Podcasts about Brighouse

Rebecca in Penysarn and Julie in Brighouse are battling it out today.

Hello and welcome to Christchurch Xscape's Sunday Service. This week Steve Bowers, former Pastor at Cornerstone Church in Brighouse, provides the talk for today. Please feel free to get in touch hello@xchurch.org.ukReading: John 5:16-47Our podcast https://podcasters.spotify.com/pod/show/xchurch/Our blog for thought-provoking articles https://xchurch.medium.com/Sign up to our fortnightly email http://xchurch.us8.list-manage.com/subscribe?u=2ef1fcfe581f6926a1507b6e0&id=ff02df616e

Hello and welcome to Christchurch Xscape's Sunday Service. This week Steve Bowers, former Pastor at Cornerstone Church in Brighouse, provides the talk for today.Please feel free to get in touch hello@xchurch.org.ukReading: John 1:19-34Our podcast https://podcasters.spotify.com/pod/show/xchurch/Our blog for thought-provoking articles https://xchurch.medium.com/Sign up to our fortnightly email http://xchurch.us8.list-manage.com/subscribe?u=2ef1fcfe581f6926a1507b6e0&id=ff02df616e

In this episode I'm speaking with Mick Waters and David Cameron, two of the editors of a wonderful new book Unfinished Business: The life and legacy of Sir Tim Brighouse - a tribute and a call to action. It's a long title and rightly so - there's a lot to say about Tim and about the ideas he pursued throughout his remarkable career. Mick Waters is a former head teacher who works closely with teachers and leaders in schools, MATs and local authorities to support the development of teaching approaches and curriculum to ensure the best learning outcomes for children. For some years he was Director of Curriculum for England, based at the Qualification and Curriculum Authority (QCA), and before that held the post of Chief Education Officer for the City of Manchester. He is also invited to work at a policy level with government in different parts of the world. David Cameron has been a teacher, a senior manager in schools and in local authorities, most recently as Director of Children's Services for Stirling Council. He was President of the Association of Directors of Education Scotland and has been centrally involved in virtually every major development in Scottish education over the last 40 years. More recently he has been an independent speaker and consultant working across the UK and internationally. LINKS Buy Unfinished Business: https://amzn.to/49G5Uid Buy ‘About Our Schools' https://amzn.to/4ivsKgF Outro track: How it is and how it should be, by Grit Control: https://open.spotify.com/artist/1ud69RIV1eOV9poMR7AORI DON'T BE A STRANGER The Rethinking Education podcast is hosted by Dr James Mannion and produced by Sophie Dean. You can contact James at https://www.rethinking-ed.org/contact. SUPPORT THE RETHINKING ED PODCAST: Become a patron: https://www.patreon.com/repod Buy James a coffee: https://www.buymeacoffee.com/repod

Oliver hails from Brighouse & is a family man through & through. Learning more from being out with his uncle than a classroom he began his Rugby story with Old Brodelians RUFC. Siddal were soon to take over his chosen passion & Ollie excelled. He's having a great rugby career but for me his best works come off it in his occupation. Some man is Olly.

Amy is away so Adam is joined by Adam Robbins, David Cameron (not that one) and Professor Mick Waters to discuss their new book exploring the legacy of Tim Brighouse. They cover the current relevance of his work including a focus on the impact of the London Challenge and similar schemes elsewhere.

College students need good mentorship. Here's why those mentors should be university teachers. With Harry Brighouse and Diamond Lannaman. Based on a paper by Harry Brighouse, "The Mentoring Responsibilities of University Teachers" (unpublished), 2023. Produced by Carrie Welsh and Jennifer McCord. Special thanks to Diamond Lannaman.

Sometimes it's just a pleasure to sit back and listen.  This is one of those moments - for me, certainly, but hopefully for you too.  I had the pleasure of sitting and chatting with two icons of the industry - Sean Conboy and the inimatable nonagenarian, Stuart Clark who is not only still shooting at the age of 97 but is a considerable racontour (you can hear me and Sean laughing in the background throughout!) Stuart started his career in 1941, so his stories are not only entertaining but are fascinating as they cover every photography development from glass plate through to the state of the art digital wizardry we're facing today. This interview is worth listening to every one of its 90 or so minutes! Enjoy!   Cheers P. If you enjoy this podcast, please head over to Mastering Portrait Photography, for more articles and videos about this beautiful industry. You can also read a full transcript of this episode. PLEASE also subscribe and leave us a review - we'd love to hear what you think! If there are any topics, you would like to hear, have questions we could answer or would like to come and be interviewed on the podcast, please contact me at paul@paulwilkinsonphotography.co.uk.    Transcript [00:00:00] Paul: So there are so, so many things I love about being in this industry, the things we get to do, and in particular, this podcast, and one of the many things is having these moments that you're about to hear, where I get to sit and chat with someone I've known for a very long time, Sean Conboy, fantastic photographer, and just a wonderful human being. [00:00:20] And someone he introduced me to, a guy called Stuart Clark.  [00:00:23] Now Stuart is 98 years old in July this year. Self proclaimed as one of the oldest working photographers in the country, and I'm not sure that anyone's going to argue with that. He started training as a photographer in 1940. That makes this, he's been working as a photographer for 84 years. [00:00:46] And the whole of this interview is taking place in what was, his photography studio in a little town just outside Leeds. It's his front living room, but it's huge. It's got a high ceiling and you can imagine how the lighting would have been hot, continuous lights and families just having the best time with someone who I learned very quickly, is a storyteller and a raconteur, uh, just a wonderful, a wonderful human being. There are lots of things to listen out for in the following interview, and let me draw your attention to just a few. Uh, listen out for the flash powder story. It's very funny. Uh, the story of, uh, People retouching, lots of retouching stories from the 1940s and billiard ball complexions. [00:01:31] . Doing multiple jobs in a day. He used to do three or four jobs in a day, and have the timing so accurate that could include photographing a wedding. He learned his craft. He's great. [00:01:42] He's spent time creating images for press, looking for alternative, alternative images and looking for PR images that no matter how much a sub editor crops them, the brand or at least the story is still very much intact. He talks about the utter love of the job and appreciating what a privileged position photographers like ourselves are in every day of the week. [00:02:07] He talks a little about the role of agencies and how they now manage messages from companies in a way that probably they never did. He talks about relationships and he talks about being positive and persistence. He also talks about the role of the Institute. [00:02:24] Finally, he talks a little bit about photographers always being the fag end of everything, but in the end, what he talks about really, It's the love of his job and the love of his clients.  [00:02:35] Why am I telling you all of this upfront? Well, this is a long interview, but the sound of Stuart's voice and the history that it represents, as well as the fact that he's more current than an awful lot of photographers who I know right now who are much younger, uh, but just, there's something in his, his entire manner that is captivating and enthralling, informative and useful. And so, although it's a long interview, I thought I'd just explain a little bit about why I found it so appealing and why I've left the edit almost entirely intact. I've removed a few lumps and bumps where we all managed to hit a microphone as we're gesticulating. [00:03:16] So picture the scene, there's myself, Sean and Stuart sitting, in armchairs and on couches. [00:03:27] And if you're wondering why it took me quite so long, this interview is actually, it goes back to February of this year, and why it took me quite so long to get it out, it was partly because there was a lot of of lumps to remove and partly because it was this trip, this interview, this podcast that I was returning home from when the Land Rover blew up. [00:03:46] And frankly, I think there's a little bit of trauma there with a six and a half thousand pound bill to re, to replace and repair piston number two. I think my heart just, I needed a minute just to not recall it every single time I try to edit this particular podcast down. It's a wonderful interview. Please enjoy. [00:04:06] I know it's quite long, um, but what an absolute legend. I'm Paul and this is the Mastering Portrait Photography Podcast.  [00:04:32] So, firstly, Stuart, thank you for welcoming us into your home. We've driven quite a long way, uh, to come and see you. Sean, uh, recommended we speak to you, because the number of stories you have make even his collection of stories look Insignificant. [00:04:48] And as we all know, Sean, The Footnote Conboy has more stories than any man I've ever met up until probably this, this moment in time. So to kick the conversation off, how did you become a photographer? [00:05:05] Stuart: It was an unfortunate or fortunate chain of events because, um, I was at the Leeds College of Art in 1940, 41, and I had the desire and intention of being a commercial artist, which is now referred as graphic designer and at that time, being wartime, there was little advertising being done, and so, uh, perhaps I was not sufficiently talented, but I finished up working for a firm who were essentially photoengravers, but they had a commercial photography studio as well, and they were short of somebody to join them, and I went in there and became virtually an apprentice photographer. This was very interesting because at that time, again, there was very little commercial photography advertising being done, and so all our efforts, or most of our efforts, were centred on war work, which involved going round the factories and, uh, Photographing for record purposes, the input of the particular company. And in those days, I can tell you that that was not a very comfortable proposition because we were on total blackout, and therefore, all the fumes in the factory, whatever they were, had very little chance of escaping, so you've got the fumes and the heat, and then of course we were only Illuminating scenes with flash powder, which was an added hazard, and, and so Photography outside in the factories was not very pleasant, but inside the factory, or in the studio, we were also doing war work, and that was to photograph silhouettes, scale models of all aircraft of both the enemy and, uh, and, uh, Home, uh, Aircraft for identification purposes, so that the air gunners were not shooting our own planes down in action. And another very interesting thing which I have always remembered was that the four, or the eight cannons In the Spitfire, that was four in each wing, were harmonized to converge at a point away from the Spitfire so that the Fire, the maximum fire point was when those two lots of cannons converged. [00:08:34] The only reference that the pilots had was a silhouette which we had photographed, so that he could visualize that silhouette in the, aiming sight of his  [00:08:50] guns.  [00:08:51] Paul: a very early heads up display.  [00:08:53] Stuart: Indeed.  [00:08:54] Paul: Yeah. [00:08:55] Stuart: And, so, that was quite an important element, I think, of our war work for the Air Ministry. [00:09:03] The main factory was engraving the, conical, rangefinder cones for 25 pound howitzers. [00:09:14] Paul: Right. [00:09:15] Stuart: And at the time of leaving school, everybody had to be doing war work.  [00:09:21] And so I went to the company on the pretext of doing war work of that nature, rather than going round snapping. [00:09:31] Paul: Right. [00:09:32] Sean: Stuart, could you also, um, I mean you've told me many great tales about your time actually in the, uh, armed services film unit, i think that might be quite interesting,  [00:09:42] Stuart: Well, I was called up and because of my interest in mechanical things and gadgetry and so forth, I finished up in the Royal Army Service Corps. But a friend of my mother's husband suggested that I applied for a trade test in photography. And one day I was called up to the orderly room and they said, We've got the movement order here for you. Um, to go to Pinewood Studios, of all places. I don't know what this is about, but anyway, here's your movement order. So, I went down to Pinewood, and we had a trade test, and I think I finished up, uh, top of the, the, uh, examination. But then I was returned to unit at Catterick, and I was up there for another few months, and then I was posted. And eventually, after about six weeks of the posting, I got another movement order to go back to Pinewood Studios, where I started my course in cinephotography, [00:11:06] and still photography. Now, this was the last course. before Pinewood closed down and the unit closed down. I'm talking about Pinewood closing down, Pinewood was the headquarters of the Army Film and Photographic Unit from when it was formed in October 41. [00:11:35] The course included preparation for action photography, essentially. when the course started, the war was still on in Central Europe. but before the course finished, it, uh, the war finished. [00:11:58] And The Japanese War was still going on until September of the same year, which was 45. But we were still being trained, and when the course finished, we had very little to do but just wait to see what happened. And so from September to, um, December of that year, we were just hanging about in the studios. [00:12:30] We were then posted to the Far East, in fact to Malaya, where the No. 9 unit was formed. Having been moved by Batten's headquarters, Mountbatten's headquarters, from Ceylon to Singapore, thought that it would be probably much more congenial there than in Ceylon, India. [00:12:57] So number nine was there and it's interesting to note that right at this moment an exhibition is being produced for the photographer's gallery on Bert Hardy's life and Bert Hardy at the time that I there was, in fact, the stills captain in charge of all the still photography in Malay Command. Or the, not Malay Command, the Far East Command, because we had outstations in Java and Hong Kong, and even, uh, one guy, uh, was in, um, in Hiroshima. So that was the formation of the, the, uh, Far East, Southeast Asia Command photographic, uh, outfit. until it closed down, uh, in September, August September of 46, and we are then dispersed Some went to the Imperial War Museum, the Imperial, uh, war, graves Commission, et cetera, and six of us went back to Vienna, where we joined number 9, Public Relations, because unit had been disbanded completely. So, there in, uh, in Austria, we were doing what they call Local Boy Stories, and we made a couple of films on the Irish regiments and also the East Yorkshire, not the East Yorkshire, the Yorkshire regiments who were guarding and on guard duties at the palace, Shurnbran Palace, which everybody has heard of, and um, and so that carried on until, uh, the Until I was demobbed in 1947, December. came home and went back to the company I originally started with because they were compelled to take people for 12 months. And at the end of that time, I decided to leave I had a bit of a a difference of opinion with the studio manager, who was RAF, and I was Army, and I was a sergeant as well, and I don't think he was quite that when he was in the RAF photographic section, but there was a resentment anyway. [00:16:02] of my presence.  [00:16:03] So, I went to the firm called C. R. H. Pickards, who were one of the finest industrial, uh, and leading industrial photographic units, companies, in the north of England. [00:16:24] It was there, then, that I began to learn industrial photography. And we photographed all sorts of various things, from factory engineering, factories, products and so forth, lathes, milling machines, railway engines, all manner of things. And that's where I cut my teeth on industrial photography. [00:16:56] Sean: And, and Stuart, what sort of, um, equipment would you be using in those days? not  [00:17:01] Stuart: so ha!  [00:17:02] Sean: but how  [00:17:03] would you be lighting these spaces in those days  [00:17:05] Stuart: um The equipment that we were using was always, almost always, whole plate, six a half, eight by, eight and a half, six a half, uh, folding field cameras. when I started, we [00:17:29] were on glass plates. But then the advent of film came in. And this was obviously much lighter stuff to carry around. And every, exposure had to count. Now in today's terms, where you press the button and pick the best out of however many, all we used to do was a duplicate at the most. So we used to There was a variation in the exposure or the aperture setting, and that was the only difference the two exposures. [00:18:19] So what we used to do was develop one side of the, uh, the double dark slides, see what they were like, if they wanted a little bit more or a bit less development, that was applied to second side. And, don't know whether you've ever heard of the expression of, um, developing by, uh, vision. But we used to have a very dim green light, and the sensitive film. [00:18:59] was not, uh, sensitive to the green light.  [00:19:03] Paul: All right.  [00:19:04] Stuart: But you had to be in the darkroom for ten minutes for your eyes to become adjusted, and you could then see absolutely every detail of the, the development process. And when the highlights started to you, to, To show a dark mark through the back of the antihalation backing, then the development was just about right, if but if you wanted a little bit more contrast, then you just pushed it on. If it had been a dull day, a dull, miserable day, then you pushed the development on a little bit further. [00:19:49] Sean: And  [00:19:49] Stuart: you've asked  [00:19:50] Sean: be, how would you be lighting some of these scenes? I'm very intrigued at that  [00:19:53] Stuart: I  [00:19:53] Sean: that  [00:19:53] Stuart: about to say that. [00:19:54] Um, for big areas, we used to use flash powder. And a little bit of flash powder goes a long way, believe me. But it was pretty dangerous stuff. And um, I remember we photographed a wedding on one occasion at the Majestic Hotel Harrogate. And there were 450 people. at the reception and they wanted a photograph to show as many of the people as possible. So we put the whole plate camera on a table stood up there with tray into which I poured flash powder. [00:20:38] Now then, this was actuated. with a percussion cap, like we used to have in little [00:20:46] hand pistols for toys. and when you pulled the release catch, that ignited the cap, [00:20:56] that ignited the flash powder. [00:21:00] So, the exposure was only going to be once. One exposure. [00:21:07] And so, the photographer I was with, he said, right everybody. Look this way, and I want to be making sure that everybody keeps still. [00:21:21] I'm going to count five for you, but don't move until I've finished counting. [00:21:29] So the idea was to take the sheath out of the slide. With having put a cap over the lens, shutter, just an open lens with a cap or a lid on the front. [00:21:46] And the technique was to take the cap off hold it in front of the lens, so that that allowed the vibration or any vibration in the camera to settle down and then take the exposure. the idea was count 1, 2, 3, 4, then take the cup off. And on four I ignited the flash gun and then the cup went on and the guy that I was worth put the sheath back and said, right, let's get out of here quick. The reason for that was that you got the brightness, got the, the buildup of the available lights. then it's just topped off, illuminated with the flash, not a very big one, I hasten to add. But the significance of flash powder was that there was a flame which simply went upwards.  [00:23:00] And that was it, that was all there was to be seen. But, it produced smoke, which used to go into, onto the ceiling, and it would roll across the ceiling, carrying with it the grains of the flash powder, which had obviously changed colour from [00:23:24] silver [00:23:25] To yellow, that was okay. But when the waiters came to move the, uh, soup plates, what they found was a white circle on a yellow  [00:23:47] cloth. [00:23:51] And you can also visualize the fact that a lot of people had a lot of. Little flash powder grains in their hair  [00:24:01] as well. well. By the time that [00:24:04] By the time that this happened, we were halfway back to Leeds.  [00:24:08] Sean: Very good.  [00:24:09] Stuart: But this this was the scourge of flash powder because you could only take one shot. Because the place used to, the whole of the place, the factory, if you using a large amount of powder, made a lot of smoke, and it just collected on the ceiling and it obscured it, the vision. So, we used to use photo floods, these were overrun pearl lamps, we used to have six on a button. And if the subject was still, we could go around on a long lead and paint scene with light. And that was, and that became established, So flash balder started to go, [00:25:08] Paul: Right. [00:25:10] Stuart: but you see, at this time, flash bulbs hadn't really got going. [00:25:17] The GEC flash bulbs, which were foil filled, were about the only thing that was available. Um, in this, in this country. And they were sympathetic. [00:25:31] And the GEC Warehouse in Leeds on one occasion, uh, a consignment of, um, bulbs came, [00:25:43] Uh, [00:25:44] in a, in a case, and, uh, one of the attendants decided that he would test them to see whether they were all alright. [00:25:54] So [00:25:54] he fired one. [00:25:57] and 50 flashbulbs, because [00:26:01] they had to be in contact with each other. If they were separate, it didn't work, but when you put them side by side, they were sympathetic. [00:26:11] Paul: What [00:26:11] happens?  [00:26:13] Stuart: Well, the whole lot  [00:26:14] went  [00:26:14] off. A whole box full of, um, flashbulbs, and they weren't cheap at that time.  [00:26:22] So  [00:26:23] really,  [00:26:23] that was, that was the basic equipment which we used to [00:26:29] use. [00:26:31] And [00:26:32] it was all, [00:26:33] it [00:26:34] was all, uh, 8x6. [00:26:37] Sometimes it was 10x8. [00:26:41] The, uh, the railway engines, which we used to photograph for the Hunsley's Engine Company [00:26:47] and hudderswell Clark's in Leeds, we always used to use 10x8 for those. Now it was interesting there because we used to have a particular date for going to photograph them. And [00:27:04] they were all finished up in black, white and grey paint. Because that served the cost of retouching the finished print. [00:27:15] There was very little photography done at that time. Apart from views and so forth. But anything that meant a machine, a lathe the, or whatever, it always had to go to the process retoucher who airbrushed the reflections or put one or two, put a shadow in or whatever it is. It was a highly skilled, uh, process. Uh, process, retoucher with white lines and so forth. But the interesting thing about these two railway engine companies was. that they only painted them on one side, the side that was being photographed. [00:27:59] Paul: And [00:28:01] Stuart: we used to go back to the studio, develop them straight away, yes, the negatives are alright, as soon as that happened, then they would strip all the black, white, and grey paint off and finish up in the customer's required, required colours. [00:28:23] Paul: Wow. [00:28:25] So, so the bit that strikes me is retouching has been part of this art  [00:28:30] Sean: a long time. Well,  [00:28:33] Paul: I mean, think about [00:28:33] it, right? Because we, there's a lot of debate about retouching and post production. That rages. Even now, but when you think about a manufacturer only painting one side of a train, they're painting it colours that repro well, and then it's being handed on to a retoucher, retouching's been going on for a very long time.  [00:28:51] Stuart: Well of course, everything at that time was, was, um, retouched, and most portraits finish up with complexions like billiard balls. There were no shadows, etc.  [00:29:03] Paul: haha, It's like nothing's changed!  [00:29:07] Stuart: Indeed. Indeed, and, and when people speak now in condemnation of, oh well you can see the retouching and so forth, well the only thing that you have to do now is to make sure that it doesn't show. But, it was, really when Photoshop and the like came in on the scene, this was manna from heaven. [00:29:32] Paul: Yeah. [00:29:33] Stuart: Because it cut out the need to do the work on the actual print. To retouch transparencies was a rather different process altogether. [00:29:48] And it was  [00:29:49] Sean: difficult process to be [00:29:50] Stuart: Oh yes, and very highly skilled. And the firm that I worked for, Giltrous Brothers, who were the photo engravers, they used to retouch twenty, twenty [00:30:02] four, twenty glass plates. Whereby, when you talk about printing today, and I think the, uh, top of the range, uh, Epson, Uh, printer works in, uh, we're printing 11 colors, but the, limited edition photolitho, uh, illustrations were, uh, certainly on, on 13 colors [00:30:36] And from 13 separate plates. All of which were retouched. [00:30:42] Paul: So [00:30:42] the plates were retouched separately?  [00:30:45] Stuart: correct?  [00:30:45] Oh yes.  [00:30:46] Paul: Wow. [00:30:48] Stuart: So [00:30:48] Paul: each of these plates is a black and [00:30:49] white plate that's going to take one color ink? [00:30:52] Sean: Correct. I understood the [00:30:52] Paul: the process right? [00:30:53] Sean: Yeah.  [00:30:54] Stuart: process, right? Retouches were earning more than photographers at any time.  [00:31:01] Sean: It's most interesting to hear this, Stuart, because you come into my era when I was learning photography and the discipline of the transparency, the 4x5 and 8 inch transparency, and of course there, retouching was an anathema because if we retouched the transparency, we started to lose some quality. [00:31:17] Stuart: Yes. we to, it was a period of photography, I think, more than ever, when we had to get everything right in the camera because the client demanded the transparency. Whereas the processes you were using enabled this retouching method, which is very, very interesting. [00:31:29] There are certain elements, as you well know, with your, even with your skills, whereby there are elements which cannot be lit out or exposed out or  [00:31:43] whatever. And there has to be some artwork, or whatever you call it, retouching done. And at the end of the day, most of the photography which, which I was taking and involved with, was going to be reproduced. And so if it was retouched at source, before it got to the retouchers on the reproduction, uh, side. [00:32:11] of the plate making, then that was, it was as we wanted it rather than what they thought it should be.  [00:32:20] Paul: As ever photographers being control freaks.  [00:32:24] Stuart: Well, after something like two to three years at Picards, by which time I got a fair amount of idea of what's going on.  [00:32:37] Um, I decided that, um, I ought to seek pastures new and became a staff photographer for the 600 Group Of Companies just on the west side of Leeds. And there I photographed secondhand machinery, which they used to recondition and I photographed the, lathes and milling machines, drilling machines and that sort of thing, and they were then printed on and they, all these were taken on the half plate camera, which is half the size of a whole plate camera, obviously, um, and, um. they were made on 6x4 glossy prints, and these were distributed by the appropriate department to potential buyers. And I was there for three and a half years. But I'd got to the stage where I'd photographed everything that didn't move, and I was becoming rather dissatisfied with life. So I  [00:33:49] Paul: Do you mind if I ask how old are you at this point? [00:33:53] Stuart: this point? Well, let me see, I would be about, twenty, twenty four, twenty, what, twenty five. Right. Twenty five, six.  [00:34:03] Paul: Right. [00:34:04] Stuart: I was dissatisfied because I didn't think I was getting anywhere. [00:34:09] Sean: So you were, you were ambitious, really, to take your photography on to another level and, and have more control, would you say, over what you were doing [00:34:16] Stuart: you could say that, yes. just say to work for yourself, Stuart?  [00:34:20] Sean: The Thing is that the, the company that I worked for. was part of the A. H. Leach corporate, uh, company at Brighouse, which was, uh, a very big organization with studios in Cambridge, Manchester, Glasgow. Um, and the prospects of moving to any one of those places was stalemate because they were well staffed was no flexibility for moving, and so I thought, well the only way to see whether I am a capable photographer was to make it on my own, see if I could make it on my own. And in fact started the business in some premises now occupied by the local library. down at the bottom end of the village. [00:35:19] Stuart: But this was going on for some time, two or three years, and then the question of getting married. [00:35:27] came into the reckoning, and this house in which we're sitting now became available, and very suitable because the front room lounge in which we now sit became my portrait studio. [00:35:46] And across the top of the window, which is facing opposite you, was a bank of Kodak, um, lighting with five, four 500 watt lamps in each for general illumination. [00:36:04] And So then I had a spotlight which is, was behind you for lighting the hair and then a fill in light on this side. And by this time, we'd moved on to two and a quarter square, real film cameras, 12 on 120. [00:36:22] I hadn't really at that stage got into, back into the industrial scene because I was doing social photography, weddings and portraits, to build up a reserve of capital to move on to buying more advanced equipment. [00:36:44] And the changes at that time were considerable. 5x4 were on the, on the fringe. At the time that I'm speaking of, German 9x12 plate cameras were still being used for press photography. And there they were, on the touchline at Heddingley, these, the local press photographers, with box of 9x12 single shot plates freezing to death, and um, and that's it, one off shots. [00:37:26] But I missed the point earlier on, I think, of saying that uh, every shot had to count. And, over the years, that has influenced me considerably, because I've always made sure that everything was right before I took the exposure. [00:37:48] And whatever the, whatever the occasion was, whether it was an industrial scene or a social scene, you look at the subject before you, to begin with, and then start looking round and see what's happening in the background. Because, if you do that, it saves retouching, and that's an absolute classical instance of today, where people, when Photoshop came, what about so and so? [00:38:22] Oh, don't bother about that, I'll take it out. I can take it out in Photoshop, and I've heard speakers come to the Institute and talk about, Oh, I do this and do that, and I've said, well, how long does it take you to do that? Oh, well, a couple of hours or so, like that. It could have all been addressed in the taking, and that would have been eliminated. [00:38:51] And when you talk about 2 or 3 hours retouching, well how much do you charge for, oh well I'll throw it all in. [00:39:00] And the number of people who I've heard say that, oh well I'll just include it. I think they've got a bit wise to it now because Uh, any extramural activities are chargeable by the hour, and, uh, and it's certainly in need of that, but what I would say to any in, up and coming photographer, they need to sure of what it is that they're taking to avoid having to retouch it afterwards, albeit that in today's terms, [00:39:40] With the relaxation of dress and disciplines and so forth, Um, I don't think it quite matters. And so, I think as far as today is concerned, I would find it difficult to go back to being a photographer in today's terms. Because, I can sit in a restaurant or in a room, somebody's room or whatever, and I'm looking at the, the vertical lines of the structure to, to see whether that line lines up with that, and it's surprising how often I can see lines that are out, even buildings. [00:40:27] I could see buildings that, that were not, um, vertical. completely vertical and line up with the I sit there looking at the streets and doors and windows and it's very, it's very difficult to get out of that discipline into the much more free and relaxed attitude towards photography today. [00:40:56] I don't know whether I, whether you would agree with that or not. [00:41:00] Sean: Stuart, I would agree with what you're saying and it's like the photographer's eye, your whole life has been trained by your eye viewing scenes and viewing situations and it's quite impossible to turn that off really. [00:41:10] That's part of you and how you see things, so no, I couldn't agree with you more. So Stuart, tell me, you obviously, the room we're in now was your studio, and you're in here, you're now married, you're doing more social photography, as you said, and obviously starting to make money. Where did the business go from there? [00:41:29] What was your sort of next stage really? Because I believe you had another studio then in the village, is that correct?  [00:41:35] Stuart: The children grew up and we were running out of room space, [00:41:40] So an opportunity came in the main street down the road to take over a building, um, which I was able to use the ground floor and turn it into a studio, a reception studio and darkroom. And, uh, during that time, I was doing, um, mainly social photography, but also, I had got associated with the local newspaper which circulated in this area, and I virtually, without being on the strength, I virtually became the staff photographer for the whole of the circulation area. [00:42:32] So on a Saturday in the summer, it was not unknown for me to do perhaps 11 cover 11 eventualities such as garden parties, a flower show, etc. and also fit in a complete wedding. So, [00:43:00] Paul: So,  [00:43:00] Stuart: so [00:43:01] my time, my, my mind used to work like a, like [00:43:07] a clock, uh, a precision clock, because it was, it was timed to the nth degree. Um, what time is the, uh, what time is the wedding? How long will the service be? Where's the reception? And I had a mental, uh, mental, uh, memo of the distance from here to there, and the length of time it takes to get from, from there to there. [00:43:36] And, as far as the, as the newspaper is concerned, I tried to take a different picture. at each occasion, so that we don't want the same picture of women serving tea, uh, for the WI, the church of this and that and the other. Um, I tried to make a different picture. So that training and experience fitted me in good stead for when the industrial scene tailed off. [00:44:15] Sean: I've just, uh, I've just, um, picked a photograph up here. [00:44:18] Stuart's got quite a number of his photographs in the room with us here. It's a very nice PR, press type shot here of Harry Ramsden's Fish and Chips shop, and it's got a very 1980s mobile phone and the world famous in this part of the world, Nora Batty which some of you may know from a famous last of the summer wine tv show and i think this is to do with the flotation of Harry Ramsden because it became quite a successful company didn't it so talk a little bit about this photograph Stuart it's very captivating and i think very very well executed [00:44:50] Stuart: Well, the story as you've already identified, I'm surprised that you have, because that was when they went public. And, uh, the, story was the Harry Ramsden fish restaurant, which, it was the center of all activities, just on the outskirts of Leeds, and they, as you said, they got Nora Batty there, who was a very leading personality at the time, and, of course, telephones, you can see the size of that, that mobile telephone, which is about the size of a half of a brick. Um, this was the, um, the story. And the essential thing was to locate the seed of the picture with the name of the, the company. across the top of the, the print or the format. [00:45:46] Sean: And if I could just butt in there Stuart just to say sorry to do this but I think it's important to get this across that I've just picked this image up and the story has come straight across to me. We've got the mobile phone. You've got the Financial Times, which is holding the fish and chips. You've got the sort of banker type chap behind her. [00:46:02] It just shows the skill that's gone into that picture, that an image is telling that story to me all these years later. Because I presume this photograph is 30 or 40 years old, Stuart. Am I correct there?  [00:46:12] Stuart: It's quite a long time. And the essential thing about that picture, uh, Sean, is that however much a sub editor chops it down. There was always be something of the story there, because the nearest or the furthest down that they could chop it would be across the top of the bloke's head, but it would still say Harry on the left hand side. [00:46:42] And, and, that was the, the art of, at that time, of getting the story across for public relations. Include the company's name or the brand in the background somewhere so that it had to be seen and it couldn't be taken out.  [00:47:03] Paul: I ask you a question? Have you always loved being a [00:47:06] Stuart: being a photographer? Oh, absolutely.  [00:47:09] I wouldn't do anything else. Um, had a very enjoyable life in every aspect of it. And I'll tell you one thing about it, and Sean will agree with me on this. Photography, photographers are in a very privileged position, and they don't realize how much so. Because so often, they are in, at the ground floor of activity. A conference, a confidential conference projecting the aims of the company. [00:47:46] I was in a company when I was in the conference actually, when the whole of the regional bank managers were in a conference at Harrogate, and they were told then, that we were going to dispose of the buildings, our assets, and I photographed several banks which were up for sale and they were simply being sold off. The managers didn't know. What's the photograph for? Oh, it's just for the estate. I knew what they were, why they were selling it. It was going on the market. [00:48:25] You know all these little convenience grocery shops and so on, on filling stations, I was in the conference there for all the ESSO managers in the region, when the the project was put to them that we're going to put these little kiosks, or whatever it is, and, and, and there I was. Um, and we were privy to information that was light years ahead of the actual official announcement. [00:48:59] Paul: Yeah. [00:48:59] Stuart: Metahall, for instance, um, I was in the conference when they were talking about what their footprint was needed to be to make that viable. And there are several instances such as that. And you do get it to a more personal level, where we've got, uh, injuries, personal injuries to photograph. [00:49:26] Oh well, what about Snow? [00:49:29] Well, [00:49:29] And you just can't get involved with passing that or repeating that information. [00:49:35] Paul: Yeah. [00:49:36] Stuart: It's confidential. And as I said, photographers are so often right in the heart of things. And I'm sure, Sean, that in today's terms, you'll be more exposed to it than I was with them. [00:49:51] Sean: Well, very much so Stuart. [00:49:52] Very much so. Yeah. I mean, it's, I can't tell you how many NDAs I've signed in my career, so, yeah, absolutely. Absolutely.  [00:50:00] So Stuart, so you've now got the studio, the, the biggest studio now on in the, in the, in the village here. And you're obviously doing your social, your weddings, you're obviously doing a lot of PR. [00:50:11] Did you start to do, did the industrial photography come back a little bit more as well? [00:50:15] Stuart: Yes But I was, I was extremely fortunate and the odd thing about it was that the connection came through the, uh, the work of the local paper because three miles from here was the control room for the Central Electricity Generating Board and they were having an open night and the local paper was invited to to cover the, the event. So I went along and took a few photographs of whatever was going on and had a bit of a look around the place and subsequently then I was approached by their, their public relations department for the northeast region. Would I take a photograph of something else?  [00:51:13] From that stemmed the work, which really became the mainstay of my activities with the Central Electricity Generating Board. [00:51:26] Again, I wasn't on the staff, but I was vir, virtually became the staff photographer for the Northeast Region. And the amazing thing is that here I was, photographing power stations, the grand openings of power stations, starting with Thorpe Marsh, which was the, down in Doncaster, which had two 400 megawatt sets, which were the f The Forerunner, they Thorpe Marsh was really the testbed for the, um, the 400 megawatt stations which followed. [00:52:13] And there again, this was being in on the ground floor whenever there was a fault down there or whatever. or a problem, um, I was called in to, to, to take the photographs.  [00:52:27] Sean: So [00:52:28] Stuart, would you say that, um, he's very interesting listening to this about how your business built. Would you say that networking was a great part of building your business? [00:52:37] Stuart: Networking, well they call it networking now, and it's, it's contacts really. And I think, I'm sure that you'll agree that being in the right place at the right time, and that really applies to anything, the theatrical world, et cetera, and, not necessarily knowing the people, the right people, but getting on with them, and being able to mix with people, and behave in a way that people expect you to. So  [00:53:10] Sean: Would you have any sort of advice or tips for a young photographer or somebodnew breaking into photography and how to. build a business? Have you anything to add there at all?  [00:53:22] Stuart: I think that in today's terms, it is extremely difficult for photographers. And I'll tell you why, because I think that the opportunities which I just mentioned are remote, probably remote in the extreme. Social photography is something else, and the, the website, and all the various media opportunities, with which I am unfamiliar and have no knowledge of because I've not had the need to do it. But I am aware because I look at what people are doing. And that's another instance of success. Of keeping an eye on what other people are doing. If you admire anybody's particular work, then that sets the example and the criteria to work to. But as far as going back to contact is concerned, I have the distinct impression now that not only photography, but everything now stems from public Relations and I don't know whether you've noticed it or not, but if there's, if there are any problems, on the one hand, of people's behavior or their activities, or whatever it may be, adversely or favorably, and the promotion of brands and industries and business, it all seems to stem now very much from the agencies.  [00:55:12] If you read question of the so and so company are going to introduce this product or [00:55:22] service or whatever it is, or they've taken over a business. the [00:55:27] statements attributed to the managing director or chief executive or accountant or whatever it is, right across the board, a great many of the people that are being quoted, I would suggest, are not capable of speaking and thinking the way that the statement appears in print. And it raises sometimes, a lot of suspicion as to just what is behind this thing. This business with the post office. It's full of it. And so the point that I'm making is that advertising agencies, that's another one, the advertising agencies are in direct contact with the, um, with the brand or the company. [00:56:24] And so the opportunities of the photographers, in my judgment, are minimized because of the hold. that the advertising agencies have on the job.  [00:56:43] And  [00:56:43] they,  [00:56:45] they will say who they want and who should be employed. They may think them best or otherwise. And it also then comes down to, rights, and I bet you are right in the thick of this, that, uh, you are the, the favorite bloke on the, on the block, and whilst ever that person is engaged in that company, your situation is secure. But suddenly, if he goes to pastures new, and they've already got their established photographers, as far as you're concerned, you've lost that company. [00:57:28] Sean: Very  [00:57:28] Stuart: company.  [00:57:29] Sean: very true. Yeah, yeah.  [00:57:30] Stuart: Is it true? [00:57:31] Paul: But there's always opportunities with these things, I mean, in the end, there are more photographs being created today than ever historically, I think you're right about the structures of advertising agencies, though this isn't my world, when someone moves on, there's an opportunity, and there's always the opportunity to stay as well, there is risk, of course there's risk, but equally, you could be the guy he takes with you. [00:57:54] So how do you make that happen? [00:57:56] Sean: Well, I think it's very apt because I've had two or three key clients in my career that have moved numerous times, you know, seriously big companies and they've taken me with them, yeah. And not only that, in some cases, they've taken me to their new company. And it's gone well. They've then moved on to another company and taken me with them, but the company they've left still retains me. [00:58:19] So there's a benefit that way. But I think it's really, I greatly believe in the, in the networking, keeping in touch with people, making an effort at all times. And I think, I know we've got today's digital world and there's lots of advantages to that, but also personal contact I think is still really, really important. [00:58:38] Relationships and personal contact. [00:58:40] Stuart: What you are saying is, is correct. And I remember an uncle of mine who was a milkman and, had a, a big dairy, and he once said to my mum, oh, well, it's so and so, he's come again, a rep has come. It's been three times, so really it deserves an order. [00:59:03] There's a  [00:59:04] lot  [00:59:05] Paul: in [00:59:05] Stuart: a lot in [00:59:06] truth in that, backs and it backs up what you were just saying, of keeping in contact, and, of course as far as advertising is concerned, or mail shots. the first one they take no notice of and throw away. The second one, oh well, there's another one from this so and so. The third one, it is usually reckoned that the person will be activated by that And so, as you said, keeping in contact is very important. [00:59:42] But I'm bound to say that breaking in a lot of it is by accident, but certainly the persistence of contact is very important. [00:59:56] And when you consider, you see, over the years we have thought of Only the Institute, or I have, and I've done, I've put a lot of time and work into it, as other people have, without which we might have been a lot more better off or a lot wealthier than we in fact are. [01:00:20] Sean: Stuart, did, did, when we say the institute, it's the British Institute Professional Photography we're talking about here. And I, I'm a member too, and that's how I met Stuart through the institute. Through your long career as a photographer, how important did you find the, The Institute and the ability to mix and talk and, and, and work, you know, get information from other photographers, I suppose. [01:00:41] How important did you find that  [01:00:44] Stuart: Photographers, um, are, as you know, very, very much individualists. they work a lot on their own, and when you consider that there are probably 7 or 10, 000 practicing photographers in this country, and so few of them belong to anything.  [01:01:10] It makes you wonder how all those people survive. but, it really comes back to, to, uh, what we were saying earlier, of contact, those people must be in contact with other people. [01:01:29] Their reputation goes before them, obviously, and when you consider the situation with the Royals, for instance, who, from time to time, have official photographs taken, um, by names that I've never heard of, where you would perhaps expect that they are members of the, this organization, the Royal Photographic Society, as a case in point. Um, these people are not members of them and so how they I'm not talking about the Litchfields, I'm talking about the other people who officially, officially photograph, uh, in recent times, the, um, William and Kate's family, the, their birthday or whatever anniversary it was. So, those people, um, are plowing their own furrow. [01:02:33] But going back to the the meaning of the institute, whereby people are individual, the opportunity over the past years was for all these individuals to rub shoulders with each other and the networking that went on then. For instance, you go to a meeting and you're chatting away, and a couple of blokes have a common, common interest, uh, uh, or they're equal practitioners, but suddenly, one of them comes up with a problem that he can't answer, and so he's able to phone this guy in Nottingham, or wherever, because he is not in competition down the street. He can't ask the guy down the street how to tackle the question, but the man in Nottingham will willingly bare his soul for you, and keeping in contact with, um, with other people to solve problems where they have them is incredibly useful, in my judgment.    NOTE: to see the rest of the transcript, head over to https://masteringportraitphotography.com (it exceed the normal limit for podcast texts!)

Start Name Artist Album Year Comments The Raiders' March Zach Frame After The Ovens Cool [C-2 Productions CD] 2024 3-30 Wurlitzer-Kimball-Moller hybrid, Organ Piper Music Palace, Greenfield, WI 3:32 To Make You Feel My Love Zach Frame After The Ovens Cool [C-2 Productions CD] 2024 3-30 Wurlitzer-Kimball-Moller hybrid, Organ Piper Music Palace, Greenfield, WI 7:54 The Song Is You Rosa Rio Live From The Senate [OK Rollem 44] 1990 4-34 Wurlitzer, Senate Theatre, Detroit; released in 2024 11:23 Liebestraume No. 3 Rosa Rio Live From The Senate [OK Rollem 44] 1990 4-34 Wurlitzer, Senate Theatre, Detroit; released in 2024 16:10 June Night (Give Me A June Night, The Moonlight And You) Bob Heil Bob Heil At Home [HSL Productions 324] 2007 3-24 Lyn Larsen Allen, Heil Residence, Belleville, IL 20:31 Don't Blame Me Bob Heil Bob Heil At Home [HSL Productions 324] 2007 3-24 Lyn Larsen Allen, Heil Residence, Belleville, IL 24:34 Star! Hector Olivera Hector Back To Back [EAR 10272-73] 3-28 Kimball, Dickinson High School, Wilmington, DE; Formerly Boyd Theatre, Philadelphia, PA 29:36 Hey There Hector Olivera Plays The Lancastrian Way [LTOT 8117] 1981 4-20 Wurlitzer, Free Trade Hall, Manchester; ex-Paramount/Odeon Manchester 35:47 Put Your Head On My Shoulder Barry Baker ATOS 2002 San Diego 2002 4-24 Wurlitzer, Trinity Presbyterian Church, San Diego; owned by the Theatre Organ Society of San Diego; December 12, 2002 39:38 Cruella De Ville Barry Baker Concert: Keystone Oaks High School 2000-10-14 2000 3-19 Wurlitzer, Keystone Oaks High School, Dormont, PA 41:58 Polish Dance in Eb minor George Wright Concert: Hinsdale Theatre 1985 1985 3-28 Kimball Hybrid, Hinsdale Theatre, Hinsdale, IL 45:51 How Come You Do Me Like You Do? George Wright Concert: Hinsdale Theatre 1980-4-13 1980 3-28 Kimball Hybrid, Hinsdale Theatre, Hinsdale, IL 48:28 All The Way Dan Bellomy ATOS 1990 Regional Fresno 1990 4-14 Robert Morton, Warnors Theatre, Fresno, CA; Sunday October 21, 1990 54:13 Put On A Happy Face Dan Bellomy Concert: Ritz Ballroom, Brighouse 2000-09-24 2000 3-10 Wurlitzer, Ritz Ballroom, Brighouse, Yorkshire; 24 September 2000 56:49 Chattanooga Choo Choo Rob Richards Organ Stop Pizza Presents [ERB 103-CT] 4-30 Wurlitzer, Organ Stop Pizza, Mesa, AZ

The Prime Minister recently announced plans to "turbocharge" development within England's largest towns and cities to mark a Government consultation on strengthening planning policy for brownfield development. Sam Stafford thought then that now would be a good time to share a conversation that he recorded online in August 2023 with old friends of the podcast David Milner and Rebecca Coley, and new friend of the podcast Mark Aylward, about the redevelopment of big box retail parks. The prompt for the conversation was a 2018 report that Sam had come across by Create Streets and Policy Exchange called ‘Better Brownfield', which claimed that there are over 1200 sites across London currently occupied by single-storey big box retail and industrial sheds and that, by ‘banishing boxland', these sites could accommodate between 250,000 and 300,000 new homes. Who owns and manages assets like these? What is the market like for big boxes in the new world of online retail? And what are the opportunities presented by, and the barriers to, sites like this coming forward for a mixed-use redevelopment? These are the questions that Sam invited David, Mark and Rebecca to explore with him. Some accompanying reading. How to house London's surging population? Banish “boxland” – by Susan Emmett https://www.prospectmagazine.co.uk/politics/41218/how-to-house-londons-surging-population-banish-boxland Better Brownfield https://policyexchange.org.uk/publication/better-brownfield/ Five retail and leisure trends to look out for in the post-pandemic era https://www.savills.co.uk/blog/article/340262/commercial-property/five-retail-and-leisure-trends-to-look-out-for-in-the-post-pandemic-era.aspx Pipeline of data centres needs to more than double by 2025 to meet demand for storage in Europe https://www.savills.co.uk/insight-and-opinion/savills-news/336014-0/savills--pipeline-of-data-centres-needs-to-more-than-double-by-2025-to-meet-demand-for-storage-in-europe The London Land Challenge; The Industrial Land Market https://www.savills.co.uk/research_articles/229130/329623-0 Some accompanying listening. Brighouse on Saturday Night – Roger Davies https://www.youtube.com/watch?v=_PQmACfPhY4 50 Shades T-Shirts! If you have listened to Episode 45 of the 50 Shades of Planning you will have heard Clive Betts say that... 'In the Netherlands planning is seen as part of the solution. In the UK, too often, planning is seen as part of the problem'. Sam said in reply that that would look good on a t-shirt and it does. Further details can be found here: http://samuelstafford.blogspot.com/2021/07/50-shades-of-planning-t-shirts.html

It's Thursday and you know what that means.... Ep15 is here and ready to enter your eardrums. This week spring marathon updates continue, with a slight detour into the world of #graphporn Ben and Emma are joined by Rob and a host of Fartlek Family at Brighouse's penultimate parkrun before a prolonged absence plus its week 1 of the round of 16 in the parkrun cup and we have the latest! Of course we finish with a roll call, shouting out your incredible achievements this past week Remember you can join our Fartlek Family at any time, be part of our 100+ strong community of amazing people, organising meet ups, catch ups and general nonsense all year round Make sure you keep up to date on all our goings-on, upcoming events and latest episode details by signing up to our ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠BRAND NEW NEWSLETTER⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Make sure you subscribe, rate, review and checkout our social media channels: Website: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠What The Fartlek Podcast⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Instagram: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠@Whatthefartlek_Podcast ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Facebook: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠What The Fartlek Podcast⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Twitter: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠@WhatTheFartlek ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ YouTube: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠What The Fartlek Podcast⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Email us at - whatthefartlekpodcast@gmail.com Music by: Graham Lindley Follow on: Facebook, Twitter, Instagram and YouTube Email at: g.lindley@hotmail.co.uk

Today we travel under Los Angeles to hunt reptilians, then we go to Great Britain to avoid the dreaded Guytrash! Patreon https://www.patreon.com/user?u=18482113 PayPal Donation Link https://tinyurl.com/mrxe36ph MERCH STORE!!! https://tinyurl.com/y8zam4o2 Vote For Your Favorite Paranormal Podcast: Dead Rabbit Radio! https://paranormalitymag.com/vote25/ Amazon Wish List https://www.amazon.com/hz/wishlist/ls/28CIOGSFRUXAD?ref_=wl_share Dead Rabbit Radio Wiki https://deadrabbitradio.pods.monster/doku.php?id=Welcome   Help Promote Dead Rabbit! Dual Flyer https://i.imgur.com/OhuoI2v.jpg "As Above" Flyer https://i.imgur.com/yobMtUp.jpg “Alien Flyer” By TVP VT U https://imgur.com/gallery/aPN1Fnw “QR Code Flyer” by Finn https://imgur.com/a/aYYUMAh   Links: Throwback Thursday: Did Lizard People live under L.A. 5,000 years ago? https://www.latimes.com/la-sh-lizard-people-throwback-thursday-20140123-story.html The Underground Catacombs of L.A.'s Lizard People https://www.lamag.com/citythinkblog/citydig-the-underground-catacombs-of-las-lizard-people/ ANCIENT "LIZARD PEOPLE" UNDERGROUND IN LA? http://www.reptoids.com/Vault/Schufeltsearch.htm Map of the Lost Lizard City under Los Angeles https://bigthink.com/strange-maps/443-secret-caves-of-the-lizard-people Lost! The Golden Hoard of L.A.'s Lizard People https://www.kcet.org/socal-focus/lost-the-golden-hoard-of-las-lizard-people Los Angeles Times Jan 29th, 1934 https://latimesblogs.latimes.com/.a/6a00d8341c630a53ef01157020df2e970b-pi Support Your Local Reptoid https://skeptoid.com/episodes/4046 The Guytrash, Brighouse https://lowercalderlegends.wordpress.com/tag/guytrash/?fbclid=IwAR0dongcdRwHEtanhLwtH9yf4voWXce0285bZ9zlsPTgwtiY2D8pfoXjTFI Woman's shock after capturing photo of ghost dog which haunts Roundhay Park https://www.yorkshireeveningpost.co.uk/news/woman-s-shock-after-capturing-photo-of-ghost-dog-which-haunts-roundhay-park-1-9698315?fbclid=IwAR0L_1a0voCrzYvpb3MYL8535U4y5Xplu8IxCeA8q3RE_wULT-ulmHbwsTk ------------------------------------------------ Logo Art By Ash Black Opening Song: "Atlantis Attacks" Closing Song: "Bella Royale" Music By Simple Rabbitron 3000 created by Eerbud Thanks to Chris K, Founder Of The Golden Rabbit Brigade Dead Rabbit Archivist Some Weirdo On Twitter AKA Jack YouTube Champ Stewart Meatball The Haunted Mic Arm provided by Chyme Chili The Golden Rabbit Army: Fabio N, Chyme Chili, Greg Gourley, Vixen, Lula F. Wiki created by Germ http://www.DeadRabbit.com Email: DeadRabbitRadio@gmail.com Twitter: https://twitter.com/DeadRabbitRadio Facebook: www.Facebook.com/DeadRabbitRadio TikTok: https://www.tiktok.com/@deadrabbitradio Dead Rabbit Radio Subreddit: https://www.reddit.com/r/DeadRabbitRadio/ Paranormal News Subreddit: https://www.reddit.com/r/ParanormalNews/   Mailing Address Jason Carpenter PO Box 1363 Hood River, OR 97031 Paranormal, Conspiracy, and True Crime news as it happens! Jason Carpenter breaks the stories they'll be talking about tomorrow, assuming the world doesn't end today. All Contents Of This Podcast Copyright Jason Carpenter 2018 - 2024  

Matthew Bannister onMaureen Sweeney, the postmistress from the west of Ireland whose weather forecast postponed D-Day by 24 hours.Sir Tim Brighouse, the educationalist credited with transforming the performance of London's schools.Shirley Anne Field, the actor who appeared in classic 1960s films like The Entertainer, Saturday Night and Sunday Morning and Alfie.Juanita Castro, younger sister of the Cuban leader Fidel Castro, who became a CIA informer.Interviewee: Fergus Sweeney Interviewee: Harry Brighouse Interviewee: Lord Blunkett Interviewee: Brian Latell Interviewee: Nicola Gill Interviewee: Anita Harris Producer: Gareth Nelson-DaviesArchive used:D-Day Greatest Combined Operation In World's History (1944), British Pathe News, British Pathe News YouTube channel, uploaded 13/04/2014; Maureen Sweeney interview, RTE News, 2005; Maureen (née Flavin) Sweeney interview, Blacksod Lighthouse, Facebook, uploaded 17/12/2023; Tim Brighouse talks to Estelle Morris about his 45-year career in education, Alexander Street Video, uploaded 2006; Tim Brighouse on purpose of education, RM Education, YouTube uploaded 19/12/2023; Tim Brighouse news report, BBC News; Juanita Castro press conference, ABC News, 1964; Juanita Castro interview, AP Archive, 21/07/2015; Juanita Castro speaks out, New York Times, 28/11/2016; Castro Announces Take Over Of Us Owned Property (1960), British Pathe News, YouTube, uploaded 13/04/2014; Shirley Anne Field, Desert Island Discs, BBC Radio 4, 29/07/1994; Scene extract from the film The Entertainer, 1960; Scene extract from the film Saturday Night Sunday Morning, 1960;

 Music & Memories (Dec 77) music from: Queen, Wings, Boney M, Bee Gees, Hot Chocolate, Status Quo, Bing Crosby, Jonathan Richman, Linda Ronstadt, Showaddywaddy, Brighouse & Rastrick Band and a few more.....  

Hot Pipes Podcast 321 - Len Rawle Tribute 1938 - 2023 Charles Jenkins - Stories of London (Comprehensive history of Len Rawle's career) Start Name Artist Album Year Comments Let The Heartaches Begin Len Rawle Shimmering Splendour [EMI SCX 6314] 1969 4-20 Wurlitzer, Tonawanda, Len & Judith Rawle Residence, Chorleywood, Herts 2:58 Falling In Love Again Len Rawle The Sounds Of Tonawanda [Concert Recording CR-0082-T] 1970 4-24 Wurlitzer Opus 1968, Ex-Empire Theatre, Leicester Square, London; Rawle Residence, Chorleywood Hertfordshire 7:04 It's Nice To Go Trav'ling Len Rawle Wurlitzer Magic [TWS 1000] 1972 4-25 Wurlitzer, Tonawanda, Len & Judith Rawle Residence, Chorleywood, Herts 11:27 September In The Rain Len Rawle Len Rawle Goes North [LTOT 2-CD] 1974 4-14 Wurlitzer, Gaumont Theatre, Manchester, England 15:34 Blaze Away Len Rawle Leave Your Heart In San Francisco - ATOS Program LP 1975 1975 4-23 Wurlitzer, Cap'ns Galley, Redwood City, CA 19:18 Nessun Dorma Len Rawle Rawle Plays Rye [Cassette PRS 0031] 1999 2-6 Wurlitzer, Rye College, East Sussex; ex-Palace, Tottenham, London 22:33 Chattanoogie Shoe Shine Boy Len Rawle A Couple Of Swells [Tonawanda Sound TWS 1004] 1976 3-9 Christie, Tony Manning Residence, Farnborough, Hants 25:26 Olé Guapa Len Rawle Pizza And Parlour [Tonawanda TWS 1003] 1976 4-27 Wurlitzer, Cap'ns Galley Pizza and Pipes, Redwood City, CA 28:07 Canadian Sunset Len Rawle Think Of The Sound [Tonawanda Sound TWS 1010] 1980 Yamaha D65 33:07 Music Len Rawle Rawle At The Hall [LTOT 8621] 1986 4-20 Wurlitzer, Free Trade Hall, Manchester 40:01 Those Magnificent Men in Their Flying Machines Len Rawle A Fond Farewell [TWS2003] 1988 3-8 Wurlitzer, Granada Cinema, Slough, Bucks; final recording immediately before demolition 42:00 Waltz Time Len Rawle Wurlitzer Era 1920-80 [KPM 166] 1991 4-25 Wurlitzer, Tonawanda, Len & Judith Rawle Residence, Chorleywood, Herts 43:40 Shanghai Nuts Len Rawle Wurlitzer Era 1920-80 [KPM 166] 1991 4-25 Wurlitzer, Tonawanda, Len & Judith Rawle Residence, Chorleywood, Herts 44:41 Sometimes When We Touch Len Rawle Double Touch 1994 3-10 Wurlitzer, Music Museum, St. Albans; ex-Granada Theatre, Edmonton, London; removed 1969, opened July 1992 48:37 Quickstep Medley; Ma, He's Making Eyes At Me; Ma, I Miss Your Apple Pie; Sweet Georgia Brown; The Varsity Drag; Goody Goody; 'S Wonderful Len Rawle Preview of the Woking Wurlitzer [Cassette] 1995 3-8 Wurlitzer, Leisure Centre, Woking, England; ex-Granada Theatre, Welling 54:01 On My Own Len Rawle One More Time [CD] 1997 4-20 Queen Wurlitzer, Free Trade Hall, Manchester; ex Odeon Manchester 57:37 Can I Canoe You Up The River? Len Rawle At The Riverside 2000 3-12 Wurlitzer plus grand piano, Musical Museum, Brentford, Middx; ex-Regal, Kingston-upon-Thames (2445 seats) 61:31 Begin The Beguine Len Rawle, 'Duke' Blatchly Wonderful Wurlitzer [TWS 2002] retransfer 2002 4-16 Wurlitzer, Top Rank Club (Gaumont State Theatre), Kilburn, London; 'Duke Blachly', saxophone 64:48 The Girl From Corsica Len Rawle Nice 'n Easy [Piping Hot CD] 2003 3-10 Wurlitzer, Ritz Ballroom, Brighouse, Yorkshire 69:17 Wien, du Stadt meiner Träume (Vienna, City of My Dreams) Len Rawle Magische Melodien 2007 3-11 Moller, Organbuilders Laukhuff, Weikersheim, Germany; Opus 7432 (1947); originally residence of Leslie Wenman, Westcliff, South Africa 74:14 Fools Rush In (Where Angels Fear To Tread) Len Rawle Now And Then (2-CD) 2007 3-8 Christie, Castle Hill United Reformed Church, Ipswich, England; ex-Century/Essoldo Cinema, Clacton (1936) 79:51 March for ATOS Len Rawle COS Northern Convention 2017 2017 3-13 Compton-Christie, Town Hall, Ossett, Yorkshire 85:08 There's No Business Like Show Business - signatu...

After a successful first stint in management at Banbury, Andy Whing flew the nest in the summer and ended up with some old friends close to home at Solihull Moors. The only unbeaten side in the top of non league this season, 10 games in, they sit second and whilst realistic, Whing seems relaxed and confident they are ready to continue the same form for the rest of the season. Another busy week of non league cup football. The FA Trophy and FA Vase reach the second qualifying round this weekend. We speak to one of non league's longest serving managers. Vill Powell is in his seventh season as gaffer at Brighouse Town and a former FA Trophy winner as a player he knows the magic of the competition as his club prepares for a home time against fellow Step 4 opposition.  Helping with the insight of the 340 odd clubs in this weekend's FA Vase second qualifying round Phil Annets is back again this time with his @favasefactfile hat on. Rounding it all up Jon Couch Executive Editor at the Non League Paper, with the news of the week from the world of non league and a heads-up on the issues to be covered in this week's Non League Paper.

Hello and welcome to Christchurch Xscape's Sunday Service. Today we continue with our series 'A Living Hope: 1 Peter'. Steve Bowers, former Pastor at Cornerstone Church in Brighouse, provides the talk for today. As always, please get in touch hello@xchurch.org.uk Reading: 1 Peter 2:4-10. Our podcast https://anchor.fm/xchurch/  Check out our Spotify playlist https://open.spotify.com/playlist/0wKgZ7UwLGL0mEgtf6PxI7?si=5e82416c5c31400a Our blog for thought-provoking articles https://xchurch.medium.com/  Sign up to our fortnightly email http://xchurch.us8.list-manage.com/subscribe?u=2ef1fcfe581f6926a1507b6e0&id=ff02df616e

Brighouse 0-2 Guiseley, Paul Phillips post match — Edit by Guiseley Radio

Serenade 3 - Len Rawle & Clark Wilson Broadcast on Serenade Radio on 20th April, 2023 Name Artist Album Year Comments Soldiers In The Park Len Rawle Len Rawle Goes North [LTOT 2-CD] 1974 4-14 Wurlitzer, Gaumont Theatre, Manchester, England Beautiful Ohio Clark Wilson Intermission 2001 4-34 Robert Morton, Ohio Theatre, Columbus, OH Quando, Quando, Quando Len Rawle Pizza And Parlour [Tonawanda TWS 1003] 1976 4-20 Wurlitzer, Tonawanda, Chorleywood, Herts Rainy Days and Mondays Len Rawle Magische Melodien 2007 3-11 Moller, Organbuilders Laukhuff, Weikersheim, Germany; Opus 7432 (1947); originally residence of Leslie Wenman, Westcliff, South Africa I'm Beginning To See The Light Len Rawle Nice 'n Easy [Piping Hot CD] 2003 3-10 Wurlitzer, Ritz Ballroom, Brighouse, Yorkshire Cruising Down The River Len Rawle At The Riverside 2000 3-12 Wurlitzer plus grand piano, Musical Museum, Brentford, Middx; ex-Regal, Kingston-upon-Thames (2445 seats) Only A Rose Clark Wilson Morton Magic [WFP 1001] 1983 3-16 Robert Morton, Van Der Molen Residence, Wheaton, IL I Hear Music Clark Wilson Swingin' Down The Lane [Clark Wilson CD] 2013 4-38 Wurlitzer, Jack Hardman Residence, Great Falls, VA Moonlight on the Ganges Clark Wilson Intermission 2001 4-34 Robert Morton, Ohio Theatre, Columbus, OH Pick Yourself Up Clark Wilson Colonial Memories 1996 4-32 Kimball, Colonial Theatre, Phoenixville, PA

Coming to you LIVE before the draws for the European Championships at the Holiday Inn in Brighouse, we're back to talk some Rugby League...   St. Helens are World Champions, Super League is a week old, and publicity is, well, it could be worse...

Five writers and artists not normally associated with classical music, discuss a specific example of Vaughan Williams's work to which they have a personal connection, and why it speaks to them. Following on from the successful Five Kinds of Beethoven Radio 3 essay series in 2020, where a wide range of Beethoven fans shared their personal relationship to the composer and his work, this new series gives similar treatment to Vaughan Williams. Our essayists share their unexpected perspective on Vaughan Williams's work, taking it outside the standard ‘English pastoral' box, in a series of accessible essays, part of the Vaughan Williams season on Radio 3. Essay 3: Adrian McNally - producer/arranger/pianist for The Unthanks Self-taught and raised in a South Yorkshire pit village, Adrian McNally is pianist, composer and band leader for The Unthanks. From humble beginnings to scoring for his band to perform with Charles Hazelwood's Army of Generals, Brighouse and Rastrick Brass Band and the BBC Concert Orchestra for The Proms, McNally has sought confidence and inspiration along the way from Ralph Vaughan Williams. He finds kinship in a quest to prove that the people's music is anything but common, to draw out and elevate the beauty and truth present in those folk songs fondly but unfairly known as low culture. In his essay, McNally looks at VW's thoughts on National Music and the inescapable relationship between place, community and creativity. At the centre of his essay will be Fantasia on a Theme by Thomas Tallis. It was born out of a tune Vaughan Williams was preoccupied with - a love letter to something that already existed, that inspired him to make something more. Self-taught and raised in a South Yorkshire pit village, Adrian McNally is pianist, composer, record producer and band leader for The Unthanks. From humble beginnings to scoring for performances with Charles Hazelwood's Army Of Generals, the Royal Liverpool Phil, Brighouse and Rastrick Brass Band and the BBC Concert Orchestra for The Proms. Writer and reader Adrian McNally Sound designer Paul Cargill Producers Polly Thomas and Yusra Warsama Exec producer Eloise Whitmore Photographic Image by Sarah Mason A Naked Production for BBC Radio 3

Here's your FREE podcast.On this podcast we have Ben from Project Breakout in Brighouse and myself Nick.**We recorded this episode via Zoom**On this episode we chat about our inspirations for ideas for Escape Rooms and puzzles as well as upcoming games and themes and we find out the real reason Ben doesn't use an electric winch.  We mention:Project Breakout BrighouseEnigma RoomsBreakout BeverleyRokt FoundationEnigma WakefieldThe EscaporiumEscapable Stuck in the RiddleCryptology - SheffieldCheck us out and send us a messageFacebook: https://www.facebook.com/enigmaroomsgeneralgeekerypodcastInstagram: @enigmaroomsgeneralgeekeryTwitter: https://twitter.com/EnigmaGeekery  @EnigmaGeekery

Here's your FREE podcast.On this podcast we have Danny from Enigma and Chris from Enigma Scunthorpe along with myself, Nick.On this episode we chat about actual Escape Rooms (shock horror) our recent trip to London and one of our pet peeves within the escaping world.   We mention:Enigma RoomsBowness Escape RoomClueQuestEnigma ScunthorpeEnigma Skegness Viking Axe ThrowingProject BreakoutExCeL LondonInternational Franchise ShowLake EscapesCheck us out and send us a messageFacebook: https://www.facebook.com/enigmaroomsgeneralgeekerypodcastInstagram: @enigmaroomsgeneralgeekeryTwitter: https://twitter.com/EnigmaGeekery  @EnigmaGeekery

Brighouse 3-1 Guiseley AFC - Danny Ellis Post Match by Guiseley Radio

Queen Elizabeth's Jubilee: Music of 1952 Start Name Artist Album Year Comments Elizabeth Of England John Giacchi Beyond The Blue Horizon [Modern Mood Music CD] 1996 3-17 Wurlitzer, Orion Centre, Canterbury, NSW; ex 1928 Sydney Capitol Theatre 3-15 3:52 Vanessa Simon Gledhill In Concert [COS Cassette 115] 1988 4-22 Compton-plus, David Shepherd Residence, Holbeach, Lincolnshire 8:12 Hot Toddy Ken Stroud Playing The Christie Organ [CL CLC 8624] 1963 3-9 Christie, Stotfold Social Club, formerly Regent Theatre (1963), Stotfold. Previously in the Carlton Cinema, Liverpool (1932) as a 3-8 10:27 When I Fall In Love Vic Hammett The Wonderful Sound Of The Cinema Organ [Emporio CD] 2-5 Wurlitzer, Stanford Hall Theatre, near Wellingborough 14:01 Petite Fleur Doreen Chadwick Cinema Organ Encores Vol 45 [Deroy 1055] 1974 4-14 Wurlitzer, Gaumont Theatre, Manchester 16:22 Coronation Rag John Bowdler In Town Tonight [Cassette RTS 3056] 3-14 Wurlitzer, Tower Ballroom, Blackpool 18:32 Eternally (Terry's Theme) Ronald Curtis Theatre Organ Echoes 1: Movie Magic [Organ 1st CD] 2006 4-15 Compton, Odeon Theatre, Hammersmith, London 22:08 I Love Lucy Show theme George Blackmore Television and Radio Themes [EMI MFP 1311] 1969 3-12 Compton plus Melotone, Plough Public House, Great Munden, Herts, England; ex-Gaumont, Finchley, London 24:00 The Song from Moulin Rouge (Where Is Your Heart?) John Clark McCall Your Packard Hit Parade 3: Songs from World War II and the Fifties 2014 4-32 Wurlitzer, Grace Baptist Church, Sarasota, Florida; 9 Nov 2013 27:47 Lullaby Of Birdland Gerald Shaw The Regal Sound [Carwal CWR 85] 1964 4-36 Christie, Regal Theatre, Marble Arch, London 31:13 Guadalcanal March Ena Baga Sounds Of the Music of Richard Rodgers [Philips LP SON 044] 1977 5-17 Compton, Odeon Theatre, Leicester Square, London 34:12 Don't Laugh At Me ('cause I'm A Fool) Kevin Morgan In Party Mood [Audicord ACD 241] 3-13 Compton-Christie, Town Hall, Ossett, Yorkshire 38:19 Veradero Gus Farney Colossus [Warner Bros. WS1359] 1960 5-24 Wurlitzer, Organ Loft, Salt Lake City, UT 41:08 Flirtation Waltz John Mann Music From The Royalty [FTOP CD] 2017 2-7 Wurlitzer, Royalty Cinema, Bowness on Windermere; ex-Rex Cinema, Stratford, London (1934) 43:10 The Glow Worm Quentin Maclean Masters Of The Wurlitzer [Nostalgia Direct AZCD214] 1938 4-21 Wurlitzer, Trocadero Cinema, Elephant and Castle, London 45:50 Hi-Lili, Hi-Lo Len Rawle Nice 'n Easy [Piping Hot CD] 2003 3-10 Wurlitzer, Ritz Ballroom, Brighouse, Yorkshire 49:14 High Noon (Do Not Forsake Me) Gaylord Carter Classic Film Themes for Organ [CD] 1975 4-36 Wurlitzer, Simonton Residence, Toluca Lake, Los Angeles 51:49 Ecstasy Vic Hammett A Buckingham Special (Concert Recording R-O006-T) 1966 3-10 Wurlitzer, Town Hall, Buckingham; mainly ex-Metropole, Victoria, plus Regent, Stamford Hill and Gaumont, Watford 54:22 On A Spring Note David Gray Eighty Shades of Gray [dg0001] 2018 5-80 Wurlitzer, Sanfilippo Residence, Barrington, IL 57:30 Jambalaya (On The Bayou) Don Simmons Swinging Pipes [Gamba LP] 4-18 Wurlitzer, Oaks Park Roller Rink, Portland, OR; ex-Broadway Theatre, Portland, transplanted 1955

In this episode, titans of education Mick Waters and Tim Brighouse talk about their sensational new book 'About our schools: Improving on previous best'. Here are some of the breathless reviews the book has received:: "You can hear the passion, the decency, the anger, the compassion, and the hope in this insider–outsider story about England's education policy over the past 45 years... the most exciting and exacting book I have read in a long time." (Professor John Hattie) "It seems odd to refer to a book on education as a page-turner, but About Our Schools really is just that. Hardly surprising though, as it has been written by two of the greatest storytellers in the field, whose careers at the heart of the action mean that they know everyone and have a view on pretty much everything. They survey the past and critique current initiatives, always through the lens of the teacher and the child in the classroom. It's full of anecdotes, balanced critiques and a surprisingly com- passionate appraisal of politicians. About Our Schools is a masterpiece, and I shall be returning to it again and again." (Mary Myatt) In this podcast, they elaborate on their interviews with Secretaries of State from the last 45 years, and outline a vision for how we can improve on previous best and transition to an age of hope, optimism and collaborative partnerships. LINKS: RETHINKING EDUCATION CONFERENCE - TICKETS: https://www.eventbrite.co.uk/e/the-rethinking-education-conference-2022-tickets-226415834857 RETHINKING EDUCATION CONFERENCE - SPEAKER APPLICATIONS: https://rethinking-ed.org/conference/ RETHINKING EDUCATION MIGHTY NETWORK: https://rethinking-education.mn.co/ BECOME A PATRON: https://www.patreon.com/repod BUY ME A COFFEE: https://www.buymeacoffee.com/repod The Rethinking Education podcast is hosted and produced by Dr James Mannion. You can contact him at https://www.rethinking-ed.org/contact, or via @RethinkingJames on Twitter.

In this episode we have two powerhouses of education who have written an epic book ‘About Our Schools'. Join us for our chat with Sir Tim Brighouse & Professor Mick Waters. Follow us on Twitter https://www.twitter.com/edufuturists Check out all past episodes at https://www.edufuturists.com Subscribe on iTunes https://podcasts.apple.com/gb/podcast/edufuturists/id1347592880 --- Send in a voice message: https://anchor.fm/edufuturistspodcast/message

'About Our Schools: Improving on Previous Best' Tim Brighouse and Mick Waters talk about their new book with ASCL General Secretary, Geoff Barton www.ascl.org.uk/podcasts/reading

This week Luke and Alex look back at the World Cup Qualifiers as all the home nations are in good positions but are the one sided games good for the women's game? The Euro draw took place this week and we at the mouthwatering group draws. Also Chelsea breeze past Manchester City in ''last season's'' FA Cup Semi-final as the pressure is piled on Gareth Taylor.  And Arsenal set up and all London final as they brush past Brighton. Plus Luke visits AFC Fylde to see them comfortably beat Brighouse and he speaks to Player of the Match, Laura Mellin and joint manager Danielle Young.    All this plus lots more so don't forget to subscribe via all good podcasting platforms

Library Ramblings (First of new series of shows on Serenade Radio) Name Artist Album Year Comments The Darktown Strutters' Ball Ron Rhode The Vinyl Years 2 [Roxy RP-111-CD] 1978 5-34 Wurlitzer, Bill Brown Residence, Phoenix, AZ; Ron Rhode at the Mighty Wurlitzer Something's Gotta Give Bill Vlasak Music! Music! Music! [WJV Productions CD] 1996 4-42 Wurlitzer, Paramount Music Palace, Indianapolis; originally 4/20 Crawford Special, Paramount Oakland Forty-Second Street Vic Hammett Theatre Organ Echoes 4: Around The World [Organ 1st CD] 1996 4-14 Wurlitzer, Granada Theatre, Tooting Mornings At Seven Len Rawle Nice 'n Easy [Piping Hot CD] 2003 3-10 Wurlitzer, Ritz Ballroom, Brighouse, Yorkshire Dance Of The Blue Marionettes Sidney Torch The Cinema Organ Collection [Pulse 2-CD PDSCD 589] 1933 4-36 Christie, Regal Cinema, Marble Arch, London As Time Goes By Paul Quarino Heads The Bill at the Orpheum [Doric DO(Q) 1505] 1976 4-22 Robert Morton, Orpheum Theatre, San Francisco, CA Serenade For A Wealthy Widow Simon Gledhill Songs In My Heart 2000 3-39 Kimball, Oriental Theatre, Milwaukee, WI; ex 1931 Warner Theatre, Milwaukee (3-28) Shangri-La Ann Leaf Spectacular Pipe Organ [Warner Bros. WS 1609] 2 1965 3-27 Wurlitzer-Morton, Buddy Cole Studio. North Hollywood, CA (3-17 Wurlitzer Ex United Artists Theatre, Los Angeles & 3-9 Robert Morton from Capitol Theatre, Marshalltown, Iowa You Don't Like It - Not Much Jim Riggs Granada [RTR CD] 1991 3-21 Grande Barton, Granada Theatre, Kansas City, KS

Welcome to the second of two August editions of the award-winning Community Keyboards - celebrating all that's best from the King of Instruments in all its guises - from theatre and classical organs to the latest in digital keyboard technology and beyond. On this programme it's concert time and our microphones join the live audience at the Victoria Hall, Saltaire, where organists DECLAN POOLE and DAVID LOWE are in concert at the mighty Wurlitzer formerly in the Gaumont Cinema in Oldham. Sit back and enjoy the music from a seat in the auditorium perspective. During the "interval" we also catch up with Andy Carvill who solves another listener musical dilemma in our popular ASK ANDY slot. There is also music from ROBERT WOLFE who celebrates 40 years at the Thursford Collection in Norfolk, a chance to hear the Saltaire Wurlitzer in its previous home at the Ritz Ballroom in Brighouse in the hands of LEN RAWLE MBE, MARK LAFLIN and RICHARD HILLS --- Send in a voice message: https://anchor.fm/communitykeyboards/message

This week's guests are true folk royalty....It's Rachel Unthank and Adrian McNally from The Unthanks.In their first attempt at a four way zoom conversation, Seb and Verity chat to Adrian and Rachel as - along with their band mates - they embark on writing and recording a new album and Adrian is starting to compose the score for the new series of Worzel Gummidge.They discuss working with BBC Concert Orchestra for the 2018 Folk Prom and The Brighouse and Rastrick band - Rachel was back on stage 4 weeks after giving birth......hardcore!Adrian talks about his palm-sweatingly stressful debut as the band's pianist at a day's notice supporting Ben Folds on his US tour. He also explains about the difficulties of juggling roles as performer, manager, composer and producer......a task that is made greater as the band are entirely self managed and keep everything in-house.Rachel and Adrian reminisce about learning their first album had been named Folk Album of the Year by Mojo in a car outside Co-op in Corbidge! They also cover clog dancing, deadlines, inspirations and their brilliant singing weekends - We totally want to go.....even just to sample Adrian's acclaimed sprout pasta dish.You can find out more about The Unthanks, including tour dates, album releases and videos at their website http://www.the-unthanks.com/Follow The Unthanks on Twitter https://www.twitter.com/TheUnthanks/ and Facebook https://m.facebook.com/TheUnthanks/Listen to The Unthanks on Spotify https://open.spotify.com/artist/1luY92PbdGWRyBRY1ZR7o1?si=-V4ArnaORLWUEGsl9ktHpAThe Unthanks performing with the BBC Concert Orchestra at the Folk Proms https://youtu.be/_FHF11A6E44A direct link to the singing weekends the band run http://www.the-unthanks.com/singing-weekends/As mentioned in this week's podcast, here is a link to the crowdfunding page for Ellie Spicer, helping raise funds for her vital treatment https://www.justgiving.com/crowdfunding/elliespicerTHREE IN A BAR ON THE SOCIALSYou can follow Three In a Bar on Instagram @threeinabarpodhttps://www.instagram.com/threeinabarpod/We are on Twitter @threeinabarpod https://www.twitter.com/threeinabarpodEMAIL US!Anything you'd like to share with us? Any guests you'd love to hear or anything you'd like us to do better? Drop us a line at hello@threeinabar.comSUPPORT THREE IN A BAR ON PATREONThis show is purely funded by our patrons. Join our Members' Club for a bonus podcast feed plus many more rewards.Click here: https://www.patreon.com/threeinabarMEZZO PIANO PATRONSLeonie HirstAnita Philpott Click here to join the Members' Club on Patreon! See acast.com/privacy for privacy and opt-out information.

This episode evolves into a health/beauty podcast and a cooking show as we discuss long, luscious hair and how to make your instant ramen gourmet. Androgynous Asian Sensation Le Fil (he/they) injects the pod with a full dose of arte as the chart their journey from being the only Asian kid in Brighouse to being deemed “Gosh Spice” by the Sun. @bittenpeachpod on insta Produced by ShayShay www.instagram.com/shayshayshow/ Music featured: Dance with me - Dayz Musiq www.instagram.com/dayzmusiq/ Bad Snacks - Mitsuki

Callum, Sean, Dave and Gav give a review of Brighouse 10k as well as Podium 5k from the Easter weekends racing. They also read out listeners achievements over lockdown during the last 12months, and their own achievements. After the British Record and potential World Record being set at Podium 5k by Beth Potter, the guys are proud to welcome Chris Barnes, Race Director for Podium, to the podcast to get more information on how Podium came about and more.If you want to find previous episodes, please visit our website www.localrunnerspodcast.co.uk/podcast to listen.

What is a charter school? Philosophy professor (and director of the Center for Ethics and Education) and UW-Madison student (and undergraduate project assistant at the Center) Grace Gecewicz host this episode about a type of school that everyone seems to have an opinion about. Find out who the "strange bedfellows" were that came up with the idea of charter schools and learn to ask the right questions about the effects of charter schools. Featuring scholars Erica Turner (Educational Policy Studies, UW-Madison) and Gina Schouten (Philosophy, Harvard University) Paper by Brighouse and Schouten: "To Charter or Not to Charter: What Questions Should We Ask, and What Will the Answers Tell Us?" Study Guide: What is a Charter School? Transcript Recorded in 2018 and 2019. Produced by Carrie Welsh and Grace Gecewicz. Edited by Kellen Sharp. Music by Bad Snacks and Podington Bear.

Brighouse's finest, Divina De Campo, joins Cian & James on all the shenanigans of the year since she came second on Drag Race UK. 

Fountain City Brass Band websiteQuestions? Schedule a free, 30 minute meeting with me!Lee Harrelson is a Professor of Music at Missouri Western State University. At Missouri Western, he serves as the Director of Instrumental Studies and instructor of low brass and chamber music. Dr. Harrelson attended the University of Southern Mississippi, where he studied music education and music performance before completing his masters and doctorate at the University of Missouri-Kansas City’s Conservatory of Music and Dance.Dr. Harrelson is the founder of the Fountain City Brass Band and currently serves as its artistic director and principal euphoniumist. The Fountain City Brass Band (FCBB) is one of America’s premiere brass and percussion ensembles and has been featured throughout the U.S. and Europe in concerts and competitions. The FCBB is currently the top-ranked brass band in the United States. Under Dr. Harrelson’s artistic leadership, the band has won eight North American Brass Band Association Championships, nine U.S. Open Brass Band Championships and one Scottish Open Brass Band Championship since it began competing in 2004. In 2011, All England International Brass Band Competition, as a member of the FCBB, Lee was named Best Instrumentalist; a first for an American at an English brass band competition. During his tenure, the FCBB has produced four commercial recordings, performed with countless world-class soloists and developed a youth brass program, the Fountain City Youth Brass Academy, that serves over 120 students per year.Dedicated to furthering the brass band movement in America, Dr. Harrelson regular serves on the faculty of the North American Brass Band Summer School and in 2019, along with his wife Helen, founded the National Youth Brass Band of America.In the fall of 2019, Dr. Harrelson was awarded the first-ever Visiting International Professor position with the world-famous Brighouse & Rastrick Band. In addition to working with and conducting the band, Dr. Harrelson was able to work closely with Professor David King, during preparations for the band’s appearances at the British Open Brass Band Championships (Symphony Hall, Birmingham) and the National Brass Band Championships of Great Britain (Royal Albert Hall, London).Dr. Harrelson can be heard on numerous commercially released recordings and has appeared throughout North America and Europe as a clinician, soloist and chamber musician. Lee Harrelson is a Buffet Group/Besson Performing Artist.Support the show (https://thatsnotspit.com/support/)

In the third and final part of the Brady meets Brighouse Town mini series, we continue Brady Frost's interview with Brighouse Town chairman and Yorkshire Payments owner James Howard. In this episode James discusses meeting Mark Hudson and Dean Hoyle as well as the link up with the Huddersfield Town academy which has previously seen players such as Rarmani Edmonds-Green make the temporary switch. James also discusses what the future holds for Brighouse Town. The episode is sponsored by Magic Rock Brewing. Free delivery on orders over £40 available from www.magicrockbrewing.com/news/magic-web-shop/ Intro provided by Fiery Breeze: open.spotify.com/artist/6tHPCFmE2…6qTkKIz4fEFTbV3A Socials @takesthatchance website: www.takesthatchance.com

In the second part of the 3 part mini series, And He Takes That Chance writer Brady Frost meets Brighouse Town chairman and Yorkshire Payments owner James Howard. James discusses the history of Brighouse Town, the none league structure, how he took over the club as well as how he embarrassed himself in front of Bobby Charlton! The episode is sponsored by Magic Rock Brewing. Free delivery on orders over £40 available from www.magicrockbrewing.com/news/magic-web-shop/ Intro provided by Fiery Breeze: open.spotify.com/artist/6tHPCFmE2…6qTkKIz4fEFTbV3A Socials @takesthatchance website: www.takesthatchance.com

In the first of a 3 part mini series, And He Takes That Chance writer Brady Frost meets members of Brighouse Town to discuss the impact the Coronavirus pandemic has had on one of Town's local none league neighbours. First up is a chat with Social Media Manager Damo Wales to discuss his role, how the club are doing and sliding into Gary Neville's DM's! Episode Sponsored by Magic Rock Brewing. Free delivery on orders over £40 available from https://www.magicrockbrewing.com/news/magic-web-shop/ Intro provided by Fiery BreezeFiery Breeze provide: https://open.spotify.com/artist/6tHPCFmE2ckfeStkoKykQm?si=0l1OQT6qTkKIz4fEFTbV3A

Well what can we say about Lidia? Well firstly, she is clearly a very busy and very driven lady which is undoubtedly something that has been passed down from her dad as she grew up seeing him really make something of himself, his tale is literally a classic rags to riches one and you cannot fail to be inspired by his story. He came to the UK from Italy with nothing, worked in the mines and made some 'danger money' which he invested in an ice cream van he then sold imported Italian produce from to the growing Italian community each evening. He continued to invest everything he made and the family now own two of the best Italian restaurants and hotels in Huddersfield - links to which are below. Lidia grew up in a big traditional Italian family, surrounded by amazing chefs both from within and outside of the family. Not many people can say they went to Uni and avoided the kebab shop, knocking up a quick pasta dish at 3am for their housemates - but Lidia can. Clearly the passion for food was in her blood but she didn't really want to enter into the family business and studied Business, Marketing and French at university. However, dad had other ideas, of course he did, and being a persuasive kind of guy and having a requirement for someone to really put Da Sandro's restaurant and The Briar Court Hotel on the map and Lidia having the newly acquired skills from her degree, into the business she went, and there she remains almost 30 years later. The family also own and run Prego Restaurant and The Waterfront Hotel & Venue in Brighouse and have set up, owned or had a hand in various other successful venues such as Ciao which Lidia set up with her brother. It doesn't stop there though, Lidia and the family do a lot, and we are talking A LOT to help the local community. The Brighouse canal clear up was Lidias brainchild about 7 years ago and continues to be part of the wider community clear up to this day, she also volunteers with Food4Hope which is a Brighouse based charity that feeds the homeless (obviously in this case with restaurant quality Italian meals) and since lockdown happened in the UK 5 weeks ago and still going at the time of recording they have switched to feeding the housebound. So it comes as no surprise to learn that during this enforced lockdown where restaurants and hotels are closed, Lidia has found herself with a bit of time of her hands and her love of cooking and sharing that love with others was having to take a back seat. Egged on by her teenage daughters she has recently launched Lidias Italian Kitchen on facebook and instagram where she shares time served family recipes in a relaxed and friendly manner, often with a glass of wine in hand. We are loving the recipes she is sharing and are definitely giving them a go, give her a follow and send in pics or videos of your own efforts for a bit of fun. Hearing Lidia talk about food during this interview was so inspiring and we are definitely craving a night out in a great restaurant when this lockdown is over, and we want to go to Lidias for tea of course!! Meanwhile, we will have to settle for watching the videos and doing our best to create the meals at home. All the links are below if you want to find out more www.instagram.com/lidiashinwell www.facebook.com/Lidias-Italian-Kitchen-104326631269352 www.waterfronthotelandvenue.co.uk/Prego-Restaurant/ www.dasandro.co.uk www.briarcourt.co.uk

On the 12th September 1985, 66 year old Alexander 'Sandy' McClelland had been shopping in Brighouse, West Yorkshire with his stepson Brian and his wife Elizabeth. They returned to Brian and Elizabeth's house at 8:15pm and Sandy drove off to go around the corner to his own home. He returned 5 minutes later with some cigarettes that Brian had left in his car and then left once again. It was a routine evening and Sandy was in high spirits. Why then was Sandy found stabbed in the boot of his Ford Cortina just under a month later? This case is mysterious and the forensic evidence found revealed some strange connections. Important information provided by: https://www.youtube.com/watch?v=lNoljvyABBo&feature=youtu.be - Crimewatch reconstruction.https://www.thetelegraphandargus.co.uk/news/15582701.alexander-sandy-mcclelland-66-was-found-stabbed-to-death-in-the-boot-of-a-car-in-brighouse-32-years-ago-today/https://www.findmypast.co.uk/If you want to support the show on Patreon here is the link and thank you!https://www.patreon.com/theunseenpodMusic by: www.dl-sounds.com (http://www.dl-sounds.com/)Follow us on social media:Twitter- @theunseenpodFacebook- The Unseen PodcastYoutube - https://www.youtube.com/channel/UCeX9lQupoivDexPioj0b9Fw

Frank has 2 tracks from our new double cd made up of music recorded at our first band of the year competition last year and including great performances by Cory, Black Dyke, Fodens, Brighouse to name but three, O and of course, music from the winning programme by Cory.  Frank also considers how the brass band has travelled the world and gives us a timely reminder of how it used to be here in the original banding home with the massed bands of Men O’Brass.

#47: 25/12/77 – The Last Supper Of ShowaddywaddyA sort-of-festive episode of the podcast which asks: Jesus, why do we always leave this to the last minute instead of doing it in August like everyone else?It’s the arse-end of the year, and you know what that means, Pop-Crazed Youngsters: another ram of our hands into the Quality Street tin of a Xmas TOTP. This year, it’s 1977, which means that Noel Edmonds has taken one of his suits that all look the same out of the wardrobe – but this year he’s joined by Kid Jensen, in full Stylistics clobber. No trifle-related interplay this year, then, but it’s quadruple overtime for the Top Of The Pops Orchestra, who have stashed a dozen or so Party Sevens under their chairs to keep them going, and Team ATVland (combined age: 19) are sulking that they can’t hook their Binatone Pong to the telly, moaning that their Ricochet Racers isn’t much cop, and leafing through the 1978 Starsky and Hutch annual and dreaming of chocolate pancakes respectively. There were some astonishing singles that came out in ’77, but musicwise, and bar a couple of exceptions, this is your Nana’s Top Of The Pops. Showaddywaddy pretend to have a futuristic buffet. Some kids are bussed into White City to wave a tassel on a stick (or just the stick). David Soul’s head floats in space. Johnny Mathis pops up again. You can hear Kenny Rogers’ arse as he lowers it onto a wicker bar stool. And oh God, it’s Manhattan Transfer. But here come Abba, Space, Denice Williams, Hot Chocolate, and the return of Floyd Flipper as a fruity Santa! Oh, and there’s Paul McCartney’s Living Shortbread Tin and Bing Crosby. It’s a massive, sixteen-song evisceration, Pop-Crazed Youngsters, done with the care and attention you’ve come to expect from the little elves of Chart Music.Neil Kulkarni and Taylor Parkes join Al Needham for a long, hard stare at the winners circle of 1977, complete with such tangents as the Showaddywaddy Hanky Code, Lobbing It Out on Channel 4, assuming French is just English you don’t know yet, the gang war between Brighouse and Rastrick, Space Crumpet, when it’s time to finally let go of the Radio Times Xmas issue, and a chance to see someone from Chart Music looking like a massive potato on telly very soon. Merry Swearing!Video Playlist | Subscribe | Facebook | TwitterSubscribe to us on iTunes here. Support us on Patreon here.This podcast is a member of the Great Big Owl family. See acast.com/privacy for privacy and opt-out information.

#47: 25th December 1977 – The Last Supper Of ShowaddywaddyA sort-of-festive episode of the podcast which asks: Jesus, why do we always leave this to the last minute instead of doing it in August like everyone else?It’s the arse-end of the year, and you know what that means, Pop-Crazed Youngsters: another ram of our hands into the Quality Street tin of a Xmas TOTP. This year, it’s 1977, which means that Noel Edmonds has taken one of his suits that all look the same out of the wardrobe – but this year he’s joined by Kid Jensen, in full Stylistics clobber. No trifle-related interplay this year, then, but it’s quadruple overtime for the Top Of The Pops Orchestra, who have stashed a dozen or so Party Sevens under their chairs to keep them going, and Team ATVland (combined age: 19) are sulking that they can’t hook their Binatone Pong to the telly, moaning that their Ricochet Racers isn’t much cop, and leafing through the 1978 Starsky and Hutch annual and dreaming of chocolate pancakes respectively. There were some astonishing singles that came out in ’77, but musicwise, and bar a couple of exceptions, this is your Nana’s Top Of The Pops. Showaddywaddy pretend to have a futuristic buffet. Some kids are bussed into White City to wave a tassel on a stick (or just the stick). David Soul’s head floats in space. Johnny Mathis pops up again. You can hear Kenny Rogers’ arse as he lowers it onto a wicker bar stool. And oh God, it’s Manhattan Transfer. But here come Abba, Space, Denice Williams, Hot Chocolate, and the return of Floyd Flipper as a fruity Santa! Oh, and there’s Paul McCartney’s Living Shortbread Tin and Bing Crosby. It’s a massive, sixteen-song evisceration, Pop-Crazed Youngsters, done with the care and attention you’ve come to expect from the little elves of Chart Music.Neil Kulkarni and Taylor Parkes join Al Needham for a long, hard stare at the winners circle of 1977, complete with such tangents as the Showaddywaddy Hanky Code, Lobbing It Out on Channel 4, assuming French is just English you don’t know yet, the gang war between Brighouse and Rastrick, Space Crumpet, when it’s time to finally let go of the Radio Times Xmas issue, and a chance to see someone from Chart Music looking like a massive potato on telly very soon. Merry Swearing!Video Playlist | Subscribe | Facebook | TwitterSubscribe to us on iTunes here. Support us on Patreon here.This podcast is a member of the Great Big Owl family. See acast.com/privacy for privacy and opt-out information.

#47: 25th December 1977 – The Last Supper Of ShowaddywaddyA sort-of-festive episode of the podcast which asks: Jesus, why do we always leave this to the last minute instead of doing it in August like everyone else?It’s the arse-end of the year, and you know what that means, Pop-Crazed Youngsters: another ram of our hands into the Quality Street tin of a Xmas TOTP. This year, it’s 1977, which means that Noel Edmonds has taken one of his suits that all look the same out of the wardrobe – but this year he’s joined by Kid Jensen, in full Stylistics clobber. No trifle-related interplay this year, then, but it’s quadruple overtime for the Top Of The Pops Orchestra, who have stashed a dozen or so Party Sevens under their chairs to keep them going, and Team ATVland (combined age: 19) are sulking that they can’t hook their Binatone Pong to the telly, moaning that their Ricochet Racers isn’t much cop, and leafing through the 1978 Starsky and Hutch annual and dreaming of chocolate pancakes respectively. There were some astonishing singles that came out in ’77, but musicwise, and bar a couple of exceptions, this is your Nana’s Top Of The Pops. Showaddywaddy pretend to have a futuristic buffet. Some kids are bussed into White City to wave a tassel on a stick (or just the stick). David Soul’s head floats in space. Johnny Mathis pops up again. You can hear Kenny Rogers’ arse as he lowers it onto a wicker bar stool. And oh God, it’s Manhattan Transfer. But here come Abba, Space, Denice Williams, Hot Chocolate, and the return of Floyd Flipper as a fruity Santa! Oh, and there’s Paul McCartney’s Living Shortbread Tin and Bing Crosby. It’s a massive, sixteen-song evisceration, Pop-Crazed Youngsters, done with the care and attention you’ve come to expect from the little elves of Chart Music.Neil Kulkarni and Taylor Parkes join Al Needham for a long, hard stare at the winners circle of 1977, complete with such tangents as the Showaddywaddy Hanky Code, Lobbing It Out on Channel 4, assuming French is just English you don’t know yet, the gang war between Brighouse and Rastrick, Space Crumpet, when it’s time to finally let go of the Radio Times Xmas issue, and a chance to see someone from Chart Music looking like a massive potato on telly very soon. Merry Swearing!Video Playlist | Subscribe | Facebook | TwitterSubscribe to us on iTunes here. Support us on Patreon here.This podcast is a member of the Great Big Owl family. See acast.com/privacy for privacy and opt-out information.

#47: 25th December 1977 – The Last Supper Of ShowaddywaddyA sort-of-festive episode of the podcast which asks: Jesus, why do we always leave this to the last minute instead of doing it in August like everyone else?It’s the arse-end of the year, and you know what that means, Pop-Crazed Youngsters: another ram of our hands into the Quality Street tin of a Xmas TOTP. This year, it’s 1977, which means that Noel Edmonds has taken one of his suits that all look the same out of the wardrobe – but this year he’s joined by Kid Jensen, in full Stylistics clobber. No trifle-related interplay this year, then, but it’s quadruple overtime for the Top Of The Pops Orchestra, who have stashed a dozen or so Party Sevens under their chairs to keep them going, and Team ATVland (combined age: 19) are sulking that they can’t hook their Binatone Pong to the telly, moaning that their Ricochet Racers isn’t much cop, and leafing through the 1978 Starsky and Hutch annual and dreaming of chocolate pancakes respectively. There were some astonishing singles that came out in ’77, but musicwise, and bar a couple of exceptions, this is your Nana’s Top Of The Pops. Showaddywaddy pretend to have a futuristic buffet. Some kids are bussed into White City to wave a tassel on a stick (or just the stick). David Soul’s head floats in space. Johnny Mathis pops up again. You can hear Kenny Rogers’ arse as he lowers it onto a wicker bar stool. And oh God, it’s Manhattan Transfer. But here come Abba, Space, Denice Williams, Hot Chocolate, and the return of Floyd Flipper as a fruity Santa! Oh, and there’s Paul McCartney’s Living Shortbread Tin and Bing Crosby. It’s a massive, sixteen-song evisceration, Pop-Crazed Youngsters, done with the care and attention you’ve come to expect from the little elves of Chart Music.Neil Kulkarni and Taylor Parkes join Al Needham for a long, hard stare at the winners circle of 1977, complete with such tangents as the Showaddywaddy Hanky Code, Lobbing It Out on Channel 4, assuming French is just English you don’t know yet, the gang war between Brighouse and Rastrick, Space Crumpet, when it’s time to finally let go of the Radio Times Xmas issue, and a chance to see someone from Chart Music looking like a massive potato on telly very soon. Merry Swearing!Video Playlist | Subscribe | Facebook | TwitterSubscribe to us on iTunes here. Support us on Patreon here.This podcast is a member of the Great Big Owl family. See acast.com/privacy for privacy and opt-out information.

#47: 25th December 1977 – The Last Supper Of ShowaddywaddyA sort-of-festive episode of the podcast which asks: Jesus, why do we always leave this to the last minute instead of doing it in August like everyone else?It’s the arse-end of the year, and you know what that means, Pop-Crazed Youngsters: another ram of our hands into the Quality Street tin of a Xmas TOTP. This year, it’s 1977, which means that Noel Edmonds has taken one of his suits that all look the same out of the wardrobe – but this year he’s joined by Kid Jensen, in full Stylistics clobber. No trifle-related interplay this year, then, but it’s quadruple overtime for the Top Of The Pops Orchestra, who have stashed a dozen or so Party Sevens under their chairs to keep them going, and Team ATVland (combined age: 19) are sulking that they can’t hook their Binatone Pong to the telly, moaning that their Ricochet Racers isn’t much cop, and leafing through the 1978 Starsky and Hutch annual and dreaming of chocolate pancakes respectively. There were some astonishing singles that came out in ’77, but musicwise, and bar a couple of exceptions, this is your Nana’s Top Of The Pops. Showaddywaddy pretend to have a futuristic buffet. Some kids are bussed into White City to wave a tassel on a stick (or just the stick). David Soul’s head floats in space. Johnny Mathis pops up again. You can hear Kenny Rogers’ arse as he lowers it onto a wicker bar stool. And oh God, it’s Manhattan Transfer. But here come Abba, Space, Denice Williams, Hot Chocolate, and the return of Floyd Flipper as a fruity Santa! Oh, and there’s Paul McCartney’s Living Shortbread Tin and Bing Crosby. It’s a massive, sixteen-song evisceration, Pop-Crazed Youngsters, done with the care and attention you’ve come to expect from the little elves of Chart Music.Neil Kulkarni and Taylor Parkes join Al Needham for a long, hard stare at the winners circle of 1977, complete with such tangents as the Showaddywaddy Hanky Code, Lobbing It Out on Channel 4, assuming French is just English you don’t know yet, the gang war between Brighouse and Rastrick, Space Crumpet, when it’s time to finally let go of the Radio Times Xmas issue, and a chance to see someone from Chart Music looking like a massive potato on telly very soon. Merry Swearing!Video Playlist | Subscribe | Facebook | TwitterSubscribe to us on iTunes here. Support us on Patreon here.This podcast is a member of the Great Big Owl family. See acast.com/privacy for privacy and opt-out information.

Welcome to Live From Progzilla Towers Edition 290. In this special edition we spoke to Big Big Train leader Greg Spawton and heard music by ELO, The Unthanks with Brighouse and Rastrick Brass Band, Glenn Campbell, Prefab Sprout , Del Amitri , Elbow, Van Der Graaf Generator, Genesis, Mew, ABBA, Big Big Train & Gandalf’s Fist.

David Thornton is rapidly becoming one of the most influential figures in the development of the brass band and its young musicians.  Frank got him on the business side of a Brasspass.tv microphone between their rehearsal and concert in Stoller Hall as they were preparing for that afternoon’s performance of a favourite piece of both soloist and conductor.  As conductor of Brighouse and Rastrick, Head of Brass Band Studies at RNCM,  brass teacher at Chet’s plus a flourishing solo career, David has his finger firmly on the brass band pulse.  This is a conversation not to be missed and the performance of the Horovitz Euphonium Concerto is available to download from our website!

Frank Renton celebrates the first anniversary of his show with highlights from the many national and international competitions and unique events that BrassPass.tv have streamed over the last 12 months, and we’ve been to some great places together. So, enjoy again the winning performance of our Young Brass Award winner Siobhan Bates, expect the unexpected from SIDDIS, experience the uniqueness of a wet Whit Friday and listen to some of the finest bands we have in our own Best of Brass concert series including Cory, Black Dyke and Brighouse and Rastrick.

It's a full house with Dean Brennan and Dave Anderson joining Tim Fuell in the studio. In his first big interview of the season Dean reveals the truth behind his time at Billericay Town and why he left K's after such a short spell. Joining the team via telephone is Vill Powell, former team-mate of Brennan and now a successful manager in his own right having won the play-offs in the Northern Premier League Division One East with Brighouse Town only to find that their points per game ratio through the season was not as good as other play-off winners and thus they would not be one of the 5 play-off winners at step 4 to be promoted to step 3. Also staggered by this season's play-off procedures is Steve McKimm manager at Tonbridge Angels. Having won the Isthmian Premier play-off on Monday his side now face a super-play off against Met Police to decide who will get promotion to Step 2 next season. With National League and National League North and South play-offs also this weekend, Matt Badcock Senior Writer at The Non League Paper offers his preview of the games and clubs taking part.

Today we travel under Los Angeles to hunt reptilians, then we go to Great Britain to avoid the dreaded Guytrash! MERCH STORE!!! https://www.redbubble.com/people/deadrabbitradio/works/35749420-dead-rabbit-radio?asc=u   Help Promote Dead Rabbit! Dual Flyer https://i.imgur.com/OhuoI2v.jpg "As Above" Flyer  https://i.imgur.com/yobMtUp.jpg   Throwback Thursday: Did Lizard People live under L.A. 5,000 years ago? https://www.latimes.com/la-sh-lizard-people-throwback-thursday-20140123-story.html   The Underground Catacombs of L.A.’s Lizard People https://www.lamag.com/citythinkblog/citydig-the-underground-catacombs-of-las-lizard-people/   ANCIENT "LIZARD PEOPLE" UNDERGROUND IN LA? http://www.reptoids.com/Vault/Schufeltsearch.htm   Map of the Lost Lizard City under Los Angeles https://bigthink.com/strange-maps/443-secret-caves-of-the-lizard-people   Lost! The Golden Hoard of L.A.'s Lizard People https://www.kcet.org/socal-focus/lost-the-golden-hoard-of-las-lizard-people   Los Angeles Times Jan 29th, 1934 https://latimesblogs.latimes.com/.a/6a00d8341c630a53ef01157020df2e970b-pi   Support Your Local Reptoid https://skeptoid.com/episodes/4046   The Guytrash, Brighouse https://lowercalderlegends.wordpress.com/tag/guytrash/?fbclid=IwAR0dongcdRwHEtanhLwtH9yf4voWXce0285bZ9zlsPTgwtiY2D8pfoXjTFI   Woman's shock after capturing photo of ghost dog which haunts Roundhay Park https://www.yorkshireeveningpost.co.uk/news/woman-s-shock-after-capturing-photo-of-ghost-dog-which-haunts-roundhay-park-1-9698315?fbclid=IwAR0L_1a0voCrzYvpb3MYL8535U4y5Xplu8IxCeA8q3RE_wULT-ulmHbwsTk   Listen to the daily podcast anywhere you listen to podcasts!   ------------------------------------------------   Logo Art By Ash Black   "As Above" Art By Grant Scott   Opening Song: "Atlantis Attacks" Closing Song: "Bella Royale" Music By Dr. Huxxxtable Rabbitron 3000 created by Eerbud   http://www.DeadRabbit.com Email: DeadRabbitRadio@gmail.com Twitter: @JasonOCarpenter Facebook: www.Facebook.com/DeadRabbitRadio   Paranormal, Conspiracy, and True Crime news as it happens! Jason Carpenter breaks the stories they'll be talking about tomorrow, assuming the world doesn't end today.   All Contents Of This Podcast Copyright Jason Carpenter 2018

Should data drive decision-making in education policy or should data be used in the service of our values? Harry Brighouse and Susanna Loeb join Marty West to discuss how the tools of philosophy and social science can help policymakers make better decisions. Brighouse and Loeb, along with Helen Ladd and Adam Swift, are the authors of Educational Goods: Values, Evidence, and Decision-Making. David Steiner reviewed the book for EdNext here: https://www.educationnext.org/contemplative-approach-education-policy-book-review-education-goods-brighouse-ladd-loeb-swift/

Dave and Kenny review the National Brass Band Championship from the Royal Albert Hall, London. The contest, won by Brighouse and Rastrick generated some talking points and Steven Mead joins the episode to discuss. The Brass Band Podcast is a Brithish Bandsman production by KGC Media.    

In this podcast, University of Wisconsin–Madison philosophy professor Harry Brighouse discusses how to think about the costs of raising a child beyond traditional measures, illustrating what philosophers can do for social scientists who study poverty.

THIS WEEK: Which is the Best - Gerbils or Goebbels That's right! This week on WITB Podcast, Lee Kyle and Sammy Dobson threaten to go all alt-right as they decide which is best between gerbils (Horrific mice) and Goebbels (Really quite a bad man). You'd think it'd be an easy choice but Lee REALLY hates gerbils. You'd be amazed how little they know about Goebbels by the way. For example, they think he's called Herman. Incidentally, come and see Lee do his stand up show (With Sammy as the support act) 'Burning This Place To The Ground' at The Stand in Edinburgh on 28th Feb and at Prego in Brighouse on 1st March if you like.

There is more people in Brighouse than there is in Fleetwood. Mind blowing.

Will Roper, Austin Cooper and Max RG from BYOB, recently sprung a two-hour mix of brass band from around the world. Originally aired as part of their first 6hour installment on Resonance Extra, this mix gives a taster of some of the global styles their residency will feature. Tracklist: Rebirth Brass Band - Do Watcha Wanna Fanfare Ciocarlia - Golden Days Red Baraat - Chaal Baby Anthony Holborne - Renaissance Suite Grimethorpe Colliery Band - Concerto D’Aranjuez Gangbe Brass Band - Les Vrais Amis Hypnotic Brass Ensemble - Balicky Bon Riot Jazz - Paradox Spok Frevo Orquestra - Frevo Vassourinhas Kocani Orquestar - Papigo Aisakawa Brass Band - Kplango Song Ghana The Unthanks with Brighouse and Rastrick Band - The King of Rome Hackney Colliery Band - GTFA Hot 8 Brass Band - What’s My Name? The Williams Fairey Brass Band - Acid Brass Banda La Arroladora Brass Peru - Huayno Amorcito Youngblood Brass Band - Brooklyn

Join us for a terrifically thoughtful conversation with Harry Brighouse (University of Wisconsin, Madison). We discuss his work on the distribution of educational opportunities and the rights of parents and schools relative to children's emerging values. Please see his book, Family Values, for a more full articulation of those views.

After Salford City's 2-0 win over Brighouse, Phil Power the Salford manager spoke with NonLeagueReview.

Professor Tim Brighouse poses this question as the basis for a paper he's developing which was shared to an invited audience of school and local authority leaders at the London BETT08 show early in January. Tim begins the conversation by summarising his thoughts and views on what constitutes 'failure' and what do we mean by this in an educational context. He then offers up a set of out-of-school, in-school and systemic changes that need to happen in order to eliminate 'failure' in our education system. After this introduction, he let the debate begin!

Professor Tim Brighouse poses this question as the basis for a paper he's developing which was shared to an invited audience of school and local authority leaders at the London BETT08 show early in January. Tim begins the conversation by summarising his thoughts and views on what constitutes 'failure' and what do we mean by this in an educational context. He then offers up a set of out-of-school, in-school and systemic changes that need to happen in order to eliminate 'failure' in our education system. After this introduction, he let the debate begin!

Tim Brighouse talks at the RM National Conference in Dudley March '07

Tim Brighouse talks at the RM National Conference in Dudley March '07