POPULARITY
4 episodes with william barton
8 episodes with william barton
4 episodes with william barton
2 episodes with william barton
2 episodes with william barton
2 episodes with william barton
2 episodes with william barton
2 episodes with william barton
2 episodes with william barton
The artist Loribelle Spirovski on her unusual childhood in the Philippines, meeting her father for the first time at 7 years old, and making her way as one of Australia's most exciting young painters.Loribelle Spirovski grew up in the Philippines, with her mum and her extended Filipino family.Her Serbian father, whom she had never met, was in Australia, driving taxis and waiting for the visa that would allow him to bring Loribelle and her mum to join him.Loribelle didn't meet her father until she was 7 years old, and when she saw him for the first time at Manila Airport, she was shocked by how hairy his arms were and the way he smelled just like she did.Eventually, the family was properly reunited in Sydney, Australia, where Loribelle had to navigate family and cultural ties, where she found love and where she made her way as one of Australia's most exciting young artists.This episode of Conversations explores painting, creativity, writing, books, love, marriage, Simon Tedeschi, William Barton, the Archibald Prize, art education, art teaching, chronic pain, chronic injury, identity, memoir, family dynamics, origin stories, refugees, Serbia, former Yugoslavia, music, piano, singing, language, mothers, fathers, long-distance relationships.White Hibiscus is published by Upswell.
Our last official episode of 2024, what more appropriate of an exit than our top five endings in science fiction!! Joined by cohosts Ian Kapplin, Lee Ferguson, William Barton, and Min Fryer. With special guests host-becoming a mainstay with the crew-Louisa Davis and Jake Gold! Enjoy!!
Where would we be without a outtake track from the crew of Talking SciFive! Just a short bit of fun from your hosts! With Ian Kapplin, Lee Ferguson, William Barton, Min Fryer, Louisa Davis, and Jake Gold.
We're gonna change gears this episode and talk about what our favorite sci-fi themes are in all of scifi! Join cohosts Ian Kapplin, Lee Ferguson, William Barton, and special cohost Louisa Davis as we dive into what things we love most in science fiction!!
In this episode, I explore the powerful role of words, vocabulary, and sound in the collective ascension journey! I also discuss how language can either hinder or enhance our spiritual growth, emphasizing the need to unify and purify our common vocabulary. The concept of Sonic gridwork was also a focus, as I share insights on using sound, music, and vibration to assist in the energetic healing and gridding of the planet Gaia. Language Myths (book I refer to): https://amzn.to/3ABElt0 A Path to Sovereignty (September 11-13) - Free Workshop with Sacred Initiation Journey: https://www.sacredinitiationjourney.com/path-to-sovereignty?sa=sa016713982563f0c145a13f0fc3a39a05832f2ca5 Join Light Language Group Mentorship (starts September 8, 2024): https://www.activationswithjj.com/light-language-mentorship Sign Up For Light Language Quantum Leap (starts September 8, 2024): https://www.activationswithjj.com/ll-quantum-leap Join The Starseed Gridwork Community: https://www.activationswithjj.com/starseed-gridwork-community Sabrina Rempp's IG: https://www.instagram.com/savvysoulshine/ Song: Spirit Voice of the Enchanted Waters by Australian Chamber Orchestra and William Barton - https://www.youtube.com/watch?v=jkzfBWo1jVQ https://activationswithjj.com Multidimensional Messages for Healing and Higher Consciousness #lightlanguage #1111 #energyupdate #energyhealing #healer #lightworker #spiritualawakening #higherconsciousness #lightcodes #starseed Make sure you are on JJ's email list to receive latest updates and offerings! Sign up here: https://linktr.ee/activationswithjj
In this episode, we talk with William Barton, AKA https://bootspy.com/ to learn about important survival skills like eating your boots and outrunning a wild boar.
Stu Watts chats with Keelan Sanders, who is a producer, mix engineer, songwriter and musician based in Naarm (Melbourne), who's worked with artists including Children Collide, Beddy Rays, Screamfeeder and more. Starting out in Meanjin (Brisbane), he began working as a producer in 2017 at The Shed with help and guidance from producers Darek Mudge and Bryce Moorhead. For the next couple of years Keelan lived and worked at Bedlam Records, a recording studio & sharehouse, whilst also freelance engineering at studios including Airlock and The Plutonium, eventually launching his own recording space, Blue Green Studios. His engineering credits include William Barton & Veronique Serret's ARIA nominated world music album "Heartland", Jaguar Jonze's debut art-pop album "Bunny Mode", original music for the ABC short film "Viv's Silly Mango", plus work with Full Flower Moon Band, SGO and more. Since relocating to VIC at the end of 2023, he's been engineering with producer Paul "Woody" Annison at Red Door Sounds in Collingwood, playing drums for local band Jazz Cigarettes and producing his debut solo album under the name Worry Weather. Chapters: 00:00:00 Intro 00:02:04 About Keelan Sanders, childhood years 00:04:15 Learning guitar and musical influences 00:05:22 Listening to production elements 00:06:10 Learning more about production 00:09:03 Early days of recording 00:12:20 Becoming an engineer 00:14:49 How Keelan's process has changed 00:18:12 Keelan's current recording process 00:21:32 Production process 00:23:04 Workflow improvements 00:26:37 The approach to working with different artists 00:28:40 Confidence in decision making 00:31:58 Paypal spiel 00:32:22 The importance of microphone choice 00:38:11 Artists getting attached to demos/"polished" recordings 00:44:03 Having honest conversations and saying "no" 00:48:50 Why does every band do a music video with a white backdrop? 00:51:06 Expectation vs reality of being an engineer 00:54:45 Creating something that sounds different 00:57:09 Best pieces of advice for engineers & artists 01:01:31 "What's on in the near future?" 01:02:35 Conclusion/Outro Make sure to subscribe or follow this channel and share it on your socials! Instagram: @whatsthatsoundpodcast Stu Watts: @stu.watts.audio Keelan Sanders: @keelansanders Keelan Sanders website Stu Watts website Listen to Stu's work on Spotify Listen to Keelan's work on Spotify SUPPORT THE PODCAST WITH A DONATION Email podcast.whatsthatsound@gmail.com for any enquiries.
William Barton, Lee Ferguson, and Ian Kapplin dive down the list of underrated science fiction movies! Great range from the classics to some newer names! Definitely a fun one to explore! Hope you like it!!
Invasion Day Retrospective: This week Live Delay takes a long look back at some of the best live recordings of First Nations artists in our archive. Featuring Emma Donovan & The Putbacks, Bob Weatherall & Halfway, William Barton, Rochelle Pitt, Emily Wurramara, DRMNGNOW, The Ancient Bloods, DancingWater, MC Triks and Ethan Enoch. This episode was originally broadcast live on Invasion Day, January 26 2024 on 4ZZZ 102.1FM.
Wilma Minor's 'Lincoln the Lover' forgery has been called one of the most audacious literary hoaxes of all time, and involves an alleged love story between a young Abraham Lincoln and a woman named Ann Rutledge. There was never any conclusive evidence the two had a romantic relationship; there was nothing in the historical record – no letters or notes between them, for instance -- that showed any indication of their love. Until 1928. Executive Producers: Maria Trimarchi and Holly FreyProducer & Editor: Casby BiasSee omnystudio.com/listener for privacy information.
In episode five you'll hear from a familiar Australian.You know her handwriting, her humour and her wit. Cathy Wilcox is best known as the cartoonist for The Sydney Morning Herald and The Age newspapers. Her drawings dispel complicated political agendas and hard news as she draws on what makes a story unique and funny. She's made you chuckle and she's made you enraged and she does this all with her cartoons.
Episode four of The Belief Series offers insights into the mind of one of the world's best Didgeridoo players, William Barton. He's played with Philharmonic Orchestras in Sydney, London, and Berlin. Episode four offers insights into the mind of one of the world's best Didgeridoo players, William Barton. He's played with Philharmonic Orchestras in Sydney, London, and Berlin.
Jared Becker and William Barton join us again for a dive into our top five quotes!!! This was such a blast to record even had a couple clips to share!! Enjoy the episode!!! I know we did!!
The latest episode brings you one of Australia's most famous directors, George Miller. Best known for his Mad Max franchise, Babe and Happy Feet. Miller's films have often been the face of Australian cinema. Hear about the moments that changed George Miller and how he saw himself.
In Head Room; The Beliefs Series, James Valentine sits down with high-profile Australians to find out about the fundamental aspect that drives everything they do; their beliefs.
In Head Room; The Belief Series, James Valentine sits down with high-profile Australians to find out about the fundamental aspect that drives everything they do; their beliefs.
In Head Room; The Belief Series, James Valentine sits down with high-profile Australians to find out about the fundamental aspect that drives everything they do; their beliefs.
Welcome to the brand new season of Head Room, The Beliefs Series, where James Valentine wants to know why people do what they do, and what they believe.Join James and a host of high-profile Australians to find out about their beliefs, principles, and core driving values that underpin all they do.Do you believe that people are good? Do you believe people can change? Should you binge TV? Do you think everything is getting faster? Which are better, cats or dogs?These are conversations that are as deep as they are wide. Guests range from the famous and celebrated through to people whose life and work means they've really had to work out what they think and why.Follow Head Room, The Beliefs Series, and you just might question your own.
Welcome to the brand new season of Head Room, The Beliefs Series, where James Valentine wants to know why people do what they do, and what they believe. Join James and a host of high-profile Australians to find out about their beliefs, principles, and core driving values that underpin all they do. Do you believe that people are good? Do you believe people can change? Should you binge TV? Do you think everything is getting faster? Which are better, cats or dogs? These are conversations that are as deep as they are wide. Guests range from the famous and celebrated through to people whose life and work means they've really had to work out what they think and why. Follow Head Room, The Beliefs Series, and you just might question your own.
This interview first aired on Friday the 7th of July, 2023 on ONE FM 98.5 Shepparton. One FM Breakfast announcer Terri Cowley talks to the Director of the Shepparton Festival Kristen Retallick. She talks about a winter taster event with Joseph Tawardros. Enjoy a cosy winter afternoon on Level 4 at Shepparton Art Museum with a rare opportunity for Shepparton audiences to experience a very special international musician. Joseph Tawadros will deliver an artist talk at 2pm, then the show will begin at 3pm. Elsewhere at Sam will provide bar service before the show and at interval. It's on Sunday the 16th of July, 2023. Born in Cairo, Joseph's chosen instrument, the Oud is an Arabic lute, the ancestor of the lute and modern guitar. A virtuoso of diversity and sensitivity, Joseph performs in concert halls worldwide and is known for his brilliant technique, deep musicianship, storytelling and joyous style of performance. Joseph has performed his own works with the Australian Chamber Orchestra, BBC Symphony, Melbourne, WA and Adelaide Symphony, Ukraine National Orchestra, Camerata Salzburg, the Morphing Chamber Orchestra and his Concerto for Oud & Orchestra with the Sydney Symphony was performed and released by ABC Classics, Australia in 2019. He was also the first and only Australian composer to be performed by the Academy of Ancient Music in the United Kingdom. He has recorded his music with many jazz luminaries such as John Abercrombie, Jack de Johnette, Roy Ayers, Bela Fleck, Mike Stern, Joey DeFrancesco, Richard Bona and Christian McBride. Classical collaborations include Richard Tognetti, William Barton, The Grigoryan Brothers, Christian Lindberg, James Crabb and his songs have been performed/recorded by The Song Company and Andreas Scholl. To find out more or to get tickets head to the Shepparton Festival website - https://sheppartonfestival.org.au/ Listen to Terri Cowley live on weekday mornings from 6am-9am. Contact the station on admin@fm985.com.au or (+613) 58313131 The ONE FM 98.5 Community Radio podcast page operates under the license of Goulburn Valley Community Radio Inc. (ONE FM) Number 1385226/1. PRA AMCOS (Australasian Performing Right Association Limited and Australasian Mechanical Copyright Owners Society) that covers Simulcasting and Online content including podcasts with musical content, that we pay every year. This licence number is 1385226/1.
Vic Simms, Jen Cloher, Vika and Linda Bull, Rob Hirst, Elena Kats-Chernin, William Barton with stories from their formative years
Vic Simms, Jen Cloher, Vika and Linda Bull, Rob Hirst, Elena Kats-Chernin, William Barton with stories from their formative years
2022 Year in Review: Our last episode for the year is a compilation of the absolute best tracks broadcast in 2022 on 4zzz's own Live Delay program, the show dedicated to delivering the best of Meanjin-Brisbane's live music scene from the live stage to the mixing desk to your living room/car/wherever you catch your 4zzz's. Many of the broadcast's this year have been hidden gems from years long gone and pre-pandemic shows, but a few green shoots are emerging from the last few years of COVID chaos and live music is officially back in town. Our year in review episode for 2022 features tracks from An Horse, Little Scout, Bad Sext, Double Bummer, Monet's Pond, Ed Kuepper, the Queensland Symphony Orchestra, Some Jerks, Full Power Happy Hour, Waveney Yasso, Bob Weatherall, Halfway and William Barton. Special thanks to the legion of volunteers that it takes to produce this program each year, we'll see you all next year! Show production, engineering and host: Matt Hall Originally aired via Zed Digital, 7-8pm, Sunday 25 December, 2022
2023 Queensland Australian of the Year award recipients announced. First … Continued
If you grew up in the '60s, '70s, or '80s,you will love StarPodTrek! On this super episode of StarPodTrek, we consider the Star Trek contents of Starlog magazine in issues 45 and 46 from 1981.Read along with your personal issue from your collection or for free here:https://archive.org/details/starlog_magazine-045/mode/2up Preston Neil Jones, the author of Return to Tomorrow: The Filming of Star Trek - The Motion Picture, reports on what it was like to be on the TMP set. Bob Turner and Kelly Casto discuss Star Trek fan letters.Check them out on the '70s Trek podcast!https://m.facebook.com/1742040886071290/ William Barton gives us the details about the Motion Picture model kits that were available in the early '80s. Star Trek- A Comics History author Alan J. Porter joins us to discuss Trek comics from the '60s! Find out more about his work at http://alanjporter.com/ Anthony Leopard and Gregory Franklin reminisce about Alan Asherman's Star Trek Compendium and more on this episode of StarPodTrek!We will attending Music City Multicon October 28th-30th. https://musiccitymulticon.com/Join us at ShadowCon January 6-8!https://www.shadowcon.info/Don't forget to join our Facebook group:https://m.facebook.com/profile.php?id=469912916856743&ref=content_filterLooking for a Star Trek social club? Join us in STARFLEET International! https://sfi.org/On this electrifying episode of StarPodTrek, we consider the Star Trek contents of Starlog magazine in issues 43 and 44 from 1981.Visit the Original Series set at Neutral Zone Studios!https://neutralzonestudios.com/Love Starlog magazine?Join the Facebook group:https://m.facebook.com/profile.php?id=303578380105395&ref=content_filterSuscribe to our YouTube Channel “StarPodLog and StarPodTrek”:https://www.youtube.com/channel/UCgE_kNBWqnvTPAQODKZA1UgFind us on Twitter and Instagram: @StarPodLog Reddit: u/StarPodTrek Visit us on Blogger at https://starpodlogpodcast.blogspot.com/ or iTunes or Spotify or wherever you listen to fine podcasts!Music used with permission by Five Year Mission. If you cannot see the audio controls, listen/download the audio file hereDownload (right click, save as)
This week on Live Delay it's our 400th episode! To celebrate, we're taking a look back over some highlights from the past 100 eps. Featuring highlights from The Double Happiness, Robert Forster, An Horse, Rivermouth, Augie March, Some Jerks, Claude, Laura Imbruglia, Minor Premiers, Full Power Happy Hour, The Gutter Birds, Madboots and Bob Weatherall & Halfway with William Barton. Show production, engineering and host: Scott Mercer Originally aired via Zed Digital, 7-8pm, Sunday 31 July, 2022
Heat, danger, emptiness and space. Plenty of all of this in Peter Sculthorpe's excellent Kakadu - inspired by northern Australia but featuring universal themes of humanity, life, death, and timelessness. Listening time c22 minutes (podcast 6', music 16') Music here: on Youtube, on Spotify or Apple Music played by the Queensland Orchestra, conducted by Michael Christie with William Barton on didgeridoo. You can buy this recording as a download here (though you have to buy a whole album, but this recording is the one that I think does best justice to the piece and gives the didgeridoo proper prominence). What do you think? Let me know with an easy voicemail or comment at Cacophonyonline.com, Facebook or Twitter. If you'd like to support Cacophony there are easy, great, ways: - share this episode - share the 100 second trailer - buy us a cuppa at ko-fi.com - subscribe/ review and keep listening! Thanks for listening!
Australia's foremost Indigenous classical composer and performer, William Barton has performed internationally with the London and Berlin Philharmonia Orchestras, and in this country with all the premier orchestras. From Kalkadunga heritage, he has vastly expanded the horizons of the didgeridoo with his prodigious musicality. Simon Moore speaks to William as part of NAIDOC Week 2022. William shares insights about the importance of the instrument and how it varies in different parts of the country. He also talks about his experiences in the classical music industry and the importance his family had on his musical development, including his uncle who introduced him to the instrument. Listen out for his special live performance in the studio!
Sydney Symphony Orchestra prepares for Of This Earth, a new composition from Kalkadunga man William Barton
Composer and performer William Barton discusses his new compositional work for the Sydney Symphony Orchestra Of The Earth. Then, musician and social historian Jessie Llyod brings you her new album Four Winds.
What magic happens when a musical genius is exposed to Beethoven, Vivaldi, and AC/DC at a young age, and loves them all? William Barton is a composer, producer, multi-instrumentalist, vocalist and one of Australia's leading didgeridoo players. His latest song is a cover of the classic rock song Johnny B. Goode, as part of Chess Records' seventieth anniversary album, Everybody Knows I'm Here.
What magic happens when a musical genius is exposed to Beethoven, Vivaldi, and AC/DC at a young age, and loves them all? William Barton is a composer, producer, multi-instrumentalist, vocalist and one of Australia's leading didgeridoo players. His latest song is a cover of the classic rock song Johnny B. Goode, as part of Chess Records' seventieth anniversary album, Everybody Knows I'm Here.
Bob Weatherall & Halfway with William Barton: Live at The Tivoli, Fortitude Valley, 19 September 2021 Bob Weatherall is a Kamilaroi elder who has been an activist and advocate for First Nations Australians for over forty years. Halfway are a Brisbane alt-country band formed in 2000 and previously featured in episodes 87 and 132 of Live Delay. In 2016, Weatherall, Halfway and digeridoo player William Barton recorded the album "Restless Dream" - a conceptual piece about the repatriation of Aboriginal remains that had been stolen by various museums, universities and government institutions since the colonisation of Australia began. In 2021 the album was released and in collaboration with Alethea Beetson, "Restless Dream" was performed live onstage as part of the Brisbane Festival, accompanied by vocalist Delmae Barton and dancers from Digi Youth Arts. Recorded by Will Davy & Scott Mercer Mixed by Jonathan Virgona Special thanks to live engineer Will Davy Show production, engineering and host: Scott Mercer Originally aired via Zed Digital, 7-8pm, Sunday 12 June, 2022
The Australian National Academy of Music has launched an unparalleled musical representation of the pandemic experience. The project will showcase over eight hours of work, with 67 new Australian compositions created over a nine month period from the Academy's virtuoso musicians.
Some of Australia's biggest names in music will be headlining a free concert aimed at lifting the spirits of flood-affected Northern Rivers residents. The line-up for the 'One from the Heart' concert includes Daryl Braithwaite, Paul Kelly and Dan Kelly, The Buckleys, Sheppard, Darlinghurst, Lime Cordiale, Jon Stevens and Lismore's own Grinspoon. Households from some of the hardest-hit postcodes including Lismore and surrounds — 2480 — as well as the lower Richmond (postcodes 2471, 2472) qualify for four free tickets to the event, which will be held on Sunday, May 15. Meanwhile, the Environmental Music Prize Finalists have been announced: Billy Otto ‘Can't Take The Ocean Out Of Me' Briggs & Tim Minchin ‘Housefyre' Ciaran Gribbin ‘What If' Eskimo Joe ‘Say Something' Holy Holy ‘Hello My Beautiful World' Holy Holy ‘Port Road' In Hearts Wake ‘Worldwide Suicide' Jack River ‘We Are The Youth' Jess Ribeiro ‘In Love With This Place' King Gizzard and the Lizard Wizard ‘If Not Now, Then When?' King Stingray ‘Hey Wanhaka' L-Fresh The Lion ‘Mother' Lime Cordiale ‘Addicted To The Sunshine' Little Green ‘The Night' Paul Kelly ‘Sleep Australia Sleep' Reverend Bones ‘The Sky Was Blue (The Bushfire Song)' Rory Phillips ‘The Truth' Sage Roadknight ‘Voices' Small Island Big Song ‘Ta'u Tama' Tambah Project ‘Our Song' The Boy of Many Colors ft. Emily Wurramara ‘When a Tree Falls' Virtual Choir by The Bowerbird Collective ‘World Migratory Bird Day' What So Not ft. Evan Giia ‘Messin' Me Up' William Crighton ft. William Barton & Julieanne Crighton ‘Your Country' Thanks for listening! Be sure to subscribe for more content. Like Homebrewed on Facebook Follow Homebrewed on Instagram Check out our Spotify Playlists here Catch up on everything Homebrewed Homebrewed is a radio program and podcast dedicated to supporting the Australian Music Industry. Cameron Smith and Eamonn Snow have been presenting Homebrewed since November 2017 and have received excellence awards and the admiration of local bands for their presentation of Homebrewed and their continued support of the Australian music scene. This podcast is designed so you can enjoy conversations with musicians, industry representatives and music media personalities.
After 47 years the Australian Chamber Orchestra has found its forever home at Sydney's newly revitalised Walsh Bay Arts Precinct. To celebrate, it's throwing a party with special guests including William Barton, Jimmy Barnes, Jane Campion and poet Omar Musa.
Owain Park of Gesualdo Six joins us to discuss the origins of the ensemble. We chat about the many traditions for a vocal consort, from the sacred elements associated with a cappella music to the members' conventional training as pianists and organists and backgrounds working at cathedrals. We talk about their recent pandemic-inspired projects recording Héloïse Werner's Coronasolfège and their new(ish) podcast, G6. We speak a bit about their composition competition, and the typical challenges associated with composing for an a cappella ensemble. The Gesualdo Six is an award-winning British vocal ensemble comprising some of the UK's finest consort singers, directed by Owain Park. Praised for their imaginative programming and impeccable blend, the ensemble formed in 2014 for a performance of Gesualdo's Tenebrae Responsories in Cambridge and has gone on to perform at numerous major festivals across the UK, Europe, North America and Australia. Notable highlights include a concert as part of the distinguished Deutschlandradio Debut Series, debut at Wigmore Hall in 2021, and collaborations with the Brodsky Quartet, London Mozart Players, Luxmuralis, William Barton and Matilda Lloyd. The ensemble integrates educational work into its activities, regularly holding workshops for young musicians and composers. The Gesualdo Six has curated two Composition Competitions, with the 2019 edition attracting entries from over three hundred composers around the world. The group have recently commissioned new works from Joanna Ward, Kerensa Briggs, Deborah Pritchard, Joanna Marsh, and Richard Barnard alongside coronasolfège for 6 by Héloïse Werner. Videos of the ensemble performing a diverse selection of works filmed in Ely Cathedral have been watched by millions online. The group released their debut recording English Motets on Hyperion Records in early 2018 to critical acclaim, followed by a festive album of seasonal favourites in late 2019, Christmas, and an album of compline-themed music titled Fading which was awarded Vocal & Choral Recording of the Year 2020 by Limelight. A programme celebrating the 500th anniversary of Josquin des Prez titled Josquin's Legacy followed in late 2021, and Tenebrae Responsories for Maundy Thursday was released in Lent 2022. The transcript for this episode can be found here. For more information about Gesualdo Six, please visit their website, Facebook, Twitter, Instagram, YouTube, and SoundCloud.
Director Jennifer Peedom discusses her new film, RIVER. The film explores the life and death of rivers and how humanity's fortunes are intrinsically tied to them. RIVER is the sequel to the 2017 documentary MOUNTAIN, and reunites the Australian Chamber Orchestra, Richard Tognetti, narrator Willem Dafoe, and writer Robert Macfarlane, alongside new collaborators William Barton, Jonny Greenwood, and Radiohead.Music from the film that was originally aired with this interview: Australian Chamber Orchestra, Richard Tognetti & Jonny Greenwood – Water (excerpt) [Live at the Sydney Opera House Concert Hall, 2014] Radiohead - Harry Patch (In Memory Of) Australian Chamber Orchestra, Richard Tognetti & William Barton – Spirit Voice of the Enchanted Waters Listen to the RIVER soundtrack.
Popcorn Podcast goes on a cinematic and musical journey through time with River. Directed by Jennifer Peedom and Joseph Nizeti, and narrated by Willem Dafoe, the film honours the wildness of rivers, but also recognises their vulnerability and explores how rivers shape human existence. Join Leigh and Tim as they discuss this orchestral documentary, featuring music from Radiohead, the Australian Chamber Orchestra and Indigenous man William Barton. Plus, final Oscar predictions are made; Hollywood farewells another legend; Cannes reveals big debuts; and what's in store for the Play-Doh movie.Know someone who loves movies? Please share Popcorn Podcast with your friends.Visit popcornpodcast.com for more movie reviews, celebrity interviews and news.Popcorn Podcast interviews the biggest stars, including Hugh Jackman and more, on YouTube: Popcorn Podcast
Featuring Chi-chi Nwanoku (bassist), Linton Stevens (bassoonist), Ashok Klouda (cellist) and William Barton (composer).
Today I would like to give pointers for understanding Jesus' parables. I consider the parable to be one of the greatest of all teaching devices, and a legacy of the Greatest Teacher. I will end this episode by sharing about one of my favorite writers of non-Biblical parables. One little detail to understand is that the word ‘parable' (Greek paraboles) had a wider meaning than we normally think of in English, and you may see this sometimes in the New Testament. In English, we normally think of a parable as a story that points to some deeper meaning. However, as an example, the word ‘parable' is used for a one-sentence figurative teaching in Mark 7:17 where it refers back to Jesus' statement in verse 15: GW “Nothing that goes into a person from the outside can make him unclean. It's what comes out of a person that makes him unclean.” In verse 17, the disciples ask Jesus to explain that ‘parable'. With that footnote, I want you to know that I will really just be talking briefly about what we normally think of as parables, the story type. In the episode notes, I give links to more complete and scholarly information than what I will present to you. In particular, I recommend viewing the 6 minute video from bibleproject.com entitled The Parables of Jesus. Also in the episode notes, I have links to both a video and a good summary about Interpreting Parables by Bob Utley. ======= Bob Utley's Special Topic page on Interpreting Parables: http://www.freebiblecommentary.org/special_topics/parable_interpretation.html Bob Utley's video on Luke 15: https://www.youtube.com/watch?v=f76EvjGy7Jw Don't miss the cool video from BibleProject.com! Title: The Parables of Jesus I appreciated the original thinking and humorous examples in this short article: https://www.1517.org/articles/understanding-jesus-parables ======= As I was thinking about what to mention to you, I was reading a historically-interesting commentary by Christopher Wordsworth from 1856, and I almost stumbled into a common error in interpreting parables, which is thinking of them as allegories. An example of this is Luke chapter 15, where we have the parable of the Lost Sheep, the Lost Coin, and the Lost Son. Wordsworth gives an allegorical interpretation, assigning an identity to all the characters. In this case, the shepherd is Christ, who searches for his lost sheep. That's not too bad. But seeing the woman who loses one of her coins as a picture of the church, is definitely stretching things. Similarly in the Parable of the Lost Son, the father is interpreted as God, the younger son as the Gentiles who repent, and the older son as the Jews. One of the things that leads people to take an overly allegorical approach to the parables has to be Jesus himself, in his foundational teaching about the parables found in Mark 4, Mat. 13, and Luk. 8. In Jesus' explanation of the Parable of the Sower, He might almost contradict my last point about allegorical interpretation. It just happens that the Parable of the Sower (also called the Parable of the Different Kinds of Soil) has clear allegorical elements (the birds, path, rocky soil, etc), whereas for many other parables it doesn't help to seek an allegorical identity for the various participants. A second thing that is unusual in the Parable of the Soils is that it has clear multiple teaching points, whereas most parables have a single, simple point. I have mentioned all this heavy stuff to bring us around to this simple point: When we get too fancy in our interpretation of parables, we tend to miss the main point, which is to ask, “How does this apply to me?” The cool thing about parables is that Jesus intended them to be multi-purpose. People who were ready to believe in Jesus would get one interpretation, and the religious leaders criticizing Him would understand Jesus' meaning very differently. Both groups got a correct interpretation, as Jesus intended, even though the interpretations were different. This propensity of parables to be interpreted differently has a plus side and a negative side. On one hand, we must remember that parables are not good for determining doctrine. Let's not decide the timing of Jesus' second coming based on parables, but some of the parables clearly illustrate something about Jesus' second coming. The plus side is that the Holy Spirit may use Jesus' parables to say something very pointedly appropriate for you. I have been amazed that in the Parable of Different Kinds of Soil I sometimes find that I am dangerously close to living amongst thorns, way too concerned with the cares of this life. But in a few months when I come across the parable again, I find that I have moved over to the rocky soil, meaning that I might glibly say that I love God's Word, but on that day if I am honest, I have to admit that my roots are dangerously shallow. Another illustration of a personal application for me is this, which I don't think I have ever shared with anyone before: When I read the story of the prodigal son, I am reminded that I acted like the prodigal son, when I was young and thoughtless, by asking for part of my inheritance early. I didn't realize that this was tantamount to wishing my father dead. How this must have hurt him! I wish I could tell him how sorry I am that I ever did that. Don't look to parables for decisions about moving to another city, quitting your job, or selling your house. That's not what I mean by a personal application. Finally, here are three final pointers: Understanding the context and the audience Jesus was speaking to is key to understanding what Jesus was saying. You can see a progression in Luke's Gospel that leads from more general parables about the Kingdom of God, to Jesus' identity as the king who will return, and to whom everyone will give an account. Look to see if the Gospel writer or Jesus himself tells what He was driving at. And also take note of any surprising twist in the story. Such twists often give an important clue to the meaning. Let me illustrate that idea of a surprising twist found in some parables. One of my favorite booklets that we printed to display our translation in Indonesia is a collection of 25 parables. If I am in Indonesia, I like to have that booklet handy in my bag. There was one devout Islamic taxi driver that took me to my home at least six times. Because of frequent traffic jams in Jakarta, a 20 minute trip can take two hours on bad days. So I started reading the parables to him. He was interested, and it was way better than trying to debate with him about our religions. After many of the parables he would say, “OK, yeah. I think we Muslims could agree with that one.” That continued until we got to the Parable of the Vineyard owner in Matthew 20. That's the one where the vineyard owner gives all the workers the same pay for a full day's work, even though some workers only worked for one hour. He responded, “What?! He did that? That's crazy. That's unfair!” This gave me an opportunity to talk about God's kindness. We call it grace. God wants to be generous with us, because none of us can manage to earn our salvation. God designed this counterintuitive situation so that all glory would go to our Savior, and none would go to us. As I will not be living in the same place in Jakarta when I go back in July, it is not likely that I will take that route again with the same taxi driver. It is not appropriate for me to share his name. But you can join me in praying for that taxi driver that I read parables to. One of my spiritual fathers (Richard Burson) introduced me to the parables of Safed the Sage. Safed was the pen name of William E. Barton, who lived from 1861 to 1930. William Barton was a highly regarded Congregational pastor, and also a published expert on the life of Abraham Lincoln. Barton also edited a Sunday School newsletter (and in his day, Sunday School included adult classes). In the newsletters he first published his Parables of Safed the Sage. These were picked up by newspapers who republished them, and around 1919 the parables were published in several books. Happily, you can find Barton's parables of Safed the Sage as free downloads at the Library of Congress website. They are in the public domain. Barton's writing style is humorous because he used an affected old-fashioned style of English, mixing in expressions like in the King James Bible. And he heightened the effect by using capital letters in strange places, for words that he wanted to highlight. So I feel that often his parables are better when read, rather than in audio form. I have so appreciated Barton's parables that I have recorded many of them for a podcast that I call JoySightings, found at joysightings.info. You can subscribe to this podcast in any podcast player. I will give you two short examples of the parables of Safed the Sage in this podcast. They are different than Jesus' parables in that Safed usually gives the meaning of his parable at the end. I think you will enjoy the experience of hearing a new parable. Think of how engaging Jesus' parables would have been, and still are, for people hearing them for the first time! The Gravity Trolley I journeyed unto a distant State, even to California, and I rode upon a Trolley that ran Six miles back from the Railway Station into the hills. And I observed that all the way as we Ascended, the Motorman consumed Electric Current, but when we Descended, then did he shut off the Juice, and controlled our speed by means of the Brake, with an Emergency Brake at hand, and I spake unto certain of those with whom I rode, of the Trolley, and of how the Roadbed was all Up-Hill one way, and all Down-Hill the other way; and how they used two kinds of power, even Electricity and Gravitation, and each of them in one direction only. And one of them spake unto me, saying, Thus it was intended when this Road was Surveyed, and before they had Electric Power; for in that day did they haul the cars Up-Hill with Mules; and there was a Platform upon the Rear of the Car, and the Mules Ascended the Platform and rode down. And they told me how the Mules soon learned the trick, so that as soon as they were unhitched they hastened to the rear of the car and climbed up. And others told me many things about those Mules; and a certain Woman procured for me a Picture of the Car with the Passengers riding Inside and the Mules riding Outside, and the Mules enjoying it as much as the Passengers. And it pleased me much. Now it came to pass in time that the Electric Current Emancipated the Mules, and the Owners of the Trolley sold the Mules. And farmers bought them at a good price, for the Mules were fat and strong. But it was a Bad Buy for the farmers. For those Mules would pull the Plow Up-Hill to the end of the Furrow, and then turn around and seek to climb up on the rear end of the Plow in order to ride down! And when they found no Platform, then were they Troubled in their Mind and much Bewildered. Neither was it Possible ever to teach them to pull any load Down-Hill. Now I know many people with whom this System worketh the other way, and who are very willing to be hitched up to a job that runneth down hill by Gravity or the labor of others, but who insist upon riding or being Unhitched when the Trolley hitteth the up-grade. For the work of the Lord hath its Up-Hill and its Down-Hill aspects, and if there be any Platforms provided for those who would ride, thou shalt find them already occupied by kindred souls who have beaten you to it. On Rising Above the Clouds I rode upon a Railway Train; and we were in the Rocky Mountains. And we awoke in the morning, and the Train was climbing, with two Engines pulling us, and one pushing behind. And we were nigh unto Twelve Furlongs above the sea. And it came to pass as we ascended, that there were clouds below us, and Clouds upon the sides of the Mountains, but there were no clouds above us, but the clear shining of the Morning Sun. And there came unto me a small Girl and her younger Brother, who were riding upon the Train, and we talked about the clouds. For so did John Ruskin, and Aristophanes, and the little lad was very happy, and said, I have never been above the Clouds before. And his sister was worldly wise. And she said, A Cloud ain't nothing but just fog. And he said, Nay, but it is more. And behold now, how then is a cloud just under us, and we ride on top of it? And she said, We are on the Rails, just as we always have been; and there can't nobody ride on a Cloud. And the boy said, Jesus can ride upon a Cloud; For I saw a Picture of Him. And the little girl said, Yes but that ain't us. Now the little girl may have been right; but I thought within myself that this world hath too many people who look out on Life through her windows. For they see no sunlit Clouds, but only Fog; and they have little faith in rising above Clouds, but have confidence only in the Rails. And I do not despise Rails, nor advise people to discard them and ride upon Clouds. Nevertheless, I have seen people rise above Clouds, and live in the sunlight of God. But I have known others who, whenever it is said unto them, Thus have other men done, or thus did the good Lord Jesus, make reply, Yes, but that ain't us. And if it is spoken concerning the House of God, Thus did the Synagogue in Jonesville, and thus was it done by the Church in Smithville, they answer, Yes, but that ain't us. And if it be said, Thou shouldest be a better man; for other men have risen above thy Clouds and thine Infirmities, they say, Yes, but that ain't us. And when it is said, Thus hath the grace of God abounded in other lives, they say, Yes, but that ain't us. But if it ain't, why ain't it? For this cause did God dwell in human flesh: That men should never count any good thing impossible that they behold in the dear Lord Jesus. For he is our peace, who hath broken down all middle walls, that men should no longer say, But that ain't us. May the Lord bless you ‘Real Good'! Phil
Today I would like to give pointers for understanding Jesus' parables. I consider the parable to be one of the greatest of all teaching devices, and a legacy of the Greatest Teacher. I will end this episode by sharing about one of my favorite writers of non-Biblical parables. One little detail to understand is that the word ‘parable' (Greek paraboles) had a wider meaning than we normally think of in English, and you may see this sometimes in the New Testament. In English, we normally think of a parable as a story that points to some deeper meaning. However, as an example, the word ‘parable' is used for a one-sentence figurative teaching in Mark 7:17 where it refers back to Jesus' statement in verse 15: GW “Nothing that goes into a person from the outside can make him unclean. It's what comes out of a person that makes him unclean.” In verse 17, the disciples ask Jesus to explain that ‘parable'. With that footnote, I want you to know that I will really just be talking briefly about what we normally think of as parables, the story type. In the episode notes, I give links to more complete and scholarly information than what I will present to you. In particular, I recommend viewing the 6 minute video from bibleproject.com entitled The Parables of Jesus. Also in the episode notes, I have links to both a video and a good summary about Interpreting Parables by Bob Utley. ======= Bob Utley's Special Topic page on Interpreting Parables: http://www.freebiblecommentary.org/special_topics/parable_interpretation.html Bob Utley's video on Luke 15: https://www.youtube.com/watch?v=f76EvjGy7Jw Don't miss the cool video from BibleProject.com! Title: The Parables of Jesus I appreciated the original thinking and humorous examples in this short article: https://www.1517.org/articles/understanding-jesus-parables ======= As I was thinking about what to mention to you, I was reading a historically-interesting commentary by Christopher Wordsworth from 1856, and I almost stumbled into a common error in interpreting parables, which is thinking of them as allegories. An example of this is Luke chapter 15, where we have the parable of the Lost Sheep, the Lost Coin, and the Lost Son. Wordsworth gives an allegorical interpretation, assigning an identity to all the characters. In this case, the shepherd is Christ, who searches for his lost sheep. That's not too bad. But seeing the woman who loses one of her coins as a picture of the church, is definitely stretching things. Similarly in the Parable of the Lost Son, the father is interpreted as God, the younger son as the Gentiles who repent, and the older son as the Jews. One of the things that leads people to take an overly allegorical approach to the parables has to be Jesus himself, in his foundational teaching about the parables found in Mark 4, Mat. 13, and Luk. 8. In Jesus' explanation of the Parable of the Sower, He might almost contradict my last point about allegorical interpretation. It just happens that the Parable of the Sower (also called the Parable of the Different Kinds of Soil) has clear allegorical elements (the birds, path, rocky soil, etc), whereas for many other parables it doesn't help to seek an allegorical identity for the various participants. A second thing that is unusual in the Parable of the Soils is that it has clear multiple teaching points, whereas most parables have a single, simple point. I have mentioned all this heavy stuff to bring us around to this simple point: When we get too fancy in our interpretation of parables, we tend to miss the main point, which is to ask, “How does this apply to me?” The cool thing about parables is that Jesus intended them to be multi-purpose. People who were ready to believe in Jesus would get one interpretation, and the religious leaders criticizing Him would understand Jesus' meaning very differently. Both groups got a correct interpretation, as Jesus intended, even though the interpretations were different. This propensity of parables to be interpreted differently has a plus side and a negative side. On one hand, we must remember that parables are not good for determining doctrine. Let's not decide the timing of Jesus' second coming based on parables, but some of the parables clearly illustrate something about Jesus' second coming. The plus side is that the Holy Spirit may use Jesus' parables to say something very pointedly appropriate for you. I have been amazed that in the Parable of Different Kinds of Soil I sometimes find that I am dangerously close to living amongst thorns, way too concerned with the cares of this life. But in a few months when I come across the parable again, I find that I have moved over to the rocky soil, meaning that I might glibly say that I love God's Word, but on that day if I am honest, I have to admit that my roots are dangerously shallow. Another illustration of a personal application for me is this, which I don't think I have ever shared with anyone before: When I read the story of the prodigal son, I am reminded that I acted like the prodigal son, when I was young and thoughtless, by asking for part of my inheritance early. I didn't realize that this was tantamount to wishing my father dead. How this must have hurt him! I wish I could tell him how sorry I am that I ever did that. Don't look to parables for decisions about moving to another city, quitting your job, or selling your house. That's not what I mean by a personal application. Finally, here are three final pointers: Understanding the context and the audience Jesus was speaking to is key to understanding what Jesus was saying. You can see a progression in Luke's Gospel that leads from more general parables about the Kingdom of God, to Jesus' identity as the king who will return, and to whom everyone will give an account. Look to see if the Gospel writer or Jesus himself tells what He was driving at. And also take note of any surprising twist in the story. Such twists often give an important clue to the meaning. Let me illustrate that idea of a surprising twist found in some parables. One of my favorite booklets that we printed to display our translation in Indonesia is a collection of 25 parables. If I am in Indonesia, I like to have that booklet handy in my bag. There was one devout Islamic taxi driver that took me to my home at least six times. Because of frequent traffic jams in Jakarta, a 20 minute trip can take two hours on bad days. So I started reading the parables to him. He was interested, and it was way better than trying to debate with him about our religions. After many of the parables he would say, “OK, yeah. I think we Muslims could agree with that one.” That continued until we got to the Parable of the Vineyard owner in Matthew 20. That's the one where the vineyard owner gives all the workers the same pay for a full day's work, even though some workers only worked for one hour. He responded, “What?! He did that? That's crazy. That's unfair!” This gave me an opportunity to talk about God's kindness. We call it grace. God wants to be generous with us, because none of us can manage to earn our salvation. God designed this counterintuitive situation so that all glory would go to our Savior, and none would go to us. As I will not be living in the same place in Jakarta when I go back in July, it is not likely that I will take that route again with the same taxi driver. It is not appropriate for me to share his name. But you can join me in praying for that taxi driver that I read parables to. One of my spiritual fathers (Richard Burson) introduced me to the parables of Safed the Sage. Safed was the pen name of William E. Barton, who lived from 1861 to 1930. William Barton was a highly regarded Congregational pastor, and also a published expert on the life of Abraham Lincoln. Barton also edited a Sunday School newsletter (and in his day, Sunday School included adult classes). In the newsletters he first published his Parables of Safed the Sage. These were picked up by newspapers who republished them, and around 1919 the parables were published in several books. Happily, you can find Barton's parables of Safed the Sage as free downloads at the Library of Congress website. They are in the public domain. Barton's writing style is humorous because he used an affected old-fashioned style of English, mixing in expressions like in the King James Bible. And he heightened the effect by using capital letters in strange places, for words that he wanted to highlight. So I feel that often his parables are better when read, rather than in audio form. I have so appreciated Barton's parables that I have recorded many of them for a podcast that I call JoySightings, found at joysightings.info. You can subscribe to this podcast in any podcast player. I will give you two short examples of the parables of Safed the Sage in this podcast. They are different than Jesus' parables in that Safed usually gives the meaning of his parable at the end. I think you will enjoy the experience of hearing a new parable. Think of how engaging Jesus' parables would have been, and still are, for people hearing them for the first time! The Gravity Trolley I journeyed unto a distant State, even to California, and I rode upon a Trolley that ran Six miles back from the Railway Station into the hills. And I observed that all the way as we Ascended, the Motorman consumed Electric Current, but when we Descended, then did he shut off the Juice, and controlled our speed by means of the Brake, with an Emergency Brake at hand, and I spake unto certain of those with whom I rode, of the Trolley, and of how the Roadbed was all Up-Hill one way, and all Down-Hill the other way; and how they used two kinds of power, even Electricity and Gravitation, and each of them in one direction only. And one of them spake unto me, saying, Thus it was intended when this Road was Surveyed, and before they had Electric Power; for in that day did they haul the cars Up-Hill with Mules; and there was a Platform upon the Rear of the Car, and the Mules Ascended the Platform and rode down. And they told me how the Mules soon learned the trick, so that as soon as they were unhitched they hastened to the rear of the car and climbed up. And others told me many things about those Mules; and a certain Woman procured for me a Picture of the Car with the Passengers riding Inside and the Mules riding Outside, and the Mules enjoying it as much as the Passengers. And it pleased me much. Now it came to pass in time that the Electric Current Emancipated the Mules, and the Owners of the Trolley sold the Mules. And farmers bought them at a good price, for the Mules were fat and strong. But it was a Bad Buy for the farmers. For those Mules would pull the Plow Up-Hill to the end of the Furrow, and then turn around and seek to climb up on the rear end of the Plow in order to ride down! And when they found no Platform, then were they Troubled in their Mind and much Bewildered. Neither was it Possible ever to teach them to pull any load Down-Hill. Now I know many people with whom this System worketh the other way, and who are very willing to be hitched up to a job that runneth down hill by Gravity or the labor of others, but who insist upon riding or being Unhitched when the Trolley hitteth the up-grade. For the work of the Lord hath its Up-Hill and its Down-Hill aspects, and if there be any Platforms provided for those who would ride, thou shalt find them already occupied by kindred souls who have beaten you to it. On Rising Above the Clouds I rode upon a Railway Train; and we were in the Rocky Mountains. And we awoke in the morning, and the Train was climbing, with two Engines pulling us, and one pushing behind. And we were nigh unto Twelve Furlongs above the sea. And it came to pass as we ascended, that there were clouds below us, and Clouds upon the sides of the Mountains, but there were no clouds above us, but the clear shining of the Morning Sun. And there came unto me a small Girl and her younger Brother, who were riding upon the Train, and we talked about the clouds. For so did John Ruskin, and Aristophanes, and the little lad was very happy, and said, I have never been above the Clouds before. And his sister was worldly wise. And she said, A Cloud ain't nothing but just fog. And he said, Nay, but it is more. And behold now, how then is a cloud just under us, and we ride on top of it? And she said, We are on the Rails, just as we always have been; and there can't nobody ride on a Cloud. And the boy said, Jesus can ride upon a Cloud; For I saw a Picture of Him. And the little girl said, Yes but that ain't us. Now the little girl may have been right; but I thought within myself that this world hath too many people who look out on Life through her windows. For they see no sunlit Clouds, but only Fog; and they have little faith in rising above Clouds, but have confidence only in the Rails. And I do not despise Rails, nor advise people to discard them and ride upon Clouds. Nevertheless, I have seen people rise above Clouds, and live in the sunlight of God. But I have known others who, whenever it is said unto them, Thus have other men done, or thus did the good Lord Jesus, make reply, Yes, but that ain't us. And if it is spoken concerning the House of God, Thus did the Synagogue in Jonesville, and thus was it done by the Church in Smithville, they answer, Yes, but that ain't us. And if it be said, Thou shouldest be a better man; for other men have risen above thy Clouds and thine Infirmities, they say, Yes, but that ain't us. And when it is said, Thus hath the grace of God abounded in other lives, they say, Yes, but that ain't us. But if it ain't, why ain't it? For this cause did God dwell in human flesh: That men should never count any good thing impossible that they behold in the dear Lord Jesus. For he is our peace, who hath broken down all middle walls, that men should no longer say, But that ain't us. May the Lord bless you ‘Real Good'! Phil
With his husky baritone voice and his stories of Australia—as it was, as it is, and as it could be—William Crighton is staking his claim to be part of the Australian songbook. In the Drawing Room, William speaks with Andy Park about his new album Water and Dust, his family, his friendship with William Barton, and his love for writing about the human stories.
With his husky baritone voice and his stories of Australia—as it was, as it is, and as it could be—William Crighton is staking his claim to be part of the Australian songbook. In the Drawing Room, William speaks with Andy Park about his new album Water and Dust, his family, his friendship with William Barton, and his love for writing about the human stories.
How does an one of Australia's leading performer/composers in the classical world use the didgeridoo, an Indigenous Australian wind instrument, dating back over 1000 years, to navigate a more contemporary musical styles, expanding the horizons of the instrument and the culture and landscape it represents?Todays guest is William Barton. Composer, Producer, Multi-instrumentalist, and vocalist that is widely recognised as one of Australia's leading Didgerido players and composers. He has performed with Philharmonic Orchestras of London and Berlin to historic events at Westminster Abbey for Commonwealth Day 2019 and the Beijing Olympics.But this chat takes place at the office of his publishers in 2019, in a studio in Sydney. He explore his Kalkadunga heritage, growing up on a cattle farm, and the focus or philosophy he personally uses to frame his music… His playing & artistry.Don't forget to subscribe for a new episode every single Friday. Oh and you can find out what I'm up to hear some of my new album at bradleymccawofficial.com William Barton's websiteListen to William's music on SpotifyMore about the DidgeridooProduced by Old Fashioned StudiosHosted by Bradley McCawSound design by Matt Erskine & Cross Point SolutionsStory Producer & additional engineering by Gilang CandradityaTheme composed by James Ryan
How does an one of Australia's leading performer/composers in the classical world use the didgeridoo, an Indigenous Australian wind instrument, dating back over 1000 years, to navigate a more contemporary musical styles, expanding the horizons of the instrument and the culture and landscape it represents?Todays guest is William Barton. Composer, Producer, Multi-instrumentalist, and vocalist that is widely recognised as one of Australia's leading Didgerido players and composers. He has performed with Philharmonic Orchestras of London and Berlin to historic events at Westminster Abbey for Commonwealth Day 2019 and the Beijing Olympics.But this chat takes place at the office of his publishers in 2019, in a studio in Sydney. He explore his Kalkadunga heritage, growing up on a cattle farm, and the focus or philosophy he personally uses to frame his music… His playing & artistry.Don't forget to subscribe for a new episode every single Friday. Oh and you can find out what I'm up to hear some of my new album at bradleymccawofficial.com William Barton's websiteListen to William's music on SpotifyMore about the DidgeridooProduced by Old Fashioned StudiosHosted by Bradley McCawSound design by Matt Erskine & Cross Point SolutionsStory Producer & additional engineering by Gilang CandradityaTheme composed by James Ryan
AskPat 2.0: A Weekly Coaching Call on Online Business, Blogging, Marketing, and Lifestyle Design
#1182 William Barton from BootSpy.com has a really interesting question today. It's one you might have wrestled with in your own business: How do I launch something when I don't have a list or anybody out there who knows that I exist yet? How do I validate this thing? How do I ensure that it's going to work before I put all this time and effort into it? You may be familiar with a little book I wrote called Will It Fly?, which is all about how to test your next business idea so you don't waste your time and money. We're going to discuss a lot of the principles, strategies, and techniques that I share in that book with William today. If you're launching something, you want to build that audience and validate your idea first, so let's get into it. Show notes and more at SmartPassiveIncome.com/ap1182.See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.
Welcome back to Aboriginal Way brought to you by South Australian Native Title Services. This week we speak to Kalkadunga didgeridoo player and composer, William Barton, ahead of his performance with the Australian String Quartet (ASQ) at Illuminate Festival.William Barton & the ASQ will perform at Adelaide Town Hall on Wednesday, July 21 with tickets available here: https://www.illuminateadelaide.com/events/australian-string-quartet-and-william-bartonFollow us on social media for native title news and First Nations stories ⬇Instagram: https://www.instagram.com/nativetitlesaFacebook: https://www.facebook.com/SANativeTitleServices/Twitter: https://twitter.com/nativetitlesa
Australia's leading Didgeridoo player and composer William Barton and Australia's … Continued
Vic Simms, Jen Cloher, Vika and Linda Bull, Rob Hirst, Elena Kats-Chernin, William Barton with stories from their formative years
Vic Simms, Jen Cloher, Vika and Linda Bull, Rob Hirst, Elena Kats-Chernin, William Barton with stories from their formative years
Sunday 25th April: Didg and guitar virtuosos back at work.
All uploads on this channel are for promotional purposes only! The music has been converted before uploading to prevent ripping and to protect the artist(s) and label(s). If you don't want your content here (that goes for audio or images) please contact me immediately via email: unpluggedtube@outlook.it and I WILL REMOVE THE EPISODE OR ARTWORK IMMEDIATELY! ----------------------------------------------------------------------------------------------------Join us for incredible music and live entertainment from Sydney Harbour, including performances from Delta Goodrem, Casey Donovan, Dami Im, Mitch Tambo, Todd McKenney, tenor Lorenzo Rositano, and world-renowned didgeridoo player William Barton. #AustraliaDay #AusDay2021 #AusoftheYear Team UNPLUGGED.
Today we remember the momentous bursting of a peat bog in Scotland. We'll also learn about the botanist nephew of Benjamin Smith Barton. We’ll honor a British Iris enthusiast and painter. We salute the poet known as the Canadian Keats. We’ll Grow That Garden Library™ with a cookbook for gardeners. And then we’ll wrap things up with the story of a Queen who helped expand Kew Gardens and was also a botanist in her own right. Subscribe Apple | Google | Spotify | Stitcher | iHeart To listen to the show while you're at home, just ask Alexa or Google to “Play the latest episode of The Daily Gardener Podcast.” And she will. It's just that easy. The Daily Gardener Friday Newsletter Sign up for the FREE Friday Newsletter featuring: a personal update from me garden-related items for your calendar The Grow That Garden Library™ featured books for the week Gardener gift ideas Garden-inspired recipes Exclusive updates regarding the show and more. Plus, each week, one lucky subscriber wins a book from the Grow That Garden Library™ bookshelf. Gardener Greetings Send your garden pics, stories, birthday wishes, and so forth to Jennifer@theDailyGardener.org. Curated News 10 ways to rewild your outdoor space | Home & Gardens | Jennifer Ebert Facebook Group If you'd like to check out my curated news articles and blog posts for yourself, you're in luck because I share all of it with the Listener Community in the Free Facebook Group - The Daily Gardener Community. So, there’s no need to take notes or search for links. The next time you're on Facebook, search for Daily Gardener Community where you’d search for a friend... and request to join. I'd love to meet you in the group. Important Events November 17, 1771 On this day, heavy rains caused the ancient raised peat bog known as the Solway Moss to burst over its earthen banks and flow down into a valley and cover 400 acres of farmland. The next day, Solway Moss covered the surrounding land with 15 feet of thick feculent mud. Solway Moss was a one-by-two-mile-long moss land growing since the end of the last Ice Age. The raised bog was an estimated 50 feet higher than the surrounding farmland. The living surface of the Solway Moss was a unique mix of bog cotton, sphagnum, and heather. The porous soupy surface hosted a few shrubs and standing pools of water. But the rotting vegetation created a dangerous quagmire that no man or cattle would dare traverse throughout the year. Over two hundred years before the Solway Moss burst, the English and the Scots fought over the land surrounding the bog in the Battle of Solway Moss. After the English victory, hundreds of Scots drowned in the bog as they tried to return home by crossing the moss hillside. Like a sponge, peat expands to absorb moisture when it gets wet. And, during wet months like November of 1771, the peat swells, and in this case, the peat swelled until it bursts. The incredible event was recorded in a journal: "A farmer who lived nearest the moss was alarmed with an unusual noise. The crust had at once given way, and the black deluge was rolling toward his house. He gave notice to his neighbors with all expedition; others received no other advice but… by its noise, many by its entrance into their houses…. some were surprised with it even in their beds. [while some] remaining totally ignorant…until the morning when their neighbors with difficulty got them out through the roof. The eruption burst… like a cataract of thick ink... intermixed with great fragments of peat... filling the whole valley... leaving... tremendous heaps of turf.” November 17, 1786 Today is the birthday of the lawyer and medical botanist William Barton. William’s uncle was 18th-century preeminent medical botanist Benjamin Smith Barton, from whom he learned his passion for botany. In 1809 William enlisted in the Navy as a Surgeon and immediately fought to improve his fellow soldiers’ health. First, William tackled scurvy - the disease caused by a Vitamin C deficiency. William gave every sailor a lime or lemon. Thanks to William, permanent naval hospitals - complete with regulations and staff - popped up in port cities. And William was the first person to promote hiring female nurses to serve in naval hospitals. In terms of botany, William wrote his Vegetable Materia Medica (Medical Botany) of the United States in 1817. The book shared the botanical, general, and medical history of medicinal plants indigenous to the United States. In his book, William disputed false curative uses for plants. Specifically, William disputed alumroot or Heuchera americana as an effective cancer treatment, writing: "I do not believe that the Heuchera has cured genuine cancer: but… it has proven beneficial in [treating] some obstinate ulcers, which have been mistaken for cancer." William illustrated all the plants in his book, and his wife Esther colored many of his drawings. When his uncle Benjamin died in 1815, William assumed his post at the University of Pennsylvania. November 17, 1855 Today is the birthday of the botanical painter, plantsman, and iris enthusiast William James Caparne (“Cap-arn”). A close friend of the English daffodil grower Peter Barr, William made his way to Guernsey at midlife to become a full-time landscape and flower painter. When he wasn’t painting, William was busy plant breeding in his nursery. His favorite flower was Iris. Before Guernsey, William and Louisa lived with their two children in Northamptonshire. After Louisa died at age 46, William left his children with his in-laws and made his way to Guernsey's quiet and tranquil island. Guernsey was a balm to William Caparne. The soil and climate were perfect for growing bulbs like daffodils and iris. And his friend and fellow iris breeder, Sir Michael Foster, wrote a letter to William with some free advice about breeding. He advised, "In hybridizing, be bold.” Once William got established on Guernsey, he added an “e” to the end of his last name, and his daughter Winifred came to live with him. As his confidence grew, William went on painting expeditions, where he painted gardens all across Europe. In 1905, William found himself in the company of Monet at Giverny. Together William and Monet shared a love of flowers and painting - although they each had a slightly different chicken or the egg philosophy. Monet explained, “I became an artist because of flowers.” William reasoned, “There could never be art without flowers.” By the time William died in 1940, he was impoverished and almost blind. Still, William had introduced over two hundred new irises through his breeding efforts at his nursery. And William left his remarkable art collection of nearly 8,000 pieces of botanical mastery to Winifred. In 2005, Guernsey commemorated William Caperne with a stamp series featuring his beautiful floral paintings. Today the Caperne-Welch Medal is given to honor a Caperne specialty: new miniature dwarf bearded irises. Unearthed Words November 17, 1861 Today is the birthday of the Canadian poet and naturalist Archibald Lampman. Archibald loved camping and the countryside. The natural world inspired his verse, and he became known as “The Canadian Keats.” Due to suffering from rheumatic fever in his childhood, Archibald’s life was cut short, and he died at 37. Archibald is buried at Beechwood Cemetery, in Ottawa and a plaque near his grave is inscribed with his poem "In November.” The leafless forests slowly yield To the thick-driving snow. A little while And night shall darken down. In shouting file The woodmen's carts go by me homeward-wheeled, Past the thin fading stubbles, half concealed, Where the last plowman follows still his row, Turning black furrows through the whitening field. Far off the village lamps begin to gleam, Fast drives the snow, and no man comes this way; The hills grow wintry white, and bleak winds moan About the naked uplands. I alone Am neither sad, nor shelterless, nor gray, Wrapped round with thought, content to watch, and dream. — Archibald Lampman, Canadian poet, and naturalist, In November Grow That Garden Library The Garden Chef by Phaidon Editors and Jeremy Fox This book came out in 2019, and the subtitle is Recipes and Stories from Plant to Plate. In this book, we get to go to the gardens of the world's leading restaurants, and then, we get access to more than 100 garden-inspired recipes. The forty chefs featured in this brilliant cookbook view their gardens as a direct extension of their kitchens. Now, what I love about this cookbook is seeing how vegetables are grown and used by top chefs from around the world. Even then, I have to say that the gardens and the dishes don’t seem like a stretch for the average home gardener. Plot-to-plate cooking has never been so beautifully photographed. Plus, the chefs share their hints and tips on growing or using the produce, making this cookbook a font of inspiration. This book is 256 pages of garden-to-fork inspiration, and I think it would make a wonderful gift for the holidays. You can get a copy of The Garden Chef by Phaidon Editors and Jeremy Fox and support the show using the Amazon Link in today's Show Notes for around $13 Today’s Botanic Spark Reviving the little botanic spark in your heart November 17, 1818 Today is the anniversary of the death of the woman who was a patroness of the arts, an amateur botanist, a champion of Kew Gardens, and the wife of George III, Queen Charlotte. In addition to the astounding fact that Charlotte gave birth to 15 children, she was a fascinating royal. Born in Mecklenburg-Strelitz in Germany, Charlotte was the first person in England to bring a Christmas tree indoors to celebrate the holiday season. In December 1800, Charlotte selected a yew which was brought inside Windsor Castle and festively decorated. Charlotte brought the idea for the Christmas tree from her home country of Germany. George and Charlotte both loved botany. After his mother’s death, George gained control of Kew and Charlotte set about expanding Kew Gardens. On the property, Charlotte had a little cottage installed along with a rustic cottage garden. Her daughter Elizabeth is likely the person who painted the attic room ceiling with nasturtium and morning glory. It's very sweet. Charlotte was quite serious in her pursuit of botany. She collected plants, and she had a personal herbarium to help with her studies. The President of the Linnean Society, Sir James Edward Smith, personally tutored Charlotte in botany, along with her four daughters. And, George and Charlotte both became close friends with the botanical tissue paper artist Mary Delaney. And in a touching gesture, at the end of Mary’s life, George and Charlotte gave her a house at Windsor along with a pension. When plant hunters in South Africa discovered the Bird of Paradise flower, it was sent to England and named for Charlotte’s birthplace, Strelitz. The botanical name for the Bird of Paradise is Strelitzia reginae "stray-LIT-zee-ah REJ-in-ee.” The early part of Charlotte’s reign occurred before the American Revolution, which is why so many American locations were named in Charlotte’s honor. There are eleven cities named Charlotte, with the most famous being Charlotte, North Carolina. It’s no wonder that Charlotte, North Carolina, has the nickname “The Queen’s City,” and there’s a 25-foot tall bronze statue of Charlotte outside the Charlotte airport. And, Mecklenburg County in North Carolina and Virginia are both named for Charlotte’s homeplace in Germany: Mecklenburg-Strelitz. Charlotte died at the age of 74 at the smallest English royal palace, Kew Palace, at Kew Gardens. She had reigned for 57 years. Today, gardeners love the Japanese Anemone Queen Charlotte. It’s the perfect plant for adding late color to the garden with light pink petals and golden-yellow centers. And it's really, really beautiful. Thanks for listening to The Daily Gardener, and remember: "For a happy, healthy life, garden every day."
First Nations composers share stories and visions. And make new music for an C18 square piano, voice, violin, and didgeridoo.
First Nations composers share stories and visions. And make new music for an C18 square piano, voice, violin, and didgeridoo.
To combat an extragalctic threat which voraciously consumes all flesh in its path, the genetically eroded human species tries to 3D-print a new strain of super-soldiers using the only evidence still extant: the Falcon Studios back catalog of gay porn. Wildly successful, the program's results are not quite what the New Humans — nor the adversary threatening to swallow it — had in mind. — "Dark Sky Legion" by William Barton ----more---- https://mcdn.podbean.com/mf/web/m76n3b/CMA-067.jpg Find CoverMyAssCast on Twitter, Gmail and www.covermyasscast.com.
The land and music that influenced one of Australia's finest didgeridoo players.
In this class, Lara invites you to imagine your body as a big, beautiful sponge to juice up with life-giving prana. While moving through an energetic flow, you’ll direct your breath and awareness to the parts of your body that feel stuck or tense, and then twist, squeeze and rinse it all from the inside out. The accompanying music was composed and arranged especially for Classic Flow and features legendary yidaki (didgeridoo) player William Barton alongside Steve Allen on guitar. Together, they create a uniquely Australian soundscape with moments of tranquility – all designed to help you achieve a deeper, more focused practice. Music Kinkachoo Phillip Houghton arr. Steve Allen (5:53) The Sweet Breathing of Flowers Richard Charlton (13:08) Heartbeat Steve Allen (7:55) Kinkachoo Phillip Houghton arr. Steve Allen (5:53) Yidaki Shivasana (solo yidaki) William Barton (6:58) Performers: Steve Allen (guitar), William Barton (yidaki), Riley Lee (shakuhachi) Hear more beautiful music on ABC Classic radio.abc.net.au/programs/classic/live Follow Classic Flow on Instagram @classicflow_yoga Get in touch at classicflow@abc.net.au
In this class, Lara invites you to imagine your body as a big, beautiful sponge to juice up with life-giving prana. While moving through an energetic flow, you’ll direct your breath and awareness to the parts of your body that feel stuck or tense, and then twist, squeeze and rinse it all from the inside out. The accompanying music was composed and arranged especially for Classic Flow and features legendary yidaki (didgeridoo) player William Barton alongside Steve Allen on guitar. Together, they create a uniquely Australian soundscape with moments of tranquility – all designed to help you achieve a deeper, more focused practice. Music Kinkachoo Phillip Houghton arr. Steve Allen (5:53) The Sweet Breathing of Flowers Richard Charlton (13:08) Heartbeat Steve Allen (7:55) Kinkachoo Phillip Houghton arr. Steve Allen (5:53) Yidaki Shivasana (solo yidaki) William Barton (6:58) Performers: Steve Allen (guitar), William Barton (yidaki), Riley Lee (shakuhachi) Hear more beautiful music on ABC Classic radio.abc.net.au/programs/classic/live Follow Classic Flow on Instagram @classicflow_yoga Get in touch at classicflow@abc.net.au
We are SO excited to deliver this new season and new Classic Flow sound. With music from eight Australian composers the soundtrack is especially composed for us, and curated to help you achieve a deeper and more focused practice. Restore your body and mind with Pranayama and Yin yoga, work your way to heart-expanding wheel pose, ignite your energetic core, and find sweet balance on AND off the mat. The classes are designed to give your body what it craves in the comfort of your own home, and timed carefully to fit during kid’s nap time, before work or bed. Join us here in April 2019 for more blissful yoga set to beautiful music. Music Heartbeat composed and performed by Steve Allen (guitar) and William Barton (didgeridoo).
We are SO excited to deliver this new season and new Classic Flow sound. With music from eight Australian composers the soundtrack is especially composed for us, and curated to help you achieve a deeper and more focused practice. Restore your body and mind with Pranayama and Yin yoga, work your way to heart-expanding wheel pose, ignite your energetic core, and find sweet balance on AND off the mat. The classes are designed to give your body what it craves in the comfort of your own home, and timed carefully to fit during kid’s nap time, before work or bed. Join us here in April 2019 for more blissful yoga set to beautiful music. Music Heartbeat composed and performed by Steve Allen (guitar) and William Barton (didgeridoo).
Explore the sounds of celebrated Australian musician William Barton, the sole composer and performer of music in The Long Forgotten Dream. In addition to performing sections of the score, William describes the intentions and emotions behind his composition, explains some of the techniques he uses to play the didjeridu, and reflects on the unusual experience of composing in a rehearsal room. The Long Forgotten Dream is playing at the Sydney Opera House Drama Theatre from the 23rd of July to the 25th of August. www.sydneytheatre.com.au/whats-on/pro…gotten-dream Seeing the show? Let us know your thoughts. Tag @sydneytheatreco and #sydneytheatreco
Conductor Jessica Cottis was born in Australia and grew up there. Now based in the UK she regularly returns to conduct in Sydney, Queensland and Adelaide. Ahead of Australia Day later this week she presents a personal selection of contemporary music from her homeland, including orchestral works by Peter Sculthorpe and Richard Meale, and the didgeridoo playing of the virtuosic William Barton. Image Credit: MJ Cruz.
،مری آنکہ یک دم کھلی دیکھتا ہوں کھلی کھڑکیوں سے ، سریع گاڑیاں چیختی تھیں ، کہ گھڑیوں کی ٹک ٹک کی آواز اتنی بلند سے بلند تر ہوئی جا رہی تھی کہ جیسے کوئی زور سے اپنے گرانڈیل ہاتھوں سے ان ساعتوں کا طبل پیٹتا جا رہا ہو !!وہ گرانڈیل مجھ کو جگاتا تھا ، جاگو وہ سرگوشی کرتے ہوئے، نیم وا سی نظر مجھ پے ڈالے ، یہ کہنے لگی بھیڑیں گن لو ، اور اس ایک لحظے میں بھیڑوں کی جگہ سر کٹے بھیڑیے ، اپنے دندان نیش اور کالے مسوڑے نکالے ہنسے جا رہے تھے ! ہنسے جا رہے تھے ، کوئی کھڑکیاں بند کر دے کوئی بیٹری اس گھڑی کی نکالے کوئی مجھ سے کہہ دے میں زندہ ہوں اور ،یہ فقط خواب ہے ایک کابوس ہے مرےحس کے پنجے تنوں میں کھبے شجر اوہام پر چند لنگوروں کی مانند چڑھے جا رہے تھے کوئی میرے برزخ کے اس گہرے کویں میں اب ڈول ڈالو کوئی ؟ کوئی ہے ؟ سنو !!؟ کوئی ہے ؟ !!میں زندہ ہوں مجھ کو نکالو کوئی عزرائیلوں سے ان اسرافیلوں سے کہہ دے کہ اب صور پھونکیں ، میری روح کو قبض کر لیں میں زندہ نہیں ،پر مرا بھی نہیں ہوں میں اس دار پندار پر ، اپنی چند آخری ہچکیاں لے رہا ہوں Background music mixed from : William Barton using a CrookedStixz and a Bruce Rogers Didgeridoo performance at the Sydney Opera House with the Australian Youth Orchestra. to listen to the whole performance please follow the following link : www.youtube.com/watch?v=cLu9GmV2vF0 I have mixed parts of the performance and create the background music for my poem
،پھر سے دزدان ابد، بحر فنا کے قزاق ،میری راتوں میں تلاطم کے پیالے تھامے ....رجز آیندہ پے ہا ہوہ کیے جاتے ہیں آه جکڑے ہے رگ جاں کو یا کیڑوں کا ہجوم ؟) ( ریشہ ریشہ بنے، ریشم کے رسن طوق کیے !سچ کی آغوش ، دل واماندہ ، پرتگاه عمیق سچ کی آغوش وہ بے پایاں لحد ہے جس میں !رمز ہستی کی ہزاروں ہڈیاں مدفون !بام فردوس سے کودیں گے حشیشین ابھی !منہ میں دابے ہوئے طوماروں پے پیغام خدا سم میں ڈوبا ہوا خنجرہے ، پہ تریاق نہیں) (غم میں ڈوبا ہوا آھنگ، فقط خاک نہیں برہنہ حرف معنی کے لبادے اوڑے اک گرانڈیل سے سائے کی طرح رکساں ہیں آتش خرد کے ، الحاد کے گرد ...اک پریزاد کے گرد Yet Again the thieves of eternity and the pirates(Cossacks- The Ukrainian military men who attacked Ottoman Empire in 16th Century ) of the ocean of fragility hold glasses of turbulence in my nights while chanting to the paean of the future ... ( Is it my sigh that grabs my breath or a horde of worms who weave silk, with silk nooses in their necks) Oo failed heart ! the lap of truth is a steep precipice the lap of truth is an abyss in which thousands of bones of "being" are buried From the edge of the heavens, the assassins are about to jump holding in their lips the scrolls with the message from the gods ( as if I have the a dagger dipped in poison but no antidote sad music keeps playing, but there is no salvation) Naked words , wearing cloaks of meaning dance, dance like a giant shadow around the bonfire of thought around the bonfire of infidelity around the bonfire of a nymph Background music mixed from : William Barton using a CrookedStixz and a Bruce Rogers Didgeridoo performance at the Sydney Opera House with the Australian Youth Orchestra. to listen to the whole performance please follow the following link : https://www.youtube.com/watch?v=cLu9GmV2vF0 I have mixed two part of the performance and create the background music for my poem.
William Barton, author of Recovering for Psychological Injuries, explains a few of his methods for direct examination.
In this clip, William Barton, author of the best selling book Recovering for Psychological Injuries, third edtion, describes his ideas on jury selection and psychology.
© 2020-2025 Ivy Podcast Discovery LLC
