Podcasts about Boyd

Longwood Lancer's assistant coach, Ivana Boyd, shares her insights on how players can truly elevate their game during the offseason. We break down the power of 1v1 situations for honing individual skills, explore effective drills that translate directly to game performance, and discuss the immense benefits of small-sided games for developing basketball IQ and individual skills.This episode is sponsored by the Dr. Dish Basketball Shooting Machine, the #1 shooting machine in the world! Mention "Quick Timeout" and receive $300 off on the Dr. Dish Rebel, All-Star, and CT models.If you're already using tools like FastDraw, FastScout, or FastRecruit—you know how essential they are to your workflows. And now that they're fully part of the Hudl ecosystem, they're more powerful than ever. From film and play diagrams to scouting reports and custom recruiting boards, everything flows together. One system. Built for high-performance programs. Learn more at hudl.com/aquicktimeout.

Episode 249 - The Thinklings Podcast Welcome to Episode 249 of The Thinklings Podcast! This week's summer-style episode continues the fun, books, and Scripture rhythm! Thinkling Boyd and Carter each bring a book to discuss, and Thinkling Stearns wraps things up with a devotional from 1 Timothy 3. Thanks for listening to this week's episode!

Kay is still on her terribly important work assignment to Rimini this week, so beams into the studio on the airwaves as she, James and Boyd discuss everything from Boyd's new foray into the world of video influencers to Kay's poolside celebrity encounters. We're also joined on the show by Such Brave Girls creator/star Kat Sadler (31:25-50:35), as we tackle that show's second season (1:20:18), plus in a bumper review episode, we dive back into Squid Game on Netflix (1:14:26), The Bear on Disney+ (1:00:44) and Aussie crime thriller Scrublands on BBC2 (1:28:56).(Episode 343)Note: time stamps are approximate as the ads throw them out, so are only meant as a guide. If you want to avoid this and would like the podcast entirely ad-free (as well as 17 hours early, with a second weekly show and spoiler specials) then sign up to Pilot+!

Caffeinators, this is a HEAVY episode. But it is one you ABSOLUTELY need to tune in to. You may remember our episode with Kelly Foltz from 2023 where she touched on the idea of futile care and has since been involved in researching this topic (link below). In this most recent discussion we try to define and label this idea, which proves to be very tricky and as yet is still undecided. But the fact remains, as evidenced by her research, we all have, or will, experience futile care in veterinary medicine. That "why are we doing this" patient. This episode starts that discussion and hopefully many more because we need to be preparing all future veterinarians and credentialed technicians for this. We need to learn to identify it, talk about it, and develop steps to mitigate it because it is not going away. DO NOT miss this episode. Show Links: The first paper by Peterson et al focused on clinicians: https://avmajournals.avma.org/view/journals/javma/260/12/javma.22.01.0033.xml   The paper I co-authored focused on technicians: https://avmajournals.avma.org/view/journals/javma/263/4/javma.24.10.0659.xml; published this year.   Today's Veterinary Practice article, may be more accessible than the research papers: https://todaysveterinarypractice.com/practice-management/recognizing-futile-care-in-veterinary-medicine/   Hastings Center For Bioethics article by Dr. Peterson and Dr. Boyd: https://www.thehastingscenter.org/veterinarians-often-provide-futile-care-doing-so-comes-at-a-cost/   Marie Holowaychuk blog post: https://marieholowaychuk.com/2022/08/03/futile-care-and-the-impact-on-wellbeing-in-veterinary-medicine/   Practical Bioethics from 2023: https://www.practicalbioethics.org/whats-new/three-definitions-of-medical-futility-and-how-to-balance-them/   Human paper from 2005: https://pubmed.ncbi.nlm.nih.gov/16159066/   AMA paper from 2007: https://journalofethics.ama-assn.org/article/medical-futility-legal-and-ethical-analysis/2007-05 Our Links: Check out our sponsor https://betterhelp.com/vettechcafe for 10% off your first month of therapy Follow us on Facebook: https://www.facebook.com/vettechcafe Follow us on Instagram: https://www.instagram.com/vettechcafepodcast Follow us on LinkedIn: https://www.linkedin.com/company/vet-tech-cafe Like and Subscribe on YouTube: https://www.youtube.com/channel/UCMDTKdfOaqSW0Mv3Uoi33qg Our website: https://www.vettechcafe.com/ Vet Tech Cafe Merch: https://www.vettechcafe.com/merch If you would like to help us cover our podcast expenses, we'd appreciate any support you give through Patreon. We do this podcast and our YouTube channel content to support the veterinary technicians out there and do not expect anything in return! We thank you for all you do.

Are the Chicago Bears eyeing Tyler Boyd? Rumors suggest the veteran wide receiver has admirers in the Bears' front office. Plus, a Pro Bowl linebacker could be on Chicago's radar to bolster their defensive depth. This episode explores potential roster moves, including Boyd's fit in the offense and how Jalen Reeves-Maybin could impact special teams. The Bears' defensive line preview highlights key players like Montez Sweat and Dayo Odeyingbo, while examining depth options. Listener voicemails spark discussions on post-cutdown acquisitions and the team's new direction under fresh leadership. Tune in for expert analysis on the Bears' roster-building strategy and how these moves could shape their 2025 season.Podcast Links: https://linktr.ee/ChiBearsCentralGet at us:Email: ChicagoBearsCentral@gmail.comTwitter:@ChiBearsCentralPhone: ‪(773) 242-9336‬Advertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

Would you like to learn how to motivate, elevate and activate Success Principles in Youth. Join special guest Stephen Boyd–Author, Pastor, Motivational Speaker and Educational Consulting and Leadership Trainer. Mr. Boyd shares Spiritual Principles that you can use personally but also share with Youth to help them navigate and elevate their lives. You will also learn how to have “Contagious conversations, connections and communications” with Youth. As a parent, teacher or mentor, you will be given specific strategies that will help you to coach, empower and teach Youth. Lastly, Mr. Boyd shares his expertise with educators on how to implement transformative teaching and leadership in the classroom. https://www.loaradionetwork.com/constance-arnold

“Can we go back to some place that resembles civilisation?” Boyd Stevens is the Sheriff of a small American town. It's a simple life for the town's folk, there's a diner, a nearby farm, a clinic for any ailments and a house up on a hill. Everything is perfect…until the Sun goes down and monsters come out of the woods. The Matthews family are embarking on a camping trip in their trusty RV, but their travel plans are scuppered when they come across a fallen tree. Seeking a route back to the highway, they come across Boyd and the town's people and look to them for help & directions. As they go round in circles, a near miss with another vehicle changes everything. Also on this episode: Harold Perrineau's long overdue Introduction Biography, TV driving pet peeves, future bonus episodes? Where to find ‘Fromville', The Shining references? I flip flop on the pronunciation of one of the character's names while also busting out a little bit of Latin and why the hell don't the town's people just move away? All of this and more on this special bonus episode, Outside Oz #6 Follow the show on Instagram, Threads & (ugh) Twitter - @insideozpodcast Follow the show on Bluesky - @insideozpodcast.bsky.social Email the show – insideozpodcast@gmail.com #InsideOz

What a treat! To sit down with Lynda Boyd and get the inside scoop about her character and to acquire the behind-the-scenes details about her elevator death scene and her on on-screen son's death scene. At the end of the interview, Lynda provides a great public service announcement: always, always check your floorboards for water bottles and never, ever chase pigeons near construction equipment.

Investigative journalists Mandy Matney and Liz Farrell have had enough with mainstream media. After a South Carolina judge dismissed Michael Colucci's murder charge last week in the strangulation death of his wife in 2015, Mandy and Liz noticed a trend … members of the media seemed to be deviating from the facts of the case in favor of carefully coddling Michael by pushing his narrative for him.  But for Sara-Lynn Colucci, they did no such thing. Instead they were careless with their words and grossly mischaracterized what her state of mind was in the weeks leading up to her death. After a special episode of Cup of Justice this week with Sara-Lynn's daughter, Bishop Venters, in her first public interview, the mission became clear. Bishop is ready to fight for justice for her mom. And she's going to need an army behind her to get S.C Attorney General Alan Wilson to focus on his job and present Michael's case to the grand jury again for a reindictment.  Also on today's show, we found YET ANOTHER moment on Horry County Police Department body cameras where Weldon Boyd got help from an officer at the crime scene with Scott Spivey's body sitting 30 yards away, shot to death by Weldon and his buddy Bradley Williams.  We're diving deep into assembling the timeline… Lots to cover so let's dive in!

While recently attending the Magic Collectors Expo in Las Vegas, we sat down with Connie Boyd to talk about her career as a successful magician on the Las Vegas Strip. But since semi-retiring from stage performing life, Connie has been the biggest advocate of spotlighting magical women both from our rich heritage as well as current and up and comers. During COVID she developed a YouTube channel that features performance reels of over 100 women that she has researched from our annals of history plus many whom she personally knows today. View fullsize View fullsize View fullsize View fullsize View fullsize View fullsize View fullsize View fullsize Today Connie consults on magic acts with some magical women. She is a caring, giving, knowledgeable magician who is willing to pass on the skills and talents she has learned through the “school of had knocks” in life. She was trained for the ballet and performed with the circus until she fell during one of her aerialist performances in Houston, Texas. She tells us how she pivoted from dance to magic and made it a successful career. Download this podcast in an MP3 file by Clicking Here and then right click to save the file. You can also subscribe to the RSS feed by Clicking Here. You can download or listen to the podcast through Pandora and SiriusXM (formerly Stitcher) by Clicking Here or through FeedPress by Clicking Here or through Tunein.com by Clicking Here or through iHeart Radio by Clicking Here. If you have a Spotify account, then you can also hear us through that app, too. You can also listen through your Amazon Alexa and Google Home devices. Remember, you can download it through the iTunes store, too. See the preview page by Clicking Here.

On today's program, Brady Boyd resigns from New Life Church. Boyd was on staff at Gateway during Robert Morris' tenure, and Elders now believe he misled the congregation about his knowledge of Morris's alleged abuse. We'll have details. Also, a court ruled that a lawsuit filed against Dave Ramsey can move forward. A former employee who was fired for being pregnant while unmarried is suing Ramsey for religious discrimination. We'll take a look. And, the sale of St. Louis FM radio station resulted in a standoff between two giants in Christian radio—K-LOVE and Joy FM Radio—and an almost $9 million price tag. But first, Christian YouTuber Kris ‘Kdub' Williams responds to rebuke following revelations of an affair. The producer for today's program is Jeff McIntosh. We get database and other technical support from Stephen DuBarry, Rod Pitzer, and Casey Sudduth. Writers who contributed to today's program include Jessica Eturralde, Kim Roberts, Bob Smietana, Kristen Parker, Shannon Cuthrell, Paul Clolery,  Brittany Smith, and Christina Darnell. A special thanks to The Banner and The NonProfit Times for contributing material for this week's podcast. Until next time, may God bless you.

We're in Maulbronn Germany - at the pre-conference sessions!We catch up with Professor Boyd - the Vice President of EACD / IAACD 2025! We discuss all things early intervention, randomised control trials, collaborations and the implementation and adoption of the new, weening off what we are wedded to!Be sure to visit the m:con Mannheim YouTube channel for the special video-casts we created for the Pre-Conference - all set in the beautiful location of Maulbronn Monastery - a UNESCO world heritage site!The video-casts will be available on the mconmannheim YouTube channel over the course of the conference and mirrored to the ResearchWorks YouTube channel after the conference too!https://www.youtube.com/@mconmannheim/videos

Susan Ryan welcomes three trailblazers in the eldercare culture change movement to this week's episode: Joanne Rader, Charlene Boyd, and Rose Marie Fagan. Each guest has a distinct and storied history within the culture change movement, and each has taken an interesting and unique journey built on their pioneering experiences. Joanne Rader recounts her shift from rehab nursing to transforming geriatric mental health—moving away from restraints and toward truly personcentered care. Charlene Boyd shares how she led organizational change in longterm care settings, dismantling outdated practices to put residents first. Rose Marie Fagan reflects on her journey from teaching to eldercare advocacy, culminating in the formation of the national Pioneer Network. Together, they explore past challenges, celebrate hardwon successes, and cast a vision for continued communitydriven reform. Collectively, they recount the wins they have accomplished along the in transforming eldercare and improving quality, including the following: eliminating restraints and realityorientation protocols transforms quality of life; perspective shifts that views elders as full participants, not passive recipients in their care; the creation of grassroots forums and persistent advocacy that gave birth to the Pioneer Network and a national movement; and change that now demands risktaking, intergenerational partnerships, and amplifying elders' voices. In addition, they discuss their work in making “good trouble” that champions bold, disruptive ideas that advance personcentered care. Their call to action is to join them at the Center for Innovation conference this Aug. 11 to 14 in St. Louis, Mo. Don't miss the preconference session featuring Boyd, Rader, and Fagan, as well as many other pioneers who continue to mobilize the culturechange movement: https://cfi2025.org/.

In this episode, Boyd and Cathleen talk to Leslie Jones, Director of Museum Affairs and Chief Curator at The Preservation Society of Newport County, about the society's new exhibit: Richard Morris Hunt: In A New Light. Through the conversation we learned more about this important Gilded Age architect and his vision for American national identity that visible through his architectural projects, the organizations he helped found, and the large collection of his papers, many of which are on display here. The exhibit will run from May 30 – November 2, 2025 at Rosecliff Mansion in Newport.For more information, follow this link: https://www.newportmansions.org/events/richard-morris-hunt-in-a-new-light/One book that Leslie Jones mentioned, was Sam Waters's The Gilded Life of Richard Morris Hunt, which can be found here: https://gilesltd.com/product/gilded-life-richard-morris-hunt Hosted on Acast. See acast.com/privacy for more information.

In this discussion of Cormac McCarthy's 'The Crossing', the host delves into the themes of brotherhood, the harsh realities of travel, and the encounters with humanity and evil that the characters face. The narrative follows the journey of two brothers, Billy and Boyd, as they navigate a world filled with danger and moral complexities. The host reflects on the writing style, the development of tension, and the philosophical questions raised by the characters' experiences. The chapter concludes with a sense of uncertainty as the brothers face separation and the implications of their choices.Send us a messageSupport the showFilm Chewing Podcast: https://www.buzzsprout.com/2235582/followLens Chewing on YouTube: https://www.youtube.com/@lenschewingSpeculative Speculations: https://creators.spotify.com/pod/show/speculative-speculationsSupport the podcast: https://www.paypal.com/ncp/payment/7EQ7XWFUP6K9EJoin Riverside.fm: https://riverside.fm/?via=steve-l

Chicago Cubs vs. St Louis Cardinals MLB Pick Prediction by Tony T. Cubs at Cardinals 7:45PM ET—Matthew Boyd will start for Chicago. Boyd has fifteen starts this season, delivering an ERA of 2.84 with WHIP of 1.14. The left hander fans 22.8% with 6.1% walks. Ground balls dealt at 36% with 1.05 home runs per nine innings.

Sens head scout Don Boyd addresses the media as he and the team prepare for this weekend's NHL entry draft

Chelsea welcomes actor and documentarian Nicole Boyd to dig into “Uptown Girl,” the memoir of the supermodel Christie Brinkley. They unpack Christie's supermodel career, plus her 4 marriages and many wild romances. Get ready to jump on a boat with Billy Joel, and run into Whitney Houston, Elle MacPherson, and Muhammad Ali! Plus: magical sand that saves her from a traumatic helicopter crash and what it's like to get negged by Sylvester Stallone's brother. A content warning: This episode contains discussions of sensitive topics, including child abuse, diet culture, body image talk, and substance use. Take care while listening and find helpful resources here. Join the cookie community: Become a member of the Patreon Follow Chelsea: Instagram @chelseadevantez Show Notes: Nicole's Christie Brinkley Spreadsheet / Timeline Where to find our guest Nicole Boyd: Instagram *** Glamorous Trash is all about going high and low at the same time— Glam and Trash. We recap and book club celebrity memoirs, deconstruct pop culture, and sometimes, we cry! If you've ever referenced Mariah Carey in therapy... then this is the podcast for you. Thank you to our sponsors: Thrive Causemetics - Get 20% off your first order at thrivecausemetics.com/glamorous Libro.fm - Click here to get 2 audiobooks for the price of 1 with your first month of membership using code TRASH. Learn more about your ad choices. Visit podcastchoices.com/adchoices

One year ago today, Alex Meruelo walked away from his ownership of the Arizona Coyotes. One year later, the status of the Roadrunners' future in Tucson remains in question and the prospect of the NHL's return to Arizona is still uncertain. What's the latest with hockey in Arizona? Leah Merrall and Steve Peters reunite for a state of the union on all things AZ hockey. Plus, Scott Burnside joins the show to discuss Atlanta's quest for an NHL franchise and how it compares to the Valley's. An ALLCITY Network Production SUBSCRIBE to our YouTube: https://bit.ly/phnx_youtube ALL THINGS PHNX: http://linktr.ee/phnxsports MERCH https://store.allcitynetwork.com/collections/phnx-locker ALLCITY Network, Inc. aka PHNX and PHNX Sports is in no way affiliated with or endorsed by the City of Phoenix PHNX Events: Get your tickets to PHNX events and takeovers here: https://gophnx.com/events/ bet365: https://www.bet365.com/hub/en-us/app-hero-banner-1?utm_source=affiliate&utm_campaign=usapp&utm_medium=affiliate&affiliate=365_03485317 Use the code PHNX365 to sign up, deposit $10 and bet $5 to get $150 in bonus bets! Disclaimer: Must be 21+ and physically located in AZ. If you or someone you know has a gambling problem and wants help, call 1-800-NEXT-STEP, text NEXTSTEP to 53342 or visit https://problemgambling.az.gov/ Branded Bills: Use code BBPHNX at https://www.brandedbills.com/ for 20% off your first order! Gametime: Download the Gametime app, create an account, and use code PHNX for $20 off your first purchase. Circle K: Join Inner Circle for free by downloading the Circle K app today! Head to https://www.circlek.com/store-locator to find Circle Ks near you! When you shop through links in the description, we may earn affiliate commissions. Copyright Disclaimer under section 107 of the Copyright Act 1976, allowance is made for “fair use” for purposes such as criticism, comment, news reporting, teaching, scholarship, education and research. Fair use is a use permitted by copyright statute that might otherwise be infringing.

Yeah, we'll make the same disclaimer we made the last time we talked about shoegaze. We know the term is polarizing. We realize that it was coined by the press as a term of derision for what had previously been known as "the scene that celebrates itself." Legend has it that writer Andy Ross first used it in a Sounds review to describe how Moose singer/guitarist Russell Yates was constantly looking down at the lyrics he had taped to the floor and/or his guitar pedals. But, face it, you hear the term and you know exactly what it is...ethereal vocals, woozy melodies, ear-piercingly loud, effects-laden guitars, all awash in a psychedelic haze. Nowadays, the bands that play this kind of music wear the "shoegaze" badge with pride. But the O.G.s had to walk so you could run, kids. Hence, this week we are celebrating some of the great shoegaze albums of the 1990s. Joining us is the singer/songwriter/guitarist of '90s Vancouver cult shoegazers Movieland, Alan D. Boyd. Movieland has been honored with the first installment of an archival series from 604 Decades that takes a look back at Vancouver's rich, if unexplored arts history. This rarities and demos collection, Then & Now, proves that they should have been at the top of the marquee during their time. ⁠https://movieland1990.bandcamp.com/album/then-now⁠ After Movieland disbanded in 1994, Alan moved to the UK, and has enjoyed a long career as an acclaimed composer for TV ("Day of the Triffids") and film ("Four Strings Good"), as well performing in the folk trio Little Sparta (also featuring Susie Honeyman from the Mekons). As you would expect during an episode on shoegaze, we divert our attention to Canadian pop stars, the other Movielands, and have a rare (maybe the first time?) double Triple Crossover! Learn more about your ad choices. Visit megaphone.fm/adchoices

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

What do you do when you don't know what to do? The Scriptures instruct us that worship is the first and best response when a battle arises (2 Chronicles 20). When the Church joins together in worship, true community is formed, fear is driven out, and the victory is secured in the Lord.To view the official statement that was read in service, click here.

Kenny Wallace discusses the "old" NASCAR fan base being heard after his Mark Martin interview & Tab Boyd, the spotter for Ricky Stenhouse Jr., being fired over his tweet criticizing Mexico City.#racing #kennywallace #nascar #tabboydBrought to you by JEGS! Click here: http://jegs.ork2.net/rQ9Oy5Use Promo Code DEALS To Save Up To 50% OFF Sitewide! ***thumbnail photos by Josh James Artwork & Tab BoydShop Doorbusters, Stackable Savings & 1,000's of Deals at JEGS!JEGS has been in business since 1960.Racers selling to racers.Focusing on American Muscle – but also big product line of automotive tools, garage gear & other performance parts.JEGS is well established with racers of all kinds, including the NHRA, bracket racing, circle track & more!Free shipping on orders over $199.Unrivaled expertise from techs.

Geoff is joined by Amir, Allie, Anya, and Casey for the last FREE episode of The Headgum Podcast. They discuss moving to Patreon, play New Joyce, hear a brand new rice song, and Allie has a surprise for Geoff! Join us over on Headgum's Patreon!And tune into our YouTube channel for our livestream celebrating the launch! TODAY, Friday June 20 at 2pm PT / 5pm ET!!» FOLLOW Geoff on Instagram: https://www.instagram.com/geoffreyjames/» FOLLOW Amir on Instagram: https://www.instagram.com/amir/» FOLLOW Allie on Twitch: https://twitch.tv/gluingshitonpaper» FOLLOW Casey on Instagram: https://www.instagram.com/caseydonahue/» FOLLOW Anya on Instagram: https://www.instagram.com/radiofreeanya/Advertise on The Headgum Podcast via Gumball.fmRate The Headgum Podcast 5-stars on Apple PodcastsRate The Headgum Podcast 5-stars on SpotifyJoin the Headgum DiscordSee Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Send us a textOn this week's episode of the Dirty Right Rear Podcast, we sit down at The Barn Studio with one of the region's most exciting young racers — Evan Boyd from Doe Run, Missouri!

Munaf Manji and Griffin Warner break down MLB betting for Friday.

Good Morning BT with Bo Thompson & Beth Troutman 6:05 Beth’s Song of the Day 6:20 50th Anniversary of JAWS6:35 50th Anniversary of JAWS (cont.)6:50 Wendys & Takis team-up for a spicy new combo meal 7:05 Pacers v Thunder going to game 7 in NBA Finals7:20 Congressman Mark Harris joins the show - continuing to be a pastor while serving in Congress, Israel-Iran conflict7:35 Congressman Mark Harris (cont.) - Big Beautiful Bill & budget talks, conflict in the GOP, more on Israel-Iran7:50 Caller Richard - war with Iran 8:05 Mark Garrison joins to talk about new NC shrimp trawling bill 8:20 Americans are waking up exhausted8:35 Friday News Quiz w/ Mark Garrison8:50 JAWS 50th Anniversary / Listener email re: shrimping 9:05 Hancock in-studio: Professional wrestling encounters, and famous Charlotteans9:20 Hancock in-studio: following up on the story of the lady who tried to help a dog in a hot car / (more) incoming heat9:35 Hancock in-studio: Big Weekend / Memories of Ty Boyd & the Boyd family9:50 Hancock in-studio: Lou Christie passed awaySee omnystudio.com/listener for privacy information.

Charlotte Osborne Mason was one of the biggest benefactors of the Harlem Renaissance but her patronage came with a cost. While she gave noted luminaries Langston Hughes and Zora Neale Hurston monthly stipends to make art, she wanted a say in what the art would be in order to realize her vision: a flaming bridge to connect America to Africa. Strange Country cohosts Beth and Kelly talk about this strange rich white lady who believed she knew more about being Black than the artists she supported with strings. Theme music: Big White Lie by A Cast of Thousands Cite your sources: Boyd, Valerie. “About Zora Neale Hurston.” Zora Neale Hurston, 18 September 2024, https://www.zoranealehurston.com/about/. Accessed 7 May 2025. Hosie, Rachel. “Powerful people act as if they've suffered a traumatic brain injury, find scientists.” The Independent, 26 June 2017, https://www.the-independent.com/life-style/powerful-people-brain-injury-traumatic-empathy-mirroring-keltner-study-science-a7807946.html. Accessed 13 June 2025. “When Hurston Had a (Mule) Bone to Pick with Hughes.” Proquest, 20 June 2018, https://about.proquest.com/en/blog/2018/when-hurston-had-a-mule-bone-to-pick-with-hughes/. Kaplan, Carla. Miss Anne in Harlem: The White Women of the Black Renaissance. HarperCollins, 2013. Panovka, Rebecca. “A Different Backstory for Zora Neale Hurston's “Barracoon.”” Los Angeles Review of Books, 7 July 2018, https://lareviewofbooks.org/article/different-backstory-for-zora-neale-hurstons-barracoon/. Accessed 7 May 2025.  

In this episode, Steve delves into Chapter 2 of 'The Crossing' from the Border Trilogy, exploring themes of loss, grief, and the power of storytelling. He reflects on the emotional impact of the characters' experiences, particularly the story of a man who loses his child, and discusses the development of Billy and Boyd as they navigate their journey. The chapter is marked by intense moments of tension and the importance of connection, both with each other and with the stories they share.Send us a messageSupport the showFilm Chewing Podcast: https://www.buzzsprout.com/2235582/followLens Chewing on YouTube: https://www.youtube.com/@lenschewingSpeculative Speculations: https://creators.spotify.com/pod/show/speculative-speculationsSupport the podcast: https://www.paypal.com/ncp/payment/7EQ7XWFUP6K9EJoin Riverside.fm: https://riverside.fm/?via=steve-l

This week, we sit down with none other than Luke Boyd, a.k.a. Classified – legendary Canadian rapper, record producer, and proud Nova Scotian – and his incredible wife Kim, who joins us for her very first podcast interview (and totally nails it). She declares, "I run the ship," and Luke replies, "I am the ship," and this pretty much sums up their dynamic and success!   We dive deep into: - Luke's lifelong relationship with Hip-Hop and staying grounded in Enfield, Nova Scotia - His rise to fame, working with icons like Snoop Dogg, Raekwon, DJ Premier, and more - The stories behind his latest album "Luke's View" - The power of family, fatherhood, and the rock-solid partnership he shares with Kim - The whirlwind of awards, accolades, and staying true to self, amidst it all   With over 285 million streams, multiple JUNO Awards, being a JUNO host, and a trophy shelf full of Much Music Video Awards and East Coast Music Awards, Classified has solidified his place as a Canadian hip-hop trailblazer. And behind the beats and bars is a tight-knit family, a deep respect for where he comes from, and a wife who keeps the whole thing moving.   We're beyond grateful to have had both Luke and Kim join us for this heartfelt, hilarious, and honest conversation. You'll laugh, you'll nod, and you'll walk away loving them even more than you thought possible.     Watch this episode on YouTube: https://www.youtube.com/@mikeandkristen   Join our Patreon: https://www.patreon.com/c/mikeandkristen   Us on the web: www.mikeandkristen.ca Instagram: www.instagram.com/mike_and_kristen/ Facebook: https://www.facebook.com/mikeandkristencreative Shoot us a message! Say hello, tell us who you think we should have on the podcast, and your deepest and darkest secrets: mikeandkristencreative@gmail.com  Review our book "You and Me" on Amazon (it helps a lot!!): https://amzn.to/3qqNCMo Intro song: “A Day in the Life" Outro song: “The Show" both by Mike (Michael S. Ryan) from his upcoming 88 song project Power Chords Mike's site: www.michaelsryan.com

COLOMBO AND COMPANY 0:00 SEG 1 9:53 SEG 2 Rodney Boyd 25:56 SEG 3 Danny Define https://newstalkstl.com/ FOLLOW TONY - https://x.com/tonycolombotalk 24/7 LIVESTREAM - http://bit.ly/NEWSTALKSTLSTREAMS RUMBLE - https://rumble.com/NewsTalkSTL See omnystudio.com/listener for privacy information.

Celebrating its 50th anniversary in 2025, the Sisters Outdoor Quilt Show (SOQS) has grown from a modest display of a dozen quilts in 1975 to the world's largest outdoor quilt show, featuring over 1,300 quilts from artists around the globe. My guest today is Dawn Boyd, the Executive Director of the Sisters Outdoor Quilt Show in Oregon held  annually on the second Saturday in July. The event attracts more than 10,000 visitors to the charming town of Sisters, Oregon, transforming its streets into a vibrant landscape of color and creativity with quilts. The show's mission—to celebrate the art, skill, and heritage of quilting—continues to thrive, enriching the culture of Sisters, Oregon and everyone who visits the show.In this episode, we'll get into the history of the show, explore its impact on the community, and hear about the exciting plans for this milestone 50th year.You can find the Sisters Outdoor Quilt Show website right here: https://www.soqs.org/Want to travel with Brandy? A FEW SPOTS LEFT ON THIS TRIP! PLUS one lucky traveller will win an Oliso Tula Pink M3Pro Project Iron. 2025 FESTIVAL OF QUILTS Birmingham!!! This 14-day tour of Wales and England takes in the rich textile history and breathtaking cultural landmarks. Tour England & Wales ending at the Festival of Quilts. Call the team at Opuent Quilt Journeys at 1-877-235-3767 or go to  https://opulentquiltjourneys.com/destinations/britain/item/birmingham-festival-of-quilts-tour-with-brandyQuilter on Fire Website - https://quilteronfire.com/OLISO IRONS - Host of the Quilter on Fire Podcast Lounge each year at QuiltCon!BUY YOUR OWN OLISO MINI PROJECT IRON RIGHT HERESquare One Textile Art WorkshopLink to Brandy's email listKristy's Quilt Picture BookQuilter on Fire PatternsFree Quilter on Fire Holiday Table Runner VIDEOSupport the showThank you for listening to the Quilter on Fire Podcast.

Send us a textFinally, another Literary Aviatrix Classics episode with my guest hosts Dr. Jacque Boyd and Captain Jenny Beatty! This episode is all about Amy Johnson. We started off with her book Sky Roads to the World but, truth in advertising, we did not love this book. It's a great history of aviation exploits of the time with insightful predictions of what aviation would offer in the future, but we gleaned almost nothing about Amy herself. We were able to cobble together our impressions of her, her life, and her aviation exploits from other sources, and Jenny, fabulous book and women's aviation history nerd that she is, gives us a rundown of several additional books and places Amy in the context of other women who were flying in the British Isles around her time. Did you know you can support your local independent bookshop and me by shopping through my Bookshop.org affiliate links on my website? If a book is available on Bookshop.org, you'll find a link to it on the book page. By shopping through the Literary Aviatrix website a small portion of the sale goes to support the content you love, at no additional cost to you. https://literaryaviatrix.com/shop-all-books/Thanks so much for listening! Stay up to date on book releases, author events, and Aviatrix Book Club discussion dates with the Literary Aviatrix Newsletter. Visit the Literary Aviatrix website to find over 600 books featuring women in aviation in all genres for all ages. Become a Literary Aviatrix Patron and help amplify the voices of women in aviation. Follow me on social media, join the book club, and find all of the things on the Literary Aviatrix linkt.ree. Blue skies, happy reading, and happy listening!-Liz Booker

In Episode 648 of the Legal Nurse Podcast, host Pat Iyer welcomes Larry Boyd, a seasoned certified case manager and registered nurse with over 35 years of experience, to unpack the nuanced roles case managers play in healthcare and legal settings. Larry shares distinctions between legal and medical case managers, explaining how each serves either the attorneys or the injured clients themselves. The conversation touches on the evolution of the case manager's responsibilities, different certifications, and the significance of advocacy—particularly in challenging post-injury scenarios. Larry illustrates how medical case managers are pivotal advocates for clients, ensuring that their recovery needs are met, from discharge planning to ongoing medical care coordination. Pat and Larry review real-world examples that highlight the advocacy work case managers do, preventing unsafe discharges and bridging the gap between clinical needs and legal demands. They highlight that not all case managers have the same level of expertise, distinguishing between "scribes," inexperienced case managers who mainly document and observe, and certified case managers who actively intervene on behalf of clients. The episode wraps with advice for legal nurse consultants on collaborating with case managers to gain meaningful insights missing from medical records, and underscores the vital impact of strong clinical skills, communication, and certification.  Larry underscores the profession's essential role in facilitating holistic, safe recoveries for patients navigating the complex intersection of medical and legal systems. What you'll learn in this episode on Role of the Case Manager: Advocacy, Expertise, and Collaboration: Join us to discover the answers to these questions: What are the key differences between a legal case manager and a medical case manager? How does the background and training of a case manager impact the quality of advocacy and care a client receives? In what ways do legal nurse consultants and case managers collaborate to support injured clients in the litigation process? What challenges arise when a case manager lacks clinical experience or certification, and how does this affect patient outcomes? How do changes in healthcare regulations and billing practices influence the availability and function of case management services? Listen to our podcasts or watch them using our app, Expert.edu, available at legalnursebusiness.com/expertedu. Get the free transcripts and also learn about other ways to subscribe. Go to Legal Nurse Podcasts subscribe options by using this short link: http://LNC.tips/subscribepodcast. https://youtu.be/E0zgq-At8vI

Interview with Boyd and Beth Morrison, co-authors of the novel THE LAST TRUE TEMPLAR.Support this podcast at — https://redcircle.com/reading-and-writing-podcast/donationsAdvertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

Pastor Boyd continues our Acts series "From the Upper Room".

The first hour of Terry Wickstrom Outdoors features Chris Steinbeck from Blue Quill Anglers, Brad Peterson from Brad Peterson Outdoors, and Austin Parr from Parr’s guide service.  They talk about fly-fishing, Glendo Union and Boyd reservoirs, and Pueblo reservoir as a fishery.

Is Michael Colucci finally going to trial for allegedly murdering Sara Lynn Colucci in 2015? Why does Weldon Boyd claim witnesses back up his story in the Scott Spivey shooting? Investigative journalists Mandy Matney and Liz Farrell discuss two separate but related cases in South Carolina that highlight obvious systemic failures within the justice system.  First, we focus on the upcoming retrial of Michael Colucci for the murder of his wife, Sara Lynn Moore Colucci, emphasizing red flags in his 911 call, his ‘gathering storm' of financial and stress leading up to her death, and the volatile nature of their relationship.  Then we examine the alleged wrongful death of Scott Spivey, critically analyzing Horry County Police Department's investigation, the inconsistencies in witness testimonies, and the actions of Weldon Boyd, exposing a potential cover-up and lack of thorough inquiry by authorities.  What does it take to achieve greater transparency and accountability in South Carolina's legal processes, particularly in cases involving influential men…? Let's dive in!

GatherNYC, a revolutionary concert experience founded in 2018 by cellist Laura Metcalf and guitarist Rupert Boyd, presents concerts every other Sunday at its home venue, Museum of Arts and Design, in New York City's Columbus Circle. Guests at GatherNYC are served exquisite live classical music performed by New York's immensely talented artists, artisanal coffee and pastries, a taste of the spoken word, and a brief celebration of silence. The entire experience lasts one hour and evokes the community and spiritual nourishment of a religious service – but the religion is music, and all are welcome. Spoken word artists perform briefly at the midpoint of each concert, many of whom are winners of The Moth StorySLAM events. “It's an interesting moment of something completely different from the music, and it often connects with the audience,” Metcalf told Strings magazine in a feature about the series last year. “Then we have a two-minute celebration of silence when we turn the lights down, centering ourselves in the center of the city. Then the lights come back on, and the music starts again out of the silence. We find that the listening and the feeling in the room changes after that.”   https://www.rupertboyd.com  https://www.gathernyc.org https://www.instagram.com/rupertboydguitar https://www.instagram.com/gather_nyc   Thanks for joining me on Crushing Classical!  Theme music by DreamVance. You can join my email list HERE, so you never miss an episode! I help people to lean into their creative careers and start or grow their income streams.  You can read more or hop onto a short discovery call from my website. I'm your host, Jennet Ingle. I love you all. Stay safe out there!    

Cathleen Cahill and Boyd Cothran introduce themselves and lay out their plans for the Gilded Age & Progressive Era podcast over the next few months, including an upcoming interview with Leslie Jones, curator of the Newport Preservation Society's new exhibit about Gilded Age architect Richard Morris Hunt. Cathleen and Boyd also offer their gratitude to podcast creator and former host, Michael Cullinane, for trusting them with the podcast. They also thank former podcast intern Michael Connolly from Loyola University in Chicago; H-SHGAPE List Editor and host of another great podcast, Dig History, Elizabeth Masarik; and SHGAPE president ,Stacy Cordery, for their advice. Finally, they give their new contact information and invite feedback about the podcast and future episodes. Cathleen can be reached at cdcahill@psu.edu and is active on LinkedIn (Cathleen Cahill) and BlueSky (cathleendcahill.bsky.social) while Boyd can be reached at cothran@yorku.ca. Finally, the podcast's website can be found at https://www.shgape.org/the-gilded-age-and-progressive-era-podcast/ Hosted on Acast. See acast.com/privacy for more information.

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#447 What if you could turn your IT skills into a six-figure business — without a degree, certifications, or even submitting job applications? In this episode, host Brien Gearin sits down with Boyd Clewis, founder of Cyberhero Training, who shares his incredible journey from working in accounts receivable at a copier company to becoming a senior cybersecurity architect and building a $20 million education business. Boyd opens up about the painful decision to shut down that company, the lessons he learned from scaling too fast, and how he used those lessons to launch Cyberhero Training in 2024. He now helps IT professionals reinvent themselves, build personal brands, and attract high-paying consulting gigs — no coding required. You'll also hear why Boyd challenges the traditional path of chasing degrees and certifications, his take on AI's impact on the cybersecurity industry, and the power of LinkedIn to build authority and generate inbound opportunities! What we discuss with Boyd: + From copier tech to cybersecurity expert + Scaling to an 8-figure business + Hard lessons from rapid growth + Why certifications aren't required + Building authority through LinkedIn + Turning IT skills into a business + Avoiding the high-ticket trap + AI's role in cybersecurity today + Creating job opportunities without applying + Personal branding for IT professionals Thank you, Boyd! Check out Cyberhero Training at CyberheroTraining.com/Elite. And follow us on: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Instagram⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Facebook⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Tik Tok⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Youtube⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Twitter⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ To get exclusive offers mentioned in this episode and to support the show, visit ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠millionaireuniversity.com/sponsors⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠. EXCLUSIVE NordVPN Deal ➼ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://nordvpn.com/millionaire⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠. Try it risk-free now with a 30-day money-back guarantee! Want to hear from more incredible entrepreneurs? Check out all of our interviews ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠here⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠! Learn more about your ad choices. Visit megaphone.fm/adchoices

Running on empty? Jesus's invitation to rest isn't just a suggestion; it's an injunction and is absolutely essential to our wellbeing. What if the answer to your exhaustion isn't working harder but withdrawing more intentionally? In this message, be encouraged to find your "lonely place" this summer and return to life with renewed purpose.

A 2023 road rage incident near Myrtle Beach turned deadly. Weldon Boyd fatally shot and killed 33 year old Scott Spivey. Boyd claimed self defense under South Carolina's Stand Your Ground Law. Questions emerged about the investigation after Boyd's phone calls were released. There are also questions abut Boyd's relationship with law enforcement and how the investigation was handled In this episode we discuss South Carolina's Stand Your Ground Law with Seton's father and attorney Matt Siembieda. Matt Siembieda is an attorney and law professor at Temple Law School. There have been other episodes covering this case. In the May 1 episode Wall Street Journal reporter Valerie Bauerlein joined the Impact podcast to share her reporting on the case. The May 29 episode we discussed two eye witness 911 calls and problems with law enforcement. Seton Tucker and Matt Harris began the Impact of Influence podcast shortly after the murders of Maggie and Paul Murdaugh. Now they cover true crime past and present from the southeast region of the U.S. Impact of Influence is part of the Evergreen Podcast Company. Look for Impact of Influence on Facebook and Youtube. Please support our sponsors Elevate your closet with Quince. Go to Quince dot com slash impact for free shipping on your order and three hundred and sixty-five -day returns. Learn more about your ad choices. Visit megaphone.fm/adchoices

Barbara Boyd on YT:    / @prometheanaction  #usa #uk #world #war #ukraine #russia #unitedstates #israel #palestine #ww3 #news

Investigative journalists Mandy Matney and Liz Farrell encountered something new on the JP Miller beat over the past week and it might just be his villain origin story. Myrtle Beach churchy-business bro “Pastor” John-Paul Miller — who stands accused of stalking and harassing his estranged wife Mica Francis and allegedly contributing to her death in April 2024 — got married this past weekend to his rumored longtime paramour Suzie Skinner — the widow of a quadriplegic man who was found dead at the bottom of his community pool in September 2021 (two weeks after he allegedly told JP to stay away from his wife and kids). The beach wedding appeared to be hastily pulled together and none of their combined seven children were seen at the wedding, according to sources. The big question everyone has on their minds after Sunday's nuptials: What are these two up to? Also on the show Mandy and Liz share more recordings in the Scott Spivey case (aka the Horry County Police Department corruption case). Turns out North Myrtle Beach businessman Weldon Boyd got even more help from police officers after he and his friend Bradley Williams shot and killed Scott on Sept. 9, 2023. LUNASHARK reporter and researcher Beth Braden discovered that about an hour after Scott was killed, HCPD Officer Kerry Higgs advised Weldon to stop talking because he might have to walk his story back later. Higgs told Weldon to wait for detectives to get to the scene because they would give him the timeline and chronology of events (presumably so Weldon could shape his narrative around it).  Meanwhile a detective with HCPD — the one who interviewed the only witness to see what Scott did (didn't do) in the very last moments of his life — filed a report mixing up the order of events in a way that only served to help corroborate Weldon's account … directly contradicting the witness' 911 call and his video interview.  Plus, we'll give an update on surprising news out of Houston, TX connected to the (2:32) Christa Bauer Gilley case. Let's dive in!

Matthew Boyd turned in a strong start for the Chicago Cubs, but it wasn't enough as they fell to the Washington Nationals in a close matchup. The CHGO Cubs crew breaks down Boyd's impressive outing, missed offensive opportunities, and key moments that defined the loss. We also discuss performances from players like Kyle Tucker, Seiya Suzuki and Nico Hoerner, and what the team needs to bounce back. Don't miss our full reaction and analysis from another tough night for the Cubs.

A 2023 road rage incident near Myrtle Beach turned deadly. Weldon Boyd fatally shot and killed 33 year old Scott Spivey. Boyd claimed self defense under South Carolina's Stand Your Ground Law. Questions emerged about the investigation after Boyd's phone calls were released. There are also questions abut Boyd's relationship with law enforcement and how the investigation was handled. In this episode you will hear 911 calls from the scene. Do they help or hurt Boyd's defense. In the May 1 episode Wall Street Journal reporter Valerie Bauerlein joined the Impact podcast to share her reporting on the case. Seton Tucker and Matt Harris began the Impact of Influence podcast shortly after the murders of Maggie and Paul Murdaugh. Now they cover true crime past and present from the southeast region of the U.S. Impact of Influence is part of the Evergreen Podcast Company. Look for Impact of Influence on Facebook and Youtube. Please support our sponsors Elevate your closet with Quince. Go to Quince dot com slash impact for free shipping on your order and three hundred and sixty-five -day returns. Learn more about your ad choices. Visit megaphone.fm/adchoices