dylanwad drwg is a welsh band! my dad was in it! they put out one album under fflach in 1992 which was recently put on spotify i am their single monthly listener. join me 🤝

You're all good!! I saw llyfrenfys reblogged it so I put the clues together hahah

And hell yeah! I don't have Spotify currently but I did find Dylanwad Drwg on Apple Music and I'm gonna give them a listen today. And I'll check out In My Skin later too!

Diolch!

IMOJP : A Celebration of Norma Waterson

IMOJP : A Celebration of Norma Waterson

A special show to celebrate the life, music and influence of Norma Waterson (1939-2022) https://radiopublic.com/in-memory-of-john-peel-show-6nVPd6/s1!4d23b >> the best new music, independent of the industry system – back this show on patreon Paypal to [email protected] heard in over 90 countries via independent stations (RSS)Pod-Subscribe for free here or Embed/listen at podomatic – itunes Apple,…

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💥#fflach #flash 💥 #adidas #primeknit #boost #pureboost #pureboostZG #pureboostZGprime #sbardiau #showmeyourstripes #adidasBoost #adidasGallery #teamTrefoil #ctfam #boostVibes #otf #womft #crookedtongues (at Ty Te Caerdydd)

B:sides ~ weLLsh  

The B:sides-Playlist 2017-10-30 @ Radio Vättervåg 98,5 Mhz

This week: weLLsh

1. 'B:zväng' TextMix & reading af MrZ Komposition & Produktion af SkåneJokke Lütz [0:41]

THE ULTIMATE GUIDE TO WELSH FOLK compiled by Cerys Matthews ~ albumrelease 27th October 2017 [ EUCD2744 ] ~ 2. Nansi Richards: Pwt ar y Bys (A Little Something for the Fingers) (trad., arr. Nansi Richards) From ‘Brenhines y Delyn/Queen of the Welsh Harp’ - Nansi Richards We kick off with a recording of the original Queen of the Harp, Nansi Richards, playing a traditional tune recorded in the twilight of her life. Nansi must have been some character. Like Jimi Hendrix, she played tricks with her instruments, playing harp with her back turned, or 2 at a time. Born in Oswestry in 1888, she went on to study at the Guildhall School of Music, London, and toured America. A huge figure in Welsh folk, she taught triple harp to Llio Rhydderch, as well as Dafydd and Gwyndaf from Ar Log, all of whom feature in this collection. ℗ 1959, Sain (Recordiau) Cyf licensed [2:15] 3. Robin Huw Bowen: Gypsy Waltzes (trad., arr. Robin Huw Bowen) From ‘Y Ffordd i Aberystwyth/The Road to Aberystwyth’ - Robin Huw Bowen Robin Huw Bowen is the world’s leading exponent of our national instrument, the triple harp. Interestingly, the tradition of playing this harp with three rows of strings and no pedals is alive and well today, only thanks to a family of Roma travellers led by Abram Wood, whose descendants would play harp for Queen Victoria. Enjoy the strength and muscularity of Robin on this track. He says, “Two wonderful Victorian swingers from the inimitable playing of Eldra Jarman. I had snatches of the first tune from Eldra while she was still alive, and then the second tune from a recording made of her by Professor Peter Crossley- Holland. Then I had the complete version of the first tune from an old BBC programme about Eldra… in St Ffagan’s Museum.” Robin is the only full-time professional Welsh harpist specializing solely in the Welsh triple harp, and his influence on the world of Welsh folk music and harping has been far-reaching. ℗ 2007, Sain (Recordiau) Cyf licensed [3:36] 4. Crasdant: Pibddawns Trefynwy (Monmouth Hornpipe) (trad., arr. Robin Huw Bowen/Andy McLauchlin/Stephen P. Rees/Huw Williams) From ‘Dwndwr/The Great Noise’ - Crasdant The harp reigns supreme in Welsh folk music, so here’s another, and again with Robin but joined this time by Stephen Rees, Andy McLauchlin, and the whistles and the stepping sound of clog dancer Huw Williams as Crasdant. For me this is the Welsh folk tune where one might regress to being a child, dressed head to toe in scratchy Welsh flannel learning folk dance steps. ℗ 2005, Sain (Recordiau) Cyf licensed to ARC Music Productions International Ltd. Published by Cyhoeddiadau Sain [3:53] 5. Phil Tanner: The Gower Reel (trad.) From ‘The Gower Nightingale’ – Phil Tanner Phil Tanner is one South Glamorgan’s greatest traditional folk singers. He was originally from Llangenith in the Gower Peninsula, South Wales, where he had sung all his life, however he wasn’t recorded until he was in his seventies. He became renowned locally as “the Gower Nightingale” and recorded for the likes of Columbia and the BBC. He passed away in February 1950 and was remembered in a BBC Radio 4 tribute by Wynford Vaughan-Thomas who referred to him as, “the voice of the sanest, happiest, kindest eccentric I ever knew”. ℗ 2003, Veteran Tapes licensed to ARC Music Productions International Ltd. Published by Veteran Tapes www.veteran.co.uk [3:35] 6. Calan: Rhif Wyth (Rhif 8 - No. 8) (trad., arr. Calan) From ‘Bling’ – Calan Calan bring together the remarkable talents of 5 young musicians giving a fresh and vibrant sound to traditional Welsh music. With a contemporary and lively approach, they breathe new life into the old traditions through their sparkling melodies, foot tapping tunes and spirited and energetic performances of Welsh step dancing. ℗ 2008, Sain (Recordiau) Cyf licens [2:44] 7. Cayo Evans: Men of Harlech (trad., arr. Cayo Evans) From ‘Marching Songs of The Free Wales Army’ – Cayo Evans Cayo was conscripted into the British Army aged 18, and served actively in Malaya. This experience, coupled with his fascination with politics, inspired by a Polish man who taught him at Millfield, embittered him towards the British Government and their manhandling of Wales. He was said to be radicalised after the drowning of a Welsh village to build Tryweryn reservoir (see Meic Stevens’ bio – CD1, track 2) and formed the Free Wales Army, whose dalliances with explosives and other public order offenses ended up with him serving a 13-month prison sentence. This track of the very famous marching song Men of Harlech has Cayo introducing then playing the accordion, and was released in 2008 on Anhrefn Records, Anhrefn being one of the pioneering bands singing Welsh language music across Europe in the punk era. ℗ 2008, Anhrefn Records licensed to [1:36] 8. Cowbois Rhos Botwnnog: Didl-Dei (Aled Wyn Hughes/Iwan Glyn Hughes/Dafydd Rhys Hughes, arr. Cowbois Rhos Botwnnog) ‘Didl-Dei’ appears on Cowbois Rhos Botwnnog’s album ‘Dawn y Trychfilod’ on the Sbrigyn Ymborth label. www.sbrigynymborth.com Cowbois Rhos Botwnnog are a folk band consisting of three brothers, Aled, Dafydd, and Iwan Hughes from Rhos Botwnnog, the Llyn Peninsula, and accompanying musicians and singers. They experiment with country, folk and rock music. Most of their lyrics are in Welsh. This example is a tiny but wonderfully whimsical interlude from this band worth checking out live and on record. ℗ 2007, Cyhoeddiadau Sbrigyn Ymborth licensed to ARC Music Productions International Ltd. Published by Cyhoeddiadau Sbrigyn Ymborth [0:26] 9. Cass Meurig and Nial Cain: Tair Meillionen (trad., arr. Cass Meurig/Nial Cain) From ‘Deuawd’ – Cass Meurig and Nial Cain Cass plays the fiddle and crwth, that medieval bowed lyre with gut strings and droney sound. She grew up in the north of England playing tunes and singing with her parents and sisters. Over the last few years she has played internationally and recorded with Welsh bands Pigyn Clust and Fernhill. Here she plays alongside Nial Cain, on guitar, who grew up in Deiniolen, in the slate quarrying heartland of North Wales. With a rich history of playing with folk and ceilidh bands, he played in many of Tyneside’s barn dance bands including the Borderers where he was taught fiddle by leader Forster Charlton, a living link to the pre-folk revival tradition. Ten years ago he moved back to North Wales and found his interest in the Welsh folk music tradition rekindled. ℗ 2008, Fflach Cyfyngedig licensed to ARC Music Productions International Ltd. Published by Cyhoeddiadau Mwldan Publications [2:43] 10. Llio Rhydderch: Dafydd y Garreg Wen (David of the White Rock) (trad., arr. Llio Rhydderch) From ‘Melangell’ – Llio Rhydderch Another intuitive musician who can make me burst into tears, such is the poignancy of her playing. Here Llio plays Dafyd y Garreg Wen, first published in 1784 by Edward Jones, the king’s harpist. Edward was the first to claim that the Dafydd in the title was a Caernarvonshire harpist who wrote the tune on his death bed (although there are some whispers that allude to a Scottish or even Russian origin. We’ll never know!). Llio Rhydderch is a traditional Welsh harper, a creative artist who is recognised as a most innovative and influential exponent of the Welsh triple garp. Llio is descended from the ancient Welsh harpers in an unbroken direct line which extends back many centuries. Through her, this unique line lives on and she is pivotal in its preservation as she passes on this ancient art to the next generation, teaching them to play traditional airs by ear, to be able to write variations before returning to the original melody. ℗ 2001, Fflach Cyfyngedig licensed to ARC Music Productions International Ltd. Published by Cyhoeddiadau Mwldan Publications [2:20] 11. Catrin Finch and Seckou Keita: Ceffylau (Horses) (Catrin Finch/Seckou Keita) From ‘Clychau Dibon’ – Catrin Finch and Seckou Keita (A Theatr Mwldan/Astar Artes co-production) Catrin is a fearless and natural performer and rare in that she is totally at home across genres: classical, jazz, folk and world music. Catrin has won accolades the world over for her virtuosic performances with some of the world’s finest orchestras. She has also worked with Malian kora player Toumani Diabaté, and Colombian band Cimarrón, and switches from Bach’s Goldberg Variations to traditional folk or Colombian joropo music with ease and aplomb. Seckou Keita, from the Casamance area of Senegal, was born into the world-famous royal Keita and griot Cissokho families, and has played with his uncle Solo Cissokho and Guinean master djembe player Mamady Keita, in addition to appearing with both Salif Keita and Youssou N’Dour, and more recently alongside Paul Weller, Damon Albarn and Julia Holter on the Africa Express presents The Orchestra of Syrian Musicians tour. I love how these two great players share with us their joy in bringing their far-off traditions together in such a beautiful collision. ℗ 2013, Catrin Finch/Seckou Keita/Theatr Mwldan/Astar Artes licensed to ARC Music Productions International Ltd. Published by Catrin Finch & Seckou Keita [5:17] 12. Elinor Bennett: Pant Corlan yr Ŵyn (trad., arr. Elinor Bennett) From ‘Y Delyn Gymreig/The Welsh Harp’ – Elinor Bennett Elinor Bennett is one of Wales’ most distinguished musicians, and has travelled extensively giving concerts, recitals and masterclasses. She is regarded as one of Britain’s most influential harp teachers, who, by the by, also taught Catrin the harp. Eagle eared listeners might also recognise her playing, as she was the harpist who played with us on Bulimic Beats on Catatonia’s Equally Cursed and Blessed. This is another firm favourite on the Welsh folk dance floor, a useful tune to wave those handkerchiefs to thank your adoring audience as you make the final circle and leave the stage. ℗ 1985, Sain (Recordiau) Cyf licensed to ARC Music Productions International Ltd. Published by Cyhoeddiadau Sain [2:33] 13. DnA (Delyth and Angharad Jenkins): Glyn Tawe (trad., arr. Delyth and Angharad Jenkins) From ‘Adnabod’ – DnA - Delyth and Angharad Jenkins Traditional and new Welsh music on the harp and fiddle. DnA by name, DnA by nature: music is in the very DNA of this hugely talented mother-and-daughter duo from Wales, both of whom enjoy international reputations not only as soloists but as members of such bands as Calan, Adran D, Aberjaber and Cromlech. Whether they’re vamping up a traditional oldie or minting something entirely new, there’s a timeless beauty to these intimate and irresistible conversations between harp and fiddle. ℗ 2013, Fflach Cyfyngedig licensed to ARC Music Productions International Ltd. Published by Cyhoeddiadau Mwldan Publications [4:22] 14. Jamie Smith’s MABON: Croeso Ioan (Jamie Smith, arr. Jamie Smith’s MABON) From ‘The Space Between’ – Jamie Smith’s MABON Jamie Smith’s MABON is an InterCeltic band; composer-accordionist Jamie was taken every year by his folk-dancing parents to the mighty Festival Interceltique in Brittany, surrounding him from an early age with music from the Celtic regions and beyond. He accompanied Welsh dancers at just five years old. Joining him here are Oli, a Welsh fiddler with Balkan flair; Paul, a guitarist from Wales who’s more Manx than plenty of people born on the Isle of Man; Matt, a bluegrassloving bass player from Carmarthen; and Iolo, a drummer from the Welsh woods with a passion for world music and jazz. They’ve played WOMAD, WOMEX, Shetland, Rainforest World Music Festival (Borneo), Fairport’s Cropredy Convention, Hebcelt, Celtic Connections, and the massive Festival Interceltique de Lorient. ℗ 2015, Easy on the Records licensed to ARC Music Productions International Ltd. Published by James Joughin AKA Jamie Smith [3:14]

15. 'Rome' from In The Midst Of Chaos There Is Stillness-CDn af Fleur de Lis [5:08] 16. 'In The Well' from Conquer Me-CDn af Namur [2:46] 17. 'In The Street' from Night Drops af Indian Wells [3:36] 18. 'All Was Well' from Live at Victoriateatern af Wintergatan [4:27] 1 jingle incl tune from Kmag #107 af Loopmasters Samples & 2 jingles from B:sides on Spotify DAGENS SYNAXARIUM This weeks BibleVers: "For your ways are in full view of the Lord, and he examines all your paths. The evil deeds of the wicked ensnare them; the cords of their sins hold them fast. For lack of discipline they will die, led astray by their own great folly." ~ Proverbs 5:21-23 Drink Espresso - God bless U! /MrZ :)

www.ib2.se Soli Deo Gloria

  All Pix: MrZ ~ Wättern.se

Join Generation XYZ @ gen.xyz 

Z

3 ffordd y gall mesur effaith fod yn haws

Mae Mair Rigby, arweinydd Ennyn Effaith ar gyfer Cymru yn WCVA, yn blogio ynghylch llawer o faterion sy’n wynebu mudiadau pan mae’n dod i fesur effaith. 

Yr oeddwn yn falch iawn o gael fy ngwahodd i siarad am Ennyn Effaith yng Nghynhadledd Rhwydwaith Cydgynhyrchu Cymru ar 6 Mehefin.  

Mae’r Rhwydwaith Cydgynhyrchu yn ‘Bencampwr Effaith’ yng Nghymru, felly roedd yn wych i gael y cyfle i gyfarfod gyda’i aelodau, siarad am y prosiect, a chael ychydig o adborth ar gefnogaeth y mae mudiadau eisiau i ddatblygu eu harfer effaith. Dim pwysau felly!

I ddilyn cafwyd sesiwn ‘Ask Me Anything’ (#AMA), ble roedd mynychwyr yn cael, wel, gofyn unrhyw beth am effaith!

Dolenni perthnasol: WCVA yw partner Cymru ar gyfer Ennyn Effaith – dewch i wybod mwy am sut i gymryd rhan ar eu gwefan.

Roedd y Drafodaeth Fflach yn hwyliog iawn ac, ar ei hôl, fe lenwodd fy sesiwn #AMA yn sydyn iawn gyda phobl a oedd eisiau siarad am effaith.

Cawsom drafodaeth fywiog am bob dim o ddeilliannau ysgrifennu, i dystiolaeth, teclynnau ac adnoddau a pherthnasau gyda chyllidwyr.

Cododd tri prif thema yn sydyn o’r drafodaeth a chredais y byddai’n ddefnyddiol i’w rhannu gyda’r gymuned arfer effaith.

1.        Mwy o gefnogaeth i fudiadau gwirfoddol bach a rhai bach iawn

Roedd y mwyafrif o’r mudiadau yn y sesiwn #AMA yn elusennau bach a grwpiau gwirfoddol.

Roeddynt yn awyddus i ddatblygu eu harfer effaith ond yn teimlo bod gwneud hynny’n codi heriau penodol i fudiadau llai mewn perthynas â sgiliau, gallu ac adnoddau.

Mae meddwl am effaith yn cymryd amser ac roedd teimlad bod adnoddau yn fwy addas ar gyfer mudiadau mwy eu maint yn amlach na pheidio.

Roedd mudiadau bach eisiau gwybodaeth ac adnoddau wedi eu teilwra i’w cyd-destun, sydd yn aml yn grŵp o wirfoddolwyr ymroddedig, ychydig o staff (os o gwbl), ac ychydig o amser neu arian i wneud y gwaith tu hwnt i gyflawni.

Pan ofynnwyd beth fyddai’n helpu, awgrymodd mynychwyr y byddai mwy o ganllawiau ‘Gwnewch o eich hunain’ a chanllawiau ‘Sut i’ syml, mwy o gyfleoedd hyfforddi am ddim, a datblygu deilliannau sy’n cael eu rhannu i fudiadau sy’n gweithio ar faterion penodol.

Dolenni perthnasol: Dod yn aelod o WCVA i gael gostyngiad ar hyfforddiant Effaith a Gwerthuso 

2.      Dulliau mwy creadigol o werthuso – sy’n canolbwyntio ar anghenion buddiolwyr  

Teimlodd y bobl y siaradais i gyda nhw bod gwerthuso arfer wedi tueddu i gael ei ddylunio er mwyn ateb anghenion cyllidwyr a mudiadau, yn hytrach na buddiolwyr.  

O ganlyniad, gall gwerthuso deimlo’n feichus neu’n ddiystyr i’r bobl rydym yn gweithio gyda hwy. Teimlodd rhai mudiadau bod eu buddiolwyr yn gor-ymchwilio gydag amryw o ofynion fel eu bod yn llenwi ffurflenni monitro neu’n cymryd rhan mewn cyfweliadau.

Roedd pryderon hefyd bod pobl yn ticio bocsus yn unig er mwyn cwblhau’r ffurflenni sy’n cael effaith ar ansawdd y data.

Mae hyn yn codi cwestiynau difyr am ddeinameg pŵer. Pwy mewn gwirionedd mae “gwerthuso” yn ei wasanaethu? Sut fedrwn ni fynd ati i gydgynhyrchu neu werthuso arferion a datblygu dulliau creadigol sy’n teimlo’n ystyriol a phleserus gan bawb?

3.      Gall cyllidwyr wneud mwy i wneud mesur effaith yn fwy hydrin

Roedd yn amlwg o’r trafodaethau bod arfer effiath sefydliadol, yn enwedig i fudiadau bach, yn aml yn cael ei ddylunio gydag anghenion y cyllidwr mewn golwg.

Gallwn ddadlau y dylai mudiadau ddatblygu eu theori newid a fframwaith mesur yn seiliedig ar eu hamcanion sefydliadol eu hunain, yn hytrach na’r hyn y mae cyllidwyr eisiau.  

Ond yn benodol, nid yw’n syndod bod mudiadau bach, gyda gallu cyfyngedig ar gyfer ‘amser meddwl’, yn aml yn rhoi blaenoriaeth i anghenion y cyllidwyr.

Dolenni perthnasol: Darllenwch ein hadroddiad ‘Cyllid Cynaliadwy i’r Trydydd Sector’ i gael gwybod beth yr ydym yn ei wneud i wella ein dealltwriaeth o effaith ar draws y sector.

Roedd mudiadau eisiau mwy o gefnogaeth i brynnu i mewn gan gyllidwyr i’w galluogi i fod yn fwy creadigol ac i wneud pethau’n wahanol.

Roedd tri prif faes ble’r oedd mudiadau yn teimlo y gallai cyllidwyr helpu.

Byddwch yn fwy creadigol o ran beth sy’n cyfrif fel “tystiolaeth”

Rhowch mwy o werth i ddysgu i alluogi trafodaethau didwyll am ddeilliannau ac effaith

Darparu mwy o gyllid i fudiadau bach i ddatblygu eu harfer effiath yn eu gwaith – yn hytrach na gwerthuso ar y diwedd

Roedd yr adborth yn hynod ddefnyddiol i mi a byddant yn trwytho ein cynlluniau am weithgareddau Ennyn Effaith dros y flwyddyn nesaf.  

Hoffaf ddiolch i’r  Rhwydwaith Cydgynhyrchu am fy ngwahodd ac i fynychwyr am rannu eu profiadau. 

Ydych yn meddwl am gychwyn eich taith effaith?  

Ymunwch â’n Rhwydwaith effaith cyfoed i gael gwybod beth sy’n digwydd yng Nghymru  

Cymrwch olwg ar y Cod Arfer Da wrth Ymdrin ag Effaith

Gweithiwr drwy Mesur Lan! Teclun hunanasesu

Cymrwch olwg ar y Wefan Ennyn Effaith

adventure rocketship playlist for 09/05/17

09:01PM (2:03) The Haywains “Fisherman's Friend” from Fisherman's Friend EP (1989) on Emily's Shop (UK) 09:03PM (3:57) Big Red Bus “Cathedral Walls” from The Sound of Leamington Spa - Volume 1 (2000) on Firestation Tower (Germany) 09:07PM (4:52) Froth “Passing Thing” from Outside (Briefly) (2017) on Wichita Recordings (US) 09:14PM (2:04) Grass Widow “Milo Minute” from Milo Minute - Single (2011) on HLR (US) 09:16PM (4:18) The Clientele “Everyone You Meet” from Music for the Age of Miracles (2017) on Merge Records (US) 09:20PM (3:05) Dumptruck “Carefree” from For the Country (1987) on Big Time (US) 09:23PM (2:55) Cats On Fire “Your Woman” from Dealing In Antiques (2010) on Matinee (US) 09:26PM (2:47) The Cookies “To See Such Fun” from 7" (1971) on Pye (UK) 09:32PM (4:46) Rey Mapache “Bajar” from Bajar - Single (2017) on 698907 Records DK 09:37PM (1:45) Tynal Tywyll “Tynal Tywyll” from Jack Kerouac 7" (1990) on Fflach (Wales) 09:38PM (3:35) The Hi-Life Companion “Sabatini” from Our Years in the Wilderness (2014) on No Pudding Annie Records (UK) 09:42PM (4:59) Josefin Öhrn + The Liberation “The State (I'm In)” from Mirage (2016) on Rocket Recordings (UK) 09:47PM (3:25) Bob Mould “Makes No Sense At All (Live)” from Workbook 25 (1989) on Virgin (US) 09:50PM (3:36) Baker Island “Demolishing the Fourth Wall” from Restless Legs (2017) on Philophobia Music (UK) 09:54PM (2:13) Keith Allison “Action, Action, Action” from In Action: The Complete Columbia Sides Plus! (2015) on Columbia (US) 09:56PM (1:53) His Name Is Alive “Nice day” from Nice day - EP (1997) on 4AD (UK) 09:58PM (2:06) Pale Saints “She Rides the Waves” from Barging Into the Presence of God - EP (1989) on 4AD (UK) 10:02PM (3:08) Eternal Summers “Come Alive” from Gold and Stone (2015) on Kanine Records (US) 10:05PM (3:33) Smoke Rings “Happiness” from Happiness - Single (2017) on Smoke Rings (Australia) 10:09PM (2:00) Where Gardens Fall “Postcard” from Postcard EP (1989) on Freak Out (UK) 10:11PM (3:46) Dayflower “Sweet Georgia Gazes” from Sweet Georgia Gazes - Single (2017) on Dayflower (UK) 10:15PM (5:14) The Stones “Down and Around” from Dunedin Double compilation (1982) on Flying Nun Records (New Zealand) 10:20PM (2:49) Action Painting! “These Things Happen” from These Things Happen - EP (1990) on Sarah Records (UK) 10:23PM (2:41) Dynammo “Veloz” from 1980 EP (2014) on no label (Argentina) 10:26PM (2:48) Choo Choo Train “High” from 7" (1988) on Subway Organisation (UK) 10:29PM (2:11) The Hi-Fi's “Tread Softly for the Sleepers” from Snakes and Hifis (1967) on Star Club (Germany) 10:31PM (5:39) Gnoomes “City Monk” from Tschak! (2017) on Rocket Recordings (UK) 10:37PM (3:22) Red Letter Day “Things to Keep in Mind” from Red Letter Day (1990) on Marsh-Marigold (Germany) 10:40PM (1:46) The State of Samuel “Glue” from Mutiny On Mercury (2003) on humblebee recordings(US) 10:42PM (2:20) Able Tasmans “Dileen” from Hey Spinner! (1990) on Flying Nun Records (New Zealand) 10:44PM (15:05) Föllakzoid “Pulsar” from ii (2013) on Sacred Bones Records (US) advrs128 tuesday 09/05/17 9-11pm on valley free radio, 103.3fm Northampton MA and valleyfreeradio.org