Podcasts about cloudberry

Roque Ruiz  in conversation with David Eastaugh http://www.cloudberryrecords.com/blog/ http://www.cloudberryrecords.com/ "Indiepop label purveying the sound of jangly guitars based in Astoria, NY. Far away from the hipsters."

Fornybart har etablert seg som et naturlig fokuspunkt i energidiskusjoner. På vår årlige kundelunsj før jul trakk analytikerkorpset vårt frem Cloudberry og Bonheur, som fornybaranalytiker Kari Eide Hartvedt og aksjemegler Sebastian Baartvedt går i dybden på i nyeste episode av Paretopodden.De diskuterer også Tomra, Envipco og Cambi, som Kari og teamet tok opp dekning av før jul.Torsdag 30. januar holder vi vår årlige Power & Renewable Energy-konferanse i Oslo. Ta kontakt med Pareto-megleren din for mer informasjon og påmelding.All analysedekningen vår finner du som Pareto-kunde i handels- og analyseplattformen for kunder: https://online.paretosec.com/researchIkke kunde ennå? Se hva vi kan tilby norske privatkunder: https://www.paretosec.no/aksjehandel-paa-nett/verdipapirhandel/aksjehandel-paa-nettDisclaimer:Pareto Securities' podkaster inneholder ikke profesjonell rådgivning, og skal ikke betraktes som investeringsrådgivning. Handel i verdipapirer medfører til enhver tid risiko, og historisk avkastning er ingen garanti for fremtidig avkastning. Pareto Securities er verken rettslig eller økonomisk ansvarlig for direkte eller indirekte tap, eller andre kostnader som måtte påløpe ved bruk av informasjon i denne podkasten.Se våre nettsider https://paretosec.com/our-firm/compliance/ for mer informasjon og full disclaimer. Hosted on Acast. See acast.com/privacy for more information.

Join Reeta Pohjonen, the Principal of Homeopathy School Helsinki, as she shares her insights on shamanistic remedies from the Arctic, a topic she passionately presented at the Unleashing Homeopathy Conference in Bali. Discover the remarkable remedies she has developed, such as the revitalizing Arctic Sea Water, the nurturing Cloudberry, and the insightful Siberian Jay, all of which play a vital role in addressing grief, women's empowerment, and memory loss. Reeta also unveils exciting new initiatives, including the Sacred Source School, co-founded with Janey Lavelle, and the membership program at Homeopathy School Helsinki, both designed to foster a supportive community for homeopaths and enthusiasts.    Episode Highlights: 03:15 - Discussion on Shamanistic Remedies of the Arctic 04:10 - Overview of Arctic Sea Water Remedy 06:44 - Cloudberry Remedy and Its Significance 07:48 - Siberian Jay Remedy and Its Themes 09:51 - Raven and Owl Remedies: Connection to the Ancestors 11:50 - Personal Experience with Owl Remedy 14:40 - Additional Remedies: Pine and Sea Eagle 15:54 - Young Maiden Energy: Birch and Twin Flower Remedies 18:50 - Comparison of Finnish and Australian Flora 20:04 - Royalty Remedies and Supporting Homeopaths 21:37 - Membership Offerings and Upcoming Events 24:58 - Sacred Source School Launch and First Class 27:34 - Importance of Creating Sacred Spaces 30:01 - The Role of Altars in Healing 31:06 - Future Book Project on Arctic Remedies 34:19 - Closing Thoughts and Future Plans 39:00 - Anticipation for Future Conferences 41:16 - Personal Journey and Future Adventures   About my Guest: Reeta Pohjonen carries a rich tapestry of experiences shaped by her roots in Kemi and her upbringing in Africa. A devoted mother of three and an angel child, she has embraced the beauty of water births. As the principal of Homeopathy School Helsinki, Reeta is a passionate homeopath, vital shiatsu therapist, mama yoga instructor, 3P facilitator, and astrologer, dedicated to the service of the Holy Feminine. Her work focuses on childbirth, women's well-being, and mental health, particularly for young people. Inspired by Kabbalah, ceremonial life, and the wonders of nature, Reeta's interests span from alkalized living water and juicing to sailing and Argentine tango. With a dream of a home in southern Italy, she continues to explore life's beauty through heartfelt connections and artistic expression.   Find out more about Reeta Website: https://www.reetapohjonen.com/ Instagram: https://www.instagram.com/homeopathreetapohjonen Facebook: https://www.facebook.com/reetapohjonenhomeopathy   If you would like to support the Homeopathy Hangout Podcast, please consider making a donation by visiting www.EugenieKruger.com and click the DONATE button at the top of the site. Every donation about $10 will receive a shout-out on a future episode.   Join my Homeopathy Hangout Podcast Facebook community here: https://www.facebook.com/groups/HelloHomies   Follow me on Instagram https://www.instagram.com/eugeniekrugerhomeopathy/   Here is the link to my free 30-minute Homeopathy@Home online course: https://www.youtube.com/watch?v=vqBUpxO4pZQ&t=438s   Upon completion of the course - and if you live in Australia - you can join my Facebook group for free acute advice (you'll need to answer a couple of questions about the course upon request to join): www.facebook.com/groups/eughom

On an island at the edge of a wide, wild sea, a girl and her grandmother gather gifts from the earth. Salmon from the stream, herring eggs from the ocean, and in the forest, a world of berries. Salmonberry, Cloudberry, Blueberry, Nagoonberry. Huckleberry, Snowberry, Strawberry, Crowberry. Through the seasons, they sing to the land as the land sings to them. Brimming with joy and gratitude, in every step of their journey, they forge a deeper kinship with both the earth and the generations that came before, joining in the song that connects us all. Michaela Goade's luminous rendering of water and forest, berries and jams glows with her love of the land and offers an invitation to readers to deepen their own relationship with the earth. Don't forget to check out our Spring Book Collection at: www.SlothDreamsBooks.com --- Send in a voice message: https://podcasters.spotify.com/pod/show/slothslovetoread/message

Episode 329: Sixling - Cloudberry Infused Irish Gin by The Tonic Screwdriver

Förnybar energi är temat i detta avsnitt. Vi befinner oss på vår årliga Energikonferens i Oslo och tar tempen på bolagen och sektorn. Vi pratar bland annat om Cloudberry, Volue, Rec sillion, BW Ideol och Aker Horizons. Gästar gör Paretos analytiker Kari Eide Hartvedt och Gard Aarvik samt Cloudberrys vd Anders Lenborg. Denna podcast innehåller inte professionella råd och informationen bör inte betraktas som investeringsråd. Handel i värdepapper medför en risk och historisk avkastning är ingen garanti för framtida avkastning. Pareto Securities är varken rättslig eller ekonomiskt ansvarig för direkta eller indirekta förluster, eller andra kostnader som kan uppstår vid användning av information i denna podcast. Läs mer på vår hemsida för fullständig disclaimer.

Aksjehandelsdataene til DNB viser at «AI-traden» fanger interessen til stadig flere privatinvestorer. Generelt blir aksjer fremdeles nettokjøpt, men aktiviteten er på nivåer som signaliserer en avventende holdning. Hvordan harmonerer dette med Paul Harpers observasjoner og syn på markedet? I denne episoden gjør Paul og Marius Brun Haugen opp status for aksjer i mai og deler tanker om veien videre. De tar også for seg aksjer som Yara, Frontline, Norwegian, Telenor, Cloudberry og Equinor, mens valutastrateg Magne Østnor kommenterer den svake norske kronen.Sendingen ble spilt inn fredag 2. juni 2023Produsent: Kim A. Farago, DNB Wealth Management.Dersom du har ønsker om gjester vi skal invitere, temaer vi skal ta opp, eller aksjer vi skal kommentere kan du sende Marius en mail på utbyttepodden@dnb.no Hosted on Acast. See acast.com/privacy for more information.

Die Cloudberry Green Energy Aktie ist ein ziemlich heißes Eisen, aber auch wirklich hochspannend: Mit seinen paar Dutzend Mitarbeitern mutet der norwegische Produzent von Erneuerbaren Energien noch ziemlich jung an und auch die Kommunikation nach außen ist noch ausbaufähig. Allerdings schlummern in diesem Titel auch signifikante Werte - was Paul Petzelberger gemeinsam mit "Nebenwertejunkie" David Rühl in diesem Video genauer besprechen werden. ⌚ Timestamps: (0:00) Intro & Disclaimer (2:39) Vorstellung des Cloudberry-Geschäftsmodells (3:28) Bestand & Aktuelle Geschäftszahlen (5:32) Start-Up-Dimensionen & Vorgehensweise (7:23) Die Stromsituation in Norwegen (10:40) Die große dänische Akquisition (13:18) Das 800 MW-Offshore-Projekt (14:47) Bewertung (18:44) Das Desaster rund um die Norwegische Krone (20:36) Schlussworte

I podcasten TEKNOLOGIOPTIMISTENE møter Pia Kristensen Moe og Chul Christian Aamodt beslutningstakerne for de store IT-investeringene i bransjen, personene som leder de mest fremoverlente IT-selskapene, personene som løser de viktigste samfunnsoppdragene og menneskene i investeringsselskapene som muliggjør rask vekst hos IT-selskapene. Menneskeskapte klimaendringer er vår tids største trussel, og det grønne skiftet er avhengig av teknologioptimister.Målet vårt med podcastserien er å gi beslutningstakerne innenfor IT i energibransjen kunnskap for bedre beslutninger.Medvirkende:Anders Lenborg, CEO, Cloudberry Clean EnergyChul Christian Aamodt, Teknologioptimist, EuropowerSendingen er produsert av Europower Partner. Redaksjonen i Europower har ikke medvirket i produksjonen. Hosted on Acast. See acast.com/privacy for more information.

Today on the PDX Pet Connection podcast, I have Dr. Clara Medalen of Cloudberry Lane Animal Chiropractic. In this episode, Dr. Clara talks about how she decided to focus on treating pets and what makes her specialty clinic so different. You can find more information about Cloudberry Lane Animal Chiropractic on their website and by following them on Instagram and Facebook. I hope you enjoy this episode with your furry best friend. If you enjoyed this podcast and would like to become part of the PDX Pet Connection community, join our Facebook group and connect with other pet parents, businesses, services, and charities.

Photo byKaroline VargdalonUnsplashThe Norsemanhttps://www.youtube.com/watch?v=ixQWxEwml5gTinned Fermented Fishhttps://www.youtube.com/watch?v=kY-QDBUpzts

För andra året i rad avslutar vi med en tillbakablick med fokus på de händelser som präglat energi- och klimatåret 2022. Och som ciceron denna gång har vi poddbekantingen Daniel Kulin som även gästade avsnitt 3 och avsnitt 48.  Vi tar avstamp på Daniels hemmaplan: vindkraftsbranschen. (I år tog han klivet från branschorganisationen Svensk Vindenergi till det norska energiföretaget Cloudberry där han jobbar med havsbaserad vindkraft.) Vi får en sammanfattning av var vindkraften är: hur mycket byggs? Vilka utmaningar präglar vindkraftsprojekten — och hur bedömer man att den nya regeringens slopande av utbyggnationen av stamnätet till havs påverkar förutsättningarna framöver? Från minut 37 pratar vi om läget på elmarknaden som redan i januari såg ansträngt ut, bl.a. till följd av höga priser på bränslen. Sen kom Rysslands invasion av Ukraina och en energisituation som sett allt mer prekär ut för varje månad som gått. Vi pratar om hur prognoserna för elpriserna ser ut och Daniel resonerar kring vad denna “perfekta storm” innebär för samhället i stort.  Läget på energimarknaderna har inte bara lett till skyhöga kostnader för privatpersoner och företag; det ledde även till en valrörelse som i allra högsta grad präglades av energifrågor. Från 1 h 7 min pratar vi om resultatet av valet: ett regeringsskifte och ett Tidö-avtal med tungt fokus på kärnkraft. Daniel delar både sina farhågor och förhoppningar kring vad den politiska inriktningen kan innebära för investeringsklimatet inom energibranschen och för möjligheterna att nå våra energi- och klimatmål överlag. Avslutningsvis (från 1 h 28 min) zoomar vi ut och pratar om vad 2022 innebar för klimatomställningen på ett globalt plan. Vi utgår från IEA:s World Energy Outlook 2022 och hittar både nedslående och hoppfulla signaler kring världens omställning till fossilfria energikällor. Bland de hoppfulla signalerna återfinns bland annat stora statliga satsningar på en ökad energisäkerhet och industriell uppbyggnad kring tekniker som ska möjliggöra omställningen — inte minst USA:s Inflation Reduction Act där motsvarande tre svenska statsbudgetar ska investeras i fossilfria energikällor.

Denne ukens høye strømpriser minner oss igjen om den utfordrende kraftsituasjonen Norge og Europa står oppe i. I vår siste podcastepisode snakker vi om hva vi må gjøre for å fortsette å være en ledende energinasjon med kraftoverskudd og konkurransedyktige energipriser, og konsekvensene for norsk industri om vi ikke får det til. For mens vi her hjemme fokuserer på høye strømpriser og et mulig kommende kraftunderskudd, har Europa giret kraftig opp sitt grønne skifte og satser massivt på fornybar energi som erstatning for russisk gass. Billig grønn kraft har alltid vært et konkurransefortrinn for Norge og norsk industri. Er vi i ferd med å bli forbikjørt som Europas grønne batteri? Programleder Khorist Kustani har invitert Thina Saltvedt som er sjefanalytiker for bærekraftig finans i Nordea, grunnleggeren av fornybar-energiselskapet Cloudberry, Anders Lenborg og McKinseys egen energiekspert Christer Tryggestad til studio.

I veckans avsnitt pratar Matilda Karlsson med Charlotte Bergqvist, Sverige-chef och utvecklingsansvarig på Cloudberry Clean Energy om vind och vattenkraft. Charlotte har lång erfarenhet och har jobbat med energifrågor i snart 20 år. I podden diskuteras det växande energibehovet, var elen ska komma ifrån och varför det finns ett motstånd i att bygga vindkraft och hur Cloudberry arbetar för att komma runt det. För att bygga ut vindkraft är det mycket som ska klaffa, tillstånd, samarbete med kommuner och fungerande kraftnät är några av utmaningarna som avhandlas. Disclaimer: ”Informationen i denna podd ska inte ses som investeringsråd. Tänk på att placeringar i värdepapper alltid medför en risk. Historisk avkastning är ingen garanti för framtida avkastning. De pengar som placeras i värdepapper kan både öka och minska i värde och det är inte säkert att du får tillbaka hela det insatta kapitalet. Det är viktigt att fortlöpande bevaka sitt innehav och vid behov ta initiativ till åtgärder för att minska risken för förlust.” http://www.paretosec.com/download/compliance/disclaimer.pdf

Episode one hundred and fifty-seven of A History of Rock Music in Five Hundred Songs looks at “See Emily Play", the birth of the UK underground, and the career of Roger Barrett, known as Syd. Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have a twenty-five-minute bonus episode available, on "First Girl I Loved" by the Incredible String Band. 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/ Resources No Mixcloud this time, due to the number of Pink Floyd songs. I referred to two biographies of Barrett in this episode -- A Very Irregular Head by Rob Chapman is the one I would recommend, and the one whose narrative I have largely followed. Some of the information has been superseded by newer discoveries, but Chapman is almost unique in people writing about Barrett in that he actually seems to care about the facts and try to get things right rather than make up something more interesting. Crazy Diamond by Mike Watkinson and Pete Anderson is much less reliable, but does have quite a few interview quotes that aren't duplicated by Chapman. Information about Joe Boyd comes from Boyd's book White Bicycles. In this and future episodes on Pink Floyd I'm also relying on Nick Mason's Inside Out: A Personal History of Pink Floyd and Pink Floyd: All the Songs by Jean-Michel Guesdon and Philippe Margotin. The compilation Relics contains many of the most important tracks from Barrett's time with Pink Floyd, while Piper at the Gates of Dawn is his one full album with them. Those who want a fuller history of his time with the group will want to get Piper and also the box set Cambridge St/ation 1965-1967. Barrett only released two solo albums during his career. They're available as a bundle here. Completists will also want the rarities and outtakes collection Opel.  ERRATA: I talk about “Interstellar Overdrive” as if Barrett wrote it solo. The song is credited to all four members, but it was Barrett who came up with the riff I talk about. And annoyingly, given the lengths I went to to deal correctly with Barrett's name, I repeatedly refer to "Dave" Gilmour, when Gilmour prefers David. Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript A note before I begin -- this episode deals with drug use and mental illness, so anyone who might be upset by those subjects might want to skip this one. But also, there's a rather unique problem in how I deal with the name of the main artist in the story today. The man everyone knows as Syd Barrett was born Roger Barrett, used that name with his family for his whole life, and in later years very strongly disliked being called "Syd", yet everyone other than his family called him that at all times until he left the music industry, and that's the name that appears on record labels, including his solo albums. I don't believe it's right to refer to people by names they choose not to go by themselves, but the name Barrett went by throughout his brief period in the public eye was different from the one he went by later, and by all accounts he was actually distressed by its use in later years. So what I'm going to do in this episode is refer to him as "Roger Barrett" when a full name is necessary for disambiguation or just "Barrett" otherwise, but I'll leave any quotes from other people referring to "Syd" as they were originally phrased. In future episodes on Pink Floyd, I'll refer to him just as Barrett, but in episodes where I discuss his influence on other artists, I will probably have to use "Syd Barrett" because otherwise people who haven't listened to this episode won't know what on Earth I'm talking about. Anyway, on with the show. “It's gone!” sighed the Rat, sinking back in his seat again. “So beautiful and strange and new. Since it was to end so soon, I almost wish I had never heard it. For it has roused a longing in me that is pain, and nothing seems worth while but just to hear that sound once more and go on listening to it for ever. No! There it is again!” he cried, alert once more. Entranced, he was silent for a long space, spellbound. “Now it passes on and I begin to lose it,” he said presently. “O Mole! the beauty of it! The merry bubble and joy, the thin, clear, happy call of the distant piping! Such music I never dreamed of, and the call in it is stronger even than the music is sweet! Row on, Mole, row! For the music and the call must be for us.” That's a quote from a chapter titled "The Piper at the Gates of Dawn" from the classic children's book The Wind in the Willows -- a book which for most of its length is a fairly straightforward story about anthropomorphic animals having jovial adventures, but which in that one chapter has Rat and Mole suddenly encounter the Great God Pan and have a hallucinatory, transcendental experience caused by his music, one so extreme it's wiped from their minds, as they simply cannot process it. The book, and the chapter, was a favourite of Roger Barrett, a young child born in Cambridge in 1946. Barrett came from an intellectual but not especially bookish family. His father, Dr. Arthur Barrett, was a pathologist -- there's a room in Addenbrooke's Hospital named after him -- but he was also an avid watercolour painter, a world-leading authority on fungi, and a member of the Cambridge Philharmonic Society who was apparently an extraordinarily good singer; while his mother Winifred was a stay-at-home mother who was nonetheless very active in the community, organising a local Girl Guide troupe. They never particularly encouraged their family to read, but young Roger did particularly enjoy the more pastoral end of the children's literature of the time. As well as the Wind in the Willows he also loved Alice in Wonderland, and the Little Grey Men books -- a series of stories about tiny gnomes and their adventures in the countryside. But his two big passions were music and painting. He got his first ukulele at age eleven, and by the time his father died, just before Roger's sixteenth birthday, he had graduated to playing a full-sized guitar. At the time his musical tastes were largely the same as those of any other British teenager -- he liked Chubby Checker, for example -- though he did have a tendency to prefer the quirkier end of things, and some of the first songs he tried to play on the guitar were those of Joe Brown: [Excerpt: Joe Brown, "I'm Henry VIII I Am"] Barrett grew up in Cambridge, and for those who don't know it, Cambridge is an incubator of a very particular kind of eccentricity. The university tends to attract rather unworldly intellectual overachievers to the city -- people who might not be able to survive in many other situations but who can thrive in that one -- and every description of Barrett's father suggests he was such a person -- Barrett's sister Rosemary has said that she believes that most of the family were autistic, though whether this is a belief based on popular media portrayals or a deeper understanding I don't know. But certainly Cambridge is full of eccentric people with remarkable achievements, and such people tend to have children with a certain type of personality, who try simultaneously to live up to and rebel against expectations of greatness that come from having parents who are regarded as great, and to do so with rather less awareness of social norms than the typical rebel has. In the case of Roger Barrett, he, like so many others of his generation, was encouraged to go into the sciences -- as indeed his father had, both in his career as a pathologist and in his avocation as a mycologist. The fifties and sixties were a time, much like today, when what we now refer to as the STEM subjects were regarded as new and exciting and modern. But rather than following in his father's professional footsteps, Roger Barrett instead followed his hobbies. Dr. Barrett was a painter and musician in his spare time, and Roger was to turn to those things to earn his living. For much of his teens, it seemed that art would be the direction he would go in. He was, everyone agrees, a hugely talented painter, and he was particularly noted for his mastery of colours. But he was also becoming more and more interested in R&B music, especially the music of Bo Diddley, who became his new biggest influence: [Excerpt: Bo Diddley, "Who Do You Love?"] He would often spend hours with his friend Dave Gilmour, a much more advanced guitarist, trying to learn blues riffs. By this point Barrett had already received the nickname "Syd". Depending on which story you believe, he either got it when he started attending a jazz club where an elderly jazzer named Sid Barrett played, and the people were amused that their youngest attendee, like one of the oldest, was called Barrett; or, more plausibly, he turned up to a Scout meeting once wearing a flat cap rather than the normal scout beret, and he got nicknamed "Sid" because it made him look working-class and "Sid" was a working-class sort of name. In 1962, by the time he was sixteen, Barrett joined a short-lived group called Geoff Mott and the Mottoes, on rhythm guitar. The group's lead singer, Geoff Mottlow, would go on to join a band called the Boston Crabs who would have a minor hit in 1965 with a version of the Coasters song "Down in Mexico": [Excerpt: The Boston Crabs, "Down in Mexico"] The bass player from the Mottoes, Tony Sainty, and the drummer Clive Welham, would go on to form another band, The Jokers Wild, with Barrett's friend Dave Gilmour. Barrett also briefly joined another band, Those Without, but his time with them was similarly brief. Some sources -- though ones I consider generally less reliable -- say that the Mottoes' bass player wasn't Tony Sainty, but was Roger Waters, the son of one of Barrett's teachers, and that one of the reasons the band split up was that Waters had moved down to London to study architecture. I don't think that's the case, but it's definitely true that Barrett knew Waters, and when he moved to London himself the next year to go to Camberwell Art College, he moved into a house where Waters was already living. Two previous tenants at the same house, Nick Mason and Richard Wright, had formed a loose band with Waters and various other amateur musicians like Keith Noble, Shelagh Noble, and Clive Metcalfe. That band was sometimes known as the Screaming Abdabs, The Megadeaths, or The Tea Set -- the latter as a sly reference to slang terms for cannabis -- but was mostly known at first as Sigma 6, named after a manifesto by the novelist Alexander Trocchi for a kind of spontaneous university. They were also sometimes known as Leonard's Lodgers, after the landlord of the home that Barrett was moving into, Mike Leonard, who would occasionally sit in on organ and would later, as the band became more of a coherent unit, act as a roadie and put on light shows behind them -- Leonard was himself very interested in avant-garde and experimental art, and it was his idea to play around with the group's lighting. By the time Barrett moved in with Waters in 1964, the group had settled on the Tea Set name, and consisted of Waters on bass, Mason on drums, Wright on keyboards, singer Chris Dennis, and guitarist Rado Klose. Of the group, Klose was the only one who was a skilled musician -- he was a very good jazz guitarist, while the other members were barely adequate. By this time Barrett's musical interests were expanding to include folk music -- his girlfriend at the time talked later about him taking her to see Bob Dylan on his first UK tour and thinking "My first reaction was seeing all these people like Syd. It was almost as if every town had sent one Syd Barrett there. It was my first time seeing people like him." But the music he was most into was the blues. And as the Tea Set were turning into a blues band, he joined them. He even had a name for the new band that would make them more bluesy. He'd read the back of a record cover which had named two extremely obscure blues musicians -- musicians he may never even have heard. Pink Anderson: [Excerpt: Pink Anderson, "Boll Weevil"] And Floyd Council: [Excerpt: Floyd Council, "Runaway Man Blues"] Barrett suggested that they put together the names of the two bluesmen, and presumably because "Anderson Council" didn't have quite the right ring, they went for The Pink Floyd -- though for a while yet they would sometimes still perform as The Tea Set, and they were sometimes also called The Pink Floyd Sound. Dennis left soon after Barrett joined, and the new five-piece Pink Floyd Sound started trying to get more gigs. They auditioned for Ready Steady Go! and were turned down, but did get some decent support slots, including for a band called the Tridents: [Excerpt: The Tridents, "Tiger in Your Tank"] The members of the group were particularly impressed by the Tridents' guitarist and the way he altered his sound using feedback -- Barrett even sent a letter to his girlfriend with a drawing of the guitarist, one Jeff Beck, raving about how good he was. At this point, the group were mostly performing cover versions, but they did have a handful of originals, and it was these they recorded in their first demo sessions in late 1964 and early 1965. They included "Walk With Me Sydney", a song written by Roger Waters as a parody of "Work With Me Annie" and "Dance With Me Henry" -- and, given the lyrics, possibly also Hank Ballard's follow-up "Henry's Got Flat Feet (Can't Dance No More) and featuring Rick Wright's then-wife Juliette Gale as Etta James to Barrett's Richard Berry: [Excerpt: The Tea Set, "Walk With Me Sydney"] And four songs by Barrett, including one called "Double-O Bo" which was a Bo Diddley rip-off, and "Butterfly", the most interesting of these early recordings: [Excerpt: The Tea Set, "Butterfly"] At this point, Barrett was very unsure of his own vocal abilities, and wrote a letter to his girlfriend saying "Emo says why don't I give up 'cos it sounds horrible, and I would but I can't get Fred to join because he's got a group (p'raps you knew!) so I still have to sing." "Fred" was a nickname for his old friend Dave Gilmour, who was playing in his own band, Joker's Wild, at this point. Summer 1965 saw two important events in the life of the group. The first was that Barrett took LSD for the first time. The rest of the group weren't interested in trying it, and would indeed generally be one of the more sober bands in the rock business, despite the reputation their music got. The other members would for the most part try acid once or twice, around late 1966, but generally steer clear of it. Barrett, by contrast, took it on a very regular basis, and it would influence all the work he did from that point on. The other event was that Rado Klose left the group. Klose was the only really proficient musician in the group, but he had very different tastes to the other members, preferring to play jazz to R&B and pop, and he was also falling behind in his university studies, and decided to put that ahead of remaining in the band. This meant that the group members had to radically rethink the way they were making music. They couldn't rely on instrumental proficiency, so they had to rely on ideas. One of the things they started to do was use echo. They got primitive echo devices and put both Barrett's guitar and Wright's keyboard through them, allowing them to create new sounds that hadn't been heard on stage before. But they were still mostly doing the same Slim Harpo and Bo Diddley numbers everyone else was doing, and weren't able to be particularly interesting while playing them. But for a while they carried on doing the normal gigs, like a birthday party they played in late 1965, where on the same bill was a young American folk singer named Paul Simon, and Joker's Wild, the band Dave Gilmour was in, who backed Simon on a version of "Johnny B. Goode". A couple of weeks after that party, Joker's Wild went into the studio to record their only privately-pressed five-song record, of them performing recent hits: [Excerpt: Joker's Wild, "Walk Like a Man"] But The Pink Floyd Sound weren't as musically tight as Joker's Wild, and they couldn't make a living as a cover band even if they wanted to. They had to do something different. Inspiration then came from a very unexpected source. I mentioned earlier that one of the names the group had been performing under had been inspired by a manifesto for a spontaneous university by the writer Alexander Trocchi. Trocchi's ideas had actually been put into practice by an organisation calling itself the London Free School, based in Notting Hill. The London Free School was an interesting mixture of people from what was then known as the New Left, but who were already rapidly aging, the people who had been the cornerstone of radical campaigning in the late fifties and early sixties, who had run the Aldermaston marches against nuclear weapons and so on, and a new breed of countercultural people who in a year or two would be defined as hippies but at the time were not so easy to pigeonhole. These people were mostly politically radical but very privileged people -- one of the founder members of the London Free School was Peter Jenner, who was the son of a vicar and the grandson of a Labour MP -- and they were trying to put their radical ideas into practice. The London Free School was meant to be a collective of people who would help each other and themselves, and who would educate each other. You'd go to the collective wanting to learn how to do something, whether that's how to improve the housing in your area or navigate some particularly difficult piece of bureaucracy, or how to play a musical instrument, and someone who had that skill would teach you how to do it, while you hopefully taught them something else of value. The London Free School, like all such utopian schemes, ended up falling apart, but it had a wider cultural impact than most such schemes. Britain's first underground newspaper, the International Times, was put together by people involved in the Free School, and the annual Notting Hill Carnival, which is now one of the biggest outdoor events in Britain every year with a million attendees, came from the merger of outdoor events organised by the Free School with older community events. A group of musicians called AMM was associated with many of the people involved in the Free School. AMM performed totally improvised music, with no structure and no normal sense of melody and harmony: [Excerpt: AMM, "What Is There In Uselesness To Cause You Distress?"] Keith Rowe, the guitarist in AMM, wanted to find his own technique uninfluenced by American jazz guitarists, and thought of that in terms that appealed very strongly to the painterly Barrett, saying "For the Americans to develop an American school of painting, they somehow had to ditch or lose European easel painting techniques. They had to make a break with the past. What did that possibly mean if you were a jazz guitar player? For me, symbolically, it was Pollock laying the canvas on the floor, which immediately abandons European easel technique. I could see that by laying the canvas down, it became inappropriate to apply easel techniques. I thought if I did that with a guitar, I would just lose all those techniques, because they would be physically impossible to do." Rowe's technique-free technique inspired Barrett to make similar noises with his guitar, and to think less in terms of melody and harmony than pure sound. AMM's first record came out in 1966. Four of the Free School people decided to put together their own record label, DNA, and they got an agreement with Elektra Records to distribute its first release -- Joe Boyd, the head of Elektra in the UK, was another London Free School member, and someone who had plenty of experience with disruptive art already, having been on the sound engineering team at the Newport Folk Festival when Dylan went electric. AMM went into the studio and recorded AMMMusic: [Excerpt: AMM, "What Is There In Uselesness To Cause You Distress?"] After that came out, though, Peter Jenner, one of the people who'd started the label, came to a realisation. He said later "We'd made this one record with AMM. Great record, very seminal, seriously avant-garde, but I'd started adding up and I'd worked out that the deal we had, we got two percent of retail, out of which we, the label, had to pay for recording costs and pay ourselves. I came to the conclusion that we were going to have to sell a hell of a lot of records just to pay the recording costs, let alone pay ourselves any money and build a label, so I realised we had to have a pop band because pop bands sold a lot of records. It was as simple as that and I was as naive as that." Jenner abandoned DNA records for the moment, and he and his friend Andrew King decided they were going to become pop managers. and they found The Pink Floyd Sound playing at an event at the Marquee, one of a series of events that were variously known as Spontaneous Underground and The Trip. Other participants in those events included Soft Machine; Mose Allison; Donovan, performing improvised songs backed by sitar players; Graham Bond; a performer who played Bach pieces while backed by African drummers; and The Poison Bellows, a poetry duo consisting of Spike Hawkins and Johnny Byrne, who may of all of these performers be the one who other than Pink Floyd themselves has had the most cultural impact in the UK -- after writing the exploitation novel Groupie and co-writing a film adaptation of Spike Milligan's war memoirs, Byrne became a TV screenwriter, writing many episodes of Space: 1999 and Doctor Who before creating the long-running TV series Heartbeat. Jenner and King decided they wanted to sign The Pink Floyd Sound and make records with them, and the group agreed -- but only after their summer holidays. They were all still students, and so they dispersed during the summer. Waters and Wright went on holiday to Greece, where they tried acid for the first of only a small number of occasions and were unimpressed, while Mason went on a trip round America by Greyhound bus. Barrett, meanwhile, stayed behind, and started writing more songs, encouraged by Jenner, who insisted that the band needed to stop relying on blues covers and come up with their own material, and who saw Barrett as the focus of the group. Jenner later described them as "Four not terribly competent musicians who managed between them to create something that was extraordinary. Syd was the main creative drive behind the band - he was the singer and lead guitarist. Roger couldn't tune his bass because he was tone deaf, it had to be tuned by Rick. Rick could write a bit of a tune and Roger could knock out a couple of words if necessary. 'Set the Controls for the Heart of the Sun' was the first song Roger ever wrote, and he only did it because Syd encouraged everyone to write. Syd was very hesitant about his writing, but when he produced these great songs everyone else thought 'Well, it must be easy'" Of course, we know this isn't quite true -- Waters had written "Walk with me Sydney" -- but it is definitely the case that everyone involved thought of Barrett as the main creative force in the group, and that he was the one that Jenner was encouraging to write new material. After the summer holidays, the group reconvened, and one of their first actions was to play a benefit for the London Free School. Jenner said later "Andrew King and myself were both vicars' sons, and we knew that when you want to raise money for the parish you have to have a social. So in a very old-fashioned way we said 'let's put on a social'. Like in the Just William books, like a whist drive. We thought 'You can't have a whist drive. That's not cool. Let's have a band. That would be cool.' And the only band we knew was the band I was starting to get involved with." After a couple of these events went well, Joe Boyd suggested that they make those events a regular club night, and the UFO Club was born. Jenner and King started working on the light shows for the group, and then bringing in other people, and the light show became an integral part of the group's mystique -- rather than standing in a spotlight as other groups would, they worked in shadows, with distorted kaleidoscopic lights playing on them, distancing themselves from the audience. The highlight of their sets was a long piece called "Interstellar Overdrive", and this became one of the group's first professional recordings, when they went into the studio with Joe Boyd to record it for the soundtrack of a film titled Tonite Let's All Make Love in London. There are conflicting stories about the inspiration for the main riff for "Interstellar Overdrive". One apparent source is the riff from Love's version of the Bacharach and David song "My Little Red Book". Depending on who you ask, either Barrett was obsessed with Love's first album and copied the riff, or Peter Jenner tried to hum him the riff and Barrett copied what Jenner was humming: [Excerpt: Love, "My Little Red Book"] More prosaically, Roger Waters has always claimed that the main inspiration was from "Old Ned", Ron Grainer's theme tune for the sitcom Steptoe and Son (which for American listeners was remade over there as Sanford and Son): [Excerpt: Ron Grainer, "Old Ned"] Of course it's entirely possible, and even likely, that Barrett was inspired by both, and if so that would neatly sum up the whole range of Pink Floyd's influences at this point. "My Little Red Book" was a cover by an American garage-psych/folk-rock band of a hit by Manfred Mann, a group who were best known for pop singles but were also serious blues and jazz musicians, while Steptoe and Son was a whimsical but dark and very English sitcom about a way of life that was slowly disappearing. And you can definitely hear both influences in the main riff of the track they recorded with Boyd: [Excerpt: The Pink Floyd, "Interstellar Overdrive"] "Interstellar Overdrive" was one of two types of song that The Pink Floyd were performing at this time -- a long, extended, instrumental psychedelic excuse for freaky sounds, inspired by things like the second disc of Freak Out! by the Mothers of Invention. When they went into the studio again with Boyd later in January 1967, to record what they hoped would be their first single, they recorded two of the other kind of songs -- whimsical story songs inspired equally by the incidents of everyday life and by children's literature. What became the B-side, "Candy and a Currant Bun", was based around the riff from "Smokestack Lightnin'" by Howlin' Wolf: [Excerpt: Howlin' Wolf, "Smokestack Lightnin'"] That song had become a favourite on the British blues scene, and was thus the inspiration for many songs of the type that get called "quintessentially English". Ray Davies, who was in many ways the major songwriter at this time who was closest to Barrett stylistically, would a year later use the riff for the Kinks song "Last of the Steam-Powered Trains", but in this case Barrett had originally written a song titled "Let's Roll Another One", about sexual longing and cannabis. The lyrics were hastily rewritten in the studio to remove the controversial drug references-- and supposedly this caused some conflict between Barrett and Waters, with Waters pushing for the change, while Barrett argued against it, though like many of the stories from this period this sounds like the kind of thing that gets said by people wanting to push particular images of both men. Either way, the lyric was changed to be about sweet treats rather than drugs, though the lascivious elements remained in. And some people even argue that there was another lyric change -- where Barrett sings "walk with me", there's a slight "f" sound in his vocal. As someone who does a lot of microphone work myself, it sounds to me like just one of those things that happens while recording, but a lot of people are very insistent that Barrett is deliberately singing a different word altogether: [Excerpt: The Pink Floyd, "Candy and a Currant Bun"] The A-side, meanwhile, was inspired by real life. Both Barrett and Waters had mothers who used  to take in female lodgers, and both had regularly had their lodgers' underwear stolen from washing lines. While they didn't know anything else about the thief, he became in Barrett's imagination a man who liked to dress up in the clothing after he stole it: [Excerpt: The Pink Floyd, "Arnold Layne"] After recording the two tracks with Joe Boyd, the natural assumption was that the record would be put out on Elektra, the label which Boyd worked for in the UK, but Jac Holzman, the head of Elektra records, wasn't interested, and so a bidding war began for the single, as by this point the group were the hottest thing in London. For a while it looked like they were going to sign to Track Records, the label owned by the Who's management, but in the end EMI won out. Right as they signed, the News of the World was doing a whole series of articles about pop stars and their drug use, and the last of the articles talked about The Pink Floyd and their association with LSD, even though they hadn't released a record yet. EMI had to put out a press release saying that the group were not psychedelic, insisting"The Pink Floyd are not trying to create hallucinatory effects in their audience." It was only after getting signed that the group became full-time professionals. Waters had by this point graduated from university and was working as a trainee architect, and quit his job to become a pop star. Wright dropped out of university, but Mason and Barrett took sabbaticals. Barrett in particular seems to have seen this very much as a temporary thing, talking about how he was making so much money it would be foolish not to take the opportunity while it lasted, but how he was going to resume his studies in a year. "Arnold Layne" made the top twenty, and it would have gone higher had the pirate radio station Radio London, at the time the single most popular radio station when it came to pop music, not banned the track because of its sexual content. However, it would be the only single Joe Boyd would work on with the group. EMI insisted on only using in-house producers, and so while Joe Boyd would go on to a great career as a producer, and we'll see him again, he was replaced with Norman Smith. Smith had been the chief engineer on the Beatles records up to Rubber Soul, after which he'd been promoted to being a producer in his own right, and Geoff Emerick had taken over. He also had aspirations to pop stardom himself, and a few years later would have a transatlantic hit with "Oh Babe, What Would You Say?" under the name Hurricane Smith: [Excerpt: Hurricane Smith, "Oh Babe, What Would You Say?"] Smith's production of the group would prove controversial among some of the group's longtime fans, who thought that he did too much to curtail their more experimental side, as he would try to get the group to record songs that were more structured and more commercial, and would cut down their improvisations into a more manageable form. Others, notably Peter Jenner, thought that Smith was the perfect producer for the group. They started work on their first album, which was mostly recorded in studio three of Abbey Road, while the Beatles were just finishing off work on Sgt Pepper in studio two. The album was titled The Piper at the Gates of Dawn, after the chapter from The Wind in the Willows, and other than a few extended instrumental showcases, most of the album was made up of short, whimsical, songs by Barrett that were strongly infused with imagery from late-Victorian and Edwardian children's books. This is one of the big differences between the British and American psychedelic scenes. Both the British and American undergrounds were made up of the same type of people -- a mixture of older radical activists, often Communists, who had come up in Britain in the Ban the Bomb campaigns and in America in the Civil Rights movement; and younger people, usually middle-class students with radical politics from a privileged background, who were into experimenting with drugs and alternative lifestyles. But the  social situations were different. In America, the younger members of the underground were angry and scared, as their principal interest was in stopping the war in Vietnam in which so many of them were being killed. And the music of the older generation of the underground, the Civil Rights activists, was shot through with influence from the blues, gospel, and American folk music, with a strong Black influence. So that's what the American psychedelic groups played, for the most part, very bluesy, very angry, music, By contrast, the British younger generation of hippies were not being drafted to go to war, and mostly had little to complain about, other than a feeling of being stifled by their parents' generation's expectations. And while most of them were influenced by the blues, that wasn't the music that had been popular among the older underground people, who had either been listening to experimental European art music or had been influenced by Ewan MacColl and his associates into listening instead to traditional old English ballads, things like the story of Tam Lin or Thomas the Rhymer, where someone is spirited away to the land of the fairies: [Excerpt: Ewan MacColl, "Thomas the Rhymer"] As a result, most British musicians, when exposed to the culture of the underground over here, created music that looked back to an idealised childhood of their grandparents' generation, songs that were nostalgic for a past just before the one they could remember (as opposed to their own childhoods, which had taken place in war or the immediate aftermath of it, dominated by poverty, rationing, and bomb sites (though of course Barrett's childhood in Cambridge had been far closer to this mythic idyll than those of his contemporaries from Liverpool, Birmingham, Newcastle, or London). So almost every British musician who was making music that might be called psychedelic was writing songs that were influenced both by experimental art music and by pre-War popular song, and which conjured up images from older children's books. Most notably of course at this point the Beatles were recording songs like "Strawberry Fields Forever" and "Penny Lane" about places from their childhood, and taking lyrical inspiration from Victorian circus posters and the works of Lewis Carroll, but Barrett was similarly inspired. One of the books he loved most as a child was "The Little Grey Men" by BB, a penname for Denys Watkins-Pitchford. The book told the story of three gnomes,  Baldmoney, Sneezewort, and Dodder, and their adventures on a boat when the fourth member of their little group, Cloudberry, who's a bit of a rebellious loner and more adventurous than the other three, goes exploring on his own and they have to go off and find him. Barrett's song "The Gnome" doesn't use any precise details from the book, but its combination of whimsy about a gnome named Grimble-gromble and a reverence for nature is very much in the mould of BB's work: [Excerpt: The Pink Floyd, "The Gnome"] Another huge influence on Barrett was Hillaire Belloc. Belloc is someone who is not read much any more, as sadly he is mostly known for the intense antisemitism in some of his writing, which stains it just as so much of early twentieth-century literature is stained, but he was one of the most influential writers of the early part of the twentieth century. Like his friend GK Chesterton he was simultaneously an author of Catholic apologia and a political campaigner -- he was a Liberal MP for a few years, and a strong advocate of an economic system known as Distributism, and had a peculiar mixture of very progressive and extremely reactionary ideas which resonated with a lot of the atmosphere in the British underground of the time, even though he would likely have profoundly disapproved of them. But Belloc wrote in a variety of styles, including poems for children, which are the works of his that have aged the best, and were a huge influence on later children's writers like Roald Dahl with their gleeful comic cruelty. Barrett's "Matilda Mother" had lyrics that were, other than the chorus where Barrett begs his mother to read him more of the story, taken verbatim from three poems from Belloc's Cautionary Tales for Children -- "Jim, Who Ran away from his Nurse, and was Eaten by a Lion", "Henry King (Who chewed bits of String, and was cut off in Dreadful Agonies)", and "Matilda (Who Told Lies and Was Burned to Death)" -- the titles of those give some idea of the kind of thing Belloc would write: [Excerpt: The Pink Floyd, "Matilda Mother (early version)"] Sadly for Barrett, Belloc's estate refused to allow permission for his poems to be used, and so he had to rework the lyrics, writing new fairy-tale lyrics for the finished version. Other sources of inspiration for lyrics came from books like the I Ching, which Barrett used for "Chapter 24", having bought a copy from the Indica Bookshop, the same place that John Lennon had bought The Psychedelic Experience, and there's been some suggestion that he was deliberately trying to copy Lennon in taking lyrical ideas from a book of ancient mystic wisdom. During the recording of Piper at the Gates of Dawn, the group continued playing live. As they'd now had a hit single, most of their performances were at Top Rank Ballrooms and other such venues around the country, on bills with other top chart groups, playing to audiences who seemed unimpressed or actively hostile. They also, though made two important appearances. The more well-known of these was at the 14-Hour Technicolor Dream, a benefit for International Times magazine with people including Yoko Ono, their future collaborator Ron Geesin, John's Children, Soft Machine, and The Move also performing. The 14-Hour Technicolor Dream is now largely regarded as *the* pivotal moment in the development of the UK counterculture, though even at the time some participants noted that there seemed to be a rift developing between the performers, who were often fairly straightforward beer-drinking ambitious young men who had latched on to kaftans and talk about enlightenment as the latest gimmick they could use to get ahead in the industry, and the audience who seemed to be true believers. Their other major performance was at an event called "Games for May -- Space Age Relaxation for the Climax of Spring", where they were able to do a full long set in a concert space with a quadrophonic sound system, rather than performing in the utterly sub-par environments most pop bands had to at this point. They came up with a new song written for the event, which became their second single, "See Emily Play". [Excerpt: The Pink Floyd, "See Emily Play"] Emily was apparently always a favourite name of Barrett's, and he even talked with one girlfriend about the possibility of naming their first child Emily, but the Emily of the song seems to have had a specific inspiration. One of the youngest attendees at the London Free School was an actual schoolgirl, Emily Young, who would go along to their events with her schoolfriend Anjelica Huston (who later became a well-known film star). Young is now a world-renowned artist, regarded as arguably Britain's greatest living stone sculptor, but at the time she was very like the other people at the London Free School -- she was from a very privileged background, her father was Wayland Young, 2nd Baron Kennet, a Labour Peer and minister who later joined the SDP. But being younger than the rest of the attendees, and still a little naive, she was still trying to find her own personality, and would take on attributes and attitudes of other people without fully understanding them,  hence the song's opening lines, "Emily tries, but misunderstands/She's often inclined to borrow somebody's dream til tomorrow". The song gets a little darker towards the end though, and the image in the last verse, where she puts on a gown and floats down a river forever *could* be a gentle, pastoral, image of someone going on a boat ride, but it also could be a reference to two rather darker sources. Barrett was known to pick up imagery both from classic literature and from Arthurian legend, and so the lines inevitably conjure up both the idea of Ophelia drowning herself and of the Lady of Shallot in Tennyson's Arthurian poem, who is trapped in a tower but finds a boat, and floats down the river to Camelot but dies before the boat reaches the castle: [Excerpt: The Pink Floyd, "See Emily Play"] The song also evokes very specific memories of Barrett's childhood -- according to Roger Waters, the woods mentioned in the lyrics are meant to be woods in which they had played as children, on the road out of Cambridge towards the Gog and Magog Hills. The song was apparently seven minutes long in its earliest versions, and required a great deal of editing to get down to single length, but it was worth it, as the track made the top ten. And that was where the problems started. There are two different stories told about what happened to Roger Barrett over the next forty years, and both stories are told by people with particular agendas, who want particular versions of him to become the accepted truth. Both stories are, in the extreme versions that have been popularised, utterly incompatible with each other, but both are fairly compatible with the scanty evidence we have. Possibly the truth lies somewhere between them. In one version of the story, around this time Barrett had a total mental breakdown, brought on or exacerbated by his overuse of LSD and Mandrax (a prescription drug consisting of a mixture of the antihistamine diphenhydramine and the sedative methaqualone, which was marketed in the US under the brand-name Quaalude), and that from late summer 1967 on he was unable to lead a normal life, and spent the rest of his life as a burned-out shell. The other version of the story is that Barrett was a little fragile, and did have periods of mental illness, but for the most part was able to function fairly well. In this version of the story, he was neurodivergent, and found celebrity distressing, but more than that he found the whole process of working within commercial restrictions upsetting -- having to appear on TV pop shows and go on package tours was just not something he found himself able to do, but he was responsible for a whole apparatus of people who relied on him and his group for their living. In this telling, he was surrounded by parasites who looked on him as their combination meal-ticket-cum-guru, and was simply not suited for the role and wanted to sabotage it so he could have a private life instead. Either way, *something* seems to have changed in Barrett in a profound way in the early summer of 1967. Joe Boyd talks about meeting him after not having seen him for a few weeks, and all the light being gone from his eyes. The group appeared on Top of the Pops, Britain's top pop TV show, three times to promote "See Emily Play", but by the third time Barrett didn't even pretend to mime along with the single. Towards the end of July, they were meant to record a session for the BBC's Saturday Club radio show, but Barrett walked out of the studio before completing the first song. It's notable that Barrett's non-cooperation or inability to function was very much dependent on circumstance. He was not able to perform for Saturday Club, a mainstream pop show aimed at a mass audience, but gave perfectly good performances on several sessions for John Peel's radio show The Perfumed Garden, a show firmly aimed at Pink Floyd's own underground niche. On the thirty-first of July, three days after the Saturday Club walkout, all the group's performances for the next month were cancelled, due to "nervous exhaustion". But on the eighth of August, they went back into the studio, to record "Scream Thy Last Scream", a song Barrett wrote and which Nick Mason sang: [Excerpt: Pink Floyd, "Scream Thy Last Scream"] That was scheduled as the group's next single, but the record company vetoed it, and it wouldn't see an official release for forty-nine years. Instead they recorded another single, "Apples and Oranges": [Excerpt: Pink Floyd, "Apples and Oranges"] That was the last thing the group released while Barrett was a member. In November 1967 they went on a tour of the US, making appearances on American Bandstand and the Pat Boone Show, as well as playing several gigs. According to legend, Barrett was almost catatonic on the Pat Boone show, though no footage of that appears to be available anywhere -- and the same things were said about their performance on Bandstand, and when that turned up, it turned out Barrett seemed no more uncomfortable miming to their new single than any of the rest of the band, and was no less polite when Dick Clark asked them questions about hamburgers. But on shows on the US tour, Barrett would do things like detune his guitar so it just made clanging sounds, or just play a single note throughout the show. These are, again, things that could be taken in two different ways, and I have no way to judge which is the more correct. On one level, they could be a sign of a chaotic, disordered, mind, someone dealing with severe mental health difficulties. On the other, they're the kind of thing that Barrett was applauded and praised for in the confines of the kind of avant-garde underground audience that would pay to hear AMM or Yoko Ono, the kind of people they'd been performing for less than a year earlier, but which were absolutely not appropriate for a pop group trying to promote their latest hit single. It could be that Barrett was severely unwell, or it could just be that he wanted to be an experimental artist and his bandmates wanted to be pop stars -- and one thing absolutely everyone agrees is that the rest of the group were more ambitious than Barrett was. Whichever was the case, though, something had to give. They cut the US tour short, but immediately started another British package tour, with the Jimi Hendrix Experience, the Move, Amen Corner and the Nice. After that tour they started work on their next album, A Saucerful of Secrets. Where Barrett was the lead singer and principal songwriter on Piper at the Gates of Dawn, he only sings and writes one song on A Saucerful of Secrets, which is otherwise written by Waters and Wright, and only appears at all on two more of the tracks -- by the time it was released he was out of the group. The last song he tried to get the group to record was called "Have You Got it Yet?" and it was only after spending some time rehearsing it that the rest of the band realised that the song was a practical joke on them -- every time they played it, he would change the song around so they would mess up, and pretend they just hadn't learned the song yet. They brought in Barrett's old friend Dave Gilmour, initially to be a fifth member on stage to give the band some stability in their performances, but after five shows with the five-man lineup they decided just not to bother picking Barrett up, but didn't mention he was out of the group, to avoid awkwardness. At the time, Barrett and Rick Wright were flatmates, and Wright would actually lie to Barrett and say he was just going out to buy a packet of cigarettes, and then go and play gigs without him. After a couple of months of this, it was officially announced that Barrett was leaving the group. Jenner and King went with him, convinced that he was the real talent in the group and would have a solo career, and the group carried on with new management. We'll be looking at them more in future episodes. Barrett made a start at recording a solo album in mid-1968, but didn't get very far. Jenner produced those sessions, and later said "It seemed a good idea to go into the studio because I knew he had the songs. And he would sometimes play bits and pieces and you would think 'Oh that's great.' It was a 'he's got a bit of a cold today and it might get better' approach. It wasn't a cold -- and you knew it wasn't a cold -- but I kept thinking if he did the right things he'd come back to join us. He'd gone out and maybe he'd come back. That was always the analogy in my head. I wanted to make it feel friendly for him, and that where we were was a comfortable place and that he could come back and find himself again. I obviously didn't succeed." A handful of tracks from those sessions have since been released, including a version of “Golden Hair”, a setting by Barrett of a poem by James Joyce that he would later revisit: [Excerpt: Syd Barrett, “Golden Hair (first version)”] Eleven months later, he went back into the studio again, this time with producer Malcolm Jones, to record an album that later became The Madcap Laughs, his first solo album. The recording process for the album has been the source of some controversy, as initially Jones was producing the whole album, and they were working in a way that Barrett never worked before. Where previously he had cut backing tracks first and only later overdubbed his vocals, this time he started by recording acoustic guitar and vocals, and then overdubbed on top of that. But after several sessions, Jones was pulled off the album, and Gilmour and Waters were asked to produce the rest of the sessions. This may seem a bit of a callous decision, since Gilmour was the person who had replaced Barrett in his group, but apparently the two of them had remained friends, and indeed Gilmour thought that Barrett had only got better as a songwriter since leaving the band. Where Malcolm Jones had been trying, by his account, to put out something that sounded like a serious, professional, record, Gilmour and Waters seemed to regard what they were doing more as producing a piece of audio verite documentary, including false starts and studio chatter. Jones believed that this put Barrett in a bad light, saying the outtakes "show Syd, at best as out of tune, which he rarely was, and at worst as out of control (which, again, he never was)." Gilmour and Waters, on the other hand, thought that material was necessary to provide some context for why the album wasn't as slick and professional as some might have hoped. The eventual record was a hodge-podge of different styles from different sessions, with bits from the Jenner sessions, the Jones sessions, and the Waters and Gilmour sessions all mixed together, with some tracks just Barrett badly double-tracking himself with an acoustic guitar, while other tracks feature full backing by Soft Machine. However, despite Jones' accusations that the album was more-or-less sabotaged by Gilmour and Waters, the fact remains that the best tracks on the album are the ones Barrett's former bandmates produced, and there are some magnificent moments on there. But it's a disturbing album to listen to, in the same way other albums by people with clear talent but clear mental illness are, like Skip Spence's Oar, Roky Erickson's later work, or the Beach Boys Love You. In each case, the pleasure one gets is a real pleasure from real aesthetic appreciation of the work, but entangled with an awareness that the work would not exist in that form were the creator not suffering. The pleasure doesn't come from the suffering -- these are real artists creating real art, not the kind of outsider art that is really just a modern-day freak-show -- but it's still inextricable from it: [Excerpt: Syd Barrett, "Dark Globe"] The Madcap Laughs did well enough that Barrett got to record a follow-up, titled simply Barrett. This one was recorded over a period of only a handful of months, with Gilmour and Rick Wright producing, and a band consisting of Gilmour, Wright, and drummer Jerry Shirley. The album is generally considered both more consistent and less interesting than The Madcap Laughs, with less really interesting material, though there are some enjoyable moments on it: [Excerpt: Syd Barrett, "Effervescing Elephant"] But the album is a little aimless, and people who knew him at the time seem agreed that that was a reflection of his life. He had nothing he *needed* to be doing -- no  tour dates, no deadlines, no pressure at all, and he had a bit of money from record royalties -- so he just did nothing at all. The one solo gig he ever played, with the band who backed him on Barrett, lasted four songs, and he walked off half-way through the fourth. He moved back to Cambridge for a while in the early seventies, and he tried putting together a new band with Twink, the drummer of the Pink Fairies and Pretty Things, Fred Frith, and Jack Monck, but Frith left after one gig. The other three performed a handful of shows either as "Stars" or as "Barrett, Adler, and Monck", just in the Cambridge area, but soon Barrett got bored again. He moved back to London, and in 1974 he made one final attempt to make a record, going into the studio with Peter Jenner, where he recorded a handful of tracks that were never released. But given that the titles of those tracks were things like "Boogie #1", "Boogie #2", "Slow Boogie", "Fast Boogie", "Chooka-Chooka Chug Chug" and "John Lee Hooker", I suspect we're not missing out on a lost masterpiece. Around this time there was a general resurgence in interest in Barrett, prompted by David Bowie having recorded a version of "See Emily Play" on his covers album Pin-Ups, which came out in late 1973: [Excerpt: David Bowie, "See Emily Play"] At the same time, the journalist Nick Kent wrote a long profile of Barrett, The Cracked Ballad of Syd Barrett, which like Kent's piece on Brian Wilson a year later, managed to be a remarkable piece of writing with a sense of sympathy for its subject and understanding of his music, but also a less-than-accurate piece of journalism which led to a lot of myths and disinformation being propagated. Barrett briefly visited his old bandmates in the studio in 1975 while they were recording the album Wish You Were Here -- some say even during the recording of the song "Shine On, You Crazy Diamond", which was written specifically about Barrett, though Nick Mason claims otherwise -- and they didn't recognise him at first, because by this point he had a shaved head and had put on a great deal of weight. He seemed rather sad, and that was the last time any of them saw him, apart from Roger Waters, who saw him in Harrod's a few years later. That time, as soon as Barrett recognised Waters, he dropped his bag and ran out of the shop. For the next thirty-one years, Barrett made no public appearances. The last time he ever voluntarily spoke to a journalist, other than telling them to go away, was in 1982, just after he'd moved back to Cambridge, when someone doorstopped him and he answered a few questions and posed for a photo before saying "OK! That's enough, this is distressing for me, thank you." He had the reputation for the rest of his life of being a shut-in, a recluse, an acid casualty. His family, on the other hand, have always claimed that while he was never particularly mentally or physically healthy, he wasn't a shut-in, and would go to the pub, meet up with his mother a couple of times a week to go shopping, and chat to the women behind the counter at Sainsbury's and at the pharmacy. He was also apparently very good with children who lived in the neighbourhood. Whatever the truth of his final decades, though, however mentally well or unwell he actually was, one thing is very clear, which is that he was an extremely private man, who did not want attention, and who was greatly distressed by the constant stream of people coming and looking through his letterbox, trying to take photos of him, trying to interview him, and so on. Everyone on his street knew that when people came asking which was Syd Barrett's house, they were meant to say that no-one of that name lived there -- and they were telling the truth. By the time he moved back, he had stopped answering to "Syd" altogether, and according to his sister "He came to hate the name latterly, and what it meant." He did, in 2001, go round to his sister's house to watch a documentary about himself on the TV -- he didn't own a TV himself -- but he didn't enjoy it and his only comment was that the music was too noisy. By this point he never listened to rock music, just to jazz and classical music, usually on the radio. He was financially secure -- Dave Gilmour made sure that when compilations came out they always included some music from Barrett's period in the group so he would receive royalties, even though Gilmour had no contact with him after 1975 -- and he spent most of his time painting -- he would take photos of the paintings when they were completed, and then burn the originals. There are many stories about those last few decades, but given how much he valued his privacy, it wouldn't be right to share them. This is a history of rock music, and 1975 was the last time Roger Keith Barrett ever had anything to do with rock music voluntarily. He died of cancer in 2006, and at his funeral there was a reading from The Little Grey Men, which was also quoted in the Order of Service -- "The wonder of the world, the beauty and the power, the shapes of things, their colours lights and shades; these I saw. Look ye also while life lasts.” There was no rock music played at Barrett's funeral -- instead there were a selection of pieces by Handel, Haydn, and Bach, ending with Bach's Allemande from the Partita No. IV in D major, one of his favourite pieces: [Excerpt: Glenn Gould, "Allemande from the Partita No. IV in D major"]  As they stared blankly in dumb misery deepening as they slowly realised all they had seen and all they had lost, a capricious little breeze, dancing up from the surface of the water, tossed the aspens, shook the dewy roses and blew lightly and caressingly in their faces; and with its soft touch came instant oblivion. For this is the last best gift that the kindly demi-god is careful to bestow on those to whom he has revealed himself in their helping: the gift of forgetfulness. Lest the awful remembrance should remain and grow, and overshadow mirth and pleasure, and the great haunting memory should spoil all the after-lives of little animals helped out of difficulties, in order that they should be happy and lighthearted as before. Mole rubbed his eyes and stared at Rat, who was looking about him in a puzzled sort of way. “I beg your pardon; what did you say, Rat?” he asked. “I think I was only remarking,” said Rat slowly, “that this was the right sort of place, and that here, if anywhere, we should find him. And look! Why, there he is, the little fellow!” And with a cry of delight he ran towards the slumbering Portly. But Mole stood still a moment, held in thought. As one wakened suddenly from a beautiful dream, who struggles to recall it, and can re-capture nothing but a dim sense of the beauty of it, the beauty! Till that, too, fades away in its turn, and the dreamer bitterly accepts the hard, cold waking and all its penalties; so Mole, after struggling with his memory for a brief space, shook his head sadly and followed the Rat.

How does a food critic become a Gastronaut? Join us for high flying feasts, dark alleyways, and the end of a career.   Transcripts can be found at: https://gastronaut-pod.neocities.org/transcripts Support the show at: https://www.patreon.com/aaronkling (This episode has been redone using improvements from Season 2. The original version is available for free on our Patreon.) Gastronaut is written, produced, and voice acted by Aaron Kling, with script editing and vocal direction by Erika Grandstaff.      "Babylon" Kevin MacLeod (incompetech.com) Licensed under Creative Commons: By Attribution 4.0 License http://creativecommons.org/licenses/by/4.0/

This fruit is beloved in the subarctic areas where it grows, but you pretty much have to be in one of those places to try it. Anney and Lauren dig into the science and history of the cloudberry.See omnystudio.com/listener for privacy information.

As the Amphibian Hobby continues to grow, more and more people are keeping frogs and other amphibians as pets.  However, situations often arise where keepers can no longer keep their animals.  Many keepers look out for rescue organizations, but there are only a handful that accept amphibians.  Running an amphibian focused rescue operation also poses a unique set of challenges. This week I am joined by Cloudberry Exotics Sanctuary and we discuss how she started her rescue operation in 2009 , why she chose to focus on frogs, and what's involved in rescuing, rehabilitating and rehoming frogs in need. We discuss some common situations where a frog may need to be rescued and how to avoid care and husbandry mistakes. Follow Cloudberry Exotics Sanctuary on instagram @cloudberryexotics and visit https://www.cloudberryexotics.com/For AmphibiCast Merch, to support the show by becoming a patron, for a 10% listener discount on In Situ Ecosystems vivariums and to support Panamanian Frog Conservation visit:https://linktr.ee/AmphibiCast 

This episode features Delaney Thiele, the artist and creator behind AK Cloudberry. Cloudberry is the catalyst for Delaney's reconnection with her culture and has contributed to strengthening her identity as an Indigenous woman. Some questions that guided this conversation were: How do you feel about cancel/consequence culture and what role does social media play in that? Are there differences in individual vs community ownership in patterns/designs/ideas? And if so, what are those differences? How does an Indigenous-owned business or business model/approach work in a capitalist society? (Does it work?) Delaney Arnaq Naruyaq' Thiele is a Dena'ina Athabascan and Yup'ik woman from Anchorage, Alaska. Delaney graduated from the University of Alaska Anchorage with a Bachelor of Arts in Political Science and a minor in Alaska Native Studies. Since graduation, Delaney has been running a small jewelry business featuring hand woven beaded accessories: Cloudberry. Delaney fell in love with the ancestral knowledge and beauty of beadwork and from this love, Cloudberry was born. Cloudberry has been the catalyst for Delaney's reconnection with her culture and traditions and has significantly contributed to her ongoing journey of reclamation and strengthening of her identity as an Indigenous woman. Delaney predominately uses Japanese glass beads and takes inspiration for her work from traditional Indigenous techniques and her picturesque homeland.You can find her work at akcloudberry.com or @ak.cloudberry on Instagram.

Jonis og Anna diskuterer hvilken mat som ville representert Norge i utlandet. Anna lirer av seg noen fun facts om rødt hår, og når Jonis åpner dagens "glAvis", leser han gode nyheter. Gjester Martin Beyer-Olsen og Christian Mikkelsen tar med vikartøytene på visning.

A year ago, as the pandemic drove everybody inside, Delaney Thiele turned her focus to earrings. She owns a business called Cloudberry , selling Indigenous beaded earrings, mostly on Instagram . “I... Visit knba.org/news to get more information.

In this episode of Tucked In, Teddy is telling you a sleepy story all about the cloudberry. A stunning, bitter berry you might not have heard of before, but one that's worth exploring.Created and narrated by Eilidh and Teddy, helping you get to sleep. Whether you’re a food lover, or simply looking for something soothing to listen to while you drift off to sleep, we’re bringing you a look into a new ingredient in every episode.Support the show (https://www.buymeacoffee.com/TuckedIn)

I denne episoden diskuterer panelet ukens aktivitet og handler, nye emisjoner/noteringer, bankene tok Polarcus-båter, pumpeforsøk i REC, sølvpris, veien videre for olje, kryptogruppe og –side, Magnora, Cloudberry, hydrogenprising, ny videotjeneste for investorer og panelets obs for kommende uke. Episoden er sponset av IG.com – for demokonto https://www.ig.com/se/demokonto?CHID=10&QPID=36002 og for livekonto https://www.ig.com/no/application-form?CHID=10&QPID=36002 Ny videotjeneste https://inqrate.com/ og ny kryptoside https://kryptoguiden.no/

Vår analytiker, Roger Berntsen, har hatt besøk av to spennende selskaper som opererer innen fornybarsektoren. Først ut får du høre en Q&A med ledelsen i Magnora fra tidligere i januar. Der diskuteres blant annet markedspotensialet for vindkraft, samt Magnora sitt nye forretningsområde. I del to av sendingen får du høre en selskapspresentasjon av det nordiske energiselskapet Cloudberry Clean Energy. Agenda: (fra 01:30) Magnora (fra 25:33) Cloudberry Clean Energy

Fornybar energi er i vinden på børsene, og i forkant av Paretos fornybarkonferanse snakker programleder Ola Alsberg med analytikerduoen Gard Aarvik og Bård Rosef om sektoren og utsiktene til enkeltselskaper som Nel, HydrogenPro og Cloudberry.

Kopaa ar Lindu paarrunaajaam, kaadi ieguvumi ir no dom`rakstiishanas un cik noziimiiga ir struktuura tajaa:- meditaacija,- pateiciibas,- afirmaacijas,- nodoms & meerkis,- manifestaacija,- kvalitatiivi jautaajumi.-Pilnaa saruna atrodama IG TV Lindas profilaa.Atrodi Lindu un atbalsti vi?u IG: @lindakuze & @cloudberrydesign & @cloudberryldesign_latviaSazinjai un atsauksmeem: ommmsome@gmail.com & IG: @ ommmsome

Kopaa ar Lindu paarrunaajaam, kaadi ieguvumi ir no dom`rakstiishanas un cik noziimiiga ir struktuura tajaa:- meditaacija,- pateiciibas,- afirmaacijas,- nodoms & meerkis,- manifestaacija,- kvalitatiivi jautaajumi.-Pilnaa saruna atrodama IG TV Lindas profilaa.Atrodi Lindu un atbalsti vi?u IG: @lindakuze & @cloudberrydesign & @cloudberryldesign_latviaSazinjai un atsauksmeem: ommmsome@gmail.com & IG: @ ommmsome

Kopaa ar Lindu paarrunaajaam, kaadi ieguvumi ir no dom`rakstiishanas un cik noziimiiga ir struktuura tajaa:- meditaacija,- pateiciibas,- afirmaacijas,- nodoms & meerkis,- manifestaacija,- kvalitatiivi jautaajumi.-Pilnaa saruna atrodama IG TV Lindas profilaa.Atrodi Lindu un atbalsti vi?u IG: @lindakuze & @cloudberrydesign & @cloudberryldesign_latviaSazinjai un atsauksmeem: ommmsome@gmail.com & IG: @ ommmsome

#71 Linda Kuze. Divu lielisku beernu mamma, miilosha sieva un uznemeeja. Linda ir izveidojusi gan loti skaistu papira dizainu lietu zimolu - divpusejos plaanotaajus - kas paliidz sasniegt vairaak, gan scrapbooking albumus - kuros glabaat savas miilaakaas sajuutas un atminas. Cloudberry nav vieniigais bizness, ko Linda ir izveidojusi – bija ar? deju studija, ir nometnes beerniem – Kukabura. Skiet, ka Linda dziivo savus beerniibaa izsapnotos sapnus. Ieklausies un iepaz?sti kaadu jaunu dalinu vinas, iedvesmojies un noteikti apskati Lindas radoshos veidojumus – makonoga.lv vai Instagramaa @cloudberrydesign un vinas ikdienai noteikti vari sekot liidz @lindakuze  atraksti man: ommmsome@gmail.com vai atrodi ieksh Instagram: ommmsomePaldies @feliceliving par briniskigo telpu sarunai!Paldies, ka klausies, tieshi taapeec varu radit nakamaas sarunas un turpinaat nest pie Tevis briniskigus stastus.

У нас в гостях Ксения Кологриева, преподаватель русского языка как иностранного, основатель и директор языковой школы Cloudberry с отдельным подразделением для обучения детей-билингвов. Мы обсудили основные тренды и тенденции на рынке частных образовательных услуг, и изменения, вызванные пандемией. Поговорили о том, как внезапный переход в онлайн стал причиной сильно возросшей конкуренции, и о том, как преподаватели иностранных языков могут выживать в новых условиях. Кроме того, вы услышите, как выстроить обучение детей-билингвов максимально эффективным образом, как подготовить ребенка к онлайн-занятиям, и о том, каким будет следующее поколение детей с унаследованным русским. Podcast host Izolda (Iza) Savenkova is a Visiting Assistant Scholar at Dickinson College, PA. Podcast is created by Evgeny Dengub for www.TeachRussian.org

Mmm, there’s nothing like the taste of farm fresh CloudBerry. Just ask Matt, Rich, and guest host Randolph Carnegie, managing director of Chicago-based IT provider Ken-Kor Consulting. In addition to that topic, they discuss the first big step toward building a managed services tool suite by MSP360 (formerly CloudBerry Lab), Lenovo’s newest hyperconverged infrastructure solutions, and IT By Design’s intriguing move from outsourcing and staffing into partner education and consulting. Then stick around for the timely interview on the often latest, often surprising trends in ransomware with Dan Schiappa, chief product officer of Sophos, and Chester Wisniewski, the company’s principal research scientist. It’s about the only thing we can think of scary enough to ruin all those delicious CloudBerries you’re about to eat. Subscribe to ChannelPro Weekly! iTunes: https://itunes.apple.com/us/podcast/channelpro-weekly-podcast/id1095568582?mt=2 Google Play Podcasts: https://play.google.com/music/m/Igodza5l63vd5w5mdybtpq2cr7e?t=ChannelPro_Weekly_Podcast Spotify: https://open.spotify.com/show/7hWuOWbrIcwtrK6UJLSHvU More here: https://www.channelpronetwork.com/download/podcast/channelpro-weekly-podcast-episode-159-down-cloudberry-farms Topics and Related Links Mentioned: Lenovo Unveils Hyperconverged Infrastructure Solutions for “the New, Smarter Normal” - https://www.channelpronetwork.com/news/lenovo-unveils-hyperconverged-infrastructure-solutions-new-smarter-normal IT By Design Introduces Partner Enablement and Operational Improvement Resources - https://www.channelpronetwork.com/news/it-design-introduces-partner-enablement-and-operational-improvement-resources MSP360 Making Headway on Path from Backup Vendor to Managed Services Suite Maker - https://www.channelpronetwork.com/news/msp360-making-headway-path-backup-vendor-managed-services-suite-maker Sophos realities of ransomware blog series - https://news.sophos.com/en-us/tag/the-realities-of-ransomware Matt's Museum Pick: NES Satellite Matt's Tech Pick: Xbox Wireless Adapter for Windows 10 Rich's ICYMI plug and quickie preview of the week ahead

#52 Linda Kuze. Divu lielisku beernu mamma, miilosha sieva un uznemeeja. Linda ir izveidojusi gan loti skaistu papira dizainu lietu zimolu - divpusejos plaanotaajus - kas paliidz sasniegt vairaak, gan scrapbooking albumus - kuros glabaat savas miilaakaas sajuutas un atminas. Cloudberry nav vieniigais bizness, ko Linda ir izveidojusi – bija ar? deju studija, ir nometnes beerniem – Kukabura. Skiet, ka Linda dziivo savus beerniibaa izsapnotos sapnus. Ieklausies un iepaz?sti kaadu jaunu dalinu vinas, iedvesmojies un noteikti apskati Lindas radoshos veidojumus – makonoga.lv vai Instagramaa @cloudberrydesign un vinas ikdienai noteikti vari sekot liidz @lindakuze  atraksti man: ommmsome@gmail.com vai atrodi ieksh Instagram: ommmsomePaldies @feliceliving par briniskigo telpu sarunai!Paldies, ka klausies, tieshi taapeec varu radit nakamaas sarunas un turpinaat nest pie Tevis briniskigus stastus.

Podcast main page: www.mspvoice.com/ Show-notes: www.mspvoice.com/msp-voice-episode-56/ Guest: Brian Helwig Company: MSP360 This week I’m happy to be joined by Brian Helwig, the CEO of MSP360 (formerly CloudBerry Lab). In case you haven’t heard, CloudBerry Lab is now MSP360. Brian and I previously worked together at Veeam where we had office next to each other. When I heard Brian was joining CloudBerry I was excited to work with him again. In this episode we start off talking about Brain’s new role as CEO and about CloudBerry’s name change to MSP360 but then we get into a great discussion about hiring (and retaining) sales people. Brian’s experience is building teams, and especially sales teams, makes him the perfect guest to share his advice. To start with, Brian recommends a book, “Never Hire a Bad Salesperson Again” which allows you to identify the key traits to hire someone who’s going to be successful. Brian continues the conversation with some great advice for all of you looking to hire salespeople.

Podcast Episode 121 - Cloudberry   Got Vitamin C? Probably not as much as you could have if you were to consume Cloudberry. These little berries are not only packed with a big ole VitaminC punch, but surprisingly though, it is loaded with omega 3 and 6!! Very interesting right???   Listen up to todays podcast episode and learn all about Cloudberry.     Please remember to Subscribe, Rate & Review! To leave a comment, or feedback, leave a message at 404-828-0051      

Bitter Coffey is back from its holiday hiatus and Kelly and Darek are firing into the new year hopped up on Hibiscus Cloudberry Polar seltzer. On this episode Kelly gets stuck in an elevator, has a useless conversation with Comcast and shares some incredible Christmas gifts from Boredwalk T-Shirts. There’s also talk of cars that sound like trombones and the reality of supposed Facebook “hacking”. The Random Question this week finds our hosts sharing their top three “desert island” musical artists and there’s an exciting announcement about the impending listener call-in show.

Welcome to the future! We’ve got a Brian… from the past! It’s all very wild and you are happy for this to be the case. Now let’s all jump on a grenade. Thanks to They Might Be Giants for the …Read more »

Today's podcast is brought to you by Cloudberry. Your #1 cross-platform cloud backup platform. I chatting with Doug Hazelman (@VMDoug), VP of technical marketing with Cloudberry. Backups are an important offering for any IT service provider. Cloudberry is focused on supporting MSPs build a flexible backup offering that protects servers and workstations, as well as cloud app data like Office 365 and G suite. Cloudberry allows a free trial of their software, so why not sign up and give it a spin? Doug hosts an MSP focused podcast called MSP Voice that you should subscribe to.

Doug Hazelman of Cloudberry joins us for a chat on using a personal brand to fuel success for your MSP business. Richard Tubb and Karl Palachuk discuss who’s listening through our devices, Cisco’s acquisition of Duo Security, and the new GDPR-like legislation being introduced across the US.

On today’s episode we have Doug Hazelman VP of technical marketing at Cloudberry. We’re going to chat about communities and how they can help you as a business owner. What are the benefits of joining different communities, what ARE the different types of communities that are out there, and how can you participate in these communities to get the maximum value out of them? We’ll answer those questions and so much more coming up right now.

Doug Hazelman is the VP of Technical Marketing at Cloudberry. We talked about Cloudberry’s cloud backup options as well as their managed service reseller program. (I didn’t know their cloud agents could be deployed with many RMM tools.).   About Doug Hazelman: Doug is a software industry veteran with over 20 years experience including 9.5 years at Veeam Software. He was on the executive team at Veeam and also helped spearhead Veeam’s community and technical evangelists efforts as well as provided insight into product strategy. Doug has held various management positions at other software companies throughout his career. He graduated with a BS in Computer Science from Western Illinois University with a minor in marketing..   Links Mentioned: Forum: https://forum.cloudberrylab.com/ Twitter: https://twitter.com/cloudberrylab Facebook: https://www.facebook.com/CloudBerryLab/ Blog: https://www.cloudberrylab.com/blog/   Check out the interview here:   This interview is 30 minutes. Listen to the Podcast  

CrashPlan is out of the home backup business and I'm going to dissect that decision and what to do if you are a CrashPlan customer. There is a lot to discuss with this move and if you are a CP customer you have many paths in which you can take with your data. I will discuss those in depth on this episode. Not one of these plans is right for everyone. Keep that in mind when you listen. Read the first link below first. If you are a CP subscriber, start there. You have time. Comment and discuss this podcast here - https://homeservershow.com/forums/topic/15344-crashplan-is-shutting-down-consumer-side-going-business-only/ Cloud to Cloud Services - https://www.cloudwards.net/the-top-five-services-for-cloud-based-data-transfer/ Arq - https://www.arqbackup.com/ Cloudberry - https://www.cloudberrylab.com/ Google Backup - https://www.google.com/drive/download/ BackBlaze Family Plan - https://help.backblaze.com/hc/en-us/articles/115001518913#familyplan eero POE - https://homeservershow.com/forums/topic/15347-eero-is-going-for-smarthome-integrators-with-poe-and-rsm-remote-systems-management/

A lesson in Alutiiq language and culture about cloudberries.

The Bonus Pretzel Crew was at ConnectiCon 2013, and so was Pwnee Studios, who were showing off their upcoming game, Cloudberry Kingdom. Naturally, we had a quick chat with them about the game and it's development process. Forgive the lack of quality due to the cell phone microphone and Rock Band playing in the background.

I was going to try and be hip and fill this up with obscure bands but instead opted for the happening right now bands so here is a selection of my favourite songs of the moment, I hope you enjoy some if not all of them.stephenwww.thisalmightypop.com1. Lets Whisper - Dylan's Song- this is the side project of Dana and Colin from The Smittens and it can be found on the more than excellent WeePop! label. (http://www.myspace.com/letswhispermusic)2. A Classic Education - Wartimes - were the stars of last summer's indie tracks festival. This is from the bands' self released 12" single. (www.aclassiceducation.com)3. Blackflower - Summer Has Changed - is from their debut album You and Me, which is most played LP of the year, two of them are from Darlington only 7 miles from where I am sitting. (http://www.myspace.com/blackflowermusic)4. Countryside - Summer Is Here - were a band I saw play a majestic set in the church at my first indie tracks in '07. They have also just said yes to putting out this song on my record label. (http://www.myspace.com/countrysideland)5. Les Cox (sportifs) - Dresden - are another special band who are still a bit of a secret at the moment but hopefully not for much longer. This song is from their debut album Neverheed. (http://www.myspace.com/lescoxsportifs) 6. Phil Wilson - White Night - who kindly let me release an e.p. by him on my label, but this is from an e.p. called New Wave on the German Edition 59 label which has just been released, you should also pick up 2 x 7" Industrial Strength on Slumberland if you haven't already. (http://www.myspace.com/philwilsonjunebride)7. Play People - Meet Me Saturday - this from a CD e.p. on Cloudberry who are also about to release the bands' first vinyl single called "Goes Out" which is even better than this song. (http://www.myspace.com/themosquitoesuk)8. Moira Stewart - We Still Live With Our Parents - A band you really should see live at least once, if only to hear their perfect version of "Your Love Keeps Lifting Me Higher," that I want to release on my label, but I haven't asked them yet. (http://www.myspace.com/moirastewartmusic)9. Withered Hand - I Am Nothing - Scottish popstars who surely would have had a place on 53rd and 3rd if they were born 20 years sooner. (http://www.myspace.com/witheredhandmusic)10. The Middle Ones - Goodnight Song - another indie tracks encounter brought this band to my attention, they giggled like giddy kippers during their performance in the church, reminding me of Kathryn Williams and The Marine Girls, which has got to a good thing. (http://www.myspace.com/themiddleones)11. Horowitz - I Was The Son Of A Teenage Comicbook Superhero's Trusty Sidekick - Nearly every band I like seems to have some sort of IndieTracks connection and I make no secret of the fact that that is where I first fell in love with Horowitz's lo-fi grooviness. The fact that Pete was also the ball boy behind the goal in the 1973 FA cup final when Ian Porterfield scored Sunderland's winner against Leeds United makes me love them even more. This song is from their recently released CD e.p. on Edition 59. (http://www.myspace.com/horowitzband)12. Kuma - My Name Is Kuma - This is also from a CD on WeePop! If listening to this song doesn't make you smile and dance nothing will. (http://mynameiskuma.com)13. The Catalysts - The Girl From New York - This is Ulric from The Mixers and The Golden Dawn, as good as those bands were, The Catalysts are now my favourites. This on the Ulric's own Spirophone label. (http://www.myspace.com/catalysts)

Michael Farnia from CloudBerry Labs