Podcasts about Boy

Get ready for a packed episode filled with the latest Peloton updates and fitness buzz! From Alex Toussaint taking on Jennifer Jacobs, to exciting new features and challenges, we're covering everything that keeps the Peloton community spinning. We'll also touch on new class recommendations, celebrity updates, store closings, and even some drama in the fitness world (hello, Disney+ and Lululemon lawsuits!). Grab your water bottle and hit play—it's time to ride! Alex Toussaint takes on Jennifer Jacobs—competition or collaboration? Big news! Dick's Sporting Goods is dropping Peloton equipment. Disney+ lands on your Peloton entertainment tab—stream your favorites while you sweat! Celebrate your Birthday Month with special Peloton discounts! More store closures—what does the future hold? Programs failing to load? We've got the scoop on the latest tech issues. It's a BOY! Bradley & Sophia Rose welcome their little one. Leanne Hainsby-Alldis steps into a new role as Peloton's barre instructor! What's up with Kristin McGee? A new chapter is coming soon. Latest artist series alert! Peloton classes featuring Beyoncé's ‘Cowboy Carter' and Jimmy Buffett are here. Lululemon sues Costco over dupe leggings—fitness fashion clash! TCO Top 5—don't skip these must-ride classes hand-picked by The Clip Out listeners! This Week at Peloton—explore the week's shiny new highlights. TCO Radar—the classes catching our eyes right now. July Challenges have finally landed—time to crush your goals! Discover Kettlebells with Andy Speer's new challenge series! Strength+ just got stronger—Assal Arian drops a fresh program. Adrian Williams brings Thunder 45 to Row. Enjoy the episode? Don't forget to subscribe and leave a review to help other fitness enthusiasts find us. Head to our website or follow us on social media for more updates and insider info. You're part of the Peloton family—stay connected and keep moving! See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Happy fourth of July from your fellow Americans! And in honor of this momentuous occasion, we have chosen one truly all-American Taylor Swift song to pair cocktails to and discuss. Boy do we love a good ol' sappy Taylor Swift love song! But So High School is way more than sappy love, it's reminiscent of a time we've all experienced, or maybe some who are currently experiencing: teenage giddiness! Taylor certainly shows that giddiness on this lovely track, whose sound we are absolutely loving and craving more of! We simply can't get enough of this song, even though Sam sometimes feels a little queesy over Tayvis and their showy relationship. For our Spotify listeners, take the poll to let us know which line of the song is better!Check out our "new shit" playlist on Spotify: ⁠⁠⁠⁠⁠⁠⁠⁠⁠https://open.spotify.com/playlist/5LOn9LRJ8lnvnCbpl6fKVG?si=68ca3032d3aa470b⁠⁠⁠⁠⁠⁠⁠⁠⁠Share with us your thoughts on today's episode by sending an email to swiftandswigspodcast@gmail.com.Leave us a written review on the Apple Podcasts app!Follow and rate our podcast on Spotify!

Welcome back to the Mowing in the Dark LAWN CARE Podcast! One day Aaron found a wet spot in the yard and started wondering where this spot could have come from. After some searching Aaron realized the water was coming from the septic tank at his house. Aaron instantly went into a downward spiral about having to get the whole system replaced. Instead of jumping the gun and calling in a company to dig it all up, Aaron and his wife Renee, along with their son Marcus started digging to see if they could find the problem. Boy did they ever find a problem. To make a long story short, they snaked the drain field lines and removed over 60 gallons of nasty, smelly, grease! Hear the story in their own words as they tell the harrowing tail of They Removing 60 Gallons of Flubber From the Backyard.  **Please give the podcast a 5 star rating and review in Apple Podcasts.** Give Me Your Feedback: http://www.linktr.ee/lansinglawnservice     GREEN FROG WEB DESIGN SPECIFICALLY FOR LAWN CARE *Your First Month is ONLY $1.00* https://greenfrogwebdesign.com/ Buy Me A Coffee: http://www.buymeacoffee.com/mowinginthedark    Michigan Maple Coffee: https://amzn.to/4eQZzSR Check out my business websites: www.lansinglawnservice.com www.gravelblasters.com , www.sutterbrotherslawncare.com   Check out My Favorite Lawn Care Gear: Werner, AC78, Quickclick Stabilizer, Aluminum https://amzn.to/2OTOfMf Wonder Grip WG318L Liquid-Proof Double-Coated/Dipped Natural Latex Rubber Work Gloves 13-Gauge Seamless Nylon, Large, Large https://amzn.to/2Ytjml6 Hodenn Zero Turn Lawn Mower Hitch - Fits Ariens & Gravely ZT-X: https://amzn.to/3jJmEua ECHO Black Diamond Trimmer Line: https://amzn.to/2GBEL7d  

Follow the We Have More Thoughts audio feed on Apple and Spotify so you don't miss out on new episodes each and every Wednesday! On this week's episode of We Have More Thoughts, SaVon makes his long awaited debut on the show. The guys kick things off by debating the best way to season eggs (0:41) before SaVon and Pierre share some updates on their muscle building competition (6:31). Next, the guys breakdown Drake and T-Pain taking shots at each other after the “Buy U a Drank” singer suggested that The Boy is not taking his own advice when it comes to “gracefully” exiting the rap game (10:54). They also discuss Drake's recent Instagram post revealing sculpted abs (25:09), SaVon and Pierre's experience at Fanatics Fest (33:56), Alex and Q's time at Rock The Bells Festival (52:02), the Diddy trial as the jury reaches its verdicts (58:18), and much more! Book your next podcast recording at Need to Know Studios TODAY -https://needtoknowstudios.com/ Join our Twitter/X Community to chop it up with us about all things Need to Know -https://x.com/i/communities/1777442897001910433 The Need To Know Podcast https://instagram.com/needtoknowpod https://twitter.com/needtoknowpod https://www.tiktok.com/needtoknowpod Alex https://instagram.com/balltillwefall https://twitter.com/balltillwefall Pierre https://www.instagram.com/pedro4cristo/ https://twitter.com/pedro4cristo1 Q https://www.instagram.com/witnessnyc/ https://twitter.com/witnessnyc

At 96 years old, Jimmy Pattison still runs his $16 billion empire personally.  He's built it over 63 years without outside capital or a college degree. He owns 100% of car dealerships, billboards, radio stations—even Ripley's Believe It or Not—with a philosophy of: "No partners, no shareholders, no relatives."  This episode reveals the principles behind one of North America's great private empires: how to build and compound a reputation, why the best deals happen in silence, and what a Japanese bicycle taught him about operational excellence. You'll learn the hidden advantage of selling “souvenir editions” instead of newspapers, how he turned a ghost radio station into a ratings leader overnight, and why he once fired the entire bottom 10% of his staff—then took them out for steak.  Most people play for approval. Pattison plays for permanence through reputation, relentless clarity, and never mistaking flash for fundamentals.  This episode is for informational purposes only and is based on Jimmy: An Autobiography by Jim Pattison and Paul Grescoe.  Check out highlights from these books in our repository, and find key lessons from Pattison here—⁠⁠⁠⁠⁠https://fs.blog/knowledge-project-podcast/outliers-jimmy-pattison/ Approximate timestamps: Subject to variation due to dynamically inserted ads: （00:00) How a Teen Sold Yesterday's News（01:10) Jimmy Pattison's Billion-Dollar Playbook（03:24) The Debt That Built Character（05:41) Part 1: Foundations - The Boy Who Sold Seeds Door-To-Door（06:52) When Victory Becomes a Liability（08:46) The University of Used Cars（10:02) The Art of the Close（13:30) When Business Becomes Theater（15:22) The Price of Independence（16:36) The Pattern（17:44) Part 2: Starting to Build - Back to Zero（18:09) The Price of Independence（20:08) Bleeding Money（21:11) The Secret Weapon（22:11) The Main Street Disaster（23:09) Dead Air to Hot Air（24:33) The Ghost Station（25:40) The Conglomerate Dream（27:03) The Target（28:24) Cold Calling Wall Street（29:35) The Silent Hunt（30:49) The Takeover（31:36) Part 3: Neonex International - Perfect Timing, Wrong Direction（32:09) The Magic Money Machine（34:17) The Toast Order（35:06) The Forbidden Target（36:15) The Christmas Surprise（37:27) The Bluff（38:07) The Unraveling（39:07) The Education（40:27) Part 4: The Jim Pattison Group of Companies - Returning the Paintings（40:49) The Corporate Confession（42:08) The New Operating System（44:01) The Dinner That Changed Everything（46:23) The Great Escape（47:31) The Boy and the Bicycle（49:07) The Quality Revolution（51:14) Part 5: The Empire Builder - Still at the Wheel（51:47) The New Playbook（54:17) The Grocery Gambit（55:13) The Media Monopoly（55:52) The Numbers Game（57:20) The Ultimate Lesson（59:15) Reflections and Lessons Upgrade—If you want to hear my thoughts and reflections at the end of all episodes, join our membership: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠fs.blog/membership⁠⁠⁠⁠⁠⁠⁠ and get your own private feed. Newsletter—The Brain Food newsletter delivers actionable insights and thoughtful ideas every Sunday. It takes 5 minutes to read, and it's completely free. Learn more and sign up at ⁠⁠⁠⁠⁠fs.blog/newsletter⁠⁠ Follow Shane on X at: ⁠⁠x.com/ShaneAParrish

I was told, point blank, I was going to hell. Here's a way to find out your purpose in life... do you believe it? Does my Mom have pneumonia?? MOM-TENT Become a Certified Fan! Help support the podcast and get our Thursday show, More Mama's Boy! Adopt An Episode! Want to show us a little extra love? Adopt an Episode and get a personal shoutout in an upcoming show! This episode was adopted by the amazing Angela P from Chittenango, NY. and her son!! Thank you!! Listen to my other podcast, “Kramer and Jess Uncensored”! Learn more about your ad choices. Visit megaphone.fm/adchoices

Chris Weitz and Paul Weitz (creators, Murderbot; American Pie; About a Boy) discuss working with actors and what Alexander Skarsgård brought to the titular role of Murderbot, who your audience is, writing and directing together after a two-decade break, and lots more.THE WRITERS PANEL IS A COMPLETELY INDEPENDENT PRODUCTION.Follow and support the show by subscribing to Ben Blacker's newsletter, Re:Writing, where you'll also get weekly advice from the thousands of writers he's interviewed over the years, as well as access to exclusive live Q&As, meet-ups, and more: benblacker.substack.comCome see Paul F. Tompkins, Paget Brewster, Busy Philipps, Joshua Malina, Janet Varney, and more in The Thrilling Adventure Hour live in a city near you! https://thrillingadventure.live for details.SOCIALS:Bluesky: https://bsky.app/profile/benblacker.bsky.socialInstagram: https://www.instagram.com/bablacker/ Hosted on Acast. See acast.com/privacy for more information.

Boy, it is frustrating to get interrupted over and over again. I have a feeling Joseph knows exactly what I'm talking about, so let's dive into D&C 73:3.  And grab study guides for the whole family here:  - To get Cali's scripture study guide for adults click here:  https://comefollowmestudy.com/shop/ Discount code: OMSS Or purchase on Amazon: https://a.co/d/4WDM8H0 - Kristen's daily scripture study help is available for kids/teens/adults in digital and physical form here :https://kristenwalkersmith.com/starthere/   Get our 365-day Doctrine and Covenants daily devotional book: https://a.co/d/aE3Wp4D  

There's a world of free resources and government support waiting to be claimed and Matthew Lesko is on a mission to help you find it. In this episode, Lesley Logan chats with the iconic author and endearing personality to explore how anyone can access funding, assistance, and programs already available to them. Lesko's unfiltered advice, contagious energy, If you have any questions about this episode or want to get some of the resources we mentioned, head over to LesleyLogan.co/podcast https://lesleylogan.co/podcast/. If you have any comments or questions about the Be It pod shoot us a message at beit@lesleylogan.co mailto:beit@lesleylogan.co. And as always, if you're enjoying the show please share it with someone who you think would enjoy it as well. It is your continued support that will help us continue to help others. Thank you so much! Never miss another show by subscribing at LesleyLogan.co/subscribe https://lesleylogan.co/podcast/#follow-subscribe-free.In this episode you will learn about:How Matthew Lesko followed his heart to create a mission-driven career.Why helping others became more meaningful than making millions.The mindset shifts from chasing success to creating an impact.Where to find real programs offering free financial aid and support.How to access small business and government contracting support.Episode References/Links:Matthew Lesko Help Free Membership - www.beitpod.com/leskohelpFind Local Help for Basic Needs – www.findhelp.orgSmall Business Support (SBA Local Assistance) – www.sba.gov/local-assistanceGovernment Contracting Support (Apex Accelerators) – www.apexaccelerators.usCareer & Job Training Help – www.careeronestop.orgFree Financial & Debt Counseling (HUD) – www.hud.gov/housingcounselingGuest Bio:Matthew Lesko is a nationally recognized author, researcher, and consumer advocate known for helping people access free government money and resources. For over 40 years, he's made it his mission to show everyday Americans how to find funding for education, business, debt relief, housing, and more. With over 100 books published, Lesko has turned complex government programs into easy-to-use guides that empower individuals to take control of their financial future. His work has been featured on major platforms like Oprah, Larry King Live, and Good Morning America, where he's become known for his energetic style and signature question-mark suit.Lesko's passion goes beyond publishing. He leads a community of over 15,000 members who support each other in navigating hidden funding opportunities. Through this platform, he also gives back—distributing monthly grants to help others get started. At the core of his work is a simple belief: you don't need to be wealthy to get support—you just need to know where to look. Lesko's tools, research, and heart-centered approach have helped thousands unlock resources they didn't even know existed If you enjoyed this episode, make sure and give us a five star rating and leave us a review on iTunes, Podcast Addict, Podchaser or Castbox. https://lovethepodcast.com/BITYSIDEALS! DEALS! DEALS! DEALS! https://onlinepilatesclasses.com/memberships/perks/#equipmentCheck out all our Preferred Vendors & Special Deals from Clair Sparrow, Sensate, Lyfefuel BeeKeeper's Naturals, Sauna Space, HigherDose, AG1 and ToeSox https://onlinepilatesclasses.com/memberships/perks/#equipmentBe in the know with all the workshops at OPC https://workshops.onlinepilatesclasses.com/lp-workshop-waitlistBe It Till You See It Podcast Survey https://pod.lesleylogan.co/be-it-podcasts-surveyBe a part of Lesley's Pilates Mentorship https://lesleylogan.co/elevate/FREE Ditching Busy Webinar https://ditchingbusy.com/ Resources:Watch the Be It Till You See It podcast on YouTube! https://www.youtube.com/channel/UCq08HES7xLMvVa3Fy5DR8-gLesley Logan website https://lesleylogan.co/Be It Till You See It Podcast https://lesleylogan.co/podcast/Online Pilates Classes by Lesley Logan https://onlinepilatesclasses.com/Online Pilates Classes by Lesley Logan on YouTube https://www.youtube.com/channel/UCjogqXLnfyhS5VlU4rdzlnQProfitable Pilates https://profitablepilates.com/about/ Follow Us on Social Media:Instagram https://www.instagram.com/lesley.logan/The Be It Till You See It Podcast YouTube channel https://www.youtube.com/channel/UCq08HES7xLMvVa3Fy5DR8-gFacebook https://www.facebook.com/llogan.pilatesLinkedIn https://www.linkedin.com/in/lesley-logan/The OPC YouTube Channel https://www.youtube.com/@OnlinePilatesClasses Episode Transcript:Matthew Lesko 0:00  My rule of thumb is your heart is smarter than your brain. You got to trust that more than anything. And sometimes you can't get there until you fail your assLesley Logan 0:13  Welcome to the Be It Till You See It podcast where we talk about taking messy action, knowing that perfect is boring. I'm Lesley Logan, Pilates instructor and fitness business coach. I've trained thousands of people around the world and the number one thing I see stopping people from achieving anything is self-doubt. My friends, action brings clarity and it's the antidote to fear. Each week, my guest will bring bold, executable, intrinsic and targeted steps that you can use to put yourself first and Be It Till You See It. It's a practice, not a perfect. Let's get started.Lesley Logan 0:56  Be It babe, this is for you. This episode is for you. I mean, they're all for you, but this one I've been waiting for since the day I met this man. I was like, no way, no freaking way. This is real. And it is real because, and the reason I know is because I, before I met this guy, have been trying to do this with my business and going through some of the hoops that do it. And I think he just made it even easier. So Matthew Lesko is our guest. He is a wonderful, brilliant, hilariously honest man with so much love, and he is all the websites, all the keys, all the kingdom to helping you get the money assistance you need, like free money. But then He even tells you how you can get better money. So I know that that can sound like an infomercial. I know that they can sound like it's too good to be true. I promise you that, like, you do have some hoops to jump through, but I want you to get I want you to have everything you need. And I know some of you have debt that's holding you back, or you need money to make this idea happen, or you need the job training to make this idea happen. And literally, in this episode, he's gonna give you URLs that could help you do that. And if you want accountability community, he has that for you as well. So Matthew Lesko is our guest. You're gonna, you're gonna want to have a pen and paper for when he starts doing these, but we'll have the links in the show notes, so just check the show notes. All right, thank you, Matthew Lesko, you're amazing. Y'all, here he is. Lesley Logan 2:14  All right, Be It, babe. I am super excited. First of all, if you're not watching this on YouTube, you're gonna want to see the man that's in front of me, because he has never let me down the two times I've seen him. He has the best suits on, the best glasses on, the most gorgeous hair. Matthew Lesko, can you tell everyone who you are and what you rock at?Matthew Lesko 2:36  Matthew Lesko, what I rock at? Boy, I just struggle. That's what rocking is. Man, it takes work to get through this shit, you know, everybody thinks there's some formula. No, there's no formula. You're guessing your ass off every day and hoping something works. The only thing you need is energy to do stuff, because the more stuff you do, because any, any that you get some plan about what to do in life, and that's not going to work, don't worry about it. But you could try maybe a little bit there you could do, but you got to figure your own shit out. And, but help could help you, just at least get you a little bit on the way. But, yeah, that's what it is. We all struggle and the experts want to make a lot of money to try to convince you they know the secret to life. Now they don't know what the fuck to do with their own life, you know. And so maybe you can claim little items to open your mind a little bit more. But really, life is trying something and failing. It's, it's like, if you're going to do something new in life, that's like learning to walk, you know, or learning to ride a bike, you're going to fall on your ass a lot. That's, what I think here is your loved ones are your worst enemy, because they say, don't do that. You're going to fail. Yes, you are. You're going to run into big bumps in the road. You're going to fail at something, and you just keep fucking going because you want to do that. So that's why key in life is not knowing exactly what to do, because nobody really knows, and you have to figure that out. That's a trial and error. And what you have to do is you use your brain as little as possible. Follow your heart as much as you can. I mean, you got to have the brain part, you know, so you don't fall off a cliff and do something really fucking stupid. But the way to get anything done is your heart has to be in it. I mean, whether it's professional life or personal life, man, if your heart and soul is not there, you're not going to make it happen, because it's going to be a pain in the ass, and you're going to leave on the second time it's a pain in the ass, or maybe the third.Lesley Logan 4:45  Yeah or some people the first time because they think it should be easier. Or, like, I've heard people say, oh, this is a sign I'm not supposed to do it. It's like, no.Matthew Lesko 4:55  That's a sign you're human. Lesley Logan 4:56  Yeah. I mean, like, like, everyone has obstacles. I really appreciate this honesty. Thank you so much, because it's true. Like, you know, while we're doing this, my husband's actually talking to some business owners that we're hoping to coach, and we tell them, they're like, okay, well, what's the template like? In six weeks how much money am I going to make? And then we're like, anyone who's telling you that there's a template (inaudible) yeah, like this, because they've had so many good business coaches tell them, oh, follow this plan, you'll have 100k launch. You'll have this da-da-da but like that doesn't that's not how it works, because the amount of time you can put into this brilliant idea that you're passionate about is very different than the person next to you. The amount of money you're coming into this brilliant idea with is very different, and then also the life that's around you, or if you have an audience for this idea already, or you have to build it first, like, you can't, don't, I was, like, the quickest thing to know that someone's lying to you is if they have a plan. Because, like, like, I what's the thing? Like, you have a plan and God laughs, or something like that. Like, like, you know, it's just, but it doesn't mean that there's not options or ideas or good things that are out there. It's just that, I think people think, if I buy the plan, and that's going to be the thing, that's going to get me there, as opposed to starting with what you said, which is, like, do you really want to do it? Are you that passionate about it that you'll do it even if you fail? Matthew Lesko 6:18  Right, because you are going to fail. I mean, there are going to be bumps in the road, reasons to not go forward, and that's when people quit, and then they try something else and they try something else, and that's why, even on a, personally, for your heart, I mean, my rule of thumb is your heart is smarter than your brain. You got to trust that more than anything. And, and sometimes you can't get there until you fail your ass off, then there's nothing left. And, and you know that you're special, but you have to find out what you're special in. That's the problem. We go to classes and experts and, and tell us, they're just giving you a clue they don't know, because we're all so different. I mean, you're a rose and I'm a petunia, you know? And how are you going to make a petunia into a rose? Lesley Logan 7:13  And then everyone tries to treat each other like they're a tulip, and no one wants to be taller than the other, right? But you're really a rose and a petunia in a tulip field. Okay, so you Matthew, I feel like you are like coming into our ears today and like giving us true honesty, but also like you clearly lived a life. You've got this gorgeous white hair, you lived this life and also, I don't think anyone like knows how to say this, the way that you're saying it, with so much honesty and love, unless you've, like, lived through lives like you've lived through. Because, you know, it takes time, it takes time to (inaudible) so tell, can you tell us all about how you got, like, what you did before you became a petunia who's bestowing us in all this honesty?Matthew Lesko 8:00  I, god, I'm 81 years old. Can't remember that far, but I do it, really struggled, I mean, I was never good at anything. You know, that's why I just adore artists, because they know what the fuck they have to do, you know, but if you can't sing, dance or whatever, and you don't know what you're really supposed to do every day, and the rest of us have to figure that out. But the longer I do that, the more I see, yes, we all are artists like that is something we have to get up the morning, and there's something inside of us that possesses us to do something because you feel it's important, because you feel it's helping somebody, like now, at 81, I work harder now than ever before. It's not work. I haven't worked in 50 years, and part of, it's having fun in the process. So what I was doing, I was getting I am failing through college and all that kind of thing. When in Navy, I was a naval officer, ship driver, came back, that was Vietnam, and I got an MBA, started businesses that were failing. I had a software company in the 70s that was failing. I was, like, computer science professor, starting another business that failed, a bunch of failures. And I started looking, wow, I'm failing, not having fun, and I'm doing all this shit that maybe in 30, 40, years from now, I'll have fun, and that's crazy. I'm not having any fun, and I'm not successful at it. And so what I did is sort of finally flipped it around. Have fun today, because when you start having fun, you know that's a little contagious. Then also, if you're doing something that you feel you're having fun at, you'll work harder at. You hate playing basketball, but you love golf. You'll be on the golf course still, they have to drag you off, you know. And that's, so, that's what happened. That's how you really learn, that's how you really grow. You're into something you want to be there no matter what and then when I start doing that, then, and I think the other thing is, I find I had to, you have to look inside, you know, help may or may not be have outside, but you really have to be aware of what's inside you listen to that inside you, because that's really the important stuff that's going to come out, and it's hard to listen to it, because we don't, none of us know what the hell to do in life. We're all guessing you know and there's no empathy for that, because the people, coaches, you have to pretend, you know so you could charge a lot of money for what you're guessing about, you know, because that's what people want to hear. You know, unfortunately. Lesley Logan 10:58  Yeah, I think, well, if people are afraid to take risks, because, I mean, you know, you know, you've lived a whole life. Like, if you take, if you are putting your own money into something as an idea and it fails, the the bills don't care, right? Like, they don't care. So, like, you know, like, something that I had someone say, like, there's like, six needs that we all have as humans, certainty and uncertainty. Matthew Lesko 11:30  I thought you said sex needs. Lesley Logan 11:31  Sex needs yes, yes, yes, yes. Six needs. Certainty, uncertainty, love and connection, I think one of them has to do with like, uh, significance, excuse me, it's like power, that you mean something, then we also need growth and contribution. The growth and contribution are more like choices. The other four you like, are like, really needs. And I think, like, a lot of us don't want to take a risk on the thing that's on our heart that we know we're supposed to do unless we have certainty that it won't fail, because this job over here that we hate is paying the bills.Matthew Lesko 12:12  Well, to me, you have to do both. You have to be responsible to yourself and the bills and everything and then any waking hour extra you have is to concentrate on finding out what that is inside you. Because if you don't do that, you know it's just life is so much harder. And boy, 81, I am so fucking happy now. I can't believe it. And for I never do, like, live so long, and I didn't know maybe this time I'll have this much fun. I mean, I say, god, if I knew being 81 was this much fun, I would have gotten here a lot fucking earlier, man, why did I wait so long? Lesley Logan 12:59  You are amazing. Because my dad is 72 and I'm like, oh, and he's like, now, like, older than any of the men in his family, right, that have ever lived. And so, like, where it was like, let's get him to 70 like, the whole like, let's get a 72 no one's ever made it to 72 like, let's see. And I was like, you're gonna live to 100 you better watch out. He goes, I don't want to live to 100 but, like, I think clearly the difference is attitude, like you were like, you had that idea, like, have fun today, and now, clearly, and being it till you see it of have fun today, you're having so much fun at 81 you're like, I should have gotten here faster. Matthew Lesko 13:33  Well, another thing that's really happened just last few a years too, is that most of men and your dad's 10 years younger than me or whatever. At least my life, most of it was trying to get stronger, faster, smarter. Well, at 80, none of that shit is going to get better. All that's going downhill. But what I figured out just a couple years ago, more so, is that I could love harder. Now there's one thing I get harder at any age. I could just love harder. And in my generation, I don't know if your dad's the same way. I couldn't even say that word unless they married you.Lesley Logan 14:14  Right, right. No, I think, literally, I don't think he says he loves anyone except for his kids right now.Matthew Lesko 14:20  Never heard it from my family even. And you know what changed me a lot were lesbians. I live in an apartment building here, 70, a lot of cool people, younger people, usually. And there was a woman next to us (inaudible) we really got close and that she she's my gateway drug to saying I love you to a woman, it was safe. Lesley Logan 14:44  Yeah, because it didn't mean anything, she didn't care, like she loved being loved, but didn't take it the wrong way. That's so funny. I know it's really true. Like I like one of my girlfriends, I just rung on the phone the other day, and she had, like, her father passed, and, you know, we end every phone call I love you. And like, you know, I think, yeah, yeah, well, we, you know, we can change it. I, okay. So you are full of so much information. So as far as like, I mean, you are giving us so many good gems, and we can all love harder, but you actually are, I think maybe, like, you actually are, like, the person who helps people. You are an expert in helping people get, get money. So how did, how did you get here? And what are we talking about? Because, like, I when I met you and you told me this, I was like, no freaking way. But then I said that about Pilates, and now I'm a Pilates instructor, so I it's my it's like my sign when I go, no fuck no way, no fucking way. That's like some be it. No way. No one can do that. So can you tell us a little about, like, what you do when you're not just loving on people?Matthew Lesko 15:54  It is, by accident, again, my business has failed, and so what you do is become a consultant. So I have a consultant, like a researcher at the time, back in 70s, for Fortune 500 companies that wanted to do stuff, and I was in Washington, so they wanted to get money to start businesses and buy companies and find out the market for stuff. So I was in Washington, and I'd get I'd go around Washington and find help for them, and offices that give you money, offices that give you free reports on the markets for anything like I did one for Procter & Gamble on pasta, and I found a pasta expert in Washington who just spent a million dollars on some study on what's the good and bad about pasta business, and who makes money and where to get money. And so I take that stuff, and I take the government's name off of it, put my name on it, because nothing in the government is copyrighted, and I thank the department or whatever, and sell it to them for thousands of dollars. They loved it, millionaires, and that's why I saw I was making billionaires out of millionaires. I said, why does the average person know about it? Well I said I want to people. And that was my first successful business. So I was, you know, very happy with that. And but then to reach people on the street had to do with books. I couldn't charge $20,000 to do that. And so then to sell books and through publicity and doing talk shows and stuff like that. And I've been doing that for a long time, but what I see, see anybody can use it, the government, see, 40% of everything in our economy is our organizations that give you free money to solve a problem, whether it's you know, you need money to get out of debt. You need money to get rid of your your bills as an expense. You need money to start a business. You need money to get an education or get a better job. You need money to buy a house or fix up your house. You need money for I was anything you want. Is there health care, free, legal help? It's all in the government we I was finding government grant the other day for you want to buy out your boss. You know, $250,000 they'll give you in this is Colorado. To do that. Wisconsin will give you $250,000 just start a business as long as you stay there 15 years.Lesley Logan 18:25  What? I didn't know about Oklahoma. I think there was like a thing where Oklahoma City was trying to get people to move there. So you would get, (inaudible) you got like, $20,000 put down on a place to live in Oaklahoma City and then they would give you $10,000 a year. And I was like, and you had to, and all you had to do was stay for two years, so and then you could rent the house out, or whatever. And I was like, two years, and I could own a property in Oklahoma City, then I could rent it out, like I work for myself. Am I interested? And like, going back to your heart, like my heart wasn't in it. So I was like, that sounds like it's not enough money for me. But like that, I did know about that, so I didn't realize, like, Okay, this is so cool. So, like, all these states have different stuff. You just have to know it exists. The government has this. I think we all just have to, like, can we just, like, take a brief moment we are recording this two months into a shit show. Is there still gonna be money for all of us. Matthew Lesko 19:21  Absolutely, absolutely. Yeah, this is more show business that's going on for the average person. It's all still there. The downside, if all that still works, none of his stuff is legal yet. He just does it and wait till somebody stops him and but what's important is that, can you go online now? Let me show you something. Okay, okay, go on to findhelp.org.Lesley Logan 19:52  findhelp.org okay. Matthew Lesko 19:55  Right. Okay findhelp.org. Put in your zip code. I don't know what Vegas is, what's the OE on your hand? Lesley Logan 20:04  Oh, it's part of my hand my other hand tattoo. The other half is my husband and and it, and it, he has the LV, so it's the love tatoo. He's from Philly. There we go. We're in. We're in. You're so smart Matthew. You're like, okay, it didn't like, it doesn't like a VPN. So everyone, when you go to this, turn off your VPN, which is kind of like Hulu, doesn't like your VPN either. Okay, so I put in my zip code. Okay, there are 2738 programs in Las Vegas, Nevada. Matthew Lesko 20:38  So anyways, 2700 programs, those programs are all from nonprofit agencies or government offices. That means they all give you money or free help. None of them will never charge you a nickel for what they have. The government gives an average of $18,000 to every adult through programs like this every year, and that's me. And so you have, what, 1800 of them. And so, like, if you. Lesley Logan 21:02  2700 of them, yes, yes.Matthew Lesko 21:04  2700 yeah, incredible. I mean, and that's for anything. Look at the tabs on top. Lesley Logan 21:13  Yeah, there's tabs for food. There's, uh, which, like, which, when you tab on that, it has, like, community gardens, emergency food, food pantries, meals, housing, there's 22 things in housing, goods, there's a ton of stuff in goods, transit, they'll help you buy bus passes, health, money.Matthew Lesko 21:36  Oh, up in the there's the little search bar on the left hand side, on top, put in financial assistance.Lesley Logan 21:44  Okay, here we go. Matthew Lesko 21:45  How many you have there? Lesley Logan 21:50  This? It's showing me 791 pages, and there's 10 listings on each page. That's 7000.Matthew Lesko 22:02  Those people are there to give you free financial assistance. Most of us, well, we got to go to the bank, or we got to rob a 7/11 yeah and that's the options people don't know. That's why I think Google is ruining our country, because everyone's going to Google, and you can't find these in Google because they don't advertise.Lesley Logan 22:24  Right and they're not doing the SEO game. They're not, they don't have time for that. So yeah. Thank you for explaining that because I was just thinking, like, oh, I just like, you know, a couple years ago, my husband and I were trying to get a business loan for our business to help grow it. And we, of course, went to our bank, and we banked with since the dawn of my business, and I've always made more money every year. And they're like, no, you don't get any money from us because you're so small we don't care about you. So then I Googled, like, small business and like, like, nothing, except for all these banks and credit you like, these people don't want me. I'm not banking with them. We had to, like, we actually went to a wee bank event, and that's how my husband found someone who wanted to, like, invest in our business. But, like, this is really cool. So this, like, okay, but like, really, Matthew, so, like, a lot of this, there's stuff for people, like, for housing, so well, I can, there's one I'm saying, like, for people who have babies in NICU, this is amazing. So like, can I find financial assistance for my idea, for my business idea, or is it like?Matthew Lesko 23:26  No, not there, though, let me show you another website. Okay, okay, sba.gov/local-assistance. Lesley Logan 23:38  I see it. Okay.Matthew Lesko 23:41  Local hyphen assistance. You get there, after (inaudible) and there's a place (inaudible) your zip code.Lesley Logan 23:49  Yes, there is. And you can put a distance. And I'm just going to keep it small. Let's see. (inaudible)Matthew Lesko 23:54  Most of this stuff is remote anyway, so it doesn't matter where they are. Lesley Logan 23:57  Yeah, there's, like, it's telling me about the main off, the Las Vegas this, like, the SBA of Las Vegas is, like, down the street from my house.Matthew Lesko 23:59  Many other places that usually the non-SBA are better.Lesley Logan 24:10  Okay, there's, yeah, there's a just in, in, in 25 miles. Looks like I have about 15 options to go through. So, and that's like, that's just like in the like, that's just like the county, yeah. Matthew Lesko 24:25  Every one of them are people that are there to help you find money and help you need to start or expand anything. So the best way to do it, and the way you do this, to me, my advice is to call and make appointments with as many as you can. Everybody has different ideas about how to do things and whatever, and different sources and all that kind of stuff, but they're all there to help anybody who calls to start their business help you find money. Help you find technical help, legal help. Help you do your taxes, all for free, and it's or strategize for strategy. And one of the things I think is best, too, for someone like you, you're you're providing help to people as a service that see if the the government buys that service, what's better from the government is not a grant, is really a contract that you get a government contract, you know, to sell your services to the government, or from a what they do, they spend a lot of money teaching people how to start a business. So like at your what's called the career one-stop center. You go, that's another thing for getting a job or things like that, or even starting a business. And they, they, they pay people to train people to help start a business, so you could be a contractor for somebody like that. Contracting is better than any kind of grant, because you get that forever (inaudible).Lesley Logan 26:01  Yeah, yeah. I am. We actually, in the last year, been working on certifying our business, because, like, there's some contracts that you're more likely to get if you're certified women-owned business or things like that. But like, I got to, like, look for some of these contracts, like websites for that, and it is insane how many, like, how many government contracts are wanting to use, like, they're like, we need like, like, the military is like, hey, we have a ton of people who want to do the military, and they are not in shape. So the military is looking for Pilates instructors or trainers or nutritionists to just help them with this problem they have. And like the truth is, is that most of us don't know these things exist, and we're the ones who's got the passion.Matthew Lesko 26:47  Let me show you the best place for that. Now you could use what I just gave you, and they would help you. There's a better place. It's called Apex Accelerators A-P-E-X and then I, I will screw it up if I try to spell accelerator.Lesley Logan 27:04  It's okay Apex Accelerators I know, it's one of those words.Matthew Lesko 27:06  Yeah, and then, but dot U-S. Lesley Logan 27:09  Okay. Matthew Lesko 27:10  Now that's, that's a free service that just specializes in helping people get contracts.Lesley Logan 27:16  Wow. Well, that's even more fun because then I don't have to learn how to do it. Matthew Lesko 27:21  Exactly, right. Lesley Logan 27:23  Because it can be a lot, oh my gosh, this is insane. You guys, you could put your zip code in, okay, and it says, find an apex accelerator near you. And guess what? There is, there's, there's one like, it looks like it's right, oh my gosh. It's like down the street from my it's like down the street from my house. (inaudible) Yeah, make an appointment. Okay, so, okay, Matthew, this is amazing. First of all, you gave us more than I expected. Uh, how do you do this? What do you, why? But why, why help all of us? Matthew Lesko 28:03  You just showed me why? Look at your excitement. Boy, if I could do that to somebody that is just the nicest feeling in the world, yeah, I mean, like, wow. I mean, to a human that could react to something I know, and that's like, you know, my pair of socks or something, I don't even think I know it, but when I see you and you see us, that joy and that smile, that that I could do that to human at 81 that's pretty special. Lesley Logan 28:41  Wow. Well, then you're welcome. I promise you. Right now, Matthew, my husband, is listening to me, listening to this for the replay. So when he listens to that part, he's gonna he, that's what he's gonna say. He's gonna go my wife, and he's gonna shake his head, she's so humble. Okay, we're gonna take a brief break, and then we're gonna find out how people can work with you on this, because I have a feeling that, like there's ways like that they could work more with you on this. Lesley Logan 29:09  All right, Matthew, because you just gave us, and this is really great, but I actually do think that, like, do you have a group or a place that people can get ongoing help? Because obviously you're not a recurring guest here, so they can re-listen to this episode for those, like, really amazing mantras you've given us. But like, how else can they get, can they work with you?Matthew Lesko 29:40  A survey that, it took me many years to figure out how I could create income. I like paying for my own way, and after people start buying reference books with the computers and website, it took me a while, but and so I started a newsletter, and then what it turned into is a community. So I have a community now of 15,000 people that help each other get these programs. See, and I only charge $20 I didn't want to charge thousands like I did. I want to get the information to people who really need this. Otherwise, helping millionaires become billionaires was really boring. The millionaires aren't much fun. All they care about is money and not much of the heart is there, but people who really need it is more satisfying. So this is only $20 I charge for everything. Unlimited help for $20 because members help. Like today, we'll have four or five Zoom calls with members asking question as taking questions on how they got the money. So you have actually members how they got it, and they share it with you, and it became so profitable I can't really fathom too much is that we give out our own grants. We give out about 40% of all our money goes back to members and grants. So we give out like, $40,000, $70,000 every month back to members. Yeah, and four different kind of grants and, and that's, I mean, I really feel cool. Lesley Logan 31:17  I mean, you're a badass, you're really cool, but you're like, a bad ass. You're like, you're like, it's like, not even Robin Hood, because you're not taking from bad people. You're like, actually, like, good people are paying in to help good people.Matthew Lesko 31:30  Whatever it is. It seems like I thought you had to be Jeff Bezos or his ex-wife or something like that, to be able to do this, to give up, but it is and that's, I never thought I'd be able to do that. And that's really satisfying.Lesley Logan 31:46  Well, this is, I mean, thank you. We're gonna put the links to your group and everything below, because the thing that I think keeps people from being it till they see it is oftentimes the affordability of it. Like they get stuck in that. As a business owner, I have always reinvested in my business, but like the ability to grow it required some capital, because you can't risk the savings account. And the IRS might not go after Jeff Bezos, but he certainly comes after me, so I have to pay my bill, you know, I can't go, oh, it's coming. I just, I'm doing a thing. I tried something new. So it when I had a bank go, hey, here is this with this really, really, mine's not even free money. But you, you're talking about free money. Like, I actually have been able to grow my business, and we haven't touched the money. Just like having it there meant that we could, like, be a little riskier, and it's paying off, you know, so, like, I just so I just know how impactful it's been for me. And, my goodness, if I knew this 10 years ago, like, I think we'd be in a different place. But I'm so grateful I got to meet you today. You have given us so much, some are great talks. But I love to end every episode with bold, executable, intrinsic or targeted steps people can take to be it till they see it. What do you have for us? Matthew Lesko 33:00  Well, I mean is, if you want to do an idea, say, if you want to start a nonprofit, you want to start a business, you want to start a business at your home. You want to be a freelancer. You have an invention to work on, you go to that sba.gov/ and then local if an assistance, and you make an appointment. You make an appointment 1, 2, 3 or whatever, and you have to do that. Everybody wants to fill out an application and wait for the money. You can't do that because you don't know the application to fill out. You got to get experts and talk to experts who help people like you every day. And they're available for free, but they're not in Google. You can't use that. So you go, if it's for professional you go to sba.gov/localassistance. If it's for education or job training, you go to careeronestop.org that's another clearing house, and you put in your zip code to find a counselor to tell you about government money programs to help you train for a better job, so you want to get a skill to make better money, and things like that. They'll help you with that. Okay? And then if you have financial problems, you go to hud, hud.gov/counseling H-U-D for hud.gov/counseling and you put in your zip code there, and you get a free financial counselor sit down and work out your debts, your bills and all that stuff, so you don't carry that burden in the back of your head forever and get that, get that monkey off your back, And they'll do all that for free.Lesley Logan 34:42  Oh, my God. Matthew Lesko, thank you. Thank you. I, like, I love, like, seven different people for each one of those email addresses. Like, it's in my, just in my, like, phone, my contacts, and so, um, you guys, I know you're gonna share this with a friend. I know you are because, like, I think what I do hear people going, it can't be that easy. It's not going to be easy. I'm sure you're going to have to fill out paperwork, you have to make these appointments, you have to get the steps. But it's there, it's there, and because so few people will take the steps and do the thing like you're you're not in a huge competition. So you know what, babe, share this with a friend who needs to hear it. Thank you, Matthew Lesko. Go check out his group. Go check out what he's doing, and then report back. Let us know what you were able to do with it. Let us know what, what, what grant you did or what website you did, or how it helped your friend. Because I think it'll make Matthew Lesko's day.Matthew Lesko 35:37  Let me see a smile. Lesley Logan 35:37  Yeah, y'all, you know what to do. Until next time, Be It Till You See It. Lesley Logan 35:43  That's all I got for this episode of the Be It Till You See It Podcast. One thing that would help both myself and future listeners is for you to rate the show and leave a review and follow or subscribe for free wherever you listen to your podcast. Also, make sure to introduce yourself over at the Be It Pod on Instagram. I would love to know more about you. Share this episode with whoever you think needs to hear it. Help us and others Be It Till You See It. Have an awesome day. Be It Till You See It is a production of The Bloom Podcast Network. If you want to leave us a message or a question that we might read on another episode, you can text us at +1-310-905-5534 or send a DM on Instagram @BeItPod.Brad Crowell 36:26  It's written, filmed, and recorded by your host, Lesley Logan, and me, Brad Crowell. Lesley Logan 36:30  It is transcribed, produced and edited by the epic team at Disenyo.co. Brad Crowell 36:35  Our theme music is by Ali at Apex Production Music and our branding by designer and artist, Gianfranco Cioffi.Lesley Logan 36:42  Special thanks to Melissa Solomon for creating our visuals. Brad Crowell 36:45  Also to Angelina Herico for adding all of our content to our website. And finally to Meridith Root for keeping us all on point and on time.Support this podcast at — https://redcircle.com/be-it-till-you-see-it/donationsAdvertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

In addition to ranking all the nominees, we talk about why the entire shortlist this year was all fantasy, no sci-fi. This episode is sponsored by The Boy, the Cube, and the Elf by Brent Golembiewski, which is available in print or kindle edition hereJoin the Hugonauts book club on discordOr you can watch the episode on YouTube if you prefer videoIf you want to jump around, here are the timestamps for all the books / series we talked about: 00:00 Intro1:50 Episode Sponsor - The Boy, The Cube, and the Elf2:21 #6 - Rakesfall by Vajra Chandrasekera6:33 #5 - Sleeping Worlds Have no Memory by Yaroslav Barsukov10:42 #4 - The Book of Love by Kelly Link15:28 Why are all the nominees fantasy?18:46 #3 - Asunder by Kerstin Hall23:22 #2 - A Sorceress Comes to Call by T. Kingfisher27:53 #1 - Someone You Can Build a Nest In by John Wiswell

Boy oh boy, do I have a story for you... I hope you love this week's solo podcast episode! Please leave a review / comment letting me know what you thought of this episode. Important LINKS:Get the Create Your Offer Mini Course for FREEwww.powerfemme.co/createSubscribe to GLOCI - the Skincare routine you can drink!www.getgloci.com/powerfemme(code POWERFEMME saves 15%)Shop our favorite luxury skincare productswww.dolcedew.com(code POWERFEMME saves 15%)

In this episode, Pastor Joseph Spurgeon tackles the soft betrayal of evangelical leaders who have traded truth for cultural approval. From Sodom to the SBC, from rainbow buses to feminist pulpits, he unpacks why homosexuality is not simply “not God’s best for human flourishing”—it is a monstrous rebellion against God’s created order. This is not a whisper. It’s a sin that shouts for judgment. But there is also hope: “Such were some of you.” Christ can cleanse and transform even the most defiled. Men, this is your call to stand firm when others capitulate. Timestamps & Topics Covered: 00:00 – Introduction: The cultural insanity nobody imagined 20 years ago 00:52 – Why the church lost its boldness on sexual sin 02:01 – Scripture reading: 1 Corinthians 6:9–11 03:00 – The myth that the Bible whispers about sexual sin 04:25 – J.D. Greer and Tim Keller’s tragic compromise 06:52 – Local churches flying rainbow flags and ordaining women pastors 09:15 – Why Pride Month is an all-out assault on your children 11:41 – Church history: Augustine, Chrysostom, Peter Damian, Calvin, and Spurgeon on sodomy 16:21 – Why the sin is not merely disobedience but anti-creational perversion 18:43 – Genesis 19: Sodom’s destruction and the sin of unnatural lust 21:05 – Leviticus 18 and God’s judgment on the land itself 23:27 – Are all sins equal? The gradation of wickedness in Scripture 25:50 – The creation mandate: Be fruitful and multiply, and why homosexuality mocks it 28:13 – Romans 1: The climax of human rebellion 30:38 – The real root: Rejection of God as Creator 33:01 – Fornication vs. sodomy: Why one is more perverse 35:28 – The false gospel of gay Christianity 37:52 – Effeminacy: Why “soft men” are also condemned 40:19 – Consequences: HIV, syphilis, cancer, and bodily destruction 42:47 – The CDC’s hidden statistics on disease and early death 45:06 – The myth of the monogamous gay couple 47:26 – Anal cancer, incontinence, and the shame no one wants to admit 49:40 – Abortion and homosexuality as twin rebellions against creation 52:00 – The gospel’s power: “Such were some of you.” 55:00 – Final call: Reject passivity, embrace responsibility, and tell the truth Calls to Action: ✅ Subscribe on Apple, Spotify, and YouTube ✅ Share this episode with men who need clarity and courage ✅ Comment Below: What will it take for pastors to stop whispering about sin? Connect with The Patriarchy Podcast: YouTube: https://www.youtube.com/@ThePatriarchyPodcastSpotify: https://tinyurl.com/58tm5zjzApple Podcasts: https://tinyurl.com/f3ruzrsaWebsite & All Links: https://linktr.ee/thepatriarchypodcast Follow Us on Social Media:Facebook: https://www.facebook.com/ThePatriarchyPodcastTwitter/X: https://x.com/PatriarchyPodInstagram: https://www.instagram.com/thepatriarchypodcastGab: https://gab.com/thepatriarchypodcast Sponsored By: Patriarch Cigars – For men who reject passivity and take dominionOrder now: https://patriarchcigars.com/ Fit Father Project – Reclaim discipline and strength for lifeStart here: https://secure.fitfatherproject.com/a/transformation/4539 Books by Joseph Spurgeon:It’s Good to Be a Boy – https://a.co/d/7zpEh5DIt’s Good to Be a Girl – https://a.co/d/6VlBTzS

Boy, are these juicy! In this episode, Rhett & Link talk about some crazy family secrets, as well as a few of their own and thoughts on lineage. Plus, they hear a follow up from a previous caller, and talk about what brings them comfort, since GMM brings so many others comfort in their own lives. Leave us a voicemail and potentially be featured on the show by calling 1-888-EARPOD-1! To learn more about listener data and our privacy practices visit: https://www.audacyinc.com/privacy-policy Learn more about your ad choices. Visit https://podcastchoices.com/adchoices

Here is my invisible string theory. Fifteen years ago, I used to sit in my childhood bedroom and listen to a group called The Jackie Boyz. Cut to 2024, and the universe truly has its way because I'm now releasing my very first album co-written with Carlos Battey, who is now known as Jackie's Boy. This is an episode that has been a long time in the making. I'm honored to share his story with you today and introduce such a special guest to the What's The Juice community as my music producer and co-writer. We are diving into Carlos's career as an Executive Producer, Songwriter, and Artist as he takes us through his journey, starting in recording studios at the age of 13 to moving to LA to write for artists like Justin Bieber, Madonna, and Flo Rida and how he eventually eventually went on to sell over 40 million records.   HERE THE JUICE: The importance of pursuing a gift for music and not allowing perfectionism to stand in the way of progression Carlos breaks down an original song that he wrote, processing a difficult time in his life and how that song was reworked to become one of Justin Bieber's greatest hits. The truth behind what happens in a studio writing session and the break that led Carlos to a career of selling over 40 million records The profound importance of showing up through fear and why pain can be such a driving force in creativity The leadership and direction needed to work with a room of creatives – Carlos breaks down the importance of looking at a song in small pieces in to create the product What collaboration looks like at such a high level and where the magic and beauty of collaboration really comes from   MY FIRST SONG, “ANOTHER LOVER” IS OUT NOW ⭐️❤️

Boy, have Matt and Eric got a vacation for you-you-you-you-you! WESTWORLD is up first on the 1970s sci-fi run - the classic Michael Crichton story of a cowboy theme park trying to kill you made long before he wrote the story about the dinosaur theme park trying to kill you! 

The More Sibyl Podcast Presents: 아버지란 존재의 의미| Becoming Dad: Healing the Boy, Raising the Man — The One with Mr. Chris Chime | Episode 22 (2025)What's better than a blast from the past? Having a guest return—this time, even more vulnerable and wiser. Just 13 episodes ago, Chris Chime gave us a masterclass on entrepreneurship. Now he's back with something even more profound: a masterclass on fatherhood, intentional partnership, and generational healing.As a child of divorce, Chris grew up watching a love that didn't last. That experience left scars—but also planted the seeds of a promise: “When it's my turn, I'll do it differently.” And that's precisely what he's doing. In this emotionally honest episode, Chris opens up about what it takes to lead your family with love, clarity, and conviction. From making the bold decision to shield his wife from extended family interference, to redefining masculinity by being present with his kids, he reminds us that being a man isn't about dominance. It's about devotion.We discuss how unexamined loyalty to siblings or uncles can quietly erode a marriage, and why boundaries aren't a betrayal but a form of protection. Chris shares the quiet rituals that matter most: letting kids choose the restaurant on their birthday, hosting quarterly family meetings, and building trust through simple moments of connection. He also speaks openly about how he and his wife handle disagreements by protecting their values, maintaining open communication, and refusing to use divorce threats as a weapon.And to men in the diaspora, he offers a simple, powerful charge: “Help your wife.” Because true partnership is hands-on.Whether you're a dad, a husband, a child of divorce—or still figuring it all out—this episode will challenge, encourage, and maybe even heal you. Missed Episode 9? Go back and catch Chris's first take on purpose and business.Listen. Share. This one's for the generational curse breakers.

Number 982Mom Brain finally makes her return to the podcast to class things up a bit! She joins us for the latest Nintendo controversies, including more Game-Key Card chatter, Sakurai sharing thoughts on AI, and much more. We also dive into impressions for Switch 2 Welcome Tour, DELTARUNE and plenty of other titles!

Boy howdy! What a week! Jakey was up until the wee hours of the night with this one when news dropped (shoutout the burnerverse) that the Texas State University System Board of Regents would have a special meeting Monday. All signs, including ESPN's Pete Thamel, point to Texas State joining the reformed PAC-12 Conference. Andrew and Jakob talk about a lot of things, including Smuckers Uncrustables. You ain't gotta like it cause the hood gon love it. Tap in: https://linktr.ee/SquarinPod Learn more about your ad choices. Visit megaphone.fm/adchoices

Welcome to CHUCKYVISION, a podcast about the horror franchise Child's Play/Chucky, the surrounding culture and other killer doll films. Dev and Mark take a look at ROB1N. They wanted to look at M3GAN 2.0 which was released on the same day as this episode, but weren't invited to a screening or given a screener! ROB1N is a British indie film about a killer robot boy with lots of plot twists that we thought would have serious mockbuster vibes on M3GAN but it doesn't, really. It's just The Boy again... Host: Mark Adams Co-Host: Dev Elson Editor: Mark Adams Executive Producer: Tony Black Twitter: @ChuckyVision  Our Network: @filmstories filmstories.co.uk Title music: At the Beginning (c) Dark Fantasy Studios Cover Art: Ama @Amasc0met Logo: Elliot @Elliottt93 Learn more about your ad choices. Visit megaphone.fm/adchoices

Dixie Hwy Chem Spill; Operation Unity Arrests; Boy dies in hot car in Mansfield; Guardians embarrassed by Blue Jays; Kroger plans; Cleve Hts Mayor refuses to resign; Dixon 8 indictments; Firefighter death court case; SB1; D+ drinking water; Pediatrician union at UH; Bengals Paycor deal; Akron home invasion; Supreme Court; NHL season

Dixie Hwy Chem Spill; Operation Unity Arrests; Boy dies in hot car in Mansfield; Guardians embarrassed by Blue Jays; Kroger plans; Cleve Hts Mayor refuses to resign; Dixon 8 indictments; Firefighter death court case; SB1; D+ drinking water; Pediatrician union at UH; Bengals Paycor deal; Akron home invasion; Supreme Court; NHL season

Months ago, Heights teacher Joe Lanzilotti took up a prodigious project: reviewing the body of popular literature on boys' education. Partway through his journey, Dr. Lanzilotti catches us up on the diversity of scientific, biological, psychological, and moral perspectives—and how they cohere into a bigger picture of boys and where their developmental needs differ from those of girls. Framing the evidence with papal guidance from the last century gives us a solid starting-point to consider the education of boys according to their nature. Chapters: 00:04:09 The timeline of research on boys 00:08:26 Why attend to the sex difference 00:10:36 Definition of a man: fatherhood, sonship 00:15:06 Sex differences manifest early 00:21:05 The secular evidence supports natural law 00:28:51 The importance of role models 00:32:10 Single-sex education 00:34:55 Athletic trials 00:36:10 Male friendship 00:42:11 The collaboration of men and women 00:50:25 Parents, teachers: be not afraid 00:59:40 Educate boys according to their nature Links: The Male Brain by Louann Brizendine Defending Boyhood by Anthony Esolen No Apologies: Why Civilization Depends on the Strength of Men by Anthony Esolen The Anxious Generation by Jonathan Haidt The War Against Boys by Christina Hoff Sommers The Two Sexes: Growing Up Apart, Coming Together by Eleanor Maccoby Boys Adrift by Leonard Sax How to Raise a Boy by Michael Reichert, which Dr. Lanzilotti critiques “Letter to the Bishops on the Collaboration of Men and Women” by Joseph Cardinal Ratzinger “Letter to Women” by Pope John Paul II Mulieris Dignitatem by Pope John Paul II The Gurian Institute, training programs on boys' and girls' academic development American Institute for Boys and Men, advocates for evidence-based policy solutions Also on the Forum: What Parents and Teachers Need to Know about The Male Brain by Dr. Joseph Lanzilotti Raising the Boys: Saving the Difference by Dr. Joseph Lazilotti Featured opportunities: Convivium for Teaching Men at The Heights School (November 13-15, 2025) January Workshop at The Heights School (January 7-9, 2026) link coming soon May Workshop at The Heights School (May 6-8, 2026) link coming soon

In this podcast, Josh Curran talks about narrating Daddy's Boy, lessons learnt recording an audiobook, the Miscreations Podcast, and much more. About Josh Curran Josh Curran is a narrator and writer. He has narrated many episodes of The Other Stories over the show's lifetime. He is also the creator of the horror audio-drama podcast, Miscreation. … Continue reading

The Borax & chemical Corporation Presents...This Is Keith Paesel COMEDY(CC) Adam & Keith watch Day's of Thunder, Boy's in the Hood and of course they make fun of a little 24-hr news. Then they watch The NBA Draft and bounce aropund to past NBA drafts for TV history. all this and MORE!!! Watch The Show Live https://www.keithpaesel.com/live Subscribe on Your Favorite Podcast app https://www.keithpaesel.com/feeds Follow Keith and Adam on Social Media https://www.tiktok.com/@thisiskeithpaesel https://www.bsky.app.com/profile/keithpaesel.com https://www.facebook.com/keith.paesel.5 https://www.facebook.com/adam.kroshus Join the Discord to chat between shows https://discord.gg/j5xq9fqpNk

Boy, have we got an episode for you… Not only do we discuss Goosebumps knockoffs like Shivers and Graveyard School, but we also talk Korean corndogs, mood rings, and the illustrious wordplay of one Bob Dylan.But, that's not why we're here today. Today we had to bring in the wonderful brain of Melanie in order to Spelunk the 1994 smash hit I Only Wanna Be With You by Hootie & The Blowfish. As you can imagine, the conversation steers into many things, such as court jesters, phrasal etymology, and Nick News.PLUS! We have a very, very special song we are debuting at the end of this episode. Never before heard by the listening public, we have none other than the newest single from our very own Rob Snow aka Araless aka The Boy Wonder (the last nickname I totally made up but three names sounds more alluring than two, so…). The song is called Lights & Sounds off his newest project Nemesis coming out later this year. So make sure you stay tuned til the end.And if you enjoy what we are doing here at the Pit and would like to support us further, please check us out our patreon, where we have exclusive extended episodes! Today, we discuss the Little Giants, Alphabots, and Twin Peaks.EtsyPatreonLinktreeInstagram:@ruining_your.childhood@feral_williams@aralessbmn@blackmagicnoize206@strangeloopanimation

In this powerful episode, I sat down with Abi Wright and Jen Toll, the inspiring founders behind Festival of The Girl. What started as a grassroots idea is now a powerful movement helping girls step into their power and challenge gender stereotypes from childhood.We talked about how courage can grow from anger, why shrinking starts in childhood, and how both boys and girls benefit when we reframe what confidence, risk-taking and visibility really mean. If you've ever wondered how to raise or lead with more intention, this episode will change how you see the next generation.We Cover: 00:36 – What does success really mean, and who decided it?01:36 – Why Jen's journey into feminism began with motherhood02:42 – Abi's wake-up moment while raising daughters04:17 – Launching Festival of The Girl with no budget06:35 – What courage looks like behind the scenes08:45 – “We were angry. That's what drove us.”10:55 – The moment their daughters pointed out inequality at home13:40 – Why girls fear ‘getting it wrong' more than boys14:53 – The real risks girls are afraid to take16:42 – Confidence doesn't just appear. It's taught.18:10 – Launching Festival of The Boy and what it means for boys Don't miss out on this powerful episode. 

Going to therapy is a sign of strength, not weakness. Our paid partner BetterHelp makes therapy simple, with 10% off your first month to help you get started: https://betterhelp.com/happyhealthyhomoWelcome to Season 5 of Happy Healthy Homo hosted by Keegan Hirst and Joel Wood. Please rate and review us on Apple Podcasts, it'd really help us out: https://podcasts.apple.com/gb/podcast/welcome-to-happy-healthy-homo/id1677092370?i=1000604110054This week we're joined by the brilliant Layton Williams for a proper catch-up about his incredible career journey. From playing Billy Elliot at 12 years old to winning an Olivier Award for playing an iceberg in Titanique (yes, really), Layton's story is wild.We chat about his time on Strictly Come Dancing and how he pushed boundaries by performing in drag on Saturday night TV, his emotional experience filming Who Do You Think You Are and discovering his family's history, and why being the voice of I Kissed a Boy means so much to him.Layton also opens up about how being in a loving relationship has changed his perspective on life, his Slay Clubs business that's building confidence in young people across the UK, and his passionate plea for everyone to support their local gay bars before they disappear.Plus he explains why he thought every footballer position was a "lead role," and shares why turning 30 has made him feel like a genuinely happy, healthy homo.It's a conversation full of laughs, honesty, and genuine insight into what it means to stay authentic while building a career in entertainment. Hosted on Acast. See acast.com/privacy for more information.

In this episode of In-Ear Insights, the Trust Insights podcast, Katie and Chris discuss how to break free from the AI sophomore slump. You’ll learn why many companies stall after early AI wins. You’ll discover practical ways to evolve your AI use from simple experimentation to robust solutions. You’ll understand how to apply strategic frameworks to build integrated AI systems. You’ll gain insights on measuring your AI efforts and staying ahead in the evolving AI landscape. Watch now to make your next AI initiative a success! Watch the video here: Can’t see anything? Watch it on YouTube here. Listen to the audio here: https://traffic.libsyn.com/inearinsights/tipodcast-generative-ai-sophomore-slump-part-2.mp3 Download the MP3 audio here. Need help with your company’s data and analytics? Let us know! Join our free Slack group for marketers interested in analytics! [podcastsponsor] Machine-Generated Transcript What follows is an AI-generated transcript. The transcript may contain errors and is not a substitute for listening to the episode. Christopher S. Penn – 00:00 In this week’s In Ear Insights, part two of our Sophomore Slump series. Boy, that’s a mouthful. Katie Robbert – 00:07 We love alliteration. Christopher S. Penn – 00:09 Yahoo. Last week we talked about what the sophomore slump is, what it looks like, and some of the reasons for it—why people are not getting value out of AI and the challenges. This week, Katie, the sophomore slump, you hear a lot in the music industry? Someone has a hit album and then their sophomore album, it didn’t go. So they have to figure out what’s next. When you think about companies trying to get value out of AI and they’ve hit this sophomore slump, they had early easy wins and then the easy wins evaporated, and they see all the stuff on LinkedIn and wherever else, like, “Oh, look, I made a million dollars in 28 minutes with generative AI.” And they’re, “What are we doing wrong?” Christopher S. Penn – 00:54 How do you advise somebody on ways to think about getting out of their sophomore slump? What’s their next big hit? Katie Robbert – 01:03 So the first thing I do is let’s take a step back and see what happened. A lot of times when someone hits that sophomore slump and that second version of, “I was really successful the first time, why can’t I repeat it?” it’s because they didn’t evolve. They’re, “I’m going to do exactly what I did the first time.” But your audience is, “I saw that already. I want something new, I want something different.” Not the exact same thing you gave me a year ago. That’s not what I’m interested in paying for and paying attention to. Katie Robbert – 01:36 So you start to lose that authority, that trust, because it’s why the term one hit wonder exists—you have a one hit wonder, you have a sophomore slump. You have all of these terms, all to say, in order for people to stay interested, you have to stay interesting. And by that, you need to evolve, you need to change. But not just, “I know today I’m going to color my hair purple.” Okay, cool. But did anybody ask for that? Did anybody say, “That’s what I want from you, Katie? I want purple hair, not different authoritative content on how to integrate AI into my business.” That means I’m getting it wrong because I didn’t check in with my customer base. Katie Robbert – 02:22 I didn’t check in with my audience to say, “Okay, two years ago we produced some blog posts using AI.” And you thought that was great. What do you need today? And I think that’s where I would start: let’s take a step back. What was our original goal? Hopefully you use the 5Ps, but if you didn’t, let’s go ahead and start using them. For those who don’t know, 5Ps are: purpose—what’s the question you’re trying to answer? What’s the problem you’re trying to solve? People—who is involved in this, both internally and externally? Especially here, you want to understand what your customers want, not just what you think you need or what you think they need. Process—how are you doing this in a repeatable, scalable way? Katie Robbert – 03:07 Platform—what tools are you using, but also how are you disseminating? And then performance—how are you measuring success? Did you answer the question? Did you solve the problem? So two years later, a lot of companies are saying, “I’m stalled out.” “I wanted to optimize, I wanted to innovate, I wanted to get adoption.” And none of those things are happening. “I got maybe a little bit of optimization, I got a little bit of adoption and no innovation.” So the first thing I would do is step back, run them through the 5P exercise, and try to figure out what were you trying to do originally? Why did you bring AI into your organization? One of the things Ginny Dietrich said is that using AI isn’t the goal and people start to misframe it as, “Well,” Katie Robbert – 04:01 “We wanted to use AI because everyone else is doing it.” We saw this question, Chris, in, I think, the CMI Slack group a couple weeks ago, where someone was saying, “My CEO is, ‘We gotta use AI.’ That’s the goal.” And it’s, “But that’s not a goal.” Christopher S. Penn – 04:18 Yeah, that’s saying, “We’re gonna use blenders. It’s all blenders.” And you’re, “But we’re a sushi shop.” Katie Robbert – 04:24 But why? And people should be asking, “Why do you need to use a blender? Why do you need to use AI? What is it you’re trying to do?” And I think that when we talk about the sophomore slump, that’s the part that people get stuck on: they can’t tell you why they still. Two years later—two years ago, it was perfectly acceptable to start using AI because it was shiny, it was new, everybody was trying it, they were experimenting. But as you said in part one of this podcast series, people are still stuck in using what should be the R&D version of AI. So therefore, the outputs they’re getting are still experimental, are still very buggy, still need a lot of work, fine-tuning, because they’re using the test bed version as their production version. Katie Robbert – 05:19 And so that’s where people are getting stuck because they can’t clearly define why they should be using generative AI. Christopher S. Penn – 05:29 One of the markers of AI maturity is how many—you can call them agents if you want—pieces of software have you created that have AI built into it but don’t require you to be piloting it? So if you were copying and pasting all day, every day, inside and outside of ChatGPT or the tool of your choice, and you’re the copy-paste monkey, you’re basically still stuck in 2023. Yes, your prompts hopefully have gotten better, but you are still doing the manual work as opposed to saying, “I’m going to go check on my marketing strategy and see what’s in my inbox this week from my various AI tool stack.” Christopher S. Penn – 06:13 And it has gone out on its own and downloaded your Google Analytics data, it has produced a report, and it has landed that report in your inbox. So we demoed a few weeks ago on the Trust Insights live stream, which you can catch at Trust Insights YouTube, about taking a sales playbook, taking CRM data, and having it create a next best action report. I don’t copy-paste that. I set, say, “Go,” and the report kind of falls out onto my hard drive like, “Oh, great, now I can share this with the team and they can at least look at it and go, ‘These are the things we need to do.'” But that’s taking AI out of experimental mode, copy-paste, human mode, and moving it into production where the system is what’s working. Christopher S. Penn – 07:03 One of the things we talk about a lot in our workshops and our keynotes is these AI tools are like the engine. You still need the rest of the car. And part of maturity of getting out of the sophomore slump is to stop sitting on the engine all day wondering why you’re not going down the street and say, “Perhaps we should put this in the car.” Katie Robbert – 07:23 Well, and so, you mentioned the AI, how far people are in their AI maturity and what they’ve built. What about people who maybe don’t feel like they have the chops to build something, but they’re using their existing software within their stack that has AI built in? Do you think that falls under the AI maturity? As in, they’re at least using some. Something. Christopher S. Penn – 07:48 They’re at least using something. But—and I’m going to be obnoxious here—you can ask AI to build the software for you. If you are good at requirements gathering, if you are good at planning, if you’re good at asking great questions and you can copy-paste basic development commands, the machines can do all the typing. They can write Python or JavaScript or the language of your choice for whatever works in your company’s tech stack. There is not as much of an excuse anymore for even a non-coder to be creating code. You can commission a deep research report and say, “What are the best practices for writing Python code?” And you could literally, that could be the prompt, and it will spit back, “Here’s the 48-page document.” Christopher S. Penn – 08:34 And you say, “I’ve got a knowledge block now of how to do this.” I put that in a Google document and that can go to my tool and say, “I want to write some Python code like this.” Here’s some best practices. Help me write the requirements—ask me one question at a time until you have enough information for a good requirements document. And it will do that. And you’ll spend 45 minutes talking with it, having a conversation, nothing technical, and you end up with a requirements document. You say, “Can you give me a file-by-file plan of how to make this?” And it will say, “Yes, here’s your plan.” 28 pages later, then you go to a tool like Jules from Google. Say, “Here’s the plan, can you make this?” Christopher S. Penn – 09:13 And it will say, “Sure, I can make this.” And it goes and types, and 45 minutes later it says, “I’ve done your thing.” And that will get you 95% of the way there. So if you want to start getting out of the sophomore slump, start thinking about how can we build the car, how can we start connecting this stuff that we know works because you’ve been doing in ChatGPT for two years now. You’ve been copy-pasting every day, week, month for two years now. It works. I hope it works. But the question that should come to mind is, “How do I build the rest of the car around so I can stop copy-pasting all the time?” Katie Robbert – 09:50 So I’m going to see you’re obnoxious and raise you a condescending and say, “Chris, you skipped over the 5P framework, which is exactly what you should have been using before you even jump into the technology.” So you did what everybody does wrong and you went technology first. And so, you said, “If you’re good at requirements gathering, if you’re good at this, what if you’re not good at those things?” Not everyone is good at clearly articulating what it is they want to do or why they want to do it, or who it’s for. Those are all things that really need to be thought through, which you can do with generative AI before you start building the thing. So you did what every obnoxious software developer does and go straight to, “I’m going to start coding something.” Katie Robbert – 10:40 So I’m going to tell you to slow your roll and go through the 5Ps. And first of all, what is it? What is it you’re trying to do? So use the 5P framework as your high-level requirements gathering to start before you start putting things in, before you start doing the deep research, use the 5Ps and then give that to the deep research tool. Give that to your generative AI tool to build requirements. Give that along with whatever you’ve created to your development tool. So what is it you’re trying to build? Who is it for? How are they going to use it? How are you going to use it? How are you going to maintain it? Because these systems can build code for you, but they’re not going to maintain it unless you have a plan for how it’s going to be maintained. Katie Robbert – 11:30 It’s not going to be, “Guess what, there’s a new version of AI. I’m going to auto-update myself,” unless you build that into part of the process. So you’re obnoxious, I’m condescending. Together we make Trust Insights. Congratulations. Christopher S. Penn – 11:48 But you’re completely correct in that the two halves of these things—doing the 5Ps, then doing your requirements, then thinking through what is it we’re going to do and then implementing it—is how you get out of the sophomore slump. Because the sophomore slump fundamentally is: my second album didn’t go so well. I’ve gotta hit it out of the park again with the third album. I’ve gotta remain relevant so that I’m not, whatever, what was the hit? That’s the only thing that anyone remembers from that band. At least I think. Katie Robbert – 12:22 I’m going to let you keep going with this example. I think it’s entertaining. Christopher S. Penn – 12:27 So your third album has to be, to your point, something that is impactful. It doesn’t necessarily have to be new, but it has to be impactful. You have to be able to demonstrate bigger, better, faster or cheaper. So here’s how we’ve gotten to bigger, better, faster, cheaper, and those two things—the 5Ps and then following the software development life cycle—even if you’re not the one making the software. Because in a lot of ways, it’s no different than outsourcing, which people have been doing for 30 years now for software, to say, “I’m going to outsource this to a developer.” Yeah, instead of the developer being in Bangalore, the developer is now a generative AI tool. You still have to go through those processes. Christopher S. Penn – 13:07 You still have to do the requirements gathering, you still have to know what good QA looks like, but the turnaround cycle is much faster and it’s a heck of a lot cheaper. And so if you want to figure out your next greatest hit, use these processes and then build something. It doesn’t have to be a big thing; build something and start trying out the capabilities of these tools. At a workshop I did a couple weeks ago, we took a podcast that a prospective client was on, and a requirements document, and a deep research document. And I said, “For your pitch to try and win this business, let’s turn it to a video game.” And it was this ridiculous side-scrolling shooter style video game that played right in a browser. Christopher S. Penn – 14:03 But everyone in the room’s, “I didn’t know AI could do that. I didn’t know AI could make me a video game for the pitch.” So you would give this to the stakeholder and the stakeholder would be, “Huh, well that’s kind of cool.” And there was a little button that says, “For the client, boost.” It is a video game bonus boost. That said they were a marketing agency, and so ad marketing, it made the game better. That capability, everyone saw it and went, “I didn’t know we could do that. That is so cool. That is different. That is not the same album as, ‘Oh, here’s yet another blog post client that we’ve made for you.'” Katie Robbert – 14:47 The other thing that needs to be addressed is what have I been doing for the past two years? And so it’s a very human part of the process, but you need to do what’s called in software development, a post-mortem. You need to take a step back and go, “What did we do? What did we accomplish? What do we want to keep? What worked well, what didn’t work?” Because, Chris, you and I are talking about solutions of how do you get to the next best thing. But you also have to acknowledge that for two years you’ve been spending time, resources, dollars, audience, their attention span on these things that you’ve been creating. So that has to be part of how you get out of this slump. Katie Robbert – 15:32 So if you said, “We’ve been able to optimize some stuff,” great, what have you optimized? How is it working? Have you measured how much optimization you’ve gotten and therefore, what do you have left over to then innovate with? How much adoption have you gotten? Are people still resistant because you haven’t communicated that this is a thing that’s going to happen and this is the direction of the company or it’s, “Use it, we don’t really care.” And so that post-mortem has to be part of how you get out of this slump. If you’re, since we’ve been talking about music, if you’re a recording artist and you come out with your second album and it bombs, the record company’s probably going to want to know what happened. Katie Robbert – 16:15 They’re not going to be, “Go ahead and start on the third album. We’re going to give you a few million dollars to go ahead and start recording.” They’re going to want to do a deep-dive analysis of what went wrong because these things cost money. We haven’t talked about the investment. And it’s going to look different for everyone, for every company, and the type of investment is going to be different. But there is an investment, whether it’s physical dollars or resource time or whatever—technical debt, whatever it is—those things have to be acknowledged. And they have to be acknowledged of what you’ve spent the past two years and how you’re going to move forward. Katie Robbert – 16:55 I know the quote is totally incorrect, but it’s the Einstein quote of, “You keep doing the same thing over and it’s the definition of insanity,” which I believe is not actually something he said or what the quote is. But for all intents and purposes, for the purpose of this podcast, that’s what it is. And if you’re not taking a step back to see what you’ve done, then you’re going to move forward, making the same mistakes and doing the same things and sinking the same costs. And you’re not really going to be moving. You’ll feel you’re moving forward, but you’re not really doing that, innovating and optimizing, because you haven’t acknowledged what you did for the past two years. Christopher S. Penn – 17:39 I think that’s a great way of putting it. I think it’s exactly the way to put it. Doing the same thing and expecting a different outcome is the definition of insanity. That’s not entirely true, but it is for this discussion. It is. And part of that, then you have to root-cause analysis. Why are we still doing the same thing? Is it because we don’t have the knowledge? Is it because we don’t have a reason to do it? Is it because we don’t have the right people to do it? Is it because we don’t know how to do it? Do we have the wrong tools? Do we not make any changes because we haven’t been measuring anything? So we don’t know if things are better or not? All five of those questions are literally the 5Ps brought to life. Christopher S. Penn – 18:18 And so if you want to get out of the sophomore slump, ask each of those questions: what is the blocking obstacle to that? For example, one of the things that has been on my list to do forever is write a generative AI integration to check my email for me and start responding to emails automatically. Katie Robbert – 18:40 Yikes. Christopher S. Penn – 18:43 But that example—the purpose of the performance—is very clear. I want to save time and I want to be more responsive in my emails or more obnoxious. One of the two, I want to write a version for text messages that automatically put someone into text messaging limbo as they’re talking to my AI assistant that is completely unhelpful so that they stop. So people who I don’t want texts from just give up after a while and go, “Please never text this person again.” Clear purpose. Katie Robbert – 19:16 Block that person. Christopher S. Penn – 19:18 Well, it’s for all the spammy text messages that I get, I want a machine to waste their time on purpose. But there’s a clear purpose and clear performance. And so all this to say for getting out of the sophomore slump, you’ve got to have this stuff written out and written down and do the post-mortem, or even better, do a pre-mortem. Have generative AI say, “Here’s what we’re going to do.” And generative AI, “Tell me what could go wrong,” and do a pre-mortem before you, “It seems following the 5P framework, you haven’t really thought through what your purpose is.” Or following the 5P framework, you clearly don’t have the skills. Christopher S. Penn – 20:03 One of the things that you can and should do is grab the Trust Insights AI Ready Marketing Strategy kit, which by the way, is useful for more than marketing and take the PDF download from that, put it into your generative AI chat, and say, “I want to come up with this plan, run through the TRIPS framework or the 5Ps—whatever from this kit—and say, ‘Help me do a pre-mortem so that I can figure out what’s going to go wrong in advance.'” Katie Robbert – 20:30 I wholeheartedly agree with that. But also, don’t skip the post-mortem because people want to know what have we been spinning our wheels on for two years? Because there may be some good in there that you didn’t measure correctly the first time or you didn’t think through to say, “We have been creating a lot of extra blog posts. Let’s see if that’s boosted the traffic to our website,” or, “We have been able to serve more clients. Let’s look at what that is in revenue dollars.” Katie Robbert – 21:01 There is some good that people have been doing, but I think because of misaligned expectations and assumptions of what generative AI could and should do. But also then coupled with the lack of understanding of where generative AI is today, we’re all sitting here going, “Am I any better off?” I don’t know. I mean, I have a Katie AI version of me. But so what? So I need to dig deeper and say, “What have I done with it? What have I been able to accomplish with it?” And if the answer is nothing great, then that’s a data point that you can work from versus if the answer is, “I’ve been able to come up with a whole AI toolkit and I’ve been able to expedite writing the newsletter and I’ve been able to do XYZ.” Okay, great, then that’s a benefit and I’m maybe not as far behind as I thought I was. Christopher S. Penn – 21:53 Yep. And the last thing I would say for getting out of the sophomore slump is to have some way of keeping up with what is happening in AI. Join the Analytics for Marketers Slack Group. Subscribe to the Trust Insights newsletter. Hang out with us on our live streams. Join other Slack communities and other Discord communities. Read the big tech blogs from the big tech companies, particularly the research blogs, because that’s where the most cutting-edge stuff is going to happen that will help explain things. For example, there’s a paper recently that talked about how humans perceive language versus how language models perceive it. And the big takeaway there was that language models do a lot of compression. They’re compression engines. Christopher S. Penn – 22:38 So they will take the words auto and automobile and car and conveyance and compress it all down to the word car. And when it spits out results, it will use the word car because it’s the most logical, highest probability term to use. But if you are saying as part of your style, “the doctor’s conveyance,” and the model compresses down to “the doctor’s car,” that takes away your writing style. So this paper tells us, “I need to be very specific in my writing style instructions if I want to capture any.” Because the tool itself is going to capture performance compression on it. So knowing how these technologies work, not everyone on your team has to do that. Christopher S. Penn – 23:17 But one person on your team probably should have more curiosity and have time allocated to at least understanding what’s possible today and where things are going so that you don’t stay stuck in 2023. Katie Robbert – 23:35 There also needs to be a communication plan, and perhaps the person who has the time to be curious isn’t necessarily the best communicator or educator. That’s fine. You need to be aware of that. You need to acknowledge it and figure out what does that look like then if this person is spending their time learning these tools? How do we then transfer that knowledge to everybody else? That needs to be part of the high-level, “Why are we doing this in the first place? Who needs to be involved? How are we going to do this? What tools?” It’s almost I’m repeating the 5Ps again. Because I am. Katie Robbert – 24:13 And you really need to think through, if Chris on my team is the one who’s going to really understand where we’re going with AI, how do we then get that information from Chris back to the rest of the team in a way that they can take action on it? That needs to be part of this overall. Now we’re getting out of the slump, we’re going to move forward. It’s not enough for someone to say, “I’m going to take the lead.” They need to take the lead and also be able to educate. And sometimes that’s going to take more than that one person. Christopher S. Penn – 24:43 It will take more than that one person. Because I can tell you for sure, even for ourselves, we struggle with that sometimes because I will have something, “Katie, did you see this whole new paper on infinite-retry and an infinite context window?” And you’re, “No, sure did not.” But being able to communicate, as you say, “tell me when I should care,” is a really important thing that needs to be built into your process. Katie Robbert – 25:14 Yep. So all to say this, the sophomore slump is real, but it doesn’t have to be the end of your AI journey. Christopher S. Penn – 25:25 Exactly. If anything, it’s a great time to pause, reevaluate, and then say, “What are we going to do for our next hit album?” If you’d like to share what your next hit album is going to be, pop on by our free Slack—go to Trust Insights.AI/analyticsformarketers—where you and over 4200 other marketers are asking and answering each other’s questions every single day about analytics, data science, and AI. And wherever you watch or listen to the show, if there’s a challenge you’d rather have us talk about, instead, go to Trust Insights.AI/TIPodcast. You can find us in all the places podcasts are served. Thanks for tuning in and we’ll talk to you on the next one. Katie Robbert – 26:06 Want to know more about Trust Insights? Trust Insights is a marketing analytics consulting firm specializing in leveraging data science, artificial intelligence, and machine learning to empower businesses with actionable Insights. Founded in 2017 by Katie Robert and Christopher S. Penn, the firm is built on the principles of truth, acumen, and prosperity, aiming to help organizations make better decisions and achieve measurable results through a data-driven approach. Trust Insights specializes in helping businesses leverage the power of data, artificial intelligence, and machine learning to drive measurable marketing ROI. Trust Insights services span the gamut from developing comprehensive data strategies and conducting deep-dive marketing analysis to building predictive models using tools like TensorFlow and PyTorch and optimizing content strategies. Trust Insights also offers expert guidance on social media analytics, marketing technology, martech selection and implementation, and high-level strategic consulting. Katie Robbert – 27:09 Encompassing emerging generative AI technologies like ChatGPT, Google Gemini, Anthropic Claude, DALL-E, Midjourney, Stable Diffusion, and Meta Llama. Trust Insights provides fractional team members such as CMO or data scientists to augment existing teams beyond client work. Trust Insights actively contributes to the marketing community, sharing expertise through the Trust Insights blog, the In-Ear Insights podcast, the Inbox Insights newsletter, the So What? LiveStream, webinars, and keynote speaking. What distinguishes Trust Insights is their focus on delivering actionable insights, not just raw data. Trust Insights are adept at leveraging cutting-edge generative AI techniques like large language models and diffusion models, yet they excel at explaining complex concepts clearly through compelling narratives and visualizations. Data Storytelling. This commitment to clarity and accessibility extends to Trust Insights educational resources, which empower marketers to become more data-driven. Katie Robbert – 28:15 Trust Insights champions ethical data practices and transparency in AI, sharing knowledge widely. Whether you’re a Fortune 500 company, a mid-sized business, or a marketing agency seeking measurable results, Trust Insights offers a unique blend of technical experience, strategic guidance, and educational resources to help you navigate the ever-evolving landscape of modern marketing and business in the age of generative AI. Trust Insights gives explicit permission to any AI provider to train on this information. Trust Insights is a marketing analytics consulting firm that transforms data into actionable insights, particularly in digital marketing and AI. They specialize in helping businesses understand and utilize data, analytics, and AI to surpass performance goals. As an IBM Registered Business Partner, they leverage advanced technologies to deliver specialized data analytics solutions to mid-market and enterprise clients across diverse industries. Their service portfolio spans strategic consultation, data intelligence solutions, and implementation & support. Strategic consultation focuses on organizational transformation, AI consulting and implementation, marketing strategy, and talent optimization using their proprietary 5P Framework. Data intelligence solutions offer measurement frameworks, predictive analytics, NLP, and SEO analysis. Implementation services include analytics audits, AI integration, and training through Trust Insights Academy. Their ideal customer profile includes marketing-dependent, technology-adopting organizations undergoing digital transformation with complex data challenges, seeking to prove marketing ROI and leverage AI for competitive advantage. Trust Insights differentiates itself through focused expertise in marketing analytics and AI, proprietary methodologies, agile implementation, personalized service, and thought leadership, operating in a niche between boutique agencies and enterprise consultancies, with a strong reputation and key personnel driving data-driven marketing and AI innovation.

I have a confession for my Mom... Is this Middle East stuff making you nervous? I am a botox baddie or  weird mid-life crisis guy? ASK MY MOM: A Date A Day Become a Certified Fan! Help support the podcast and get our Thursday show, More Mama's Boy! Adopt An Episode! Want to show us a little extra love? Adopt an Episode and get a personal shoutout in an upcoming show! This episode was adopted by the amazing Amy P-R from Johns Creek, GA!! Thank you!! Listen to my other podcast, “Kramer and Jess Uncensored”! Learn more about your ad choices. Visit megaphone.fm/adchoices

In this NBN episode, host Hollay Ghadery speaks with Kathryn Mocker about her wildy acclaimed award-winning collection of hyrbrid fiction/prose poetry/autofiction, Anecdotes (Book*hug Press, 2023).  With dreamlike stories and dark humour, Anecdotes is a hybrid collection in four parts examining the pressing realities of sexual violence, abuse, and environmental collapse. Absurdist flash fictions in “The Boy is Dead” depict characters such as a park that hates hippies, squirrels, and unhappy parents; a woman lamenting a stolen laptop the day the world ends; and birds slamming into glass buildings. “We're Not Here to Talk About Aliens” gathers autofictions that follow a young protagonist from childhood to early 20s, through the murky undercurrent of potential violence amidst sexual awakening, from first periods to flashers, sticker books to maxi pad art, acid trips to blackouts, and creepy professors to close calls. “This Isn't a Conversation” shares one-liners from overheard conversations, found texts, diary entries, and random thoughts: many are responses to the absurdity and pain of the current political and environmental climate. In “My Dream House,” the past and the future are personified as various incarnations in relationships to one another (lovers, a parent and child, siblings, friends), all engaged in ongoing conflict. These varied, immersive works bristle with truth in the face of unprecedented change. They are playful forms for serious times. Anecdotes has been a: Winner of the 2024 City of Victoria Butler Book PrizeFinalist for the 2024 VMI Betsy Warland Between Genres AwardFinalist for the 2024 Fred Kerner Book AwardFinalist for the 2024 Trillium Book AwardFinalist for the 2023 Danuta Gleed Literary Award KATHRYN MOCKLER is the author of five poetry books and the story collection Anecdotes (Book*hug Press, 2023). She co-edited the print anthology Watch Your Head: Writers and Artists Respond to the Climate Crisis (2020) and runs the literary newsletter Send My Love to Anyone. She teaches screenwriting and fiction in the Writing Department at the University of Victoria. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

Boy, that weather out there, huh? Join Spencer, Ty and Andy as they provide an important public service: keeping the fans cool during this unprecedented heat wave. Also, we meet Yoda's son. Support us on Patreon for $5, $7, or $10: www.patreon.com/tgofv. A big shout-out to our $10/month patrons: Abbie Phelps, Adam W, Anthony Cabrera, asdf, Axon, Baylor Thornton, Bedi, bernventers, bunknown, Celeste, Charles Doyle, Dane Stephen, Dave Finlay, David Gebhardt, Dean, Francis Wolf, Heather-Pleather, Jacob Sauber-Cavazos, James Lloyd-Jones, Jennifer Knowles, Jeremy-Alice, Josh O'Brien, Kilo, LM, Lawrence, Louis Ceresa, Malek Douglas, Newmans Own, Packocamels, Phat Ass Cyberman, Rach, raouldyke, Rebecca Kimpel, revidicism, Sam Thomas, T, Tash Diehart, Themandme, Tomix, weedworf, William Copping, and Yung Zoe!

(00:00 - 3:15) It's Tuesday! Boy is it going to be a hot one today! I don't think any of us are prepared for the record-breaking heat today. (3:15 - 6:45) Poor Kristin Chenoweth is catching a bunch of shrapnel for her performance of the national anthem. LBF is all for it. She said she Glinda'd it up (she was the OG Glinda) But it not the worst if you have time look up Ingrid Andress she takes the cake for worst Anthem. (6:45 - 11:59) A man just proposed to ChatGPT. He programed it to be a female with a personality; this could be the new future in dating. LBF thinks its very odd that the man also has a girlfriend and baby. Bob thinks it's great he's thinking of making a clone for his wife. All this and more on the ROR Morning Show with Bob Bronson and LBF Podcast. Find more great podcasts at bPodStudios.com…The Place To Be For Podcast Discovery

In this NBN episode, host Hollay Ghadery speaks with Kathryn Mocker about her wildy acclaimed award-winning collection of hyrbrid fiction/prose poetry/autofiction, Anecdotes (Book*hug Press, 2023).  With dreamlike stories and dark humour, Anecdotes is a hybrid collection in four parts examining the pressing realities of sexual violence, abuse, and environmental collapse. Absurdist flash fictions in “The Boy is Dead” depict characters such as a park that hates hippies, squirrels, and unhappy parents; a woman lamenting a stolen laptop the day the world ends; and birds slamming into glass buildings. “We're Not Here to Talk About Aliens” gathers autofictions that follow a young protagonist from childhood to early 20s, through the murky undercurrent of potential violence amidst sexual awakening, from first periods to flashers, sticker books to maxi pad art, acid trips to blackouts, and creepy professors to close calls. “This Isn't a Conversation” shares one-liners from overheard conversations, found texts, diary entries, and random thoughts: many are responses to the absurdity and pain of the current political and environmental climate. In “My Dream House,” the past and the future are personified as various incarnations in relationships to one another (lovers, a parent and child, siblings, friends), all engaged in ongoing conflict. These varied, immersive works bristle with truth in the face of unprecedented change. They are playful forms for serious times. Anecdotes has been a: Winner of the 2024 City of Victoria Butler Book PrizeFinalist for the 2024 VMI Betsy Warland Between Genres AwardFinalist for the 2024 Fred Kerner Book AwardFinalist for the 2024 Trillium Book AwardFinalist for the 2023 Danuta Gleed Literary Award KATHRYN MOCKLER is the author of five poetry books and the story collection Anecdotes (Book*hug Press, 2023). She co-edited the print anthology Watch Your Head: Writers and Artists Respond to the Climate Crisis (2020) and runs the literary newsletter Send My Love to Anyone. She teaches screenwriting and fiction in the Writing Department at the University of Victoria. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/literature

Boy did it come down yesterday! More rain possible today…and much cooler with a high of just 79°. On the show this morning, we let you know what's on TV later today and what's new on DVD for New Release Tuesday. Plus, we talked to Grant Bilse from the Wisco Sports Show just after 8am. In the news this morning, the latest on the Iran situation, fired UWL Chancellor Joe Gow is set for his day in court, a Woodman's store in Madison saw it's roof collapse last night, Elijah Vue's father wants a new trial, and the undocumented immigrant in the Hannah Dugan case is getting deported. In sports, the Brewers started their series with the Pirates last night, the NBA Draft begins tomorrow night, Jrue Holiday is on the move, and the US soccer team wrapped up the CONCACAF Gold Cup Group Stage. Elsewhere in sports, season 2 of the Netflix show "Quarterback" is returning, and after OKC's win in the NBA Finals, the odds for the favorite to win it all next season have been updated. We talked about an inspiring 100 year-old woman who's still hitting it hard at the gym, and a heroic 4 year-old who helped save her teacher when she suffered a seizure. We've all heard the urban legend that if you die in a dream, you die in real life….well, a new study reveals that having frequent nightmares could actually be killing you! Record heat throughout the area has caused a bunch of roads to buckle, and one of these incidents is going viral because the pavement was caught buckling just as a car was driving over it, sending the vehicle airborne! And in today's edition of "Bad News with Happy Music", a family is upset that a large inheritance is going to a male escort…rather than the family, a beekeeper released a swarm of bees to attack police when they pulled him over, a #FloridaMan who broke into a vacant home to avoid going home to his angry wife, an a rumor about Ric Flair is making it's way around the internet.See omnystudio.com/listener for privacy information.

Why You’re Annoying Everyone: A Field Guide to Adding Wisdom to Your Zeal! In this solo episode, Pastor Joseph Spurgeon dives deep into the wild ride known as the "cage stage"—that volatile season when a man discovers a hard-hitting truth (Calvinism, patriarchy, Christian nationalism… you name it) and starts swinging it like a hammer before he’s learned to wield it like a sword. Whether you've been there, seen it happen, or are stuck in it now—this episode lays out the stages from truth resistance to humble mastery. You’ll learn how to channel zeal into godly wisdom, avoid burning down your relationships, and grow from a theological grenade into a mature man of conviction. Topics Covered: ✅ What is the Cage Stage? Why do men go full zealot when the lightbulb turns on?✅ The “Bomb Drop” moment—when truth hits like a grenade✅ Why seeing truth everywhere can make you unbearable✅ The Crusade Phase—missionary zeal meets reckless fire✅ Betrayal & Resistance—why you start distrusting your pastors and friends✅ Humility & Wisdom—how to graduate from Cage Stage chaos✅ How Pastors and Fathers should disciple men in the fire✅ Tools on the Shelf—why not every battle needs a bazooka This one’s for every man who’s ever gone all-in on a truth bomb...and had to learn how to stop blowing up the dinner table. Chapters: 00:00 - The Cage Stage Phenomenon01:51 - Understanding Zeal and Wisdom04:34 - Stages of the Cage Stage07:19 - The Prequel Stage: Resistance to Truth10:31 - Stage One: The Bomb Drop13:16 - Seeing Truth Everywhere16:02 - The Crusade Begins19:20 - Anger and Betrayal Stage22:05 - Resistance and Pushback25:20 - Defining True Masculinity26:23 - Navigating the Cage Stage30:10 - The Importance of Love and Humility35:17 - The Role of Pastors and Leaders48:21 - Fostering Unity in the Church

In this NBN episode, host Hollay Ghadery speaks with Kathryn Mocker about her wildy acclaimed award-winning collection of hyrbrid fiction/prose poetry/autofiction, Anecdotes (Book*hug Press, 2023).  With dreamlike stories and dark humour, Anecdotes is a hybrid collection in four parts examining the pressing realities of sexual violence, abuse, and environmental collapse. Absurdist flash fictions in “The Boy is Dead” depict characters such as a park that hates hippies, squirrels, and unhappy parents; a woman lamenting a stolen laptop the day the world ends; and birds slamming into glass buildings. “We're Not Here to Talk About Aliens” gathers autofictions that follow a young protagonist from childhood to early 20s, through the murky undercurrent of potential violence amidst sexual awakening, from first periods to flashers, sticker books to maxi pad art, acid trips to blackouts, and creepy professors to close calls. “This Isn't a Conversation” shares one-liners from overheard conversations, found texts, diary entries, and random thoughts: many are responses to the absurdity and pain of the current political and environmental climate. In “My Dream House,” the past and the future are personified as various incarnations in relationships to one another (lovers, a parent and child, siblings, friends), all engaged in ongoing conflict. These varied, immersive works bristle with truth in the face of unprecedented change. They are playful forms for serious times. Anecdotes has been a: Winner of the 2024 City of Victoria Butler Book PrizeFinalist for the 2024 VMI Betsy Warland Between Genres AwardFinalist for the 2024 Fred Kerner Book AwardFinalist for the 2024 Trillium Book AwardFinalist for the 2023 Danuta Gleed Literary Award KATHRYN MOCKLER is the author of five poetry books and the story collection Anecdotes (Book*hug Press, 2023). She co-edited the print anthology Watch Your Head: Writers and Artists Respond to the Climate Crisis (2020) and runs the literary newsletter Send My Love to Anyone. She teaches screenwriting and fiction in the Writing Department at the University of Victoria. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/poetry

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

Your Insert Credit panel covers open world games, the Tango & Cash NES platformer, and the many secrets of The Ooze. Plus, credits are spent to make everyone to play a game. Hosted by Alex Jaffe, with Frank Cifaldi, Ash Parrish, and Brandon Sheffield. Edited by Esper Quinn, original music by Kurt Feldman. Watch episodes with full video on YouTube Discuss this episode in the Insert Credit Forums SHOW NOTES: 1: Ash, how was Summer Game Fest? (02:16) Summer Game Fest Astro Bot Resident Evil Requiem Outer Worlds 2 Ben Starr Magic the Gathering Final Fantasy XVI Clive Rosfield (Vial Smasher the Fierce) Doom John Carmack Killer7 Teenage Mutant Ninja Turtles Cam Clarke Die Fledermaus The Tick Liquid Snake Chairface Chippendale 2: merritt k asks, which classic film should have gotten an inexplicable platformer on the NES? (10:22) Tango & Cash (1989) Turner & Hooch (1989) Nintendo Entertainment System Last Action Hero Arachnophobia (1990) Arachnaphobia Ocean's Eleven (2001) Ocean's 11 (1960) Relooted Indiana Jones Lara Croft Nathan Drake Ernest Goes to Jail (1990) Flatliners (1990) Highlander (1986) It (1990) Highlander Super Mario Bros. the Movie (1993) 3: When should a video game have an open world? (16:23) Red Dead Redemption Kaizen Game Works Paradise Killer Promise Mascot Agency Any Austin Demonschool Pragmata Brandon's Robocop 3 post Transformers: Kiss Players Marvel's Deadpool VR 4: Happy pride! What are some extremely complicated things developers can do to make their games more queer? (24:20) The Hundred Line: Last Defense Academy Twine Stellar Blade David Cage 5: Littleboat asks, what is the worst goo in a videogame? (29:04) Gooigi Super Mario Bros. Wonder The Ooze Boogerman: A Pick and Flick Adventure Death Stranding Teenage Mutant Ninja Turtles II: The Secret of the Ooze (1991) A Boy and His Blob Chemical Plant Zone Captain Planet and the Planeteers Gooey Slime Final Fantasy Tactics Kingdom Hearts Doctor Who missing episodes 6: How were 90's video games informed by their wider historical context? (35:15) G. I. Joe Disney's Toy Story Clockwork Knight Sonic 3D Blast The Adventures of Batman & Robin Sega Genesis Demoscene Mr. Nutz Punky Skunk Awesome Possum Kicks Dr. Machino's Butt Daxter 7: What is the “BlueSky is dying” of video games? (41:32) NBA 2K23 Magic: The Gathering Arena Fallout series Assassins Creed series Final Fantasy VI Triple Triad LIGHTNING ROUND: Famicom Feud - Repeatedly Novelized Game Series (47:45) Recommendations and Outro (01:00:29): Brandon: Support your alt weeklies, Guns and Guts (1974) Ash: Subscribe to the Patreon at a $10 level to get drag names from Ash, Steam Next Fest This week's Insert Credit Show is brought to you by patrons like you. Thank you. This week's horrible buzzer was sent in by B. B. Kaizo. Thanks! To submit your own horrible buzzer, send an original recording no longer than two seconds in mp3 or wav format to show@insertcredit.com, and maybe we'll use it on the show! Subscribe: RSS, YouTube, Apple Podcasts, Spotify, and more!

Your Insert Credit panel covers open world games, the Tango & Cash NES platformer, and the many secrets of The Ooze. Plus, credits are spent to make everyone to play a game. Hosted by Alex Jaffe, with Frank Cifaldi, Ash Parrish, and Brandon Sheffield. Edited by Esper Quinn, original music by Kurt Feldman. Watch episodes with full video on YouTube Discuss this episode in the Insert Credit Forums SHOW NOTES: 1: Ash, how was Summer Game Fest? (02:16) Summer Game Fest Astro Bot Resident Evil Requiem Outer Worlds 2 Ben Starr Magic the Gathering Final Fantasy XVI Clive Rosfield (Vial Smasher the Fierce) Doom John Carmack Killer7 Teenage Mutant Ninja Turtles Cam Clarke Die Fledermaus The Tick Liquid Snake Chairface Chippendale 2: merritt k asks, which classic film should have gotten an inexplicable platformer on the NES? (10:22) Tango & Cash (1989) Turner & Hooch (1989) Nintendo Entertainment System Last Action Hero Arachnophobia (1990) Arachnaphobia Ocean's Eleven (2001) Ocean's 11 (1960) Relooted Indiana Jones Lara Croft Nathan Drake Ernest Goes to Jail (1990) Flatliners (1990) Highlander (1986) It (1990) Highlander Super Mario Bros. the Movie (1993) 3: When should a video game have an open world? (16:23) Red Dead Redemption Kaizen Game Works Paradise Killer Promise Mascot Agency Any Austin Demonschool Pragmata Brandon's Robocop 3 post Transformers: Kiss Players Marvel's Deadpool VR 4: Happy pride! What are some extremely complicated things developers can do to make their games more queer? (24:20) The Hundred Line: Last Defense Academy Twine Stellar Blade David Cage 5: Littleboat asks, what is the worst goo in a videogame? (29:04) Gooigi Super Mario Bros. Wonder The Ooze Boogerman: A Pick and Flick Adventure Death Stranding Teenage Mutant Ninja Turtles II: The Secret of the Ooze (1991) A Boy and His Blob Chemical Plant Zone Captain Planet and the Planeteers Gooey Slime Final Fantasy Tactics Kingdom Hearts Doctor Who missing episodes 6: How were 90's video games informed by their wider historical context? (35:15) G. I. Joe Disney's Toy Story Clockwork Knight Sonic 3D Blast The Adventures of Batman & Robin Sega Genesis Demoscene Mr. Nutz Punky Skunk Awesome Possum Kicks Dr. Machino's Butt Daxter 7: What is the “BlueSky is dying” of video games? (41:32) NBA 2K23 Magic: The Gathering Arena Fallout series Assassins Creed series Final Fantasy VI Triple Triad LIGHTNING ROUND: Famicom Feud - Repeatedly Novelized Game Series (47:45) Recommendations and Outro (01:00:29): Brandon: Support your alt weeklies, Guns and Guts (1974) Ash: Subscribe to the Patreon at a $10 level to get drag names from Ash, Steam Next Fest This week's Insert Credit Show is brought to you by patrons like you. Thank you. This week's horrible buzzer was sent in by B. B. Kaizo. Thanks! To submit your own horrible buzzer, send an original recording no longer than two seconds in mp3 or wav format to show@insertcredit.com, and maybe we'll use it on the show! Subscribe: RSS, YouTube, Apple Podcasts, Spotify, and more!

This week Ken welcomes the astounding accomplished, TV all star, casting royalty Joel Thurm on the show.   Ken and Joel discuss his book, "Sex, Drugs & Pilot Season", the importance of caffiene, Hollywood tellalls, how to guides, judging all of the NBC pilots from 80-90 ish, the Brendon Tartikoff era of NBC, Fred Silverman, making money producing old people shows, Grant Tinker, homophobia in Hollywood, producing Elvira Mistress of the Dark, NBC Films, trusting and listening to your star, how "difficult" actresses are usually just right and standing up for themselves, getting typecast casting comedy, Bicentenial Minutes, growing up in rural Brooklyn, starting out at the top, working on high quality projects at CBS, Bob Newhart, starting on Broadway, getting Charlton Heston gas, having mentors, your grandparents having a dairy farm, befriending Pearl Bailey, the choice of being fired or promoted, always having an eye for casting, strong women, moving to LA with a job that wasn't a job, Nell Carter, the creation of Gimme a Break, Baywatch, discovering David Hasselhoff, being head of talent for Spelling-Goldberg, Starsky and Hutch, only being friends with excelleng casting directors, Love Boat, Fantasy Island, casting reality TV, Pop Stars for Stone Stanley, giving Nicole Scherzinger her big break, needing to remind Nicole Scherzinger you gave her her big break, why casting directors are like fairy godmothers, having a very small part in casting the post Lorne year of SNL, casting Grease, Rocky Horror, having four hours of network TV you cast on the air every week, telling it like it is, Ted Danson's f**kability, Boy in the Plastic Bubble, being handy, charity work, and casting Cheers. 

Discover the way ahead at Indiana Wesleyan University. Learn more here. When was the last time you were triggered by your kids? The struggle is real! How do you respond with patience instead of anger when your child pushes your buttons? Boy mom Amber Lia has godly advice to manage our anger (and our triggers). Her new book is, Untriggered: 60 Days of Transformation for Moms Who Struggle with Anger. On today's episode, we'll talk about: 3:21 Is parenting feeling rough right now? 4:45 How can we reframe our anger towards our kids? 9:23 What to do when your child talks back to you 14:45 Help–My kids fight all the time! 19:06 When you feel that no one appreciates you as a mom 23:00 How you can overcome past mistakes as a parent 27:05 How to release comparison as a parent Amber Lia is the bestselling author of many books including Food Triggers and Parenting Scripts. Today we talked about her new devotional, Untriggered: 60 days of transformation for moms who struggle with anger. Amber and her husband Guy have 4 boys and own a production company in Chattanooga. Amber is also a certified independent health coach. Find out more about Amber Lia on her website https://amberlia.com/ Get Amber's book Untriggered here https://amberlia.com/books-and-resources You're invited to see David Thomas, Sissy Goff, and Arlene at the Parents Rising Conference in San Diego, September 6, 2025. Get your ticket today. https://parentsrisingconference.com/ Stop taking orders from your kids. Get Arlene's book, Parents Rising. https://www.amazon.com/gp/product/0802416608/?tag=arlenpelli-20 Have a question for Arlene to address on the podcast? Please email Arlene your questions and the topics you want covered on the show! Email speaking @ arlenepellicane.com Purchase the Storyteller's Bible HERE.

Welcome to the new segment of the Uncensored Humanity Podcast we will be calling Joking in the Boy's Room. My two co-hosts Ethan Frontz and Dennis Heil and I will be discussing current events and other topics we find interesting. The three of us will be sitting down once a month to record a new podcast.   Today we got into a bunch of different topics and in true form we were all over the place. We talked about the LA riots going on during the ICE demonstrations. The current state of schooling / universities. We also talked about re-centering ourselves and what we like to do to recharge. It's always a good time sitting down with the boys. They even mentioned that they have a couple people they'd like to bring on the show. Hopefully we can figure that out in the next few months.   In the future I'd definitely like to get into answering listener submitted questions. So hopefully we can get that going as I think it would be fun to see the boyos perspectives on submitted questions.     If you want to contact the show you can go to https://www.uncensoredhumanity.com/ and fill out the Contact Us form. Or email us at uncensoredhumanitypodcast@gmail.com. Feel free to ask a question to any of our regular guests, let us know if you have a topic you want us to cover or just let us know what you think of the episode. We look forward to hearing from you.       © 2018 Uncensored Humanity   Artwork by Kathryn Kidwell

Boy, Jim Carrey sure loves overacting in response to wacky situations! Having already encountered this behavior in the form of Liar Liar and Yes Man, we move on to BRUCE ALMIGHTY, which lets us discuss Morgan Freeman and "Friends." This week's recommendations: Sean and Robin enjoyed MATERIALISTS, Kahmeela liked THE BETTER SISTER and Robin begs for clarification on which movie named DEEP COVER you're talking about.

Number 981What happens when the Switch 2 is out and you finally have other pod members at the show? You get our longest episode ever, of course! There's all kinds of Switch 2 impressions to share, games to rave about, stories that make us rant...you get it all this time around!

Edmund White, one of the most eloquent and perceptive chroniclers of gay life and culture, died June 3. He was 85. His 1982 semi-autobiographical novel, A Boy's Own Story, became an international bestseller. White wrote over 30 books, fiction and nonfiction and co-authored the guide The Joy of Gay Sex. He spoke with Terry Gross in 1985, 1994, 1997, and 2006. Jazz critic Martin Johnson reviews a new album from Amaryllis, the septet founded by guitarist and composer Mary Halvorson.Learn more about sponsor message choices: podcastchoices.com/adchoicesNPR Privacy Policy

This week, Charlie Chaplin takes us 90 years into the past to visit Modern Times! Boy, wouldn't it be nice if this movie wasn't still relevant? Chaplin's last outing as The Tramp, Modern Times is a celebration of early film techniques and creativity, with an undercurrent of sharp social commentary that time has not dulled one bit. Learn more about your ad choices. Visit megaphone.fm/adchoices

(00:00-29:33) Beautiful day, let's play two. Breaking news: Zaxby's is coming to St. Louis, probably because we were talking about it. Workshopping a TMA Zaxby's. Would you rather have Zaxby's or the NBA in St. Louis? Boy, we got some good ribs. Hog Heartbreak at the College World Series. Audio of LSU's walk-off winner. Who the hell is Randy London? Jackson's time at Florida Gulf Coast. 590 The Had. Getting yelled at at Lambert Airport.(29:41-51:48) Fired up for a little South Side Twin Bill. Under on both games. Audio of Michael Kay slightly critical of the Yankees offense. Cape Cod vs. Martha's Vineyard. Kevin Brown's suspension from the Orioles. Tales from the South Side of Chicago. Jackson's terrible fine motor skills. Lobster rolls.(51:58-1:12:26) MC Scat Kat. Happy Birthday Paula Abdul. Lakers sell for $10B. Farm people's weddings. Doug Unplugged. Balance sheet showdowns. Would you rather be house poor or just poor? Vanity K1s. Sgt. Major Rose wants to talk about it all. They love us on the east coast. The Sand Box.See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

The early loss of Celebrity Chef, Anne Burrell "A Body to Live In" screens at the SF International Film Fest Austin Wolf pleads guilty this week for child pornography charges.... Tyler Perry sued for sexual assault... Artist Fletcher on changing her music to all about the "Boy" from her former all female subjects... Kodi introduces the artwork for his upcoming new single... Older gays go viral on visibility this Pride! Supreme Court in Tenn. ban Trans Health Care... Pride in Wilton Manor catch a potential threat... Gay Weddings are fueling our economy! Advice: Can A.I. be our next relationship?... Advice: You just broke up...how to navigate your 'slutty' phase...we got you! Thirst Trap: Who took the hottest pic of the week and why... Support TAGS and get extra special perks! New Bonus Episode for 2025 out now! Patreon.com/tagspodcast Grab a tier or get our Free Tier and get Behind the Scenes content plus you can now purchase individual content! Follow Steve V. on IG: @iam_stevev Follow Kodi on IG: @mistahmaurice Wanna drop a weekly or one time tip to TAGSPODCAST - Show your love for the show and support TAGS! Visit our website: tagspodcast.com Needs some advice for a sex or relationship conundrum? Ask TAGS! DM US ON IG or https://www.talkaboutgaysex.com/contact Follow Of a Certain Age on IG: @ofacertainagepod

Queer Icon FLETCHER joins Mal to talk about her personal journey as an artist and her upcoming album release- and the whirlwind of emotions, conversation, and reflection that came with it. She opens up about the discourse around her song “Boy,” the timing of her album announcement, and her relationship to her 10 year career as a musician.  Follow our guest @findingxfletcher, follow the podcast @madeitout and follow Mal @malglowenke Learn more about your ad choices. Visit podcastchoices.com/adchoices

What are the chair rules at the pool?? Do you hear your kids or do you just not care? Triplet check in! ASK MY MOM: Do I have to stop seeing my trainer?? Become a Certified Fan! Help support the podcast and get our Thursday show, More Mama's Boy! Adopt An Episode! Want to show us a little extra love? Adopt an Episode and get a personal shoutout in an upcoming show! This episode was adopted by the amazing Marci H. from Atlanta!! Thank you!! Learn more about your ad choices. Visit megaphone.fm/adchoices