Podcast appearances and mentions of candy floss

Kevin Nolan, lecturer in physics at Technological University Dublin discusses a newly-analysed planet where it rains sand and smells of burnt matches.

This week we are chefs.   Help support the show and get exclusive access to full video versions of the podcast and more. https://www.patreon.com/thederekfindasarchive   Video podcasts, merch and more content over at https://folkinscotland.com https://twitter.com/derekfindas https://twitter.com/GoronVor https://twitter.com/FolkInScotland

In Episode 41, Michael and Julian talk about1.     Mount Rushmore & Surrounding Areas. Both Julian and Michael rate this part of America. Michael finds a train to see, while Julian is interested in the area's Native American history. Julian warns against Wall, SD.2.     An American Beach. Julian talks about how an American beach differs from one in the UK. We talk about beach yoga, a dog beach, and shell collecting, Michael laments that people don't play cricket on an American beach.Other Show NotesLearn more about how America's culture developed in Julian Bishop's High, Wide, and Handsome.Available here to buy as a paperback, ebook, or audiobookExcerpts, reviews, and more available hereConnect with Julian via:FacebookInstagramTwitterLinkedInConnect with Michael viaTwitterLinkedIn

The smell of fresh manure and clouds of candy floss as big as your head - it can only mean one thing - the return of the New Zealand Agricultural Show. The huge event has faced two years of disruption because of the pandemic. Thousands of people poured through the gates on the first day of the event in Christchurch, where animals big and small competed for pats and prizes. Our reporter Jean Edwards and cameraman Samuel Rillstone went along.  

9. Art & Entrepreneurship: Embracing Your Inner Creator with Charuka Arora Based in Agra, India, Charuka Arora shares her journey as an artist, entrepreneur, and above all - creator. Since launching the Arts to Hearts Project in 2020, Charuka has built a supportive community for women artists around the globe. Here's what we discuss:1. How Charuka was able to overcome cultural stereotypes of what it means to be an artist in today's world, and why she considers herself to be a creator first.2. What inspired Charuka to launch the Arts to Hearts Project, and why it's important for her to build a supportive community for women artists.3. The reasons why Charuka considers all of her projects to be interconnected, rather than seeing them as separate entities. 4. How Charuka was able to rebuild after experiencing trauma (one step at a time), while finding rest and comfort in her studio space.About CharukaCharuka Arora is an internationally recognized visual artist and the founder of Arts to Hearts Project. Since 2016 she has been experimenting with Indian textiles, embellishments, images & surface embroideries. And, has been exhibiting her work both locally and internationally. She has been featured in multiple blogs and publications, including Create magazine, Candy Floss magazine, Fad magazine, The Jealous Curator, Visionary Art Collective, Art Mums United, and Indian Artists Book of Colour. Follow Charuka on Instagram: @charukaarora + @artstoheartsprojectWebsite: charukaarora.com Visit our website: visionaryartcollective.com Join our newsletter: visionaryartcollective.com/newsletter Follow us on Instagram: @visionaryartcollective + @newvisionarymag

Joey and Mulv off Noisy Neighbors Podcast return to discuss all things Manchester City Football Club! A review of the win away at Burnley is followed by a look ahead to Atletico Madrid on Tuesday in the UEFA Champions League. We round out the show by answering some Twitter questions! Some content NSFW ;)

On this weeks Brit Wres Round Up, Dan and Andy discuss their recent trip to LWF for their Lancashire Riot, As always all the biggest news Gabriel Kidd shoots on the AEW 4 Pillars as Will Ospreay calls out Jon Moxley. GCW vs TNT Extreme comes early as TNT Extreme Thrill Kill Show as Clint Margera and Alex Colon clash in a title vs title match up. FNW's "Strong" show has been postponed from Thursday 24th of February to Sunday the 12th of March as all shows will now be on Sundays. Candy Floss is no longer under WWE NXT UK contract and Hannah Taylor has been forced to take a step back from wrestling due to to Injury. Plus reviews of the latest NXT UK, Rev Pro UK's Live in London 58, TNT Extreme's D.O.A as well as Bodyslam Pro Wrestling's Anarchy In The D.K. Previews of all the action coming this weekend including UKPW, Kamikaze Pro, ICW, Progress Wrestling, OTT, DNA Pro Wrestling, WAW and more. As always a further round up of the latest news from across the UK and Europe, including Wrestle Carnival, Pro Wrestling Eve, wXw Germany, Sacrifice Pro Wrestling and Ultimate British wrestling. #BritWres #BritishWrestling

Volvemos a las entrevistas a luchadores, algo que teníamos muy abandonado, por diferentes circunstancias y que teníamos ganas de retomarlo. En esta ocasión tenemos como invitada a María de Rosa , luchadora española que ha participado en eventos en España , Europa y Japón en empresas como Marvelous y Sendai Girls , ha sido campeona en GWP (German wrestling promotion) y es la campeona de campeona absoluta de LLB (Lucha Libre Barcelona). En esta charla nos cuenta sus inicios, influencias, combates favoritos y varias anécdotas que le han sucedido como luchadora. Algunos combates para conocer a María: -Tracy vs Candy Floss vs Chakara: https://www.youtube.com/watch?v=My9eKb359go&ab_channel=Mar%C3%ADaDelaRosa -María, Samantha y Sakura Hirota vs Dash chisako, Chisako Nagashima y Kaoru: https://youtu.be/cz5RAcgKhvM -Kaoru vs María de la Rosa: https://youtu.be/nNVdc90GW4M -María de la Rosa vs Anarko Montaña: https://youtu.be/GQ4gqi6JKzc Para este programa la música usada es: -Vexento: Masked Heroes. Puedes suscribirte en iVoox / Apple Podcast/ Google Podcast /Spotify, buscándonos como Chokeslam Podcast , ademas puedes vernos en nuestros canales de Twitch (https://www.twitch.tv/chokeslampodcast) y Youtube (https://www.youtube.com/channel/UC3TzULzxcoG5uy_ENkFjgQw) y si quieres contactar con nosotros , nuestra dirección de correo es chokeslampod@gmail.com y en twitter somos en @chokeslampod Otros podcast donde estamos son: Repaso en serie , el programa de series favorito de nadie Twitter: @repasoenserie Facebook: https://www.facebook.com/repasoenserie Ivoox: https://www.ivoox.com/podcast-repaso-en-serie_sq_f1253125_1.html Spotify:https://open.spotify.com/show/6iraQpiaN4b0cNTxVwEHa5 Youtube: https://www.youtube.com/channel/UCMi7PWTOKv_If1kvENsHHvA Cosas de Monstruos,programa en el que encontrarás la información más interesante (y menos) sobre el cine de monstruos gigantes Twitter: @Monsterianos Facebook: https://www.facebook.com/cosasdmonstruos/ Youtube: https://www.youtube.com/channel/UCGkf_fCXfvQ6ETO72b--i3g Ivoox: https://www.ivoox.com/podcast-podcast-cosas-monstruos_sq_f1391833_1.html Spotify: https://open.spotify.com/show/6g1cQHHo9oFQpGxBTZmwAb Twitch: https://www.twitch.tv/cosasdemonstruos PodTrek, el Podcast que viaja a velocidad de curvatura por el Universo Star Trek Ivoox: https://www.ivoox.com/s_p2_1411193_1.html Spotify:https://open.spotify.com/show/3l41RMpDMCMJmvJ860Q4fK?si=2626449beb344e1d YouTube:https://www.youtube.com/channel/UCMi7PWTOKv_If1kvENsHHvA

Episode 151 of a 3 hour No One's Ready For Wrestling opens with Shino talking about his 4 year anniversary as a podcaster and gives his motivational advice for anyone who wants to start their journey as a podcaster! AEW originally wanted Jade Cargill to be a babyface. Bryan Danielson & Jade Cargill are working together. Eddie Kingston provides an update on his injury. Latest rumor on Jeff Hardy potentially joining AEW. Multiple promotions interested in Shane Strickland and where I think he might land. Jay White makes an appearance on AEW Dynamite, but gets overshadowed by the debut of Keith Lee (who is officially All Elite) and why WWE should've debuted Keith Lee LIKE THAT ON DYNAMITE?! A bloody main event between Hangman Page & Lance Archer. Jeff Cobb pulled from NJPW events due to an injury. Bryan Danielson will be inducted in the ROH Hall Of Fame. MLW granted motion to seal financial information in their lawsuit against WWE. WWE blasted for pushing Goldberg down the fans throat. Mark Henry rips WWE's booking and says it insults his intelligence. WWE's priority is now on FOX over USA Network and I wonder how USA Network feels. AJ Styles addresses fans wanting him to hate wrestlers from other companies and he wants to face Edge at WrestleMania 38. A mix up between Randy Orton & Shane McMahon at the Royal Rumble and what was Orton's reaction during the mix up? Shane McMahon was supposed to be near the top of the WrestleMania card and now the card for the biggest show is now in the flux. Plans for Kurt Angle's return has been scrapped and details on the possible plans for his return. The WWE locker room believes that Big E deserves better and I agree. Melina wants a match with Sasha Banks. Candy Floss is no longer working for NXT UK. An entertaining quiz bowl segment between RK-Bro & Alpha Academy on RAW. My predictions for NXT Vengeance Day. Detailing my experience meeting The Queen Charlotte Flair and a little scoop on what we talked about. Finally, I detailed my experience (with cameos from MCZX from Simply Complicated) with SmackDown Live and I talked about why Naomi deserves the respect for her work in her great match against Charlotte Flair! All this and so much more RIGHT HERE on No One's Ready For Wrestling! NOTE: I personally want to thank you guys for putting up with me for 4 years and let's continue to grow this podcast and meet some amazing people! I have goals regarding this show and your support makes me continue doing what I love! From the bottom of my heart, all I can say is Thank You! --- Send in a voice message: https://anchor.fm/shinodphoenix/message Support this podcast: https://anchor.fm/shinodphoenix/support

I'm Matt Carlins and this is JUST Pro Wrestling News for Thursday, February 10, 2022. A special welcome to those of you listening on TheWrestlingRevolution.com. If you want to bring our updates to your website...email us: desk@justprowrestlingnews.com. (STINGER: AEW) Some big names showed up on Dynamite for the first time last night. Keith Lee was the mystery opponent in the qualifying match for the Face of the Revolution Ladder Match. He made short work of Isiah Kassidy. Lee is signed to AEW. He is All Elite. The winner of the Face of the Revolution Ladder Match gets a shot at the TNT Championship at next month's Revolution pay-per-view. Another fresh face on last night's Dynamite…New Japan Pro-Wrestling's Jay White. He made a brief cameo during a backstage segment to help the Young Bucks and Adam Cole attack Roppongi Vice. Tony Khan tweeted after the show that didn't secure White's services until Sunday…apparently to make good on Khan's promise of a “Forbidden Door” moment. A.Q.A. - formerly known as Zayda Ramier in NXT - also made her AEW debut last night. She lost to TBS Champion Jade Cargill. CM Punk will get a rematch against MJF. He had to make a deal…but in the end, Punk recruited Jon Moxley to help him beat FTR. Hangman Page is STILL the AEW Champion. He beat Lance Archer in a Texas Death Match last night. Adam Cole was out after the match to make it clear he has eyes for the title. The Inner Circle appears to be crumbling. Their team meeting last night ended with TNT Champion Sammy Guevara walking out on the group…and Santana & Ortiz agreeing to a match next week against Chris Jericho & Jake Hager. Also last night, Wardlow beat The Blade…and Serena Deeb introduced her “5 Minute Rookie Challenge”, and beat Katie Arquette in about a minute. AEW is dropping a special episode of Dark TONIGHT…with Powerhouse Hobbs vs. Lee Johnson…Sonny Kiss vs. Aaron Solo…and Private Party & The Blade vs. Dante Martin, Matt Sydal & Lee Moriarty. Tony Khan told TV Insider “a lot” of AEW contracts are expiring…and he can't renew all of them. Khan said he “had to make some tough choices based on ability, fan response, or both.” (STINGER: Impact) Tonight's Impact Wrestling has Knockouts Champion Mickie James vs. Chelsea Green in a non-title match. Deonna Purrazzo is hosting an open challenge for either of the championships she's holding: the Ring Of Honor Women's Title's or AAA's Women's Title. Also tonight, Brian Myers vs. W. Morrissey. (STINGER: WWE) Today's NXT UK has Nathan Frazer vs. Teoman…and A-Kid vs. Saxon Huxley. Candy Floss, an NXT UK prospect signed last January, announced she and WWE parted ways at the end of December. “Jackass” star Steve-O says he was at the Royal Rumble, in support of Johnny Knoxville…but Steve-O had to leave after testing positive for COVD-19. MLW Fusion is back tonight. Alex Hammerstone defends the MLW Heavyweight Title against Pagano. Plus, Richard Holliday vs. King Muertes…and EJ Nduka vs. Ikuro Kwon. (STINGER: New Japan) New Japan is promoting Jeff Cobb for its Windy City Riot show in Chicago on April 16th. Back in Japan, there's a big show on the Golden Series tour coming up on Friday…with El Desperado defending the IWGP Junior Heavyweight Championship against Master Wato. Plus, SHO vs. YOH…Great-O-Khan vs. Satoshi Kojima…and Gedo in a one-on-one match against Tiger Mask. Gedo is subbing in for Taiji Ishimori, who's being held out due to COVID-19 protocols. It's Gedo's first singles match since the New Japan Cup in 2020. Pro-Wrestling NOAH has another big show on Friday…with Go Shiozaki vs. Kenoh in the main event. Shiozaki lost to Masato Tanaka on Wednesday's show. Finally, some passings to report: Former AWA Women's Champion Candi Devine has died at the age of 63. And two well-known names from Lucha Libre have also passed away - Luchador Super Muneco at the age of 59…and commentator Arturo Rivera at the age of 67. That's JUST Pro Wrestling News for Thursday, February 10. Our next update comes your way tomorrow morning, so be sure to subscribe to this feed. We also thank you in advance for leaving a glowing rating or review.. I'm Matt Carlins. Thank YOU for listening.

A little bit extra, every weekday morning, from LBC's longest-serving presenter.

Kate Towsey shares some of the experiences that have shaped her career and goes deep into the research ops journey she's been leading at Atlassian.   Why did Kate leave contracting in London for a gig at Atlassian's Sydney office? How did an early mistake help Kate to find the key to scaling Research Ops? What is Kate's Candy Floss vs. Carrots theory of research?   ======   Who is Kate Towsey?   Kate is the Research Ops Manager at Atlasssian, and the founder of the 8000+ strong ResearchOps Community. Before moving from London to Sydney in 2018 to join Atlassian, Kate pioneered Research Operations at the UK's Government Digital Service (GDS), where she designed and delivered their first user research lab, AV repository and participant panel. Kate is currently writing a book called “Research At Scale: The Research Operations Handbook”, which will be published by Rosenfeld Media sometime in 2022.    ======   Find Kate here:   Website: http://www.katetowsey.co.uk/ LinkedIn: https://www.linkedin.com/in/katetowsey/ Twitter: https://twitter.com/katetowsey YouTube: https://bit.ly/31HGazN   ResearchOps Community https://researchops.community/   ======   Thank you for tuning in! If you liked what you saw and want more ...   ... please leave us a review on Apple Podcasts (or wherever you listened).   You can also follow us on our other social channels for more great UX and product design tips, interviews and insights!   LinkedIn: https://www.linkedin.com/company/the-space-in-between/ Instagram: https://www.instagram.com/thespaceinbetw__n/   ======   Host: Brendan Jarvis https://www.linkedin.com/in/brendanjarvis/

Agradece a este podcast tantas horas de entretenimiento y disfruta de episodios exclusivos como éste. ¡Apóyale en iVoox! A-Kid ha iniciado 2021 con un combate ante WALTER por el título de NXT UK. Ahí es nada. El español batalló de tú a tú, sufrió los ‘chops’ del austríaco e intentó, sin éxito, llevarse el cinturón. Aun así, la figura del Niño Anónimo sale tremendamente reforzada. Analizamos el combate y lo que esto supone en la primera parte del programa. En la segunda, charlamos con Santiago Tomasi (@ElBoxDeTomasi) sobre la actualidad de NXT UK y sobre los pilares base que están cimentando en la escisión británica de WWE (Heritage Cup, una división femenina estelar -Kay Lee Ray, Aoife Valkirie, Isla Down, Xia Brookside, Piper Niven, Jinny, Candy Floss…-, el título de peso crucero, luchadores en ascenso, etcétera). Además, en la última parte del podcast comentamos la cercana ya llegada de los resultados financieros del año 2020 para WWE. ¡Dale a Me Gusta y deja un comentario! 🤼‍♂️📝 — Suscríbete al podcast a partir de 1,49€/mes. Tendrás acceso a episodios exclusivos cada sábado, al Discord de UHEP, a un resumen de lo más destacado de la semana y a todo el histórico de programas. Y, todo ello, sin publicidad. — Twitter: www.twitter.com/SrAlexGomez Instagram: www.instagram.com/SrAlexGomez Twitch: www.twitch.tv/SirAlexGomezEscucha este episodio completo y accede a todo el contenido exclusivo de Último Hombre En Pie. Descubre antes que nadie los nuevos episodios, y participa en la comunidad exclusiva de oyentes en https://go.ivoox.com/sq/714573

Who said that bone facts can't be cultural? Heck, who says bone facts have to be correct! Okay, actually, real talk--there was no research done this fact before-hand, so if ANYONE finds a recipe, please send it to Jolene immediately so she can delete this episode and cry lonely sad tears in the shower.

Known as Candy Floss or Cotton Candy elsewhere in the world, this week we investigate the history of the fluffy cloud-like super spun sugar confectionery that is often sold at fairs and local showgrounds. Plus we try a bit of science!

TYPE 40: A Doctor Who Podcast Episode 63: Blackpool Remembered with John Collier & Alex Storer It’s the height of Summertime: what better time to head North to the glorious British Seaside destination Blackpool, with us on Type 40. Of course this being a Doctor Who podcast, time travel is involved somehow… This is our episode devoted to the much missed, original Doctor Who Exhibition that sat just off the “Golden Mile” there for 11 years. Timed to coincide with the launch of the ultimate book on the attraction! “Blackpool Remembered” is the work of our guests, writer John Collier and artist/designer Alex Storer. Regular voices Simon Horton and Dan Hadley can barely finish their Candy Floss as they reminisce over the sights and sounds of the exhibition, so fondly remembered by 70’s and 80’s kids. John and Alex explain how they pooled skills as well as memory banks on the project. In time gathering an army of contributors for this ambitious Ebook. Even if you never got to go, you’ll feel like you did once you listen in! You can always find TYPE 40: A Doctor Who Podcast on: • The FPNet Master Feed @Fpnet.podbean.com • FPNet on Podbean app • Fandom Podcast Network on: Apple Podcasts, Spotify, Stitcher & Google Play • Instagram: FandomPodcastNetwork & type40drwho • Facebook: TYPE 40: A Doctor Who Fandom Podcast: https://www.facebook.com/groups/1628050400840643/?ref=bookmarks If you would like to contact us directly you can: • Email: type40drwho@gmail.com • Twitter: @type40drwho • Instagram: @type40drwho • Download the Ebook Blackpool Remembered from 28th August here:https://blackpoolremembered7485.wordpress.com/ • John Collier on Twitter @FriendsUnitedUK • Alex Storer: thelightdreams.wordpress.com/ • Dan Hadley on Instagram and Twitter: @The_spacebook • Simon Horton @The Whonatics on Facebook The FANDOM PODCAST NETWORK is now on YouTube! Join us!Link: https://www.youtube.com/channel/UCib-kbKfAagsxrWlJU01RcgPLEASE SUBCRIBE to our YouTube channel to receive notifications of new podcast episodes and live events. TeePublic Store: Help support the Fandom Podcast Network and wear some of their fantastic original designs and logos on t-shirts, mugs, hats and more from Tee Public Go to: https://www.teepublic.com/user/fandompodcastnetwork or just search Fandom Podcast Network to find our storefront. Apple Podcasts:  Please search Fandom Podcast Network on Apple Podasts and leave us a review so new fans can find us easier. We LOVE 5 star reviews of course, but we love feedback in general!  Please listen to our other awesome podcasts on the Fandom Podcast Network: Master Feed: https://fpnet.podbean.com/ TYPE 40: A Doctor Who Podcasthttp://fpnet.podbean.com/category/type-40-the-fpnet-doctor-who-podcast/ 

This is a special extra episode of the podcast, not one of the “proper” five hundred. A book I’ve written, on the TV series The Strange World of Gurney Slade, has just become available for pre-order from Obverse Books, so to publicise that I’ve done an extra episode, on the pop music career of its star, Anthony Newley. The next normal episode will be up in a day or two. Transcript below the cut.  Erratum: In a previous version of this episode, I mentioned, in passing, my understanding that Newley was an alcoholic. This has been strongly questioned by some fans, who took offence at the suggestion, and as it was utterly irrelevant to the point I was making I have deleted those three words rather than cause further offence.   —-more—- Welcome to a special bonus episode of A History of Rock Music in 500 Songs. This is not this week’s normal episode, which will be up in a couple of days, and nor is it the Patreon bonus episode, which will also be up as normal. This is an extra, full-length episode, on a song which didn’t make the list of songs I’m covering. But this week, a book I’ve written has gone on pre-order, and it’ll be out on the first of September. That book is on The Strange World of Gurney Slade, a TV show from the very early 1960s. And the star of that show, Anthony Newley, also had a very successful music career in the late fifties and early sixties — and a career which had a real influence on many people who will be seen in future episodes. So, in order to promote my book, I’m going to talk today about some of Newley’s music. If you’re not interested in anything that isn’t part of my “official” five hundred songs, then you can skip this episode, but I promise that other than a brief mention at the end, this is not going to be an advert for my book, but just another episode, about the music career of one of Britain’s most interesting stars of the pre-Beatles era. So let’s look at “Strawberry Fair” by Anthony Newley: [Excerpt: Anthony Newley, “Strawberry Fair”] Anthony Newley was someone whose career only came about by what would seem at first to be bad luck. Newley was a child in London during the Blitz, the son of an unmarried mother, which had a great deal of stigma to it in those days. When the Blitz hit, he was evacuated, and felt abandoned by his mother. That sense of abandonment increased when his mother married her new boyfriend and moved to Scotland. And then Newley was moved into a second foster home, this one in Morecambe, Lancashire. His foster father during the war was one George Pescud, a music hall performer about whom I can discover nothing else, except that he instilled in Newley a great love of the theatre and of the arts, and that as a result of this Newley started writing music, painting, writing, and, especially, acting. When the war ended, Newley was fourteen, and didn’t go back to live with his mother and her new husband, choosing instead to move to London and start living an artistic life. He saw an advert in the paper for the Italia Conti stage school, and tried to become a student there. When he found out that he couldn’t afford the fees, he found another way in — he got a job there as an office boy, and his tuition was included in his wages. While there, he became friends with another student, Petula Clark, who would herself go on to stardom with records like “Downtown”. [Excerpt: Petula Clark, “Downtown”] Clark also encouraged him to start singing — something that would definitely pay off for him later. Apparently, Clark had a crush on Newley, but he wasn’t interested in her. While at the school, Newley got cast in a couple of roles in low-budget films, which brought him to the attention of David Lean, who was directing his film adaptation of Oliver Twist, and cast Newley in the role of the Artful Dodger. The film, which featured Alec Guinness, became one of the classics of British cinema, and also starred Diana Dors, with whom Newley started an affair, and who managed to get him a job as a bit player for the Rank Organisation. For the next few years, Newley had small roles in films, started a double act with the comedy writer Dick Vosburgh, had a brief spell in the army (very brief — he was discharged because of his mental health problems), spent a couple of years in rep, shared a flat with Christopher Lee and appeared in a Hammer Horror film — the usual things that low-level actors do as they slowly work their way up to stardom. His most notable appearance was in the West End revue Cranks, which opened in late 1955. A revue, for those who don’t know, is a theatrical show that usually mixes comedy sketches and songs (though the term was, confusingly for our purposes, sometimes also used for a bill with several different musical acts). These were very popular in the fifties and sixties, and Cranks was one of the most popular. After its West End run it transferred to Broadway, and Newley was one of the cast members who appeared on the Ed Sullivan Show to promote it, though the Broadway run of the show was not a success like the British one was. It was in Cranks that Newley’s singing first came to public attention: [Excerpt: Anthony Newley, “Cold Comfort”] Newley was starting to get substantial film roles, and it was with the film Idol on Parade that Newley became a star, and became drawn into the world of pop music. In that film, the first film written by the prominent British screenwriter John Antrobus, he played a pop star who was drafted into the British army, as all young men were in Britain in the fifties. The film is usually said to have been inspired by Elvis Presley having been called up, though it was likely that it was also influenced by Terry Dene, a British rock and roll star who had recently been drafted, before having a breakdown and being discharged due to ill health, and who had recorded songs like “Candy Floss”: [Excerpt: Terry Dene, “Candy Floss”] Dene’s story must have struck a chord with Newley, who’d had a very similar Army experience, though you couldn’t tell that from the film, which was a typical low-budget British comedy. As Newley was playing a pop singer, obviously he had to sing some songs in the film, and so he recorded five songs, one of which, “I’ve Waited So Long”, was released as a single and went to number three in the charts: [Excerpt: Anthony Newley, “I’ve Waited So Long”] Somehow, despite Newley being an actor — and someone who despised a lot of rock and roll music — he had become a pop star. He won the Variety Club of Great Britain Award for Most Promising Newcomer of 1959, even though he’d been making films since 1946. “I’ve Waited So Long” was co-written by Jerry Lordan, who wrote “Apache”, and Len Praverman, but two of the other songs in the film were written by Newley and Joe ‘Mr. Piano’ Henderson, and this would soon set Newley on the way to a career as a songwriter — indeed, as the most important singer-songwriter in pre-Beatles British pop music. He had seven UK top ten hits, two of them number ones, in the years from 1959 through 61, and he had a few more minor hits after that. Most of those hits were either cover versions of American hits like Lloyd Price’s “Personality”, or were written for him by people like Lionel Bart. One odd example shows where he would go as a music-maker, though. “Strawberry Fair” is a traditional folk song, which was collected, and presumably bowdlerised, by the Rev. Sabine Baring-Gould — the lyrics, about a young woman offering a young man the chance to pluck the cherries from her basket, read as innuendo, and Baring-Gould, who wrote “Onward Christian Soldiers”, was well known for toning down the lyrics of the folk songs he collected. Newley rewrote the lyrics under the pseudonym “Nollie Clapton”: [Excerpt: Anthony Newley, “Strawberry Fair”] But Newley was someone who wanted to do *everything*, and did so very well. While he was a pop star, he starred in his own series of TV specials, and then in his own sitcom, The Strange World of Gurney Slade. He starred in the classic British noir film The Small World of Sammy Lee. And he recorded a satirical album with his second wife, Joan Collins, and Peter Sellers, mocking the Government over the Profumo sex scandal: [Excerpt: Fool Britannia, “Twelve Randy Men”] That album went top ten, and was co-written by Newley and Leslie Bricusse. Bricusse would go on to collaborate with Newley in writing a series of songs, mostly for musicals, that everyone knows, though many don’t realise that Newley was involved in them. Newley mostly wrote the music, while Bricusse mostly wrote lyrics, though both did both. Their first major collaboration was on the play Stop The World, I Want To Get Off!, a semi-autobiographical starring vehicle for Newley, which displayed the life of a selfish womaniser called Littlechap, who would regularly stop the action of the play to monologue at the audience in much the same way as Newley’s TV character Gurney Slade. Much of Newley’s work seems to be trying to be three different things at the same time — he seems to want to write self-flagellating autobiography about his own selfish and sometimes misogynistic behaviour — this is a man who would later write a song called “Oh What a Son of a Bitch I Am”, and mean it — while also wanting to create work that is formally extraordinary and involves a lot of metafictional and postmodern elements — *and* at the same time wanting to make all-round family entertainment. For a while, at least, he managed to juggle all three aspects very successfully, and Stop The World, I Want to Get Off! became a massive hit on stage, and was adapted for the cinema once and TV twice. Stop The World introduced two songs that would become standards. “What Kind of Fool Am I?” became a big hit for Sammy Davis Jr, and won the Grammy for “Song of the Year” at the 1963 Grammy Awards: [Excerpt: Sammy Davis Jr., “What Kind of Fool Am I?”] Davis also recorded another song from that show, “Gonna Build a Mountain”, as the B-side, and that too became a standard, recorded by everyone from Matt Monroe to the Monkees: [Excerpt: The Monkees, “Gonna Build a Mountain”] Newley and Bricusse followed that up with another musical, The Roar of the Greasepaint, The Smell of the Crowd, which again introduced a whole host of famous songs. “Who Can I Turn To?” was the big hit at the time, for Tony Bennett, and has since been performed by everyone from Miles Davis to Barbra Streisand, Dusty Springfield to the Temptations: [Excerpt: Temptations, “Who Can I Turn To?”] But the song from that musical that is now best known is almost certainly “Feeling Good”, which you’ve almost certainly heard in Nina Simone’s staggering version: [Excerpt: Nina Simone, “Feeling Good”] They also wrote the theme to “Goldfinger”, with John Barry: [Excerpt: Shirley Bassey, “Goldfinger”] That song was one that Bricusse would use in interviews to demonstrate the almost telepathic rapport that he and Newley had – when Barry played them the beginning of the melody, they both instantly sang, without looking at each other, “wider than a mile”. Barry was unimpressed, and luckily for all concerned the rest of the melody wasn’t that similar to “Moon River”, and the song became arguably the definitive Bond theme. But at the same time that Newley was having this kind of popular success, he was also doing oddities like “Moogies Bloogies”, a song in which Newley sings about voyeuristically watching women, while Delia Derbyshire backs him with experimental electronic music: [Excerpt: Delia Derbyshire and Anthony Newley, “Moogies Bloogies”] That was recorded in 1966, though it wasn’t released until much later. Newley’s career was a bizarre one by almost every measure. Possibly the highlight, at least in some senses, was his 1969 film Can Hieronymus Merkin Ever Forget Mercy Humppe and Find True Happiness? [Excerpt: “Can Hieronymus Merkin Ever Forget Mercy Humppe and Find True Happiness?” trailer] On one level, that film is a terrible sex comedy of the kind that the British film industry produced far too much of in the late sixties and seventies, featuring people like Bruce Forsyth and with characters named Hieronymus Merkin, Filligree Fondle, and Polyester Poontang. On the other hand, it’s a work of postmodern self-commenting autobiography, with Newley co-writing the script, starring as multiple characters, directing, producing, and writing the music. Roger Ebert said it was the first English-language film to attempt the same things that Fellini and Godard had been attempting, which is not something you’d normally expect of a musical featuring Milton Berle and Joan Collins. The film has at least four different layers of reality to it, including a film within a film within the film, and it features Newley regularly stepping out of character to talk about the problems with the film. It’s a film of his midlife crisis, basically, but where Ebert compares it to Fellini and Godard, I’d say it’s closer to Head, 200 Motels, or other similarly indulgent rock films of the era, and it deals with a lot of the same concerns — God and the Devil, sexual freedom, and the nature of film as a narrative medium. All of Newley’s career was like that — a mixture of lowbrow light entertainment and attempts at postmodernist art, both treated by Newley as of equal value, but each being offputting to an audience that might have enjoyed the other. If you want songs and pretty women and dirty jokes, you probably don’t want metafictional conversations between the main character of the film and the director, both of whom are the same person. If you want a film that Roger Ebert will compare to Fellini, you probably don’t want it to be a musical including a song that starts out as a fairy-tale about a lonely princess named Trampolena Whambang, and ends up with the princess having sex with a donkey: [Excerpt: Heironymus Merkin soundtrack, “Princess Trampolena”] The film also was one of the things that led to Newley’s breakup with Collins — she decided that she didn’t like the aspects of his character, and his attitudes towards women, the film revealed — though Newley claimed until his dying day that while the film was inspired by his own life, it wasn’t directly autobiographical. Given that the film’s main character, in one sequence, talks about his attraction to underage girls, that’s probably for the best. (And Newley did have a deplorable attitude to women generally — I’m not going into it in detail here, because this podcast is about the work, not the person, but Newley was a thoroughly unpleasant person in many respects.) Hieronymus Merkin was a massive flop, though the critical response to it was far kinder than its reputation suggests. Unfortunately, Joan Collins so detests the film that it’s never been available on DVD in the UK, and only sporadically elsewhere — DVD copies on Amazon currently go for around three hundred pounds. That was, largely, the end of Anthony Newley’s career as an auteur. It wasn’t, though, the end of his career in songwriting. With Leslie Bricusse he wrote the songs that made up the soundtrack of Willie Wonka and the Chocolate Factory — songs like “Pure Imagination”: [Excerpt: Gene Wilder, “Pure Imagination”] That film also featured “The Candy Man”, which became a number one hit in a cover version by Sammy Davis Jr: [Excerpt: Sammy Davis Jr, “The Candy Man”] After that, though, Newley didn’t have much more success as a songwriter, but by this point his biggest influence on rock and roll music was already very apparent. David Bowie once said “I never thought I could sing very well, and I used to try on people’s voices if they appealed to me. When I was a kid, about fifteen, sixteen, I got into Anthony Newley like crazy, because a couple of things about him — one, before he came to the States and did the whole Las Vegas thing, he really did bizarre things over here. Now, a television series he did, called the Strange World of Gurney Slade, which was so odd, and off the wall, and I thought, ‘I like what this guy’s doing, where he’s going is really interesting’. And so I started singing songs like him… and so I was writing these really weird Tony Newley type songs, but the lyrics were about, like, lesbians in the army, and cannibals, and paedophiles” If you listen to Bowie’s earliest work, it’s very, very apparent how much he took from Newley’s vocal style in particular: [Excerpt: David Bowie, “Rubber Band”] There is a whole vein of British music that usually gets called “music hall” when bad critics talk about it, even though it owes nothing to the music that was actually performed in actual music halls. But what it does owe a great deal to is the work of Anthony Newley. One can draw a direct line from him through Davy Jones of the Monkees, Bowie, Syd Barrett, Ray Davies, Ian Dury, Blur… even a performer like John Lydon, someone who would seem worlds away from Newley’s showbiz sheen, has far more of his influence in his vocal inflections than most would acknowledge. Every time you hear a singer referred to as “quintessentially British”, you’re probably hearing someone who is either imitating Newley, or imitating someone who was imitating Newley. Newley is one of the most frustrating figures in the history of popular culture. He was someone who had so much natural talent as an actor, singer, songwriter, and playwright, and so many different ideas, that he didn’t work hard enough at any of those things to become as great as he could have been — there are odd moments of genius scattered throughout his work, but very little one can point to and say “that is a work worthy of his talents”. His mental and emotional problems caused damage to him and to the people around him, and he spent much of the last half of his career making a living from appearing in Las Vegas and as a regular on Hollywood Squares, and appearing in roles in things like The Garbage Pail Kids Movie — his last starring role in the cinema. He attempted a comeback in the nineties, appearing with his ex-wife Joan Collins in two Noel Coward adaptations on TV, taking the lead role in the hit musical Scrooge, written by his old partner Bricusse, and getting a regular role in East Enders (one of the two most popular soap operas on British TV), but unfortunately he had to quit the East Enders role as he was diagnosed with the cancer that killed him in 1999, aged sixty-seven. Anyway, if this episode has piqued your interest in Newley, you might want to check out my book on The Strange World of Gurney Slade, which is a TV show that has almost all the best aspects of Newley’s work, and which deserves to be regarded as one of the great masterpieces of TV, a series that is equal parts Hancock’s Half Hour, The Prisoner, and Waiting for Godot. You can order the book from Obverse Books, at obversebooks.co.uk, and I’ll provide a link in the show notes. While you’re there, check out some of the other books Obverse have put out — they’ve published two more of my books and a couple of my short stories, and many of their writers are both friends of mine and some of the best writers around. I’ll be back in a couple of days with the next proper episode.

Episode eighty-four of A History of Rock Music in Five Hundred Songs looks at “Shakin’ All Over” by Johnny Kidd and the Pirates, and how the first great British R&B band interacted with the entertainment industry. Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have a fifteen-minute bonus episode, on “Under Your Spell Again” by Buck Owens. Tilt Araiza has assisted invaluably by doing a first-pass edit, and will hopefully be doing so from now on. Check out Tilt’s irregular podcasts at http://www.podnose.com/jaffa-cakes-for-proust and http://sitcomclub.com/ —-more—- Resources   As usual, I have put together a Mixcloud mix with every song excerpted in this podcast. Only one biography of Kidd has been written, and that’s been out of print for nearly a quarter of a century and goes for ridiculous prices. Luckily Adie Barrett’s site http://www.johnnykidd.co.uk/ is everything a fan-site should be, and has a detailed biographical section which I used for the broad-strokes outline. Clem Cattini: My Life, Through the Eye of a Tornado is somewhere between authorised biography and autobiography. It’s not the best-written book ever, but it contains a lot of information about Clem’s life. Spike & Co by Graham McCann gives a very full account of Associated London Scripts. Pete Frame’s The Restless Generation is the best book available looking at British 50s rock and roll from a historical perspective. Be warned, though — his jokey and irreverent style can, when dealing with people like Larry Parnes (who was gay and Jewish) very occasionally tip over into reinforcing homophobic and anti-semitic stereotypes for an easy laugh. Billy Bragg’s Roots, Radicals, and Rockers: How Skiffle Changed the World is one of the best books I’ve read on music at all, and gives far more detail about the historical background. And a fair chunk of the background information here also comes from the extended edition of Mark Lewisohn’s Tune In, which is essential reading for anyone who is interested in the Beatles, British post-war culture, and British post-war music.   Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript As we get more into this story, we’re going to see a lot more British acts becoming part of it. We’ve already looked at Lonnie Donegan, Cliff Richard, Tommy Steele, and Vince Taylor, but without spoiling anything I think most of you can guess that over the next year or so we’re going to see a few guitar bands from the UK enter the narrative. Today we’re going to look at one of the most important British bands of the early sixties — a band who are now mostly known for one hit and a gimmick, but who made a massive contribution to the sound of rock music. We’re going to look at Johnny Kidd and the Pirates: [Excerpt: Johnny Kidd and the Pirates, “Shakin’ All Over”] Our story starts during the skiffle boom of 1957. If you don’t remember the episodes we did on skiffle and early British rock and roll, it was a musical craze that swept Britain after Lonnie Donegan’s surprise hit with “Rock Island Line”. For about eighteen months, nearly every teenage boy in Britain was in a group playing a weird mix of Leadbelly and Woody Guthrie songs, old folk tunes, and music-hall numbers, with a lineup usually consisting of guitar, banjo, someone using a washboard as percussion, and a homemade double bass made out of a teachest, a broom handle, and a single string. The skiffle craze died away as quickly as it started out, but it left a legacy — thousands of young kids who’d learned at least three chords, who’d performed in public, and who knew that it was possible to make music without having gone through the homogenising star-making process. That would have repercussions throughout the length of this story, and to this day. But while almost everyone in a skiffle group was a kid, not everyone was. Obviously the big stars of the genre — Lonnie Donegan, Chas McDevitt, the Vipers — were all in their twenties when they became famous, and so were some of the amateurs who tried to jump on the bandwagon. In particular, there was Fred Heath. Heath was twenty-one when skiffle hit, and was already married — while twenty-one might seem young now, at the time, it was an age when people were meant to have settled down and found a career. But Heath wasn’t the career sort. There were rumours about him which attest to the kind of person he was perceived as being — that he was a bookie’s runner, that he’d not been drafted because he was thought to be completely impossible to discipline, that he had been working as a painter in a warehouse and urinated on the warehouse floor from the scaffolding he was on — and he was clearly not someone who was *ever* going to settle down. The first skiffle band Heath formed was called Bats Heath and the Vampires, and featured Heath on vocals and rhythm guitar, Brian Englund on banjo, Frank Rouledge on lead guitar, and Clive Lazell on washboard. The group went through a variety of names, at one point naming themselves the Frantic Four in what seems to have been an attempt to confuse people into thinking they were seeing Don Lang’s Frantic Five, the group who often appeared on Six-Five Special: [Excerpt: Don Lang and his Frantic Five, “Six-Five Hand Jivel”] The group went through the standard lineup and name changes that almost every amateur group went through, and they ended up as a five-piece group called the Five Nutters. And it was as the Five Nutters that they made their first attempts at becoming stars, when they auditioned for Carroll Levis. Levis was one of the most important people in showbusiness in the UK at this time. He’d just started a TV series, but for years before that his show had been on Radio Luxembourg, which was for many teenagers in the UK the most important radio station in the world. At the time, the BBC had a legal monopoly on radio broadcasting in the UK, but they had a couple of problems when it came to attracting a teenage audience. The first was that they had to provide entertainment for *everyone*, and so they couldn’t play much music that only appealed to teenagers but was detested by adults. But there was a much bigger problem for the BBC when it came to recorded music. In the 1950s, the BBC ran three national radio stations — the Light Programme, the Home Service, and the Third Programme — along with one national TV channel. The Musicians’ Union were worried that playing recorded music on these would lead to their members losing work, and so there was an agreement called “needletime”, which allowed the BBC to use recorded music for twenty-two hours a week, total, across all three radio stations, plus another three hours for the TV. That had to cover every style of music from Little Richard through to Doris Day through to Beethoven. The rest of the time, if they had music, it had to be performed by live musicians, and so you’d be more likely to hear “Rock Around the Clock” as performed by the Northern Dance Orchestra than Bill Haley’s version, and much of the BBC’s youth programming had middle-aged British session musicians trying to replicate the sound of American records and failing miserably. But Luxembourg didn’t have a needle-time rule, and so a commercial English-language station had been set up there, using transmitters powerful enough to reach most of Britain and Ireland. The station was owned and run in Britain, and most of the shows were recorded in London by British DJs like Brian Matthew, Jimmy Savile, and Alan Freeman, although there were also recordings of Alan Freed’s show broadcast on it. The shows were mostly sponsored by record companies, who would make the DJs play just half of the record, so they could promote more songs in their twenty-minute slot, and this was the main way that any teenager in Britain would actually be able to hear rock and roll music. Oddly, even though he spent many years on Radio Luxembourg, Levis’ show, which had originally been on the BBC before the War, was not a music show, but a talent show. Whether on his original BBC radio show, the Radio Luxembourg one, or his new TV show, the format was the same. He would alternate weeks between broadcasting and talent scouting. In talent scouting weeks he would go to a different city each week, where for five nights in a row he would put on talent shows featuring up to twenty different local amateur acts doing their party pieces — without payment, of course, just for the exposure. At the end of the show, the audience would get a chance to clap for each act, and the act that got the loudest applause would go through to a final on the Saturday night. This of course meant that acts that wanted to win would get a lot of their friends and family to come along and cheer for them. The Saturday night would then have the winning acts — which is to say, those who brought along the most paying customers — compete against each other. The most popular of *those* acts would then get to appear on Levis’ TV show the next week. It was, as you can imagine, an extremely lucrative business. When the Five Nutters appeared on Levis’ Discoveries show, they were fairly sure that the audience clapped loudest for them, but they came third. Being the type of person he was, Fred Heath didn’t take this lying down, and remonstrated with Levis, who eventually promised to get the Nutters some better gigs, one suspects just to shut Heath up. As a result of Levis putting in a good word for them, they got a few appearances at places like the 2Is, and made an appearance on the BBC’s one concession to youth culture on the radio — a new show called Saturday Skiffle Club. Around this time, the Five Nutters also recorded a demo disc. The first side was a skiffled-up version of “Shake, Rattle and Roll”, with some extremely good jazzy lead guitar: [Excerpt: Fred Heath and the Five Nutters, “Shake, Rattle, and Roll”] I’ve heard quite a few records of skiffle groups, mostly by professionals, and it’s clear that the Five Nutters were far more musical, and far more interesting, than most of them, even despite the audible sloppiness here. The point of skiffle was meant to be that it was do-it-yourself music that required no particular level of skill — but in this case the Nutters’ guitarist Frank Rouledge was clearly quite a bit more proficient than the run-of-the-mill skiffle guitarist. What was even more interesting about that recording, though, was the B-side, which was a song written by the group. It seems to have been mostly written by Heath, and it’s called “Blood-Red Beauty” because Heath’s wife was a redhead: [Excerpt: Fred Heath and the Five Nutters, “Blood Red Beauty”] The song itself is fairly unexceptional — it’s a standard Hank Williams style hillbilly boogie — but at this time there was still in Britain a fairly hard and fast rule which had performers and songwriters as two distinct things. There were a handful of British rock musicians who were attempting to write their own material — most prominently Billy Fury, a Larry Parnes artist who I’m afraid we don’t have space for in the podcast, but who was one of the most interesting of the late-fifties British acts — but in general, there was a fairly strict demarcation. It was very unusual for a British performer to also be trying to write songs. The Nutters split up shortly after their Saturday Skiffle Club appearance, and Heath formed various other groups called things like The Fabulous Freddie Heath Band and The Fred, Mike & Tom Show, before going back to the old name, with a new lineup of Freddie Heath and the Nutters consisting of himself on vocals, Mike West and Tom Brown — who had been the Mike and Tom in The Fred, Mike, & Tom Show, on backing vocals, Tony Doherty on rhythm guitar, Ken McKay on drums, Johnny Gordon on bass, and on lead guitar Alan Caddy, a man who was known by the nickname “tea”, which was partly a pun on his name, partly a reference to his drinking copious amounts of tea, and partly Cockney rhyming slang — tea-leaf for thief — as he was known for stealing cars. The Nutters got a new agent, Don Toy, and manager, Guy Robinson, but Heath seemed mostly to want to be a songwriter rather than a singer at this point. He was looking to place his songs with other artists, and in early 1959, he did. He wrote a song called “Please Don’t Touch”, and managed to get it placed with a vocal group called the Bachelors — not the more famous group of that name, but a minor group who recorded for Parlophone, a subsidiary of EMI run by a young producer named George Martin. “Please Don’t Touch” came out as the B-side of a Bachelors record: [Excerpt: The Bachelors, “Please Don’t Touch”] One notable thing about the songwriting credit — while most sources say Fred Heath wrote the song by himself, he gave Guy Robinson a co-writing credit on this and many of his future songs. This was partly because it was fairly standard at the time for managers to cut themselves in on their artists’ credits, but also because that way the credit could read Heath Robinson — Heath Robinson was a famous British cartoonist who was notable for drawing impossibly complicated inventions, and whose name had become part of the British language — for American listeners, imagine that the song was credited to Rube Goldberg, and you’ll have the idea. At this point, the Nutters had become quite a professional organisation, and so it was unsurprising that after “Please Don’t Touch” brought Fred Heath to the attention of EMI, a different EMI imprint, HMV, signed them up. Much of the early success of the Nutters, and this professionalism, seems to be down to Don Toy, who seems to have been a remarkably multi-talented individual. As well as being an agent who had contracts with many London venues to provide them with bands, he was also an electrical engineer specialising in sound equipment. He built a two-hundred watt bass amp for the group, at a time when almost every band just put their bass guitar through a normal guitar amp, and twenty-five watts was considered quite loud. He also built a portable tape echo device that could be used on stage to make Heath’s voice sound like it would on the records. Heath later bought the first Copicat echo unit to be made — this was a mass-produced device that would be used by a lot of British bands in the early sixties, and Heath’s had serial number 0001 — but before that became available, he used Toy’s device, which may well have been the very first on-stage echo device in the UK. On top of that, Toy has also claimed that most of the songs credited to Heath and Robinson were also co-written by him, but he left his name off because the credit looked better without it. And whether or not that’s true, he was also the drummer on this first session — Ken McKay, the Nutters’ drummer, was a bit unsteady in his tempo, and Toy was a decent player and took over from him when in April 1959, Fred Heath and the Nutters went into Abbey Road Studio 2, to record their own version of “Please Don’t Touch”. This was ostensibly produced by HMV producer Walter Ridley, but Ridley actually left rock and roll records to his engineer, Peter Sullivan: [Excerpt: Johnny Kidd and the Pirates, “Please Don’t Touch”] It was only when the session was over that they saw the paperwork for it. Fred Heath was the only member of the Nutters to be signed to EMI, with the rest of the group being contracted as session musicians, but that was absolutely normal for the time period — Tommy Steele’s Steelmen and Cliff Richard’s Drifters hadn’t been signed as artists either. What they were concerned about was the band name on the paperwork — it didn’t say Fred Heath and the Nutters, but Johnny Kidd and the Pirates. They were told that that was going to be their new name. They never did find out who it was who had decided on this for them, but from now on Fred Heath was Johnny Kidd. The record was promoted on Radio Luxembourg, and everyone thought it was going to go to number one. Unfortunately, strike action prevented that, and the record was only a moderate chart success — the highest position it hit in any of the UK charts at the time was number twenty on the Melody Maker chart. But that didn’t stop it from becoming an acknowledged classic of British rock and roll. It was so popular that it actually saw an American cover version, which was something that almost never happened with British songs, though Chico Holliday’s version was unsuccessful: [Excerpt: Chico Holliday, “Please Don’t Touch”] It remained such a fond memory for British rockers that in 1980 the heavy metal groups Motorhead and Girlschool recorded it as the supergroup HeadGirl, and it became the biggest hit either group ever had, reaching number five in the British charts: [Excerpt: Headgirl, “Please Don’t Touch”] But while “Please Don’t Touch” was one of the very few good rock and roll records made in Britain, it wasn’t the one for which Johnny Kidd and the Pirates would be remembered. It was, though, enough to make them a big act. They toured the country on a bill compered by Liverpool comedian Jimmy Tarbuck, and they made several appearances on Saturday Club, which had now dropped the “skiffle” name and was the only place anyone could hear rock and roll on BBC radio. Of course, the British record industry having the immense sense of potential it did, HMV immediately capitalised on the success of Johnny Kidd and the Pirates doing a great group performance of an original rock and roll number, by releasing as a follow-up single, a version of the old standard “If You Were the Only Girl in the World and I Were the Only Boy” by Johnny without the Pirates, but with chorus and orchestra conducted by Ivor Raymonde: [Excerpt: Johnny Kidd, “If You Were The Only Girl in the World”] For some reason — I can’t imagine why — that didn’t chart. One suspects that young Lemmy wasn’t quite as fond of that one as “Please Don’t Touch”. The B-side was a quite good rocker, with some nice guitar work from the session guitarist Bert Weedon, but no-one bothered to buy the record at the time, so they didn’t turn it over to hear the other side. The follow-up was better — a reworking of Marv Johnson’s “You’ve Got What it Takes”, one of the hits that Berry Gordy had been writing and producing for Johnson. Johnson’s version made the top five in the UK, but the Pirates’ version still made the top thirty. But by this time there had been some changes. The first change that was made was that the Pirates changed manager — while Robinson would continue getting songwriting credits, the group were now managed through Associated London Scripts, by Stan “Scruffy” Dale. Associated London Scripts was, as the name suggests, primarily a company that produced scripts. It was started as a writers’ co-operative, and in its early days it was made up of seven people. There was Frankie Howerd, one of the most popular stand-up comedians of the time, who was always looking for new material; Spike Milligan, the writer and one of the stars of the Goon Show, the most important surreal comedy of the fifties; Eric Sykes, who was a writer-performer who was involved in almost every important comedy programme of the decade, including co-writing many Goon episodes with Milligan, before becoming a TV star himself; Ray Galton and Alan Simpson, who wrote the most important *sitcom* of the fifties and early sixties, Hancock’s Half Hour; and Scruffy Dale, who was Howerd and Sykes’ manager and was supposed to take care of the business stuff. In fact, though, most of the business was actually taken care of by the seventh person and only woman, Beryl Vertue, who was taken on as the secretary on the basis of an interview that mostly asked about her tea-making skills, but soon found herself doing almost everything — the men in the office got so used to asking her “Could you make the tea, Beryl?”, “Could you type up this script, Beryl?” that they just started asking her things like “Could you renegotiate our contract with the BBC, Beryl?” She eventually became one of the most important women in the TV industry, with her most recent prominent credit being as executive producer on the BBC’s Sherlock up until 2017, more than sixty years after she joined the business. Vertue did all the work to keep the company running — a company which grew to about thirty writers, and between the early fifties and mid sixties, as well as Hancock’s Half Hour and the Goons, its writers created Sykes, Beyond Our Ken, Round the Horne, Steptoe and Son, The Bedsitting Room, the Running, Jumping, Standing Still Film, Til Death Us Do Part, Citizen James, and the Daleks. That’s a list off the top of my head — it would actually be easier to list memorable British comedy programmes and films of the fifties and early sixties that *didn’t* have a script from one of ALS’ writers. And while Vertue was keeping Marty Feldman, John Junkin, Barry Took, Johnny Speight, John Antrobus and all the rest of these new writers in work, Scruffy Dale was trying to create a career in pop management. As several people associated with ALS had made records with George Martin at Parlophone, he had an in there, and some of the few pop successes that Martin had in the fifties were producing acts managed by Dale through ALS, like the Vipers Skiffle Group: [Excerpt: The Vipers Skiffle Group, “Don’t You Rock Me, Daddy-O”] and a young performer named Jim Smith, who wanted to be a comedian and actor, but who Dale renamed after himself, and who had a string of hits as Jim Dale: [Excerpt: Jim Dale, “Be My Girl”] Jim Dale eventually did become a film and TV star, starting with presenting Six-Five Special, and is now best known for having starred in many of the Carry On films and narrating the Harry Potter audiobooks, but at the time he was still a pop star. Jim Dale and the Vipers were the two professional acts headlining an otherwise-amateur tour that Scruffy Dale put together that was very much like Carroll Levis’ Discoveries show, except without the need to even give the winners a slot on the TV every other week. This tour was supposed to be a hunt for the country’s best skiffle group, and there was going to be a grand national final, and the winner of *that* would go on TV. Except they just kept dragging the tour out for eighteen months, until the skiffle fad was completely over and no-one cared, so there never was a national final. And in the meantime the Vipers had to sit through twenty groups of spotty kids a night, all playing “Don’t You Rock Me Daddy-O”, and then go out and play it themselves, every night for eighteen months. Scruffy Dale was unscrupulous in other ways as well, and not long after he’d taken on the Pirates’ management he was sacked from ALS. Spike Milligan had never liked Dale — when told that Dale had lost a testicle in the war, he’d merely replied “I hope he dropped it on Dresden” — but Frankie Howerd and Eric Sykes had always been impressed with his ability to negotiate deals. But then Frankie Howerd found out that he’d missed out on lucrative opportunities because Dale had shoved letters in his coat pocket and forgotten about them for a fortnight. He started investigating a few more things, and it turned out that Dale had been siphoning money from Sykes and Howerd’s personal bank accounts into his own, having explained to their bank manager that it would just be resting in his account for them, because they were showbiz people who would spend it all too fast, so he was looking after them. And he’d also been doing other bits of creative accounting — every success his musical acts had was marked down as something he’d done independently, and all the profits went to him, while all the unsuccessful ventures were marked down as being ALS projects, and their losses charged to the company. So neither Dale nor the Pirates were with Associated London Scripts very long. But Dale made one very important change — he and Don Toy decided between them that most of the Pirates had to go. There were six backing musicians in the group if you counted the two backing vocalists, who all needed paying, and only one could read music — they weren’t professional enough to make a career in the music business. So all of the Pirates except Alan Caddy were sacked. Mike West and Tony Doherty formed another band, Robby Hood and His Merry Men, whose first single was written by Kidd (though it’s rare enough I’ve not been able to find a copy anywhere online). The new backing group was going to be a trio, modelled on Johnny Burnette’s Rock and Roll Trio — just one guitar, bass, and drums. They had Caddy on lead guitar, Clem Cattini on drums, and Brian Gregg on bass. Cattini was regarded as by far the best rock drummer in Britain at the time. He’d played with Terry Dene’s backing band the Dene Aces, and can be seen glumly backing Dene in the film The Golden Disc: [Excerpt: Terry Dene, “Candy Floss”] Gregg had joined Dene’s band, and they’d both then moved on to be touring musicians for Larry Parnes, backing most of the acts on a tour featuring Gene Vincent and Eddie Cochran that we’ll be looking at next week. They’d played with various of Parnes’ acts for a while, but had then asked for more money, and he’d refused, so they’d quit working for Parnes and joined Vince Taylor and the Playboys. They’d only played with the Playboys a few weeks when they moved on to Chas McDevitt’s group. For a brief time, McDevitt had been the biggest star in skiffle other than Lonnie Donegan, but he was firmly in the downward phase of his career at this point. McDevitt also owned a coffee bar, the Freight Train, named after his biggest hit, and most of the musicians in London would hang out there. And after Clem Cattini and Brian Gregg had joined the Pirates, it was at the Freight Train that the song for which the group would be remembered was written. They were going to go into the studio to record another song chosen by the record label — a version of the old standard “Yes Sir, That’s My Baby” — because EMI had apparently not yet learned that if you had Johnny Kidd record old standards, no-one bought it, but if you had him record bluesy rock and roll you had a hit. But they’d been told they could write their own B-side, as they’d been able to on the last few singles. They were also allowed to bring in Joe Moretti to provide a second guitar — Moretti, who had played the solo on “Brand New Cadillac”, was an old friend of Clem Cattini’s, and they thought he’d add something to the record, and also thought they’d be doing him a favour by letting him make a session fee — he wasn’t a regular session player. So they all got together in the Freight Train coffee bar, and wrote another Heath/Robinson number. They weren’t going to do anything too original for a B-side, of course. They nicked a rhythm guitar part from “Linda Lu”, a minor US hit that Lee Hazelwood had produced for a Chuck Berry soundalike named Ray Sharpe, and which was itself clearly lifted from “Speedoo” by the Cadillacs: [Excerpt: Ray Sharpe, “Linda Lu”] They may also have nicked Joe Moretti’s lead guitar part as well, though there’s more doubt about this. There’s a Mickey and Sylvia record, “No Good Lover”, which hadn’t been released in the UK at the time, so it’s hard to imagine how they could have heard it, but the lead guitar part they hit on was very, very similar — maybe someone had played it on Radio Luxembourg: [Excerpt: Mickey and Sylvia, “No Good Lover”] They combined those musical ideas with a lyric that was partly a follow-on to the line in “Please Don’t Touch” about shaking too much, and partly a slightly bowdlerised version of a saying that Kidd had — when he saw a woman he found particularly attractive, he’d say “She gives me quivers in me membranes”. As it was a B-side, the track they recorded only took two takes, plus a brief overdub for Moretti to add some guitar shimmers, created by him using a cigarette lighter as a slide: [Excerpt: Johnny Kidd and the Pirates, “Shakin’ All Over”] The song was knocked off so quickly that they even kept in a mistake — before the guitar solo, Clem Cattini was meant to play just a one-bar fill. Instead he played for longer, which was very unlike Cattini, who was normally a professional’s professional. He asked for another take, but the producer just left it in, and that break going into the solo was one of the things that people latched on to: [Excerpt: Johnny Kidd and the Pirates, “Shakin’ All Over”] Despite the track having been put together from pre-existing bits, it had a life and vitality to it that no other British record except “Brand New Cadillac” had had, and Kidd had the added bonus of actually being able to hold a tune, unlike Vince Taylor. The record company quickly realised that “Shakin’ All Over” should be the record that they were pushing, and flipped the single. The Pirates appeared on Wham!, the latest Jack Good TV show, and immediately the record charted. It soon made number one, and became the first real proof to British listeners that British people could make rock and roll every bit as good as the Americans — at this point, everyone still thought Vince Taylor was from America. It was possibly Jack Good who also made the big change to Johnny Kidd’s appearance — he had a slight cast in one eye that got worse as the day went on, with his eyelid drooping more and more. Someone — probably Good — suggested that he should make this problem into an advantage, by wearing an eyepatch. He did, and the Pirates got pirate costumes to wear on stage, while Kidd would frantically roam the stage swinging a cutlass around. At this point, stagecraft was something almost unknown to British rock performers, who rarely did more than wear a cleanish suit and say “thank you” after each song. The only other act that was anything like as theatrical was Screaming Lord Sutch and the Savages, a minor act who had ripped off Screamin’ Jay Hawkins’ act. The follow-up, “Restless”, was very much “Shakin’ All Over” part two, and made the top thirty. After that, sticking with the formula, they did a version of “Linda Lu”, but that didn’t make the top forty at all. Possibly the most interesting record they made at this point was a version of “I Just Want to Make Love to You”, a song Willie Dixon had written for Muddy Waters: [Excerpt: Johnny Kidd and the Pirates, “I Just Want to Make Love to You”] The Pirates were increasingly starting to include blues and R&B songs in their set, and the British blues boom artists of the next few years would often refer to the Pirates as being the band that had inspired them. Clem Cattini still says that Johnny Kidd was the best British blues singer he ever heard. But as their singles were doing less and less well, the Pirates decided to jump ship. Colin Hicks, Tommy Steele’s much less successful younger brother, had a backing band called the Cabin Boys, which Brian Gregg had been in before joining Terry Dene’s band. Hicks had now started performing an act that was based on Kidd’s, and for a tour of Italy, where he was quite popular, he wanted a new band — he asked the Pirates if they would leave Kidd and become the latest lineup of Cabin Boys, and they left, taking their costumes with them. Clem Cattini now says that agreeing was the worst move he ever made, but they parted on good terms — Kidd said “Alan, Brian and Clem left me to better themselves. How could I possibly begrudge them their opportunity?” We’ll be picking up the story of Alan, Brian, and Clem in a few months’ time, but in the meantime, Kidd picked up a new backing band, who had previously been performing as the Redcaps, backing a minor singer called Cuddly Dudley on his single “Sitting on a Train”: [Excerpt: Cuddly Dudley and the Redcaps, “Sitting on a Train”] That new lineup of Pirates didn’t last too long before the guitarist quit, due to ill health, but he was soon replaced by Mick Green, who is now regarded by many as one of the great British guitarists of all time, to the extent that Wilko Johnson, another British guitarist who came to prominence about fifteen years later, has said that he spent his entire career trying and failing to sound like MIck Green. In 1962 and 63 the group were playing clubs where they found a lot of new bands who they seemed to have things in common with. After playing the Cavern in Liverpool and a residency at the Star Club in Hamburg, they added Richie Barrett’s “Some Other Guy” and Arthur Alexander’s “A Shot of Rhythm and Blues” to their sets, two R&B numbers that were very popular among the Liverpool bands playing in Hamburg but otherwise almost unknown in the UK. Unfortunately, their version of “A Shot of Rhythm and Blues” didn’t chart, and their record label declined to issue their version of “Some Other Guy” — and then almost immediately the Liverpool group The Big Three released their version as a single, and it made the top forty. As the Pirates’ R&B sound was unsuccessful — no-one seemed to want British R&B, at all — they decided to go the other way, and record a song written by their new manager, Gordon Mills (who would later become better known for managing Tom Jones and Englebert Humperdinck). “I’ll Never Get Over You” was a very catchy, harmonised, song in the style of many of the new bands that were becoming popular, and it’s an enjoyable record, but it’s not really in the Pirates’ style: [Excerpt: Johnny Kidd and the Pirates, “I’ll Never Get Over You”] That made number four on the charts, but it would be Johnny Kidd and the Pirates’ last major hit. They did have a minor hit with another song by Mills, “Hungry For Love”, but a much better record, and a much better example of the Pirates’ style, was an R&B single released by the Pirates without Kidd. The plan at the time was that they would be split into two acts in the same way as Cliff Richard and the Shadows — Kidd would be a solo star, while the Pirates would release records of their own. The A-side of the Pirates’ single was a fairly good version of the Willie Dixon song “My Babe”, but to my ears the B-side is better — it’s a version of “Casting My Spell”, a song originally by an obscure duo called the Johnson Brothers, but popularised by Johnny Otis. The Pirates’ version is quite possibly the finest early British R&B record I’ve heard: [Excerpt: The Pirates, “Casting My Spell”] That didn’t chart, and the plan to split the two acts failed. Neither act ever had another hit again, and eventually the classic Mick Green lineup of the Pirates split up — Green left first, to join Billy J Kramer and the Dakotas, and the rest left one by one. In 1965, The Guess Who had a hit in the US with their cover version of “Shakin’ All Over”: [Excerpt: The Guess Who, “Shakin’ All Over”] The Pirates were reduced to remaking their own old hit as “Shakin’ All Over ’65” in an attempt to piggyback on that cover version, but the new version, which was dominated by a Hammond organ part, didn’t have any success. After the Pirates left Kidd, he got a new group, which he called the New Pirates. He continued making extremely good records on occasion, but had no success at all. Even though younger bands like the Rolling Stones and the Animals were making music very similar to his, he was regarded as an outdated novelty act, a relic of an earlier age from six years earlier. There was always the potential for him to have a comeback, but then in 1966 Kidd, who was never a very good driver and had been in a number of accidents, arrived late at a gig in Bolton. The manager refused to let him on stage because he’d arrived so late, so he drove off to find another gig. He’d been driving most of the day, and he crashed the car and died, as did one person in the vehicle he crashed into. His final single, “Send For That Girl”, was released after his death. It’s really a very good record, but at the time Kidd’s fortunes were so low that even his death didn’t make it chart: [Excerpt: Johnny Kidd and the New Pirates, “Send For That Girl”] Kidd was only thirty when he died, and already a has-been, but he left behind the most impressive body of work of any pre-Beatles British act. Various lineups of Pirates have occasionally played since — including, at one point, Cattini and Gregg playing with Joe Moretti’s son Joe Moretti Jr — but none have ever captured that magic that gave millions of people quivers down the backbone and shakes in the kneebone.

In this episode Chris and Mark venture to the Big Top as alien clowns wrap the inhabitants of a small town in candy floss and drink them through bendy-straws, Because […]

In this episode Chris and Mark venture to the Big Top as alien clowns wrap the inhabitants of a small town in candy floss and drink them through bendy-straws, Because […]

Kyle West, and first time guest Sarah Plummer, are here with your weekly WWE NXT UK reaction show! From Ilja Dragunov and Ashton Smith, to Toni Storm and Candy Floss, there's a lot discussed on this weeks episode of We Are the Universe! Also of interest: the big six man main event, featuring Dave Mastiff, Wild Boar, Primate, Joe Coffey, Mark Coffey, and Wolfgang. And how did our hosts feel about Trent Seven's emotional live mic segment, or Nina Samuels' battle with the muddy fields of Download Festival? All of this, and much, much more! Follow us on Twitter: www.twitter.com/wearenxtuk Follow us on Instagram: www.instagram.com/wearenxtuk Like us on Facebook: www.facebook.com/wearenxtuk Thank you for listening. Don't forget to rate and subscribe! We Are The Universe's theme song is from Worth It, performed by Far From Fiction. Follow them on Instagram: www.instagram.com/FFFbandMI

Happy St. Patrick's Day from the Young Lion's Perspective! What better way to cure your hangover from last night than Episode 62 of the YLP Podcast. In this episode, we go over Wednesday's episode of NXT UK including Kay Lee Ray's in-ring debut against Candy Floss, Noam Dar making his return to NXT UK, Jinny makes a statement to the NXT UK media, and of course, an NXT UK Takeover worthy main event with The Coffey Brothers going up against Walter and the WWE United Kingdom Champion, Pete Dunne. Follow me on: Twitter - @suedesenatorWWI IInstagram - @young_lions_perspective --- Send in a voice message: https://anchor.fm/younglionsperspective/message Support this podcast: https://anchor.fm/younglionsperspective/support

Episode 70 Show Notes Tidbits: Fastlane reactions Expectations met? Exceeded? KO, Bryan, and Ali rescue a booking mess and flip a crowd that turned on them We say goodbye to this iteration of The Shield Kurt Angle to hang up his gear Favorite moments? Who should retire him this April? Jason Jordan? Someone from NXT? Tag Team wrestling finally getting the green light! Includes: Harlem Heat in the HOF, Revival push, multiple tag teams getting PPV airtime Gauge your interest in this current ‘Mania build Raw: Triple H and Batista have a cringe fest promo Nattie + Beth Phoenix seem to be reuniting for ‘Mania tag match opportunity Alexa Bliss to host ‘Mania Does this move the needle for you? Just a way to keep our girl on TV? Rousey digging into her heel character, squashing Dana Brooke, mispronouncing “marks” as “bitches”, um rude. Ambrose “On His Back” tour continues in a violent match vs Uncle Drew Smackdown Live: Samoa Joe and Rey Mysterio being booked BEAUTIFULLY They are getting a chance to stand tall while getting young talent over A+ New Day looking serious/focus gives me chills! This is the kind of performance that shows me they could do what we pine over for Undisputed Era NXT: Moustache Mountain jobs out to the Forgotten Sons! Usual BSB spots from the boys, but this business is about getting everyone over, it's time for the Sons to shine, let's see if we can remember their names, let's see, Jackson Ryker, Wesley Blake!, and matt, name the last one Io Shirai + Bianca Belair duel for the 1 spot, Shayna no sells both of them, then squashes them AND Kairi :( DIY loses to Ricochet + Aleister Black, inevitable due to Ciampa's injury, but Gargano manages to further the storyline by superkicking Ciampa on the ramp NXT Championship vacated-immediately give it to Gargano? And if so, in what role? Adam Cole + Matt Riddle seem destined for a match to fight the Dream at Mania weekend NXT(derivative) UK: Wolfgang wins and tries to establish himself as a badass Kassius being established as a regular Tyson T-Bone & Saxton Huxley lose to Kenny Williams and his buddy Super Nova, Noam Dar, looks like a Super-Duper star in his promo “He said where we're not from, boo!!” Xia Brookside Promo...YIKES… Kaylee Ray vs Candy Floss quick, but established Ray Odd choices to burn already established players in NXT UK Walter wrestles his first tag match...of his career? --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app --- Send in a voice message: https://anchor.fm/brothers-of-discussion/message Support this podcast: https://anchor.fm/brothers-of-discussion/support

Pariah Khan sits down with Shay Purser, Candy Floss & Spike Trivet!Check out more from Pro Wrestling Chaos from our website: prowrestlingchaos.com

The teenage wunderkind Candy Floss shares a half hour with me discussing her tremendous journey from Brit Wres to Stardom in Japan, all the way to NXT UK; all at just 19 years old! Listen today to her FIRST interview and follow her journey today via @CFlossWrestler on Twitter.         If you'd like to support Wilfred Watches, see below! Patreon: Be Part of the Show! Tees, Hoodies: bit.ly/2RcHq7a PRO WRESTLING TEES: prowrestlingtees.com/wilfredwatches --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app

Curtain Jerker Segment: -Worlds Collide Tournament -Halftime Heat -The subtle female push NXT and Crumpets: -Ringkampf -Mandrews vs El Ligero -The 1-2 Punch ...soon -Jinny owns Radze -Jinny vs Mia Yim...soon -Jinny is a babyface to me -Candy Floss vs Xia Brookside -Another babyface-off! -Floss: Queen of the Full Nelson -Candy working heelish -Xia’s BrooksyBomb -Rhea vs Xia -Devlin vs Dar... -If you actually read these things -Tweet me a screenshot of this -Joseph Connors vs Wildboar -Weird hugging flatliner -Joe Coffey vs Ashton Smith -Iron Prince -Delusional Coffey? -Pete Dunne (on Walter) -Walter vs Mark Coffey -“New World” Symphony NXT Proper Recap: -New intro video -The Evil DIY Era -Johnny Backdoor -I mean Johnny TakeOver -The Champ -Dream thinks they’re cute -Gunner vs Mansoor -The Mansoon?? -What to do with Gunner -Brief EC3 tangent -Cute as Fuck Cathy Kelly -Cole vs Ricochet again -Everyone’s afraid of Ciampa -Drew Gulak vs Eric Bugenhagen -The Buge is my new favorite -Mauro calls Nigel Desmond Wolfe -Ben Stiller from Dodgeball -“Brooooo...” -Riddle vs Gulak -Sky-EST Pirates vs Horsewomen -“You can’t wrestle” -Everyone beats Shayna -The Sam Roberts debacle Dark Match Segment: -Captain Marvel trailer -Avenger Endgame trailer -3 HOURS! -Stark’s left arm -Stark’s vision from Age of Ultron -Spider-Man: Far From Home theory Next Week: Part 1 of the Top 50+ Superhero Movies of All-Time @BelloBeingBello @HaminMediaGroup @OldAthers #NeXTLevel    

In their Crime Mysteries segment, Neil Humphreys and Jason discuss the Atlanta grandmother who's taking legal action after being jailed for three months when authorities mistakenly ruled that the candy floss in her vehicle was an illegal drug.

Nurseries in the United Kingdom are hindering children's physical development by playing safe. The United Kingdom's Office for Standards in Education, Children's Services and Skills (Ofsted) noted that nurseries have taken measures to stop children from doing risky activities.  In fact, some have prohibited children from engaging in playground activities, while others have banned field trips. Ofsted warned that such prohibitions can have a negative impact on children's physical development. For one, stopping children from doing physical activities weakens their dexterity and muscular strength. Aside from physical development, children's ability to understand rules and boundaries is also affected. Ofsted Chief Inspector Amanda Spielman explained that nurseries are creating a risk-free environment for children to ensure compliance with health and safety rules. Parents are also putting a lot of pressure on nurseries to keep children out of harm's way at all times. Pre-school Learning Alliance's quality and standards manager, Melanie Pilcher, advised nurseries and parents to learn how to manage risk. If both parties can learn risk management, children will have more freedom to do risky activities and their physical development will not be compromised. Bright Horizons Family Solutions, an early education provider in several countries, has taken action to ensure children's physical development while teaching risk management in its over 200 nurseries. The institution has health and safety mascots that teach students how to avoid getting hurt while doing physical activities at school and at home. The mascots, called Candy Floss, guides students in making safe choices, assessing different kinds of risks, and taking control of their own safety.

The Brothers of Discussion go over why RAW is so crappy nowadays. They also gush over the love of Aleister, Gargano, and Ciampa as well as Heavy Machinery potentially getting a title shot. SmackDown is clearly the better show with Becky Lynch and Daniel Bryan killin' it! This and much more on this episode of the Brothers of Discussion! Episode 56 Passing of Dynamite Kid: vs Tiger Mask We weren't the right age for his passing to truly resonate, but watching the highlights you can see how he impacted a lot of our favorites, Daniel Bryan, Chris Benoit, Eddie Guerrero, Roderick Strong teehee! Larry the Axe Henning dies NXT Aleister Black and Gargano in a cage. Great seeing Ciampa play puppet master to help him save his title. (Aleister is playing to his strengths by making his threats about kicking ass opposed to winning titles) Heavy Machinery is getting a SHOOOOOOOOOOOOT! Almost got name dropped by Undisputed Era, pretty big deal! “Construction Workers” Triple H continues to no-sell my @tweets requesting Heavy Machinery merch. Io saves Dakota Kai Matt Riddle beats Punishment Martinez, KO aftermath NXT UK Review of the whole show: Its getting kind of meh… they need some more juice and a deeper roster, and custom t-shirts. Please stop making Wolfgang + Coffey Brothers wear NXT UK clothes lolol Can one, just one member of this promotion cut an interesting promo? Even Mastiff gives a generic “Well, i'm just hoping to show my brilliant stuff eh and maybe be on top one day :) Rhea Ripley calls out Candy Floss, and Nigel McGuinness, maybe a dig at Vic Joseph, says “For those of you who are xenophobic, that's what we in the isle call “cotton candy” Raw Nothin Women's Tag Titles? At least McIntyre and Ziggler got a feud goin', but it looks like Ziggler might disappear :( Dean Ambrose does a full-on Bane cosplay, will Rollins cosplay as Batman, Robin, or Catwoman? Will these Lucha House Party Rules get the Revival over? They're tweeting about it, the new subtle way to protest booking apparently: see Dillinger, Tyler Breeze, Daniel Bryan, Becky Lynch Smackdown Becky Lynch vs Charlotte vs Asuka is pretty great. Found a way to utilize Asuka and her language barrier Daniel Bryan going fall on vegan, I mean heel. Calls out the universe for being ‘fickle' and for not reusing their water bottles lolol Daniel and The Miz possibly joining forces Matt makes another funny: see Samoa Joe's Pub - How can you not root for Joe? Just want to acknowledge the physical specimen that is Cesaro: Big Swing on Uce whilst fireman carrying Xavier Woods --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app --- Send in a voice message: https://anchor.fm/brothers-of-discussion/message Support this podcast: https://anchor.fm/brothers-of-discussion/support

This is the one where Nate sees a video of a Candy Floss eating contest, Michael talks about how we are able to run from community, and Dray Murray (Not the rapper) gets a shout out!

Hey good lookin' what chat got cookin? Is it your eyebrows? Because they smell horrendous. We're covering the variations of the word Candy Floss across the worlde, Ben getting attacked by a half-naked man playing a mouth piano and Mark getting banned from eating Spicy prawn soup. Not only that but Mark hypocritically explains why you can't call things GAY having just done so 5 seconds before! Other topics we touch on are Dennis the Menace, Ben criticising Mark's Mum's syrup sponge and a blatantly plagiaristic retelling of Matt Morgan's Pin Pin story.

Cynthia Johnston Turner from the University of Georgia shares her thoughts about the importance of finding your authentic self on the podium, gender issues in the band world, and ideas for programming music. Topics: Cynthia's background and the sense of belonging that band provides for young people Impostor syndrome and being your authentic self The band program at the University of Georgia Gender in the band world Working with composers Programming "new" music Technology in the band rehearsal Programming transcriptions Links: Cynthia Johnston Turner Hugh Hodgson School of Music at the University of Georgia Women composers in wind band music (Google Doc) Women composers in wind band music (YouTube playlist) Candy Floss and Merry-Go-Rounds: Female Composers, Gendered Language, and Emotion Joni Greene: Enigma Machine Adolphus Hailstork: American Guernica Karel Husa: Music for Prague 1968 University of Hawai'i Conductor's Workshop New England Band Director's Institute Biography: Cynthia Johnston Turner is Director of Bands, Professor of Music, Area Chair of Conducting, and Artistic Director of Rote Hund Muzik at the Hodgson School of Music, University of Georgia. Turner conducts the Hodgson Wind Ensemble, leads the MM and DMA programs in conducting, and oversees the entire band program including the 430-member Redcoat Marching Band.  Before her appointment at the Hodgson School at the University of Georgia, Cynthia was Director of Wind Ensembles at Cornell University. Earlier in her career Cynthia was a high school music educator, taught middle school beginning instrumental music in Toronto and choral music in Switzerland.

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We begin this week by discussing the many sporting achievements of famous Mongolians. By many, we mean really 3, which is not to insult Mongolia but rather to reflect our quickly performed poor research on a Wikipedia page, which, incidentally, actually only named 2/3 of the athletes we discuss. Then most of the episode is devoted to another edition of Foody Goody, in which we continue our ongoing (and of indeterminate length) contest, "What am I eating and drinking and toasting?" This week John plays the moderator, and fulfills his role with the expected amount of surliness (provided I know what the word surliness means, which I'm not sure of as I write this description). If you're a craft spirit entrepreneur, we have a million-dollar idea for you! Contact us by email (maskedman@limitedappeal.net) if you decide to brew a batch, and we'll gladly do some free promo on our show! Theme music courtesy of General Patton vs. The X-Ecutioners and Ipecac Recordings.

To kick off your week D-$ & Ariez discuss traveling, getting things done for yourself and how they spent their weekend. D-$ took in a movie and finally saw Deadpool while Ariez treks through the snow and dares the journey down the mountain. Fall back Down the Rabbit Hole and hear the duo talk about what else but food! This time around they check out food carts making unique ice cream and cotton candy that look like works of art. To top it off they talk about putting what you want into the Universe and seeing what comes of it. Skimming the top of their To-Do List the two talk about what they want in life and then about how to do it. Oh yeah, they talk Vegas and RuPaul's Drag Race - All of this and so much more!

The I Flunked the Written Cowl for the Sunnydale Yarn Club This episode is sponsored by the new and improved Dizzy Blonde Studios. Check out our new website at www.dizzyblondestudios.com Catching Up: (00:55) Laura was at Alamitos Bay Yarn Company for meet and greets for the Los Angeles Yarn Crawl. We mention Trendsetter Yarns, Baah Yarn, and Reywa Fibers. She got to take a day off and go to Disneyland, where she got to meet Thor and see a lot of props from the Marvel Universe movies. She's on Round 3 of her final Nerd Wars tournament for a while. She is still working out some of the bugs for the new Dizzy Blonde Studios website. She will use her Etsy shop for patterns and clearance yarns and one-off skeins. She's also fighting a cold. Jen was at the Craftcation Conference in Ventura. She stayed at a hotel right on the water. She loves Ventura. And she took a cookingclass with Aida Mollenkamp. She learned to make preserved lemons, took a drawing class, took workshops on branding, social media, and blogs, got to listen to Melanie Falick on a panel, did some embroidery classes (and got embroidery kits from Ugly Baby and La Ru (with patterns from Jenny Hart of Sublime Stitching). She's reading Swamplandia!. She's working on a monologue from the play Educating Rita for her acting class. And she's going to write on her blog more. And she released a a pattern! It's currently exclusive for the Sunnydale Yarn Club, but in six months, you can buy it. In the Knitting Bag: (15:53) Laura is working on the left hand version of the Hand to Hold Dishcloth by Rachel van Schie. She has done the right hand square in Berroco Vintage DK in blue. She is also working on a blanket square using the Fruity Oaty Bar Chart by Elizabeth Herac out of Berroco Comfort in a sage green. She is working on her vintage man sock in Lambie Toes in the color No Touching Guns. And she's continuing to work on the Broncos hat for her brother out of Knitpicks Brava in blue, orange, and cream. And she has put a few leaves on her Leftie by Martina Behm, out of a Miss Babs kit in slate and reds. Jen is also working on a Leftie out of Knitpicks Palette in Cream, Rouge, Spearmint, and Aster. She is very happy that she went stashdiving. She is working on a Leah's Lovely Cardigan out of Malabrigo sock in Eggplant. She is working on her Rocky Coast Cardigan by Hannah Fettig out of Fibre Company Organik in Highlands.  She regrets not doing the sleeves before she finished the body, so there is less to flip (something she learned fromThe Knitmore Girls), because the body of this sweater is heavy. We mention Melissa's custom colorway from the Loopy Ewe. Finished Objects: (26:36) Laura finished the right hand Hand to Hold Blanket Square, the Leaf on the Wind "Wash Cloth" by Becca out of Berroco comfort worsted. Jen finished her 2x2 ribbed scarf out of Patons Wool Classic in the colorway Kimono for the charity Interval House. Devil's Tower: (28:45) Laura has been really good about pulling things out of the Devil's Tower. Jen's Rocky Coast Cardigan is hovering around Devil's Tower. And her Watership Down KAL shawl is Devil's Tower because she doesn't have the brain power for it right now. Frog Pond: (30:55) Jen has been lucky, but Laura has not been. Laura frogged her initial Bronco's hat because the pattern with the stripes was looking too feminine. In addition, she put a knot in at the color change and the knot came undone and it unraveled. Plus, she couldn't figure out a way to do the color changes she liked, so she frogged it and started over in a new pattern of her own making. On Deck: (33:20) After Nerd Wars, Laura plans on making an Effortless Cardigan by Hannah Fettig out of Dizzy Blonde Sock in Timey Wimey (TARDIS Blue). She also will be making some more blanket squares for Nerd Wars. Jen kind of wants to re-make her Sweetheart of the Rodeo cardigan, because it's knit at a small gauge in high twist yarn (Wollmeise DK). She may just cut out the colorwork and re-do it as embroidery. Or maybe she will re-make a new one out of fingering weight. She wants to make the Chickadee from Ysolda’s book Little Red in the City in Quince and Company Chickadee in Slate, Egret, Lichen, and Rosa Rugosa.  She also wants to make a Lauriel Cardigan (also by Ysolda and from Little Red in the City) out of Wollmeise DK in Pesto.and a pair of Water for the Elephants socks by Rose Hiver in some Knitpicks Stroll in a bare (natural) and Summer Blooms (pink).  She also has an idea for some mitts with jacaranda blossoms embroidered on them. We mention Celestarium and Southern Skies by Audrey Nicklin. Knit Culture: (40:06) We answer a question from our Knotty Talk Thread. knitallthestuff asks Here’s one that falls more under “discussion topic” than “request for help/info”. When selecting what patterns to knit/crochet and which ones to do next, how do you juggle all the conflicting desires/intentions: 1. OMG, SHINY! Must. Make. Now. 2. I should do this now, so I can get some use out of it before next year. 3. It would be really nice to have this, but I should wait until X date (see #2). 4. Other deadlines, whether externally- or self-imposed (Christmas, Birthdays, Ravellenics). 5. That skein of ___ is calling to me from my stash. I must use it and love it and call it George. We answer, but we want to know what you think. We come up with the overall answer of "it depends on the mood and the pattern." We both determine that we are more motivated by the pattern than the yarn. Laura has had a great need for deadline work for Nerd Wards and booth samples. Jen takes the cast on time into account. We mention a bunch of patterns, including Yggdrasil and the The Princess Shawl. But we really want to know about your motivations. So let us know in the Ravelry thread for this episode. We also announce prizes for the overall Podcaster Throwdown. PlainJayne12 knit the most hats overall (for Team Sock-a-holic). The most prolific knitter for Team KnottyGirls was Karen E. They both win an "Almost the Works Package" for any Stitches event in 2014 or 2015, donated by XRX Books. Carrie M. of The Yarn Sellar contributed the most hats overall. She got the residents of a correctional facility to knit and donate 99 hats for Team Craftlit. She wins a membership to the second patrol of the Sunnydale Yarn Club donated by Dizzy Color. Robdob contributed the most virtual hats. She raffled off a shawl and donated the proceeds to Team Sock-a-holic. She wins a prize package consisting of a 40th Anniversary Large Eden Drawstring Bag from Della Q, 1 Set each Knitters Pride Dreamz US Size 5 in 24” & 40”, Valley Yarns Pattern Series Snowdrop Baby Blanket, and 10 balls Valley Yarns Longmeadow in Natural, donated by WEBS. Our team MVP is Peggy Baxter (pbaxter), president of ESSS, who was such an enthusiastic supporter. She wins a two-year subscription to Knitter's Magazine, donated by XRX Books. Random Drawings: 4 Mini-skein samplers donated by Skeindalous Yarns 1. Estella A 2. Meshuggeknitter 3. Bluesjules 4. Seajaneknit 5 skeins Blondee Merino/Superfine Alpaca blend donated by Dizzy Blonde Studios 1. Kim Rennick 2. indigodogmt 3. CrispyBacon 4. JudithLee 5. Mary 3 Books donated by Heather Ordover of Craftlit 1. What would Madame Defarge Knit?--Edith 2. What else would Madame Defarge Knit?--Susan from Brea 3. Grounded--Barbula 2 skeins of 100% Yak Yarn donated by Bijou Basin Ranch 1. Dark Blue--Glenda from Fullerton 2. Light Sandy Brown--knitsnhikes 1 4oz./100g. Skein Skeindalous Joi Sport 100% BFL in Candy Floss donated by Skeindalous Yarns--Barbula A copy of History on Two Needles donated by Annie Modesitt--Ruth L A digital pattern collection of Marly Bird's patterns donated by Marly Bird herself--Karen E 3 Needle Cases donated by Knit Totes 1. RKSmom 2. Fred from ESSS 3. afreyedknot 2 50-gram skeins FibraNatura 100% linen donated by Laura 1. Regatta color--Shanda S 2. Purple color--KnittyBarb A Project Back Pack donated by the KnottyGirls Knitcast--E Gould 3 Knit stitch marker sets donated by the KnottyGirls Knitcast 1. k8erpillar 2. Kay from Ladera Ranch 3. scmusicals 2 Crochet stitch marker sets donated by the KnottyGirls Knitcast 1. ariane 2. Lifewithmonkey Thank you so much to all the prize doners, to everyone who contributed hats (virtual or real) or gave someone yarn to knit hats or contributed in any way. You all did an amazing thing for Halos of Hope. Geek Culture: (1:01:01) We talk about knitting webcomics. We mention Worsted for Wear and Knit Princess. We love both of them. Jen also mentions other webcomics she loves: Questionable Content and xkcd. And we want to know what cool stuff you find on the internet. So we started a thread in our Ravelry group where you can post any cool knitting-related or geek-related things you find on the internet. Share the love. Events: (1:05:29) Signups for Patrol 2 of the Sunnydale Yarn Club will start April 17th and close on May 2nd. There are 32 spots in the club; if more than 32 people sign up, names will be drawn for the spots on May 5th. First installment will go out in June. Pricing, details, and the signup form are at dizzycolor.wordpress.com We are planning an event for World Wide Knit In Public Day. Details to follow, but our event will be either June 21 or June 22. We are both going to the CogKNITive retreat run by Dr. Gemma of the CogKNITive Podcast on July 25. Jen will be at the Retzlaff Winery Fleeces, Food, and Fun event on June 7th. We also mention Pear Pie with Red Wine and Rosemary. Thanks for listening to our 25th episode. Our next milestone prize will be at 1000 members, so join the Ravelry Group. And don't forget to post your finished April projects in the April Thread. You can win yarn!