas Southwestern Medical Center. Dr. Lisle lectures nationally to health professionals on topics including evolutionary psychology, cognitive therapy, lifestyle modification, relaxation and stress management, and weight loss.P.S. If you're just checking out the show to see if it's a good fit for you, welcome!If you're really serious about becoming Visibly Fit, you'll get the best experience if you download the...

One of the foundational songs of Americana, roots, and southern rock, by one of the most influential bands ever, covered by the most super of super-groups, and by someone who understood the original better than anyone expected. The Weight, originally by The Band, covered by Diana Ross and the Supremes and the Temptations, and by Joan Osborne. If you're keeping count, that's three versions.  Outro music is Right Hand Man, also by Joan Osborne. 

He raised up David to be their king, of whom he testified and said, “I have found in David the son of Jesse a man after my heart, who will do all my will.”  Acts 13:22 We are spending the next several weeks on the podcast talking to a specific audience:  Christian men.  If there is a demographic within the church that I have felt most specifically called to reach, it would be Christian men.  To seek a path in life that brings the Lord glory and is directed by Him.  To tell them to lead well as husbands and fathers; in a Christ-honoring way.  To come to the end of life knowing you led well and you have much left to impart to the generations that follow.  This series attempts to hit all of these areas and cause men to consider the weight of the call they have in Christ.  We model David, as he in turn modeled Christ:  he was a man after God's own heart.  This episode serves as an introduction and sets the stage for what follows.  Will you join me? Mentioned in this episode: Song "100 Years" by Five For Fighting:  https://www.youtube.com/watch?v=JDKjX7YMJ6wAre Young People Really Leaving Christianity? articleWhere Are All The Men?  Exploring The Gender Gap In Church article

The show that strives to provide the BEST music EVER written, performed, and recorded, this show, along with historical and composition notes, runs the musical gamut from Beethoven to Pablo Cruise, from Mozart to Buddy Rich, from Miles Davis to Segovia, from Count Basie and Brahms, to the Temptations and Frank Sinatra. You will not be disappointed with the music on this show!  Plus, with Paul's anecdotes and tidbits from his own performing and composition career, you will walk away each day a bit enlightened with the world of music! On our radio station at 1:00 pm ET and 11:00 pm ET seven days/night a week! http://streaming.radio.co/sb17f7f4fa/listen Brand new show every MONDAY at: 1:00 pm ET WebPage: https://pod.co/impactclassics Email Address: ImpactClassics@gmail.com

Join us as we discuss the first part of the book of James. James tells us to consider it pure joy when we face trials. We are going to dive deeper into that thought.

It's no secret that our bodies, our minds, our perspectives in life change as we age. Yet we often believe that what we learned about playing trumpet while we were in our teens and early twenties will continue to work as we get older.Maybe it's because we heard something in a masterclass and decided this is the way to do it. Or we attended a certain school where certain dogmas regarding trumpet playing prevailed, even overshadowing individual needs of the player.This was more or less the impetus of Paul Baron and Bobby Medina beginning first a Facebook targeted at older players, and then eventually becoming a full-fledged training regimen called Trumpet Diagnostics. I wanted to pick the brains of the founders of the program about their experiences working with older players, and what they aim to achieve with their program.Thankfully we were able to get all three of us on a Zoom call from various parts of the U.S. and talk about their program.Enjoy the interview!What you'll hear in this episode:-The founding origins of the Trumpet Diagnostics program...02:30-The Facebook group becomes a webinar, which becomes the program...05:30-What does "Body Mechanics Mastery" mean?...06:30-Why certain methods we swear by are sometimes limited in their efficacy in teaching us how to play efficiently...08:40-Learning "the method of no method"; becoming our own teachers...13:00-Why have we moved beyond the various "schools" of thought regarding trumpet playing?...14:15-Martial arts lessons applied to the physicality of trumpet...18:30-Efficiency (i.e. minimal playing) is key to longevity as a trumpeter...23:00-Don't worry about aesthetics based on showmanship, worry about what works for you...27:30-What is the biggest hurdles Paul and Bobby's students need to overcome?...29:00-Neuroplasticity and repetition over a long period of time is key to improving your playing...34:30-What you'll experience with the Trumpet Diagnostics program...38:05-Plus whatever your discerning ears deem worthy of your time and interest...Resources mentioned:Trumpet DiagnosticsTips for Trumpeters 50 and Beyond! Facebook groupAbout the Guests:Bobby MedinaFour solo recordings under his name along with world tours and live performances with legendary musical artists including Ray Charles, Frankie Valli, Wayne Newton, Mel Torme, Temptations, National Touring Broadway shows and more. Student of legendary teachers including James Stamp, Bobby Shew, Carmine Caruso, Charley Davis. Medina's 40+ years experience has been presented at masterclasses in the USA, Europe, South America and Asia helping players of all levels overcome their playing deficiencies and frustrations through specialized mental and mechanical techniques.Paul BaronPaul's professional career began 40 years ago. His lead trumpet can be heard on over 1,000 jingles, hundreds of albums, dozens of movie scores and he's played, recorded and toured with Aerosmith, Lynrd Skynrd, Barry Manilow, Bob Hope, Wayne Newton, nearly twenty Broadway shows including Disney's Newsies, Aladdin, Frozen and many more. Paul's teaching has led him to give nearly 100 masterclasses and decades of private instruction teaching players how to repair and reprogram their playing to be the most efficient possible. Thank you for joining us on "Trumpet Dynamics" – telling the story of the trumpet, in the words of those who play it....

Dr. Jyme was a guest presenter at the 2023 EquiSUMMIT. This is a re-play of her presentation covering the nutritional considerations of horses with sugar sensitivities. To view the video replay of this webinar go to: https://bit.ly/440K6tp You can now follow @drjyme on Facebook and Instagram! Please tell your friends how #feedroomchemist has made you an #empoweredhorseowner! …. If you have a topic or question you would like addressed on a future episode please email info@bluebonnetfeeds.com Dr. Jyme Nichols is Director of Nutrition for Bluebonnet Feeds and Stride Animal Health. For more information on these brands or a free virtual nutrition consult from our team just visit bluebonnetfeeds.com/nutrition-consult --- Send in a voice message: https://podcasters.spotify.com/pod/show/feedroomchemist/message

The Book of Acts is filled with powerful examples of the wonderful works of God. In this series we'll explore the Book of Acts and discover hidden mysteries that will change your life forever. www.kingdomrock.org Mission Tabernacle Outreach

The show that strives to provide the BEST music EVER written, performed, and recorded, this show, along with historical and composition notes, runs the musical gamut from Beethoven to Pablo Cruise, from Mozart to Buddy Rich, from Miles Davis to Segovia, from Count Basie and Brahms, to the Temptations and Frank Sinatra. You will not be disappointed with the music on this show!  Plus, with Paul's anecdotes and tidbits from his own performing and composition career, you will walk away each day a bit enlightened with the world of music! On our radio station at 1:00 pm ET and 11:00 pm ET seven days/night a week! http://streaming.radio.co/sb17f7f4fa/listen Brand new show every MONDAY at: 1:00 pm ET WebPage: https://pod.co/impactclassics Email Address: ImpactClassics@gmail.com

Explore the depths of your life's narrative in this episode, where we challenge the notion of finality even in contentment. Discover how acknowledging and overcoming fears can lead to remarkable growth and learn why taking that extra step, even when it feels like the end, inspires you to see beyond the present chapter. KEY TAKEAWAYS  Important truths to remind yourself of The significance of taking time to reflect Why you need to recognize and embrace discomfort in your life Ultimate benefits of recognizing your fears and overcoming them The power of resolving life problems and taking one more step RESOURCES/LINKS MENTIONEDTimeline: https://amzn.to/45bPV8B The Motivation Manifesto by Brendon Burchard: https://amzn.to/3YJ0kpT Ep354 The Difference Between Personal & Financial Freedom: https://apple.co/3E7vgGN Ep356 Cost of Fear: https://apple.co/45jjUeZ Ep358 Sparking and Sustaining Motivation: https://apple.co/3QQJvHt Ep360 The Path to Purpose: Exploring the 6 Key Roles in Living a Fulfilling Life: https://apple.co/45CgljJ Ep362 Kiss Obligations Goodbye: https://apple.co/47LT6p6 Ep364 Slay Doubt, Delay, and Division: https://apple.co/3R7YNYT Ep366 Permission NOT Required: https://apple.co/3OPtyPp Ep368 3 Reasons Gratitude Will Change Your Life: https://apple.co/45CgJyH Ep370 Integrity Part I: The 6 Practices: https://apple.co/45m5oCY Ep372 Integrity Part II: The 7 Temptations: https://apple.co/47MmRq3 Ep374 Redefining the Concept of Love: https://apple.co/3YKcgYk Ep376 Greatness Part I: Standards that Stand Apart: https://apple.co/45vZNKa Ep378 Greatness Part II: 9 Virtues of Greatness: https://apple.co/44gqFwN Ep380 Facing Death: Two Beats Longer | Declaration 9: https://apple.co/3QPINu4 The Power of One More by Ed Mylett: https://amzn.to/3QXRPVU CONNECT WITH USSchedule a 20-min get-to-know each other call - bit.ly/3OK31kISchedule a 20-min call to explore performance coaching - bit.ly/Coaching-JulieSchedule a 30-min call to learn about investing with Three Keys Investments - bit.ly/3yteWhxJoin the Book and Networking club via Zoom at: bit.ly/3HBPnQw or sign up at: bit.ly/3c0dr1uVisit ThreeKeysInvestments.com to download a free e-book, “Why Invest in Apartments”!Learn how to reduce your tax liability by scheduling a FREE consultation at https://modewealth.com/If you're looking for an affordable healthcare solution, check out Christian Healthcare Ministries by visiting https://bit.ly/3JTRm1I Please RSS: Review, Subscribe, Share!

SYNOPSIS:Following an argument about their respective expectations of what a date should be, David challenges Maddie to provide him with a "fun" evening out, and he is to show her a "fine" evening out. He decides he's going to take her to the theatre. He drives all around town to buy tickets but finds that they are all sold out.He thinks his luck has changed when a scalper approaches him with two tickets to the symphony.Unfortunately for David, these tickets were robbed from a man who was involved in an assassination plot. And unbeknownst to David, the tickets are not together.Maddie and David discover that there is an assassination plot that in a few hours will cause an international incident. The episode culminates with David being forced to take the place of one of the participants in a boxing match promoted by Don King, who makes a guest appearance.This episode includes yet another “breaking the fourth wall” cold-open which includes The Temptations singing their hit song, “Psychedelic Shack”, as well as David talking Maddie into singing and dancing to the same song.GUEST STARS:The TemptationsDon KingXander BerkeleyWill McMillanLinda ThorsonTom McFaddenJan B DalyJade RobertsSteve JamesJohn MenickMOONLIGHTING THE TV SHOWThe show is all about the hit TV Show Moonlighting which aired from 1985 to 1989 and starred Bruce Willis and Cybill Shepherd.Grace Chivell and Shawna Saari take a look at each episode in chronological order from the Pilot to the end of the fifth and final season.They discuss the direction, the production, the outfits, the lighting, the car chases, and the tumultuous relationship between Maddie Hayes and David Addison.FOR MORE INFORMATION:https://moonlightingthepodcast.comMerchandise: https://redbubble.com/people/moonpod2016Join Our Facebook Community:https://facebook.com/groups/moonlightingthepodcasthttps://facebook.com/moonlightingthepodcastJoin Our Instagram Community:https://instagram.com/moonlightingthepodcastTo learn more about Grace:https://gracechivell.com.auMoonlighting The Podcast YouTube Channel: bit.ly/maddieanddavidTo learn more about Shawna:https://www.youtube.com/channel/UCft4ALOjBZnEt4DBUvx3HvQDonate:https://ko-fi.com/moonlightingthepodcast Hosted on Acast. See acast.com/privacy for more information.

Beginning in September 2023, I will be hosting a monthly masterclass on personal branding. It's 100% free, and I guarantee you'll learn something new about boosting your online or offline presence. If you don't, I'll give you your money back!To get the time and date, and register for the next masterclass, visit my own website, https://jamesdnewcomb.com.I also invite you to the brand new Trumpet Dynamics Facebook group. It's of course free to join, and is a great way to connect with your fellow listeners of the show and trumpet enthusiasts. Here's the link for the Facebook group: https://www.facebook.com/groups/trumpetdynamicsI'm really glad to welcome to the show Del Lyren, currently on faculty at the University of Minnesota Twin Cities. I got to know Del while he was teaching at Bemidji State University, which I have a personal connection to as my grandfather went to BSU way back in the 1940's!It turns out that it seems everyone has some sort of connection to Bemidji, even if it's just a photo at the famous statues of Paul Bunyan and Babe the Blue Ox right there on the lake.I was able to meet Del in person while visiting family in Minnesota, and we talked about the value of community in music, what it was like hosting an ITG conference, why the small town gigs are sometimes the most profitable, and much more.Enjoy this episode!What you'll hear in this episode:-Everything is better in person, but how do you manage in light of a global pandemic?...07:00-How Rafael Mendez indirectly inspired Del's trumpet career!...12:30-When will the machines finally overcome our natural craving for community?...18:18-The understated small town college prof that made a major impact in Del's development as a person and musician...26:30-The draws and drawbacks of small town life and teaching...34:00-What it's like to host an ITG conference...38:00-What triggered the move to the bigger cities?...46:00-The challenge of channeling creative energy into a paying career...47:50-How music university-level curricula should be crafted...52:00-Plus whatever your discerning ears deem worthy of your time and interest...Resources mentioned:Rafael Mendez InstituteSummit BrassTrumpet Dynamics podcast featuring David HickmanAbout the Guest:Originally from Brookings, South Dakota, Del Lyren has presented lectures and recitals throughout the world, including recitals at the Euro-ITG conferences in Bad Sackingen, Germany, Kiev, Ukraine, and a month-long residency in China. Other guest artist appearances have taken him to England, Scotland, Sweden, Canada, and Mexico.Lyren co-hosted the 2011 conference of the International Trumpet Guild held in Minneapolis and attended by over 1400 trumpet players from throughout the world. In addition to numerous clinics throughout the region, Lyren has appeared on Prairie Home Companion with Garrison Keillor. Additionally, Lyren serves as the Assistant Festival Director for the JENerations Jazz Festival at the Jazz Education Network Conference each January.Students of Dr. Lyren have achieved success in nearly every arena of the music world. With acceptance to nearly every major graduate program in the United States, many have completed doctoral degrees and teach at the university level. His former students have performed with major popular artists such as Adele, The Temptations, and Boyz II...

The Book of Acts is filled with powerful examples of the wonderful works of God. In this series we'll explore the Book of Acts and discover hidden mysteries that will change your life forever. www.kingdomrock.org Mission Tabernacle Outreach

Today we're studying 1 Corinthians 10:13 in just one minute! Grab your scriptures and let's dive into them together!   Get our 365-day New Testament daily devotional book: https://amzn.to/3BTEQfA (affiliate link)   Get your free copy of the simplified New Testament outline here: https://kristenwalkersmith.com/new-testament-simplified/    And grab Cali's scripture study guide here: https://comefollowmestudy.com/shop/ Discount code: OMSS Or for a physical copy:  https://amzn.to/3PxUOUu (affiliate link)

Having a human brain means that we will have urges. I know… womp womp womp. No one likes having urges that seem so relentless that you end up throwing back a sleeve of cookies in your pantry… I get it. But what about "urges" seems to keep us all in the dark and mystified? Why do they seem so complicated to overcome? The truth is having urges is normal. Even as you lose weight and you are on your journey to keep it off… HAVING URGES IS NORMAL! So- what do you need to understand to keep your urges in check? The simple answer is that we all have a primitive brain that is designed to keep us alive and avoid harm (like taking away our rewards). However… Understanding how that primitive brain works (a-hem like a toddler in a grocery store) is the secret to understanding and overcoming certain urges. In this special episode, I'm sharing an actual training that I did with my Real Weight Loss Challenge on urges. This is not about resisting and fighting urges. It is about learning how to identify urges and make it easier to actually decondition the desire we have for this reward or instant gratification. Let's get to it. __________________________________ For another episode on urges, check out Episode 27 Urges, Cravings, & Temptations, Oh My!. Listen on Apple Listen on Spotify __________________________________ Connect with Bonnie- Get Summer Ready Masterclass- ⁠⁠⁠⁠https://bonnielefrak.com/checkout-summer-masterclass/⁠⁠⁠⁠ Book a call- ⁠⁠⁠⁠⁠⁠https://calendly.com/bonnielefrak/lets-talk-weight-loss-strategy⁠⁠⁠⁠ Self Made Society- ⁠⁠⁠⁠https://bonnielefrak.com/self-made-society⁠⁠⁠⁠ Facebook Group- ⁠⁠⁠⁠https://www.facebook.com/groups/707942356603835⁠⁠⁠⁠ Facebook- ⁠⁠⁠⁠https://www.facebook.com/bonnie.lefrak⁠⁠⁠⁠ Facebook page- ⁠⁠⁠⁠https://www.facebook.com/coachbonnielefrak⁠⁠⁠⁠ Website- ⁠⁠⁠⁠https://bonnielefrak.com

René and Janay are sound healers who share stories about their teachers and the healing work they do with sound. René has been a professional trombonist for the Temptations, Natalie Cole and Johnny Mathis. He has been a sound healer for more than 30 years. For many years he has studied and performed with renowned South American sound healer Tito La Rosa. He also studied with Angeles Arrien, and Kashaya-Pomo elder Lorin Smith. Janay is a medium, clairvoyant, Angelic reader and sound healer. They play their instruments to individuals and groups to support their highest growth with Vibrational-Light and love. In this episode they speak about plant medicines and the meaning of the 4 directions, and demonstrate instruments they use from ancient as well as modern times, such as flutes from all over the Americas, the didgeridoo, the Shakapa and the Chimu Whistling Water Vessel, Silbadora. To Contact René Jenkins: WEBSITE: https://www.vibetherapy.org EMAIL: healingvibes@sonic.net VISIT OUR WEBSITE: http://www.asmallmediumatlarge.co (all our shows are listed here) ASmallMediumAtLargePodcast@gmail.com Show Produced by Green Valley Production Studio Music by DJ Booda: http://www.djbooda.com

I heard someone say this the other day and it really made me think…they said that one of the biggest challenges that we face in life comes from temptations. I don't know about you, but that doesn't make me feel very encouraged. However, there is encouragement, because just because we are tempted, it doesn't mean that temptations have to overcome us. 1 John 5:4 tells us that whatever is born of God, overcomes the world. And this is the victory that has overcome the world, our faith. Meaning if you have given your life to Jesus, He's talking to you…if you have God on your side, you can overcome any temptation that tries to come your way!1 Corinthians 10:13 says, “For no temptation, no matter how it comes or where it leads has overtaken you that is not common to man [that is, no temptation or trial has come to you that is beyond human resistance. But God is faithful [to His Word and to His compassionate nature], and He [can be trusted] not to let you be tempted  beyond your ability and strength of resistance, but with the temptation He will [always] provide the way out.Ladies, we all face temptations. You may be walking through some temptations right now, so I want you to know that you are not alone. The good news is, though, that temptation  doesn't have to defeat you. God tells us that when temptation comes, he will provide a way of escape every single time…it's up to us to choose it! Temptation will come to you, because the enemy is real and he wants to pull you down any way he can, but it doesn't have to overcome you! We just have to decide that we are not going to let that temptation overcome us!The two biggest things that the enemy tries to tempt us with is our mind—or our thinking and our emotions. Can I get an amen? Did you know that not all the thoughts that come through your head are your thoughts? Have you ever had a thought come into your head and you were like…where in the world did that come from? That is not something I would ever think about? You were almost ashamed by it. The enemy will put thoughts in your mind, because he wants you to take the bait. If you take a thought that he places in your mind and you begin to really think about it. When it was just a thought…that was the temptation, when you began to really think about it and think about it…that's when that temptation won. To learn more about how to overcome temptations, check out this week's episode of the UncommonTEEN Podcast.Connect with Us!Website: UncommonTEEN.comInstagram: @uncommon.teenUncommonTEEN App: UncommonTEENapp.comJoin us LIVE on Instagram on Friday evenings at 9pm Central for a Live Q&A with Coach Jamie!

Pensacola Christian College Opening Convocation Fall 2023

Welcome to Day 2183 of Wisdom-Trek, and thank you for joining me. This is Guthrie Chamberlain, Your Guide to Wisdom Wisdom Nuggets – Proverbs 5:1-14 – Daily Wisdom  Wisdom-Trek Podcast Script - Day 2183 Welcome to Wisdom-Trek with Gramps! I am Guthrie Chamberlain, and we are on Day 2183 of our Trek. The Purpose of Wisdom-Trek is to create a legacy of Wisdom, to seek out discernment and insights, and to boldly grow where few have chosen to grow before. In today's Wisdom Nugget, I'm excited to embark on another journey through the rich tapestry of wisdom found in the book of Proverbs. We will delve into Proverbs 5:1-14 from the New Living Translation. So, grab your walking shoes, and let's hit the trail together as we explore this passage's lessons. Let's dive right in. Proverbs 5:1-14, says: “My son, pay attention to my wisdom; listen carefully to my wise counsel. Then you will show discernment, and your lips will express what you've learned. For the lips of an immoral woman are as sweet as honey, and her mouth is smoother than oil. But in the end, she is as bitter as poison, as dangerous as a double-edged sword. Her feet go down to death; her steps lead straight to the grave. For she cares nothing about the path to life. She staggers down a crooked trail and doesn't realize it. So now, my sons, listen to me. Never stray from what I am about to say: Stay away from her! Don't go near the door of her house! If you do, you will lose your honor and will lose to merciless people all you have achieved. Strangers will consume your wealth, and someone else will enjoy the fruit of your labor. In the end, you will groan in anguish when disease consumes your body. You will say, ‘How I hated discipline! If only I had not ignored all the warnings! Oh, why didn't I listen to my teachers? Why didn't I pay attention to my instructors? I have come to the brink of utter ruin, and now I must face public disgrace.'” Whew, there's a lot to unpack here! This passage offers a powerful warning about the dangers of falling into the trap of temptation, particularly in the realm of immorality. Solomon, the author of Proverbs, is cautioning his listeners, especially the young men, to heed his advice and avoid the enticing but perilous path of unfaithfulness. The imagery here is vivid – comparing the alluring words of an immoral woman to sweet honey and smooth oil. But as appealing as they may seem, Solomon warns that indulging in these temptations can ultimately lead to bitterness, poison, and even death. It's a stark reminder that the fleeting pleasures of momentary satisfaction can have severe and lasting consequences. Now, the lesson doesn't end there. Solomon isn't just about instilling fear. He's also emphasizing the importance of discipline and self-control. He urges his listeners to steer clear of situations that might lead them down the wrong path. Solomon's advice to “stay away from her” is a call to exercise wisdom in avoiding places, circumstances, and relationships that could compromise one's integrity. We can draw a parallel to our modern lives. Temptations are all around us, whether in our relationships, choices, or daily decisions. And just as Solomon advises, we, too, need to have the discernment to recognize the paths that lead to destruction and steer clear of them. It's about safeguarding our honor, our achievements, and our well-being.

The show that strives to provide the BEST music EVER written, performed, and recorded, this show, along with historical and composition notes, runs the musical gamut from Beethoven to Pablo Cruise, from Mozart to Buddy Rich, from Miles Davis to Segovia, from Count Basie and Brahms, to the Temptations and Frank Sinatra. You will not be disappointed with the music on this show!  Plus, with Paul's anecdotes and tidbits from his own performing and composition career, you will walk away each day a bit enlightened with the world of music! On our radio station at 1:00 pm ET and 11:00 pm ET seven days/night a week! http://streaming.radio.co/sb17f7f4fa/listen Brand new show every MONDAY at: 1:00 pm ET WebPage: https://pod.co/impactclassics Email Address: ImpactClassics@gmail.com

At the mercy of poor train WiFi so keeping this brief. Still on holiday. Back this week, when normal service will be resumed. This is a Patreon bonus episode. To hear more like it join us at www.patreon.com/unsungpod

If you'd like to know more about our ministry please visit us at http://myalivechurch.org

SYNOPSIS:Following an argument about their respective expectations of what a date should be, David challenges Maddie to provide him with a "fun" evening out, and he is to show her a "fine" evening out. He decides he's going to take her to the theatre. He drives all around town to buy tickets but finds that they are all sold out.He thinks his luck has changed when a scalper approaches him with two tickets to the symphony.Unfortunately for David, these tickets were robbed from a man who was involved in an assassination plot. And unbeknownst to David, the tickets are not together.Maddie and David discover that there is an assassination plot that in a few hours will cause an international incident. The episode culminates with David being forced to take the place of one of the participants in a boxing match promoted by Don King, who makes a guest appearance.This episode includes yet another “breaking the fourth wall” cold-open which includes The Temptations singing their hit song, “Psychedelic Shack”, as well as David talking Maddie into singing and dancing to the same song.MOONLIGHTING THE TV SHOWThe show is all about the hit TV Show Moonlighting which aired from 1985 to 1989 and starred Bruce Willis and Cybill Shepherd.Grace Chivell and Shawna Saari take a look at each episode in chronological order from the Pilot to the end of the fifth and final season.They discuss the direction, the production, the outfits, the lighting, the car chases, and the tumultuous relationship between Maddie Hayes and David Addison.FOR MORE INFORMATION:https://moonlightingthepodcast.comMerchandise: https://redbubble.com/people/moonpod2016Join Our Facebook Community:https://facebook.com/groups/moonlightingthepodcasthttps://facebook.com/moonlightingthepodcastJoin Our Instagram Community:https://instagram.com/moonlightingthepodcastTo learn more about Grace:https://gracechivell.com.auMoonlighting The Podcast YouTube Channel: bit.ly/maddieanddavidTo learn more about Shawna:https://www.youtube.com/channel/UCft4ALOjBZnEt4DBUvx3HvQDonate:https://ko-fi.com/moonlightingthepodcast Hosted on Acast. See acast.com/privacy for more information.

If you'd like to know more about our ministry please visit us at http://myalivechurch.org

Old Testament: Job 22–23 Job 22–23 (Listen) Eliphaz Speaks: Job's Wickedness Is Great 22 Then Eliphaz the Temanite answered and said: 2   “Can a man be profitable to God?    Surely he who is wise is profitable to himself.3   Is it any pleasure to the Almighty if you are in the right,    or is it gain to him if you make your ways blameless?4   Is it for your fear of him that he reproves you    and enters into judgment with you?5   Is not your evil abundant?    There is no end to your iniquities.6   For you have exacted pledges of your brothers for nothing    and stripped the naked of their clothing.7   You have given no water to the weary to drink,    and you have withheld bread from the hungry.8   The man with power possessed the land,    and the favored man lived in it.9   You have sent widows away empty,    and the arms of the fatherless were crushed.10   Therefore snares are all around you,    and sudden terror overwhelms you,11   or darkness, so that you cannot see,    and a flood of water covers you. 12   “Is not God high in the heavens?    See the highest stars, how lofty they are!13   But you say, ‘What does God know?    Can he judge through the deep darkness?14   Thick clouds veil him, so that he does not see,    and he walks on the vault of heaven.'15   Will you keep to the old way    that wicked men have trod?16   They were snatched away before their time;    their foundation was washed away.117   They said to God, ‘Depart from us,'    and ‘What can the Almighty do to us?'218   Yet he filled their houses with good things—    but the counsel of the wicked is far from me.19   The righteous see it and are glad;    the innocent one mocks at them,20   saying, ‘Surely our adversaries are cut off,    and what they left the fire has consumed.' 21   “Agree with God, and be at peace;    thereby good will come to you.22   Receive instruction from his mouth,    and lay up his words in your heart.23   If you return to the Almighty you will be built up;    if you remove injustice far from your tents,24   if you lay gold in the dust,    and gold of Ophir among the stones of the torrent-bed,25   then the Almighty will be your gold    and your precious silver.26   For then you will delight yourself in the Almighty    and lift up your face to God.27   You will make your prayer to him, and he will hear you,    and you will pay your vows.28   You will decide on a matter, and it will be established for you,    and light will shine on your ways.29   For when they are humbled you say, ‘It is because of pride';3    but he saves the lowly.30   He delivers even the one who is not innocent,    who will be delivered through the cleanness of your hands.” Job Replies: Where Is God? 23 Then Job answered and said: 2   “Today also my complaint is bitter;4    my hand is heavy on account of my groaning.3   Oh, that I knew where I might find him,    that I might come even to his seat!4   I would lay my case before him    and fill my mouth with arguments.5   I would know what he would answer me    and understand what he would say to me.6   Would he contend with me in the greatness of his power?    No; he would pay attention to me.7   There an upright man could argue with him,    and I would be acquitted forever by my judge. 8   “Behold, I go forward, but he is not there,    and backward, but I do not perceive him;9   on the left hand when he is working, I do not behold him;    he turns to the right hand, but I do not see him.10   But he knows the way that I take;    when he has tried me, I shall come out as gold.11   My foot has held fast to his steps;    I have kept his way and have not turned aside.12   I have not departed from the commandment of his lips;    I have treasured the words of his mouth more than my portion of food.13   But he is unchangeable,5 and who can turn him back?    What he desires, that he does.14   For he will complete what he appoints for me,    and many such things are in his mind.15   Therefore I am terrified at his presence;    when I consider, I am in dread of him.16   God has made my heart faint;    the Almighty has terrified me;17   yet I am not silenced because of the darkness,    nor because thick darkness covers my face. Footnotes [1] 22:16 Or their foundation was poured out as a stream (or river) [2] 22:17 Hebrew them [3] 22:29 Or you say, ‘It is exaltation' [4] 23:2 Or defiant [5] 23:13 Or one (ESV) Psalm: Psalm 53 Psalm 53 (Listen) There Is None Who Does Good To the choirmaster: according to Mahalath. A Maskil1 of David. 53   The fool says in his heart, “There is no God.”    They are corrupt, doing abominable iniquity;    there is none who does good. 2   God looks down from heaven    on the children of man  to see if there are any who understand,2    who seek after God. 3   They have all fallen away;    together they have become corrupt;  there is none who does good,    not even one. 4   Have those who work evil no knowledge,    who eat up my people as they eat bread,    and do not call upon God? 5   There they are, in great terror,    where there is no terror!  For God scatters the bones of him who encamps against you;    you put them to shame, for God has rejected them. 6   Oh, that salvation for Israel would come out of Zion!    When God restores the fortunes of his people,    let Jacob rejoice, let Israel be glad. Footnotes [1] 53:1 Probably musical or liturgical terms [2] 53:2 Or who act wisely (ESV) New Testament: Luke 17 Luke 17 (Listen) Temptations to Sin 17 And he said to his disciples, “Temptations to sin1 are sure to come, but woe to the one through whom they come! 2 It would be better for him if a millstone were hung around his neck and he were cast into the sea than that he should cause one of these little ones to sin.2 3 Pay attention to yourselves! If your brother sins, rebuke him, and if he repents, forgive him, 4 and if he sins against you seven times in the day, and turns to you seven times, saying, ‘I repent,' you must forgive him.” Increase Our Faith 5 The apostles said to the Lord, “Increase our faith!” 6 And the Lord said, “If you had faith like a grain of mustard seed, you could say to this mulberry tree, ‘Be uprooted and planted in the sea,' and it would obey you. Unworthy Servants 7 “Will any one of you who has a servant3 plowing or keeping sheep say to him when he has come in from the field, ‘Come at once and recline at table'? 8 Will he not rather say to him, ‘Prepare supper for me, and dress properly,4 and serve me while I eat and drink, and afterward you will eat and drink'? 9 Does he thank the servant because he did what was commanded? 10 So you also, when you have done all that you were commanded, say, ‘We are unworthy servants;5 we have only done what was our duty.'” Jesus Cleanses Ten Lepers 11 On the way to Jerusalem he was passing along between Samaria and Galilee. 12 And as he entered a village, he was met by ten lepers,6 who stood at a distance 13 and lifted up their voices, saying, “Jesus, Master, have mercy on us.” 14 When he saw them he said to them, “Go and show yourselves to the priests.” And as they went they were cleansed. 15 Then one of them, when he saw that he was healed, turned back, praising God with a loud voice; 16 and he fell on his face at Jesus' feet, giving him thanks. Now he was a Samaritan. 17 Then Jesus answered, “Were not ten cleansed? Where are the nine? 18 Was no one found to return and give praise to God except this foreigner?” 19 And he said to him, “Rise and go your way; your faith has made you well.”7 The Coming of the Kingdom 20 Being asked by the Pharisees when the kingdom of God would come, he answered them, “The kingdom of God is not coming in ways that can be observed, 21 nor will they say, ‘Look, here it is!' or ‘There!' for behold, the kingdom of God is in the midst of you.”8 22 And he said to the disciples, “The days are coming when you will desire to see one of the days of the Son of Man, and you will not see it. 23 And they will say to you, ‘Look, there!' or ‘Look, here!' Do not go out or follow them. 24 For as the lightning flashes and lights up the sky from one side to the other, so will the Son of Man be in his day.9 25 But first he must suffer many things and be rejected by this generation. 26 Just as it was in the days of Noah, so will it be in the days of the Son of Man. 27 They were eating and drinking and marrying and being given in marriage, until the day when Noah entered the ark, and the flood came and destroyed them all. 28 Likewise, just as it was in the days of Lot—they were eating and drinking, buying and selling, planting and building, 29 but on the day when Lot went out from Sodom, fire and sulfur rained from heaven and destroyed them all—30 so will it be on the day when the Son of Man is revealed. 31 On that day, let the one who is on the housetop, with his goods in the house, not come down to take them away, and likewise let the one who is in the field not turn back. 32 Remember Lot's wife. 33 Whoever seeks to preserve his life will lose it, but whoever loses his life will keep it. 34 I tell you, in that night there will be two in one bed. One will be taken and the other left. 35 There will be two women grinding together. One will be taken and the other left.”10 37 And they said to him, “Where, Lord?” He said to them, “Where the corpse11 is, there the vultures12 will gather.” Footnotes [1] 17:1 Greek Stumbling blocks [2] 17:2 Greek stumble [3] 17:7 Or bondservant; also verse 9 [4] 17:8 Greek gird yourself [5] 17:10 Or bondservants [6] 17:12 Leprosy was a term for several skin diseases; see Leviticus 13 [7] 17:19 Or has saved you [8] 17:21 Or within you, or within your grasp [9] 17:24 Some manuscripts omit in his day [10] 17:35 Some manuscripts add verse 36: Two men will be in the field; one will be taken and the other left [11] 17:37 Greek body [12] 17:37 Or eagles (ESV)

There is freedom in things coming to the light and by God's grace, we live on this side of the cross - where redemption and hope are offered because of Christ. - Chelsey de MatteisSUBSCRIBE to our sister podcasts:The Crosswalk Devotional: https://www.lifeaudio.com/crosswalk-devotional/Your Daily Bible Verse: https://www.lifeaudio.com/your-daily-bible-verse/ Discover more Christian podcasts at lifeaudio.com and inquire about advertising opportunities at lifeaudio.com/contact-us.

When FreedaSol tells you it is her funkiest mix yet, it is gonna be fun.  Right out of the gate the tracks are modern funk with elements plucked from dance music history.  Once the vibe is ignited there is no time wasted to push on through a number of styles; yes its even got soul.  The vocals come and go in full presentation and snippets giving the set plenty of voice.  Classic and fresh vibes all the way. Track List: 01.  Zone- Funk Rimini  02.  Funky Town (Shlomi Hazan & AckerMan remix - Lipps Inc  03.  Move Your Hips - Sonic Future  04.  Papa Was a Rollin' Stone (Uza edit) - The Temptations  05.  Icare (Yuksek remix) - Bertrand Burgalat  06.  Perpetrating - Wildkats  07.  For Those Who Like to Get Down (Soul Clap & Click Click remix) - Marques Wyatt  08.  Gimmie Five 2k18  - Alex Kenji, Federico Scavo  09.  Look Right Through (Trimtone Sunshine Groove) - StormQueen  10.  I Can' Sit Down - Guy Laliberte  11.  Devil's Music - Strainhouse  12.  Bumpin' Da Funk - Da Funk Junkies  13.  Shook - The Illustrious Blacks & Seven Davis Jr.  14.  It's On Tonight - Lonely Boy  15.  Sunshine (Enzo Siffred remix) - Vidaloca & Piem  16.  Got 2 Be Loved (Extended Mix) - Soul Reductions  17.  When the Heat is On - Hatiras, Angelo Ferreri    18.  Mountains of Diamonds (Inamo Flashback mix) - Tracy Chapman  19.  Magic (SEVENRS remix) - Mich Smiley  20.  You Can Feel Good Now (Luke & Goreb edit) - Liva K 21.  It Is What It Is - Teddy Black, Austin Groove  22.  Time To Get Funky - Tommy Vercetti  23.  Good To You - Claptone  24.  Get Your Thing - DJ Dan  25.  What Are We To You - Da Funk Junkies  26.  The Shit Baby - Omar S 27.  Pick Up (12” Extended Disco Version) - DJ Koze   #djkoze #omars #djdan #claptone #tommyvercetti #austingroove #teddyblack #dafuinkjunkies #livak #lukengoreb #tracychappman #mitchsmiley #hatiras #angeloferrari #FunkRimini #ShlomiHazan #AckerMan #LippsInc #SonicFuture #Uza #TheTemptations #Yuksek #BertrandBurgalat #Wildkats #SoulClap #ClickClick #MarquesWyatt #AlexKenji #FedericoScavo #Trimtone #StormQueen # GuyLaliberte #Strainhouse #DaFunkJunkies #TheIllustriousBlacks #SevenDavisJr #LonelyBoy #EnzoSiffred #Vidaloca #Piem #SoulReductions #freedasol #megangarard #eartheater #usdjs #cd3000 #cdj2000nxs #cdj2000

Welcome to Day 2182 of Wisdom-Trek, and thank you for joining me. This is Guthrie Chamberlain, Your Guide to Wisdom Wisdom Nuggets – Proverbs 4:20-27 – Daily Wisdom  Wisdom-Trek Podcast Script - Day 2182 Welcome to Wisdom-Trek with Gramps! I am Guthrie Chamberlain, and we are on Day 2182 of our Trek. The Purpose of Wisdom-Trek is to create a legacy of Wisdom, to seek out discernment and insights, and to boldly grow where few have chosen to grow before. In today's Wisdom Nugget, we are diving into a passage that holds invaluable wisdom for the trek of life. We'll be exploring Proverbs 4:20-27 from the New Living Translation, a passage that provides us with guidance on guarding our hearts and minds. So, grab a comfortable seat and a warm beverage as we embark on this 5-minute journey together. As we begin, let's read the passage from Proverbs 4:20-27: “My child, pay attention to what I say. Listen carefully to my words. Don't lose sight of them. Let them penetrate deep into your heart, for they bring life to those who find them, and healing to their whole body. Guard your heart above all else, for it determines the course of your life. Avoid all perverse talk; stay away from corrupt speech. Look straight ahead, and fix your eyes on what lies before you. Mark out a straight path for your feet; stay on the safe path. Don't get sidetracked; keep your feet from following evil.” Wow, what a treasure trove of wisdom packed into just a few verses! Let's break it down and extract the valuable insights that can transform our lives. Verse 20-21 starts with a call to attention, reminding us to listen carefully to the words of wisdom. The words we take in shape our thoughts and actions, so it's essential to be selective about what we allow into our minds. Just as we are careful about the quality of food we consume, we should also be mindful of the content we consume mentally. In verse 22, we see a beautiful promise that wisdom brings life and healing. When we internalize and live out wise principles, they guide us on the right path and positively impact our well-being, both physically and emotionally. Now, verse 23 emphasizes the importance of guarding our hearts. Our hearts are the core of who we are, and our heart's condition dramatically influences our lives' trajectory. We should be cautious about what we allow to take root in our hearts – negativity, bitterness, and harmful influences can derail us from the path of wisdom. Verse 24 reminds us to steer clear of perverse talk and corrupt speech. Our words have power; they can either build up or tear down. Choosing our words carefully reflects the condition of our hearts and shapes our interactions with others. In verse 25, the instruction is to keep our focus straight ahead. This encourages us to remain focused on our goals, aspirations, and the path of wisdom. It's easy to get distracted by the noise and chaos around us, but fixing our gaze on what lies before us helps us stay on course. Verse 26 advises us to mark out a straight path for our feet and stay on the safe path. Imagine carving out a clear trail through a dense forest – this is a metaphor for intentionally charting a course for our lives that aligns with wisdom and righteousness. Finally, verse 27 warns us against getting sidetracked and following evil. Temptations and...

The Book of Acts is filled with powerful examples of the wonderful works of God. In this series we'll explore the Book of Acts and discover hidden mysteries that will change your life forever. www.kingdomrock.org Mission Tabernacle Outreach

Transcript: https://www.patheos.com/blogs/dispatchesendofworld/2023/08/the-temptations-of-technology/ What effect does technology have on the temptations we experience? If we examine the seven deadly sins it would appear that in all cases technology makes these sins more tempting and more accessible. Why would that be?

Doug Stone talks to jazz musicians about life, music, recent and upcoming performances, equipment and current events on this Tenor Talk Podcast recording. A different jazz musician is featured in each episode.  This episode features Clarence Johnson III and was recorded January 14, 2020. Known for his fierce and often sultry saxophone sound and astounding virtuosity, New Orleanian Clarence Johnson III enjoys a successful career as a recording and performing artist, an educator, and also appears in films and television. Most recently, Clarence, a 2 time winner of Offbeat Magazine's “Best of the Beat” Best Saxophonist Award, was honored with a Lifetime Achievement Cultural Ambassador Heartbeat Award from Offbeat Magazine and Positive Vibrations Foundation in 2017. Clarence is currently celebrating the national release of his latest recording, "Watch Him Work." Johnson has appeared on the recordings of such artists at Tori Amos ("Boys for Pele" WEA, 1996), Bruce Hornsby as part of a tribute to Keith Jarrett ("Long as You're Living Yours" RCA, 2000), and Davell Crawford ("The B-3 and Me" Rounder Records, 1998). Johnson's resume also includes past work with the Delfeayo Marsalis Quintet, the New Orleans Jazz Orchestra, Dr. John, members of the Neville Brothers, Allen Toussaint, Jimmy Smith, David "Fathead" Newman, John Scofield, and members of the Meters. Additionally he's performed with orchestras that have backed such international acts as Aretha Franklin, The Temptations, Kirk Franklin, Gladys Knight, the O'Jays, Billy Preston, and Wynton Marsalis. Learn more about Clarence here: https://www.facebook.com/CJ3SAX/https://open.spotify.com/artist/3oBDGjZXrKrUtqHdqq8l0E https://youtube.com/playlist?list=PL7kMuikSH6hb4DCdI4KDTasHJftaAPcrU Let's connect: Website: https://www.dougstonejazz.com/ Instagram: https://www.instagram.com/dougstonejazzsaxophone/ Facebook: https://www.facebook.com/profile.php?id=100089874145057 If you want to learn more about jazz improvisation and be part of the Doug Stone Jazz community get on our email list! https://www.dougstonejazz.com/about Head over to the Doug Stone Jazz Shop for some fun jazz merch: https://www.dougstonejazz.com/product-page/just-play-the-changes-long-sleeved-shirt #dougstonejazz #jazz #podcast #musicianlife #musicians #tenorsaxophone #jazzmusicians #jazzinterview #musicianlife

Tommy Brown is the pastor for spiritual and community formation at Generations United Church in Freeport, Florida. He has a BA in pastoral ministry and master's degrees in divinity and management, and he is the author of The Seven Money Types: Discover How God Wired You to Handle Money.He joins me to talk about his new book: The Ache for Meaning: How the Temptations of Christ Reveal Who We Are and What We're Seeking.Description:In The Ache for Meaning, Tommy Brown journeys through our questions and temptations into the deeper invitation Jesus offers. In the mindsets and practices Christ embodied, we discover what kept him centered on his identity and purpose—and what equips us to do the same. Because when you know where you've come from and where you're going, daily temptations toward security, approval, and power to control pale in comparison to your most significant reality: You are a child of God.

Pentecost XII.

This lecture discusses the science fiction and fantasy author, Ursula K. Leguin's novel, A Wizard of Earthsea, the first of six Earthsea books It focuses specifically on the dangers and temptations of magical power that are depicted in the novel. To support my ongoing work, go to my Patreon site - www.patreon.com/sadler If you'd like to make a direct contribution, you can do so here - www.paypal.me/ReasonIO You can find over 2,000 philosophy videos in my main YouTube channel - www.youtube.com/user/gbisadler Purchase A Wizard of Earthsea - https://amzn.to/2YgnLvv

SYNOPSIS:Following an argument about their respective expectations of what a date should be, David challenges Maddie to provide him with a "fun" evening out, and he is to show her a "fine" evening out. He decides he's going to take her to the theatre. He drives all around town to buy tickets but finds that they are all sold out.He thinks his luck has changed when a scalper approaches him with two tickets to the symphony.Unfortunately for David, these tickets were robbed from a man who was involved in an assassination plot. And unbeknownst to David, the tickets are not together.Maddie and David discover that there is an assassination plot that in a few hours will cause an international incident. The episode culminates with David being forced to take the place of one of the participants in a boxing match promoted by Don King, who makes a guest appearance.This episode includes yet another “breaking the fourth wall” cold-open which includes The Temptations singing their hit song, “Psychedelic Shack”, as well as David talking Maddie into singing and dancing to the same song.MOONLIGHTING THE TV SHOWThe show is all about the hit TV Show Moonlighting which aired from 1985 to 1989 starring Bruce Willis and Cybill Shepherd.Grace Chivell and Shawna Saari take a look at each episode in chronological order from the Pilot to the end of the fifth and final season.They discuss the direction, the production, the outfits, the lighting, the car chases, and the tumultuous relationship between Maddie Hayes and David Addison.FOR MORE INFORMATION:https://moonlightingthepodcast.comMerchandise: https://redbubble.com/people/moonpod2016Join Our Facebook Community:https://facebook.com/groups/moonlightingthepodcasthttps://facebook.com/moonlightingthepodcastJoin Our Instagram Community:https://instagram.com/moonlightingthepodcastTo learn more about Grace:https://gracechivell.com.auMoonlighting The Podcast YouTube Channel: bit.ly/maddieanddavidTo learn more about Shawna:https://www.youtube.com/channel/UCft4ALOjBZnEt4DBUvx3HvQDonate:https://ko-fi.com/moonlightingthepodcast Hosted on Acast. See acast.com/privacy for more information.

The account of Jesus' temptation is closely related to the preceding narrative concerning His baptism. The specific connection between His baptism and temptation is in the term "God's Son." --- Send in a voice message: https://podcasters.spotify.com/pod/show/jesusandacupofjoe/message

Have you ever been tempted to do something that was wrong? Maybe it was to take something that didn't belong to you. Or maybe it was to eat something that you weren't supposed to eat. Did you know that Jesus was tempted too? In fact, He was tempted when He was REALLY hungry! Satan tried to get Jesus to do what was wrong, but we're going to discover that Jesus said, "NO!" Jesus can help us too when we need to say NO to Satan! Let's learn more about it today!Year B Quarter 3 Week 33All Bible verses are from the NKJVWrite to Ms. Katie: seedpod@startingwithjesus.comKatie's Korner: https://startingwithjesus.com/katies-korner/Find the Lessons Here: Kindergarten https://bit.ly/SeedPodKLessonsPrimary https://bit.ly/SeedPodPLessonsConnect with Us:Website: https://startingwithjesus.comStarting With Jesus - YouTube: https://www.youtube.com/c/StartingWithJesusSeedPod - YouTube: https://www.youtube.com/channel/UCCvU2FBPEL5-Zi2QW0STVLg Instagram: https://www.instagram.com/startingwithjesusFacebook: https://www.facebook.com/startingwithjesusAcknowledgments:Bible Readings this week: David Podcast Producer: Katie ChitwoodSound Engineer: Dillon AustinAudio Editors: Elijah AustinMy Bible First, https://bit.ly/SeedPodLesson for use of their Bible Lesson curriculum.AudioVerse, https://www.audioverse.org/ for partnering with us and supporting our ministry.Lindsey Mills, for writing and performing our SeedPod Kids Theme Song & Background Music. To learn more about her music or to get her CD, email her: lindsey@startingwithjesus.com

Questions about how to respond to Christians who disbelieve your faith because you still experience homosexual temptations, whether Christians are morally obligated to refuse to do business with LGBT customers, and principles for determining what kind of proofreading jobs to accept or reject. How should I respond when other Christians disbelieve my faith and repentance solely because I still experience homosexual temptations? Are Christian business owners morally obligated to refuse to do business with LGBT customers? Can you offer any moral principles that can help someone determine what kind of proofreading jobs to accept or reject?

Have you ever been tempted to do something that was wrong? Maybe it was to take something that didn't belong to you. Or maybe it was to eat something that you weren't supposed to eat. Did you know that Jesus was tempted too? In fact, He was tempted when He was REALLY hungry! Satan tried to get Jesus to do what was wrong, but we're going to discover that Jesus said, "NO!" Jesus can help us too when we need to say NO to Satan! Let's learn more about it today!Year B Quarter 3 Week 33All Bible verses are from the NKJVWrite to Ms. Katie: seedpod@startingwithjesus.comKatie's Korner: https://startingwithjesus.com/katies-korner/Find the Lessons Here: Kindergarten https://bit.ly/SeedPodKLessonsPrimary https://bit.ly/SeedPodPLessonsConnect with Us:Website: https://startingwithjesus.comStarting With Jesus - YouTube: https://www.youtube.com/c/StartingWithJesusSeedPod - YouTube: https://www.youtube.com/channel/UCCvU2FBPEL5-Zi2QW0STVLg Instagram: https://www.instagram.com/startingwithjesusFacebook: https://www.facebook.com/startingwithjesusAcknowledgments:Bible Readings this week: David Podcast Producer: Katie ChitwoodSound Engineer: Dillon AustinAudio Editors: Elijah AustinMy Bible First, https://bit.ly/SeedPodLesson for use of their Bible Lesson curriculum.AudioVerse, https://www.audioverse.org/ for partnering with us and supporting our ministry.Lindsey Mills, for writing and performing our SeedPod Kids Theme Song & Background Music. To learn more about her music or to get her CD, email her: lindsey@startingwithjesus.com

In this episode, Dr. Mike Stone and Wild Health Coach Kelly James join forces to tackle a common challenge on the path to wellness: staying committed to your health journey amidst temptations and the influence of those following different practices. With a blend of psychological insights and practical wisdom, they dive into how mindfulness and other techniques can empower you to maintain your nutritional, exercise, and health goals.   Drawing from their expertise, Dr. Stone and Kelly James share invaluable strategies to fortify your mindset and bolster your resilience against the pull of unhealthy choices. They uncover the power of mindfulness in recognizing triggers, navigating social situations, and reinforcing positive habits. They also explore the impact of approaching your goals with a big-picture mentality.   Whether you're facing the allure of indulgent treats, peer pressure, or conflicting health perspectives, this episode equips you with the tools to triumph.

Episode one hundred and sixty-seven of A History of Rock Music in Five Hundred Songs looks at “The Weight" by the Band, the Basement Tapes, and the continuing controversy over Dylan going electric. Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have a half-hour bonus episode available, on "S.F. Sorrow is Born" by the Pretty Things. Tilt Araiza has assisted invaluably by doing a first-pass edit, and will hopefully be doing so from now on. Check out Tilt's irregular podcasts at http://www.podnose.com/jaffa-cakes-for-proust and http://sitcomclub.com/ Also, a one-time request here -- Shawn Taylor, who runs the Facebook group for the podcast and is an old and dear friend of mine, has stage-three lung cancer. I will be hugely grateful to anyone who donates to the GoFundMe for her treatment. Errata At one point I say "when Robertson and Helm travelled to the Brill Building". I meant "when Hawkins and Helm". This is fixed in the transcript but not the recording. Resources There are three Mixcloud mixes this time. As there are so many songs by Bob Dylan and the Band excerpted, and Mixcloud won't allow more than four songs by the same artist in any mix, I've had to post the songs not in quite the same order in which they appear in the podcast. But the mixes are here — one, two, three. I've used these books for all the episodes involving Dylan: Dylan Goes Electric!: Newport, Seeger, Dylan, and the Night That Split the Sixties by Elijah Wald, which is recommended, as all Wald's books are. Bob Dylan: All The Songs by Phillipe Margotin and Jean-Michel Guesdon is a song-by-song look at every song Dylan ever wrote, as is Revolution in the Air, by Clinton Heylin. Heylin also wrote the most comprehensive and accurate biography of Dylan, Behind the Shades. I've also used Robert Shelton's No Direction Home, which is less accurate, but which is written by someone who knew Dylan. Chronicles Volume 1 by Bob Dylan is a partial, highly inaccurate, but thoroughly readable autobiography. Information on Tiny Tim comes from Eternal Troubadour: The Improbable Life of Tiny Tim by Justin Martell. Information on John Cage comes from The Roaring Silence by David Revill Information on Woodstock comes from Small Town Talk by Barney Hoskyns. For material on the Basement Tapes, I've used Million Dollar Bash by Sid Griffin. And for the Band, I've used This Wheel's on Fire by Levon Helm with Stephen Davis, Testimony by Robbie Robertson, The Band by Craig Harris and Levon by Sandra B Tooze. I've also referred to the documentaries No Direction Home and Once Were Brothers. The complete Basement Tapes can be found on this multi-disc box set, while this double-CD version has the best material from the sessions. All the surviving live recordings by Dylan and the Hawks from 1966 are on this box set. There are various deluxe versions of Music From Big Pink, but still the best way to get the original album is in this twofer CD with the Band's second album. Transcript Just a brief note before I start – literally while I was in the middle of recording this episode, it was announced that Robbie Robertson had died today, aged eighty. Obviously I've not had time to alter the rest of the episode – half of which had already been edited – with that in mind, though I don't believe I say anything disrespectful to his memory. My condolences to those who loved him – he was a huge talent and will be missed. There are people in the world who question the function of criticism. Those people argue that criticism is in many ways parasitic. If critics knew what they were talking about, so the argument goes, they would create themselves, rather than talk about other people's creation. It's a variant of the "those who can't, teach" cliche. And to an extent it's true. Certainly in the world of rock music, which we're talking about in this podcast, most critics are quite staggeringly ignorant of the things they're talking about. Most criticism is ephemeral, published in newspapers, magazines, blogs and podcasts, and forgotten as soon as it has been consumed -- and consumed is the word . But sometimes, just sometimes, a critic will have an effect on the world that is at least as important as that of any of the artists they criticise. One such critic was John Ruskin. Ruskin was one of the preeminent critics of visual art in the Victorian era, particularly specialising in painting and architecture, and he passionately advocated for a form of art that would be truthful, plain, and honest. To Ruskin's mind, many artists of the past, and of his time, drew and painted, not what they saw with their own eyes, but what other people expected them to paint. They replaced true observation of nature with the regurgitation of ever-more-mannered and formalised cliches. His attacks on many great artists were, in essence, the same critiques that are currently brought against AI art apps -- they're just recycling and plagiarising what other people had already done, not seeing with their own eyes and creating from their own vision. Ruskin was an artist himself, but never received much acclaim for his own work. Rather, he advocated for the works of others, like Turner and the pre-Raphaelite school -- the latter of whom were influenced by Ruskin, even as he admired them for seeing with their own vision rather than just repeating influences from others. But those weren't the only people Ruskin influenced. Because any critical project, properly understood, becomes about more than just the art -- as if art is just anything. Ruskin, for example, studied geology, because if you're going to talk about how people should paint landscapes and what those landscapes look like, you need to understand what landscapes really do look like, which means understanding their formation. He understood that art of the kind he wanted could only be produced by certain types of people, and so society had to be organised in a way to produce such people. Some types of societal organisation lead to some kinds of thinking and creation, and to properly, honestly, understand one branch of human thought means at least to attempt to understand all of them. Opinions about art have moral consequences, and morality has political and economic consequences. The inevitable endpoint of any theory of art is, ultimately, a theory of society. And Ruskin had a theory of society, and social organisation. Ruskin's views are too complex to summarise here, but they were a kind of anarcho-primitivist collectivism. He believed that wealth was evil, and that the classical liberal economics of people like Mill was fundamentally anti-human, that the division of labour alienated people from their work. In Ruskin's ideal world, people would gather in communities no bigger than villages, and work as craftspeople, working with nature rather than trying to bend nature to their will. They would be collectives, with none richer or poorer than any other, and working the land without modern technology. in the first half of the twentieth century, in particular, Ruskin's influence was *everywhere*. His writings on art inspired the Impressionist movement, but his political and economic ideas were the most influential, right across the political spectrum. Ruskin's ideas were closest to Christian socialism, and he did indeed inspire many socialist parties -- most of the founders of Britain's Labour Party were admirers of Ruskin and influenced by his ideas, particularly his opposition to the free market. But he inspired many other people -- Gandhi talked about the profound influence that Ruskin had on him, saying in his autobiography that he got three lessons from Ruskin's Unto This Last: "That 1) the good of the individual is contained in the good of all. 2) a lawyer's work has the same value as the barber's in as much as all have the same right of earning their livelihood from their work. 3) a life of labour, i.e., the life of the tiller of the soil and the handicraftsman is the life worth living. The first of these I knew. The second I had dimly realized. The third had never occurred to me. Unto This Last made it clear as daylight for me that the second and third were contained in the first. I arose with the dawn, ready to reduce these principles to practice" Gandhi translated and paraphrased Unto this Last into Gujurati and called the resulting book Sarvodaya (meaning "uplifting all" or "the welfare of all") which he later took as the name of his own political philosophy. But Ruskin also had a more pernicious influence -- it was said in 1930s Germany that he and his friend Thomas Carlyle were "the first National Socialists" -- there's no evidence I know of that Hitler ever read Ruskin, but a *lot* of Nazi rhetoric is implicit in Ruskin's writing, particularly in his opposition to progress (he even opposed the bicycle as being too much inhuman interference with nature), just as much as more admirable philosophies, and he was so widely read in the late nineteenth and early twentieth centuries that there's barely a political movement anywhere that didn't bear his fingerprints. But of course, our focus here is on music. And Ruskin had an influence on that, too. We've talked in several episodes, most recently the one on the Velvet Underground, about John Cage's piece 4'33. What I didn't mention in any of the discussions of that piece -- because I was saving it for here -- is that that piece was premiered at a small concert hall in upstate New York. The hall, the Maverick Concert Hall, was owned and run by the Maverick arts and crafts collective -- a collective that were so called because they were the *second* Ruskinite arts colony in the area, having split off from the Byrdcliffe colony after a dispute between its three founders, all of whom were disciples of Ruskin, and all of whom disagreed violently about how to implement Ruskin's ideas of pacifist all-for-one and one-for-all community. These arts colonies, and others that grew up around them like the Arts Students League were the thriving centre of a Bohemian community -- close enough to New York that you could get there if you needed to, far enough away that you could live out your pastoral fantasies, and artists of all types flocked there -- Pete Seeger met his wife there, and his father-in-law had been one of the stonemasons who helped build the Maverick concert hall. Dozens of artists in all sorts of areas, from Aaron Copland to Edward G Robinson, spent time in these communities, as did Cage. Of course, while these arts and crafts communities had a reputation for Bohemianism and artistic extremism, even radical utopian artists have their limits, and legend has it that the premiere of 4'33 was met with horror and derision, and eventually led to one artist in the audience standing up and calling on the residents of the town around which these artistic colonies had agglomerated: “Good people of Woodstock, let's drive these people out of town.” [Excerpt: The Band, "The Weight"] Ronnie Hawkins was almost born to make music. We heard back in the episode on "Suzie Q" in 2019 about his family and their ties to music. Ronnie's uncle Del was, according to most of the sources on the family, a member of the Sons of the Pioneers -- though as I point out in that episode, his name isn't on any of the official lists of group members, but he might well have performed with them at some point in the early years of the group. And he was definitely a country music bass player, even if he *wasn't* in the most popular country and western group of the thirties and forties. And Del had had two sons, Jerry, who made some minor rockabilly records: [Excerpt: Jerry Hawkins, "Swing, Daddy, Swing"] And Del junior, who as we heard in the "Susie Q" episode became known as Dale Hawkins and made one of the most important rock records of the fifties: [Excerpt: Dale Hawkins, "Susie Q"] Ronnie Hawkins was around the same age as his cousins, and was in awe of his country-music star uncle. Hawkins later remembered that after his uncle moved to Califormia to become a star “He'd come home for a week or two, driving a brand new Cadillac and wearing brand new clothes and I knew that's what I wanted to be." Though he also remembered “He spent every penny he made on whiskey, and he was divorced because he was running around with all sorts of women. His wife left Arkansas and went to Louisiana.” Hawkins knew that he wanted to be a music star like his uncle, and he started performing at local fairs and other events from the age of eleven, including one performance where he substituted for Hank Williams -- Williams was so drunk that day he couldn't perform, and so his backing band asked volunteers from the audience to get up and sing with them, and Hawkins sang Burl Ives and minstrel-show songs with the band. He said later “Even back then I knew that every important white cat—Al Jolson, Stephen Foster—they all did it by copying blacks. Even Hank Williams learned all the stuff he had from those black cats in Alabama. Elvis Presley copied black music; that's all that Elvis did.” As well as being a performer from an early age, though, Hawkins was also an entrepreneur with an eye for how to make money. From the age of fourteen he started running liquor -- not moonshine, he would always point out, but something far safer. He lived only a few miles from the border between Missouri and Arkansas, and alcohol and tobacco were about half the price in Missouri that they were in Arkansas, so he'd drive across the border, load up on whisky and cigarettes, and drive back and sell them at a profit, which he then used to buy shares in several nightclubs, which he and his bands would perform in in later years. Like every man of his generation, Hawkins had to do six months in the Army, and it was there that he joined his first ever full-time band, the Blackhawks -- so called because his name was Hawkins, and the rest of the group were Black, though Hawkins was white. They got together when the other four members were performing at a club in the area where Hawkins was stationed, and he was so impressed with their music that he jumped on stage and started singing with them. He said later “It sounded like something between the blues and rockabilly. It sort of leaned in both directions at the same time, me being a hayseed and those guys playing a lot funkier." As he put it "I wanted to sound like Bobby ‘Blue' Bland but it came out sounding like Ernest Tubb.” Word got around about the Blackhawks, both that they were a great-sounding rock and roll band and that they were an integrated band at a time when that was extremely unpopular in the southern states, and when Hawkins was discharged from the Army he got a call from Sam Phillips at Sun Records. According to Hawkins a group of the regular Sun session musicians were planning on forming a band, and he was asked to front the band for a hundred dollars a week, but by the time he got there the band had fallen apart. This doesn't precisely line up with anything else I know about Sun, though it perhaps makes sense if Hawkins was being asked to front the band who had variously backed Billy Lee Riley and Jerry Lee Lewis after one of Riley's occasional threats to leave the label. More likely though, he told everyone he knew that he had a deal with Sun but Phillips was unimpressed with the demos he cut there, and Hawkins made up the story to stop himself losing face. One of the session players for Sun, though, Luke Paulman, who played in Conway Twitty's band among others, *was* impressed with Hawkins though, and suggested that they form a band together with Paulman's bass player brother George and piano-playing cousin Pop Jones. The Paulman brothers and Jones also came from Arkansas, but they specifically came from Helena, Arkansas, the town from which King Biscuit Time was broadcast. King Biscuit Time was the most important blues radio show in the US at that time -- a short lunchtime programme which featured live performances from a house band which varied over the years, but which in the 1940s had been led by Sonny Boy Williamson II, and featured Robert Jr. Lockwood, Robert Johnson's stepson, on guiitar: [Excerpt: Sonny Boy Williamson II "Eyesight to the Blind (King Biscuit Time)"] The band also included a drummer, "Peck" Curtis, and that drummer was the biggest inspiration for a young white man from the town named Levon Helm. Helm had first been inspired to make music after seeing Bill Monroe and his Blue Grass Boys play live when Helm was eight, and he had soon taken up first the harmonica, then the guitar, then the drums, becoming excellent at all of them. Even as a child he knew that he didn't want to be a farmer like his family, and that music was, as he put it, "the only way to get off that stinking tractor  and out of that one hundred and five degree heat.” Sonny Boy Williamson and the King Biscuit Boys would perform in the open air in Marvell, Arkansas, where Helm was growing up, on Saturdays, and Helm watched them regularly as a small child, and became particularly interested in the drumming. “As good as the band sounded,” he said later “it seemed that [Peck] was definitely having the most fun. I locked into the drums at that point. Later, I heard Jack Nance, Conway Twitty's drummer, and all the great drummers in Memphis—Jimmy Van Eaton, Al Jackson, and Willie Hall—the Chicago boys (Fred Belew and Clifton James) and the people at Sun Records and Vee-Jay, but most of my style was based on Peck and Sonny Boy—the Delta blues style with the shuffle. Through the years, I've quickened the pace to a more rock-and-roll meter and time frame, but it still bases itself back to Peck, Sonny Boy Williamson, and the King Biscuit Boys.” Helm had played with another band that George Paulman had played in, and he was invited to join the fledgling band Hawkins was putting together, called for the moment the Sun Records Quartet. The group played some of the clubs Hawkins had business connections in, but they had other plans -- Conway Twitty had recently played Toronto, and had told Luke Paulman about how desperate the Canadians were for American rock and roll music. Twitty's agent Harold Kudlets booked the group in to a Toronto club, Le Coq D'Or, and soon the group were alternating between residencies in clubs in the Deep South, where they were just another rockabilly band, albeit one of the better ones, and in Canada, where they became the most popular band in Ontario, and became the nucleus of an entire musical scene -- the same scene from which, a few years later, people like Neil Young would emerge. George Paulman didn't remain long in the group -- he was apparently getting drunk, and also he was a double-bass player, at a time when the electric bass was becoming the in thing. And this is the best place to mention this, but there are several discrepancies in the various accounts of which band members were in Hawkins' band at which times, and who played on what session. They all *broadly* follow the same lines, but none of them are fully reconcilable with each other, and nobody was paying enough attention to lineup shifts in a bar band between 1957 and 1964 to be absolutely certain who was right. I've tried to reconcile the various accounts as far as possible and make a coherent narrative, but some of the details of what follows may be wrong, though the broad strokes are correct. For much of their first period in Ontario, the group had no bass player at all, relying on Jones' piano to fill in the bass parts, and on their first recording, a version of "Bo Diddley", they actually got the club's manager to play bass with them: [Excerpt: Ronnie Hawkins, "Hey Bo Diddley"] That is claimed to be the first rock and roll record made in Canada, though as everyone who has listened to this podcast knows, there's no first anything. It wasn't released as by the Sun Records Quartet though -- the band had presumably realised that that name would make them much less attractive to other labels, and so by this point the Sun Records Quartet had become Ronnie Hawkins and the Hawks. "Hey Bo Diddley" was released on a small Canadian label and didn't have any success, but the group carried on performing live, travelling back down to Arkansas for a while and getting a new bass player, Lefty Evans, who had been playing in the same pool of musicians as them, having been another Sun session player who had been in Conway Twitty's band, and had written Twitty's "Why Can't I Get Through to You": [Excerpt: Conway Twitty, "Why Can't I Get Through to You"] The band were now popular enough in Canada that they were starting to get heard of in America, and through Kudlets they got a contract with Joe Glaser, a Mafia-connected booking agent who booked them into gigs on the Jersey Shore. As Helm said “Ronnie Hawkins had molded us into the wildest, fiercest, speed-driven bar band in America," and the group were apparently getting larger audiences in New Jersey than Sammy Davis Jr was, even though they hadn't released any records in the US. Or at least, they hadn't released any records in their own name in the US. There's a record on End Records by Rockin' Ronald and the Rebels which is very strongly rumoured to have been the Hawks under another name, though Hawkins always denied that. Have a listen for yourself and see what you think: [Excerpt: Rockin' Ronald and the Rebels, "Kansas City"] End Records, the label that was on, was one of the many record labels set up by George Goldner and distributed by Morris Levy, and when the group did release a record in their home country under their own name, it was on Levy's Roulette Records. An audition for Levy had been set up by Glaser's booking company, and Levy decided that given that Elvis was in the Army, there was a vacancy to be filled and Ronnie Hawkins might just fit the bill. Hawkins signed a contract with Levy, and it doesn't sound like he had much choice in the matter. Helm asked him “How long did you have to sign for?” and Hawkins replied "Life with an option" That said, unlike almost every other artist who interacted with Levy, Hawkins never had a bad word to say about him, at least in public, saying later “I don't care what Morris was supposed to have done, he looked after me and he believed in me. I even lived with him in his million-dollar apartment on the Upper East Side." The first single the group recorded for Roulette, a remake of Chuck Berry's "Thirty Days" retitled "Forty Days", didn't chart, but the follow-up, a version of Young Jessie's "Mary Lou", made number twenty-six on the charts: [Excerpt: Ronnie Hawkins and the Hawks, "Mary Lou"] While that was a cover of a Young Jessie record, the songwriting credits read Hawkins and Magill -- Magill was a pseudonym used by Morris Levy. Levy hoped to make Ronnie Hawkins into a really big star, but hit a snag. This was just the point where the payola scandal had hit and record companies were under criminal investigation for bribing DJs to play their records. This was the main method of promotion that Levy used, and this was so well known that Levy was, for a time, under more scrutiny than anyone. He couldn't risk paying anyone off, and so Hawkins' records didn't get the expected airplay. The group went through some lineup changes, too, bringing in guitarist Fred Carter (with Luke Paulman moving to rhythm and soon leaving altogether)  from Hawkins' cousin Dale's band, and bass player Jimmy Evans. Some sources say that Jones quit around this time, too, though others say he was in the band for  a while longer, and they had two keyboards (the other keyboard being supplied by Stan Szelest. As well as recording Ronnie Hawkins singles, the new lineup of the group also recorded one single with Carter on lead vocals, "My Heart Cries": [Excerpt: Fred Carter, "My Heart Cries"] While the group were now playing more shows in the USA, they were still playing regularly in Canada, and they had developed a huge fanbase there. One of these was a teenage guitarist called Robbie Robertson, who had become fascinated with the band after playing a support slot for them, and had started hanging round, trying to ingratiate himself with the band in the hope of being allowed to join. As he was a teenager, Hawkins thought he might have his finger on the pulse of the youth market, and when Hawkins and Helm travelled to the Brill Building to hear new songs for consideration for their next album, they brought Robertson along to listen to them and give his opinion. Robertson himself ended up contributing two songs to the album, titled Mr. Dynamo. According to Hawkins "we had a little time after the session, so I thought, Well, I'm just gonna put 'em down and see what happens. And they were released. Robbie was the songwriter for words, and Levon was good for arranging, making things fit in and all that stuff. He knew what to do, but he didn't write anything." The two songs in question were "Someone Like You" and "Hey Boba Lou": [Excerpt: Ronnie Hawkins and the Hawks, "Hey Boba Lou"] While Robertson was the sole writer of the songs, they were credited to Robertson, Hawkins, and Magill -- Morris Levy. As Robertson told the story later, “It's funny, when those songs came out and I got a copy of the album, it had another name on there besides my name for some writer like Morris Levy. So, I said to Ronnie, “There was nobody there writing these songs when I wrote these songs. Who is Morris Levy?” Ronnie just kinda tapped me on the head and said, “There are certain things about this business that you just let go and you don't question.” That was one of my early music industry lessons right there" Robertson desperately wanted to join the Hawks, but initially it was Robertson's bandmate Scott Cushnie who became the first Canadian to join the Hawks. But then when they were in Arkansas, Jimmy Evans decided he wasn't going to go back to Canada. So Hawkins called Robbie Robertson up and made him an offer. Robertson had to come down to Arkansas and get a couple of quick bass lessons from Helm (who could play pretty much every instrument to an acceptable standard, and so was by this point acting as the group's musical director, working out arrangements and leading them in rehearsals). Then Hawkins and Helm had to be elsewhere for a few weeks. If, when they got back, Robertson was good enough on bass, he had the job. If not, he didn't. Robertson accepted, but he nearly didn't get the gig after all. The place Hawkins and Helm had to be was Britain, where they were going to be promoting their latest single on Boy Meets Girls, the Jack Good TV series with Marty Wilde, which featured guitarist Joe Brown in the backing band: [Excerpt: Joe Brown, “Savage”] This was the same series that Eddie Cochran and Gene Vincent were regularly appearing on, and while they didn't appear on the episodes that Hawkins and Helm appeared on, they did appear on the episodes immediately before Hawkins and Helm's two appearances, and again a couple of weeks after, and were friendly with the musicians who did play with Hawkins and Helm, and apparently they all jammed together a few times. Hawkins was impressed enough with Joe Brown -- who at the time was considered the best guitarist on the British scene -- that he invited Brown to become a Hawk. Presumably if Brown had taken him up on the offer, he would have taken the spot that ended up being Robertson's, but Brown turned him down -- a decision he apparently later regretted. Robbie Robertson was now a Hawk, and he and Helm formed an immediate bond. As Helm much later put it, "It was me and Robbie against the world. Our mission, as we saw it, was to put together the best band in history". As rockabilly was by this point passe, Levy tried converting Hawkins into a folk artist, to see if he could get some of the Kingston Trio's audience. He recorded a protest song, "The Ballad of Caryl Chessman", protesting the then-forthcoming execution of Chessman (one of only a handful of people to be executed in the US in recent decades for non-lethal offences), and he made an album of folk tunes, The Folk Ballads of Ronnie Hawkins, which largely consisted of solo acoustic recordings, plus a handful of left-over Hawks recordings from a year or so earlier. That wasn't a success, but they also tried a follow-up, having Hawkins go country and do an album of Hank Williams songs, recorded in Nashville at Owen Bradley's Quonset hut. While many of the musicians on the album were Nashville A-Team players, Hawkins also insisted on having his own band members perform, much to the disgust of the producer, and so it's likely (not certain, because there seem to be various disagreements about what was recorded when) that that album features the first studio recordings with Levon Helm and Robbie Robertson playing together: [Excerpt: Ronnie Hawkins and the Hawks, "Your Cheatin' Heart"] Other sources claim that the only Hawk allowed to play on the album sessions was Helm, and that the rest of the musicians on the album were Harold Bradley and Hank Garland on guitar, Owen Bradley and Floyd Cramer on piano, Bob Moore on bass, and the Anita Kerr singers. I tend to trust Helm's recollection that the Hawks played at least some of the instruments though, because the source claiming that also seems to confuse the Hank Williams and Folk Ballads albums, and because I don't hear two pianos on the album. On the other hand, that *does* sound like Floyd Cramer on piano, and the tik-tok bass sound you'd get from having Harold Bradley play a baritone guitar while Bob Moore played a bass. So my best guess is that these sessions were like the Elvis sessions around the same time and with several of the same musicians, where Elvis' own backing musicians played rhythm parts but left the prominent instruments to the A-team players. Helm was singularly unimpressed with the experience of recording in Nashville. His strongest memory of the sessions was of another session going on in the same studio complex at the time -- Bobby "Blue" Bland was recording his classic single "Turn On Your Love Light", with the great drummer Jabo Starks on drums, and Helm was more interested in listening to that than he was in the music they were playing: [Excerpt: Bobby "Blue" Bland, "Turn On Your Love Light"] Incidentally, Helm talks about that recording being made "downstairs" from where the Hawks were recording, but also says that they were recording in Bradley's Quonset hut.  Now, my understanding here *could* be very wrong -- I've been unable to find a plan or schematic anywhere -- but my understanding is that the Quonset hut was a single-level structure, not a multi-level structure. BUT the original recording facilities run by the Bradley brothers were in Owen Bradley's basement, before they moved into the larger Quonset hut facility in the back, so it's possible that Bland was recording that in the old basement studio. If so, that won't be the last recording made in a basement we hear this episode... Fred Carter decided during the Nashville sessions that he was going to leave the Hawks. As his son told the story: "Dad had discovered the session musicians there. He had no idea that you could play and make a living playing in studios and sleep in your own bed every night. By that point in his life, he'd already been gone from home and constantly on the road and in the service playing music for ten years so that appealed to him greatly. And Levon asked him, he said, “If you're gonna leave, Fred, I'd like you to get young Robbie over here up to speed on guitar”…[Robbie] got kind of aggravated with him—and Dad didn't say this with any malice—but by the end of that week, or whatever it was, Robbie made some kind of comment about “One day I'm gonna cut you.” And Dad said, “Well, if that's how you think about it, the lessons are over.” " (For those who don't know, a musician "cutting" another one is playing better than them, so much better that the worse musician has to concede defeat. For the remainder of Carter's notice in the Hawks, he played with his back to Robertson, refusing to look at him. Carter leaving the group caused some more shuffling of roles. For a while, Levon Helm -- who Hawkins always said was the best lead guitar player he ever worked with as well as the best drummer -- tried playing lead guitar while Robertson played rhythm and another member, Rebel Payne, played bass, but they couldn't find a drummer to replace Helm, who moved back onto the drums. Then they brought in Roy Buchanan, another guitarist who had been playing with Dale Hawkins, having started out playing with Johnny Otis' band. But Buchanan didn't fit with Hawkins' personality, and he quit after a few months, going off to record his own first solo record: [Excerpt: Roy Buchanan, "Mule Train Stomp"] Eventually they solved the lineup problem by having Robertson -- by this point an accomplished lead player --- move to lead guitar and bringing in a new rhythm player, another Canadian teenager named Rick Danko, who had originally been a lead player (and who also played mandolin and fiddle). Danko wasn't expected to stay on rhythm long though -- Rebel Payne was drinking a lot and missing being at home when he was out on the road, so Danko was brought in on the understanding that he was to learn Payne's bass parts and switch to bass when Payne quit. Helm and Robertson were unsure about Danko, and Robertson expressed that doubt, saying "He only knows four chords," to which Hawkins replied, "That's all right son. You can teach him four more the way we had to teach you." He proved himself by sheer hard work. As Hawkins put it “He practiced so much that his arms swoll up. He was hurting.” By the time Danko switched to bass, the group also had a baritone sax player, Jerry Penfound, which allowed the group to play more of the soul and R&B material that Helm and Robertson favoured, though Hawkins wasn't keen. This new lineup of the group (which also had Stan Szelest on piano) recorded Hawkins' next album. This one was produced by Henry Glover, the great record producer, songwriter, and trumpet player who had played with Lucky Millinder, produced Wynonie Harris, Hank Ballard, and Moon Mullican, and wrote "Drowning in My Own Tears", "The Peppermint Twist", and "California Sun". Glover was massively impressed with the band, especially Helm (with whom he would remain friends for the rest of his life) and set aside some studio time for them to cut some tracks without Hawkins, to be used as album filler, including a version of the Bobby "Blue" Bland song "Farther On Up the Road" with Helm on lead vocals: [Excerpt: Levon Helm and the Hawks, "Farther On Up the Road"] There were more changes on the way though. Stan Szelest was about to leave the band, and Jones had already left, so the group had no keyboard player. Hawkins had just the replacement for Szelest -- yet another Canadian teenager. This one was Richard Manuel, who played piano and sang in a band called The Rockin' Revols. Manuel was not the greatest piano player around -- he was an adequate player for simple rockabilly and R&B stuff, but hardly a virtuoso -- but he was an incredible singer, able to do a version of "Georgia on My Mind" which rivalled Ray Charles, and Hawkins had booked the Revols into his own small circuit of clubs around Arkanasas after being impressed with them on the same bill as the Hawks a couple of times. Hawkins wanted someone with a good voice because he was increasingly taking a back seat in performances. Hawkins was the bandleader and frontman, but he'd often given Helm a song or two to sing in the show, and as they were often playing for several hours a night, the more singers the band had the better. Soon, with Helm, Danko, and Manuel all in the group and able to take lead vocals, Hawkins would start missing entire shows, though he still got more money than any of his backing group. Hawkins was also a hard taskmaster, and wanted to have the best band around. He already had great musicians, but he wanted them to be *the best*. And all the musicians in his band were now much younger than him, with tons of natural talent, but untrained. What he needed was someone with proper training, someone who knew theory and technique. He'd been trying for a long time to get someone like that, but Garth Hudson had kept turning him down. Hudson was older than any of the Hawks, though younger than Hawkins, and he was a multi-instrumentalist who was far better than any other musician on the circuit, having trained in a conservatory and learned how to play Bach and Chopin before switching to rock and roll. He thought the Hawks were too loud sounding and played too hard for him, but Helm kept on at Hawkins to meet any demands Hudson had, and Hawkins eventually agreed to give Hudson a higher wage than any of the other band members, buy him a new Lowry organ, and give him an extra ten dollars a week to give the rest of the band music lessons. Hudson agreed, and the Hawks now had a lineup of Helm on drums, Robertson on guitar, Manuel on piano, Danko on bass, Hudson on organ and alto sax, and Penfound on baritone sax. But these new young musicians were beginning to wonder why they actually needed a frontman who didn't turn up to many of the gigs, kept most of the money, and fined them whenever they broke one of his increasingly stringent set of rules. Indeed, they wondered why they needed a frontman at all. They already had three singers -- and sometimes a fourth, a singer called Bruce Bruno who would sometimes sit in with them when Penfound was unable to make a gig. They went to see Harold Kudlets, who Hawkins had recently sacked as his manager, and asked him if he could get them gigs for the same amount of money as they'd been getting with Hawkins. Kudlets was astonished to find how little Hawkins had been paying them, and told them that would be no problem at all. They had no frontman any more -- and made it a rule in all their contracts that the word "sideman" would never be used -- but Helm had been the leader for contractual purposes, as the musical director and longest-serving member (Hawkins, as a non-playing singer, had never joined the Musicians' Union so couldn't be the leader on contracts). So the band that had been Ronnie Hawkins and the Hawks became the Levon Helm Sextet briefly -- but Penfound soon quit, and they became Levon and the Hawks. The Hawks really started to find their identity as their own band in 1964. They were already far more interested in playing soul than Hawkins had been, but they were also starting to get into playing soul *jazz*, especially after seeing the Cannonball Adderley Sextet play live: [Excerpt: Cannonball Adderley, "This Here"] What the group admired about the Adderley group more than anything else was a sense of restraint. Helm was particularly impressed with their drummer, Louie Hayes, and said of him "I got to see some great musicians over the years, and you see somebody like that play and you can tell, y' know, that the thing not to do is to just get it down on the floor and stomp the hell out of it!" The other influence they had, and one which would shape their sound even more, was a negative one. The two biggest bands on the charts at the time were the Beatles and the Beach Boys, and as Helm described it in his autobiography, the Hawks thought both bands' harmonies were "a blend of pale, homogenised, voices". He said "We felt we were better than the Beatles and the Beach Boys. We considered them our rivals, even though they'd never heard of us", and they decided to make their own harmonies sound as different as possible as a result. Where those groups emphasised a vocal blend, the Hawks were going to emphasise the *difference* in their voices in their own harmonies. The group were playing prestigious venues like the Peppermint Lounge, and while playing there they met up with John Hammond Jr, who they'd met previously in Canada. As you might remember from the first episode on Bob Dylan, Hammond Jr was the son of the John Hammond who we've talked about in many episodes, and was a blues musician in his own right. He invited Helm, Robertson, and Hudson to join the musicians, including Michael Bloomfield, who were playing on his new album, So Many Roads: [Excerpt: John P. Hammond, "Who Do You Love?"] That album was one of the inspirations that led Bob Dylan to start making electric rock music and to hire Bloomfield as his guitarist, decisions that would have profound implications for the Hawks. The first single the Hawks recorded for themselves after leaving Hawkins was produced by Henry Glover, and both sides were written by Robbie Robertson. "uh Uh Uh" shows the influence of the R&B bands they were listening to. What it reminds me most of is the material Ike and Tina Turner were playing at the time, but at points I think I can also hear the influence of Curtis Mayfield and Steve Cropper, who were rapidly becoming Robertson's favourite songwriters: [Excerpt: The Canadian Squires, "Uh Uh Uh"] None of the band were happy with that record, though. They'd played in the studio the same way they played live, trying to get a strong bass presence, but it just sounded bottom-heavy to them when they heard the record on a jukebox. That record was released as by The Canadian Squires -- according to Robertson, that was a name that the label imposed on them for the record, while according to Helm it was an alternative name they used so they could get bookings in places they'd only recently played, which didn't want the same band to play too often. One wonders if there was any confusion with the band Neil Young played in a year or so before that single... Around this time, the group also met up with Helm's old musical inspiration Sonny Boy Williamson II, who was impressed enough with them that there was some talk of them being his backing band (and it was in this meeting that Williamson apparently told Robertson "those English boys want to play the blues so bad, and they play the blues *so bad*", speaking of the bands who'd backed him in the UK, like the Yardbirds and the Animals). But sadly, Williamson died in May 1965 before any of these plans had time to come to fruition. Every opportunity for the group seemed to be closing up, even as they knew they were as good as any band around them. They had an offer from Aaron Schroeder, who ran Musicor Records but was more importantly a songwriter and publisher who  had written for Elvis Presley and published Gene Pitney. Schroeder wanted to sign the Hawks as a band and Robertson as a songwriter, but Henry Glover looked over the contracts for them, and told them "If you sign this you'd better be able to pay each other, because nobody else is going to be paying you". What happened next is the subject of some controversy, because as these things tend to go, several people became aware of the Hawks at the same time, but it's generally considered that nothing would have happened the same way were it not for Mary Martin. Martin is a pivotal figure in music business history -- among other things she discovered Leonard Cohen and Gordon Lightfoot, managed Van Morrison, and signed Emmylou Harris to Warner Brothers records -- but a somewhat unknown one who doesn't even have a Wikipedia page. Martin was from Toronto, but had moved to New York, where she was working in Albert Grossman's office, but she still had many connections to Canadian musicians and kept an eye out for them. The group had sent demo tapes to Grossman's offices, and Grossman had had no interest in them, but Martin was a fan and kept pushing the group on Grossman and his associates. One of those associates, of course, was Grossman's client Bob Dylan. As we heard in the episode on "Like a Rolling Stone", Dylan had started making records with electric backing, with musicians who included Mike Bloomfield, who had played with several of the Hawks on the Hammond album, and Al Kooper, who was a friend of the band. Martin gave Richard Manuel a copy of Dylan's new electric album Highway 61 Revisited, and he enjoyed it, though the rest of the group were less impressed: [Excerpt: Bob Dylan, "Highway 61 Revisited"] Dylan had played the Newport Folk Festival with some of the same musicians as played on his records, but Bloomfield in particular was more interested in continuing to play with the Paul Butterfield Blues Band than continuing with Dylan long-term. Mary Martin kept telling Dylan about this Canadian band she knew who would be perfect for him, and various people associated with the Grossman organisation, including Hammond, have claimed to have been sent down to New Jersey where the Hawks were playing to check them out in their live setting. The group have also mentioned that someone who looked a lot like Dylan was seen at some of their shows. Eventually, Dylan phoned Helm up and made an offer. He didn't need a full band at the moment -- he had Harvey Brooks on bass and Al Kooper on keyboards -- but he did need a lead guitar player and drummer for a couple of gigs he'd already booked, one in Forest Hills, New York, and a bigger gig at the Hollywood Bowl. Helm, unfamiliar with Dylan's work, actually asked Howard Kudlets if Dylan was capable of filling the Hollywood Bowl. The musicians rehearsed together and got a set together for the shows. Robertson and Helm thought the band sounded terrible, but Dylan liked the sound they were getting a lot. The audience in Forest Hills agreed with the Hawks, rather than Dylan, or so it would appear. As we heard in the "Like a Rolling Stone" episode, Dylan's turn towards rock music was *hated* by the folk purists who saw him as some sort of traitor to the movement, a movement whose figurehead he had become without wanting to. There were fifteen thousand people in the audience, and they listened politely enough to the first set, which Dylan played acoustically, But before the second set -- his first ever full electric set, rather than the very abridged one at Newport -- he told the musicians “I don't know what it will be like out there It's going to be some kind of  carnival and I want you to all know that up front. So go out there and keep playing no matter how weird it gets!” There's a terrible-quality audience recording of that show in circulation, and you can hear the crowd's reaction to the band and to the new material: [Excerpt: Bob Dylan, "Ballad of a Thin Man" (live Forest Hills 1965, audience noise only)] The audience also threw things  at the musicians, knocking Al Kooper off his organ stool at one point. While Robertson remembered the Hollywood Bowl show as being an equally bad reaction, Helm remembered the audience there as being much more friendly, and the better-quality recording of that show seems to side with Helm: [Excerpt: Bob Dylan, "Maggie's Farm (live at the Hollywood Bowl 1965)"] After those two shows, Helm and Robertson went back to their regular gig. and in September they made another record. This one, again produced by Glover, was for Atlantic's Atco subsidiary, and was released as by Levon and the Hawks. Manuel took lead, and again both songs were written by Robertson: [Excerpt: Levon and the Hawks, "He Don't Love You (And He'll Break Your Heart)"] But again that record did nothing. Dylan was about to start his first full electric tour, and while Helm and Robertson had not thought the shows they'd played sounded particularly good, Dylan had, and he wanted the two of them to continue with him. But Robertson and, especially, Helm, were not interested in being someone's sidemen. They explained to Dylan that they already had a band -- Levon and the Hawks -- and he would take all of them or he would take none of them. Helm in particular had not been impressed with Dylan's music -- Helm was fundamentally an R&B fan, while Dylan's music was rooted in genres he had little time for -- but he was OK with doing it, so long as the entire band got to. As Mary Martin put it “I think that the wonderful and the splendid heart of the band, if you will, was Levon, and I think he really sort of said, ‘If it's just myself as drummer and Robbie…we're out. We don't want that. It's either us, the band, or nothing.' And you know what? Good for him.” Rather amazingly, Dylan agreed. When the band's residency in New Jersey finished, they headed back to Toronto to play some shows there, and Dylan flew up and rehearsed with them after each show. When the tour started, the billing was "Bob Dylan with Levon and the Hawks". That billing wasn't to last long. Dylan had been booked in for nine months of touring, and was also starting work on what would become widely considered the first double album in rock music history, Blonde on Blonde, and the original plan was that Levon and the Hawks would play with him throughout that time.  The initial recording sessions for the album produced nothing suitable for release -- the closest was "I Wanna Be Your Lover", a semi-parody of the Beatles' "I Want to be Your Man": [Excerpt: Bob Dylan with Levon and the Hawks, "I Wanna Be Your Lover"] But shortly into the tour, Helm quit. The booing had continued, and had even got worse, and Helm simply wasn't in the business to be booed at every night. Also, his whole conception of music was that you dance to it, and nobody was dancing to any of this. Helm quit the band, only telling Robertson of his plans, and first went off to LA, where he met up with some musicians from Oklahoma who had enjoyed seeing the Hawks when they'd played that state and had since moved out West -- people like Leon Russell, J.J. Cale (not John Cale of the Velvet Underground, but the one who wrote "Cocaine" which Eric Clapton later had a hit with), and John Ware (who would later go on to join the West Coast Pop Art Experimental Band). They started loosely jamming with each other, sometimes also involving a young singer named Linda Ronstadt, but Helm eventually decided to give up music and go and work on an oil rig in New Orleans. Levon and the Hawks were now just the Hawks. The rest of the group soldiered on, replacing Helm with session drummer Bobby Gregg (who had played on Dylan's previous couple of albums, and had previously played with Sun Ra), and played on the initial sessions for Blonde on Blonde. But of those sessions, Dylan said a few weeks later "Oh, I was really down. I mean, in ten recording sessions, man, we didn't get one song ... It was the band. But you see, I didn't know that. I didn't want to think that" One track from the sessions did get released -- the non-album single "Can You Please Crawl Out Your Window?" [Excerpt: Bob Dylan, "Can You Please Crawl Out Your Window?"] There's some debate as to exactly who's playing drums on that -- Helm says in his autobiography that it's him, while the credits in the official CD releases tend to say it's Gregg. Either way, the track was an unexpected flop, not making the top forty in the US, though it made the top twenty in the UK. But the rest of the recordings with the now Helmless Hawks were less successful. Dylan was trying to get his new songs across, but this was a band who were used to playing raucous music for dancing, and so the attempts at more subtle songs didn't come off the way he wanted: [Excerpt: Bob Dylan and the Hawks, "Visions of Johanna (take 5, 11-30-1965)"] Only one track from those initial New York sessions made the album -- "One Of Us Must Know (Sooner or Later)" -- but even that only featured Robertson and Danko of the Hawks, with the rest of the instruments being played by session players: [Excerpt: Bob Dylan (One of Us Must Know (Sooner or Later)"] The Hawks were a great live band, but great live bands are not necessarily the same thing as a great studio band. And that's especially the case with someone like Dylan. Dylan was someone who was used to recording entirely on his own, and to making records *quickly*. In total, for his fifteen studio albums up to 1974's Blood on the Tracks, Dylan spent a total of eighty-six days in the studio -- by comparison, the Beatles spent over a hundred days in the studio just on the Sgt Pepper album. It's not that the Hawks weren't a good band -- very far from it -- but that studio recording requires a different type of discipline, and that's doubly the case when you're playing with an idiosyncratic player like Dylan. The Hawks would remain Dylan's live backing band, but he wouldn't put out a studio recording with them backing him until 1974. Instead, Bob Johnston, the producer Dylan was working with, suggested a different plan. On his previous album, the Nashville session player Charlie McCoy had guested on "Desolation Row" and Dylan had found him easy to work with. Johnston lived in Nashville, and suggested that they could get the album completed more quickly and to Dylan's liking by using Nashville A-Team musicians. Dylan agreed to try it, and for the rest of the album he had Robertson on lead guitar and Al Kooper on keyboards, but every other musician was a Nashville session player, and they managed to get Dylan's songs recorded quickly and the way he heard them in his head: [Excerpt: Bob Dylan, "Most Likely You Go Your Way and I'll Go Mine"] Though Dylan being Dylan he did try to introduce an element of randomness to the recordings by having the Nashville musicians swap their instruments around and play each other's parts on "Rainy Day Women #12 & 35", though the Nashville players were still competent enough that they managed to get a usable, if shambolic, track recorded that way in a single take: [Excerpt: Bob Dylan, "Rainy Day Women #12 & 35"] Dylan said later of the album "The closest I ever got to the sound I hear in my mind was on individual bands in the Blonde on Blonde album. It's that thin, that wild mercury sound. It's metallic and bright gold, with whatever that conjures up." The album was released in late June 1966, a week before Freak Out! by the Mothers of Invention, another double album, produced by Dylan's old producer Tom Wilson, and a few weeks after Pet Sounds by the Beach Boys. Dylan was at the forefront of a new progressive movement in rock music, a movement that was tying thoughtful, intelligent lyrics to studio experimentation and yet somehow managing to have commercial success. And a month after Blonde on Blonde came out, he stepped away from that position, and would never fully return to it. The first half of 1966 was taken up with near-constant touring, with Dylan backed by the Hawks and a succession of fill-in drummers -- first Bobby Gregg, then Sandy Konikoff, then Mickey Jones. This tour started in the US and Canada, with breaks for recording the album, and then moved on to Australia and Europe. The shows always followed the same pattern. First Dylan would perform an acoustic set, solo, with just an acoustic guitar and harmonica, which would generally go down well with the audience -- though sometimes they would get restless, prompting a certain amount of resistance from the performer: [Excerpt: Bob Dylan, "Just Like a Woman (live Paris 1966)"] But the second half of each show was electric, and that was where the problems would arise. The Hawks were playing at the top of their game -- some truly stunning performances: [Excerpt: Bob Dylan and the Hawks, "Just Like Tom Thumb's Blues (live in Liverpool 1966)"] But while the majority of the audience was happy to hear the music, there was a vocal portion that were utterly furious at the change in Dylan's musical style. Most notoriously, there was the performance at Manchester Free Trade Hall where this happened: [Excerpt: Bob Dylan, "Like a Rolling Stone (live Manchester 1966)"] That kind of aggression from the audience had the effect of pushing the band on to greater heights a lot of the time -- and a bootleg of that show, mislabelled as the Royal Albert Hall, became one of the most legendary bootlegs in rock music history. Jimmy Page would apparently buy a copy of the bootleg every time he saw one, thinking it was the best album ever made. But while Dylan and the Hawks played defiantly, that kind of audience reaction gets wearing. As Dylan later said, “Judas, the most hated name in human history, and for what—for playing an electric guitar. As if that is in some kind of way equitable to betraying our Lord, and delivering him up to be crucified; all those evil mothers can rot in hell.” And this wasn't the only stress Dylan, in particular, was under. D.A. Pennebaker was making a documentary of the tour -- a follow-up to his documentary of the 1965 tour, which had not yet come out. Dylan talked about the 1965 documentary, Don't Look Back, as being Pennebaker's film of Dylan, but this was going to be Dylan's film, with him directing the director. That footage shows Dylan as nervy and anxious, and covering for the anxiety with a veneer of flippancy. Some of Dylan's behaviour on both tours is unpleasant in ways that can't easily be justified (and which he has later publicly regretted), but there's also a seeming cruelty to some of his interactions with the press and public that actually reads more as frustration. Over and over again he's asked questions -- about being the voice of a generation or the leader of a protest movement -- which are simply based on incorrect premises. When someone asks you a question like this, there are only a few options you can take, none of them good. You can dissect the question, revealing the incorrect premises, and then answer a different question that isn't what they asked, which isn't really an option at all given the kind of rapid-fire situation Dylan was in. You can answer the question as asked, which ends up being dishonest. Or you can be flip and dismissive, which is the tactic Dylan chose. Dylan wasn't the only one -- this is basically what the Beatles did at press conferences. But where the Beatles were a gang and so came off as being fun, Dylan doing the same thing came off as arrogant and aggressive. One of the most famous artifacts of the whole tour is a long piece of footage recorded for the documentary, with Dylan and John Lennon riding in the back of a taxi, both clearly deeply uncomfortable, trying to be funny and impress the other, but neither actually wanting to be there: [Excerpt Dylan and Lennon conversation] 33) Part of the reason Dylan wanted to go home was that he had a whole new lifestyle. Up until 1964 he had been very much a city person, but as he had grown more famous, he'd found New York stifling. Peter Yarrow of Peter, Paul, and Mary had a cabin in Woodstock, where he'd grown up, and after Dylan had spent a month there in summer 1964, he'd fallen in love with the area. Albert Grossman had also bought a home there, on Yarrow's advice, and had given Dylan free run of the place, and Dylan had decided he wanted to move there permanently and bought his own home there. He had also married, to Sara Lowndes (whose name is, as far as I can tell, pronounced "Sarah" even though it's spelled "Sara"), and she had given birth to his first child (and he had adopted her child from her previous marriage). Very little is actually known about Sara, who unlike many other partners of rock stars at this point seemed positively to detest the limelight, and whose privacy Dylan has continued to respect even after the end of their marriage in the late seventies, but it's apparent that the two were very much in love, and that Dylan wanted to be back with his wife and kids, in the country, not going from one strange city to another being asked insipid questions and having abuse screamed at him. He was also tired of the pressure to produce work constantly. He'd signed a contract for a novel, called Tarantula, which he'd written a draft of but was unhappy with, and he'd put out two single albums and a double-album in a little over a year -- all of them considered among the greatest albums ever made. He could only keep up this rate of production and performance with a large intake of speed, and he was sometimes staying up for four days straight to do so. After the European leg of the tour, Dylan was meant to take some time to finish overdubs on Blonde on Blonde, edit the film of the tour for a TV special, with his friend Howard Alk, and proof the galleys for Tarantula, before going on a second world tour in the autumn. That world tour never happened. Dylan was in a motorcycle accident near his home, and had to take time out to recover. There has been a lot of discussion as to how serious the accident actually was, because Dylan's manager Albert Grossman was known to threaten to break contracts by claiming his performers were sick, and because Dylan essentially disappeared from public view for the next eighteen months. Every possible interpretation of the events has been put about by someone, from Dylan having been close to death, to the entire story being put up as a fake. As Dylan is someone who is far more protective of his privacy than most rock stars, it's doubtful we'll ever know the precise truth, but putting together the various accounts Dylan's injuries were bad but not life-threatening, but they acted as a wake-up call -- if he carried on living like he had been, how much longer could he continue? in his sort-of autobiography, Chronicles, Dylan described this period, saying "I had been in a motorcycle accident and I'd been hurt, but I recovered. Truth was that I wanted to get out of the rat race. Having children changed my life and segregated me from just about everybody and everything that was going on. Outside of my family, nothing held any real interest for me and I was seeing everything through different glasses." All his forthcoming studio and tour dates were cancelled, and Dylan took the time out to recover, and to work on his film, Eat the Document. But it's clear that nobody was sure at first exactly how long Dylan's hiatus from touring was going to last. As it turned out, he wouldn't do another tour until the mid-seventies, and would barely even play any one-off gigs in the intervening time. But nobody knew that at the time, and so to be on the safe side the Hawks were being kept on a retainer. They'd always intended to work on their own music anyway -- they didn't just want to be anyone's backing band -- so they took this time to kick a few ideas around, but they were hamstrung by the fact that it was difficult to find rehearsal space in New York City, and they didn't have any gigs. Their main musical work in the few months between summer 1966 and spring 1967 was some recordings for the soundtrack of a film Peter Yarrow was making. You Are What You Eat is a bizarre hippie collage of a film, documenting the counterculture between 1966 when Yarrow started making it and 1968 when it came out. Carl Franzoni, one of the leaders of the LA freak movement that we've talked about in episodes on the Byrds, Love, and the Mothers of Invention, said of the film “If you ever see this movie you'll understand what ‘freaks' are. It'll let you see the L.A. freaks, the San Francisco freaks, and the New York freaks. It was like a documentary and it was about the makings of what freaks were about. And it had a philosophy, a very definite philosophy: that you are free-spirited, artistic." It's now most known for introducing the song "My Name is Jack" by John Simon, the film's music supervisor: [Excerpt: John Simon, "My Name is Jack"] That song would go on to be a top ten hit in the UK for Manfred Mann: [Excerpt: Manfred Mann, "My Name is Jack"] The Hawks contributed backing music for several songs for the film, in which they acted as backing band for another old Greenwich Village folkie who had been friends with Yarrow and Dylan but who was not yet the star he would soon become, Tiny Tim: [Excerpt: Tiny Tim, "Sonny Boy"] This was their first time playing together properly since the end of the European tour, and Sid Griffin has noted that these Tiny Tim sessions are the first time you can really hear the sound that the group would develop over the next year, and which would characterise them for their whole career. Robertson, Danko, and Manuel also did a session, not for the film with another of Grossman's discoveries, Carly Simon, playing a version of "Baby Let Me Follow You Down", a song they'd played a lot with Dylan on the tour that spring. That recording has never been released, and I've only managed to track down a brief clip of it from a BBC documentary, with Simon and an interviewer talking over most of the clip (so this won't be in the Mixcloud I put together of songs): [Excerpt: Carly Simon, "Baby Let Me Follow You Down"] That recording is notable though because as well as Robertson, Danko, and Manuel, and Dylan's regular studio keyboard players Al Kooper and Paul Griffin, it also features Levon Helm on drums, even though Helm had still not rejoined the band and was at the time mostly working in New Orleans. But his name's on the session log, so he must have m