Podcasts about train it

Please tune in to this episode of The Building BITE Podcast, as we hear from industry experts about key topics to help you be successful. The Building BITE host Mike Diercksen, CRIS, welcomes Nick Demonte, Cement Mason Coordinator, and Tim Nelson, Plastering Coordinator at ITF OPCMIA. We begin the episode by discussing Nick and Tim's professional career, which eventually lead them both to an educational role. Nick and Tim share the new technology they are bringing to the industry and demonstrate the need to incorporate these new strategies due to the labor workforce continuing to shrink. Nick and Tim leave provide excellent insight into the labor force at large, and ultimately leave us with three key takeaways. 1. Recruit: As an industry, we are losing more workers than we are bringing on and we need to find ways to recruit diverse talent. Using tools such as the VR Simulator is just one way that we are looking to engage with both our existing prospect pools and to expand into new groups that may not have otherwise looked at the trades. 2. Train: It is not enough to simply get more people to join the labor work force, but we need to train these new workers to be able to hit the ground running and shorten their learning curve. Using these technologies enables the industry to do exactly that, while offering opportunities to existing laborers to renew certifications and enhance their own experience. 3. Retain: As it stands, industry data shows that in the coming years we will be losing four workers for every one that enters the labor workforce. Investing in technology and demonstrating to new workers the career opportunities available to them will be instrumental to retention rates and the long-term success of our industry. To learn more about how you can better prepare your firm for the opportunities ahead, listen to our full podcast episode with Nick and Tim on “Virtual Training, Enhancing On The Job Learning.” Please like, share, and subscribe to this podcast!

In popular culture, the conscience is often depicted as a little voice that tells you what you should do. How does the Bible describe the conscience? Does our conscience interact with our emotions? This week on the podcast, we welcome special guest Dr. Andrew Naselli to discuss the conscience, the topic of his book entitled– Conscience: What is it, How to Train it, and Loving Those That Differ. Dr. Naselli is a pastor, author, and professor of systematic theology and New Testament for Bethlehem College and Seminary in Minneapolis. He is married to his wife Jenny and they have four daughters. Episode Transcript⁠⁠⁠⁠⁠⁠⁠⁠⁠ Resources Books Conscience: What It Is, How to Train It, and Loving Those Who Differ - Andrew Naselli That Little Voice in Your Head - Andrew Naselli Pilgrim's Progress - John Bunyan The Ology - Marty Machowski Websites Masters of Arts in Biblical Counseling - Faith Bible Seminary Visit the ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Joyful Journey website⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ to sign up for our newsletter, view a transcript, and search previous episodes. Emails us with questions or comments at joyfuljourneyquestions@outlook.com ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Facebook⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠, ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Instagram ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Donate to Joyful Journey Podcast⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Joyful Journey Podcast is a ministry of Faith Bible Seminary. All proceeds go to offset costs of this podcast and toward scholarships for women to receive their⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ MABC through Faith Bible Seminary⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠.

In popular culture, the conscience is often depicted as a little voice that tells you what you should do. How does the Bible describe the conscience? Does our conscience interact with our emotions? This week on the podcast, we welcome special guest Dr. Andrew Naselli to discuss the conscience, the topic of his book entitled– Conscience: What is it, How to Train it, and Loving Those That Differ. Dr. Naselli is a pastor, author, and professor of systematic theology and New Testament for Bethlehem College and Seminary in Minneapolis. He is married to his wife Jenny and they have four daughters. Episode Transcript⁠⁠⁠⁠⁠⁠⁠⁠⁠ Resources Books Conscience: What It Is, How to Train It, and Loving Those Who Differ - Andrew Naselli That Little Voice in Your Head - Andrew Naselli Pilgrim's Progress - John Bunyan The Ology - Marty Machowski Websites Masters of Arts in Biblical Counseling - Faith Bible Seminary Visit the ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Joyful Journey website⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ to sign up for our newsletter, view a transcript, and search previous episodes. Emails us with questions or comments at joyfuljourneyquestions@outlook.com ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Facebook⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠, ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Instagram ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Donate to Joyful Journey Podcast⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Joyful Journey Podcast is a ministry of Faith Bible Seminary. All proceeds go to offset costs of this podcast and toward scholarships for women to receive their⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ MABC through Faith Bible Seminary⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠.

Just in case you are thinking of getting some books for Christmas (and who wouldn't be?), we're bringing you our fourth instalment of Cloak, Books, and Parchments (2Tim 4:13). There is no book like the Bible but we all learn from the ministry of others, including ministry that comes to us in written form. Mike & Matthew share brief reviews of eight books for your reading pleasure.- Digital Liturgies: Rediscovering Christian Wisdom in an Online Age by Samuel James (Crossway)- Of No Reputation: Living an Ordinary Life by Stephen Grant (John Ritchie)- When People Are Big and God Is Small: Overcoming Peer Pressure, Codependency, and the Fear of Man, 2nd ed, by Edward Welch (P&R Publishing)- Enjoy Your Prayer Life by Michael Reeves (10 Publishing)- The Genesis of Gender: A Christian Theory by Abigail Favale (Ignatius); - Maisie Dobbs by Jacqueline Winspear (Soho Press); (NOTE: best for older, mature readers, due to some language and mature themes)- Conscience: What it Is, How to Train It, and Loving Those Who Differ by Andrew Naselli & J.D. Crowley (Crossway)- That Little Voice in Your Head: Learning about your Conscience by Andy Naselli (CF4Kids)- In Search of the Source: A First Encounter with God's Word by Neil Anderson with Hyatt Moore (Wycliffe)- Why I Am a Christian by John Stott (IVP Books) Scriptures Referenced: 2Tim 4:13 Visit PracticologyPodcast.com for more episodes.Follow the Practicology Podcast on Twitter and Facebook

Apologetics is the term used to describe "making a defense" of the hope we have as Christians (1 Peter 3:15-16).  During this series, we will be discussing different objections to the Christian faith and hope to equip our church with ways to think about God's world.In today's episode, Vinnie is joined by Somer Ransom to discuss an apologetic way of thinking about political conversations in our current American context. Join us each Friday through the fall as we dive into a different apologetic topic.You can find us online at:  www.goldenhills.orgFor more information email Vinnie:  vinnieangelo@goldenhills.orgRecommended Resources:How Can I Love Church Members with Different Politics (Leeman)Before You Vote: Seven Questions Every Christian Should Ask (Platt) Conscience: What It Is, How to Train It, and Loving Those Who Differ (Naselli)How the Nations Rage: Rethinking Faith and Politics in a Divided Age (Leeman)The Liturgy of Politics: Spiritual Formation for the Sake of Our Neighbor (Schiess)Closing SongAt the Cross (Justin McRoberts)

Episode 166 of A History of Rock Music in Five Hundred Songs looks at “Crossroads", Cream, the myth of Robert Johnson, and whether white men can sing the blues. Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have a forty-eight-minute bonus episode available, on “Tip-Toe Thru' the Tulips" by Tiny Tim. 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/ Errata I talk about an interview with Clapton from 1967, I meant 1968. I mention a Graham Bond live recording from 1953, and of course meant 1963. I say Paul Jones was on vocals in the Powerhouse sessions. Steve Winwood was on vocals, and Jones was on harmonica. Resources As I say at the end, the main resource you need to get if you enjoyed this episode is Brother Robert by Annye Anderson, Robert Johnson's stepsister. There are three Mixcloud mixes this time. As there are so many songs by Cream, Robert Johnson, John Mayall, and Graham Bond 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. This article on Mack McCormick gives a fuller explanation of the problems with his research and behaviour. The other books I used for the Robert Johnson sections were McCormick's Biography of a Phantom; Up Jumped the Devil: The Real Life of Robert Johnson, by Bruce Conforth and Gayle Dean Wardlow; Searching for Robert Johnson by Peter Guralnick; and Escaping the Delta by Elijah Wald. I can recommend all of these subject to the caveats at the end of the episode. The information on the history and prehistory of the Delta blues mostly comes from Before Elvis by Larry Birnbaum, with some coming from Charley Patton by John Fahey. The information on Cream comes mostly from Cream: How Eric Clapton Took the World by Storm by Dave Thompson. I also used Ginger Baker: Hellraiser by Ginger Baker and Ginette Baker, Mr Showbiz by Stephen Dando-Collins, Motherless Child by Paul Scott, and  Alexis Korner: The Biography by Harry Shapiro. The best collection of Cream's work is the four-CD set Those Were the Days, which contains every track the group ever released while they were together (though only the stereo mixes of the albums, and a couple of tracks are in slightly different edits from the originals). You can get Johnson's music on many budget compilation records, as it's in the public domain in the EU, but the double CD collection produced by Steve LaVere for Sony in 2011 is, despite the problems that come from it being associated with LaVere, far and away the best option -- the remasters have a clarity that's worlds ahead of even the 1990s CD version it replaced. And for a good single-CD introduction to the Delta blues musicians and songsters who were Johnson's peers and inspirations, Back to the Crossroads: The Roots of Robert Johnson, compiled by Elijah Wald as a companion to his book on Johnson, can't be beaten, and contains many of the tracks excerpted in this episode. Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript Before we start, a quick note that this episode contains discussion of racism, drug addiction, and early death. There's also a brief mention of death in childbirth and infant mortality. It's been a while since we looked at the British blues movement, and at the blues in general, so some of you may find some of what follows familiar, as we're going to look at some things we've talked about previously, but from a different angle. In 1968, the Bonzo Dog Band, a comedy musical band that have been described as the missing link between the Beatles and the Monty Python team, released a track called "Can Blue Men Sing the Whites?": [Excerpt: The Bonzo Dog Band, "Can Blue Men Sing the Whites?"] That track was mocking a discussion that was very prominent in Britain's music magazines around that time. 1968 saw the rise of a *lot* of British bands who started out as blues bands, though many of them went on to different styles of music -- Fleetwood Mac, Ten Years After, Jethro Tull, Chicken Shack and others were all becoming popular among the kind of people who read the music magazines, and so the question was being asked -- can white men sing the blues? Of course, the answer to that question was obvious. After all, white men *invented* the blues. Before we get any further at all, I have to make clear that I do *not* mean that white people created blues music. But "the blues" as a category, and particularly the idea of it as a music made largely by solo male performers playing guitar... that was created and shaped by the actions of white male record executives. There is no consensus as to when or how the blues as a genre started -- as we often say in this podcast "there is no first anything", but like every genre it seems to have come from multiple sources. In the case of the blues, there's probably some influence from African music by way of field chants sung by enslaved people, possibly some influence from Arabic music as well, definitely some influence from the Irish and British folk songs that by the late nineteenth century were developing into what we now call country music, a lot from ragtime, and a lot of influence from vaudeville and minstrel songs -- which in turn themselves were all very influenced by all those other things. Probably the first published composition to show any real influence of the blues is from 1904, a ragtime piano piece by James Chapman and Leroy Smith, "One O' Them Things": [Excerpt: "One O' Them Things"] That's not very recognisable as a blues piece yet, but it is more-or-less a twelve-bar blues. But the blues developed, and it developed as a result of a series of commercial waves. The first of these came in 1914, with the success of W.C. Handy's "Memphis Blues", which when it was recorded by the Victor Military Band for a phonograph cylinder became what is generally considered the first blues record proper: [Excerpt: The Victor Military Band, "Memphis Blues"] The famous dancers Vernon and Irene Castle came up with a dance, the foxtrot -- which Vernon Castle later admitted was largely inspired by Black dancers -- to be danced to the "Memphis Blues", and the foxtrot soon overtook the tango, which the Castles had introduced to the US the previous year, to become the most popular dance in America for the best part of three decades. And with that came an explosion in blues in the Handy style, cranked out by every music publisher. While the blues was a style largely created by Black performers and writers, the segregated nature of the American music industry at the time meant that most vocal performances of these early blues that were captured on record were by white performers, Black vocalists at this time only rarely getting the chance to record. The first blues record with a Black vocalist is also technically the first British blues record. A group of Black musicians, apparently mostly American but led by a Jamaican pianist, played at Ciro's Club in London, and recorded many tracks in Britain, under a name which I'm not going to say in full -- it started with Ciro's Club, and continued alliteratively with another word starting with C, a slur for Black people. In 1917 they recorded a vocal version of "St. Louis Blues", another W.C. Handy composition: [Excerpt: Ciro's Club C**n Orchestra, "St. Louis Blues"] The first American Black blues vocal didn't come until two years later, when Bert Williams, a Black minstrel-show performer who like many Black performers of his era performed in blackface even though he was Black, recorded “I'm Sorry I Ain't Got It You Could Have It If I Had It Blues,” [Excerpt: Bert Williams, "I'm Sorry I Ain't Got It You Could Have It If I Had It Blues,”] But it wasn't until 1920 that the second, bigger, wave of popularity started for the blues, and this time it started with the first record of a Black *woman* singing the blues -- Mamie Smith's "Crazy Blues": [Excerpt: Mamie Smith, "Crazy Blues"] You can hear the difference between that and anything we've heard up to that point -- that's the first record that anyone from our perspective, a hundred and three years later, would listen to and say that it bore any resemblance to what we think of as the blues -- so much so that many places still credit it as the first ever blues record. And there's a reason for that. "Crazy Blues" was one of those records that separates the music industry into before and after, like "Rock Around the Clock", "I Want to Hold Your Hand", Sgt Pepper, or "Rapper's Delight". It sold seventy-five thousand copies in its first month -- a massive number by the standards of 1920 -- and purportedly went on to sell over a million copies. Sales figures and market analysis weren't really a thing in the same way in 1920, but even so it became very obvious that "Crazy Blues" was a big hit, and that unlike pretty much any other previous records, it was a big hit among Black listeners, which meant that there was a market for music aimed at Black people that was going untapped. Soon all the major record labels were setting up subsidiaries devoted to what they called "race music", music made by and for Black people. And this sees the birth of what is now known as "classic blues", but at the time (and for decades after) was just what people thought of when they thought of "the blues" as a genre. This was music primarily sung by female vaudeville artists backed by jazz bands, people like Ma Rainey (whose earliest recordings featured Louis Armstrong in her backing band): [Excerpt: Ma Rainey, "See See Rider Blues"] And Bessie Smith, the "Empress of the Blues", who had a massive career in the 1920s before the Great Depression caused many of these "race record" labels to fold, but who carried on performing well into the 1930s -- her last recording was in 1933, produced by John Hammond, with a backing band including Benny Goodman and Jack Teagarden: [Excerpt: Bessie Smith, "Give Me a Pigfoot and a Bottle of Beer"] It wouldn't be until several years after the boom started by Mamie Smith that any record companies turned to recording Black men singing the blues accompanied by guitar or banjo. The first record of this type is probably "Norfolk Blues" by Reese DuPree from 1924: [Excerpt: Reese DuPree, "Norfolk Blues"] And there were occasional other records of this type, like "Airy Man Blues" by Papa Charlie Jackson, who was advertised as the “only man living who sings, self-accompanied, for Blues records.” [Excerpt: Papa Charlie Jackson, "Airy Man Blues"] But contrary to the way these are seen today, at the time they weren't seen as being in some way "authentic", or "folk music". Indeed, there are many quotes from folk-music collectors of the time (sadly all of them using so many slurs that it's impossible for me to accurately quote them) saying that when people sang the blues, that wasn't authentic Black folk music at all but an adulteration from commercial music -- they'd clearly, according to these folk-music scholars, learned the blues style from records and sheet music rather than as part of an oral tradition. Most of these performers were people who recorded blues as part of a wider range of material, like Blind Blake, who recorded some blues music but whose best work was his ragtime guitar instrumentals: [Excerpt: Blind Blake, "Southern Rag"] But it was when Blind Lemon Jefferson started recording for Paramount records in 1926 that the image of the blues as we now think of it took shape. His first record, "Got the Blues", was a massive success: [Excerpt: Blind Lemon Jefferson, "Got the Blues"] And this resulted in many labels, especially Paramount, signing up pretty much every Black man with a guitar they could find in the hopes of finding another Blind Lemon Jefferson. But the thing is, this generation of people making blues records, and the generation that followed them, didn't think of themselves as "blues singers" or "bluesmen". They were songsters. Songsters were entertainers, and their job was to sing and play whatever the audiences would want to hear. That included the blues, of course, but it also included... well, every song anyone would want to hear.  They'd perform old folk songs, vaudeville songs, songs that they'd heard on the radio or the jukebox -- whatever the audience wanted. Robert Johnson, for example, was known to particularly love playing polka music, and also adored the records of Jimmie Rodgers, the first country music superstar. In 1941, when Alan Lomax first recorded Muddy Waters, he asked Waters what kind of songs he normally played in performances, and he was given a list that included "Home on the Range", Gene Autry's "I've Got Spurs That Jingle Jangle Jingle", and Glenn Miller's "Chattanooga Choo-Choo". We have few recordings of these people performing this kind of song though. One of the few we have is Big Bill Broonzy, who was just about the only artist of this type not to get pigeonholed as just a blues singer, even though blues is what made him famous, and who later in his career managed to record songs like the Tin Pan Alley standard "The Glory of Love": [Excerpt: Big Bill Broonzy, "The Glory of Love"] But for the most part, the image we have of the blues comes down to one man, Arthur Laibley, a sales manager for the Wisconsin Chair Company. The Wisconsin Chair Company was, as the name would suggest, a company that started out making wooden chairs, but it had branched out into other forms of wooden furniture -- including, for a brief time, large wooden phonographs. And, like several other manufacturers, like the Radio Corporation of America -- RCA -- and the Gramophone Company, which became EMI, they realised that if they were going to sell the hardware it made sense to sell the software as well, and had started up Paramount Records, which bought up a small label, Black Swan, and soon became the biggest manufacturer of records for the Black market, putting out roughly a quarter of all "race records" released between 1922 and 1932. At first, most of these were produced by a Black talent scout, J. Mayo Williams, who had been the first person to record Ma Rainey, Papa Charlie Jackson, and Blind Lemon Jefferson, but in 1927 Williams left Paramount, and the job of supervising sessions went to Arthur Laibley, though according to some sources a lot of the actual production work was done by Aletha Dickerson, Williams' former assistant, who was almost certainly the first Black woman to be what we would now think of as a record producer. Williams had been interested in recording all kinds of music by Black performers, but when Laibley got a solo Black man into the studio, what he wanted more than anything was for him to record the blues, ideally in a style as close as possible to that of Blind Lemon Jefferson. Laibley didn't have a very hands-on approach to recording -- indeed Paramount had very little concern about the quality of their product anyway, and Paramount's records are notorious for having been put out on poor-quality shellac and recorded badly -- and he only occasionally made actual suggestions as to what kind of songs his performers should write -- for example he asked Son House to write something that sounded like Blind Lemon Jefferson, which led to House writing and recording "Mississippi County Farm Blues", which steals the tune of Jefferson's "See That My Grave is Kept Clean": [Excerpt: Son House, "Mississippi County Farm Blues"] When Skip James wanted to record a cover of James Wiggins' "Forty-Four Blues", Laibley suggested that instead he should do a song about a different gun, and so James recorded "Twenty-Two Twenty Blues": [Excerpt: Skip James, "Twenty-Two Twenty Blues"] And Laibley also suggested that James write a song about the Depression, which led to one of the greatest blues records ever, "Hard Time Killing Floor Blues": [Excerpt: Skip James, "Hard Time Killing Floor Blues"] These musicians knew that they were getting paid only for issued sides, and that Laibley wanted only blues from them, and so that's what they gave him. Even when it was a performer like Charlie Patton. (Incidentally, for those reading this as a transcript rather than listening to it, Patton's name is more usually spelled ending in ey, but as far as I can tell ie was his preferred spelling and that's what I'm using). Charlie Patton was best known as an entertainer, first and foremost -- someone who would do song-and-dance routines, joke around, play guitar behind his head. He was a clown on stage, so much so that when Son House finally heard some of Patton's records, in the mid-sixties, decades after the fact, he was astonished that Patton could actually play well. Even though House had been in the room when some of the records were made, his memory of Patton was of someone who acted the fool on stage. That's definitely not the impression you get from the Charlie Patton on record: [Excerpt: Charlie Patton, "Poor Me"] Patton is, as far as can be discerned, the person who was most influential in creating the music that became called the "Delta blues". Not a lot is known about Patton's life, but he was almost certainly the half-brother of the Chatmon brothers, who made hundreds of records, most notably as members of the Mississippi Sheiks: [Excerpt: The Mississippi Sheiks, "Sitting on Top of the World"] In the 1890s, Patton's family moved to Sunflower County, Mississippi, and he lived in and around that county until his death in 1934. Patton learned to play guitar from a musician called Henry Sloan, and then Patton became a mentor figure to a *lot* of other musicians in and around the plantation on which his family lived. Some of the musicians who grew up in the immediate area around Patton included Tommy Johnson: [Excerpt: Tommy Johnson, "Big Road Blues"] Pops Staples: [Excerpt: The Staple Singers, "Will The Circle Be Unbroken"] Robert Johnson: [Excerpt: Robert Johnson, "Crossroads"] Willie Brown, a musician who didn't record much, but who played a lot with Patton, Son House, and Robert Johnson and who we just heard Johnson sing about: [Excerpt: Willie Brown, "M&O Blues"] And Chester Burnett, who went on to become known as Howlin' Wolf, and whose vocal style was equally inspired by Patton and by the country star Jimmie Rodgers: [Excerpt: Howlin' Wolf, "Smokestack Lightnin'"] Once Patton started his own recording career for Paramount, he also started working as a talent scout for them, and it was him who brought Son House to Paramount. Soon after the Depression hit, Paramount stopped recording, and so from 1930 through 1934 Patton didn't make any records. He was tracked down by an A&R man in January 1934 and recorded one final session: [Excerpt, Charlie Patton, "34 Blues"] But he died of heart failure two months later. But his influence spread through his proteges, and they themselves influenced other musicians from the area who came along a little after, like Robert Lockwood and Muddy Waters. This music -- or that portion of it that was considered worth recording by white record producers, only a tiny, unrepresentative, portion of their vast performing repertoires -- became known as the Delta Blues, and when some of these musicians moved to Chicago and started performing with electric instruments, it became Chicago Blues. And as far as people like John Mayall in Britain were concerned, Delta and Chicago Blues *were* the blues: [Excerpt: John Mayall and the Bluesbreakers, "It Ain't Right"] John Mayall was one of the first of the British blues obsessives, and for a long time thought of himself as the only one. While we've looked before at the growth of the London blues scene, Mayall wasn't from London -- he was born in Macclesfield and grew up in Cheadle Hulme, both relatively well-off suburbs of Manchester, and after being conscripted and doing two years in the Army, he had become an art student at Manchester College of Art, what is now Manchester Metropolitan University. Mayall had been a blues fan from the late 1940s, writing off to the US to order records that hadn't been released in the UK, and by most accounts by the late fifties he'd put together the biggest blues collection in Britain by quite some way. Not only that, but he had one of the earliest home tape recorders, and every night he would record radio stations from Continental Europe which were broadcasting for American service personnel, so he'd amassed mountains of recordings, often unlabelled, of obscure blues records that nobody else in the UK knew about. He was also an accomplished pianist and guitar player, and in 1956 he and his drummer friend Peter Ward had put together a band called the Powerhouse Four (the other two members rotated on a regular basis) mostly to play lunchtime jazz sessions at the art college. Mayall also started putting on jam sessions at a youth club in Wythenshawe, where he met another drummer named Hughie Flint. Over the late fifties and into the early sixties, Mayall more or less by himself built up a small blues scene in Manchester. The Manchester blues scene was so enthusiastic, in fact, that when the American Folk Blues Festival, an annual European tour which initially featured Willie Dixon, Memhis Slim, T-Bone Walker, Sonny Terry & Brownie McGhee, and John Lee Hooker, first toured Europe, the only UK date it played was at the Manchester Free Trade Hall, and people like Mick Jagger, Keith Richards, Brian Jones and Jimmy Page had to travel up from London to see it. But still, the number of blues fans in Manchester, while proportionally large, was objectively small enough that Mayall was captivated by an article in Melody Maker which talked about Alexis Korner and Cyril Davies' new band Blues Incorporated and how it was playing electric blues, the same music he was making in Manchester. He later talked about how the article had made him think that maybe now people would know what he was talking about. He started travelling down to London to play gigs for the London blues scene, and inviting Korner up to Manchester to play shows there. Soon Mayall had moved down to London. Korner introduced Mayall to Davey Graham, the great folk guitarist, with whom Korner had recently recorded as a duo: [Excerpt: Alexis Korner and Davey Graham, "3/4 AD"] Mayall and Graham performed together as a duo for a while, but Graham was a natural solo artist if ever there was one. Slowly Mayall put a band together in London. On drums was his old friend Peter Ward, who'd moved down from Manchester with him. On bass was John McVie, who at the time knew nothing about blues -- he'd been playing in a Shadows-style instrumental group -- but Mayall gave him a stack of blues records to listen to to get the feeling. And on guitar was Bernie Watson, who had previously played with Screaming Lord Sutch and the Savages. In late 1963, Mike Vernon, a blues fan who had previously published a Yardbirds fanzine, got a job working for Decca records, and immediately started signing his favourite acts from the London blues circuit. The first act he signed was John Mayall and the Bluesbreakers, and they recorded a single, "Crawling up a Hill": [Excerpt: John Mayall and the Bluesbreakers, "Crawling up a Hill (45 version)"] Mayall later called that a "clumsy, half-witted attempt at autobiographical comment", and it sold only five hundred copies. It would be the only record the Bluesbreakers would make with Watson, who soon left the band to be replaced by Roger Dean (not the same Roger Dean who later went on to design prog rock album covers). The second group to be signed by Mike Vernon to Decca was the Graham Bond Organisation. We've talked about the Graham Bond Organisation in passing several times, but not for a while and not in any great detail, so it's worth pulling everything we've said about them so far together and going through it in a little more detail. The Graham Bond Organisation, like the Rolling Stones, grew out of Alexis Korner's Blues Incorporated. As we heard in the episode on "I Wanna Be Your Man" a couple of years ago, Blues Incorporated had been started by Alexis Korner and Cyril Davies, and at the time we're joining them in 1962 featured a drummer called Charlie Watts, a pianist called Dave Stevens, and saxophone player Dick Heckstall-Smith, as well as frequent guest performers like a singer who called himself Mike Jagger, and another one, Roderick Stewart. That group finally found themselves the perfect bass player when Dick Heckstall-Smith put together a one-off group of jazz players to play an event at Cambridge University. At the gig, a little Scottish man came up to the group and told them he played bass and asked if he could sit in. They told him to bring along his instrument to their second set, that night, and he did actually bring along a double bass. Their bluff having been called, they decided to play the most complicated, difficult, piece they knew in order to throw the kid off -- the drummer, a trad jazz player named Ginger Baker, didn't like performing with random sit-in guests -- but astonishingly he turned out to be really good. Heckstall-Smith took down the bass player's name and phone number and invited him to a jam session with Blues Incorporated. After that jam session, Jack Bruce quickly became the group's full-time bass player. Bruce had started out as a classical cellist, but had switched to the double bass inspired by Bach, who he referred to as "the guv'nor of all bass players". His playing up to this point had mostly been in trad jazz bands, and he knew nothing of the blues, but he quickly got the hang of the genre. Bruce's first show with Blues Incorporated was a BBC recording: [Excerpt: Blues Incorporated, "Hoochie Coochie Man (BBC session)"] According to at least one source it was not being asked to take part in that session that made young Mike Jagger decide there was no future for him with Blues Incorporated and to spend more time with his other group, the Rollin' Stones. Soon after, Charlie Watts would join him, for almost the opposite reason -- Watts didn't want to be in a band that was getting as big as Blues Incorporated were. They were starting to do more BBC sessions and get more gigs, and having to join the Musicians' Union. That seemed like a lot of work. Far better to join a band like the Rollin' Stones that wasn't going anywhere. Because of Watts' decision to give up on potential stardom to become a Rollin' Stone, they needed a new drummer, and luckily the best drummer on the scene was available. But then the best drummer on the scene was *always* available. Ginger Baker had first played with Dick Heckstall-Smith several years earlier, in a trad group called the Storyville Jazzmen. There Baker had become obsessed with the New Orleans jazz drummer Baby Dodds, who had played with Louis Armstrong in the 1920s. Sadly because of 1920s recording technology, he hadn't been able to play a full kit on the recordings with Armstrong, being limited to percussion on just a woodblock, but you can hear his drumming style much better in this version of "At the Jazz Band Ball" from 1947, with Mugsy Spanier, Jack Teagarden, Cyrus St. Clair and Hank Duncan: [Excerpt: "At the Jazz Band Ball"] Baker had taken Dobbs' style and run with it, and had quickly become known as the single best player, bar none, on the London jazz scene -- he'd become an accomplished player in multiple styles, and was also fluent in reading music and arranging. He'd also, though, become known as the single person on the entire scene who was most difficult to get along with. He resigned from his first band onstage, shouting "You can stick your band up your arse", after the band's leader had had enough of him incorporating bebop influences into their trad style. Another time, when touring with Diz Disley's band, he was dumped in Germany with no money and no way to get home, because the band were so sick of him. Sometimes this was because of his temper and his unwillingness to suffer fools -- and he saw everyone else he ever met as a fool -- and sometimes it was because of his own rigorous musical ideas. He wanted to play music *his* way, and wouldn't listen to anyone who told him different. Both of these things got worse after he fell under the influence of a man named Phil Seaman, one of the only drummers that Baker respected at all. Seaman introduced Baker to African drumming, and Baker started incorporating complex polyrhythms into his playing as a result. Seaman also though introduced Baker to heroin, and while being a heroin addict in the UK in the 1960s was not as difficult as it later became -- both heroin and cocaine were available on prescription to registered addicts, and Baker got both, which meant that many of the problems that come from criminalisation of these drugs didn't affect addicts in the same way -- but it still did not, by all accounts, make him an easier person to get along with. But he *was* a fantastic drummer. As Dick Heckstall-Smith said "With the advent of Ginger, the classic Blues Incorporated line-up, one which I think could not be bettered, was set" But Alexis Korner decided that the group could be bettered, and he had some backers within the band. One of the other bands on the scene was the Don Rendell Quintet, a group that played soul jazz -- that style of jazz that bridged modern jazz and R&B, the kind of music that Ray Charles and Herbie Hancock played: [Excerpt: The Don Rendell Quintet, "Manumission"] The Don Rendell Quintet included a fantastic multi-instrumentalist, Graham Bond, who doubled on keyboards and saxophone, and Bond had been playing occasional experimental gigs with the Johnny Burch Octet -- a group led by another member of the Rendell Quartet featuring Heckstall-Smith, Bruce, Baker, and a few other musicians, doing wholly-improvised music. Heckstall-Smith, Bruce, and Baker all enjoyed playing with Bond, and when Korner decided to bring him into the band, they were all very keen. But Cyril Davies, the co-leader of the band with Korner, was furious at the idea. Davies wanted to play strict Chicago and Delta blues, and had no truck with other forms of music like R&B and jazz. To his mind it was bad enough that they had a sax player. But the idea that they would bring in Bond, who played sax and... *Hammond* organ? Well, that was practically blasphemy. Davies quit the group at the mere suggestion. Bond was soon in the band, and he, Bruce, and Baker were playing together a *lot*. As well as performing with Blues Incorporated, they continued playing in the Johnny Burch Octet, and they also started performing as the Graham Bond Trio. Sometimes the Graham Bond Trio would be Blues Incorporated's opening act, and on more than one occasion the Graham Bond Trio, Blues Incorporated, and the Johnny Burch Octet all had gigs in different parts of London on the same night and they'd have to frantically get from one to the other. The Graham Bond Trio also had fans in Manchester, thanks to the local blues scene there and their connection with Blues Incorporated, and one night in February 1963 the trio played a gig there. They realised afterwards that by playing as a trio they'd made £70, when they were lucky to make £20 from a gig with Blues Incorporated or the Octet, because there were so many members in those bands. Bond wanted to make real money, and at the next rehearsal of Blues Incorporated he announced to Korner that he, Bruce, and Baker were quitting the band -- which was news to Bruce and Baker, who he hadn't bothered consulting. Baker, indeed, was in the toilet when the announcement was made and came out to find it a done deal. He was going to kick up a fuss and say he hadn't been consulted, but Korner's reaction sealed the deal. As Baker later said "‘he said “it's really good you're doing this thing with Graham, and I wish you the best of luck” and all that. And it was a bit difficult to turn round and say, “Well, I don't really want to leave the band, you know.”'" The Graham Bond Trio struggled at first to get the gigs they were expecting, but that started to change when in April 1963 they became the Graham Bond Quartet, with the addition of virtuoso guitarist John McLaughlin. The Quartet soon became one of the hottest bands on the London R&B scene, and when Duffy Power, a Larry Parnes teen idol who wanted to move into R&B, asked his record label to get him a good R&B band to back him on a Beatles cover, it was the Graham Bond Quartet who obliged: [Excerpt: Duffy Power, "I Saw Her Standing There"] The Quartet also backed Power on a package tour with other Parnes acts, but they were also still performing their own blend of hard jazz and blues, as can be heard in this recording of the group live in June 1953: [Excerpt: The Graham Bond Quartet, "Ho Ho Country Kicking Blues (Live at Klooks Kleek)"] But that lineup of the group didn't last very long. According to the way Baker told the story, he fired McLaughlin from the group, after being irritated by McLaughlin complaining about something on a day when Baker was out of cocaine and in no mood to hear anyone else's complaints. As Baker said "We lost a great guitar player and I lost a good friend." But the Trio soon became a Quartet again, as Dick Heckstall-Smith, who Baker had wanted in the band from the start, joined on saxophone to replace McLaughlin's guitar. But they were no longer called the Graham Bond Quartet. Partly because Heckstall-Smith joining allowed Bond to concentrate just on his keyboard playing, but one suspects partly to protect against any future lineup changes, the group were now The Graham Bond ORGANisation -- emphasis on the organ. The new lineup of the group got signed to Decca by Vernon, and were soon recording their first single, "Long Tall Shorty": [Excerpt: The Graham Bond Organisation, "Long Tall Shorty"] They recorded a few other songs which made their way onto an EP and an R&B compilation, and toured intensively in early 1964, as well as backing up Power on his follow-up to "I Saw Her Standing There", his version of "Parchman Farm": [Excerpt: Duffy Power, "Parchman Farm"] They also appeared in a film, just like the Beatles, though it was possibly not quite as artistically successful as "A Hard Day's Night": [Excerpt: Gonks Go Beat trailer] Gonks Go Beat is one of the most bizarre films of the sixties. It's a far-future remake of Romeo and Juliet. where the two star-crossed lovers are from opposing countries -- Beatland and Ballad Isle -- who only communicate once a year in an annual song contest which acts as their version of a war, and is overseen by "Mr. A&R", played by Frank Thornton, who would later star in Are You Being Served? Carry On star Kenneth Connor is sent by aliens to try to bring peace to the two warring countries, on pain of exile to Planet Gonk, a planet inhabited solely by Gonks (a kind of novelty toy for which there was a short-lived craze then). Along the way Connor encounters such luminaries of British light entertainment as Terry Scott and Arthur Mullard, as well as musical performances by Lulu, the Nashville Teens, and of course the Graham Bond Organisation, whose performance gets them a telling-off from a teacher: [Excerpt: Gonks Go Beat!] The group as a group only performed one song in this cinematic masterpiece, but Baker also made an appearance in a "drum battle" sequence where eight drummers played together: [Excerpt: Gonks Go Beat drum battle] The other drummers in that scene included, as well as some lesser-known players, Andy White who had played on the single version of "Love Me Do", Bobby Graham, who played on hits by the Kinks and the Dave Clark Five, and Ronnie Verrell, who did the drumming for Animal in the Muppet Show. Also in summer 1964, the group performed at the Fourth National Jazz & Blues Festival in Richmond -- the festival co-founded by Chris Barber that would evolve into the Reading Festival. The Yardbirds were on the bill, and at the end of their set they invited Bond, Baker, Bruce, Georgie Fame, and Mike Vernon onto the stage with them, making that the first time that Eric Clapton, Ginger Baker, and Jack Bruce were all on stage together. Soon after that, the Graham Bond Organisation got a new manager, Robert Stigwood. Things hadn't been working out for them at Decca, and Stigwood soon got the group signed to EMI, and became their producer as well. Their first single under Stigwood's management was a cover version of the theme tune to the Debbie Reynolds film "Tammy". While that film had given Tamla records its name, the song was hardly an R&B classic: [Excerpt: The Graham Bond Organisation, "Tammy"] That record didn't chart, but Stigwood put the group out on the road as part of the disastrous Chuck Berry tour we heard about in the episode on "All You Need is Love", which led to the bankruptcy of  Robert Stigwood Associates. The Organisation moved over to Stigwood's new company, the Robert Stigwood Organisation, and Stigwood continued to be the credited producer of their records, though after the "Tammy" disaster they decided they were going to take charge themselves of the actual music. Their first album, The Sound of 65, was recorded in a single three-hour session, and they mostly ran through their standard set -- a mixture of the same songs everyone else on the circuit was playing, like "Hoochie Coochie Man", "Got My Mojo Working", and "Wade in the Water", and originals like Bruce's "Train Time": [Excerpt: The Graham Bond Organisation, "Train Time"] Through 1965 they kept working. They released a non-album single, "Lease on Love", which is generally considered to be the first pop record to feature a Mellotron: [Excerpt: The Graham Bond Organisation, "Lease on Love"] and Bond and Baker also backed another Stigwood act, Winston G, on his debut single: [Excerpt: Winston G, "Please Don't Say"] But the group were developing severe tensions. Bruce and Baker had started out friendly, but by this time they hated each other. Bruce said he couldn't hear his own playing over Baker's loud drumming, Baker thought that Bruce was far too fussy a player and should try to play simpler lines. They'd both try to throw each other during performances, altering arrangements on the fly and playing things that would trip the other player up. And *neither* of them were particularly keen on Bond's new love of the Mellotron, which was all over their second album, giving it a distinctly proto-prog feel at times: [Excerpt: The Graham Bond Organisation, "Baby Can it Be True?"] Eventually at a gig in Golders Green, Baker started throwing drumsticks at Bruce's head while Bruce was trying to play a bass solo. Bruce retaliated by throwing his bass at Baker, and then jumping on him and starting a fistfight which had to be broken up by the venue security. Baker fired Bruce from the band, but Bruce kept turning up to gigs anyway, arguing that Baker had no right to sack him as it was a democracy. Baker always claimed that in fact Bond had wanted to sack Bruce but hadn't wanted to get his hands dirty, and insisted that Baker do it, but neither Bond nor Heckstall-Smith objected when Bruce turned up for the next couple of gigs. So Baker took matters into his own hands, He pulled out a knife and told Bruce "If you show up at one more gig, this is going in you." Within days, Bruce was playing with John Mayall, whose Bluesbreakers had gone through some lineup changes by this point. Roger Dean had only played with the Bluesbreakers for a short time before Mayall had replaced him. Mayall had not been impressed with Eric Clapton's playing with the Yardbirds at first -- even though graffiti saying "Clapton is God" was already starting to appear around London -- but he had been *very* impressed with Clapton's playing on "Got to Hurry", the B-side to "For Your Love": [Excerpt: The Yardbirds, "Got to Hurry"] When he discovered that Clapton had quit the band, he sprang into action and quickly recruited him to replace Dean. Clapton knew he had made the right choice when a month after he'd joined, the group got the word that Bob Dylan had been so impressed with Mayall's single "Crawling up a Hill" -- the one that nobody liked, not even Mayall himself -- that he wanted to jam with Mayall and his band in the studio. Clapton of course went along: [Excerpt: Bob Dylan and the Bluesbreakers, "If You Gotta Go, Go Now"] That was, of course, the session we've talked about in the Velvet Underground episode and elsewhere of which little other than that survives, and which Nico attended. At this point, Mayall didn't have a record contract, his experience recording with Mike Vernon having been no more successful than the Bond group's had been. But soon he got a one-off deal -- as a solo artist, not with the Bluesbreakers -- with Immediate Records. Clapton was the only member of the group to play on the single, which was produced by Immediate's house producer Jimmy Page: [Excerpt: John Mayall, "I'm Your Witchdoctor"] Page was impressed enough with Clapton's playing that he invited him round to Page's house to jam together. But what Clapton didn't know was that Page was taping their jam sessions, and that he handed those tapes over to Immediate Records -- whether he was forced to by his contract with the label or whether that had been his plan all along depends on whose story you believe, but Clapton never truly forgave him. Page and Clapton's guitar-only jams had overdubs by Bill Wyman, Ian Stewart, and drummer Chris Winter, and have been endlessly repackaged on blues compilations ever since: [Excerpt: Jimmy Page and Eric Clapton, "Draggin' My Tail"] But Mayall was having problems with John McVie, who had started to drink too much, and as soon as he found out that Jack Bruce was sacked by the Graham Bond Organisation, Mayall got in touch with Bruce and got him to join the band in McVie's place. Everyone was agreed that this lineup of the band -- Mayall, Clapton, Bruce, and Hughie Flint -- was going places: [Excerpt: John Mayall's Bluesbreakers with Jack Bruce, "Hoochie Coochie Man"] Unfortunately, it wasn't going to last long. Clapton, while he thought that Bruce was the greatest bass player he'd ever worked with, had other plans. He was going to leave the country and travel the world as a peripatetic busker. He was off on his travels, never to return. Luckily, Mayall had someone even better waiting in the wings. A young man had, according to Mayall, "kept coming down to all the gigs and saying, “Hey, what are you doing with him?” – referring to whichever guitarist was onstage that night – “I'm much better than he is. Why don't you let me play guitar for you?” He got really quite nasty about it, so finally, I let him sit in. And he was brilliant." Peter Green was probably the best blues guitarist in London at that time, but this lineup of the Bluesbreakers only lasted a handful of gigs -- Clapton discovered that busking in Greece wasn't as much fun as being called God in London, and came back very soon after he'd left. Mayall had told him that he could have his old job back when he got back, and so Green was out and Clapton was back in. And soon the Bluesbreakers' revolving door revolved again. Manfred Mann had just had a big hit with "If You Gotta Go, Go Now", the same song we heard Dylan playing earlier: [Excerpt: Manfred Mann, "If You Gotta Go, Go Now"] But their guitarist, Mike Vickers, had quit. Tom McGuinness, their bass player, had taken the opportunity to switch back to guitar -- the instrument he'd played in his first band with his friend Eric Clapton -- but that left them short a bass player. Manfred Mann were essentially the same kind of band as the Graham Bond Organisation -- a Hammond-led group of virtuoso multi-instrumentalists who played everything from hardcore Delta blues to complex modern jazz -- but unlike the Bond group they also had a string of massive pop hits, and so made a lot more money. The combination was irresistible to Bruce, and he joined the band just before they recorded an EP of jazz instrumental versions of recent hits: [Excerpt: Manfred Mann, "(I Can't Get No) Satisfaction"] Bruce had also been encouraged by Robert Stigwood to do a solo project, and so at the same time as he joined Manfred Mann, he also put out a solo single, "Drinkin' and Gamblin'" [Excerpt: Jack Bruce, "Drinkin' and Gamblin'"] But of course, the reason Bruce had joined Manfred Mann was that they were having pop hits as well as playing jazz, and soon they did just that, with Bruce playing on their number one hit "Pretty Flamingo": [Excerpt: Manfred Mann, "Pretty Flamingo"] So John McVie was back in the Bluesbreakers, promising to keep his drinking under control. Mike Vernon still thought that Mayall had potential, but the people at Decca didn't agree, so Vernon got Mayall and Clapton -- but not the other band members -- to record a single for a small indie label he ran as a side project: [Excerpt: John Mayall and Eric Clapton, "Bernard Jenkins"] That label normally only released records in print runs of ninety-nine copies, because once you hit a hundred copies you had to pay tax on them, but there was so much demand for that single that they ended up pressing up five hundred copies, making it the label's biggest seller ever. Vernon eventually convinced the heads at Decca that the Bluesbreakers could be truly big, and so he got the OK to record the album that would generally be considered the greatest British blues album of all time -- Blues Breakers, also known as the Beano album because of Clapton reading a copy of the British kids' comic The Beano in the group photo on the front. [Excerpt: John Mayall with Eric Clapton, "Ramblin' On My Mind"] The album was a mixture of originals by Mayall and the standard repertoire of every blues or R&B band on the circuit -- songs like "Parchman Farm" and "What'd I Say" -- but what made the album unique was Clapton's guitar tone. Much to the chagrin of Vernon, and of engineer Gus Dudgeon, Clapton insisted on playing at the same volume that he would on stage. Vernon later said of Dudgeon "I can remember seeing his face the very first time Clapton plugged into the Marshall stack and turned it up and started playing at the sort of volume he was going to play. You could almost see Gus's eyes meet over the middle of his nose, and it was almost like he was just going to fall over from the sheer power of it all. But after an enormous amount of fiddling around and moving amps around, we got a sound that worked." [Excerpt: John Mayall with Eric Clapton, "Hideaway"] But by the time the album cane out. Clapton was no longer with the Bluesbreakers. The Graham Bond Organisation had struggled on for a while after Bruce's departure. They brought in a trumpet player, Mike Falana, and even had a hit record -- or at least, the B-side of a hit record. The Who had just put out a hit single, "Substitute", on Robert Stigwood's record label, Reaction: [Excerpt: The Who, "Substitute"] But, as you'll hear in episode 183, they had moved to Reaction Records after a falling out with their previous label, and with Shel Talmy their previous producer. The problem was, when "Substitute" was released, it had as its B-side a song called "Circles" (also known as "Instant Party -- it's been released under both names). They'd recorded an earlier version of the song for Talmy, and just as "Substitute" was starting to chart, Talmy got an injunction against the record and it had to be pulled. Reaction couldn't afford to lose the big hit record they'd spent money promoting, so they needed to put it out with a new B-side. But the Who hadn't got any unreleased recordings. But the Graham Bond Organisation had, and indeed they had an unreleased *instrumental*. So "Waltz For a Pig" became the B-side to a top-five single, credited to The Who Orchestra: [Excerpt: The Who Orchestra, "Waltz For a Pig"] That record provided the catalyst for the formation of Cream, because Ginger Baker had written the song, and got £1,350 for it, which he used to buy a new car. Baker had, for some time, been wanting to get out of the Graham Bond Organisation. He was trying to get off heroin -- though he would make many efforts to get clean over the decades, with little success -- while Bond was starting to use it far more heavily, and was also using acid and getting heavily into mysticism, which Baker despised. Baker may have had the idea for what he did next from an article in one of the music papers. John Entwistle of the Who would often tell a story about an article in Melody Maker -- though I've not been able to track down the article itself to get the full details -- in which musicians were asked to name which of their peers they'd put into a "super-group". He didn't remember the full details, but he did remember that the consensus choice had had Eric Clapton on lead guitar, himself on bass, and Ginger Baker on drums. As he said later "I don't remember who else was voted in, but a few months later, the Cream came along, and I did wonder if somebody was maybe believing too much of their own press". Incidentally, like The Buffalo Springfield and The Pink Floyd, Cream, the band we are about to meet, had releases both with and without the definite article, and Eric Clapton at least seems always to talk about them as "the Cream" even decades later, but they're primarily known as just Cream these days. Baker, having had enough of the Bond group, decided to drive up to Oxford to see Clapton playing with the Bluesbreakers. Clapton invited him to sit in for a couple of songs, and by all accounts the band sounded far better than they had previously. Clapton and Baker could obviously play well together, and Baker offered Clapton a lift back to London in his new car, and on the drive back asked Clapton if he wanted to form a new band. Clapton was as impressed by Baker's financial skills as he was by his musicianship. He said later "Musicians didn't have cars. You all got in a van." Clearly a musician who was *actually driving a new car he owned* was going places. He agreed to Baker's plan. But of course they needed a bass player, and Clapton thought he had the perfect solution -- "What about Jack?" Clapton knew that Bruce had been a member of the Graham Bond Organisation, but didn't know why he'd left the band -- he wasn't particularly clued in to what the wider music scene was doing, and all he knew was that Bruce had played with both him and Baker, and that he was the best bass player he'd ever played with. And Bruce *was* arguably the best bass player in London at that point, and he was starting to pick up session work as well as his work with Manfred Mann. For example it's him playing on the theme tune to "After The Fox" with Peter Sellers, the Hollies, and the song's composer Burt Bacharach: [Excerpt: The Hollies with Peter Sellers, "After the Fox"] Clapton was insistent. Baker's idea was that the band should be the best musicians around. That meant they needed the *best* musicians around, not the second best. If Jack Bruce wasn't joining, Eric Clapton wasn't joining either. Baker very reluctantly agreed, and went round to see Bruce the next day -- according to Baker it was in a spirit of generosity and giving Bruce one more chance, while according to Bruce he came round to eat humble pie and beg for forgiveness. Either way, Bruce agreed to join the band. The three met up for a rehearsal at Baker's home, and immediately Bruce and Baker started fighting, but also immediately they realised that they were great at playing together -- so great that they named themselves the Cream, as they were the cream of musicians on the scene. They knew they had something, but they didn't know what. At first they considered making their performances into Dada projects, inspired by the early-twentieth-century art movement. They liked a band that had just started to make waves, the Bonzo Dog Doo-Dah Band -- who had originally been called the Bonzo Dog Dada Band -- and they bought some props with the vague idea of using them on stage in the same way the Bonzos did. But as they played together they realised that they needed to do something different from that. At first, they thought they needed a fourth member -- a keyboard player. Graham Bond's name was brought up, but Clapton vetoed him. Clapton wanted Steve Winwood, the keyboard player and vocalist with the Spencer Davis Group. Indeed, Winwood was present at what was originally intended to be the first recording session the trio would play. Joe Boyd had asked Eric Clapton to round up a bunch of players to record some filler tracks for an Elektra blues compilation, and Clapton had asked Bruce and Baker to join him, Paul Jones on vocals, Winwood on Hammond and Clapton's friend Ben Palmer on piano for the session. Indeed, given that none of the original trio were keen on singing, that Paul Jones was just about to leave Manfred Mann, and that we know Clapton wanted Winwood in the band, one has to wonder if Clapton at least half-intended for this to be the eventual lineup of the band. If he did, that plan was foiled by Baker's refusal to take part in the session. Instead, this one-off band, named The Powerhouse, featured Pete York, the drummer from the Spencer Davis Group, on the session, which produced the first recording of Clapton playing on the Robert Johnson song originally titled "Cross Road Blues" but now generally better known just as "Crossroads": [Excerpt: The Powerhouse, "Crossroads"] We talked about Robert Johnson a little back in episode ninety-seven, but other than Bob Dylan, who was inspired by his lyrics, we had seen very little influence from Johnson up to this point, but he's going to be a major influence on rock guitar for the next few years, so we should talk about him a little here. It's often said that nobody knew anything about Robert Johnson, that he was almost a phantom other than his records which existed outside of any context as artefacts of their own. That's... not really the case. Johnson had died a little less than thirty years earlier, at only twenty-seven years old. Most of his half-siblings and step-siblings were alive, as were his son, his stepson, and dozens of musicians he'd played with over the years, women he'd had affairs with, and other assorted friends and relatives. What people mean is that information about Johnson's life was not yet known by people they consider important -- which is to say white blues scholars and musicians. Indeed, almost everything people like that -- people like *me* -- know of the facts of Johnson's life has only become known to us in the last four years. If, as some people had expected, I'd started this series with an episode on Johnson, I'd have had to redo the whole thing because of the information that's made its way to the public since then. But here's what was known -- or thought -- by white blues scholars in 1966. Johnson was, according to them, a field hand from somewhere in Mississippi, who played the guitar in between working on the cotton fields. He had done two recording sessions, in 1936 and 1937. One song from his first session, "Terraplane Blues", had been a very minor hit by blues standards: [Excerpt: Robert Johnson, "Terraplane Blues"] That had sold well -- nobody knows how well, but maybe as many as ten thousand copies, and it was certainly a record people knew in 1937 if they liked the Delta blues, but ten thousand copies total is nowhere near the sales of really successful records, and none of the follow-ups had sold anything like that much -- many of them had sold in the hundreds rather than the thousands. As Elijah Wald, one of Johnson's biographers put it "knowing about Johnson and Muddy Waters but not about Leroy Carr or Dinah Washington was like knowing about, say, the Sir Douglas Quintet but not knowing about the Beatles" -- though *I* would add that the Sir Douglas Quintet were much bigger during the sixties than Johnson was during his lifetime. One of the few white people who had noticed Johnson's existence at all was John Hammond, and he'd written a brief review of Johnson's first two singles under a pseudonym in a Communist newspaper. I'm going to quote it here, but the word he used to talk about Black people was considered correct then but isn't now, so I'll substitute Black for that word: "Before closing we cannot help but call your attention to the greatest [Black] blues singer who has cropped up in recent years, Robert Johnson. Recording them in deepest Mississippi, Vocalion has certainly done right by us and by the tunes "Last Fair Deal Gone Down" and "Terraplane Blues", to name only two of the four sides already released, sung to his own guitar accompaniment. Johnson makes Leadbelly sound like an accomplished poseur" Hammond had tried to get Johnson to perform at the Spirituals to Swing concerts we talked about in the very first episodes of the podcast, but he'd discovered that he'd died shortly before. He got Big Bill Broonzy instead, and played a couple of Johnson's records from a record player on the stage. Hammond introduced those recordings with a speech: "It is tragic that an American audience could not have been found seven or eight years ago for a concert of this kind. Bessie Smith was still at the height of her career and Joe Smith, probably the greatest trumpet player America ever knew, would still have been around to play obbligatos for her...dozens of other artists could have been there in the flesh. But that audience as well as this one would not have been able to hear Robert Johnson sing and play the blues on his guitar, for at that time Johnson was just an unknown hand on a Robinsonville, Mississippi plantation. Robert Johnson was going to be the big surprise of the evening for this audience at Carnegie Hall. I know him only from his Vocalion blues records and from the tall, exciting tales the recording engineers and supervisors used to bring about him from the improvised studios in Dallas and San Antonio. I don't believe Johnson had ever worked as a professional musician anywhere, and it still knocks me over when I think of how lucky it is that a talent like his ever found its way onto phonograph records. We will have to be content with playing two of his records, the old "Walkin' Blues" and the new, unreleased, "Preachin' Blues", because Robert Johnson died last week at the precise moment when Vocalion scouts finally reached him and told him that he was booked to appear at Carnegie Hall on December 23. He was in his middle twenties and nobody seems to know what caused his death." And that was, for the most part, the end of Robert Johnson's impact on the culture for a generation. The Lomaxes went down to Clarksdale, Mississippi a couple of years later -- reports vary as to whether this was to see if they could find Johnson, who they were unaware was dead, or to find information out about him, and they did end up recording a young singer named Muddy Waters for the Library of Congress, including Waters' rendition of "32-20 Blues", Johnson's reworking of Skip James' "Twenty-Two Twenty Blues": [Excerpt: Muddy Waters, "32-20 Blues"] But Johnson's records remained unavailable after their initial release until 1959, when the blues scholar Samuel Charters published the book The Country Blues, which was the first book-length treatment ever of Delta blues. Sixteen years later Charters said "I shouldn't have written The Country Blues when I did; since I really didn't know enough, but I felt I couldn't afford to wait. So The Country Blues was two things. It was a romanticization of certain aspects of black life in an effort to force the white society to reconsider some of its racial attitudes, and on the other hand it was a cry for help. I wanted hundreds of people to go out and interview the surviving blues artists. I wanted people to record them and document their lives, their environment, and their music, not only so that their story would be preserved but also so they'd get a little money and a little recognition in their last years." Charters talked about Johnson in the book, as one of the performers who played "minor roles in the story of the blues", and said that almost nothing was known about his life. He talked about how he had been poisoned by his common-law wife, about how his records were recorded in a pool hall, and said "The finest of Robert Johnson's blues have a brooding sense of torment and despair. The blues has become a personified figure of despondency." Along with Charters' book came a compilation album of the same name, and that included the first ever reissue of one of Johnson's tracks, "Preaching Blues": [Excerpt: Robert Johnson, "Preaching Blues"] Two years later, John Hammond, who had remained an ardent fan of Johnson, had Columbia put out the King of the Delta Blues Singers album. At the time no white blues scholars knew what Johnson looked like and they had no photos of him, so a generic painting of a poor-looking Black man with a guitar was used for the cover. The liner note to King of the Delta Blues Singers talked about how Johnson was seventeen or eighteen when he made his recordings, how he was "dead before he reached his twenty-first birthday, poisoned by a jealous girlfriend", how he had "seldom, if ever, been away from the plantation in Robinsville, Mississippi, where he was born and raised", and how he had had such stage fright that when he was asked to play in front of other musicians, he'd turned to face a wall so he couldn't see them. And that would be all that any of the members of the Powerhouse would know about Johnson. Maybe they'd also heard the rumours that were starting to spread that Johnson had got his guitar-playing skills by selling his soul to the devil at a crossroads at midnight, but that would have been all they knew when they recorded their filler track for Elektra: [Excerpt: The Powerhouse, "Crossroads"] Either way, the Powerhouse lineup only lasted for that one session -- the group eventually decided that a simple trio would be best for the music they wanted to play. Clapton had seen Buddy Guy touring with just a bass player and drummer a year earlier, and had liked the idea of the freedom that gave him as a guitarist. The group soon took on Robert Stigwood as a manager, which caused more arguments between Bruce and Baker. Bruce was convinced that if they were doing an all-for-one one-for-all thing they should also manage themselves, but Baker pointed out that that was a daft idea when they could get one of the biggest managers in the country to look after them. A bigger argument, which almost killed the group before it started, happened when Baker told journalist Chris Welch of the Melody Maker about their plans. In an echo of the way that he and Bruce had been resigned from Blues Incorporated without being consulted, now with no discussion Manfred Mann and John Mayall were reading in the papers that their band members were quitting before those members had bothered to mention it. Mayall was furious, especially since the album Clapton had played on hadn't yet come out. Clapton was supposed to work a month's notice while Mayall found another guitarist, but Mayall spent two weeks begging Peter Green to rejoin the band. Green was less than eager -- after all, he'd been fired pretty much straight away earlier -- but Mayall eventually persuaded him. The second he did, Mayall turned round to Clapton and told him he didn't have to work the rest of his notice -- he'd found another guitar player and Clapton was fired: [Excerpt: John Mayall's Bluesbreakers, "Dust My Blues"] Manfred Mann meanwhile took on the Beatles' friend Klaus Voorman to replace Bruce. Voorman would remain with the band until the end, and like Green was for Mayall, Voorman was in some ways a better fit for Manfred Mann than Bruce was. In particular he could double on flute, as he did for example on their hit version of Bob Dylan's "The Mighty Quinn": [Excerpt: Manfred Mann "The Mighty Quinn"] The new group, The Cream, were of course signed in the UK to Stigwood's Reaction label. Other than the Who, who only stuck around for one album, Reaction was not a very successful label. Its biggest signing was a former keyboard player for Screaming Lord Sutch, who recorded for them under the names Paul Dean and Oscar, but who later became known as Paul Nicholas and had a successful career in musical theatre and sitcom. Nicholas never had any hits for Reaction, but he did release one interesting record, in 1967: [Excerpt: Oscar, "Over the Wall We Go"] That was one of the earliest songwriting attempts by a young man who had recently named himself David Bowie. Now the group were public, they started inviting journalists to their rehearsals, which were mostly spent trying to combine their disparate musical influences --

In this episode, Brian Barnett is joined by Kris Cornelisse to talk about Shadow Gambit: The Cursed Crew, Diablo IV, Wayfinder's beta, and the Summer Games Showcase, including the Xbox Showcase, Ubisoft Forward, and Capcom presentation. Enjoy! TOPICS & TIMESTAMPS: Wayfinder Beta - 2:37 | Summer Games Showcase - 14:10 | Shadow Gambit: The Cursed Crew - 1:40:32 | Diablo IV Spoiler-Free Discussion - 1:58:39 | POTENTIAL EPISODE TITLES (EACH "+" IS A HOST VOTE): It's A Bright Sunny Day In A Tuesday Morning | Drink Up, Me Hearties, Yo Ho! | We're Gonna Get Weird With It | Before I Took An Arrow To The Knee | ‘Bayou' Is The Word | Boudin Balls & Beignets | +Why Is The Droid Hot? | +The Jump In Menu Juiciness | Tactical Sickos Are Eating Well | Where Is Persona 5 Arena?! | Atlus, Baby, Come On | I Still Don't Know Jack Snap About Dune | Ichiban Wakes Up Naked On A Beach In Hawaii | All Aboard The A.P.E. Train | It's A 2D A.P.E. Game | James Cameron's Fetish | +Do You Think James Cameron Is For Furries What Tarantino Is For Foot Fetishists? | Furry Friends In The Audience, Let Me Know | When The People Are Not Super Furry, But Maybe They Have Sex Hair Or Something | +I'm Not A Furry, But If You Look Like Jake Sully, DM Me | +I'm Not A Furry… But | Speaking Of Big Dumb Fun | A Touch Of The Supernatural | +However Much Salt You Need | Kris Forgives You For Diablo III | Diablo II-2 | +With Bones This Solid | Gimme That Stuff Behind The Glass | +Gimme The Screaming Book In The Corner | +Reading The Necronomicon On My Coffee Break | [The Platformers Video Game Podcast is created, hosted, edited, written, & streamed by Brian Barnett on Twitch.tv/Ribnax] TAGS: #Video Games #Podcast

Join Michael, David, Chris and Dillon as they ponder a concern that may sound odd to modern Western ears: "Are head coverings relevant today, or are they culturally specific to Corinth?"  How are we to understand the context of 1 Corinthians 11 and make the proper connections to Christ?Chapel Library - ministry of Mount Zion Bible ChurchThe Message of Isaiah - commentary by Barry G. WebbConscience: What Is It, How to Train It, and Loving Those Who Differ - book by Andrew David Naselli & J.D. CrowleyHow to Think About the Economy: A Primer - book by Per L. BylundIf you have questions you would like “Have You Not Read?” to tackle, please submit them at the link below:https://www.ssbcokc.org/have-you-not-read/

What constitutes abuse? How should the church help abused women? Does the Bible have anything to say about these and other difficult matters regarding submission in marriage? You bet! That's why Bobby, Matt, and Rachel are continuing to answer your questions on the topic in this episode of NorthWoods Church Matters! Books mentioned:  Conscience: What It Is, How to Train It, and Loving Those Who Differ by Andrew Naselli. When Home Hurts: A Guide for Responding Wisely to Domestic Abuse in Your Church by Jeremy Pierre and Greg Wilson. The Heart of Domestic Abuse: Gospel Solutions for Men Who Use Control and Violence in the Home by Chris Moles. Is It Abuse?: A Biblical Guide to Identifying Domestic Abuse and Helping Victims by Darby Strickland. Men and Women in the Church: A Short, Biblical, Practical Introduction by Kevin DeYoung.

When you are working on a swing change the inconsistency of being able to hit the ball the way you'd like or create the shot shape you're working toward can be frustrating. Did you know that your mental game can help you assimilate a swing change faster and easier?The best learning takes place in an environment devoted to learning off the course -- an environment where it's okay to make mistakes, hit loopy shots, and micro-manage your mechanics without negative repercussions to your score. That place is on the range. If during a training period in your game you choose to spend some time on the course, you have to also maintain the right environment there to learn and grow. This means leaving your score out of it. If you want to make changes to your swing and get the most out of your lessons with your swing coach, you must have a training plan that consists of specific rules to help you make progress.Part One of your plan, which I cover in this episode, centers around the rules associated with creating a great training environment for your work on the range. In the next episode, I will talk about how you can play when you are in a training phase.Be sure to grab your free copy of the worksheet for this episode below.Here's how this episode plays out...[9:01] Rule #1: Set Aside Time to Train - It's important to give yourself pressure-free time and space to learn and grow. This means staying off the course.[10:06] Rule #2: Embrace the Growing Pains - Making changes means moving outside your comfort zone and that can sometimes be a bit painful. You have to recognize that it's the price you pay for progress.[11:04] Rule #3: Lead with Patience and a Positive Attitude - Negativity slows the learning process by bogging your brain down with irrelevant distractions. Positivity paves the way to improvement.[12:13] Rule #4: Keep Your Goals Small and Incremental - Avoid trying to bite off more than you can possibly accomplish by prioritizing what one thing you need to focus on changing first.[13:17] Rule #5: Be Mindful of Your Position on the Journey - Success doesn't happen overnight and it takes time to develop new habits in your swing. Instead of focusing on what's not working, appreciate where you're going.[14:27] Episode Summary - Just want a quick synopsis of the 5 rules, you will find them here.If you have any questions about how to apply any of these rules to your game, please join me for my next Ask Me Anything Live Q&A Session inside my Facebook group. I show up live every Tuesday at 11:00 am ET and I'd be happy to help you advance your game. To join this free group, head on over to PLAY GREAT GOLF on Facebook.

In today's episode, J. D. Crowley and Andy Naselli discuss the conscience, whether we should always obey our conscience, what to do when our conscience disagrees with another Christian's, and how the conscience relates to objective right and wrong. J.D. and Andy are the co-authors of Conscience: What It Is, How to Train It, and Loving Those Who Differ. Read the full transcript. If you enjoyed this episode be sure to leave us a review, which helps us spread the word about the show!

This weeks episode of #TheMidweek isn't in the studio, but its recorded from inside a local coffee shop just down the street from New Story, The Windmill KC! On this episode, Jeremy and Aaron walk through some helpful resources on prayer and parenting, as well as discuss the call of a pastor and what that entails for them and the congregation alike. .RESOURCES• Article: Parents, Here's the Best Way to Hand Down Your Faith by Trevin Wax• Article: How the Lord's Prayer Can Help You Overcome Your Prayer Struggles by Kevin Halloran• Book: Rediscover Church: Why the Body of Christ is Essential by Collin Hansen & Jonathan Leeman • Book: Conscience: What It Is, How to Train It, and Loving Those Who Differ by Andrew David Naselli & J.D. Crowley.Learn more about New Story Church by visiting NewStory.Church.To learn more about New Story Church, you can do that by visiting NewStory.Church or find us on Instagram and Facebook at @NewStoryKC.

Our guest today is Shep Hyken, a customer service and experience expert and the Chief Amazement Officer of Shepard Presentations.  Shep works with companies and organizations that want to build loyal relationships with their customers and employees. His articles have been read in hundreds of publications, and he is the author of "Amaze Every Customer Every Time," "Moments of Magic," "The Loyal Customer," "The Cult of the Customer" and "The Amazement Revolution." Shep, KG, and David cover everything from designing an organization's purpose to how customer service has changed for the future due to the pandemic.-------Show Notes:(07:53) Learning customer service at age 12(11:02) “Without customers, you don’t have a business”(15:25) Marketing creates repeat customers; loyalty is a connection(18:49) Crafting genuine and transparent mission statements (21:46) Purpose statements in practice - lessons from the Ritz-Carlton and Disney(26:05) Creating mission statements that clearly articulate your values(29:51) Shep’s Six Simple Steps to Create a Customer Service Culture(31:52) Unpacking Step #3: Train It(37:16) The shortest customer service speech in the world(39:13) “I’ll Be Back - How to Get Customers to Come Back Again and Again” - Shep’s next book(43:55) Looking outside your industry for inspiration(45:15) Customer service is not a department, it’s a philosophy(47:23) Rapid Fire Questions-------Additional Notes:Purchase Shep’s BooksI’ll Be Back: How to Get Customers to Come Back Again and AgainThe Convenience RevolutionAmaze Every Customer Every TimeThe Amazement RevolutionThe Cult of the CustomerMoments of MagicThe Loyal CustomerBe Amazing or Go HomeShep’s Book Recommendations:The Effortless Experience by Matt DixonThe Experience Economy by B. Joseph Pine II and James H. GilmoreHow to Connect with Shep:https://hyken.com/ Shep’s Customer Service newsletterShep TV on YouTube-------Today’s episode was sponsored by CheckdIn.  Know exactly who’s working in your venue.

You might not think about it often, but you have a conscience that helps inform your decisions every single day. In this episode, we discuss why the presence of human conscience is Great News for all of us! Conscience is a gift that helps us navigate the difficult moral decisions of everyday life. The year 2020 has definitely been a year where political, social and ideological divisions have run rampant. Coming to your from the airplane hanger of a pilot friend, Kevin Christopher has a conversation with Pastors Tim Porter and Tim Prince about politics, masking, racketball, socks and morality, showing how we can handle ourselves in productive ways when we differ in opinion from others.   RESOURCES: 1. Conscience: What It Is, How to Train It, and Loving Those Who Differ by Andy Naselli & J.D. Crowley 2. How Can I Love Church Members with Different Politics? by Jonathan Leeman & Andy Naselli

Tilly and Abigail talk with Andy Naselli about the conscience. What is the conscience? What do you do when yours is calibrated differently from your friend's or your husband's? How do you care for your children's sense of right and wrong? How do you care for your own conscience, and what can you do when you realize your conscience has been misguided? Andy is the co-author of Conscience: What It Is, How to Train It, and Loving Those Who Differ and, for children, author of That Little Voice in Your Head.

Tilly and Abigail talk with Andy Naselli about the conscience. What is the conscience? What do you do when yours is calibrated differently from your friend's or your husband's? How do you care for your children's sense of right and wrong? How do you care for your own conscience, and what can you do when you realize your conscience has been misguided? Andy is the co-author of Conscience: What It Is, How to Train It, and Loving Those Who Differ and, for children, author of That Little Voice in Your Head.

We finally have a long time friend of the podcast, Paul Hong, on as a official guest! We get to hear a bit about Paul's life, living in all different parts of the country, and how he ended up in pastoring in Dallas, Texas. In the latter half of the episode, we talk about a book recommendation Paul gave me in response to the previous episode where I address the American church. We discuss the book "Conscience: What It Is, How to Train It, and Loving Those Who Differ" and how the ideas in the book have been helping use navigate relationships within our churches when we have differing consciences. Any and all feedback can be transmitted via: Email: IHTHTPodcast@gmail.com Instagram: www.instagram.com/ihopetheyhearthis Twitter: www.twitter.com/ihthtpodcast --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app

Its Your Mind, Train It by Arvat Mcclaine

You asked, we answered! Some questions are lighthearted and pure fun, like our ultimate comfort and Enneagram numbers. And other questions are heavier, like what to think when tragedy strikes or being married to an unbelieving spouse. The spectrum is wide, and we had a blast answering all of these questions! We pray you find this episode encouraging and enjoyable.   Connect with us: www.dailygracepodcast.com www.thedailygraceco.com https://www.facebook.com/thedailygraceco/ https://www.instagram.com/thedailygraceco/   Questions? Email us! podcast@thedailygrace.com _______________________________   Resources mentioned in this episode: The Weight of Glory by C.S. Lewis Ep.19 What is Salvation? by Daily Grace Ep. 3 Bible Study in Busy Seasons by Daily Grace Audio Bible Ep. 14 Discipleship & Evangelism with Tamzen Baker by Daily Grace Word of Life (FREE) Study on The Daily Grace Co. App (FREE) Amen Study by The Daily Grace Co.  Together Marriage Journal by The Daily Grace Co. Romans Study (Men + Women) by The Daily Grace Co. Ep. 7 Preaching the Gospel to Yourself by Daily Grace The Sleeping at Last Podcast Onward: Engaging the Culture without Losing the Gospel by Russell Moore Lamp and Light Facebook Community Be Still Journal by The Daily Grace Co.  Abide Journal by The Daily Grace Co.  Ep. 2 God’s Word in Joy & Pain with Kristin Schmucker by Daily Grace Ep. 10 Suffering & Sovereignty with Maritza Guiterrez-Rey by Daily Grace Grief Share Daily Grace Co. App (for iOS, click here to download. On Android, click here to download) Trinity Study (FREE) Study on The Daily Grace Co. App (FREE) Daily Grace Co. Newsletter (sign up here!) Daily Grace Co. Blog Daily Grace Guide (FREE) by The Daily Grace Co. The Bible Memory App. Verse Cards by The Daily Grace Co.  Recommended Resources Page by The Daily Grace Co.  Gospel Fluency by Jeff Vanderstelt Conscience: What It Is, How to Train It and Loving Those Who Differ by Andrew Naselli 12 Ways Your Phone is Changing You by Tony Reinke Follow Kristin Schmucker (Co-Founder of The Daily Grace Co.) -- @kristinschmucker Women of the Word by Jen Wilkin None Like Him by Jen Wilkin In His Image by Jen Wilkin Even Better than Eden by Nancy Guthrie ESV Study Bible Sandra McCracken Caroline Cobb Keith and Kristyn Getty  Journeywomen Jams Spotify Playlist Risen Motherhood Knowing Faith Journeywomen Podcast Help Me Teach the Bible Ep. 44 A Generous Complementarianism by Knowing Faith Friendish by Kelly Needham (pre-order here) Ep. 13 Self-Care & the Gospel by Daily Grace   Scripture mentioned in this episode: 1 Peter 3 Romans 12:14 Matthew 5:44 James Matthew 18 Ephesians 4:29 Deuteronomy 6:4-9 Deuteronomy 6:20-23 2 Corinthians 4 1 Peter 1 Romans 5 Romans 8 Isaiah 53:3   Connect with us: Subscribe to Daily Grace: on iOS, go to our iTunes page and click subscribe.  On Android, click this podcast RSS feed link and choose your podcast app.  If needed, you can copy this link directly into your favorite podcast app (like Stitcher or Overcast).  Or follow us on Spotify! We would love if you took a few minutes to leave us an iTunes review to help spread the word about Daily Grace!  We want to invite more women into our conversations! Download The Daily Grace app: for iOS, click here to download.  On Android, click here to download. Visit The Daily Grace Co. for beautiful products for the whole family that will equip you on your journey to knowing and loving God more. Subscribe to The Daily Grace Newsletter and receive free Bible study resources in your inbox. Like The Daily Grace Co. on Facebook. Follow on Instagram for the latest updates on the podcast and The Daily Grace Co. Engage with our Facebook community, “Lamp and Light”. Read The Daily Grace blog for encouragement throughout the week that is steeped in biblical truths. **Affiliate links used are used where appropriate.** Thank you for supporting the products that support the production of this podcast!

Whenever we ask the R|M community for questions, they range from lighthearted and practical to thought-provoking and theological, which makes the AUA show something special. In this one-hour episode, Emily and Laura answer listeners’ questions from how they handle the work of the ministry and how they manage their personal screen time, to how they’ve changed as mothers and how they intentionally connect with their husbands. We hope as you listen, you’ll see how the gospel applies to everything and how we have freedom in Christ to serve our families in unique ways.  VIEW TRANSCRIPT Questions (Time-Stamped): [1:51] What podcasts do you listen to? [4:28] How do you potty train little boys? [6:39] Do you guys hang out a lot outside of podcast/book stuff? [8:37] Do you consider yourselves stay-at-home moms? [11:17] How do you do the ministry of R|M and motherhood? [18:20] What advice would you give to those wanting to grow in their writing? [22:34] Do you ever struggle with comparing yourselves to each other? How do you deal with this? [29:14] Do you have limits or personal policies that you use to limit or guard yourself from too  much social media intake? [31:56] How are you a different mom now than in the first year or two of mothering? [37:23] How do you practically handle being real about your emotions with your kids (anger, sadness, crying) while still giving them the stability they need from their mom? [44:41] What are some of your go-to questions to ask your husband to help connect? [45:36] What are some of your most common prayers throughout any given day? [46:45] Are there rules for prayer? [49:47] Do you have any friends whom you disagree with theologically? How do you navigate this? MENTIONED ON THE SHOW: R|M FAQs Nonprofit Ally (Mentioned by Laura) Help Me Teach the Bible: Covenant Theology vs. Dispensationalism (Mentioned by Emily) Masterpiece Podcast (Mentioned by Emily) Ep. 6, The enCourage Podcast: Body Image (Mentioned by Emily) What Every Child Should Know About Prayer, Nancy Guthrie Conscience: What It Is, How to Train It, and Loving Those Who Differ, Naselli & Crowley Quote by Milton Vincent: “You already know the worst thing about me, I nailed Christ to the cross.” (As read in this post.) Marriage questions: How can I love you better this week? How can I love you in intimacy this week? What’s coming in the week ahead? What’s one way I can serve you this week? RELATED ARTICLES, RESOURCES, AND CONTENT: Related R|M resources: Risen Motherhood: Gospel Hope for Everyday Moments (the book!) R|M on Instagram, Facebook, Twitter R|M Recommended Resources AUA FAQ Round-Up: Fall 2018 Edition Ep. 54, Ask Us Anything! Spring 2017 Edition Ep. 77, Ask Us Anything! Fall 2017 Edition Ep. 100, Ask Us Anything! Spring 2018 Edition Ep. 109, Ask Us Anything! Fall 2018 Edition Ep. 18, Freedom to Be the Mother God Created You to Be: Why Comparison Doesn’t Work Ep. 35, Putting Your Marriage First: Giving Him More Than the Leftovers Ep. 40, To-Do Lists & How-Tos: Finding Practical Help in Motherhood Ep. 61, Prayer & Motherhood: An Interview with Valerie Woerner Ep. 69, Loving the Difficult Mom in Your Life Ep. 120, When Mom & Dad Can’t Make Date Night Happen Ep. 123, Motherhood is Ministry: How to See and Serve Your Kids “Cultivating a Healthy Marriage as New Parents” Quina Aragon “Technology and the Root of Discontentment” Aubrie Drayer “What Does It Mean for a Mom to Have Freedom in Christ?” Nana Dolce “When You Don’t Measure Up” Laura Hardin” “5 Reasons God Made You a Mother” Abigail Dodds “Angry Dad or Loving Father” Jessica Thompson “What if Motherhood was Meant to be Hard” Lauren Weir “Mommas, We Speak From the Overflow of Our Hearts” Katie Blackburn “Remedies for the Mom Who Keeps Blowing It” Amy DiMarcangelo “What God Wants for You to Pray for Your Kids” Melissa Kruger Writing Resources: Home Row Podcast Hemingway App Jonathan Rogers (newsletter and Field Notes) On Writing Well, Wiliam Zinsser Bird by Bird, Anne Lamott R|M APPLY QUESTIONS: All moms are ministers of the gospel of Christ. Some may serve in official capacities like in a church or nonprofit, but all serve in their homes and local communities. How is motherhood a ministry? How does God instruct believers to serve others out of their love for Christ? How do you share the gospel in your words and actions in everyday life? By God’s grace, we’re able to grow in our ability to mother. We may learn a new trick like prepping lunch before heading out to church or learn a spiritual discipline like being patient amidst the demands for snacks every afternoon. How have you grown as a mother? How are those examples—practical or spiritual—signposts of God’s faithfulness to you? There’s a form of godly comparison that encourages you towards godliness and thankfulness. What would this look like? Can you think of a friend whose love of God and others causes you to praise God and press into the work before you? Consider sharing with your friend how her joy in the Lord shines for others. Connecting with your husband in the little years can take a little creativity and a lot of intentionality. (That’s probably why every AUA has a question about marriage!) What makes your husband feel known, respected, and cared for? How can you build some of those things into your weekly rhythm? God’s word offers what we need for godly living and encouragement. Podcasts, articles, and books are extra gifts but not the source of wisdom. Are you searching the scriptures for wisdom or looking around for second-hand information? How can you become a better student of God’s word?    FOR MORE: To subscribe: on iOS, go to our iTunes page and subscribe. On Android, click this podcast RSS feed link and select your podcast app. You may need to copy the link into your favorite podcast app (like Overcast or Stitcher). Leave an iTunes review. These are huge for us! The more reviews, the greater chance another mother will find us. Like Risen Motherhood on Facebook and follow on Instagram and Twitter for the latest updates and related information. Let us know your thoughts! We'd love to hear more about the conversations you're having. Shoot us an email, or find us on social media. Tell others. We truly hope this podcast fosters conversations and deeper discussions between mothers to seek the gospel in their daily activities - we'd be honored if you shared and encouraged others to listen in. *Affiliate links used where appropriate. Thanks for supporting this ministry!

It’s our first episode of 2019, and we’re talking about the little voice in your head. The one that pipes up when you feel guilt over letting your kids eat too many cookies or sets off an alarm bell when you watch something questionable. All of us have one, but it’s not the Holy Spirit. What is it exactly? In this episode, Emily and Laura start the conversation on personal conscience. God gave each of us a conscience to help discern what’s right and wrong in the everyday “gray” areas of life. While it can be dulled by sin, God recalibrates our consciences through the study of his word and fellowship with believers, so we can do all things in faith with love. RM APPLY QUESTIONS VIEW TRANSCRIPT MENTIONED ON THE SHOW: Risen Motherhood on Instagram, Facebook, & Twitter Risen Motherhood’s Board of Directors Conscience: What it is, How to Train It, and Loving Those Who Differ, Naselli & Crowley That Little Voice in Your Head: Learning About Your Conscience, Naselli (Kids version) RELATED ARTICLES, RESOURCES, AND CONTENT: Ep. 13, Breastfeeding & Bottle Feeding: How the Gospel Changes the Conversation - Risen Motherhood Ep. 56, Feeding Our Families & the Gospel - Risen Motherhood Ep. 63, Jen Wilkin: Growing in God’s Word as a Mom of Little Ones - Risen Motherhood Ep. 83, Finding Freedom in Christ as a Working Mom: An Interview with Nikki Daniels - Risen Motherhood Ep. 85, Same Grace, Unique Circumstances: Every Mom is Your Neighbor - Risen Motherhood Ep. 92, Learning, Growing, & Changing Our Minds: How the Gospel Frees Us to Do Something Different - Risen Motherhood Ep. 93, How Should We Educate Our Children? The Case for Freedom, Part 1 - Risen Motherhood Ep. 103, When Snack Time is Scary - Risen Motherhood Ep. 117, “Mommy, Can I Watch a Show?”: Screen Time & the Gospel - Risen Motherhood “What Does It Mean for a Mom to Have Freedom in Christ?” Nana Dolce - Risen Motherhood “Bridges of Grace: Dealing with the Different Mama” Emily Guyer - Risen Motherhood “Loving the Mom Who is Different From Me” Amanda Criss - Risen Motherhood “Unity Rather Than Uniformity” Christine Hoover - Risen Motherhood “Gods’ Grace Beyond Our ‘Mom Tribes’” Abby Hummel - Risen Motherhood “What is Conscience?” - Joe Carter, TGC “Always Let Your Bible Be Your Guide” Dawn Wilson, Revive Our Hearts “Don’t Always Follow Your Conscience” Andy Naselli, Desiring God The Art of Turning, Kevin DeYoung For More: To subscribe: on iOS, go to our iTunes page and subscribe. On Android, click this podcast RSS feed link and select your podcast app. You may need to copy the link into your favorite podcast app (like Overcast or Stitcher). Leave an iTunes review. These are huge for us! The more reviews, the greater chance another mother will find us. Like Risen Motherhood on Facebook and follow on Instagram and Twitter for the latest updates and related information. Let us know your thoughts! We'd love to hear more about the conversations you're having. Shoot us an email, or find us on social media. Tell others. We truly hope this podcast fosters conversations and deeper discussions between mothers to seek the gospel in their daily activities - we'd be honored if you shared and encouraged others to listen in. *Affiliate links used where appropriate. Thanks for supporting this ministry!    

Steve and I sit down with Kriser’s and Come and Train It and talk about DogPop and lots of other meaty raw topics for your pet. Enjoy. --- Support this podcast: https://anchor.fm/neuecreative/support

This week's episode is packed chock full of random topics like details on our Thursdays, a quick update on our fire pit, rivetting details about our kid's sleeping patterns, social butterfly PSAs, Spongebob, more books, headship and authority, recommendations, longing for condensation in the African continent, Dr. Pimple Popper, and bot flies. Recommendations: Conscience: What Is It, How to Train It, and Loving Those Who Differ. by Andrew Naselli and J. D. Crowley. He Is There, and He is Not Silent by Francis Schaeffer. Listen to the Bible. Treasures from the Wreck of the Unbelievable If you'd like to reach out, you can Talk to Us via email at SotalktomePodcast@gmail.com or on twitter @So_TalkToMe

Welcome to the thirty-fourth episode of Equipping You in Grace. Twice a week, I have conversations with Christian authors and thought leaders for the purpose of helping Christians develop a biblical worldview in a conversational tone about issues inside and outside the Church. Today, I'm joined by Dr. Andy Naselli author of Conscience: What It Is, How to Train It, and Loving Those Who Differ. What you’ll hear in this episode: Dr. Naselli's life, ministry, marriage, and his current ministry projects. Dr. Naselli's definition of conscience from the Scriptures. How Christians should deal with one another on social media on disputable matters. How Christians can calibrate their consciences. How Christians can agree to disagree with one another in a respectful and Christ-honoring way. How Christians should relate to other Christians from other cultures when they disagree with each other. His advice for Bible college and seminary students looking to get into ministry. His upcoming writing projects. About the Author: Andrew David Naselli (PhD, Bob Jones University; PhD, Trinity Evangelical Divinity School) is assistant professor of New Testament and biblical theology at Bethlehem College & Seminary in Minneapolis, Minnesota. Subscribing, sharing, and your feedback You can subscribe to Equipping You in Grace via iTunes, Google Play, or your favorite podcast catcher. If you like what you’ve heard, please consider leaving a rating and share it with your friends (it takes only takes a second and will go a long way to helping other people find the show). You can also connect with me on Twitter at @davejjenkins, on Facebook or via email to share your feedback. Thanks for listening to this week’s episode of Equipping You in Grace!