Podcasts about Warfield

The multi-faceted aesthete & artiste known as Justin Warfield (She Wants Revenge, Warfield, One Ince Punch, guest vocals on tracks from Placebo, Bomb The Bass and several appearances on Saved By The Bell) joins me for what was going to be all about the cult classic SURF II, but we had a whole lot to say about a whole lotta other things. And that hat includes a LOT of movies, Los Angeles legends and more.Born and raised in Los Angeles, Justin has been plugged into all LA magic since birth. Video stores, bands, films and so much more.As for SURF II? Well, there's no SURF 1, the poster tagline is "The End Of The Trilogy" and this is the movie that gave the world BUZZ Cola. That explains it pretty clearly, no? Out-of-print for decades, you can now see it in HD splendor thanks to the fine folks at Vinegar Syndrome Written & Directed by Randall Badat, Starring Eddie Deezen, Corinne Bohrer, Eric Stoltz, Ron Palillo, Tom Villard, Cleavon Little, Ruth Buzzi, Terry Kiser, Linda Kerridge, Lucinda Dooling and Lyle Waggoner,.Find more of everything Justin at his website Join the Craig & Friends PatreonJustin on Instagram Craig & Friends Linktree - subscibe now on YouTube

Today we look back at all the episodes released in April, featuring conversations with Lotta Ruutiainen of Luna Kills, Mark Goodwin of Sick Puppies, Johannes and Matthias Clemens from Warfield, Josh Barber of Idle Heirs, Evan Diprima of Moon Destroys, Lauren Babic, Alan Robert of Life Of Agony, Izzy from Glare, Tūranga Morgan-Edmonds of Alien Weaponry, Tony Piccoli of Imminent Sonic Destruction, and Cera Gibson!DiscordPatreonSubstackEmail: asthestorygrows@gmail.comMusic:Luna Kills - "Sugar Rush"Sick Puppies - "Going Places"Warfield - "Appetitive Aggression"Idle Heirs - "Pillow Talk"Moon Destroys - "The Nearness Of June"Lauren Babic - "Breathe You In"Vulvarine - "The Drugs, The Love, The Pain"Life Of Agony - "Lay Down"Glare - "Mourning Haze"Alien Weaponry - "Mau Moko"Imminent Sonic Destruction - "Floodgate 1"Cera Gibson - "I Found God" 

Timestamps·  00:43 - Intro· 05:15 – What Was Preached on Easter? How Was Christ Preached from the OT?· 11:53 – Walking Into Luke 24· 16:54 – Is This a Transition From Unclarity to Clarity? Unbelief to Belief?· 19:58 – Do You Think Pastors Have an Appreciation for the Transition that Has Happened Between Old and New Testaments?· 23:00 – Preaching the Gospel from the Gospels· 28:44 – Where Would You Go to Introduce Someone to the Gospel?· 35:44 – Errors to Avoid While Seeing Christ in the Old Testament· 43:03 – How Do We See the Christ of the OT Come to Life in the New?· 49:50 – Christ the Telos of the Old Testament· 55:18 – Preaching the Gospel of Christ, and Preaching the Christ of the Gospel· 58:17 - Outro Resources to Click· “Christ Concealed and Revealed: “Did Not the Messiah Have to Suffer These Things and Then Enter His Glory?” Luke 24:13-35” – Ardel Caneday·  “The Akedah and the Crucifixion: Luke and Isaac Typology” – Peter J. Gentry· “Michael Morales on the Bronze Serpent in Numbers 21” – Michael Morales· “You Carry the Fate of Us All Little One”: The Cosmic Significance of Israel's Day of Atonement” – Nicholas Piotrowski· Theme of the Month: The Cross in the Old Testament· Give to Support the Work Books to Read· The Last Things: An Eschatology for Laymen – George Eldon Ladd· A Theology of the New Testament – George Eldon Ladd· Biblical Exegesis in the Apostolic Period – Richard N. Longenecker· Three Views on the New Testament Use of the Old Testament – eds. Berding, Lunde, Gundry· New Testament Apologetic: The Doctrinal Significance of the Old Testament Quotations – Barnabas Linders· The Gospel of Luke (NIGTC) – Howard Marshall· Luke: An Exegetical and Theological Exposition of Holy Scripture (NAC) – Robert H. Stein· Biblical Doctrines - B.B. Warfield

Resources to Click· “Christ Concealed and Revealed: “Did Not the Messiah Have to Suffer These Things and Then Enter His Glory?” Luke 24:13-35” – Ardel Caneday· “The Akedah and the Crucifixion: Luke and Isaac Typology” – Peter J. Gentry· “Michael Morales on the Bronze Serpent in Numbers 21” – Michael Morales· “You Carry the Fate of Us All Little One”: The Cosmic Significance of Israel's Day of Atonement” – Nicholas Piotrowski· Theme of the Month: The Cross in the Old Testament· Give to Support the Work Books to Read· The Last Things: An Eschatology for Laymen – George Eldon Ladd· A Theology of the New Testament – George Eldon Ladd· Biblical Exegesis in the Apostolic Period – Richard N. Longenecker·  Three Views on the New Testament Use of the Old Testament – eds. Berding, Lunde, Gundry· New Testament Apologetic: The Doctrinal Significance of the Old Testament Quotations – Barnabas Linders· The Gospel of Luke (NIGTC) – Howard Marshall· Luke: An Exegetical and Theological Exposition of Holy Scripture (NAC) – Robert H. Stein· Biblical Doctrines - B.B. Warfield

Scripture Reading: John 11:17-44 One of the most memorable of Jesus' miracles is His raising Lazarus from the dead.  And the story includes one of Jesus' most magnificent declarations … "I am the resurrection and the life" (Jn 11:25).  Certainly, this display of authority and power is meant to be an encouragement to believers, reminding them of their own resurrection one day.  In addition to the idea of resurrection, the stunning promise of John 11:26 both takes our breath away and takes away our fear of death … "Everyone who lives and believes in me shall never die."  Of course, Jesus is not saying that Christians will never die physically, but that they will never taste the reality of spiritual death, namely separation from God.  Upon physical death, believers go from the present reality of life to the unimaginable reality of living in the very presence of God. The emotions of Jesus are on display in this account.  Not only do we read about Jesus weeping (Jn 11:35), but also of a deep indignation within the heart of Jesus.  Twice we read of Jesus being "deeply moved" (Jn 11:33,38).  The meaning of the verb probably implies anger and indignation. The old Princeton theologian, B. B. Warfield, said it this way: "It is death that is the object of his wrath, and behind death him who has the power of death, and who has come into the world to destroy.  His soul is held by rage: and he advances to the tomb in Calvin's words 'as a champion who prepares for conflict'" (Warfield, The Person and Work of Christ, 117).  Christ defeats the enemy death, and we are freed, forever, from fearing this destructive foe.  Let our joy be full and our courage unshakable. 

Chapter 601 - "We Hope To Lift You Up And Make You Feel Powerful" ...a read by WarfieldToday we welcome Johannes and Matthias Clemens from German thrash band Warfield to the podcast. Warfield's Napalm Records debut, With The Old Breed, came out last Friday! The brothers talk about growing up in Kaiserslautern, the ease in which Warfield was formed, why they were drawn to thrash, the themes that now guide the band's name and new album, and more.https://www.warfieldthrash.com/https://warfieldthrash.bandcamp.com/https://napalmrecordsamerica.com/warfield-with-the-old-breed-black-vinyl-lp.htmlhttps://www.patreon.com/c/asthestorygrowshttps://asthestorygrows.substack.com/DiscordEmail: asthestorygrows@gmail.comChapter 601 Music:Warfield - "Lament Of The White Realm"Warfield - "Tie The Rope"Warfield - "Soul Conqueror"Warfield - "Appetitive Aggression" 

Loaded Radio Podcast: Greg Burgess of Allegaeon Discusses 'The Ossuary Lens' & Warfield Talks Thrash Metal TL;DR On this episode of the Loaded Radio Podcast, Scott Penfold sits down with Greg Burgess of Allegaeon to discuss the band's latest album, “The Ossuary Lens”, which was released on April 4 via Metal Blade Records. This marks the band's first new music featuring original vocalist Ezra Haynes since his departure in 2015. Also featured is a conversation with German thrash metal trio Warfield, who recently released their new album, “With The Old Breed” via Napalm Records. Allegaeon Returns with 'The Ossuary Lens' Technical death metal powerhouse Allegaeon has unleashed their latest full-length album, “The Ossuary Lens,” released on April 4 via Metal Blade Records. This album marks a significant moment for the band, as it is their first release with original vocalist Ezra Haynes since his 2015 departure following the “Elements Of The Infinite” album. The return of Haynes brings back Allegaeon's brutal and technically dazzling sound, which fans have been eagerly awaiting. The band's latest single, “Driftwood,” serves as a powerful introduction to the new record, with its unique blend of melodic, technical death metal — a sound Haynes describes as “melotech.” “We're just so happy to finally release new music,” said Greg Burgess. “We're working on a full album's worth of material, but I feel like it's gonna drop kind of in chunks and then hopefully the rest of it all at once kind of thing.” Recording once again with producer Dave Otero at Flatline Audio studio in Denver, Allegaeon continues their 17-year relationship with the producer. “Dave always provides a comfortable working environment, amazing ideas, and a career-spanning understanding of what has made Allegaeon, Allegaeon,” added Burgess. The album's overarching theme focuses on various perspectives of death, with each track exploring a unique viewpoint. Haynes explained, “Each song essentially is a different topic, however there is always a different perspective of death tied to each subject.” Allegaeon's Latest Album - 'The Ossuary Lens' Track Listing: 01. Refraction 02. Chaos Theory 03. Driftwood 04. Dies Irae 05. The Swarm 06. Carried By Delusion 07. Dark Matter Dynamics 08. Imperial 09. Wake Circling Above 10. Scythe Warfield - German Thrash Metal Titans Alongside the conversation with Greg Burgess, the Loaded Radio Podcast also features an interview with German thrash metal band Warfield. Their latest album, “With The Old Breed,” was released via Napalm Records and continues their tradition of relentless thrash metal inspired by bands like Slayer, Sodom, Kreator, and the Bay Area Thrash scene. Warfield, consisting of Johannes Clemens (Vocals & Bass), Matthias Clemens (Guitar), and Dominik Marx (Drums), is known for their aggressive approach to social and political themes, which they express through their brutal and fast-paced sound. Their most recent album follows their 2018 debut, “Wrecking Command,” which was released via Metal on Met

German thrash three-piece Warfield are back with their brand-new album, the unstoppable inferno that is ‘With the Old Breed', out March 28th, 2025, via Napalm Records. An album that sees Warfield explore the unembellished and emotional depiction of societal, historical, social and internal wars – expressing criticism of the bitter part of reality. A staggering step up in all departments for Warfield, this new album has the band sounding tighter and stronger than never. All because they've focused their sound, experimented with different elements with the faster and heavier genres, removed the egregious rawness of earlier releases, but not lost the spirit of thrash metal in any way. Read the full review here: https://www.gbhbl.com/album-review-warfield-with-the-old-breed-napalm-records/ In this interview we spoke to two out of three of the members, namely guitarist Matthias Clemens and vocalist/bassist Johannes Clemens, about the new album. Delving deep into their process, the work that has gone into making it a reality, discussing the creative drive to better themselves on this release, and so much more. Find out more here: https://www.warfieldthrash.com/ Website: https://gbhbl.com/ LinkTree: https://linktr.ee/gbhbl Ko-Fi (Buy us a coffee): https://ko-fi.com/gbhbl Facebook: https://www.facebook.com/GBHBL Instagram: https://www.instagram.com/gbhbl/ Bluesky: https://bsky.app/profile/gbhbl.com Threads: https://www.threads.net/@gbhbl Twitter: https://twitter.com/GBHBL_Official Contact: gbhblofficial@gmail.com Soundcloud: https://soundcloud.com/gbhbl Spotify: https://open.spotify.com/show/5A4toGR0qap5zfoR4cIIBo Apple Podcasts: https://podcasts.apple.com/hr/podcast/the-gbhbl-podcasts/id1350465865 Intro/Outro music created by HexedRiffsStudios YouTube: https://www.youtube.com/channel/UCKSpZ6roX36WaFWwQ73Cbbg Instagram: https://www.instagram.com/hexedriffsstudio

Bienvenidos, bienvenidas, a una nueva edición de A Altas Horas, con el mejor indie nacional e internacional, o el que más nos gusta. En el programa de hoy escucharemos a: - LOW ISLAND - spit it out - WARFIELD - Whispers For The Dead - FACS - You Future - School of X - Caroline - Tigre Bleu - Aeroplane - Victorias - ojalá - Manos de Topo - El Cartero ¡Échanos un oído!

Bienvenidos, bienvenidas, a una nueva edición de A Altas Horas, con el mejor indie nacional e internacional, o el que más nos gusta. En el programa de hoy escucharemos a: - LOW ISLAND - spit it out - WARFIELD - Whispers For The Dead - FACS - You Future - School of X - Caroline - Tigre Bleu - Aeroplane - Victorias - ojalá - Manos de Topo - El Cartero ¡Échanos un oído!

Warfield v. Nance

From start to finish, salvation belongs to the Lord! In this episode, Pat and Mike talk about the book The Plan of Salvation by B.B. Warfield. You can download a free PDF of The Plan of Salvation here.

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Loki chats with Cheryl Warfield about her career as a singer, her beginnings outside of the music industry, and her upcoming collaboration with The Discovery Orchestra for their presentation of "Discover Angelitos Negros" in celebration of Black History Month. Loki offers continued thoughts on the takeover of the Kennedy Center. The Discovery OrchestraCheryl WarfieldMORE OperaAve Maria (feat. Cheryl Warfield)Excerpt from "Madame Butterfly" (feat. Cheryl Warfield)The Kennedy Center Takeover  ★ Support this podcast ★

La 4ème émission Metal de l'année du 17 février 2025 avec les 10 nouveautés suivantes:   Warfield, Benediction, Septic Flesh, Wombbath, Striker, Adamantis, Frogg, Vigilhunter, Shadowpath, Aitheer Podcasts sur killerontheloose.com/podcasts Suivez l'émission sur Facebook : facebook.com/killerontheloose Instagram : instagram.com/killeronthelooseofficiel Twitter : x.com/lemissionmetal  

In this episode ofThe Dream Biz Podcast, I'm joined by Amanda Warfield, simplicity-focused content marketing strategist and copywriter. We dive into her Dream Biz journey—from launching her first product (and thinking it flopped) to becoming an expert in marketing strategy. Amanda shares how she turned her creative obsession into a thriving business, the lessons she learned from her early launches, and how consistency and strategy led her to success. If you've ever doubted your path, this episode is packed with relatable insights and encouragement. Tune in now!Get Amanda's BookVisit Amanda's WebsiteFollow Amanda on InstagramVisit Christi's WebsiteFollow Christi on Instagram

Doug & Diane recently had the opportunity to chat with George Marriner Maull (Founder & Artistic Director of The Discovery Orchestra) and Vocalist Cheryl Warfield (Founder of Manhattan Opera Repertory Ensemble or MORE) about their upcoming concert, Discover Angelitos Negros (Little Black Angels). Maull and Warfield – along with Composer & Pianist Patricio Molina – will present this special Black History Month concert at 3pm on Sunday, February 23rd at Grace Episcopal Church in Newark, New Jersey.During our conversation we touched upon the importance of bringing classical and operatic music into the spotlight and connecting new audiences to these genres through the innovative and immersive techniques spearheaded by their respective organizations. Maull's and Warfield's passion for music is contagious and their drive to make it accessible and more familiar is brilliant. We learned all about their musical backgrounds and experiences which have led them both to their careers. Angelitos Negros is a concert series launched in 2021 by MORE Opera to collectively serve Black and Latino communities severely impacted by the pandemic. The program was based on a poignant moment in the 1948 Mexican film of the same name in which a young child asks why there are no paintings by the great masters of Black angels. An acclaimed second iteration of Angelitos Negros was presented in December 2023, with composer-pianist Patricio Molina as musical director. The upcoming concert will feature a rousing rendition of “Lift Every Voice and Sing,” the James Weldon Johnson and J. Rosamond Johnson song known today as the Black National Anthem, in honor of its 125th anniversary; and a Discovery Concert exploration of “Hay una Antilla en Medio del Mar Caribe,” the traditional Dominican poem set to music, arranged by Molina.TDO is known for its teaching Discovery Concerts™ — musical performances featuring an interactive exploration segment that helps participants focus on specific details of the work — on stage and on the small screen. The Orchestra also presents community engagement programs in collaboration with its educational partners for underserved audiences in six New Jersey counties.Discover Angelitos Negros is free with registration at https://discoveryorchestra.org/angelitos-negros/. Groups wishing to attend should contact TDO Executive Director Rick Kaller at rick@discoveryorchestra.org. The concert snow date is Sunday, March 2 (at 3 p.m.) Asbury Park Vibes Podcast Available on Spotify, Apple, Google, iHeart, Audible, and PandoraHosted by Diane DiMemmo & Doug DresherCopyright 2020-2025 Asbury Park Vibes. All rights reserved.

Andy Warfield joins Corey in this episode to discuss the evolution of storage technology at Amazon. This includes the evolution of S3 from archival storage to supporting modern AI and analytics. As Vice President and Distinguished Engineer at AWS, Andy is able to explain performance-enhancing innovations like S3 Tables and Common Runtime (CRT). On the other hand, challenges like compaction and namespace structuring are discussed. Reflecting on his journey from working on the Xen hypervisor to AWS, Andy shares insights into scaling S3, including buckets spanning millions of hard disks. Show Highlights(0:00) Intro(1:09) The Duckbill Group sponsor read(1:43) Andy's background(3:38) How AWS envisioned services being used vs. what customers actually do with them(6:54) The frustration of legacy applications not keeping up with the times(10:14) Why S3 is so accurate(15:29) S3 as a role model for how a service should be run(18:04) The Duckbill Group sponsor read(18:46) Why AWS made Iceberg into a native offering(23:50) Why S3 Tables is slightly more expensive(28:23) How Andy handled the transition from Zen to Nitro(32:22) What Andy is currently excited about About Andy WarfieldAndrew Warfield is a VP / Distinguished Engineer at Amazon. As a senior technical leader at one of the world's largest technology companies, he plays a crucial role in shaping Amazon's engineering strategies and initiatives. LinksLinkedIn: https://www.linkedin.com/in/andywarfield/ Email: warfield@Amazon.com SponsorThe Duckbill Group: duckbillgroup.com 

Dr. Michael Campbell sits down with the always-fascinating Phillip Warfield to talk about historical research and why it is so fascinating.What?Adventist Pilgrimage Podcast is a monthly podcast focusing on the academic side of Adventist history and hosted by historians Greg Howell and Michael Campbell. This podcast is a part of the Adventist History_Project.Links:Web http://adventisthistorypodcast.org/Support: https://www.patreon.com/AdventistHistoryPodcastFacebook: https://www.facebook.com/adventisthistorypodcast/Watch: http://youtube.com/c/adventisthistoryOur Other ShowsAdventist History Podcast (with Matthew J. Lucio)Adventist History Extra (Private Podcast for Our Supporters)The Ellen White Podcast (with Dr. Jud Lake(

Welcome to episode 154! On this episode, Tad and I chat with author Elaine Warfield about the amazing Fenwick Lumber Company. Fenwick existed over 100 years ago and did logging operations on the steep slopes of SW Hunter and Hunter Mountain. If you need a sticker, email me or go to Camp Catskill! Subscribe on any platform! Share! Donate! Do whatever you want! I'm just glad you're listening! And remember... VOLUNTEER!!!!!! Links for the Podcast: https://linktr.ee/ISLCatskillsPodcast, Donate a coffee to support the show! https://www.buymeacoffee.com/ITLCatskills, Like to be a sponsor or monthly supporter of the show? Go here! - https://www.buymeacoffee.com/ITLCatskills/membership Thanks to the sponsors of the show! Outdoor chronicles photography - https://www.outdoorchroniclesphotography.com/, Trailbound Project - https://www.trailboundproject.com/, Camp Catskill - https://campcatskill.co/, Scenic Route Guiding - https://adventurewiththescenicroute.com/, Another Summit - https://www.guardianrevival.org/programs/another-summit Links: Elaine Warfield, PFAS Ban in NY, Nikiwax, Wolf 907f Passes Away, Hiker passes away on Mt Whitney, DEC Licensed Guide Program, DEC Podcast, West Kill Brewing, Upward Brewing Company  Volunteer Opportunities: Trailhead stewards for 3500 Club - https://www.catskill3500club.com/adopt-a-trailhead?fbclid=IwAR31Mb5VkefBQglzgr fm-hGfooL49yYz3twuSAkr8rrKEnzg8ZSl97XbwUw, Catskills Trail Crew - https://www.nynjtc.org/trailcrew/catskills-trail-crew, NYNJTC Volunteering - https://www.nynjtc.org/catskills, Catskill Center - https://catskillcenter.org/, Catskill Mountain Club - https://catskillmountainclub.org/about-us/, Catskill Mountainkeeper - https://www.catskillmountainkeeper.org/, Bramley Mountain Fire Tower - https://bramleymountainfiretower.org/  Post Hike Brews and Bites - Brave The Flames, Van Duesens #fenwicklumber #catskillsauthor #hunter #3500cub #catskillshistory #husdonvalley #hikingNY #kaaterskill #bluehole #catskillhiking #visitcatskills #catskillstrails #catskillmountains #catskillspodcast #catskills #catskillpark #podcast #catskillshiker #volunteers #catskillmountainsnewyork #catskillspodcast #catskillshiker #catskillshiking #hiking #catskill3500club #insidethelinecatskillmountainspodcast #volunteercatskills #catskill3500 #hikethecatskills

Brian Warfield of The Wolfe Tones has written Celtic Exodus The Musical, which opens for a special premiere run from January 22nd – 25th 2025 at the complex arts centre, Smithfield. Brian joins Pat, alongside Irish actress Clelia Murphy, who will play a reading role in the musical.

Mansfield City Schools hires treasurer Tammy Hamilla to start on Jan. 1: https://www.richlandsource.com/2024/12/18/mansfield-city-schools-hires-treasurer-tammy-hamilla/ Today - we’re looking into a leadership change coming to Mansfield City Schools.Support the show: https://richlandsource.com/membersSee omnystudio.com/listener for privacy information.

Show Notes Timestamps to Know ·  00:40 – Intro ·  03:10 – ‘Augustine' ·  04:22 – How Did Dr. Green get into studying Augustine? ·  07:41 – How Has Dr. Wellum Encountered Augustine in Theological Studies? ·  10:25 – The Context of Augustine and the City of God ·  15:03 – The Fundamental View of the ‘Two Cities' ·  18:10 - Is Augustine's View of Eschatology Optimistic of Pessimistic? ·  24:43  - What's the Difference Between the Two City-Kingdoms? ·  31:16 – Warfield's Argument ·  35:20 – Who Were the Donatists? ·  37:47 – How Does Augustine Set a Trajectory for Political Theology? ·  41:22 – R2K: Historical and Revised ·  45:30 – Does Augustine Have Realm for a Secular Order? ·  48:15 – What is a Constructive Argument for the Kingdom of God in Society Today? · 54:48 – Helpful Reading Recommendations · 56:36 - Outro   Resources to Click · “Augustine's The City of God and Why It Matters Today” – Brad Green · Theme of the Month: Handel's Messiah: Singing Scripture's Hallelujah · Give to Support the Work   Books to Read ·  The City of God – Augustine ·  Confessions – Augustine ·  Augustine of Hippo: His Life and Impact – Brad Green

This is the first lesson in Dr. Lane G. Tipton's Reformed Academy course, Calvinism: The Plan of Salvation. This lesson covers the following topics: 0:00 The Bible as the Norm than Norms 4:49 Creeds and Confessions as Norms that are Normed 12:08 Biblicism 17:53 Exegetical, Biblical, and Systematic Theology 22:15 Warfield's “The Idea of Biblical Theology” 30:55 Warfield on the Relation of Biblical to Systematic Theology 34:01 Vos on the Relation of Biblical to Systematic Theology 38:25 The Doctrine of Man and the Fourfold Estate 45:14 Conclusion Register for this free on-demand course on our website to track your progress, download supplemental materials, and assess your understanding through quizzes for each lesson. You will also receive free access to twenty-four additional five-hour video courses in covenant theology, apologetics, biblical studies, church history, and more: https://reformedforum.org/courses/calvinism-the-plan-of-salvation/ Your donations enable us to provide free Reformed resources for students like you all across the world: https://reformedforum.org/donate/ #Calvinism #salvation #reformedtheology

Howdy, Ags! Today, we are joined by Aggie 100 honoree, Marche Warfield of Satori Marketing! Marche expands on her team's prowess and why she continues to be scrappy as an entrepreneur. This is part 2 of the conversation with Marche, from which we know you will get value from! You can visit Marche and her team at: https://satori.agency/ If you enjoyed today's episode,  be sure to tune back in next week and please take a moment to leave us a 5-star review and connect with Chris and Greg on LinkedIn! About Satori Marketing: Satori is a noun. It's an adjective. Sometimes, it's even a verb (Wow, we need to Satori the ____ out of this). To most, it means sudden enlightenment. For us, we can't imagine any other way to do business. We move as one unit – Account Service, Creative, Media, Public Relations, Strategy and Social Media – and we move swiftly. We're driven by culture. Of the team and of the moment. We walk, talk and think like humans. We don't believe in fake, even when the waters get deep. You might call it the refined art of keeping it real. We call it the art of keeping it, well, Satori. Timestamps: [00:00] Intro [00:52] Biggest Lessons from Marche's Journey [05:52] Satori's Core Values [10:50] BHAG [15:31] Contact Satori [16:46] Takeaways [20:27] Contact / Outro   Resources: Website: https://satori.agency/ AGH Website: https://www.aggiegrowthhacks.com/   Connect with us! Apple: http://bit.ly/AGH-Apple Spotify: http://bit.ly/AggieGH Stitcher: http://bit.ly/AGH-Stitch Podbean: http://bit.ly/AGH-PB

Howdy, Ags! Today, we are joined by Aggie 100 honoree, Marche Warfield of Satori Marketing! Marche and her team ranked 9th this year and she talks about how they navigate the turbulent service work of marketing with BIG TIME clients in Houston, Texas. This is part 1 of the conversation with Marche that we know you will have a blast listening to. You can visit Marche and her team at: https://satori.agency/ If you enjoyed today's episode,  be sure to tune back in next week and please take a moment to leave us a 5-star review and connect with Chris and Greg on LinkedIn! About Satori Marketing: Satori is a noun. It's an adjective. Sometimes, it's even a verb (Wow, we need to Satori the ____ out of this). To most, it means sudden enlightenment. For us, we can't imagine any other way to do business. We move as one unit – Account Service, Creative, Media, Public Relations, Strategy and Social Media – and we move swiftly. We're driven by culture. Of the team and of the moment. We walk, talk and think like humans. We don't believe in fake, even when the waters get deep. You might call it the refined art of keeping it real. We call it the art of keeping it, well, Satori. Timestamps: [00:00] Intro [01:59] Marche and Satori Marketing [06:27] Satori's Services (Full-Service) [07:23] Building a Creative Team [10:50] How Being an Aggie Has Helped in Entrepreneurship  [13:18] Culture and Workflow [22:29] Employees, Big Clients, and the Legend of Chili's [27:57] Contact / Outro   Resources: Website: https://satori.agency/ AGH Website: https://www.aggiegrowthhacks.com/   Connect with us! Apple: http://bit.ly/AGH-Apple Spotify: http://bit.ly/AggieGH Stitcher: http://bit.ly/AGH-Stitch Podbean: http://bit.ly/AGH-PB

Dreams of Consciousness Podcast Episode 353 features an interview with Marko Tervonen of The Crown. My thanks again to Marko for speaking with me, and to you for listening. Music In This Episode: "Necrohammer" taken from the album Cobra Speed Venom "Churchburner" "Howling at the Warfield" taken from the album Crown of Thorns "Candles - Burn Again" taken from the album Death Is Not Dead Thanks for listening! Interviews, reviews, and more at www.dreamsofconsciousness.com

B.B. Warfield: Led By the Holy Spirit | Narrated Puritan For more information about CBTS, visit CBTSeminary.org --- Support this podcast: https://podcasters.spotify.com/pod/show/cbtseminary/support

B.B. Warfield: Led by the Holy Spirit For more information, visit CBTSeminary.org

Hello Boys and Girls,In this episode my guest Host is Rich Warfield of the Loud Pipes Podcast and we discuss a crap load of stuff and the Used vs. New motorcycle Markets.Tobacco Motorwear Go get yourself some riding jeans and other products for men and women from TOBACCO MOTORWEAR and tell them the Motorcycle Men sent you. Use the coupon code "MotoMen". Scorpion Helmets  For the past 15 years, ScorpionExo® has been DEDICATED to offering high quality, innovative motorcycle helmets and technical apparel at an incredible value. So check them out at Scorpion USA and tell them the Motorcycle Men sent you. Wild-Ass Seats:  You can improve your comfort and ability to stay in the saddle longer with a cushion from wild-ass seats. So, if you are tired of those painful pressure points and fatigue, go to wild-ass.com and get your cushion today. The Motorcycle Men Support David's Dream and Believe Cancer Foundation Help us help them. David's Dream and Believe Cancer Foundation and be sure and let them know you heard about it here on the Motorcycle Men Podcast.  Gold Star Ride:  If you would like to be a part of a great cause and get some heartfelt miles in, go to goldstarride.org and learn how you can participate in the next Gold Star Ride Don't forget to get over and check out the Ted Shed Video's over on the Motorcycle Men Channel and the RIDE WITH TED Channel Thanks for listening, we greatly appreciate you support. Ride Safe and remember....   .... We say stupid crap so you don't have to.Support the show

Send us a textHi everybody and welcome to this week's episode of Attendance Bias. I am your host, Brian Weinstein. Today, we welcome back guest Adam Jerugim. Adam previously told about seeing “Harry Hood” on April 18, 1992 at Stanford University, and after today, he seems to be the Attendance Bias resident expert on west coast Phish in the 90s. In today's episode, Adam and I expand our conversation to a full show, and that full show is Phish at the Warfield Theater in San Francisco on May 27, 1994. This was the third of three shows at the Warfield, and it came toward the last week of the 1994 spring tour. On Attendance Bias, we often talk about transitional years and signposts to major musical changes in the Phish evolution but when it comes to late spring and summer of 1994, it's okay to just sit back and show to love to a band at a major peak. This show, while maybe not a tentpole of a peak year, still has superlative versions of David Bowie, Harry Hood, Reba, plus some trademark Phish goofiness and oddity appearances. But we get into all that in a moment.One theme I loved talking about with Adam was Phish's growing popularity on the west coast at this time. While the band would make their debut at Madison Square Garden late in the year and celebrate New Year's Eve at Boston Garden, they were still reasonably in the middle of the pack when it came to the west coast. Selling out three nights at The Warfield seemed to send a signal that things were about to change, big time. Today's show, as classic as it is, still frames the band at a time when they were about to blow up big time up and down the Pacific coast. There's a lot going on.   So let's join Adam to talk about the Bay Bridge, opera singers, and whether shushing is better than wooing as we discuss May 27, 1994 at The Warfield Theater.

William Warfield was a famous opera singer, born in the U.S state of Arkansas in 1920. Known for his rich baritone voice and commanding stage presence, the African-American rose to prominence in the mid-20th century, captivating audiences worldwide, and gracing the stages of prestigious opera houses and concert halls. Warfield served in the Army during World War Two, working in military intelligence. After the war, he earned a masters degree at the Eastman School of Music, and was quickly invited to tour Australia where he gave 35 concerts. Warfield then made 6 separate tours of Europe taking the continent by storm. He became a regular guest on radio and television shows. Warfield later became a University of Illinois music professor at Urbana-Champaign, and was later promoted to Chairman of the Voice Department. In 1984 he received a Grammy Award. You will hear William Warfield just as his operatic career was starting to skyrocket, on NBC Radio's popular Edgar Bergen-Charlie McCarthy Show in 1952. One of only a handful of African-Americans to appear on the show during its more than 20 year history. More at KRobCollection.com

MUSICThe 39th annual Rock & Roll Hall of Fame induction ceremony took place Saturday night at the Rocket Mortgage Fieldhouse in Cleveland and aired on Disney+ Among this year's honorees were Ozzy Osbourne, Peter Frampton, Foreigner, Jimmy Buffett, Cher, Dave Matthews Band, Mary J. Blige, Kool & the Gang, A Tribe Called Quest, MC5 and Dionne Warwick. Saturday night's ceremony will be condensed into a three hour highlights show that will air on ABC on New Year's Day. Jelly Roll loves interacting with his fans -- but he won't be doing it on X anymore. Jelly says he's quitting the app formerly known as Twitter, calling it "the most toxic negative app to exist ever — PERIOD." In what presumably will be his final post, he wrote, "It's a safe place for everyone to say mean [crap] to each other with no consequences." This isn't the first time he's ducked out on X. Back in April, his wife Bunnie XO said he'd quit due to excessive heckling over his weight.Ahead of the 20th anniversary edition of American Idiot coming out on Friday, Green Day have shared a previously unreleased live video for "Holiday" filmed at The Warfield in San Francisco on October 13th, 2005.The Struts have shared a new single called "Can't Stop Talking."Liam Gallagher has shot down a report that Apple TV+ wanted to pay big money for a documentary about the Oasis reunion. Gallagher tweeted, "We're not doing one... There's been enough said about this band -- it's time to get Rocking and Rolling, not yapping and scrapping." TVRemember Benjamin Glaze? He was a contestant on "American Idol" back in 2018 who told the judges that he'd never kissed a girl. He was 19 at the time. So Katy Perry called him to the table and made him kiss her on the cheek. But then she made him do it again. The second time, she turned her head and kissed Benjamin right on the lips.  Welp . . . Benjamin has just been arrested for possession of CHILD PORNOGRAPHY. A lot of it. More than 700 images and videos were allegedly found on his phone. He was arrested on Friday.Remember Joe Exotic from "Tiger King"? He's been quarantined in prison due to scabies.MOVING ON INTO MOVIE NEWS:Horror sequel Smile 2 is the No. 1 movie in North America this weekend, earning $23 million at the box office. Congrats to Jennifer Lawrence, who is pregnant again! Sylvester Stallone showed off his dance moves on Instagram over the weekend putting on a performance to the Motown classic “More Love” by Smokey Robinson & The Miracles. AND FINALLYSure, Rob Zombie has directed several terrifying movies and Slash even produced 2013's 'Nothing Left To Fear', but they're not the only rockstars with horror film experience.  Plenty of your favorite rockstars have acted in horror movies Learn more about your ad choices. Visit podcastchoices.com/adchoicesSee Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

MUSIC The 39th annual Rock & Roll Hall of Fame induction ceremony took place Saturday night at the Rocket Mortgage Fieldhouse in Cleveland and aired on Disney+ Among this year's honorees were Ozzy Osbourne, Peter Frampton, Foreigner, Jimmy Buffett, Cher, Dave Matthews Band, Mary J. Blige, Kool & the Gang, A Tribe Called Quest, MC5 and Dionne Warwick. Saturday night's ceremony will be condensed into a three hour highlights show that will air on ABC on New Year's Day.  Jelly Roll loves interacting with his fans -- but he won't be doing it on X anymore. Jelly says he's quitting the app formerly known as Twitter, calling it "the most toxic negative app to exist ever — PERIOD." In what presumably will be his final post, he wrote, "It's a safe place for everyone to say mean [crap] to each other with no consequences." This isn't the first time he's ducked out on X. Back in April, his wife Bunnie XO said he'd quit due to excessive heckling over his weight. Ahead of the 20th anniversary edition of American Idiot coming out on Friday, Green Day have shared a previously unreleased live video for "Holiday" filmed at The Warfield in San Francisco on October 13th, 2005. The Struts have shared a new single called "Can't Stop Talking." Liam Gallagher has shot down a report that Apple TV+ wanted to pay big money for a documentary about the Oasis reunion. Gallagher tweeted, "We're not doing one... There's been enough said about this band -- it's time to get Rocking and Rolling, not yapping and scrapping."  TV Remember Benjamin Glaze? He was a contestant on "American Idol" back in 2018 who told the judges that he'd never kissed a girl. He was 19 at the time. So Katy Perry called him to the table and made him kiss her on the cheek. But then she made him do it again. The second time, she turned her head and kissed Benjamin right on the lips.  Welp . . . Benjamin has just been arrested for possession of CHILD PORNOGRAPHY. A lot of it. More than 700 images and videos were allegedly found on his phone. He was arrested on Friday. Remember Joe Exotic from "Tiger King"? He's been quarantined in prison due to scabies. MOVING ON INTO MOVIE NEWS: Horror sequel Smile 2 is the No. 1 movie in North America this weekend, earning $23 million at the box office. Congrats to Jennifer Lawrence, who is pregnant again! Sylvester Stallone showed off his dance moves on Instagram over the weekend putting on a performance to the Motown classic “More Love” by Smokey Robinson & The Miracles. AND FINALLY Sure, Rob Zombie has directed several terrifying movies and Slash even produced 2013's 'Nothing Left To Fear', but they're not the only rockstars with horror film experience.  Plenty of your favorite rockstars have acted in horror movies Learn more about your ad choices. Visit podcastchoices.com/adchoices

Back in June, I had author David Cain on to tell us about his book Infinite Dead: A Daily Guide to Grateful Dead Concert Performances Volume 2: July. I wanted to have him back on to talk about the first volume, which covers all the Dead shows during October. David made some time to come back on and I'm so glad he did. Very few bands deserve an in-depth look at a band's live show, the Grateful Dead is at the top of that list. Infinite Dead is a new, groundbreaking guide to Grateful Dead concerts. Authoritative and entertaining, Volume 1 features detailed reviews of every Grateful Dead concert performed in the month of October—over 200 shows, including: The three-set, acoustic-electric performances at The Warfield in San Francisco and Radio City Music Hall in New York City;Their five-night “final” stand at the Winterland Ballroom in 1974; andThirteen Halloween performances, from their first in 1966 to their last in 1991.Also included in this volume is the band's revival of “Dark Star” (10/9/89 Hampton Coliseum), “St. Stephen” (10/11/83 Madison Square Garden), and “Turn On Your Love Light” (10/16/81 Melkweg). What better month to talk about The Dead than the month of October!David Cain has been listening to the music of the Grateful Dead for over forty years, including seeing live performances of the band in twenty-five cities in thirteen states during the course of three decades. David's writing on music, sports, and other subjects has appeared in publications ranging from Addicted To Noise to USA Today's Baseball Weekly. David lives in the San Francisco Bay Area.Purchase a copy of Infinite Dead: A Daily Guide to Grateful Dead Concert Performances Volume 1: OctoberVisit the Infinite Dead website Episode Playlist ---------- BookedOnRock.com The Booked On Rock YouTube Channel Follow The Booked On Rock with Eric Senich:FACEBOOKINSTAGRAMTIKTOKX Find Your Nearest Independent Bookstore Contact The Booked On Rock Podcast: thebookedonrockpodcast@gmail.com The Booked On Rock Music: “Whoosh” by Crowander / “Last Train North” & “No Mercy” by TrackTribe 

Send us a textAs we prepare for Ryan Storm's episode about 10/22/21 at The Desert Sky Pavilion in Phoenix, we also are preparing for our next episode with Adam Jerugim: 5/27/94 at The Warfield in San Francisco.Have memories from spring 1994? Call 516-366-5732 and leave a message of your thoughts, opinions, and memories from spring 1994!

Confessions of faith, such as the Westminster Confession of 1646, play a celebrated role in Reformed, evangelical Christianity. This week we consider the value of such documents, and the way in which they often result from a period of pressure or crisis, which leads God's people to give fresh expression to their faith, in order to assist believers in its defense and propagation, and their unity in the truth.   Featured Content: – 'Loving the Westminster Confession and Catechisms', David B. Calhoun, Banner of Truth Magazine, Issue 651, December 2017. – Excerpt from B. B. Warfield, 'The Significance of the Westminster Standards as a Creed' in Princeton and the Christian Ministry, volume 2, pages 457—459 (Edinburgh: Banner of Truth Trust, 2012). – 'Confessions and Crises in Church History', John R. De Witt, Banner of Truth Magazine, Issue 50, September/October 1967.   Explore the work of the Banner: www.banneroftruth.org Subscribe to the magazine (print/digital/both): www.banneroftruth.org/magazine Leave us a voice message: www.speakpipe.com/magazinepodcast

Bill Warfield, a dynamic and innovative composer, bandleader and trumpeter, has energized audiences, performers and writers for over four decades. Warfield's most recent accomplishments are two highly regarded recordings including “Mercy Mercy Mercy”, recorded on the BluJazz label by the Hell's Kitchen Funk Orchestra in 2015 and “Trumpet Story” with Randy Brecker on Planet Arts Records, recorded in 2014. These recordings are a celebration of the composer's formative musical experiences. The two groups perform Jazz selections based on the genres of funk, Latin Jazz, and Hard Bop, all arranged by Warfield. He holds an M.M. in Jazz Commercial Trumpet Performance from the Manhattan School of Music where he received the William H. Borden Award for Outstanding Accomplishment in Jazz/Commercial Music, The Carmine Caruso Award for Outstanding Musicality and Trumpet Performance and the Maynard Ferguson Scholarship. In 1990 he participated in the BMI Jazz Composers Workshop, directed by Bob Brookmeyer and Manny Albam.

Pink Floyd's Catalog Sale: A New EraIn this episode of the Deadhead Cannabis Show, Larry Michigan explores the rich history of the Grateful Dead's music, focusing on a specific concert from 1980. He discusses the significance of various songs, including 'Iko Iko' and 'Me and Bobby McGee', while also reflecting on the impact of Chris Christopherson's songwriting. The conversation shifts to current events in the music and cannabis industries, including Pink Floyd's catalog sale and the ongoing challenges faced by the hemp industry. Larry emphasizes the importance of medical marijuana legalization and shares insights on how cannabis enhances the music experience. He concludes with personal strain recommendations and highlights record sales in legal marijuana states. TakeawaysThe Grateful Dead's acoustic sets were a significant part of their live performances.Audience tapes capture the energy of live shows better than soundboard recordings.Chris Christopherson's 'Me and Bobby McGee' remains a classic, showcasing the intersection of music and storytelling.Pink Floyd's recent catalog sale reflects the changing dynamics in the music industry.The Betty Boards represent a pivotal moment in Grateful Dead tape trading history.The hemp industry faces legal challenges that could impact small businesses.A majority of chronic pain patients support the legalization of medical marijuana.Cannabis enhances the enjoyment of music, as confirmed by recent studies.Record sales in legal marijuana states are reaching new heights, indicating a thriving market.Personal strain recommendations can enhance the cannabis experience for users. Chapters00:00Introduction and Context of the Grateful Dead's Music04:50Exploring 'Iko Iko' and Audience Tapes10:42The Significance of 'Monkey and the Engineer'15:24Remembering Chris Christopherson and 'Me and Bobby McGee'22:31Pink Floyd's Catalog Sale to Sony Music28:15The Mystery of the Betty Boards54:16Current Issues in the Hemp Industry01:08:10Support for Medical Marijuana Legalization01:15:50The Impact of Marijuana on Music Enjoyment01:21:09Record Sales in Legal Marijuana States01:25:53Strain Recommendations and Personal Experiences Grateful DeadOctober 7, 1980 (44 years ago)Warfield TheaterSan Francisco, CAGrateful Dead Live at Warfield Theater on 1980-10-07 : Free Download, Borrow, and Streaming : Internet Archive Part of 23 show run in late September to the end of October, 1980 split between the Warfield (September 27th – October 14th) and Radio City Music Hall in NYC (October 22 – 31st)   Each show opened with an acoustic set followed by two full electric sets.  These were the last shows where the Dead played acoustic sets.  Songs from all of these concerts were pulled for the two related Dead double album releases, Reckoning (acoustic music, released April 1, 1981- the Band's sixth live album and 17th overall) and Dead Set (electric music, released August 26, 1981, the Band's seventh live album and 18th overall).  Today's episode is broken up into three acoustic numbers from this show and then three electric numbers. INTRO:                     Iko Iko                                    Track #1                                    0:00 – 1:37 "Iko Iko" (/ˈaɪkoʊˈaɪkoʊ/) is a much-coveredNew Orleans song that tells of a parade collision between two tribes of Mardi Gras Indians and the traditional confrontation. The song, under the original title "Jock-A-Mo", was written and released in 1953 as a single by James "Sugar Boy" Crawford and his Cane Cutters but it failed to make the charts. The song first became popular in 1965 by the girl groupthe Dixie Cups, who scored an international hit with "Iko Iko" released in March, 1965. In 1967, as part of a lawsuit settlement between Crawford and the Dixie Cups, the trio were given part songwriting credit for the song.  A permanent part of the Dead's  repertoire since first played in May, 1977 in St. Louis, almost by accident out of and back into a Not Fade Away.  The intro, one verse and back to NFA.  Overtime, became a tune that was not frequently played, usually once, maybe twice, a tour, but whenever it was played it created a party atmosphere out of whatever the mood had been prior to its playing.  Perfect song for Jerry with the call and response chorus that everyone joined in on.  The song that “fastened my seatbelt on the bus” when I saw it for the first time at my second show ever in Syracuse in 1982 with good buddy Mikey.  Once you hear it live, you are always looking for it at future shows. I love this song as do many Deadheads.  But getting to hear it played acoustically is a real treat and a great way to open this “hometown” show.  Jerry played it right up until the end. Played:  185 timesFirst:  May 15, 1977 at St. Louis Arena, St. Louis, MO, USALast:  July 5, 1995 at Riverport Amphitheatre, Maryland Heights, MO, USA SHOW No. 1:         Monkey And The Engineer                                    Track #4                                    0:48 – 2:25 Jesse Fuller tune Jesse Fuller (March 12, 1896 – January 29, 1976) was an American one-man band musician, best known for his song "San Francisco Bay Blues".  Starting in the 1950's after a number of non-music related jobs, Fuller began to compose songs, many of them based on his experiences on the railroads, and also reworked older pieces, playing them in his syncopated style. His one-man band act began when he had difficulty finding reliable musicians to work with: hence, he became known as "The Lone Cat". Starting locally, in clubs and bars in San Francisco and across the bay in Oakland and Berkeley, Fuller became more widely known when he performed on television in both the Bay Area and Los Angeles. In 1958, at the age of 62, he recorded an album, released by Good Time Jazz Records.[3] Fuller's instruments included 6-string guitar (an instrument which he had abandoned before the beginning of his one-man band career), 12-string guitar, harmonica, kazoo, cymbal (high-hat) and fotdella. He could play several instruments simultaneously, particularly with the use of a headpiece to hold a harmonica, kazoo, and microphone. In the summer of 1959 he was playing in the Exodus Gallery Bar in Denver. Bob Dylan spent several weeks in Denver that summer, and picked up his technique of playing the harmonica by using a neck-brace from Fuller.[ Monkey And The Engineer was played by the pre-Dead group Mother McCree's Uptown Jug Champions in 1964. The song was performed by the Grateful Dead in acoustic sets in 1969, 1970, 1980 and 1981. Also performed by Bob Weir with Kingfish. A fun tune that is perfect for kids as well.  Good one to get them hooked into the Dead on! Played:  38 timesFirst:  December 19, 1969 at Fillmore West, San Francisco, CA, USALast: February 12, 1989 at Great Western Forum, Inglewood, CA, USA  MUSIC NEWS:                         Intro Music:           Me and Bobby McGee                                                            Kris Kristofferson - Me And Bobby McGee (1979) (youtube.com)                                                            0:00 – 1:27 "Me and Bobby McGee" is a song written by American singer-songwriter Kris Kristofferson and originally performed by Roger Miller. Fred Foster shares the writing credit, as Kristofferson wrote the song based on a suggestion from Foster.[1] Foster had a bit of a crush on Barbara "Bobbie" McKee who was a secretary on Nashville's music row. When he pitched the title to Kristofferson, he misheard the name as "Me and Bobby McGee," and the name stuck. Kristofferson found inspiration for his lyrics from a film, 'La Strada,' by Fellini, and a scene where Anthony Quinn is going around on this motorcycle and Giulietta Masina is the feeble-minded girl with him, playing the trombone. He got to the point where he couldn't put up with her anymore and left her by the side of the road while she was sleeping," Kristofferson said.  A posthumously released version by Janis Joplin topped the Billboard Hot 100 in 1971, making the song the second posthumously released No. 1 single in U.S. chart history after "(Sittin' On) The Dock of the Bay" by Otis Redding. Gordon Lightfoot released a version that reached number 1 on the Canadian country charts in 1970. Jerry Lee Lewis released a version that was number 1 on the country charts in December 1971/January 1972 as the "B" side of "Would You Take Another Chance on Me". Billboard ranked Joplin's version as the No. 11 song for 1971. Janis Joplin recorded the song for inclusion on her Pearl album only a few days before her death in October 1970. Singer Bob Neuwirth taught it to her while Kristofferson was in Peru filming The Last Movie with Dennis Hopper.[5] Kristofferson did not know she had recorded the song until after her death. The first time he heard her recording of it was the day after she died.[6]Record World called it a "perfect matching of performer and material."[7] Joplin's version topped the charts to become her only number one single; her version was later ranked No. 148 on Rolling Stone's 2004 list of The 500 Greatest Songs of All Time. In 2002, the 1971 version of the song by Janis Joplin on Columbia Records was inducted into the Grammy Hall of Fame. The song is the story of two drifters, the narrator and Bobby McGee. The pair hitch a ride from a truck driver and sing as they drive through the American South before making their way westward. They visit California and then part ways, with the song's narrator expressing sadness afterwards. Due to the singer's name never being mentioned and the name "Bobby" being gender-neutral (especially in America), the song has been recorded by both male and female singers with only minor differences in the lyrical content. Me And Bobby McGee was first performed by the Grateful Dead in November 1970. It was then played well over 100 times through to October 1974. The song returned to the repertoire for three performances in 1981 after which it was dropped for good.  Sung by Weir.    RIP Kris Kristofferson Kris Kristofferson, the iconic country music singer-songwriter and accomplished Hollywood actor, passed away peacefully at his home in Maui, Hawaii, at the age of 88. The family has not disclosed the cause of death. It was confirmed that Kristofferson was surrounded by loved ones during his final moments. In a statement, the family shared: "It is with a heavy heart that we share the news our husband/father/grandfather, Kris Kristofferson, passed away peacefully on Saturday, Sept. 28 at home. We're all so blessed for our time with him. Thank you for loving him all these many years, and when you see a rainbow, know he's smiling down at us all." Tributes poured in from across the entertainment world and fans as the news of Kris Kristofferson's death spread. Barbra Streisand, his co-star in A Star Is Born, praised him as a "special” and “charming" in a post on X. Dolly Parton, who collaborated with Kristofferson, shared on X, "What a great loss. I will always love you, Dolly." Kristofferson's career was nothing short of extraordinary. He achieved stardom as both a country music artist and a successful actor. Throughout his prolific career, Kristofferson earned numerous accolades. These include three Grammy Awards and an induction into the Country Music Hall of Fame in 2004. Additionally, he was nominated for an Academy Award in 1985 for Best Original Song for Songwriter. In 1971, Janis Joplin, who had dated Kristofferson, had a number one hit with "Me and Bobby McGee" from her posthumous album Pearl. It stayed on the number-one spot on the charts for weeks.  In 2021, after releasing his final album, The Cedar Creek Sessions, in 2016, Kristofferson announced his retirement from music. His legacy as a musician, actor, and cultural icon leaves a profound impact on both industries. He is survived by his wife, Lisa, his children, and his grandchildren.  Pink Floyd sells song rights (Rolling Stone Magazine) After years of in-fighting and near-agreements, Pink Floyd have finally reached a deal to sell the rights to their recorded music catalog to Sony Music, according to the Financial Times.The deal is reported to be worth around $400 million and also includes the rights to the band's name and likenesses. That means, along with gaining full control over Pink Floyd's music, Sony will have the crucial rights for most things Pink Floyd-related, from merch to movies. A rep for Sony Music declined to comment. A source confirmed the veracity of the details to Rolling Stone. In an interview with Rolling Stone in August, Gilmour confirmed that the band was “in discussion” about a potential catalog sale, with the guitarist adding he was tired of the continued in-fighting and “veto system” that has resulted in animosity and delayed reissues over petty issues like liner notes.   “To be rid of the decision-making and the arguments that are involved with keeping it going is my dream,” Gilmour said of a catalog sale. “If things were different… and I am not interested in that from a financial standpoint. I'm only interested in it from getting out of the mud bath that it has been for quite a while.” With the Sony deal in place, the label — and not the band — will now bear the responsibility for the next Pink Floyd release, a 50th-anniversary edition of Wish You Were Here that is expected to arrive in 2025. The Sony deal comes 18 months after Pink Floyd made traction on a $500 million agreement to sell their music, only for more bickering between band mates to make the deal “basically dead,” as sources told Variety in March 2023. The Sony deal only includes Pink Floyd's recorded music catalog, which allows for the band to keep its largely Waters-penned publishing catalog and retain ownership of now-apropos lyrics like “Money/It's a crime/Share it fairly, but don't take a slice of my pie” and “We call it riding the gravy train.” What happened to the Betty Boards In May 1986, a storage auction took place in California's Marin County that would altogether change the nature of Grateful Dead tape trading, the group's distribution of its live recordings and, ultimately, the Dead's place in the Library of Congress' National Recording Registry. An advertisement in a local paper drew in a few dozen curious parties anticipating the range of memorabilia and household items that typically become available through the auction of lockers that had fallen into arrears due to lack of payments.  Among the items up for auction that day were hundreds of reel-to-reel soundboard tapes of the Grateful Dead originally recorded by Betty Cantor-Jackson during a golden age between 1971-80. The Betty Boards, as copies of these recordings became known, eventually found their way into the collections of longstanding Deadheads and newbies alike, ending some aspects of a tape-trading hierarchy by which certain individuals lorded over their collections, denying access to those who were unfamiliar with the secret handshake. The appearance and subsequent dissemination of these recordings became a source of fascination and speculation for Deadheads in 1986 and the questions have only compounded over the years: How did the tapes fall into the auction? Who won them? How and why were they initially distributed? Are there more recordings that have yet to make it into circulation? And jumping ahead to the present, where are those tapes today? Just what has become of the Bettys? What can be said with certainty is that a new cache of tapes has been unearthed and a plan is underway by Dark Star Orchestra guitarist Rob Eaton, who has painstakingly restored many of the boards, to complete the job and then facilitate their return to the band. Eaton hopes that a series of official releases might follow that will also yield a small royalty to the woman who recorded the reels and then lost them due to her own financial hardship, even if Deadheads owe her a debt of gratitude. Before the auction, before the boards, there was Betty. Betty Cantor was still in her teens when she began setting up mics and helping to record sound at San Francisco venues— first at the Avalon Ballroom and then, the Carousel (the latter during the Grateful Dead's brief stab at venue management in 1968). She worked alongside Bob Matthews, initially assisting with setups during the recording of the Dead's Anthem of the Sun. A true pioneer, as a woman staking her claim in a patriarchal business, she partnered with Matthews into the early 1970s to produce and engineer live multi- track recordings (she had a hand or two in Live/Dead) as well as studio efforts (Aoxomoxoa and Workingman's Dead). While she worked for other artists during this period, she maintained a close relationship with the Grateful Dead, catalyzed by her marriage to crew member Rex Jackson, who would die a few years later in an auto accident. (The philanthropic Rex Foundation is named in his honor.) “My late husband started recording on the road when he was on the equipment crew,” Cantor Jackson explains. “He and I purchased our own gear and tape. I recorded whenever I could get to the gigs. I recorded the Grateful Dead frequently when they were at home venues, I recorded any and all Jerry Garcia Band gigs I could get to for years, in all its configurations, as well as other bands I liked whenever I could. In those days, bands were cool and happy about me getting a feed. Rex was killed in a car accident in ‘76. In ‘77 and ‘78, I was put on Grateful Dead road crew salary, taping and handling Bobby's stage setup.” She later began a romantic relationship with Dead keyboardist Brent Mydland but, after that ended, she sensed that she had been frozen out. “Brent and I split up after a few years, with the last year spent in the studio working on his solo project. This put me in the category of the dreaded ‘ex.' I didn't think that could apply to me, but he was a band member. Everyone was paranoid of me being around, so I no longer had access to my studio or the vault.” Trying times followed. In 1986, she found herself in a dire financial predicament and forced out of her home. “All my things were moved to storage facilities. Unable to foot the bill at the storage center, Cantor-Jackson forfeited the rights to her worldly possessions. She remembers contacting the Grateful Dead office to inform them of the situation, but the group took no action, resulting in a public auction of Cantor-Jackson's personal assets, which included more than 1,000 reel-to-reel tapes—mostly Grateful Dead recordings, along with performances by Legion of Mary, Kingfish, Jerry Garcia Band, Old and In The Way, the Keith and Donna Band, and New Riders of The Purple Sage. The majority of the 1,000-plus reels that have come to be known as the Betty Boards were acquired by three principals, none of whom were fervid Deadheads at the time. The first of these individuals set his tapes aside in a storage locker where they remain to this day. A second, who was more interested in the road cases that held the tapes, left them to rot in his barn for a decade. The final party was a couple with a particular interest in progressive rock, who nonetheless held an appreciation for the performances captured on tape. So while some tapes unquestionably were scattered to the wind, following the four- hour event and a second auction for a final lot of tapes held a few weeks later, the three prime bidders each held hundreds of reels. While two of the winning bidders had no plans for the tapes, within a few months the couple decided that they would place the music in circulation. This was our way of getting new material into circulation and also breaking the hierarchy of those collectors who held on to prime shows for themselves. Initially, we started transferring the tapes to VHS Hi-Fi on our own, but soon realized what a daunting task this was going to be. So we reached out to one of our trading buddies who we knew had connections in the Dead trading community. From there, he gathered together what was later to become known as the ‘Unindicted Co-conspirators,' who put in a massive archiving effort to back up the tapes and distribute them.” The individual they selected as their point person was Ken Genetti, a friend and longtime Deadhead. “I went into their house, and I opened up this closet and they had all the stuff arranged on a shelf in order,” Genetti reflects. “For me, it was like King Tut's tomb. I knew immediately what they had when I looked in there. The first thing I saw was Port Chester, N.Y., Feb. 18, 1971, an incredible show which was Mickey [Hart]'s last concert for many years and I said, ‘You've got to be kidding me!' Then I saw Kezar Stadium, San Francisco, Calif., ‘73, my favorite concert I ever went to. I pulled it out and I went, ‘Holy shit!'” They explain: “We had sought to keep the operation as low key as possible because of the potential for a backlash. It wasn't until someone contacted the Grateful Dead office and offered them a copy of the tapes that we knew it was only a matter of time before we would be hearing from their lawyers. When we did hear from them, there was a bit of back and forth between their lawyers and our lawyer, but the bottom line was we had purchased the tapes legally and owned them but didn't own the rights to the music contained on them. Therefore, we could not sell the music on them, which was never our intent anyway. That pretty much left us at a stalemate and, not wanting to stir up any more issues with the Grateful Dead office, is also why we avoided re-digitizing the tapes.” In late 1995, Eaton received a call from a high-school teacher who had purchased one of the lots predominantly for the road cases that held the tapes. The teacher now hoped to sell the reels and wanted Eaton to assess them. In a cluttered barn, Eaton discovered a grimy, mold-infested collection. This might have been the end of the story, but the Betty Boards have proven to be the gift that keeps on giving. The teacher never found a buyer for the tapes—his asking price was a million dollars—and two years ago, facing monetary struggles and fearing that that the bank might foreclose on his home, he contacted Eaton once again to see if he would be willing to take custody of the tapes. The teacher also explained that he had discovered another 50 reels while cleaning out the barn. Emboldened by success with this latest batch, Eaton set a new goal for himself: “I had this dream to try to reclaim all of this music and archive it properly so that it's there for generations to come in the best possible form.” Emboldened by success with this latest batch, Eaton set a new goal for himself: “I had this dream to try to reclaim all of this music and archive it properly so that it's there for generations to come in the best possible form.” So through a chain of contacts, he eventually located the couple. While completing his work on the couple's reels, Eaton began researching the original auction, hoping to identify the third individual who had purchased the Bettys. He eventually found him, and in January 2014, the pair entered into discussions about this final batch of tapes, which Eaton hopes to restore. What then? Eaton has a plan that he already has set in motion. “What I'd love to see done—in a perfect world—is I think all the tapes need to go back to the vault,” he says. “I think the people that have purchased these tapes should be compensated. I don't think we're talking huge sums of money but enough to make them relinquish the tapes back to the Grateful Dead. They should be part of the collection. Another thing that's important is if these tapes do get back to the vault, Betty should get her production royalty on anything that gets released, which is completely reasonable. Those were her tapes; those weren't the Dead's tapes. I'd love to see Betty get her due.”  SHOW No. 2:         Heaven Help The Fool                                    Track #6                                    1:30 – 3:10Heaven Help the Fool is the second solo album by Grateful Deadrhythm guitaristBob Weir, released in 1978. It was recorded during time off from touring, in the summer of 1977, while Grateful Dead drummer Mickey Hart recovered from injuries sustained in a vehicular accident. Weir returned to the studio with Keith Olsen, having recorded Terrapin Station with the producer earlier in the year. Several well-known studio musicians were hired for the project, including widely used session player Waddy Wachtel and Toto members David Paich and Mike Porcaro. Only "Salt Lake City" and the title track were played live by the Grateful Dead, the former in its namesake location on February 21, 1995,[1] and the latter in an instrumental arrangement during their 1980 acoustic sets.[2] Despite this, Weir has continued to consistently play tracks from the album with other bands of his, including RatDog and Bobby Weir & Wolf Bros. "Bombs Away" was released as a single and peaked at number 70 on the Billboard Hot 100, becoming his only solo song to make the chart.[3] The album itself stalled at number 69, one spot behind his previous album, Ace. The title track was written by Bobby and John Barlow.  While a staple at Bob shows with the Midnights, Rob Wasserman, Rat Dog, Wolf Bros., etc., the Dead only played it during these Warfield/Radio City and only as an instrumental arrangement. Played:  17 timesFirst:  September 29, 1980 at The Warfield, San Francisco, CA, USALast:  October 31, 1980 at Radio City Music Hall, New York, NY, USA Now the electric tunes from today's show: SHOW No. 3:         Cold, Rain & Snow                                    Track #10                                    0:00 – 1:30 "Rain and Snow", also known as "Cold Rain and Snow" (Roud 3634),[1] is an American folksong and in some variants a murder ballad.[2] The song first appeared in print in Olive Dame Campbell and Cecil Sharp's 1917 compilation English Folk Songs from the Southern Appalachians, which relates that it was collected from Mrs. Tom Rice in Big Laurel, North Carolina in 1916. The melody is pentatonic. Campbell and Sharp's version collected only a single verse: Lord, I married me a wife,She gave me trouble all my life,Made me work in the cold rain and snow.Rain and snow, rain and snow,Made me work in the cold rain and snow.  In 1965, Dillard Chandler recorded a graphic murder ballad version of the song that ends with the wife being shot by the husband. According to the liner notes on Chandler's album, Chandler learned the song from Berzilla Wallin, who said that the song related to a murder that had occurred in Madison County, North Carolina: Well, I learned it from an old lady which says she was at the hanging of – which was supposed to be the hanging, but they didn't hang him. They give him 99 long years for the killing of his wife... I heard the song from her in 1911. She was in her 50s at that time. It did happen in her girlhood... when she was a young girl... She lived right here around in Madison County. It happened here between Marshall and Burnsville; that's where they did their hanging at that time – at Burnsville, North Carolina. That's all I know, except they didn't hang the man.'[2] Subsequent performances have elaborated a variety of additional verses and variants beyond the single verse presented by Campbell and Sharp. Several verses consistently appear. Some sources for lyrics that appear in some later versions may be from Dock Boggs's 1927 song "Sugar Baby" (Roud 5731),[1] another lament of a henpecked husband, which may have contributed a line about "red apple juice".[4] A British folksong, The Sporting Bachelors (Roud 5556),[1] contains similar themes, but was collected in the 1950s.[2][5] Earlier possible precursors include a series of broadside ballads on the general subject of "Woeful Marriage"; one frequently reprinted nineteenth-century example begins with the words "On Monday night I married a wife", (Roud 1692).[1][6] These British antecedents mostly share common themes and inspirations; the song originated in the local tradition of Big Laurel, Madison County, and relate to a nameless murderer who committed the crime at some time between the end of the Civil War and the end of the nineteenth century. A recent origin is also suggested by the relatively limited number of variations on the tune; most performances use the Campbell-Sharp melody as written.[2] Despite the apparent violence of the lyrics, women feature prominently in the oral tradition of the song. It was collected from "Mrs. Tom Rice", and sung by Berzilla Wallin, who learned it from "an old lady" who remembered the murder trial the song was about. The song is closely associated with the Grateful Dead; a studio version appeared on their first album The Grateful Dead (1967), and the song was a standard part of the Dead's repertoire throughout their career. They would often open with the song, or perform it early in the first set.[2] Unlike Chandler's recording, in the Dead's version of the lyrics the husband generally laments his mistreatment at his greedy wife's hands, but does not kill her. The lyrics from the Grateful Dead's version were adapted from an earlier recording by Obray Ramsey. Played:  249 timesFirst:  May 5, 1965 at Magoo's Pizza Parlor, Menlo Park, CA, USALast:  June 19, 1995 at Giants Stadium, East Rutherford, NJ, USA  MJ NEWS:  Hemp Industry Advocates Ask Court To Halt California's Ban On Products With Any ‘Detectable Amount' Of THC Amid Legal Challenge2.      Most Pain Patients And Doctors Support Legalizing Medical Marijuana And Having Insurance Companies Cover The Cost, AMA Study Shows3.      Marijuana Enhances Enjoyment Of Music, New Study Finds, Confirming What Every Stoner Already Knows4.      Six U.S. States Report Setting New Monthly Marijuana Sales Records M.J. Strains:           Blackwater – an indica marijuana strain made by crossing Mendo Purps with San Fernando Valley OG Kush.  The strain offers effects that start out mellow but will eventually melt down through your entire body for a classic head to toe euphoric high.  A sweet grape aroma that blends well with subtle undertones of lemon and pine.  MMJ uses include for relieving symptoms associated with chronic pain, appetite loss and MS.  Recommended for late night consumption as it can cause mental cloudiness and detract from productivity.                      NYSD – this classic strain is sativa leaning, created by Soma Seeds in Amsterdam, a staple for stoners since its inception in 1997.  Its name is inspired by the tragic events in NYC on September 11, 2001.  It is a product of crossbreeding Mexican sativa and Afghani landrace strains.  Has a unique aroma and taste that sets it apart from the crowd.                       Pure Gas - a hybrid cross of E85 and OG Kush. The parent strains are carefully chosen for their complex terpene profiles and effects. The OG Kush is known for its lemon-pine-fuel taste and an aroma of fuel, skunk, and spice. Additionally, its high-THC content provides a potentially heavy-hitting experience that shines through in the Pure Gas strain. As far as THC level in Pure Gas, it is one of our higher testers and definitely a high-potency strain. Smoking Pure Gas might bring effects similar to that of the OG Kush. The strain may be a creeper, meaning its effects may sneak up on you, so we recommend trying a little at a time, especially if you're new to smoking. Users may experience a deep body relaxation and cerebral high. The strain is definitely one that might activate your munchies, so make sure you have your favorite snack on hand. The overall effects of the Pure Gas strain might make it perfect for a movie night with friends, pre-dinner smoke sessions, and just hanging out. For users who suffer from appetite loss, the strain may help stimulate your hunger.  SHOW No. 4:         Loser                                    Track #12                                    4:13 – 6:13 David Dodd:  The song seems covered in the Americana dust of so many songs from this period of Hunter's and Garcia's songwriting partnership. Abilene, whether in Texas or Kansas, is a dusty cowtown—at the time in which the song seems to be set, the cattle outnumbered the human inhabitants by a factor of tens. It's easy to see the scene Hunter so casually sets, of a broken-down gambler in a saloon, with a dirt street outside full of armed cowpokes. Appearing, as it does, on Garcia, the song seems to pair naturally with the other gambling song on the album, “Deal.” It could be sung by the same character on a different day, in fact. And it fits in, as I mentioned, with a whole suite of songs that might be set in the same generic America of the late 19th or early 20th centuries: “Brown-Eyed Women,” “Jack Straw,” “Mister Charlie,” “Tennessee Jed,” “Cumberland Blues,” “Candyman,” and others, as well as certain selected covers, such as “Me and My Uncle,” and “El Paso.” Those songs share certain motifs, and among them are the various accoutrements of a gambler's trade, whether dice or cards. Money plays a role—and, in the case of “Loser,” the particular money mentioned helps place the song chronologically. Gold dollar coins were minted from 1849 (the Gold Rush!) to 1889. They were tiny little coins. I have one, and it is amazingly small—between 13 and 15 mm in diameter. “All that I am asking for is ten gold dollars…” C'mon! They're tiny little things. In fact, originally, the line was “one gold dollar,” but that changed at some point to the “ten” The crowning glory of the song, as in many other Garcia/Hunter compositions, is the bridge.The song culminates in this cry of hopefulness: “Last fair deal in the country, Sweet Susie, last fair deal in the town. Put your gold money where your love is, baby, before you let my deal go down—go down.” (It's noted that “Sweet Susie” was dropped at some point, but then, occasionally, brought back. I think it was an optional decoration to the line. Alex Allan, in his Grateful Dead Lyric and Song Finder site, notes that “Sweet Susie” rarely appears after 1972, but that it's sung in performances in 1974 and 1979.) Almost always played as a first set Jerry ballad. This version might have been the high point of this show.  So nicely played and sung by Jerry. Played:  353First:  February 18, 1971 at Capitol Theatre, Port Chester, NY, USALast:  June 28, 1995 at the Palace of Auburn Hills, MI  OUTRO:                   Good Lovin'                                    Track #27                                    3:25 – 5:04 "Good Lovin'" is a song written by Rudy Clark and Arthur Resnick that was a #1 hit single for the Young Rascals in 1966. The song was first recorded by Lemme B. Good (stage name of singer Limmie Snell) in March 1965 and written by Rudy Clark. The following month it was recorded with different lyrics by R&B artists The Olympics, produced by Jerry Ragovoy; this version reached #81 on the Billboard Pop Singles chart. The tale has been told that Rascal Felix Cavaliere heard The Olympics' recording on a New York City radio station and the group added it to their concert repertoire, using the same lyrics and virtually the same arrangement as The Olympics' version. Co-producer Tom Dowd captured this live feel on their 1966 recording, even though the group did not think the performance held together well. "Good Lovin'" rose to the top of the Billboard Pop Singles chart in the spring of 1966 and represented the Young Rascals' first real hit. "Good Lovin'" is one of The Rock and Roll Hall of Fame's 500 Songs that Shaped Rock and Roll, and was ranked #333 on Rolling Stone's 500 Greatest Songs of All Time list.[4] Writer Dave Marsh placed it at #108 in his 1989 book The Heart of Rock and Soul: The 1001 Greatest Singles Ever Made, saying it is "the greatest example ever of a remake surpassing the quality of an original without changing a thing about the arrangement." A popular version was by the Grateful Dead, who made it a workhorse of their concert rotation, appearing almost every year from 1969 on.[6] It was sung in their early years during the 1960s and early 1970s by Ron "Pigpen" McKernan and later by Bob Weir. The Weir rendition was recorded for the group's 1978 Shakedown Street album and came in for a good amount of criticism: Rolling Stone said it "feature[d] aimless ensemble work and vocals that Bob Weir should never have attempted."[7] On November 11, 1978, the Grateful Dead performed it on Saturday Night Live. Typically, at least by the time I started seeing them, usually played as a second set closer or late in the second set. As good buddy AWell always said, “if they play Good Lovin, everyone leaves with a smile on their face.”  Can't argue with that. Played:  442First:  May 5, 1965 at Magoo's Pizza Parlor, Menlo Park, CA, USALast:  June 28, 1995 at The Palace of Auburn Hills, Auburn Hills, MI, USA Easy fast on Yom Kippur .Produced by PodConx Deadhead Cannabis Show - https://podconx.com/podcasts/deadhead-cannabis-showLarry Mishkin - https://podconx.com/guests/larry-mishkinRob Hunt - https://podconx.com/guests/rob-huntJay Blakesberg - https://podconx.com/guests/jay-blakesbergSound Designed by Jamie Humiston - https://www.linkedin.com/in/jamie-humiston-91718b1b3/Recorded on Squadcast

These Event Friday messages are from the Quakertown Conference on Reformed Theology 2011. Speakers at this conference include: Bryan Chapell, Richard Philips, Kevin DeYoung, Stephen Nichols, and Fred Zaspel To support this ministry financially, visit: https://www.oneplace.com/donate/581/29

It is an honor and privilege to welcome singer-songwriter and performer Liv Warfield to The Jake's Take with Jacob Elyachar Podcast.  A former track star and gymnast, Peoria, Illinois-born Liv Warfield began building her legend in Portland, Oregon. Despite having no formal background in singing, she gained the respect of local superstars and became an icon in her own right. While she takes cues from musical influences like Nina Simone, Etta James, Mavis Staples, Sade, Tina Turner, and Mary J. Blige, Warfield has carved out a style all her own, which can best be described as “alternative soul with a lil bit of Rock ‘n' Roll.” In 2006, she self-released her debut album, Embrace Me. By 2009, she caught the eye of the one-and-only Prince and ultimately joined his group, the “New Power Generation.”  After touring for several years and soaking up as much knowledge as she could from the ultimate music mentor, Warfield made her big splash on the national scene in 2014, first as a featured artist for VH1's “You Oughta Know” campaign and then with the release of her major label debut album “The Unexpected,” which was executive produced by Prince. What followed were show-stopping performances on The Tonight Show Starring Jimmy Fallon, The Late Show with David Letterman, and The Arsenio Hall Show; a 2014 Soul Train Music Award and nominations for two others; a BET Best New Artist Award nomination; an interview with National Public Radio; and high-profile cosigns from Lionel Richie, Cyndi Lauper, and Nancy Wilson of HEART. That same year, Warfield's performance closing out Essence Fest was hailed as one of the most memorable after-shows at the New Orleans House of Blues. In 2015, the accolades grew, with Warfield and the NPG Hornz being named one of the top 10 bands to see at the Montreux Jazz Festival in Switzerland. It's no wonder she has left celebrities like Letterman declaring it's time to “cancel show business!”   In 2017, Warfield began the next phase of her ascension, collaborating with another of her childhood influences, the aforementioned Nancy Wilson, to create the band Roadcase Royale. Their lead single, “Get Loud,” was featured prominently in the 2017 Women's March, and they released their debut album, First Things First, later that year. If that weren't enough, their remake of HEART's “These Dreams” was featured in Molly's Game, which starred Idris Elba, Jessica Chastain, and Kevin Costner. Warfield recently recorded music for the Oscar-nominated HBO documentary Da Bronx. She also tipped her hat into the theater realm to rave reviews playing Madame ZinZanni in the Chicago version of Teatro ZinZanni.  This past summer, Liv Warfield auditioned for the NBC talent competition America's Got Talent: Season 19. Liv and her band performed an original song: “Stare,” that received a standing ovation from not only judges Howie Mandel, Heidi Klum, Sofia Vergara, and Simon Cowell but also a Golden Buzzer from the Got Talent creator.  During the AGT: Season 19 Quarterfinals, Liv and the band blew the audience away by performing “The Unexpected,” a song Prince wrote for her.  In this edition of The Jake's Take with Jacob Elyachar Podcast, Liv Warfield spoke about the lessons she learned from Prince, her time on AGT, and performing in Teatro ZinZanni. Become a supporter of this podcast: https://www.spreaker.com/podcast/jake-s-take-with-jacob-elyachar--4112003/support.

Get Amanda's Book Follow Amanda on Instagram Follow Me on Instagram In this episode of The Dream Biz Podcast, I'm excited to sit down with content marketing strategist and published author Amanda Warfield. We've been talking about this episode for a while, and I'm thrilled to finally bring it to you! Amanda and I dive deep into why trying to please the algorithm isn't the answer for growing your business and how you can shift your focus to building relationships and creating a content strategy that actually leads to sales. Amanda introduces her “Content Sundae” framework, which breaks down how to balance value-based content, sales content, and personality-driven content in a simple and effective way. We also talk about the four key elements of a strong content strategy—alignment, connection, messaging, and KPIs—so you can stop guessing and start planning with intention. If you're ready to simplify your marketing and make a bigger impact, you won't want to miss this episode!

Christianity has been greatly served by the scholars, theologians, and pastors that were equipped for defending the faith through study at institutions like Cambridge, Yale, and Princeton. Pastors and scholars like Jonathan Edwards, B.B. Warfield, and R.L. Dabney were products of rigorous academic instruction in the Western tradition and their influence continues to this day. But as of late, the notable output of even reformed seminaries seems to be race hustlers, social justice warriors, functional anabaptists, and pietists that would be unrecognizable to their forefathers. Where did things go wrong? And what can be done to fix seminaries? Get your tickets now for our 2025 Conference. Christ Is King: How To Defeat Trash World at ⁠https://rightresponseconference.com⁠ *MINISTRY SPONSORS:* *Squirrelly Joes Coffee - Caffeinating The Modern Reformation* Our audience can get a free bag of coffee (just pay shipping) by visiting ⁠https://squirrellyjoes.com/rightresponse ⁠ *The Word Soap* https://thewordsoap.com *Reece Fund.* Christian Capital. Boldly Deployed https://www.reecefund.com/ *Domion Ranch* Enter the Dominion Ranch super summer only giveaway for some delicious Wagyu beef, a mouthwatering addition to your freezer! https://dominion-ranch.ck.page/e381a601e5 *Private Family Banking* Contact a Private Family Banking Partner today by emailing banking@privatefamilybanking.com Or reserve a day and time for a Free 30-minute Discovery Consultation by using the link below: https://calendly.com/familybankingnow/30min GET A FREE COPY of Protect Your Money Now! How to Build Multi-Generational Wealth Outside of Wall Street and Avoid the Coming Banking Meltdown by going to www.protectyourmoneynow.net

Most would agree that Christ had emotions, but they have not given a great deal of thought to the significance of Christ's emotional life. By neglecting to reflect on the Lord's emotional life, we fail to think deeply about what it means that the Son of God became a true human being for our sakes. Our understanding of the significance of the incarnation itself is at stake.  Join us as we discuss B.B. Warfield's excellent book, The Emotional Life of Our Lord. We talk about some common errors we make when thinking about Christ's emotions, what we can learn from the emotional life of Christ, and what this means for our own emotions.  Resources mentioned: The Emotional Life of Our Lord by B.B. Warfield Warfield on the Christian Life by Fred Zaspel Good and Angry by David Powlison Spiritual Depression by Martyn Lloyd-Jones

A Festival Odyssey: Phish, Mondegreens, and Moments with My SonLarry Mishkin reflects on his recent experience attending the Mondegreen Festival, a Phish festival in Dover, Delaware, with his son and friends. He shares his enthusiasm for the event, highlighting the performances and the significance of certain songs, including "The MoMA Dance" and "NICU," which have deep ties to Phish's history and fan culture. Larry provides a detailed history of Phish festivals, from the Clifford Ball in 1996 to the most recent Mondegreen Festival, noting memorable moments, attendance figures, and unique aspects of each event. The episode also includes a brief discussion on the 60th anniversary of The Beatles' performance at Red Rocks Amphitheatre in Denver, Colorado. Larry expresses his excitement about attending the festival with his son and reminisces about the special bond they shared during the event.MONDEGREENPhishAugust 15 – 18, 2024The WoodlandsDover Delaware Band's 11th festival, NOT counting Curveball set for 2018 that was canceled at the last minute due to contaminated water supply due to heavy rains and flooding. Nine year gap between MagnaBall in March, 2015 and Mondegreen, biggest gap between festivals in band's history.  INTRO:                                 Moma Dance                                                Night One, August 15, 2024                                                First Night, First Set, First Song (into Back On The Train)                                                Phish @ The Woodlands, Mondegreen Festival, Dover DE 2024-08-15 : Free Download, Borrow, and Streaming : Internet Archive                                                Track #2                                                2:31 – 4:05 By:  Anastasio/Fishman/Gordon/McConnell/MarshallPlayed:First Played:  6/30/98 in Copenhagen, DenmarkMost recent: August 15, 2024 (Mondegreen)Current Gap:  3 shows The title of “Moma” is another example of Phish Phonetics, cleverly transforming the moment ends lyric into a reference to a display of “The Rhombus” at New York City's Museum of Modern Art (MoMA).Mondegreen:  are they saying, “The Moma Dance” OR “the Moment Ends”??                               SHOW No 1:                     NICU                                                Night One, August 15, 2024                                                First Set, 6th song (out of Roggae and into A Wave of Hope)                                                Phish @ The Woodlands, Mondegreen Festival, Dover DE 2024-08-15 : Free Download, Borrow, and Streaming : Internet Archive                                                Track #7                                                3:00 – 4:56 By:         Anastasio/MarshallPlayed 156 timesFirst Played: 3.6.92 at The Music Hall in Portsmouth, NHMost Recent:  August 15, 2024 (Mondegreen)Gap: 3 shows Has any Phish song had as many names with as many explanations as “NICU”? At its debut in Portsmouth, New Hampshire, Trey introduced the song as “In an Intensive Care Unit.” Shortly thereafter, the name was changed to “NICU,” which some considered a play on a line from the backing vocals in the chorus (“and I see you”) and others noted was the abbreviation for the Neonatal Intensive Care Unit.Shortly thereafter, the “controversy” began, as controversy can only begin among rabid Phish fans. Some called the song “And I See You.” Some stuck with the original “In an Intensive Care Unit.” Other interesting theories developed, including one from the Internet where a fan noted that the elements Nickel (NI) and Copper (Cu) are side-by-side on the Periodic Table and that the title “NICU” may thus be a reference to nickels and pennies or, more likely, small change.  Title is a Mondegreen for “And I See You” Music News (from Mondegreen) Matthew's crew:  Matthew, me, Donny, Jake, Dave and Seth Michigan Crew:  ??? NYC Crew: Max & Jess, Joey and Darby, Darby's brother, Brad and Sam, Dan the drummer (and?), Dude from Florida and girlfriend (??), Tesh,WHO ELSE SHOULD I MENTION? CLEVELAND CREW:  Kevin, two buddies?  Aaron   Anyone else? Hot and humid/ AC unitsTents v. RV's/bathrooms/food/water and ice/maintenanceStorm – cut Sunday short                        Modern weather technology – good and bad                        Just like 2022 Sacred Rose Festival Secret Set on Aug. 16th second night Driving 12 hours each way                                                  SHOW No. 2:                    I Am Hydrogen > Weekapaug Groove                                                Night 3, August 17, 2024 – Second set opener traditional Mike's Groove>Theme From The Bottom                                                November 11, 2012, MSG, NYNY                                                Mike's>Chalk Dust Torture>I Am Hydrogen>Weekapaug                                                Phish | 12.29.11 | Mike's Song → Chalk Dust Torture → I Am Hydrogen → Weekapaug Groove - YouTube                                                15:44 – 17.43 I Am HydrogenBy: Daubert/Marshall/AnastasioPlayed: 350 timesFirst: April 6, 1985 at Finbar's in Burlington, VTMost  Recent: August 17, 2024 (Mondegreen Night 3)Gap: 1 show The story of “I Am Hydrogen” is a love story. Conceived by Tom Marshall and Marc Daubert around 1984-85 on piano and acoustic guitar, they brought their creation over to Trey's house, where it was recorded. Trey added a harmony to it on his electric guitar, and the “Hydrogen” we have come to know was born. Initially intended for Tom, Marc, and Trey's band Bivouac, “Hydrogen” ended up in the Phish lineup and made its debut, all alone, on 4/6/85.  After a few years, it became the connector between Mike's Song and Weekapaug Groove. Into Weekapaug GrooveBy:  Anastasio/Fishman/McConnell/GordonPlayed: 523 timesFirst: 7.23.1988 at Pete's Phabulous Phish Phest in Underhill, VTMost Recent:  August 17, 2024 (Mondegreen Night 3)Gap: 1 show “Weekapaug Groove” takes its name from the town of Weekapaug, located on the shores of the Atlantic Ocean in southwestern Rhode Island. According to Mike, the song's lyrics (“Trying to make a woman that you move, sharing in a Weekapaug Groove”) are meaningless. As Mike said in a 9/9/97 interview with Parke Puterbaugh: “So we came back to Boston [from Weekapaug, after playing a gig there at a yacht club], and I guess we were in the van or the Voyager we used to drive in, and that song “Oh What a Night” came on the radio. You know that one? That awful Four Seasons song? We just constantly listened to songs and changed around the words as to what they might sound like. I always had a particularly hard time hearing lyrics anyway, so I always would sing a song on the radio, sing along with the wrong words. So the bridge of that song goes ‘Oh I-I-I trying to something,' but I was singing it, ‘Oh I-I-I trying to make a woman that you move,' which means nothing, 'sharing in a Weekapaug groove.' So we all just started singing that, as complete nonsense: ‘trying to make a woman that you move.' It never occurred to any of us that it had any meaning, ever. There was a period of time that we were singing it, and I used to just yell out the lyrics, between singing them I would just yell them out as if I was preaching them, just to sort of make it more ironic that they have no meaning.”  SHOW No. 3:                    Yamar                                                Night 4, August 18, 2024 – First set 10th song out of Stash and into Timber                                                August 17, 1996, Clifford Ball, Plattsburgh AFB, Plattsburgh, NY (1st Phish Festival) into It's Ice                                                Phish-Ya Mar-Clifford Ball (youtube.com)                                                0:13 – 1:45 By:  Cyril Ferguson                27th November 1951 - Cyril 'Dry Bread' Ferguson was born in Nassau, New Providence, Bahama Islands.Ferguson was a Bahamian musician and entertainer. He composed songs in the genres of goombay, calypso and Bahamian pop music.Some of his more popular songs include: Ya Mar, Sunshine On My Body, Bahamian Music and Don't Squeeze The Mango.Ferguson died of complications related to diabetes on 9th April 2009. “Ya Mar” resides as a favorite in the hearts of many fans. It represents one of Phish's few forays into calypso and is among the most playful and danceable songs in the band's repertoire. And anytime Trey screams for Page to take the reins – “Play it, Leoooooo!” – the crowd is apt to go wild. Page's nickname actually comes from this line in the original, where The Mustangs urged their own piano man to step into the spotlight. The title seems to reference the slurred interpretation of “your ma,” as the singer recounts the disdain his lover's family has for him. Phish put their own unique stamp on it by often changing the “no good pa” lyric in the chorus to mimic their own “oh kee pa” phrase.  Played: 232 timesFirst: 2.21.1987 at Slade Hall, UV, Burlington, VTMost Recent:  8.18.2024Gap: 0 shows Marijuana News Senator Says Harris Will ‘Be Ready To Sign' Marijuana Reform Bills If Elected PresidentGOP Senators Claim Marijuana Is A ‘Gateway Drug' As They Oppose Rescheduling And Legalization3.      People Who Use Marijuana Are Less Likely To Be Obese, New Study Shows                 SHOW No. 4:                    Simple                                                Night 4, August 18, 2024 – First set second to last song of Izabella and into Golden Age                                                July 27, 2024, Alpine Valley, East Troy, WI second set out of Sigma Oasis and into The Howling                                                Phish - 7/27/2024 - Simple (4K HDR) (youtube.com)                                                0:18 – 1:28 By:         GordonPlayed:  209 timesFirst:     5.27.1994 at the Warfield Theater in San FranciscoMost Recent:  August 18, 2024 (Mondegreen Night 4)Gap: 0 shows "Simple" was first written and recorded by Mike Gordon in a four-track medium in the Doo-wop style and introduced to the band during the studio sessions forHoist. This version reflected the country and bluegrass writing style of many previous Gordon compositions. The song was left off of the albumand the band showed hesitation in performing it live. Then, on 5/27/94, “Simple” debuted in a very strange and raw fashion during the “Mike's Song” at the Warfield in San Francisco. In contrast to the song we know today, the debut version of “Simple” was Mike's original lyrics sung by the band members over a jam that had emerged from “Mike's.” Three weeks later, “Simple” was played for a second time at the historic 6/17/94 gig, the same night that much of the country was watching the low-speed police chase of O.J. Simpson's white Ford Bronco through L.A. This version was significantly reworked and sounded much like the “Simple” we are accustomed to hearing today, with the exception of a minor humoristic augmentation providing the line “We've got O.J., cause we've got a band.” Mondegreen:  We've got a cymbal (simple) cause we've got a band   OUTRO:                               Twee Pri                                                Night 3, August 17, 2024 – Encore out of YEM into end of show                                                April 20, 2024, The Sphere, Las Vegas, NV Encore out of A Life Beyond the Dream into end of show                                                Tvidler 202202 11 by Ryan Maguire (youtube.com)                                                0:00 – end By:  Anastasio/Fishman/Gordon/McConnellPlayed:  321 tiesFirst:  2.1.1991 at Alumnae Hall, Brown University — Providence, RIMost Recent: 8.17.2024 Mondegreen Night 3Gap: 1 show A "reprise" is a sort of musical afterthought – basically a reintroduction of and variation on the main theme of a piece of music. Thus, “Tweezer Reprise” is a slight variation – a condensation of sorts – of “Tweezer.” As it does on the album A Picture of Nectar, the “Reprise” often follows “Tweezer” in concert, most frequently as an encore song. It is also common as a second set closer following an earlier “Tweezer.” A few times, the “Reprise” has even been spewed out of some long, monster “Tweezer,” serving as the thrilling exclamation point at the end of a raging, set-long sentence (e.g. 5/7/94, 6/22/95).On occasion, “Tweezer Reprise” has shown up as a surprise in a show where there has been no performance of “Tweezer” proper. Although usually this occurs because the “Reprise” will be referring back to a non-reprised “Tweezer” at the previous night's show (e.g. 12/30/96's “Tweezer” was reprised on 12/31/96), the song has been known to appear, albeit rarely, completely free from its Granddaddy counterpart, like on 9/29/99. The most interesting example of this, and perhaps the most unusual “Tweezer Reprise” ever performed, was on 12/8/99, which featured an a cappella version that came out of a “YEM” vocal jam to close the second set. The band later finished off the show with a traditional “Tweezer Reprise” to end the encore. Other interesting versions include 10/27/94 and 10/21/95. .Produced by PodConx Deadhead Cannabis Show - https://podconx.com/podcasts/deadhead-cannabis-showLarry Mishkin - https://podconx.com/guests/larry-mishkinRob Hunt - https://podconx.com/guests/rob-huntJay Blakesberg - https://podconx.com/guests/jay-blakesbergSound Designed by Jamie Humiston - https://www.linkedin.com/in/jamie-humiston-91718b1b3/Recorded on Squadcast

Seeing the inevitable headlines on the horizon around the Wolfe Tones performing at Electric Picnic, I decided to reach out to Brian Warfield for a chat about his book, The Ramblings of an Irish Ballad Singer. Amongst other things, Brian spoke to me about his family origins, why the Tones recorded songs like 'The Sash', and the importance of the English folk music revival for his band. (Original image: Richard Walshe, Mindfield Flickr)

What is a podcast tour, and how can it help to grow your podcast? In today's episode, I'm resharing my interview on Chasing Simple with Amanda Warfield. Our conversation dives into how and why to book a podcast tour, plus how to use one as an effective marketing strategy for your own podcast and business. Today's episode is brought to you by Mic Check Society, our community for podcasters who are looking to take their podcast from good to great. Come join us for educational trainings, a private member's only community, and monthly calls! Get $10 off per month with code PODCAST at micchecksociety.com. Time-stamps:Introducing Haylee Gaffin (8:21)What is a podcast tour? (10:33)How many pitches to send (12:57)How to find podcasts to pitch to (14:23)Is it worth it to send a pitch? (16:31)How to get the most out of a podcast tour (18:26) Your call to action strategy (21:11)How to know when you're ready to be a guest (22:44)How to prepare for a podcast tour (26:37)During the pitching process (31:40)Being a great guest (35:11)After the interview (41:21)Repurposing episodes (45:16)Action step from Haylee (47:28)Mentioned in This Episode:Follow Amanda on Instagram Take Amanda's Quiz Podcast budget worksheetRephonic.graphHaylee's Resources PageEpisode 107: Back to the Basics of Podcast PlanningEpisode 103: Should You Start a Podcast for your Blog?Episode 109: The Power of Podcasting as an EntrepreneurJoin Mic Check Society – use code CHASINGSIMPLEIt Ends with Us by Colleen HooverConnect with Haylee:instagram.com/hayleegaffinGaffincreative.commicchecksociety.comReview the Transcript: Hosted on Acast. See acast.com/privacy for more information.

This week on the podcast jD welcomes David Fieni to the show to discuss his Pavement origin story and then they crack the top 25 with song number 25 on the countdown!Transcript: Track 2:[0:00] Previously on the pavement top 50.Track 1:[0:02] This week we are celebrating song number 26 fight this generation what do you think of this one jeremy from the falls this is probably it bridges like the the best run i think that pavement has on any album.Track 2:[0:21] Hey this is westy from the rock and roll band pavement and you're listening to the countdown countdown.Track 3:[0:29] Hey, it's JD here back for another episode of our top 50 countdown for seminal indie rock band, Pavement. Week over week, we're going to count down the 50 essential Pavement tracks that you selected with your very own top 20 ballots. I then tabulated the results using an abacus and a bong made out of a kumquat. How will your favorite song fare in the rankings? Rankings you'll need to tune in to find out so there's that this week i'm joined by a pavement super fan david from new york dude how the fuck are you i'm fucking great i'm psyched to be here chatting with jd oh that's cool another uh pavement super fan yeah yeah absolutely are you uh are you did you make your pre-order for the box set or are you going to i'm going to i'm just like Like, it's crazy because it's like one of those things, I think a little bit like you, I've started, I sort of came to Pavement when, that was like my shift to CDs. And I got all of their stuff on CDs. And then I only started getting the vinyl in the last couple of years. Yeah. And so literally just before this, I ordered my last piece, which was Watery Domestic. What a cool, yeah, Watery Domestic. And then the singles thing looks just freaking amazing.Track 3:[1:50] It does yeah i'll order it uh the shipping to canada is obscene though it's like 60 bucks u.s to ship to canada which is like that's not right that's probably 80 bucks uh a canadian you know so it's like it's like half the cost of the product yeesh i don't know so david let's uh not beat around the bush here let's get right into things you mentioned compact discs and your collection. Tell us about your Pavement Origins story and getting those compact discs. Well, J.D., when I was four years old, Billy Corgan murdered my parents.Track 3:[2:31] Actually, that's not true. So I grew up in the San Francisco Bay Area, and I was right in the – I would have been – if I wasn't such a prick and, like, took myself too seriously, I would have been right in the midst of, like, the beginnings of pavement. Wow. But all the people around me were, like, saying, you know, I was reading stuff, how great pavement was. And I was like, oh, fuck that shit. I'm not going to jump on the bandwagon, the indie bandwagon. And so I didn't really get into them until maybe 1996. Okay. Which is, you know, they're still – they're peaking as they usually did. And so I don't remember if it was Bright in the – no, it was Crooked Rain was definitely the thing that kind of just sucked me in for life.Track 3:[3:19] And then Bright in the Corners. And I'll tell you a quick story about in 1997, I went to Rolling Stones concert. Pearl Jam opened up the Oakland Coliseum. And I drink a lot. And I got about an hour of sleep. And the next day I had, because of lack of sleep, I asked the girl out in my class that I had a hard crush on to go out for coffee. We talked for like three hours. And then I actually ended up marrying her. I've been married for 24 years with her, to her. But after that coffee, I rode my bike over to my friend Walter's house, and he was playing some records, and he put on Slanted and Enchanted. And I have like the strongest memory of listening to here on his little dinky turntable. So I got into the band like 96 and 97. I saw them at – where was it? The Warfield.Track 3:[4:16] Where's that? And that's in San Francisco, yeah. And then I saw them in 99 for Terror of Twilight. And I've seen Jicks and Pavement and stuff since then. And I did see them in Philadelphia this last time around with my friend Seth. So that was freaking amazing. Loved that. So, yeah, I mean, they're kind of like a second wave band for me because I was into stuff like R.E.M. and The Replacements and Husker Du and all of this stuff. And then I got into Pavement and it's kind of like a, you know, it's something that stuck with me. And it's definitely a pretty hardcore relationship. You know what I mean? Yeah. Yeah. I know exactly what you mean. So talk to me about your first real-time record then was Bright in the Corners, right? If you got in in 96, Bright in the Corners comes out in 97. Yeah. Yeah. You know, it's funny. I think, yeah, it must have been Bright in the Corners.Track 3:[5:20] And that's still... I mean, the thing is about the records is like I think that each of them has been a favorite at a different time, including including Terror Twilight, which when it came out, I just I love that record. It's obviously it's like a shift in a different direction in some ways, but it's it's so fucking brilliant. And I just can't, you know, I love all of the all of the records. I'll tell you, I'll come back to that later, but there was an interesting hole in my collection until fairly recently that I'll tell you about. All right. Yeah. So you saw them in Philadelphia on the reunion tour. What did you think this time out? Dude, it was like bliss for me. I was just, I was like smiling the whole time, which is probably exactly the opposite of what I did the first times I saw them when I was, you know.Track 3:[6:20] I thought I was fucking cool or something. But this time I was just grinning the whole time. And, you know, I know you've seen a bunch of the shows. People are singing along, which is like not a super pavement-y thing, but it totally was great. And also a cool thing was that my friend Seth, he has his son and some friends of his. They're all into pavement, and they're like this new generation coming up. And so they were there. And that's obviously so cool because it makes me think of like, oh, when I was growing up and I was into like the bands from the 60s or something, you know? Yeah. Like it's like a cycle, you know, that goes on. What do you think pulled him in? Was it osmosis from his old man or was it Harness Your Hopes or what's the deal? Yeah. Yeah, well, you know, I think it's people who want music that doesn't suck, that's not corporate music, that is just fucking cool and original. And it just, you know, there's a thing that Malcolm has said in this, I think recently, someone asked him, like, why are you going to make another record? And he's all, no.Track 3:[7:33] He said, the songs exist in the present, which I love that. I mean, it's such an obvious, simple statement, but it's also true, right? The songs exist in the present. And so each time you sing it, that song is going back out. Each time you play a record, it's existing right in that very moment. So it's like, I just think there's the music just, the music stands out. Maybe, you know, maybe the whole Harness Your Hopes thing kind of brought in a few people. But, you know, it's just, it's a good, it definitely made me slightly hopeful for the future.Track 3:[8:10] Harness Your Hopes definitely harnessed my girls, my two girls. Oh, yeah. They're both big TikTokers, and I guess that's where they saw it. But my daughter will brag to me that she's got Pavement in her playlist. I think she's got one other song, but I don't know the song. Yeah. I'm guessing it's something like Major Leagues or something. That one, I guess. Yeah, my 12-year-old daughter loves Harness Your Hopes, but she listens to Pavement. I put stuff on. I make playlists for her, and so she gets into that stuff. You raised her well. I know, at least in that respect. Yeah. So what is your go-to record at this point? I know you said that they're all, you know, they've all taken a turn as your favorite, but if you're feeling nostalgic and you want to hear something, which one do you go to?Track 3:[9:02] Um, I don't know. You know, I think maybe Crooked Rain is going to be the one. Crooked, both Crooked Rain and Bright in the Corners. Fellow Bright in the Corners lover. Is this right? Yeah. There's not that many of us.Track 3:[9:18] It's a great record. it is a great record but you're right crooked rain is what is it it's it's almost like it feels timeless like it doesn't feel of the 90s yeah to me uh production wise the low the low fineness of it um it just doesn't have that same 90s production you know that we're that we were so inundated with uh from seattle you know yeah that's right i mean the whole issue of production is is like such an interesting thing to going from like gary yeah as the producer yeah and um and then through the different iterations of different folks and obviously terror twilight has its own story but yeah i mean i think that's part of it like and you and you go back to those early like demos and stuff and it's just they are just fucking around with sound a lot of the time right and um yeah i was listening to i was listening to the because they're streaming the the singles collections you know they are yeah yeah i was listening to that today and so i was just like a song like a song i don't like just put on is it the k dart song or internal k dart internal k dart yeah which is like It's like.Track 3:[10:38] It's not like a fully formed human, you know, being, it's like a sonogram, but it's still beautiful, because you can hear spiral and SM, like kind of experimenting with sounds and how they're going to play off each other and just textures and stuff. And so, you know, that stuff is, is, is really important, obviously.Track 3:[11:03] I love your analogy. It's a sonogram. That's brilliant. It will be fully formed at some point, slanted and enchanted. But early on, on Demolition Plot, it wasn't necessarily. You're right. It was more foggy, primordial ooze, I call it. I like your sonogram-ness. That's very cool. So is there a single in the box set, one of the seven inches that you're looking most forward to?Track 3:[11:34] I don't know. I have to look at it again. But I think it'll be, you know, the singles have a number of songs on each side, as far as I understand. So I'm looking forward to kind of just having a different, because it gives you like a different entry point into the catalog, right? Yeah. Because you're listening to these singles, and then some of the B-sides, and then some of these other tunes. And so, yeah, it was interesting listening to the Summer Babe. It sounds like the vocal is mixed differently from what I'm used to. I mean, the whole thing. I guess they're all remastered, aren't they? Well, I think they are. But on the Summer Babe 7-inch, that's the one with Baptist Black and Mercy Snack, I think. I think so. It's not the winter version. That's the designation. On Slanted, it's the winter version. This is the original, you know, the original. As far as I understand. Right, that makes sense, because it was the single that came out right before. Yeah. Yeah. So it might have had a little bit more work on it on the winter version. So good ear. Good ear on you. Do you want to get into this and flip the record and talk about the song number 25? Let's do it. All right. right let's do this we'll be back right after this hey.Track 2:[13:04] This is bob nastanovich from payment thanks for listening and now on with a countdown 25.Track 3:[16:28] Song number 25 is our first entrant from the masterpiece, Watery Domestic. It's Shoot the Singer, One Sick Verse. David from New York, what are your initial thoughts about this song?Track 3:[16:43] Shoot the Singer, I think it's probably one of Pavement's most perfect songs. If you just listen to it, the textures, it's such a beautifully textured song. And the production is pretty unique, I think, for them. It has this really, I think it must be, this is the Water Domestic is where Ibold and Bob join the Spiral One SM and Gary. And I don't know exactly who's playing on what and all that, but I'd like to think it's Mark. And that bass, it kind of has this kind of cool buzzing sound. It reminded me of Us from Piglib, but then I listened to it, and it doesn't really play out. But it's just a cool kind of – the bass is kind of – has a beautiful sound. It also has – and I don't think I even noticed this until listening to the song a bunch in prep for this. It has a really – what sounds very much like a really perfectly kind of mixed acoustic guitar in the back, but really kind of mixed in just so and you know and that's just like one of the things so like and they have the the verses that have this beautiful kind of more kind of relaxed mellow.Track 3:[18:08] Tone and you hear again like really nice interplay with spiral and and malchmus and then you get to i don't know if they're really choruses but it's like slow it down song is sacred and you know Those two – and then the distorted guitar comes in, and it's really such a cool contrast with the –, and then it goes back to the sort of more little chill verses. And then it has that outro, which is freaking – it's so good. It's just – it's a cool thing because it –.Track 3:[18:45] So, again, one of the lines that stands out in the song is, slow it down, song is sacred. And you hear Malkmus sing, and his vocalization is super, it's really beautiful on this song. I think it's one of his best, really, performances in some way. And it's really kind of, there's like an urgency to it that is not always there, but that's not what you want for every song. And in the end, it kind of is like, it doesn't technically slow down, but it kind of is like he's slowing it down and trying to get more out of the song. And he wants to stay in the music and there's the la da da da da da da and um which made me think about so this is shoot the singer it's a song that has references to music in its title and, maybe a little bit in the song and then it made me think of other songs like cut your hair has that kind of you know the non non words but vocalization right right so a lot of the and And that's another song that's about music. So it's like I feel like there's a few others that I can't remember now that have. So Pavement songs that sort of have like music themes or songs about songs or whatever, they seem to often go into that, you know, la, la, la kind of shit, which is really cool. It's kind of like pure music without, you know, without words or something.Track 3:[20:02] I don't know. This song, I just, it's such a beautiful song. And obviously Water Domestic is, you know, such a, like, masterpiece. And I, dude, I owe you, like, a massive, I owe you massively because I, super fan that I am, you know, I've seen them a bunch. And I had everything. And I was into, I had gotten, like, Westing and all of that stuff and listened to that stuff before I discovered in the last, like, five years. Don't fucking mock me, dude. Watery Domestic. And it was because listening to Meeting Malkmus. So somehow I had seen that fucking rooster, right? I had seen that rooster, but I had never, I had never like listened. I mean, I think I must have heard a song or two, but I was like completely oblivious. And so that's like such a joy to just discover what's. What a cool thing to find that. Yeah. It's and it's, you know, in large part to your, you know, your podcast. So thank you. Well, I'll take the feedback. I love it. But I think that it's important, because I came to Pavement late as well, as well as your situation with this record.Track 3:[21:23] To me, it's an absolute bonus to, in the midst of loving a band.Track 3:[21:35] Uncovering something that you didn't know about, and you're listening to new music that is old, if that makes any sense. Yeah, right. And it's right in that sweet spot, right in the pocket of slanted and crooked rain, right? So, what a fertile period. Yeah, it's peak.Track 3:[21:52] It's total peak pavement. And it's interesting, too, because it's like Gary's last stand, and you listen to it. And I think in some ways, all the love in the world to Westy, right, who just is great. I love him. But like in a certain sense, like Gary, at least at this period, his playing was more like pavement-y. You know what I mean? Sure. It's a little bit more rickety, slapdash, and kind of I hate to say slacker or whatever, but it kind of like it really fits in. Of course, they kind of, Westy kind of you know it's a it's a slightly different direction but i mean i love i love you know i love them both but you know this so this so that ep so it's the cool thing is like i have no nostalgia about the record i just listen to it it's right now it's happening and i you know get into it but um i feel like it's a song that has two standouts and that's front words and Shoot the Singer. Yeah. But they're set up perfectly with Texas and Lyons, Linden, right? Because it's just such a perfect little sequence. You can't get a more perfect EP out there.Track 3:[23:12] And, yeah. So the other thing that I wouldn't mind mentioning is, so I grew up 50 miles away from Stockton. Gee whiz. And so, like, it's hot and boring. And, like, those songs, like, Lions Linden especially, but also, like, Summer Babe and a few others, they totally evoke that landscape of, like, bored people.Track 3:[23:40] Kind of just like, you know, like suburbia. It's kind of like a little bit almost beyond suburbia in some ways. It's kind of this, you know, every street a straight line, all of that stuff. And then there's the Delta and the girl mixing a cocktail with a cigar, all that shit, you know? So it's like very evocative of that whole landscape. Escape yeah i mean i i can't say enough about this ep uh like you mentioned their standouts but i would have it's sophie's choice yeah to pick yeah to pick the number one and i would include lions linden and texas never whispers in in that yeah for sure um it's just so goddamn good And even when you listen to Lux and Redux and you get Greenlander and I forget the other two right now because I'm an asshole, but even those outtakes from Watery are spectacular. Yeah. Oh, I know. Greenlander is another one of those sleeper ones that's such a freaking cool song. Yeah. Definitely. Where do you think in the scheme of things this song was rated 25 so right at the halfway point.Track 3:[25:04] Do you think it's overrated, underrated, perfectly rated? What do you think? I think – I'm glad it's not any lower. Me too. Because I would put this in the top 10, 15 for me for sure. Of course, it changes all the time, like whatever. But I think 25, it's fine. I'm not going to go on a rampage. I'm not going to go on a rampage, J.D., against your fans. Did you vote? I didn't vote. You know, I saw the call, and then I meant to, and then I didn't. So many people have reached out and said, oh, man, I missed this. Yeah. There was enough to make this 100% valid, let me tell you. Yeah, yeah.Track 3:[25:55] Dude, that's what I got. How about you? Is there anything you want to plug or mention? Listen to the Bug Club, man. They're amazing. They opened up for a pavement in the UK a few dates, and I got into them from that, and they've just become one of my favorite bands. The Bug Club from Wales. I don't know, that and Permanent Ceasefire. That's about it. Okay. Well, that's cool. I like giving the tips. That's nice. That's what we've got here. Song 25. Stay tuned next week when we cover song 24. In the meantime, thank you so much, David from New York, and be sure to wash your goddamn hands.Track 1:[26:39] Thanks for listening to Meeting Malcolmists, a pavement podcast where we count down the top 50 pavement tracks as selected by you. If you've got questions or concerns, please shoot me an email. JD at Meeting Malcolmists dot com. You.Support this podcast at — https://redcircle.com/meeting-malkmus-a-pavement-podcast/exclusive-contentAdvertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

Chalcedon Foundation vice-president Martin Selbrede discusses a host of topics including eschatological universalism, theonomy, Postmillennialism, BB Warfield and more.

Chalcedon Foundation Vice-president Martin Selbrede discusses a host of topics including eschatological universalism, theonomy, Postmillennialism, BB Warfield and more