Podcasts about BBC Radio

What is stunting the growth of my Japanese maple tree? My red tip Photinia keep falling and dying, what's causing this? What's the best way to get rid of moss from a pond?Peter Gibbs and the GQT panel take root in the historic grounds of Belvoir Castle, a site steeped in history since the Norman Conquest of 1066.Joining Peter are garden designer Bunny Guinness, horticulturist Matthew Wilson, and Belvoir Castle's Head Gardener, Andy Tudbury. Together, they tackle a thorny selection of questions from the GQT postbag.This week, the panel shares expert advice on safely transplanting roses, taming an unruly Potentilla, and uncovering the reasons why some flowers lose their scent over time.Senior Producer: Daniel Cocker Junior Producer: Rahnee Prescod Executive Producer: Carly MaileA Somethin' Else production for BBC Radio 4.Plant List Questions and timecodes are below. Where applicable, plant names have been provided. Q – My garden is filled with roses, but they've lost their scent, why is this? (03'31”) Q – What's the best way to transplant and plant from one environment to another? (06'24”) Q – My garden has been completely taken over by Potentilla, how do I control it without using chemicals? (09'31”) Q – My red tip Photinia keep falling and dying, what's causing this? (11'49”) Q – What is the problem with my Japanese maple tree? (17'40”) Q – My 10-year-old rainwater pot pond in a black plastic barrel has become overgrown with moss – What's the best way to get rid of it? (21'22”)Q – Is it possible to cover the base of a 175-year-old copper beach tree with fallen moss? (24'19”) Q – Can I use sawdust as a mulch? (25'49”) Q – My mature Mahonia has flowered and ripened at two different time this year – what's the reason for this? (31'20”) Q – We have recently moved into a new property. We would like advice, please on where to position a new greenhouse. (35'11”) Q – Could the panel suggest a way to keep our Melia azedarach whilst we're away on holiday? (38'28”)

Beth Lewis is the author of five novels so far, including her debut, THE WOLF ROAD. My latest novel, THE RUSH, came out in the UK on 10th June 2025 and is out in the US on the 7th October. It was July's Goldsboro Books Prem1ere Book Club pick and a BBC Radio 2 Book Club pick.We had a great chat with Beth, hearing about the influences that went into writing The Rush, and how she researches her historical fiction. Plus, we talk about how westerns have romanticised the period and erased the part that women often played.Links:Buy The Rush and Beth's other books nowFollow Beth on BlueskyVisit Beth's websiteAdventures in Publishing-Land RSS FeedSTET Podcasts YouTube channelSupport us on Patreon and get great benefits!: https://www.patreon.com/ukpageonePage One - The Writer's Podcast is brought to you by Write Gear, creators of Page One - the Writer's Notebook. Learn more and order yours now: https://www.writegear.co.uk/page-oneFollow us on FacebookFollow us on InstagramFollow us on BlueskyFollow us on ThreadsPage One - The Writer's Podcast is part of STET Podcasts - the one stop shop for all your writing and publishing podcast needs! Follow STET Podcasts on Instagram and Bluesky Hosted on Acast. See acast.com/privacy for more information.

FHM was the men's magazine that sold vastly more copies than any of its competitors but still ended up toast. So, why did its publishers stop printing it while other men's magazines survived? The BBC Business journalist, Sean Farrington, charts its highs and lows in the company of four of FHM's former editors.Alongside them is the entrepreneur, Sam White, who has to use her business acumen to reach her own conclusions based upon what she has heard. Featuring in the show are: - Eric Musgrave - the original editor of 'For Him Magazine' as it was known when it launched in 1985- Mike Soutar - the FHM editor who took sales to over half-a-million a month in the late 1990s- Piers Hernu - FHM's editor-at-large who took to the airwaves to defend lads' mags against accusations of sexism - Joe Barnes - who edited the magazine for four years until shortly before its print publication ceasedProduced by Jon Douglas, Toast is a BBC Audio North production for BBC Radio 4 and BBC Sounds.You can email the programme at toast@bbc.co.ukFeel free to suggest topics which could be covered in future episodes.

FHM was the men's magazine that sold vastly more copies than any of its competitors but still ended up toast. So, why did its publishers stop printing it while other men's magazines survived? The BBC Business journalist, Sean Farrington, charts its highs and lows in the company of four of FHM's former editors.Alongside them is the entrepreneur, Sam White, who has to use her business acumen to reach her own conclusions based upon what she has heard. Featuring in the show are: - Eric Musgrave - the original editor of 'For Him Magazine' as it was known when it launched in 1985- Mike Soutar - the FHM editor who took sales to over half-a-million a month in the late 1990s- Piers Hernu - FHM's editor-at-large who took to the airwaves to defend lads' mags against accusations of sexism - Joe Barnes - who edited the magazine for four years until shortly before its print publication ceasedProduced by Jon Douglas, Toast is a BBC Audio North production for BBC Radio 4 and BBC Sounds.You can email the programme at toast@bbc.co.ukFeel free to suggest topics which could be covered in future episodes.

This weeks episode is a fun and in depth live chat with some of the ladies from Amanda's membership community The High Vibe Tribe.We covered a LOT of ground, from learning to be be ok with being disliked, boundary statements, the power of taking radical responsibility for your life and your responses, self compassion and lots, lots more including many laughs (that my poor microphone struggled to deal with at times. lol)There's so much heart and soul in this episode and it'll give you an idea of the level of support, growth and positive energy that exists in my High Vibe Tribe with these beautiful, opened hearted and opened minded soul sisters.Come join our community and follow along online even if you can't make the in person events.The High Vibe Tribe is ready to go GLOBAL to build on the magic of this empowering community!!!*********JOIN The High Vibe Tribe Monthly Membership NOW:A Mindset & Manifesting Community for High Achieving Heart and Soul Centred Women.https://amandastjohn.lpages.co/high-vibe-tribe-monthly-womens-membership/**1:1 COACHING - Transformational support to achieve a business or personal goalBook in for 1:1 Coaching - https://amandastjohn.lpages.co/transformational-11-coaching/Other ways of WORKING with Me:https://linktr.ee/acreatedlife_coachAmanda St John/A Created Life is a professional Singer-Songwriter, Music Mentor, Motivational Coach & TEDx Speaker from Ireland. She has coached/mentored for over 15 years as well as having a successful music career with 2 albums, UK/Irish & USA tours, worldwide airplay (including BBC Radio 6 and RTE Radio 1) and she even sang for the US President in Washington DC. But she only committed to her music career in her mid 30's after a near death experience in a car accident inspired her to reassess her life and finally follow her dreams.Connect with Amanda:Instagram - https://www.instagram.com/acreatedlife_coachFacebook - https://www.facebook.com/profile.php?id=100076151084578Email: acreatedlifecoach@gmail.com Hosted on Acast. See acast.com/privacy for more information.

More children are being convicted of crime and our prisons are nearly at capacity. But Steve Chalke thinks he has a solution. The founder of the Oasis Charitable Trust, which runs a chain of academies and the UK's first secure school, works closely with children who have committed the worst crimes. He advocates for radically changing our schools, the education system, and how we rehabilitate our young offenders. Amol and Steve also talk about their shared background, the crisis of masculinity, and how a rejection at the age of 14 lead him to where he is today. GET IN TOUCH * WhatsApp: 0330 123 9480 * Email: radical@bbc.co.uk Amol Rajan is a presenter of the Today programme on BBC Radio 4. He is also the host of University Challenge on BBC One. Before that, Amol was media editor at the BBC and editor at The Independent. Radical with Amol Rajan is a Today Podcast. It was made by Lewis Vickers with Izzy Rowley. Digital production was by Gabriel Purcell-Davis. The editor is Sam Bonham. The executive producer is Owenna Griffiths.

In episode 372 UNP founder and curator Grant Scott is in his garage reflecting on the small and big things that impact on the everyday engagement we all have with photography. Dr.Grant Scott After fifteen years art directing photography books and magazines such as Elle and Tatler, Scott began to work as a photographer for a number of advertising and editorial clients in 2000. Alongside his photographic career Scott has art directed numerous advertising campaigns, worked as a creative director at Sotheby's, art directed foto8magazine, founded his own photographic gallery, edited Professional Photographer magazine and launched his own title for photographers and filmmakers Hungry Eye. He founded the United Nations of Photography in 2012, and is now a Senior Lecturer and Subject Co-ordinator: Photography at Oxford Brookes University, Oxford, and a BBC Radio contributor. Scott is the author of Professional Photography: The New Global Landscape Explained (Routledge 2014), The Essential Student Guide to Professional Photography (Routledge 2015), New Ways of Seeing: The Democratic Language of Photography (Routledge 2019), and What Does Photography Mean To You? (Bluecoat Press 2020). His photography has been published in At Home With The Makers of Style (Thames & Hudson 2006) and Crash Happy: A Night at The Bangers (Cafe Royal Books 2012). His film Do Not Bend: The Photographic Life of Bill Jay was premiered in 2018. Scott's book Inside Vogue House: One building, seven magazines, sixty years of stories, Orphans Publishing, is now on sale. © Grant Scott 2025

For those who haven't heard the announcement I posted, songs from this point on will sometimes be split among multiple episodes, so this is the second part of a two-episode look at the song “Who Knows Where The Time Goes?” by Fairport Convention, and the intertwining careers of Joe Boyd, Sandy Denny, and Richard Thompson. Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have a forty-one-minute bonus episode available, on Judy Collins’ version of this song. Tilt Araiza has assisted invaluably by editing, and will hopefully be doing so from now on. Check out Tilt's irregular podcasts at http://www.podnose.com/jaffa-cakes-for-proust and http://sitcomclub.com/ Erratum For about an hour this was uploaded with the wrong Elton John clip in place of “Saturday Sun”. This has now been fixed. Resources Because of the increasing problems with Mixcloud’s restrictions, I have decided to start sharing streaming playlists of the songs used in episodes instead of Mixcloud ones. This Tunemymusic link will let you listen to the playlist I created on your streaming platform of choice — however please note that not all the songs excerpted are currently available on streaming. The songs missing from the Tidal version are “Shanten Bells” by the Ian Campbell Folk Group, “Tom’s Gone to Hilo” by A.L. Lloyd, two by Paul McNeill and Linda Peters, three by Elton John & Linda Peters, “What Will I Do With Tomorrow” by Sandy Denny and “You Never Know” by Charlie Drake, but the other fifty-nine are there. Other songs may be missing from other services. The main books I used on Fairport Convention as a whole were Patrick Humphries' Meet On The Ledge, Clinton Heylin's What We Did Instead of Holidays, and Kevan Furbank's Fairport Convention on Track. Rob Young's Electric Eden is the most important book on the British folk-rock movement. Information on Richard Thompson comes from Patrick Humphries' Richard Thompson: Strange Affair and Thompson's own autobiography Beeswing.  Information on Sandy Denny comes from Clinton Heylin's No More Sad Refrains and Mick Houghton's I've Always Kept a Unicorn. I also used Joe Boyd's autobiography White Bicycles and Chris Blackwell's The Islander.  And this three-CD set is the best introduction to Fairport's music currently in print. Transcript Before we begin, this episode contains reference to alcohol and cocaine abuse and medical neglect leading to death. It also starts with some discussion of the fatal car accident that ended last episode. There’s also some mention of child neglect and spousal violence. If that’s likely to upset you, you might want to skip this episode or read the transcript. One of the inspirations for this podcast when I started it back in 2018 was a project by Richard Thompson, which appears (like many things in Thompson’s life) to have started out of sheer bloody-mindedness. In 1999 Playboy magazine asked various people to list their “songs of the Millennium”, and most of them, understanding the brief, chose a handful of songs from the latter half of the twentieth century. But Thompson determined that he was going to list his favourite songs *of the millennium*. He didn’t quite manage that, but he did cover seven hundred and forty years, and when Playboy chose not to publish it, he decided to turn it into a touring show, in which he covered all his favourite songs from “Sumer Is Icumen In” from 1260: [Excerpt: Richard Thompson, “Sumer is Icumen In”] Through numerous traditional folk songs, union songs like “Blackleg Miner”, pieces by early-modern composers, Victorian and Edwardian music hall songs, and songs by the Beatles, the Ink Spots, the Kinks, and the Who, all the way to “Oops! I Did It Again”: [Excerpt: Richard Thompson, “Oops! I Did it Again”] And to finish the show, and to show how all this music actually ties together, he would play what he described as a “medieval tune from Brittany”, “Marry, Ageyn Hic Hev Donne Yt”: [Excerpt: Richard Thompson, “Marry, Ageyn Hic Hev Donne Yt”] We have said many times in this podcast that there is no first anything, but there’s a reason that Liege and Lief, Fairport Convention’s third album of 1969, and the album other than Unhalfbricking on which their reputation largely rests, was advertised with the slogan “The first (literally) British folk rock album ever”. Folk-rock, as the term had come to be known, and as it is still usually used today, had very little to do with traditional folk music. Rather, the records of bands like The Byrds or Simon and Garfunkel were essentially taking the sounds of British beat groups of the early sixties, particularly the Searchers, and applying those sounds to material by contemporary singer-songwriters. People like Paul Simon and Bob Dylan had come up through folk clubs, and their songs were called folk music because of that, but they weren’t what folk music had meant up to that point — songs that had been collected after being handed down through the folk process, changed by each individual singer, with no single identifiable author. They were authored songs by very idiosyncratic writers. But over their last few albums, Fairport Convention had done one or two tracks per album that weren’t like that, that were instead recordings of traditional folk songs, but arranged with rock instrumentation. They were not necessarily the first band to try traditional folk music with electric instruments — around the same time that Fairport started experimenting with the idea, so did an Irish band named Sweeney’s Men, who brought in a young electric guitarist named Henry McCullough briefly. But they do seem to have been the first to have fully embraced the idea. They had done so to an extent with “A Sailor’s Life” on Unhalfbricking, but now they were going to go much further: [Excerpt: Fairport Convention, “Matty Groves” (from about 4:30)] There had been some doubt as to whether Fairport Convention would even continue to exist — by the time Unhalfbricking, their second album of the year, was released, they had been through the terrible car accident that had killed Martin Lamble, the band’s drummer, and Jeannie Franklyn, Richard Thompson’s girlfriend. Most of the rest of the band had been seriously injured, and they had made a conscious decision not to discuss the future of the band until they were all out of hospital. Ashley Hutchings was hospitalised the longest, and Simon Nicol, Richard Thompson, and Sandy Denny, the other three surviving members of the band, flew over to LA with their producer and manager, Joe Boyd, to recuperate there and get to know the American music scene. When they came back, the group all met up in the flat belonging to Denny’s boyfriend Trevor Lucas, and decided that they were going to continue the band. They made a few decisions then — they needed a new drummer, and as well as a drummer they wanted to get in Dave Swarbrick. Swarbrick had played violin on several tracks on Unhalfbricking as a session player, and they had all been thrilled to work with him. Swarbrick was one of the most experienced musicians on the British folk circuit. He had started out in the fifties playing guitar with Beryl Marriott’s Ceilidh Band before switching to fiddle, and in 1963, long before Fairport had formed, he had already appeared on TV with the Ian Campbell Folk Group, led by Ian Campbell, the father of Ali and Robin Campbell, later of UB40: [Excerpt: The Ian Campbell Folk Group, “Shanten Bells (medley on Hullaballoo!)”] He’d sung with Ewan MacColl and A.L. Lloyd: [Excerpt: A.L. Lloyd, “Tom’s Gone to Hilo” ] And he’d formed his hugely successful duo with Martin Carthy, releasing records like “Byker Hill” which are often considered among the best British folk music of all time: [Excerpt: Martin Carthy and Dave Swarbrick, “Byker Hill”] By the time Fairport had invited him to play on Unhalfbricking, Swarbrick had already performed on twenty albums as a core band member, plus dozens more EPs, singles, and odd tracks on compilations. They had no reason to think they could actually get him to join their band. But they had three advantages. The first was that Swarbrick was sick of the traditional folk scene at the time, saying later “I didn’t like seven-eighths of the people involved in it, and it was extremely opportune to leave. I was suddenly presented with the possibilities of exploring the dramatic content of the songs to the full.” The second was that he was hugely excited to be playing with Richard Thompson, who was one of the most innovative guitarists of his generation, and Martin Carthy remembers him raving about Thompson after their initial sessions. (Carthy himself was and is no slouch on the guitar of course, and there was even talk of getting him to join the band at this point, though they decided against it — much to the relief of rhythm guitarist Simon Nicol, who is a perfectly fine player himself but didn’t want to be outclassed by *two* of the best guitarists in Britain at the same time). And the third was that Joe Boyd told him that Fairport were doing so well — they had a single just about to hit the charts with “Si Tu Dois Partir” — that he would only have to play a dozen gigs with Fairport in order to retire. As it turned out, Swarbrick would play with the group for a decade, and would never retire — I saw him on his last tour in 2015, only eight months before he died. The drummer the group picked was also a far more experienced musician than any of the rest, though in a very different genre. Dave Mattacks had no knowledge at all of the kind of music they played, having previously been a player in dance bands. When asked by Hutchings if he wanted to join the band, Mattacks’ response was “I don’t know anything about the music. I don’t understand it… I can’t tell one tune from another, they all sound the same… but if you want me to join the group, fine, because I really like it. I’m enjoying myself musically.” Mattacks brought a new level of professionalism to the band, thanks to his different background. Nicol said of him later “He was dilligent, clean, used to taking three white shirts to a gig… The application he could bring to his playing was amazing. With us, you only played well when you were feeling well.” This distinction applied to his playing as well. Nicol would later describe the difference between Mattacks’ drumming and Lamble’s by saying “Martin’s strength was as an imaginative drummer. DM came in with a strongly developed sense of rhythm, through keeping a big band of drunken saxophone players in order. A great time-keeper.” With this new line-up and a new sense of purpose, the group did as many of their contemporaries were doing and “got their heads together in the country”. Joe Boyd rented the group a mansion, Farley House, in Farley Chamberlayne, Hampshire, and they stayed there together for three months. At the start, the group seem to have thought that they were going to make another record like Unhalfbricking, with some originals, some songs by American songwriters, and a few traditional songs. Even after their stay in Farley Chamberlayne, in fact, they recorded a few of the American songs they’d rehearsed at the start of the process, Richard Farina’s “Quiet Joys of Brotherhood” and Bob Dylan and Roger McGuinn’s “Ballad of Easy Rider”: [Excerpt: Fairport Convention, “Ballad of Easy Rider”] Indeed, the whole idea of “getting our heads together in the country” (as the cliche quickly became in the late sixties as half of the bands in Britain went through much the same kind of process as Fairport were doing — but usually for reasons more to do with drug burnout or trend following than recovering from serious life-changing trauma) seems to have been inspired by Bob Dylan and the Band getting together in Big Pink. But very quickly they decided to follow the lead of Ashley Hutchings, who had had something of a Damascene conversion to the cause of traditional English folk music. They were listening mostly to Music From Big Pink by the Band, and to the first album by Sweeney’s Men: [Excerpt: Sweeney’s Men, “The Handsome Cabin Boy”] And they decided that they were going to make something that was as English as those records were North American and Irish (though in the event there were also a few Scottish songs included on the record). Hutchings in particular was becoming something of a scholar of traditional music, regularly visiting Cecil Sharp House and having long conversations with A.L. Lloyd, discovering versions of different traditional songs he’d never encountered before. This was both amusing and bemusing Sandy Denny, who had joined a rock group in part to get away from traditional music; but she was comfortable singing the material, and knew a lot of it and could make a lot of suggestions herself. Swarbrick obviously knew the repertoire intimately, and Nicol was amenable, while Mattacks was utterly clueless about the folk tradition at this point but knew this was the music he wanted to make. Thompson knew very little about traditional music, and of all the band members except Denny he was the one who has shown the least interest in the genre in his subsequent career — but as we heard at the beginning, showing the least interest in the genre is a relative thing, and while Thompson was not hugely familiar with the genre, he *was* able to work with it, and was also more than capable of writing songs that fit in with the genre. Of the eleven songs on the album, which was titled Liege and Lief (which means, roughly, Lord and Loyalty), there were no cover versions of singer-songwriters. Eight were traditional songs, and three were originals, all written in the style of traditional songs. The album opened with “Come All Ye”, an introduction written by Denny and Hutchings (the only time the two would ever write together): [Excerpt: Fairport Convention, “Come All Ye”] The other two originals were songs where Thompson had written new lyrics to traditional melodies. On “Crazy Man Michael”, Swarbrick had said to Thompson that the tune to which he had set his new words was weaker than the lyrics, to which Thompson had replied that if Swarbrick felt that way he should feel free to write a new melody. He did, and it became the first of the small number of Thompson/Swarbrick collaborations: [Excerpt: Fairport Convention, “Crazy Man Michael”] Thompson and Swarbrick would become a brief songwriting team, but as much as anything else it was down to proximity — the two respected each other as musicians, but never got on very well. In 1981 Swarbrick would say “Richard and I never got on in the early days of FC… we thought we did, but we never did. We composed some bloody good songs together, but it was purely on a basis of “you write that and I’ll write this, and we’ll put it together.” But we never sat down and had real good chats.” The third original on the album, and by far the most affecting, is another song where Thompson put lyrics to a traditional tune. In this case he thought he was putting the lyrics to the tune of “Willie O'Winsbury”, but he was basing it on a recording by Sweeney’s Men. The problem was that Sweeney’s Men had accidentally sung the lyrics of “Willie O'Winsbury'” to the tune of a totally different song, “Fause Foodrage”: [Excerpt: Sweeney’s Men, “Willie O’Winsbury”] Thompson took that melody, and set to it lyrics about loss and separation. Thompson has never been one to discuss the meanings of his lyrics in any great detail, and in the case of this one has said “I really don't know what it means. This song came out of a dream, and I pretty much wrote it as I dreamt it (it was the sixties), and didn't spend very long analyzing it. So interpret as you wish – or replace with your own lines.” But in the context of the traffic accident that had killed his tailor girlfriend and a bandmate, and injured most of his other bandmates, the lyrics about lonely travellers, the winding road, bruised and beaten sons, saying goodbye, and never cutting cloth, seem fairly self-explanatory: [Excerpt: Fairport Convention, “Farewell, Farewell”] The rest of the album, though, was taken up by traditional tunes. There was a long medley of four different fiddle reels; a version of “Reynardine” (a song about a seductive man — or is he a fox? Or perhaps both — which had been recorded by Swarbrick and Carthy on their most recent album); a 19th century song about a deserter saved from the firing squad by Prince Albert; and a long take on “Tam Lin”, one of the most famous pieces in the Scottish folk music canon, a song that has been adapted in different ways by everyone from the experimental noise band Current 93 to the dub poet Benjamin Zephaniah to the comics writer Grant Morrison: [Excerpt: Fairport Convention, “Tam Lin”] And “Matty Groves”, a song about a man killing his cheating wife and her lover, which actually has a surprisingly similar story to that of “1921” from another great concept album from that year, the Who’s Tommy. “Matty Groves” became an excuse for long solos and shows of instrumental virtuosity: [Excerpt: Fairport Convention, “Matty Groves”] The album was recorded in September 1969, after their return from their break in the country and a triumphal performance at the Royal Festival Hall, headlining over fellow Witchseason artists John and Beverly Martyn and Nick Drake. It became a classic of the traditional folk genre — arguably *the* classic of the traditional folk genre. In 2007 BBC Radio 2’s Folk Music Awards gave it an award for most influential folk album of all time, and while such things are hard to measure, I doubt there’s anyone with even the most cursory knowledge of British folk and folk-rock music who would not at least consider that a reasonable claim. But once again, by the time the album came out in November, the band had changed lineups yet again. There was a fundamental split in the band – on one side were Sandy Denny and Richard Thompson, whose stance was, roughly, that Liege and Lief was a great experiment and a fun thing to do once, but really the band had two first-rate songwriters in themselves, and that they should be concentrating on their own new material, not doing these old songs, good as they were. They wanted to take the form of the traditional songs and use that form for new material — they wanted to make British folk-rock, but with the emphasis on the rock side of things. Hutchings, on the other hand, was equally sure that he wanted to make traditional music and go further down the rabbit hole of antiquity. With the zeal of the convert he had gone in a couple of years from being the leader of a band who were labelled “the British Jefferson Airplane” to becoming a serious scholar of traditional folk music. Denny was tired of touring, as well — she wanted to spend more time at home with Trevor Lucas, who was sleeping with other women when she was away and making her insecure. When the time came for the group to go on a tour of Denmark, Denny decided she couldn’t make it, and Hutchings was jubilant — he decided he was going to get A.L. Lloyd into the band in her place and become a *real* folk group. Then Denny reconsidered, and Hutchings was crushed. He realised that while he had always been the leader, he wasn’t going to be able to lead the band any further in the traditionalist direction, and quit the group — but not before he was delegated by the other band members to fire Denny. Until the publication of Richard Thompson’s autobiography in 2022, every book on the group or its members said that Denny quit the band again, which was presumably a polite fiction that the band agreed, but according to Thompson “Before we flew home, we decided to fire Sandy. I don't remember who asked her to leave – it was probably Ashley, who usually did the dirty work. She was reportedly shocked that we would take that step. She may have been fragile beneath the confident facade, but she still knew her worth.” Thompson goes on to explain that the reasons for kicking her out were that “I suppose we felt that in her mind she had already left” and that “We were probably suffering from post-traumatic stress disorder, though there wasn't a name for it back then.” They had considered inviting Trevor Lucas to join the band to make Denny more comfortable, but came to the (probably correct) conclusion that while he was someone they got on well with personally, he would be another big ego in a band that already had several, and that being around Denny and Lucas’ volatile relationship would, in Thompson’s phrasing, “have not always given one a feeling of peace and stability.” Hutchings originally decided he was going to join Sweeney’s Men, but that group were falling apart, and their first rehearsal with Hutchings would also be their last as a group, with only Hutchings and guitarist and mandolin player Terry Woods left in the band. They added Woods’ wife Gay, and another couple, Tim Hart and Maddy Prior, and formed a group called Steeleye Span, a name given them by Martin Carthy. That group, like Fairport, went to “get their heads together in the country” for three months and recorded an album of electric versions of traditional songs, Hark the Village Wait, on which Mattacks and another drummer, Gerry Conway, guested as Steeleye Span didn’t at the time have their own drummer: [Excerpt: Steeleye Span, “Blackleg Miner”] Steeleye Span would go on to have a moderately successful chart career in the seventies, but by that time most of the original lineup, including Hutchings, had left — Hutchings stayed with them for a few albums, then went on to form the first of a series of bands, all called the Albion Band or variations on that name, which continue to this day. And this is something that needs to be pointed out at this point — it is impossible to follow every single individual in this narrative as they move between bands. There is enough material in the history of the British folk-rock scene that someone could do a 500 Songs-style podcast just on that, and every time someone left Fairport, or Steeleye Span, or the Albion Band, or Matthews’ Southern Comfort, or any of the other bands we have mentioned or will mention, they would go off and form another band which would then fission, and some of its members would often join one of those other bands. There was a point in the mid-1970s where the Albion Band had two original members of Fairport Convention while Fairport Convention had none. So just in order to keep the narrative anything like wieldy, I’m going to keep the narrative concentrated on the two figures from Fairport — Sandy Denny and Richard Thompson — whose work outside the group has had the most influence on the wider world of rock music more broadly, and only deal with the other members when, as they often did, their careers intersected with those two. That doesn’t mean the other members are not themselves hugely important musicians, just that their importance has been primarily to the folk side of the folk-rock genre, and so somewhat outside the scope of this podcast. While Hutchings decided to form a band that would allow him to go deeper and deeper into traditional folk music, Sandy Denny’s next venture was rather different. For a long time she had been writing far more songs than she had ever played for her bandmates, like “Nothing More”, a song that many have suggested is about Thompson: [Excerpt: Fotheringay, “Nothing More”] When Joe Boyd heard that Denny was leaving Fairport Convention, he was at first elated. Fairport’s records were being distributed by A&M in the US at that point, but Island Records was in the process of opening up a new US subsidiary which would then release all future Fairport product — *but*, as far as A&M were concerned, Sandy Denny *was* Fairport Convention. They were only interested in her. Boyd, on the other hand, loved Denny’s work intensely, but from his point of view *Richard Thompson* was Fairport Convention. If he could get Denny signed directly to A&M as a solo artist before Island started its US operations, Witchseason could get a huge advance on her first solo record, while Fairport could continue making records for Island — he’d have two lucrative acts, on different labels. Boyd went over and spoke to A&M and got an agreement in principle that they would give Denny a forty-thousand-dollar advance on her first solo album — twice what they were paying for Fairport albums. The problem was that Denny didn’t want to be a solo act. She wanted to be the lead singer of a band. She gave many reasons for this — the one she gave to many journalists was that she had seen a Judy Collins show and been impressed, but noticed that Collins’ band were definitely a “backing group”, and as she put it “But that's all they were – a backing group. I suddenly thought, If you're playing together on a stage you might as well be TOGETHER.” Most other people in her life, though, say that the main reason for her wanting to be in a band was her desire to be with her boyfriend, Trevor Lucas. Partly this was due to a genuine desire to spend more time with someone with whom she was very much in love, partly it was a fear that he would cheat on her if she was away from him for long periods of time, and part of it seems to have been Lucas’ dislike of being *too* overshadowed by his talented girlfriend — he didn’t mind acknowledging that she was a major talent, but he wanted to be thought of as at least a minor one. So instead of going solo, Denny formed Fotheringay, named after the song she had written for Fairport. This new band consisted at first of Denny on vocals and occasional piano, Lucas on vocals and rhythm guitar, and Lucas’ old Eclection bandmate Gerry Conway on drums. For a lead guitarist, they asked Richard Thompson who the best guitarist in Britain was, and he told them Albert Lee. Lee in turn brought in bass player Pat Donaldson, but this lineup of the band barely survived a fortnight. Lee *was* arguably the best guitarist in Britain, certainly a reasonable candidate if you could ever have a singular best (as indeed was Thompson himself), but he was the best *country* guitarist in Britain, and his style simply didn’t fit with Fotheringay’s folk-influenced songs. He was replaced by American guitarist Jerry Donahue, who was not anything like as proficient as Lee, but who was still very good, and fit the band’s style much better. The new group rehearsed together for a few weeks, did a quick tour, and then went into the recording studio to record their debut, self-titled, album. Joe Boyd produced the album, but admitted himself that he only paid attention to those songs he considered worthwhile — the album contained one song by Lucas, “The Ballad of Ned Kelly”, and two cover versions of American singer-songwriter material with Lucas singing lead. But everyone knew that the songs that actually *mattered* were Sandy Denny’s, and Boyd was far more interested in them, particularly the songs “The Sea” and “The Pond and the Stream”: [Excerpt: Fotheringay, “The Pond and the Stream”] Fotheringay almost immediately hit financial problems, though. While other Witchseason acts were used to touring on the cheap, all packed together in the back of a Transit van with inexpensive equipment, Trevor Lucas had ambitions of being a rock star and wanted to put together a touring production to match, with expensive transport and equipment, including a speaker system that got nicknamed “Stonehenge” — but at the same time, Denny was unhappy being on the road, and didn’t play many gigs. As well as the band itself, the Fotheringay album also featured backing vocals from a couple of other people, including Denny’s friend Linda Peters. Peters was another singer from the folk clubs, and a good one, though less well-known than Denny — at this point she had only released a couple of singles, and those singles seemed to have been as much as anything else released as a novelty. The first of those, a version of Dylan’s “You Ain’t Goin’ Nowhere” had been released as by “Paul McNeill and Linda Peters”: [Excerpt: Paul McNeill and Linda Peters, “You Ain’t Goin’ Nowhere”] But their second single, a version of John D. Loudermilk’s “You’re Taking My Bag”, was released on the tiny Page One label, owned by Larry Page, and was released under the name “Paul and Linda”, clearly with the intent of confusing particularly gullible members of the record-buying public into thinking this was the McCartneys: [Excerpt: Paul and Linda, “You’re Taking My Bag”] Peters was though more financially successful than almost anyone else in this story, as she was making a great deal of money as a session singer. She actually did another session involving most of Fotheringay around this time. Witchseason had a number of excellent songwriters on its roster, and had had some success getting covers by people like Judy Collins, but Joe Boyd thought that they might possibly do better at getting cover versions if they were performed in less idiosyncratic arrangements. Donahue, Donaldson, and Conway went into the studio to record backing tracks, and vocals were added by Peters and another session singer, who according to some sources also provided piano. They cut songs by Mike Heron of the Incredible String Band: [Excerpt: Linda Peters, “You Get Brighter”] Ed Carter, formerly of The New Nadir but by this time firmly ensconced in the Beach Boys’ touring band where he would remain for the next quarter-century: [Excerpt: Linda Peters, “I Don’t Mind”] John and Beverly Martyn, and Nick Drake: [Excerpt: Elton John, “Saturday Sun”] There are different lineups of musicians credited for those sessions in different sources, but I tend to believe that it’s mostly Fotheringay for the simple reason that Donahue says it was him, Donaldson and Conway who talked Lucas and Denny into the mistake that destroyed Fotheringay because of these sessions. Fotheringay were in financial trouble already, spending far more money than they were bringing in, but their album made the top twenty and they were getting respect both from critics and from the public — in September, Sandy Denny was voted best British female singer by the readers of Melody Maker in their annual poll, which led to shocked headlines in the tabloids about how this “unknown” could have beaten such big names as Dusty Springfield and Cilla Black. Only a couple of weeks after that, they were due to headline at the Albert Hall. It should have been a triumph. But Donahue, Donaldson, and Conway had asked that singing pianist to be their support act. As Donahue said later “That was a terrible miscast. It was our fault. He asked if [he] could do it. Actually Pat, Gerry and I had to talk Sandy and Trevor into [it]… We'd done these demos and the way he was playing – he was a wonderful piano player – he was sensitive enough. We knew very little about his stage-show. We thought he'd be a really good opener for us.” Unfortunately, Elton John was rather *too* good. As Donahue continued “we had no idea what he had in mind, that he was going to do the most incredible rock & roll show ever. He pretty much blew us off the stage before we even got on the stage.” To make matters worse, Fotheringay’s set, which was mostly comprised of new material, was underrehearsed and sloppy, and from that point on no matter what they did people were counting the hours until the band split up. They struggled along for a while though, and started working on a second record, with Boyd again producing, though as Boyd later said “I probably shouldn't have been producing the record. My lack of respect for the group was clear, and couldn't have helped the atmosphere. We'd put out a record that had sold disappointingly, A&M was unhappy. Sandy's tracks on the first record are among the best things she ever did – the rest of it, who cares? And the artwork, Trevor's sister, was terrible. It would have been one thing if I'd been unhappy with it and it sold, and the group was working all the time, making money, but that wasn't the case … I knew what Sandy was capable of, and it was very upsetting to me.” The record would not be released for thirty-eight years: [Excerpt: Fotheringay, “Wild Mountain Thyme”] Witchseason was going badly into debt. Given all the fissioning of bands that we’ve already been talking about, Boyd had been stretched thin — he produced sixteen albums in 1970, and almost all of them lost money for the company. And he was getting more and more disillusioned with the people he was producing. He loved Beverly Martyn’s work, but had little time for her abusive husband John, who was dominating her recording and life more and more and would soon become a solo artist while making her stay at home (and stealing her ideas without giving her songwriting credit). The Incredible String Band were great, but they had recently converted to Scientology, which Boyd found annoying, and while he was working with all sorts of exciting artists like Vashti Bunyan and Nico, he was finding himself less and less important to the artists he mentored. Fairport Convention were a good example of this. After Denny and Hutchings had left the group, they’d decided to carry on as an electric folk group, performing an equal mix of originals by the Swarbrick and Thompson songwriting team and arrangements of traditional songs. The group were now far enough away from the “British Jefferson Airplane” label that they decided they didn’t need a female vocalist — and more realistically, while they’d been able to replace Judy Dyble, nobody was going to replace Sandy Denny. Though it’s rather surprising when one considers Thompson’s subsequent career that nobody seems to have thought of bringing in Denny’s friend Linda Peters, who was dating Joe Boyd at the time (as Denny had been before she met Lucas) as Denny’s replacement. Instead, they decided that Swarbrick and Thompson were going to share the vocals between them. They did, though, need a bass player to replace Hutchings. Swarbrick wanted to bring in Dave Pegg, with whom he had played in the Ian Campbell Folk Group, but the other band members initially thought the idea was a bad one. At the time, while they respected Swarbrick as a musician, they didn’t think he fully understood rock and roll yet, and they thought the idea of getting in a folkie who had played double bass rather than an electric rock bassist ridiculous. But they auditioned him to mollify Swarbrick, and found that he was exactly what they needed. As Joe Boyd later said “All those bass lines were great, Ashley invented them all, but he never could play them that well. He thought of them, but he was technically not a terrific bass player. He was a very inventive, melodic, bass player, but not a very powerful one technically. But having had the part explained to him once, Pegg was playing it better than Ashley had ever played it… In some rock bands, I think, ultimately, the bands that sound great, you can generally trace it to the bass player… it was at that point they became a great band, when they had Pegg.” The new lineup of Fairport decided to move in together, and found a former pub called the Angel, into which all the band members moved, along with their partners and children (Thompson was the only one who was single at this point) and their roadies. The group lived together quite happily, and one gets the impression that this was the period when they were most comfortable with each other, even though by this point they were a disparate group with disparate tastes, in music as in everything else. Several people have said that the only music all the band members could agree they liked at this point was the first two albums by The Band. With the departure of Hutchings from the band, Swarbrick and Thompson, as the strongest personalities and soloists, became in effect the joint leaders of the group, and they became collaborators as songwriters, trying to write new songs that were inspired by traditional music. Thompson described the process as “let’s take one line of this reel and slow it down and move it up a minor third and see what that does to it; let’s take one line of this ballad and make a whole song out of it. Chopping up the tradition to find new things to do… like a collage.” Generally speaking, Swarbrick and Thompson would sit by the fire and Swarbrick would play a melody he’d been working on, the two would work on it for a while, and Thompson would then go away and write the lyrics. This is how the two came up with songs like the nine-minute “Sloth”, a highlight of the next album, Full House, and one that would remain in Fairport’s live set for much of their career: [Excerpt: Fairport Convention, “Sloth”] “Sloth” was titled that way because Thompson and Swarbrick were working on two tunes, a slow one and a fast one, and they jokingly named them “Sloth” and “Fasth”, but the latter got renamed to “Walk Awhile”, while “Sloth” kept its working title. But by this point, Boyd and Thompson were having a lot of conflict in the studio. Boyd was never the most technical of producers — he was one of those producers whose job is to gently guide the artists in the studio and create a space for the music to flourish, rather than the Joe Meek type with an intimate technical knowledge of the studio — and as the artists he was working with gained confidence in their own work they felt they had less and less need of him. During the making of the Full House album, Thompson and Boyd, according to Boyd, clashed on everything — every time Boyd thought Thompson had done a good solo, Thompson would say to erase it and let him have another go, while every time Boyd thought Thompson could do better, Thompson would say that was the take to keep. One of their biggest clashes was over Thompson’s song “Poor Will and the Jolly Hangman”, which was originally intended for release on the album, and is included in current reissues of it: [Excerpt: Fairport Convention, “Poor Will and the Jolly Hangman”] Thompson had written that song inspired by what he thought was the unjust treatment of Alex Bramham, the driver in Fairport’s fatal car crash, by the courts — Bramham had been given a prison sentence of a few months for dangerous driving, while the group members thought he had not been at fault. Boyd thought it was one of the best things recorded for the album, but Thompson wasn’t happy with his vocal — there was one note at the top of the melody that he couldn’t quite hit — and insisted it be kept off the record, even though that meant it would be a shorter album than normal. He did this at such a late stage that early copies of the album actually had the title printed on the sleeve, but then blacked out. He now says in his autobiography “I could have persevered, double-tracked the voice, warmed up for longer – anything. It was a good track, and the record was lacking without it. When the album was re-released, the track was restored with a more confident vocal, and it has stayed there ever since.” During the sessions for Full House the group also recorded one non-album single, Thompson and Swarbrick’s “Now Be Thankful”: [Excerpt, Fairport Convention, “Now Be Thankful”] The B-side to that was a medley of two traditional tunes plus a Swarbrick original, but was given the deliberately ridiculous title “Sir B. McKenzie’s Daughter’s Lament For The 77th Mounted Lancers Retreat From The Straits Of Loch Knombe, In The Year Of Our Lord 1727, On The Occasion Of The Announcement Of Her Marriage To The Laird Of Kinleakie”: [Excerpt: Fairport Convention, “Sir B. McKenzie’s Daughter’s Lament For The 77th Mounted Lancers Retreat From The Straits Of Loch Knombe, In The Year Of Our Lord 1727, On The Occasion Of The Announcement Of Her Marriage To The Laird Of Kinleakie”] The B. McKenzie in the title was a reference to the comic-strip character Barry McKenzie, a stereotype drunk Australian created for Private Eye magazine by the comedian Barry Humphries (later to become better known for his Dame Edna Everage character) but the title was chosen for one reason only — to get into the Guinness Book of Records for the song with the longest title. Which they did, though they were later displaced by the industrial band Test Dept, and their song “Long Live British Democracy Which Flourishes and Is Constantly Perfected Under the Immaculate Guidance of the Great, Honourable, Generous and Correct Margaret Hilda Thatcher. She Is the Blue Sky in the Hearts of All Nations. Our People Pay Homage and Bow in Deep Respect and Gratitude to Her. The Milk of Human Kindness”. Full House got excellent reviews in the music press, with Rolling Stone saying “The music shows that England has finally gotten her own equivalent to The Band… By calling Fairport an English equivalent of the Band, I meant that they have soaked up enough of the tradition of their countryfolk that it begins to show all over, while they maintain their roots in rock.” Off the back of this, the group went on their first US tour, culminating in a series of shows at the Troubadour in LA, on the same bill as Rick Nelson, which were recorded and later released as a live album: [Excerpt: Fairport Convention, “Sloth (live)”] The Troubadour was one of the hippest venues at the time, and over their residency there the group got seen by many celebrities, some of whom joined them on stage. The first was Linda Ronstadt, who initially demurred, saying she didn’t know any of their songs. On being told they knew all of hers, she joined in with a rendition of “Silver Threads and Golden Needles”. Thompson was later asked to join Ronstadt’s backing band, who would go on to become the Eagles, but he said later of this offer “I would have hated it. I’d have hated being on the road with four or five miserable Americans — they always seem miserable. And if you see them now, they still look miserable on stage — like they don’t want to be there and they don’t like each other.” The group were also joined on stage at the Troubadour on one memorable night by some former bandmates of Pegg’s. Before joining the Ian Campbell Folk Group, Pegg had played around the Birmingham beat scene, and had been in bands with John Bonham and Robert Plant, who turned up to the Troubadour with their Led Zeppelin bandmate Jimmy Page (reports differ on whether the fourth member of Zeppelin, John Paul Jones, also came along). They all got up on stage together and jammed on songs like “Hey Joe”, “Louie Louie”, and various old Elvis tunes. The show was recorded, and the tapes are apparently still in the possession of Joe Boyd, who has said he refuses to release them in case he is murdered by the ghost of Peter Grant. According to Thompson, that night ended in a three-way drinking contest between Pegg, Bonham, and Janis Joplin, and it’s testament to how strong the drinking culture is around Fairport and the British folk scene in general that Pegg outdrank both of them. According to Thompson, Bonham was found naked by a swimming pool two days later, having missed two gigs. For all their hard rock image, Led Zeppelin were admirers of a lot of the British folk and folk-rock scene, and a few months later Sandy Denny would become the only outside vocalist ever to appear on a Led Zeppelin record when she duetted with Plant on “The Battle of Evermore” on the group’s fourth album: [Excerpt: Led Zeppelin, “The Battle of Evermore”] Denny would never actually get paid for her appearance on one of the best-selling albums of all time. That was, incidentally, not the only session that Denny was involved in around this time — she also sang on the soundtrack to a soft porn film titled Swedish Fly Girls, whose soundtrack was produced by Manfred Mann: [Excerpt: Sandy Denny, “What Will I Do With Tomorrow?”] Shortly after Fairport’s trip to America, Joe Boyd decided he was giving up on Witchseason. The company was now losing money, and he was finding himself having to produce work for more and more acts as the various bands fissioned. The only ones he really cared about were Richard Thompson, who he was finding it more and more difficult to work with, Nick Drake, who wanted to do his next album with just an acoustic guitar anyway, Sandy Denny, who he felt was wasting her talents in Fotheringay, and Mike Heron of the Incredible String Band, who was more distant since his conversion to Scientology. Boyd did make some attempts to keep the company going. On a trip to Sweden, he negotiated an agreement with the manager and publisher of a Swedish band whose songs he’d found intriguing, the Hep Stars. Boyd was going to publish their songs in the UK, and in return that publisher, Stig Anderson, would get the rights to Witchseason’s catalogue in Scandinavia — a straight swap, with no money changing hands. But before Boyd could get round to signing the paperwork, he got a better offer from Mo Ostin of Warners — Ostin wanted Boyd to come over to LA and head up Warners’ new film music department. Boyd sold Witchseason to Island Records and moved to LA with his fiancee Linda Peters, spending the next few years working on music for films like Deliverance and A Clockwork Orange, as well as making his own documentary about Jimi Hendrix, and thus missed out on getting the UK publishing rights for ABBA, and all the income that would have brought him, for no money. And it was that decision that led to the breakup of Fotheringay. Just before Christmas 1970, Fotheringay were having a difficult session, recording the track “John the Gun”: [Excerpt: Fotheringay, “John the Gun”] Boyd got frustrated and kicked everyone out of the session, and went for a meal and several drinks with Denny. He kept insisting that she should dump the band and just go solo, and then something happened that the two of them would always describe differently. She asked him if he would continue to produce her records if she went solo, and he said he would. According to Boyd’s recollection of the events, he meant that he would fly back from California at some point to produce her records. According to Denny, he told her that if she went solo he would stay in Britain and not take the job in LA. This miscommunication was only discovered after Denny told the rest of Fotheringay after the Christmas break that she was splitting the band. Jerry Donahue has described that as the worst moment of his life, and Denny felt very guilty about breaking up a band with some of her closest friends in — and then when Boyd went over to the US anyway she felt a profound betrayal. Two days before Fotheringay’s final concert, in January 1971, Sandy Denny signed a solo deal with Island records, but her first solo album would not end up produced by Joe Boyd. Instead, The North Star Grassman and the Ravens was co-produced by Denny, John Wood — the engineer who had worked with Boyd on pretty much everything he’d produced, and Richard Thompson, who had just quit Fairport Convention, though he continued living with them at the Angel, at least until a truck crashed into the building in February 1971, destroying its entire front wall and forcing them to relocate. The songs chosen for The North Star Grassman and the Ravens reflected the kind of choices Denny would make on her future albums, and her eclectic taste in music. There was, of course, the obligatory Dylan cover, and the traditional folk ballad “Blackwaterside”, but there was also a cover version of Brenda Lee’s “Let’s Jump the Broomstick”: [Excerpt: Sandy Denny, “Let’s Jump the Broomstick”] Most of the album, though, was made up of originals about various people in Denny’s life, like “Next Time Around”, about her ex-boyfriend Jackson C Frank: [Excerpt: Sandy Denny, “Next Time Around”] The album made the top forty in the UK — Denny’s only solo album to do so — and led to her once again winning the “best female singer” award in Melody Maker’s readers’ poll that year — the male singer award was won by Rod Stewart. Both Stewart and Denny appeared the next year on the London Symphony Orchestra’s all-star version of The Who’s Tommy, which had originally been intended as a vehicle for Stewart before Roger Daltrey got involved. Stewart’s role was reduced to a single song, “Pinball Wizard”, while Denny sang on “It’s a Boy”: [Excerpt: Sandy Denny, “It’s a Boy”] While Fotheringay had split up, all the band members play on The North Star Grassman and the Ravens. Guitarists Donahue and Lucas only play on a couple of the tracks, with Richard Thompson playing most of the guitar on the record. But Fotheringay’s rhythm section of Pat Donaldson and Gerry Conway play on almost every track. Another musician on the album, Ian Whiteman, would possibly have a profound effect on the future direction of Richard Thompson’s career and life. Whiteman was the former keyboard player for the mod band The Action, having joined them just before they became the blues-rock band Mighty Baby. But Mighty Baby had split up when all of the band except the lead singer had converted to Islam. Richard Thompson was on his own spiritual journey at this point, and became a Sufi – the same branch of Islam as Whiteman – soon after the session, though Thompson has said that his conversion was independent of Whiteman’s. The two did become very close and work together a lot in the mid-seventies though. Thompson had supposedly left Fairport because he was writing material that wasn’t suited to the band, but he spent more than a year after quitting the group working on sessions rather than doing anything with his own material, and these sessions tended to involve the same core group of musicians. One of the more unusual was a folk-rock supergroup called The Bunch, put together by Trevor Lucas. Richard Branson had recently bought a recording studio, and wanted a band to test it out before opening it up for commercial customers, so with this free studio time Lucas decided to record a set of fifties rock and roll covers. He gathered together Thompson, Denny, Whiteman, Ashley Hutchings, Dave Mattacks, Pat Donaldson, Gerry Conway, pianist Tony Cox, the horn section that would later form the core of the Average White Band, and Linda Peters, who had now split up with Joe Boyd and returned to the UK, and who had started dating Thompson. They recorded an album of covers of songs by Jerry Lee Lewis, the Everly Brothers, Johnny Otis and others: [Excerpt: The Bunch, “Willie and the Hand Jive”] The early seventies was a hugely productive time for this group of musicians, as they all continued playing on each other’s projects. One notable album was No Roses by Shirley Collins, which featured Thompson, Mattacks, Whiteman, Simon Nicol, Lal and Mike Waterson, and Ashley Hutchings, who was at that point married to Collins, as well as some more unusual musicians like the free jazz saxophonist Lol Coxhill: [Excerpt: Shirley Collins and the Albion Country Band, “Claudy Banks”] Collins was at the time the most respected female singer in British traditional music, and already had a substantial career including a series of important records made with her sister Dolly, work with guitarists like Davey Graham, and time spent in the 1950s collecting folk songs in the Southern US with her then partner Alan Lomax – according to Collins she did much of the actual work, but Lomax only mentioned her in a single sentence in his book on this work. Some of the same group of musicians went on to work on an album of traditional Morris dancing tunes, titled Morris On, credited to “Ashley Hutchings, Richard Thompson, Dave Mattacks, John Kirkpatrick and Barry Dransfield”, with Collins singing lead on two tracks: [Excerpt: Ashley Hutchings, Richard Thompson, Dave Mattacks, John Kirkpatrick and Barry Dransfield with Shirley Collins, “The Willow Tree”] Thompson thought that that album was the best of the various side projects he was involved in at the time, comparing it favourably to Rock On, which he thought was rather slight, saying later “Conceptually, Fairport, Ashley and myself and Sandy were developing a more fragile style of music that nobody else was particularly interested in, a British Folk Rock idea that had a logical development to it, although we all presented it our own way. Morris On was rather more true to what we were doing. Rock On was rather a retro step. I'm not sure it was lasting enough as a record but Sandy did sing really well on the Buddy Holly songs.” Hutchings used the musicians on No Roses and Morris On as the basis for his band the Albion Band, which continues to this day. Simon Nicol and Dave Mattacks both quit Fairport to join the Albion Band, though Mattacks soon returned. Nicol would not return to Fairport for several years, though, and for a long period in the mid-seventies Fairport Convention had no original members. Unfortunately, while Collins was involved in the Albion Band early on, she and Hutchings ended up divorcing, and the stress from the divorce led to Collins developing spasmodic dysphonia, a stress-related illness which makes it impossible for the sufferer to sing. She did eventually regain her vocal ability, but between 1978 and 2016 she was unable to perform at all, and lost decades of her career. Richard Thompson occasionally performed with the Albion Band early on, but he was getting stretched a little thin with all these sessions. Linda Peters said later of him “When I came back from America, he was working in Sandy’s band, and doing sessions by the score. Always with Pat Donaldson and Dave Mattacks. Richard would turn up with his guitar, one day he went along to do a session with one of those folkie lady singers — and there were Pat and DM. They all cracked. Richard smashed his amp and said “Right! No more sessions!” In 1972 he got round to releasing his first solo album, Henry the Human Fly, which featured guest appearances by Linda Peters and Sandy Denny among others: [Excerpt: Richard Thompson, “The Angels Took My Racehorse Away”] Unfortunately, while that album has later become regarded as one of the classics of its genre, at the time it was absolutely slated by the music press. The review in Melody Maker, for example, read in part “Some of Richard Thompson’s ideas sound great – which is really the saving grace of this album, because most of the music doesn’t. The tragedy is that Thompson’s “British rock music” is such an unconvincing concoction… Even the songs that do integrate rock and traditional styles of electric guitar rhythms and accordion and fiddle decoration – and also include explicit, meaningful lyrics are marred by bottle-up vocals, uninspiring guitar phrases and a general lack of conviction in performance.” Henry the Human Fly was released in the US by Warners, who had a reciprocal licensing deal with Island (and for whom Joe Boyd was working at the time, which may have had something to do with that) but according to Thompson it became the lowest-selling record that Warners ever put out (though I’ve also seen that claim made about Van Dyke Parks’ Song Cycle, another album that has later been rediscovered). Thompson was hugely depressed by this reaction, and blamed his own singing. Happily, though, by this point he and Linda had become a couple — they would marry in 1972 — and they started playing folk clubs as a duo, or sometimes in a trio with Simon Nicol. Thompson was also playing with Sandy Denny’s backing band at this point, and played on every track on her second solo album, Sandy. This album was meant to be her big commercial breakthrough, with a glamorous cover photo by David Bailey, and with a more American sound, including steel guitar by Sneaky Pete Kleinow of the Flying Burrito Brothers (whose overdubs were supervised in LA by Joe Boyd): [Excerpt: Sandy Denny, “Tomorrow is a Long Time”] The album was given a big marketing push by Island, and “Listen, Listen” was made single of the week on the Radio 1 Breakfast show: [Excerpt: Sandy Denny, “Listen, Listen”] But it did even worse than the previous album, sending her into something of a depression. Linda Thompson (as the former Linda Peters now was) said of this period “After the Sandy album, it got her down that her popularity didn't suddenly increase in leaps and bounds, and that was the start of her really fretting about the way her career was going. Things only escalated after that. People like me or Martin Carthy or Norma Waterson would think, ‘What are you on about? This is folk music.'” After Sandy’s release, Denny realised she could no longer afford to tour with a band, and so went back to performing just acoustically or on piano. The only new music to be released by either of these ex-members of Fairport Convention in 1973 was, oddly, on an album by the band they were no longer members of. After Thompson had left Fairport, the group had managed to release two whole albums with the same lineup — Swarbrick, Nicol, Pegg, and Mattacks. But then Nicol and Mattacks had both quit the band to join the Albion Band with their former bandmate Ashley Hutchings, leading to a situation where the Albion Band had two original members of Fairport plus their longtime drummer while Fairport Convention itself had no original members and was down to just Swarbrick and Pegg. Needing to fulfil their contracts, they then recruited three former members of Fotheringay — Lucas on vocals and rhythm guitar, Donahue on lead guitar, and Conway on drums. Conway was only a session player at the time, and Mattacks soon returned to the band, but Lucas and Donahue became full-time members. This new lineup of Fairport Convention released two albums in 1973, widely regarded as the group’s most inconsistent records, and on the title track of the first, “Rosie”, Richard Thompson guested on guitar, with Sandy Denny and Linda Thompson on backing vocals: [Excerpt: Fairport Convention, “Rosie”] Neither Sandy Denny nor Richard Thompson released a record themselves in 1973, but in neither case was this through the artists’ choice. The record industry was changing in the early 1970s, as we’ll see in later episodes, and was less inclined to throw good money after bad in the pursuit of art. Island Records prided itself on being a home for great artists, but it was still a business, and needed to make money. We’ll talk about the OPEC oil crisis and its effect on the music industry much more when the podcast gets to 1973, but in brief, the production of oil by the US peaked in 1970 and started to decrease, leading to them importing more and more oil from the Middle East. As a result of this, oil prices rose slowly between 1971 and 1973, then very quickly towards the end of 1973 as a result of the Arab-Israeli conflict that year. As vinyl is made of oil, suddenly producing records became much more expensive, and in this period a lot of labels decided not to release already-completed albums, until what they hoped would be a brief period of shortages passed. Both Denny and Thompson recorded albums at this point that got put to one side by Island. In the case of Thompson, it was the first album by Richard and Linda as a duo, I Want to See the Bright Lights Tonight: [Excerpt: Richard and Linda Thompson, “I Want to See the Bright Lights Tonight”] Today, I Want to See the Bright Lights Tonight is widely regarded as one of the greatest albums of all time, and as one of the two masterpieces that bookended Richard and Linda’s career as a duo and their marriage. But when they recorded the album, full of Richard’s dark songs, it was the opposite of commercial. Even a song that’s more or less a boy-girl song, like “Has He Got a Friend for Me?” has lyrics like “He wouldn’t notice me passing by/I could be in the gutter, or dangling down from a tree” [Excerpt: Richard and Linda Thompson, “Has He got a Friend For Me?”] While something like “The Calvary Cross” is oblique and haunted, and seems to cast a pall over the entire album: [Excerpt: Richard and Linda Thompson, “The Calvary Cross”] The album itself had been cheap to make — it had been recorded in only a week, with Thompson bringing in musicians he knew well and had worked with a lot previously to cut the tracks as-live in only a handful of takes — but Island didn’t think it was worth releasing. The record stayed on the shelf for nearly a year after recording, until Island got a new head of A&R, Richard Williams. Williams said of the album’s release “Muff Winwood had been doing A&R, but he was more interested in production… I had a conversation with Muff as soon as I got there, and he said there are a few hangovers, some outstanding problems. And one of them was Richard Thompson. He said there’s this album we gave him the money to make — which was I Want to See the Bright Lights Tonight — and nobody’s very interested in it. Henry the Human Fly had been a bit of a commercial disappointment, and although Island was altruistic and independent and known for only recording good stuff, success was important… Either a record had to do well or somebody had to believe in it a lot. And it seemed as if neither of those things were true at that point of Richard.” Williams, though, was hugely impressed when he listened to the album. He compared Richard Thompson’s guitar playing to John Coltrane’s sax, and called Thompson “the folk poet of the rainy streets”, but also said “Linda brightened it, made it more commercial. and I thought that “Bright Lights” itself seemed a really commercial song.” The rest of the management at Island got caught up in Williams’ enthusiasm, and even decided to release the title track as a single: [Excerpt: Richard and Linda Thompson, “I Want to See the Bright Lights Tonight”] Neither single nor album charted — indeed it would not be until 1991 that Richard Thompson would make a record that made the top forty in the UK — but the album got enough critical respect that Richard and Linda released two albums the year after. The first of these, Hokey Pokey, is a much more upbeat record than their previous one — Richard Thompson has called it “quite a music-hall influenced record” and cited the influence of George Formby and Harry Lauder. For once, the claim of music hall influence is audible in the music. Usually when a British musician is claimed to have a music ha

A flourishing garden starts with healthy soil, a living ecosystem teeming with life. In her new book, Start with Soil: Simple Steps for a Thriving Garden, garden designer and educator Juliet Sargeant explores why soil should be every gardener's first step. In this conversation with Jacques, she shares practical advice on improving soil health and explains how paying attention to local conditions leads to a more resilient, thriving garden. Connect with Juliet Sargeant: Juliet is a garden designer, educator, and founder of the Sussex Garden School, where she shares her unique approach to landscape and well-being. A former hospital doctor, she brings a deep understanding of the links between health and nature to her work. Her award-winning Modern Slavery Garden at the 2016 RHS Chelsea Flower Show marked a powerful intersection of design and social impact. Among her many accolades, Juliet is also a Fellow of the Society of Garden Designers and a familiar voice on BBC Radio 4's Gardeners' Question Time. Find more from Juliet at Sussex Garden School: https://www.sussexgardenschool.com/ Find more from Juliet on her website: https://www.julietsargeant.com/  Find more Juliet on Instagram: https://www.instagram.com/julietsargeant/  Support The Beet: → Shop: https://growepic.co/shop  → Seeds: https://growepic.co/botanicalinterests  Learn More: → All Our Channels: https://growepic.co/youtube  → Blog: https://growepic.co/blog  → Podcast: https://growepic.co/podcasts  → Discord: https://growepic.co/discord  → Instagram: https://growepic.co/insta  → TikTok: https://growepic.co/tiktok  → Pinterest: https://growepic.co/pinterest  → Twitter: https://growepic.co/twitter  → Facebook: https://growepic.co/facebook  → Facebook Group: https://growepic.co/fbgroup → Love our products? Become an Epic affiliate! https://growepic.co/3FjQXqV Learn more about your ad choices. Visit podcastchoices.com/adchoices

BBC Radio WM host, Daz Hale, returns to reflect on last season's campaign for Aston Villa and key decisions that the football club will have to make heading into next season.You can listen for FREE on Acast, Apple Podcasts, and Spotify - dig in!WHAT DO WE DISCUSS?What did Daz make of the season that was for Unai Emery's men?Was missing out on the Champions League the end of the world?Emi Martinez and Ollie Watkins' Villa futures.Do fans of the football club need to stop looking back at the past?What has been Daz's favourite moment while working in the media this past season?STAY CONNECTED:Email: holtecast@gmail.comX: @HoltecastPodThreads: HoltecastBluesky: @holtecastpod.bsky.socialCole Pettem: @TalkAstonVillaSimon O'Regan: @SiOReganGUEST: @DazHaleWMEPISODE NOTES:Thank you to our charity partner, Acorns Children's Hopsice.Donate today to support a fantastic charity: https://www.acorns.org.uk/get-involved/donate/ Hosted on Acast. See acast.com/privacy for more information.

Liz Guterbock is an American born British citizen stand-up comedian, award-winning actor, improviser and voice over artist. In 2023 she made The Guardian's 10 Best Jokes of Edinburgh Fringe and Dave Joke of the Fringe lists. Her 2023 Edinburgh Fringe debut show Liz Guterbock: Geriatric Millennial 4-star reviews from Funny Women, The Mumble and Pepper & Salt, and complimentary press from The Scotsman, Festmag and Chortle. In 2022, Liz was nominated by some of the country's best promoters as one of 10 stand-up comedians on Union Jack Radio's ‘Ones to Watch' list. She was a finalist in the 2021 British Comedy Guide Pro Performance Awards and a nominee in the 2021 Leicester Mercury Comedian of the Year Awards. In 2019 she was a finalist in the Funny Women UK Awards and a BBC Radio 4 New Comedy Award nominee. Liz's television highlights include Armando Iannucci's hit sci-fi comedy series Avenue 5 on HBO, Channel 4's ‘For the Love of Cars,' and CBBC's Victorian Drama series ‘Hetty Feather.' Stage highlights include: 5 stars in Time Out and a special mention in The Stage for ‘It's All True' (The White Bear Theatre). She trained at Royal Central School of Speech and Drama. Liz's voice has an impressive vocal range from a naturally upbeat and sunny Californian commercial voice to that understated comedic delivery that she embellishes in her stand-up. Liz has worked extensively as a voice artist, having lent her voice to commercial campaigns for King and Amazon as well as demanding character work in video games like Pillars of Eternity II and Payday 2: Midland Ranch Heist. Liz is also a member of The Free Association, which Time Out has dubbed “the improv comedy super group.” She regularly performs at The Free Association's theatre in Haggerston, as well as in their residencies at Battersea Arts Centre, VAULT Festival, and 21 Soho.  Her new show ‘NICE' is now out, check them out below – also performing in Edinburgh which is exciting! We chat about getting into voice acting, moving to England, new comedy shows in Edinburgh (Nice), Steve Martin's impact, anxiety and breathing, life changing lunches and cranial osteopathy, perseverance, nurturing creativity + plenty more! Check Liz out on: Instagram: https://www.instagram.com/lizguterbock Website: https://lizguterbock.com/ ------------------------------------------- Follow @Funny in Failure on Instagram and Facebook https://www.instagram.com/funnyinfailure/ https://www.facebook.com/funnyinfailure/ and @Michael_Kahan on Insta & Twitter to keep up to date with the latest info. https://www.instagram.com/michael_kahan/ https://twitter.com/Michael_Kahan

Jay Rayner and a panel of food experts are in Bath offering tips on soft cheese and bain-marie cooking. Jay is joined by chefs, cooks and food writers Sophie Wright, Jocky Petrie and Lerato Umah-Shaylor, along with resident food historian Dr Annie Gray. The panellists discuss their favourite cold soups, explain the purpose of different types of salt, and share the best things to pair with soft cheese. Meanwhile, Annie Gray provides a brief history of cheese production in the UK. Later on, Jay chats to local cheesemonger Hugh Padfield to discuss the unique history, flavour profile and method of producing Bath soft cheese.Senior Producer: Dominic Tyerman Assistant Producer: Dulcie Whadcock A Somethin' Else production for BBC Radio 4

Matthew Syed is the author of Rebel Ideas, Columnist for The Times & The Sunday Times, as well as a presenter on BBC Radio 4's Sideways. | Follow Matthew on X: https://x.com/matthewsyed Footage from "The untold story of the Iran-Iraq war's frontline children - BBC World Service Documentaries": https://www.youtube.com/watch?v=aHZRvpuW8QM The IAEA report - https://www.iaea.org/sites/default/files/25/06/gov2025-24.pdf SPONSOR. Sponsored by Venice AI: Enjoy private, uncensored AI with our sponsor https://venice.ai/triggernometry - use code TRIGGERNOMETRY to get 20% off a pro plan SPONSOR. Try Evening Being by Verso. Get 15% with code TRIGGER at https://ver.so Join our exclusive TRIGGERnometry community on Substack! https://triggernometry.substack.com/ OR Support TRIGGERnometry Here: Bitcoin: bc1qm6vvhduc6s3rvy8u76sllmrfpynfv94qw8p8d5 Shop Merch here - https://www.triggerpod.co.uk/shop/ Advertise on TRIGGERnometry: marketing@triggerpod.co.uk Find TRIGGERnometry on Social Media: https://twitter.com/triggerpod https://www.facebook.com/triggerpod/ https://www.instagram.com/triggerpod/ About TRIGGERnometry: Stand-up comedians Konstantin Kisin (@konstantinkisin) and Francis Foster (@francisjfoster) make sense of politics, economics, free speech, AI, drug policy and WW3 with the help of presidential advisors, renowned economists, award-winning journalists, controversial writers, leading scientists and notorious comedians. 00:00 Introduction 06:39 Is This Just Like Iraq? 13:25 There Was Always Going To Be Conflict Between Iran and Israel 20:32 What Happens To Iran When You Get Rid Of The Regime? 24:36 Is There Potential For This To Start WW3? 30:07 How Many Young People Are Willing To Fight For The US And UK? 37:50 Is Israel Going Too Far In Gaza? 01:00:06 The Rabid Hate Of Jews Across The Arab World Learn more about your ad choices. Visit megaphone.fm/adchoices

Danny Robins is joined by paranormal experts Ciaran O'Keeffe and Evelyn Hollow for a special episode, recorded live at the Hay Festival 2025, featuring brand new cases to chill your spine this summer. Are you Team Believer or Team Sceptic? How do we explain them?Written and presented by Danny Robins Editing and sound design: Charlie Brandon-King Music: Evelyn Sykes Theme music by Lanterns on the Lake Commissioning executive: Paula McDonnell Commissioning editor: Rhian Roberts Produced by Danny Robins and Simon BarnardA Bafflegab and Uncanny Media production for BBC Radio 4

Journalists Peter Hitchens and Oliver Kamm, radio presenter and comedian Ellis James, languages expert Ross Perlin, Diana Sutton director of The Bell Foundation and podcaster and academic Reetika Revathy Subramanian join Matthew Sweet for a conversation about how language unites and divides us.Ross Perlin's book Language City: The Fight to Preserve Endangered Mother Tongues was the winner of the British Academy Book prize and he is in London for the British Academy Summer showcase. Reetika Revathy Subramanian has been chosen as one of six researchers in residence at BBC Radio 4 in the coming year on the New Generation Thinkers scheme run in partnership with the Arts and Humanities Research Council. She is a Senior Research Associate, School of Global Development at the University of East Anglia and hosts the Climate Brides podcast. You can also find a recent episode of Free Thinking exploring peace which features another of the researchers in residence Ashleigh Percival-Borley, a former soldier who is now a military historian based at the University of Durham.Producer: Debbie Kilbride

John Wilson onSir Godfrey “Geoff” Palmer, the scientist whose discovery of a new brewing method revolutionized the industry and saved them millions of poundsBarbara Holdridge, the entrepreneur who co-founded a new record label that paved the way for the audiobook industry Kim Woodburn, the reality TV Star who made gained popular recognition through the TV show How Clean Is Your House?Sly Stone the American genre-bending musician who fronted the band Sly and the Family Stone. Interviewee: Catherine Bisset Catrina Rose Matthew Rubery Arlene HirschkowitzProducer: Ribika MoktanDetails of help and support with pregnancy related issues are available at BBC Action Line. https://www.bbc.co.uk/programmes/articles/1KhLYgXHRxyw67mkGRRXQ3R/information-and-support-pregnancy-related-issuesArchive used: Scientific, BBC Radio 4, 04/08/2015; Sunday Morning with Cathy Macdonald; Writers and Company, CBC, 24/11/2002; Child's Christmas in Wales, read by Dylan Thomas, Caedmon Audio, 02/1952 https://soundcloud.com/harperaudiopresents/childschristmasinwales ; The Connor Phillips Show, BBC Radio Ulster, 26/04/2024; How Clean is Your House?, S1 E1, Channel Four Television Corporation, dir Simon Bisset, series producer Steph Harris, A Talkbalk production, 2003; I'm a Celebrity Get me out of here 2009, YouTube Upload, 12/02/2015; An excerpt from Sly on the air at KSOL, courtesy of Arlene Hirschkowitz

The Cold War intensifies with US involvement in South Vietnam. It's 1954. Colonel Ed Lansdale, former advertising executive and the CIA's maverick agent in South-East Asia, a pioneer in clandestine operations and psychological warfare, is given the task of creating dissension in the North to stop the advance of the communists. Return of the award-winning series about America's Central Intelligence Agency - told from the inside out by long-serving CIA agent Eloise Page. Starring Kim Cattrall, Ed Harris, Johnny Flynn, Stephen Kunken and Kelly Marie Tran.In Episode 2.1 Jungles vampires, the CIA's lone-wolf super-hero, psychological warfare…Cast: Eloise Page..........Kim Cattrall Allen Dulles..........Ed Harris Virginia Spence ..........Kelly Marie Tran Richard Helms..........Johnny Flynn Colonel Ed Lansdale..........Stephen Kunken Frank Wisner..........Geoffrey Arend Young Eloise Page..........Elena Delia Prime Minister Diem..........Jon Jon Briones General Mike O'Daniel..........Ian Porter "Lightening" Joe Collins..........Rob Benedict Pat Kelly & Madam Nhu..........Lourdes Faberes Ngô Đình Nhu..........Yung General Hinh..........Thaiger Nguyen Lou Conein.......... Philip Desmeules Steve Arundel......... Greg LockettAll other parts played by the castOriginal music by Sacha PuttnamWritten by Greg Haddrick, who created the series with Jeremy Fox Sound Designers & Editors: John Scott Dryden, Adam Woodhams, Martha Littlehailes & Andreina Gomez Casanova Script Consultant: Misha Kawnel Script Supervisor: Alex Lynch Trails: Jack Soper Sonica Studio Sound Engineers: Paul Clark & Paul Clark Sonica Runner: Flynn Hallman Marc Graue Sound Engineers, LA: Juan Martin del Campo & Tony DiazDirector: John Scott Dryden Producer & Casting Director: Emma Hearn Executive Producers: Howard Stringer, Jeremy Fox, Greg Haddrick and John Scott DrydenA Goldhawk production for BBC Radio 4

Liz and Sarah discuss how writing the third draft of their pilot has made them realize there’s no right way to do something creative. There are MANY right ways. In Take Two, they revisit “whimsy” and share listener suggestions of whimsical items that bring joy. This week’s tip in The Craft (& Fain) makes a scene better AND shorter — lop off the first few lines and/or the last few lines. Then they share a summer travel Hollywood Hack: buy your airplane snacks before you go to the airport. Finally, Sarah recommends the Gardeners’ Question Time podcast from BBC Radio 4. Sign up for Liz and Sarah’s free weekly newsletter at https://happierinhollywoodpod.substack.com. Get in touch on Instagram: @Sfain & @LizCraft Get in touch on Threads: @Sfain & @LizCraft Visit our website: https://happierinhollywood.com Join our Facebook group: https://www.facebook.com/HappierinHollywood/ Happier in Hollywood is part of ‘The Onward Project,’ a family of podcasts brought together by Gretchen Rubin—all about how to make your life better. Check out the other Onward Project podcasts—Happier with Gretchen Rubin, andSide Hustle School . If you liked this episode, please subscribe, leave a review, and tell your friends! Note: Go to the Happier In Hollywood Facebook Group for Liz and Sarah’s extensive Teens/Tweens Gift Guide. Thanks to listeners for such great ideas! Link below. https://www.facebook.com/groups/903150719832696/permalink/3081705578643855/ LINKS: Midori paper clips: https://amzn.to/3FZBIEr Potato Clips: https://amzn.to/4kTtHAg Shreve, Crump, & Low Original Gurgling Cod https://shrevecrumpandlow.com/product/large-greige-gurgling-cod?srsltid=AfmBOoo72ZMQ0EGNLm6Ri31vzTtU8aq58tIa24Cai-JwRfndEQ1mXJGx Rifle Paper Co. https://riflepaperco.com/?srsltid=AfmBOopT7dL2l8LH74MEpruph9iwSsI1uHQfkPL_XcofXDbpGv5BWXS8 Calliope Paperie: https://calliopepaperie.com/ DAISO: https://daisous.com/?srsltid=AfmBOop4KFVfceNijVQnSoOQsL4FRff-2UMwTgMaEYZwJK4fdyRQBsS6 Kawaii Pen Shop: https://kawaiipenshop.com/search?q=Toaster+light Gardeners’ Question Time podcast: https://podcasts.apple.com/us/podcast/perton-staffs-used-compost-angry-peonies-and-ant-tics/id325945259?i=1000712751136 Photo by Unsplash+ on Unsplash See omnystudio.com/listener for privacy information.

Today's bad idea is ‘genius', the label that has enabled all sorts of terrible behaviour through the ages. Writer and broadcaster Helen Lewis explains how and why the idea of genius gets misapplied to people and things that just aren't. Why are geniuses meant to be tortured? Why are individual geniuses prized over the collaborations that lie behind most innovations? Why do we think that people who are brilliant at one thing will be good at everything else? Plus, David makes the case for Dickens as a bona fide genius. The Genius Myth by Helen Lewis is out from today wherever you get your books https://bit.ly/3FSAKda David's new 20-part series Postwar – about the 1945 general election and the making of modern Britain – is available now on BBC Radio 4 and BBC Sounds. https://www.bbc.co.uk/programmes/m002d8v1 Next time on The History of Bad Ideas: The Decisive Battle w/Dan Snow Learn more about your ad choices. Visit podcastchoices.com/adchoices

Nike's FuelBand was among the first fitness trackers to be launched and was worn by sports stars including the tennis player, Serena Williams. So, why did Nike give up on it so soon after its launch?The BBC Business journalist, Sean Farrington, is joined by Nike's former Vice President of Digital Sport, Stefan Olander, to get the inside story on what happened to the successful product. Alongside them is the entrepreneur, Sam White, who at the end of the show, based only upon what she has heard and using her business acumen, has to reach her own conclusions. Other guests include:- Nikki Legg - a FuelBand fan who bought one as soon as they came out and wrote to Toast suggesting we cover the fitness tracker on the show.- Chris Smith - a sports and technology journalist who has written about the FuelBand and is an early adopter of wearable techProduced by Jon Douglas, Toast is a BBC Audio North production for BBC Radio 4 and BBC Sounds.You can email the programme at toast@bbc.co.ukFeel free to suggest topics which could be covered in future episodes.

Nike's FuelBand was among the first fitness trackers to be launched and was worn by sports stars including the tennis player, Serena Williams. So, why did Nike give up on it so soon after its launch?The BBC Business journalist, Sean Farrington, is joined by Nike's former Vice President of Digital Sport, Stefan Olander, to get the inside story on what happened to the successful product. Alongside them is the entrepreneur, Sam White, who at the end of the show, based only upon what she has heard and using her business acumen, has to reach her own conclusions. Other guests include:- Nikki Legg - a FuelBand fan who bought one as soon as they came out and wrote to Toast suggesting we cover the fitness tracker on the show.- Chris Smith - a sports and technology journalist who has written about the FuelBand and is an early adopter of wearable techProduced by Jon Douglas, Toast is a BBC Audio North production for BBC Radio 4 and BBC Sounds.You can email the programme at toast@bbc.co.ukFeel free to suggest topics which could be covered in future episodes.

Feedback returns for a new series, just as the BBC has its hands full with covering an increasingly tense conflict between Israel and Iran. We hear your response to BBC Radio 4's reporting of events.Last month, Sarah Montague interviewed Sebastian Gorka - President Trump's deputy assistant and senior director for counter-terrorism - on World At One. It provoked a flood of emails in our inbox. Andrea talks to Sarah about handling fiery interviews, and interviewees. Dr Alban Webb, historian and lecturer in Media and Cultural Studies at the University of Sussex, gives his view on the BBC's approach to these kinds of interviews - which seem to be increasingly common. And an episode of This Cultural Life, in which John Wilson spoke to pianist and campaigner James Rhodes, also moved a number of listeners to get in touch nominating it for Feedback's Interview of the Year. Presenter: Andrea Catherwood Producer: Pauline Moore Assistant Producer: Rebecca Guthrie Executive Producer: David Prest Sound Editor: John KayesA Whistledown Scotland production for BBC Radio 4

Leading historian Professor Sir Niall Ferguson explains how patterns from the past can help us understand the future. Amol and Sir Niall discuss the tensions in the Middle East and why he thinks Israel's strikes on Iran are a victory for the West. They also explore the idea that we're in a new Cold War. And Sir Niall explains why Britain needs a leader like Argentina's Javier Milei rather than Donald Trump. GET IN TOUCH * WhatsApp: 0330 123 9480 * Email: radical@bbc.co.uk Amol Rajan is a presenter of the Today programme on BBC Radio 4. He is also the host of University Challenge on BBC One. Before that, Amol was media editor at the BBC and editor at The Independent. Radical with Amol Rajan is a Today Podcast. It was made by Lewis Vickers with Grace Reeve. Digital production was by Gabriel Purcell-Davies. The editor is Sam Bonham. The executive producer is Owenna Griffiths.

This week's episode is with podcaster, coach, and author, Lucy Meggeson, on how to thrive as a single woman without kids.  You'll hear Keltie and Lucy discuss... Lucy's journey to embracing her identity as a single, childfree woman.  Societal perceptions of being single and childless, and why these are so often wrong. The need for intentional living and finding fulfillment beyond traditional roles. The joys of being single and childfree and the importance of celebrating this life path.  The importance of mindset in personal growth and the journey to embracing a single and childfree life.  As mentioned in the show: Lucy's website: www.lucymeggeson.com Find Lucy on Instagram at @thrivesolowithlucymeggeson Listen to Thrive Solo with Lucy Meggeson on Spotify and Apple Podcasts Purchase Lucy's new book, Thrive Solo / Shiny Happy Singles, here: lucymeggeson.com/book About Lucy: Lucy Meggeson worked in production at BBC Radio 2 for several years before becoming the host and producer of her own podcast, Thrive Solo (formerly Spinsterhood Reimagined) — a podcast that celebrates all things single, childfree, and personal growth. She's a regular on Jo Good's BBC Radio London show and has been a guest on various other radio and podcasts, including Jeremy Vine's BBC Radio 2 show, Peter McGraw's 'Solo: The Single Person's Guide to a Remarkable Life', and Shani Silver's 'A Single Serving Podcast'. Lucy has had many, many amazing guests on her podcast including Cindy Gallop, Jody Day, Bella DePaulo, Shani Silver, Heidi Clements, Matt Cooke, Nicola Slawson, Jo Good, Peter McGraw, Jill Stark, Polly Vernon, Kate Lister and Ruby Warrington. Lucy also runs her own membership for single women, Thrive Solo. Usually based in her flat in south-west London, she is currently living in Dorset, with her beloved cat, Johnny Depp. __ Join our an upcoming Kids or Childfree workshop: kidsorchildfree.com/workshop Check out our free resources here, or at kidsorchildfree.com/free-resources And don't forget to subscribe, rate, and review The Kids or Childfree Podcast if you love what you're hearing! You can leave a rating and review on Apple Podcasts, or a rating on Spotify. Find us online at www.kidsorchildfree.com. Instagram: www.instagram.com/kidsorchildfree  

Nick and Angela welcome a brilliant broadcaster to our very own happy place.  Fearne Cotton is a TV and radio broadcaster and founder of the hugely successful Happy Place universe. Fearne, who grew up in Hillingdon, West London began her career at the age of 15 presenting kids TV show, The Disney Club. She went on to present shows including Diggit, The Saturday Show and The Xtra Factor, and cohosted Top of the Pops with Reggie Yates from 2004. Fearne is a great friend of Nick's and worked alongside him at BBC Radio 1, where she hosted  Live Lounge in the mid-morning slot.  Fearne currently presents Sounds of the 90s on BBC Radio 2, but is arguably best known for her Happy Place podcast, which has just celebrated its seventh birthday. She joins us to chat about the Happy Place Festival, which takes place in London's Gunnersbury Park on 12 and 13 July, and in Cheshire's Tatton Park on 30 and 31 August. The festival is full of inspiring guest talks, podcast recordings, yoga and workshops.  Angela provides plenty of happy plates in this episode, serving Fearne roast cauliflower with dates, spiced chickpeas, preserved lemons & green tahini with chicory salad, which is paired with a glass of No.1 Beaujolais Villages. Before the arrival of the main course, Fearne is handed a fiery lime margarita, which goes down a treat.  It's no surprise that this week feels like good mates catching up as Fearne and Nick share some of their more random tales of pop star interviews. Fearne talks about her approach to veganism (or ‘veganity'), including the time she broke all her own rules for an interview with Ludovico Einaudi. And is this our most considered Fast Food Quiz yet? You can watch full episodes of Dish on YouTube  All recipes from this podcast can be found at waitrose.com/dishrecipes A transcript for this episode can be found at waitrose.com/dish We can't all have a Michelin star chef in the kitchen, but you can ask Angela for help.  Send your dilemmas to dish@waitrose.co.uk and she'll try to answer them in a future episode.Dish from Waitrose is made by Cold Glass Productions.

In this monthly conversation series Grant Scott speaks with art director, lecturer and creative director Fiona Hayes. In an informal conversation each month Grant and Fiona comment on the photographic environment as they see it through the exhibitions, magazines, talks and events that Fiona has seen over the previous weeks. Fiona Hayes Fiona Hayes is an art director, designer, consultant and lecturer with over 30 years' experience in publishing, fashion and the art world. She has been a magazine art director ten times: on Punch, Company, Eve, the British and Russian editions of Cosmopolitan, House & Garden,GQ India (based in Mumbai), MyselfGermany (in Munich), and Russian Vogue (twice). Between 2013 and 2019, as Art Director of New Markets and Brand Development for Condé Nast International, based in London and Paris, she oversaw all the company's launches – 14 magazines, including seven editions of Vogue. She still consults as Design Director at Large for Vogue Hong Kong. In 2002 she founded independent photography magazine DayFour, publishing it continuously until 2012. She is Co-Author and Art Director of The Fashion Yearbook, and creative director of books for South African media consultancy Legacy Creates. Outside the publishing world, she has been Art Director of contemporary art auction house Phillips de Pury in London and New York, and Consultant Art Director of Russian luxury retail group Mercury/TSUM. (Fiona would like to point out she is not Russian: she is proudly Irish and studied Visual Communication and History of Art and Design at NCAD Dublin.) She currently divides her time between design consultancy for commercial clients, and lecturing at Oxford Brookes University, the Condé Nast College of Fashion and Design, London, Nottingham Trent University, Ravensbourne University, and Leeds University. She lives in West London. @theartdictator Dr.Grant Scott After fifteen years art directing photography books and magazines such as Elle and Tatler, Scott began to work zas a photographer for a number of advertising and editorial clients in 2000. Alongside his photographic career Scott has art directed numerous advertising campaigns, worked as a creative director at Sotheby's, art directed foto8magazine, founded his own photographic gallery, edited Professional Photographer magazine and launched his own title for photographers and filmmakers Hungry Eye. He founded the United Nations of Photography in 2012, and is now a Senior Lecturer and Subject Co-ordinator: Photography at Oxford Brookes University, Oxford, and a BBC Radio contributor. Scott is the author of Professional Photography: The New Global Landscape Explained (Routledge 2014), The Essential Student Guide to Professional Photography (Routledge 2015), New Ways of Seeing: The Democratic Language of Photography (Routledge 2019), and What Does Photography Mean To You? (Bluecoat Press 2020). His photography has been published in At Home With The Makers of Style (Thames & Hudson 2006) and Crash Happy: A Night at The Bangers (Cafe Royal Books 2012). His film Do Not Bend: The Photographic Life of Bill Jay was premiered in 2018. Scott's next book is Inside Vogue House: One building, seven magazines, sixty years of stories, Orphans Publishing, is on sale February 2024. Image: André Coelho, EFE RJ - Río de Janeiro/World Press Photo 2025 Mentioned in this episode: https://www.worldpressphoto.org/calendar/2025/london-uk https://www.rmg.co.uk/whats-on/astronomy-photographer-year/exhibition https://www.eadweardmuybridge.co.uk © Grant Scott 2025

In this episode of the Leadership Insights I Wish I Had Known at the Start series, Julia is joined by Alison Coburn, environment leader at Common Purpose leader with over 30 years of experience guiding teams through complex change, often in some of the world's most challenging settings. Alison shares nine fundamentals she wishes she'd known before she started leading. Starting with this vital truth: don't do it alone, build a support network. From building your own “survival kit” of support and stability, to learning the art of delegation, Alison's insights are thoughtful, honest, and deeply grounded in real-life leadership. She also unpacks hard-won lessons like the need for a “hard streak,” the importance of leading upwards, and why communication isn't just a part of leading; it is the very act of leading. Her reflections reveal how moral courage, containing emotions, and picking the right team members shape a leader's impact far more than any textbook theory. Alison's list will make you pause and ask, “What would be on mine?” Tune in, reflect, and perhaps even start your own list of what you wish you'd known at the start. About the Guest: Alison Coburn is one of the founding team of Common Purpose which started in the UK in 1989 and now has over 130,000 alumni globally. She currently leads Common Purpose's environmental programmes. In 2020 Alison founded Sky Blue, a campaign to support leaders around the world who are tackling the environmental crisis. She is passionate about inspiring and supporting leaders to work collaboratively for a sustainable future. She started her career in the arts, then joined the BBC Radio making programmes on social and environmental issues. She is an Ambassador for the Tutu Foundation UK and a Trustee of Well Grounded.

Agatha Christie || 4.50 From Paddington: Part 1, 2, 3 [BBC Radio] || March 1997Michael Bakewell dramatized the novel starring June Whitfield played Miss Marple, and Susannah Harker plays Lucy Eyelesbarrow.: : : : :My other podcast channels include: DRAMA X THEATER -- SCI FI x HORROR -- COMEDY x FUNNY HA HA -- VARIETY X ARMED FORCES -- THE COMPLETE ORSON WELLESEnjoying my podcast? You can subscribe to receive new post notices. Also, if you have a moment, please give a 4-5 star rating and/or write a 1-2 sentence positive review on your preferred service -- that would help me a lot.Thank you for your support.https://otr.duane.media | Instagram @duane.otr@duaneOldTimeRadio #duaneOldTimeRadio#mysteryclassics #oldtimeradio #otr #mysteryradio #radioclassics #rodserling #agathachristie #thewhistler #mystery #suspense #oldtimeradioclassics #classicradio #crimeclassics #duaneotr:::: :

******Support the channel******Patreon: https://www.patreon.com/thedissenterPayPal: paypal.me/thedissenterPayPal Subscription 3 Dollars: https://tinyurl.com/ybn6bg9lPayPal Subscription 5 Dollars: https://tinyurl.com/ycmr9gpzPayPal Subscription 10 Dollars: https://tinyurl.com/y9r3fc9mPayPal Subscription 20 Dollars: https://tinyurl.com/y95uvkao ******Follow me on******Website: https://www.thedissenter.net/The Dissenter Goodreads list: https://shorturl.at/7BMoBFacebook: https://www.facebook.com/thedissenteryt/Twitter: https://x.com/TheDissenterYT This show is sponsored by Enlites, Learning & Development done differently. Check the website here: http://enlites.com/ Dr. Charlotte Blease is an interdisciplinary health researcher at the Department of Women's and Children's Health at Uppsala University, Sweden, and the Digital Psychiatry Division at the Beth Israel Deaconess Medical Center at the Harvard Medical School. She is a former Fulbright Scholar and a winner in 2012 of the UK-wide BBC Radio 3's New Generation Thinkers Competition. Dr. Blease has written extensively about the ethics of placebo and nocebo effects. Her research has been profiled by international news outlets including The Washington Post, The Guardian, and The Sydney Morning Herald. She is coauthor of The Nocebo Effect: When Words Make You Sick. In this episode, we focus on The Nocebo Effect. We start by talking about the placebo effect and the nocebo effect. We discuss how the nocebo effect is produced psychologically, whether it is “all in the head”, how it is produced in a clinical context, how to distinguish between “real” side effects of treatments and nocebo effects, and whether words can produce harm. We also discuss whether psychotherapy is mostly placebo. Finally, we talk about the side effects and nocebo effects of the COVID-19 vaccine, nocebo effects in public health and medical ethics, and how to reduce the nocebo effect.--A HUGE THANK YOU TO MY PATRONS/SUPPORTERS: PER HELGE LARSEN, JERRY MULLER, BERNARDO SEIXAS, ADAM KESSEL, MATTHEW WHITINGBIRD, ARNAUD WOLFF, TIM HOLLOSY, HENRIK AHLENIUS, FILIP FORS CONNOLLY, ROBERT WINDHAGER, RUI INACIO, ZOOP, MARCO NEVES, COLIN HOLBROOK, PHIL KAVANAGH, SAMUEL ANDREEFF, FRANCIS FORDE, TIAGO NUNES, FERGAL CUSSEN, HAL HERZOG, NUNO MACHADO, JONATHAN LEIBRANT, JOÃO LINHARES, STANTON T, SAMUEL CORREA, ERIK HAINES, MARK SMITH, JOÃO EIRA, TOM HUMMEL, SARDUS FRANCE, DAVID SLOAN WILSON, YACILA DEZA-ARAUJO, ROMAIN ROCH, DIEGO LONDOÑO CORREA, YANICK PUNTER, CHARLOTTE BLEASE, NICOLE BARBARO, ADAM HUNT, PAWEL OSTASZEWSKI, NELLEKE BAK, GUY MADISON, GARY G HELLMANN, SAIMA AFZAL, ADRIAN JAEGGI, PAULO TOLENTINO, JOÃO BARBOSA, JULIAN PRICE, HEDIN BRØNNER, DOUGLAS FRY, FRANCA BORTOLOTTI, GABRIEL PONS CORTÈS, URSULA LITZCKE, SCOTT, ZACHARY FISH, TIM DUFFY, SUNNY SMITH, JON WISMAN, WILLIAM BUCKNER, PAUL-GEORGE ARNAUD, LUKE GLOWACKI, GEORGIOS THEOPHANOUS, CHRIS WILLIAMSON, PETER WOLOSZYN, DAVID WILLIAMS, DIOGO COSTA, ALEX CHAU, AMAURI MARTÍNEZ, CORALIE CHEVALLIER, BANGALORE ATHEISTS, LARRY D. LEE JR., OLD HERRINGBONE, MICHAEL BAILEY, DAN SPERBER, ROBERT GRESSIS, JEFF MCMAHAN, JAKE ZUEHL, BARNABAS RADICS, MARK CAMPBELL, TOMAS DAUBNER, LUKE NISSEN, KIMBERLY JOHNSON, JESSICA NOWICKI, LINDA BRANDIN, GEORGE CHORIATIS, VALENTIN STEINMANN, ALEXANDER HUBBARD, BR, JONAS HERTNER, URSULA GOODENOUGH, DAVID PINSOF, SEAN NELSON, MIKE LAVIGNE, JOS KNECHT, LUCY, MANVIR SINGH, PETRA WEIMANN, CAROLA FEEST, MAURO JÚNIOR, 航 豊川, TONY BARRETT, NIKOLAI VISHNEVSKY, STEVEN GANGESTAD, TED FARRIS, ROBINROSWELL, AND KEITH RICHARDSON!A SPECIAL THANKS TO MY PRODUCERS, YZAR WEHBE, JIM FRANK, ŁUKASZ STAFINIAK, TOM VANEGDOM, BERNARD HUGUENEY, CURTIS DIXON, BENEDIKT MUELLER, THOMAS TRUMBLE, KATHRINE AND PATRICK TOBIN, JONCARLO MONTENEGRO, NICK GOLDEN, CHRISTINE GLASS, IGOR NIKIFOROVSKI, PER KRAULIS, AND BENJAMIN GELBART!AND TO MY EXECUTIVE PRODUCERS, MATTHEW LAVENDER, SERGIU CODREANU, ROSEY, AND GREGORY HASTINGS!

Singer and spoken word artist Jessica Wilde opens up about her journey through addiction, heartbreak and early sobriety — and how connection, creativity and community helped her rebuild from the ground up.From a brief but intense relationship that shattered her sense of self, to finding clarity in nature, yoga studios, and unexpected friendships - Jessica shares her truth of what recovery really looks like — beyond just putting down the drink. Jessica shares the paradox of sobriety and insecurity — and why it's often just the start of real inner work, how yoga, music and spoken word connected her to a sober community, why every painful relationship reveals a deeper lesson about self-worth and how reconnecting with creativity can rewire your identity in sobriety. This conversation is honest, unfiltered, and full of hard-earned insight. If you've ever felt stuck, lost, or alone in your recovery — or if you're supporting someone who is — this one's for you. More on Jessica -Jessica Wilde is a South London artist known for raw, soul-searing vocals and sharp-witted spoken word, blending honesty and empowerment in every lyric. Her debut project felt like a diary—covering addiction, toxic relationships, and wild nights—culminating in a powerful journey to self-love and sobriety.Now back with her new album Teach Me How To Love, Jessica explores transformation and connection, earning airplay across BBC Radio 1, 1Xtra, and 6Music, and press in CLASH, Complex, and more. She's collaborated with Rudimental, Emeli Sandé, and Todd Terry, and hit major stages like Glastonbury and Soultown Festival. She's also the founder of PxSSY PWR—spotlighting rising underground women—with a Hootananny residency, fashion collab with Fame Magazine, and festival takeovers to her name.Topics 0:00 Intro3:50 Jessica's rock bottom8:25 Using drinking as a way to mask what you don't like about yourself 10:00 Are people sent to you to teach you something?12:00 Jessica starts drinking at 13 15:05 Drinking escalates 16:45 The power of community 18:40 Intimacy and being sober 19:40 Psychedelics as part of recovery?25:35 Connection is the opposite of addiction 31:15 Sponsor32:17 Rat park experiment34:00 Is Jessica...WILD?!36:00 Partying sober!39:40 Staying sober 41:55 PUSSY POWERFollow Jessica NEW ALBUM 'TEACH ME HOW TO LOVE'https://slinky.to/TMHTLInstagram - https://www.instagram.com/iamjessicawildewww.instagram.com/itsthatpxssypwrTikTok - https://www.tiktok.com/@iamjessicawildeYouTube - https://youtube.com/@iamjessicawildeFollow OliverInstagram - https://tinyurl.com/2vt29sjvFacebook - https://tinyurl.com/34cwz59rTikTok - https://tinyurl.com/ujw4vxn9LinkedIn - https://tinyurl.com/yuemhnd7Threads - https://tinyurl.com/yk7vdeahX - https://tinyurl.com/3u5mnpdsPlease subscribe, follow, like, leave a review and comment! YouTube - https://tinyurl.com/57wav9emSpotify - https://spoti.fi/3Z0Pr1rApple - https://tinyurl.com/y3n2chk3#AddictionRecovery #SoberLiving #MentalHealthAwareness

Harry Benjamin and McLaren Formula E driver Sam Bird, as well as special guest Kai Bachini, who was the BBC Radio 5 Live Young Commentator of the Year in 2018, react to a dramatic Canadian Grand Prix. We discuss the collision between the two McLaren drivers, and hear from both Lando Norris and Oscar Piastri. Plus, we react to George Russell's win, and Kimi Antonelli's first podium in F1 – the third youngest in the sport's history.

For the first episode in our new series about how bad ideas take hold, David talks to economist Mark Blyth about austerity, the cost-cutting idea that refuses to die. Why is it an article of faith that states need periodic purging to stop them getting too greedy? Why does this so often happen at times when it does most harm, from the 1930s to the financial crisis that began in 2008? And how is the politics of austerity playing out today, in Starmer's Britain, in Milei's Argentina and in the DOGE wars happening in Trump's America? David's new 20-part series Postwar – about the 1945 general election and the making of modern Britain – is available now on BBC Radio 4 and BBC Sounds https://www.bbc.co.uk/sounds/series/m002d8v1 Next time on The History of Bad Ideas: Genius w/Helen Lewis Learn more about your ad choices. Visit podcastchoices.com/adchoices

SPECIAL: Long before there was ever a Telehell, I was (and still am) a Radio guy...and since my radio career is now officially old enough to drink, this would be a good time to do a little reflecting on the past in this series of vignettes while I do battle against a Ham Radio unit (Long story). Since this is a little longer than our usual shows, feel free to jump around where needed below: 04:40 - Jingles: A Love Story 26:27 - My Mock Aircheck (c2005) 35:49 - "Local" Commercials (c2006) 49:09 - Me & the BBC (2008 Interview) 1:04:03 - The Tale of "TV Tracks" (2017 Internet radio station) SPONSORED BY: Dave's Archives RetroCIRQ Kier's Nostalgia Corner Kev The Ripper And (of course) Our Patrons

Jay Rayner and the panel are in Newport, Wales offering their best culinary advice. Joining Jay are Angela Gray, Jocky Petrie, Jordan Bourke and food historian Dr Annie Gray.The panellists share their favourite recipes involving figs and their fuss-free ways to spice up a home-cooked meal, and attempt to cure one audience member of his aversion to fishcakes. We also hear from local chef Sergio Cinotti of Gem42 and Gemelli restaurants about how Roman flavours have influenced his cooking - be it libum bread or garum sauce. Producer: Matt Smith Junior Producer: Dulcie Whadcock A Somethin' Else production for BBC Radio 4

Fearne Cotton began her presenting career at the age of 15. Since then, she has become a familiar presence on both TV and radio, currently fronting the nostalgic celebration of pop culture, “Sound of the 90's” on BBC Radio 2. She is also a passionate advocate for improving mental health, from her Happy Place podcast to her books, which encourage us all to live better lives. Now she has written her debut fictional novel "Scripted" about a woman with a chaotic family life trying to create a happily ever after....Inherited: Fleetwood Mac "Dreams" Passed on:Ludovico Einaudi "Campfire Day Four"Producer: Anna Bailey

After his terrifying night in the Torrelaguna house, Andy's companions admit he's not the only one to have experienced odd occurrences. In Part 2 of the Uncanny Summer Special, Danny Robins unravels the unsettling past of the old house - drawing us into the fascinating, dark history of Spain's Civil War past and family secrets that refuse to stay buried.Written and presented by Danny Robins Editing and sound design: Charlie Brandon-King Music: Evelyn Sykes Theme music by Lanterns on the Lake Commissioning executive: Paula McDonnell Commissioning editor: Rhian Roberts Produced by Danny Robins and Simon BarnardA Bafflegab and Uncanny Media production for BBC Radio 4

What's the best way to revive a dying bonsai tree? Do Peonies hate being moved? I am inundated with ants – how do I get rid of them?Kathy Clugston hosts BBC Radio 4's Gardeners' Question Time, joined by a panel of esteemed plant and gardening experts in Perton, Staffordshire. Sharing their horticultural wisdom are the passionate plantsman Matthew Biggs, head gardener Marcus Chilton-Jones, and renowned plantswoman Christine Walkden.Later in the programme, Matthew Biggs has a chat with David Austen Jr to explore his father's remarkable legacy in rose breeding at their prestigious nursery. He also gets an exclusive glimpse at some of their latest, most exquisite varieties.Senior Producer: Daniel Cocker Junior Producer: Rahnee Prescod Executive Producer: Carly MailePlant List Questions and timecodes are below. Where applicable, plant names have been provided. Q – What colour would you paint a garden fence to best show off and compliment the plants in it? (01'32”) Q – Why have my Peonies stopped blooming? Is it because I've moved them? (05'03”) Q –   Which plants would the panel recommend covering a roof of five feet by 10 feet with a depth of two and a half inches? (08'07”) Matthew Biggs – Thymus vulgaris, common thyme Thymus serpyllum 'Russetings', creeping thyme 'Russetings' Campanula, bellflower Campanula portenschlagiana, wall bellflowerChristine Walkden Sempervivum, houseleek Hylotelephium, sedum Mentha requienii, corsican mintMarcus Chilton Jones – Puschkinia Allium schoenoprasum, chives Ajuga repens, bugleQ – What are the panel's thoughts on reusing compost that's been used in pots for summer annuals? (10'53”) Feature – Matt Biggs speaks with David Austen Jr about his father's legacy in breeding unique roses (15'01)Q – I wondered what was the best way to revive a dying bonsai tree? (19'26”) Q – How hard should I cut back our Ceanothus? (23'59”)Q – What can the panel recommend that's low maintenance and won't prickle anyone that I could plant in a two foot wide plot? (28'10”) Christine Walkden – Cyclamen hederifolium, ivy-leaved cyclamen Ajugas Lamiums Heucheras Thalamus Aquilegia Veronica, gentian speedwellMatthew Biggs – Hedera (ivy)Marcus Chilton-Jones – Lonicera, honeysuckle Dryopteris, wood fern Nettles Q – I am inundated with ants – how do I get rid of them? (33'49”) Q – How do I stop bugs from getting into my plums? (37'25”)

In Kirsty Logan's new short work for Father's Day, Wilbur prepares to meet his dad for the very first time. But can he find the strength to face his fears?Read by Jessica HardwickProducer Ellie MarshKirsty Logan is an award winning novelist and short story writer. Her latest book, No & Other Love Stories, is a collection of dark love stories.A BBC Audio Scotland Production for BBC Radio 4.

Kirsty Lang onBrian Wilson, the driving force behind The Beach Boys who were one of the most successful bands of the 1960s. Fredrick Forsyth, the writer and former Mi6 agent who books included The Day of the Jackal and The Fourth Protocol.Uriah Rennie who made history as the Premier League's first black referee.And the author Edmund White whose semi-autobiographical books A Boys Own Life and The Beautiful Room is Empty chronicled his experiences as a young gay man in America.Interviewee: Charles Cumming Interviewee: Ashley Hickson-Lovence Interviewee: Colm ToibinProducer: Ed PrendevilleArchive used:Brian Wilson interview, Today, BBC Radio 4, 2016; John Wilson interviews Brian Wilson , Front Row, BBC Radio 4, 21 Oct 2011; The Day of the Jackal, Film Promo, 1973; Freddie Forsyth interview, BBC Radio 4, Uriah Rennie interview, courtesy of Ashley Hickson-Lovence, recording date January 2019; Opening of Pride Park, Midland Today, BBC News, 13 August 1997; Sports report: Alan Shearer sent off, BBC News, 07/08/1999;

After defeat at the battle of Culloden in 1746, the Highland army is decimated. His dream of a restored Stuart monarchy now shattered, Prince Charles goes on the run in the Highlands and islands. At a secret hideaway on Skye, he meets the young Flora MacDonald who will risk her life to help her would-be king. But can they evade the pursuing Redcoat army? Her solution – to disguise the prince as her female servant.Jack Lowden presents the tragic story of the rise and fall of Bonnie Prince Charlie and the 1745 Jacobite rebellion. Written by Colin MacDonald with original music by Duncan Chisholm.Narrator……………………………………………..…..Jack LowdenBonnie Prince Charlie ……………….…………..Lorn Macdonald Flora MacDonald…..……………………………....Hannah Donaldson Colonel John O'Sullivan ……………………….Gavin Mitchell Harris…………….………………….………………......Sam James Smith Hucking………………………………………………...Douglas YannaghasWritten by............................................................Colin MacDonaldMusic arranged by...........................................Duncan Chisholm Music performed by Duncan Chisholm, Ingrid Henderson, Martin O'Neill and Ross Ainslie. With contributions by historians, Jacqueline Riding, Alistair Moffat and Maggie CraigEdited by..............................................................Kris MacConachie Studio Managers..............................................Sean Mullervy and Kris MacConnachie Executive Producer..........................................Gordon Kennedy Broadcast Assistant.........................................Clare HipkissProducer/Director............................................Bruce YoungRecorded at BBC Scotland Drama Studios, Pacific Quay, Glasgow An Absolutely production for BBC Radio 4

This week Amanda sits down with Catherine from CFIT to discuss all things health, fitness, career development and growing a thriving fitness business and community.It's a lovely informal chat where you'll hear Catherine's journey and overcoming some hard life lessons: like low self esteem and an eating disorder led to her love of all things health, wellness and nutrition.Catherine's Bio:Meet Catherine, aka CFIT – a dedicated fitness coach, nutrition enthusiast, and entrepreneur with nearly 15 years in the industry. With a background in marketing and a mission to help people become stronger for life through strength and nutrition, Catherine brings a real-world, relatable approach to health and wellness. She's the founder of the CFIT Run Club and, as of today, the creator of her very own fitness app—designed to help more people move, lift, and live with purpose. When she's not coaching or building her brand, you'll find her on the beach with her sidekick Skye, living the lifestyle she helps others achieveConnect with Catherine and find out all about her new fitness AP:https://www.instagram.com/cfit14?igsh=MXVqZGlzOWd4d3k3Mg==*********WORK WITH AMANDA:The High Vibe Tribe Monthly Membership NOW:A Mindset & Manifesting Community for High Achieving Heart and Soul Centred Women.https://amandastjohn.lpages.co/high-vibe-tribe-monthly-womens-membership/**1:1 COACHING - Transformational support to achieve a business or personal goalBook in for 1:1 Coaching - https://amandastjohn.lpages.co/transformational-11-coaching/Other ways of WORKING with Me:https://linktr.ee/acreatedlife_coachAmanda St John/A Created Life is a professional Singer-Songwriter, Music Mentor, Motivational Coach & TEDx Speaker from Ireland. She has coached/mentored for over 15 years as well as having a successful music career with 2 albums, UK/Irish & USA tours, worldwide airplay (including BBC Radio 6 and RTE Radio 1) and she even sang for the US President in Washington DC. But she only committed to her music career in her mid 30's after a near death experience in a car accident inspired her to reassess her life and finally follow her dreams.Connect with Amanda:Instagram - https://www.instagram.com/acreatedlife_coachFacebook - https://www.facebook.com/profile.php?id=100076151084578Email: acreatedlifecoach@gmail.com Hosted on Acast. See acast.com/privacy for more information.

This week on the BBC Introducing in Oxfordshire and Berkshire podcast, bringing together an emotionally rich blend of celtic-infused cinematic pop, Dave meets Roseanna to hear about her first solo single... and acting in the Harry Potter films!Plus, hear what Alex West got up to at SXSW London with Alex Blyth, there's first plays from Pedro Santos, The Kode, RUDI and Luke Jones, tips from Jess and Jaguar at BBC Radio 1, news from YWMP on their new gig/performance space... and a lovely tribute to the Beach Boys Brian Wilson from Zerowe.Here's this week's track list: • PLAIINS - Row She Said Henry Grace - Say Something Mean Pedro Santos - Someone I Don't Know Nicole Shortland - Country Boy The Borough - Red Light, Danger! Sebastian Reynolds & Myles Cochran - IYCSM (feat. Kelly Michaeli) The Kode - Espana (feat. Nath Brooks ) Beattie - Other Humans Sofie - Loading Mimi Rose - Embraceable You Junk Whale - Julia Sad RUDI - Meet Me In The Morning Roseanna - Best Time To Call You Timothy B - I Get To Call You Baby Luke Jones - Dark World Zahra Haji Fath Ali Tehrani - Empathy a to z Acid Claw - Mild Peril in Mexico City Alex Blyth - Into the Sunset Paper Square - Kneedeep Sparky Bosque - I'm So Cold The Stronger We Become - Call Me Maks Killer Kowalski - Dance Campaign Zerowe - God Only Knows • If you're making music in Oxfordshire and Berkshire, send us your tunes with the BBC Introducing Uploader: https://www.bbc.co.uk/introducing/uploader

Today's political trial is perhaps the most consequential in English history: the trial and execution of King Charles I for treason in January 1649. How could a king commit treason when treason was a crime against the king? How could a court try a king when a king has no peers? How could anyone claim to speak for the people after a civil war when so many people had been on opposite sides? The answers to these questions would cost more than one person his life – but they would also change forever the prospect of holding tyrants to account. Out now on PPF+: Part 2 of David's conversation with Robert Saunders about the 1975 European referendum and the question of why it all ended up so differently in the Brexit referendum of 2016. Sign up now to get this and all our bonus episodes plus ad-free listening https://www.ppfideas.com/join-ppf-plus David's new 20-part series Postwar – about the 1945 general election and the making of modern Britain – is available now on BBC Radio 4 and BBC Sounds. https://www.bbc.co.uk/programmes/m002d8v1 Next time: The History of Bad Ideas: Austerity w/Mark Blyth Learn more about your ad choices. Visit podcastchoices.com/adchoices

Freeserve rapidly became the UK's number one internet service provider within months of its launch in 1998, yet the brand disappeared almost as quickly. So, what happened? The BBC Business journalist, Sean Farrington, investigates. Alongside him is the entrepreneur, Sam White, who at the end of the show has to reach her own conclusions, based only on what she has heard and her own business acumen.Sean and Sam hear from expert guests including:- Rory Cellan-Jones OBE - the BBC's former technology correspondent who covered Freeserve's rise and later dedicated a chapter to it in his book 'Dot Bomb - the Rise and Fall of Dot Com Britain'.- Ajaz Ahmed - a 'Freeserve founder' who badgered bosses to start an ISP while working as a store manager at PC World in Leeds. He later became Freeserve's Business Development Manager.- Mark Danby - a former Chief Operating Officer at Freeserve.Produced by Jon Douglas, Toast is a BBC Audio North production for BBC Radio 4 and BBC Sounds.You can email the programme at toast@bbc.co.ukFeel free to suggest topics which could be covered in future episodes.

Freeserve rapidly became the UK's number one internet service provider within months of its launch in 1998, yet the brand disappeared almost as quickly. So, what happened? The BBC Business journalist, Sean Farrington, investigates. Alongside him is the entrepreneur, Sam White, who at the end of the show has to reach her own conclusions, based only on what she has heard and her own business acumen.Sean and Sam hear from expert guests including:- Rory Cellan-Jones OBE - the BBC's former technology correspondent who covered Freeserve's rise and later dedicated a chapter to it in his book 'Dot Bomb - the Rise and Fall of Dot Com Britain'.- Ajaz Ahmed - a 'Freeserve founder' who badgered bosses to start an ISP while working as a store manager at PC World in Leeds. He later became Freeserve's Business Development Manager.- Mark Danby - a former Chief Operating Officer at Freeserve.Produced by Jon Douglas, Toast is a BBC Audio North production for BBC Radio 4 and BBC Sounds.You can email the programme at toast@bbc.co.ukFeel free to suggest topics which could be covered in future episodes.

Feminist campaigner Laura Bates has fought for women's safety for over a decade. But now her battle against misogyny moved online. She tells Amol how social media platforms are fuelling hatred against women, with algorithms promoting increasingly extreme content. The popularity of figures like Andrew Tate, whose videos are widely available, and offensive material is being pushed to teenage boys and young men, even if they don't seek it out.So how can it be stopped? What responsibility do the big tech companies have in combating this problem? How can they be held accountable? And what is it doing to society if young men are being radicalised in this way?GET IN TOUCH * WhatsApp: 0330 123 9480 * Email: radical@bbc.co.ukAmol Rajan is a presenter of the Today programme on BBC Radio 4. He is also the host of University Challenge on BBC One. Before that, Amol was media editor at the BBC and editor at The Independent.Radical with Amol Rajan is a Today Podcast. It was made by Lewis Vickers with Grace Reeve and Lucy Pawle. Digital production was by David Kaplowitz and Sophie Millward. The editor is Sam Bonham. The executive producer is Owenna Griffiths.

In episode 370 UNP founder and curator Grant Scott is in his garage reflecting on the small and big things that impact on the everyday engagement we all have with photography. Dr.Grant Scott After fifteen years art directing photography books and magazines such as Elle and Tatler, Scott began to work as a photographer for a number of advertising and editorial clients in 2000. Alongside his photographic career Scott has art directed numerous advertising campaigns, worked as a creative director at Sotheby's, art directed foto8magazine, founded his own photographic gallery, edited Professional Photographer magazine and launched his own title for photographers and filmmakers Hungry Eye. He founded the United Nations of Photography in 2012, and is now a Senior Lecturer and Subject Co-ordinator: Photography at Oxford Brookes University, Oxford, and a BBC Radio contributor. Scott is the author of Professional Photography: The New Global Landscape Explained (Routledge 2014), The Essential Student Guide to Professional Photography (Routledge 2015), New Ways of Seeing: The Democratic Language of Photography (Routledge 2019), and What Does Photography Mean To You? (Bluecoat Press 2020). His photography has been published in At Home With The Makers of Style (Thames & Hudson 2006) and Crash Happy: A Night at The Bangers (Cafe Royal Books 2012). His film Do Not Bend: The Photographic Life of Bill Jay was premiered in 2018. Scott's book Inside Vogue House: One building, seven magazines, sixty years of stories, Orphans Publishing, is now on sale. © Grant Scott 2025

Today's trial is one of the most notorious in history but also one of the most misremembered. Galileo's epic confrontation with the Catholic Church over the question of whether the earth moves round the sun – culminating with his interrogation and condemnation in Rome in 1633 – was not just a matter of truth vs ignorance or science vs superstition. It was also twenty-year long struggle on the part of both sides to find a way to co-exist. Did they succeed? Not exactly, but it wasn't for want of trying. Then – and perhaps now – science and religion needed each other. Out now on PPF+: Part 2 of David's conversation with Robert Saunders about the 1975 European referendum and the question of why it all ended up so differently in the Brexit referendum of 2016. Sign up now to get this and all our bonus episodes plus ad-free listening https://www.ppfideas.com/join-ppf-plus David's new 20-part series Postwar – about the 1945 general election and the making of modern Britain – starts on BBC Radio 4 tomorrow and the first 10 episodes will be available to download on BBC Sounds https://www.bbc.co.uk/programmes/m002d8v1 Next time in Politics on Trial: Charles I vs Parliament Learn more about your ad choices. Visit podcastchoices.com/adchoices

National and international news from BBC Radio 4

Former soldier Andy heads to a tiny medieval town in central Spain to meet a group of friends for a fun biking holiday. But the old house in which they're staying has a strange, uncomfortable atmosphere. And when Andy witnesses something indescribably nightmarish one night, the house's dark secrets come tumbling out… Written and presented by Danny Robins Editing and sound design: Charlie Brandon-King Music: Evelyn Sykes Theme music by Lanterns on the Lake Commissioning executive: Paula McDonnell Commissioning editor: Rhian Roberts Produced by Danny Robins and Simon BarnardA Bafflegab and Uncanny Media production for BBC Radio 4