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Our guest on this episode is Leah Downey, Junior Research Fellow at St. John's College Cambridge and author of the new book Our Money: Monetary Policy as If Democracy Matters. Independent central banks are thought to be necessary to prevent politicians using monetary policy to influence elections and to avoid dangerously high levels of inflation. Is this really correct? Is it really healthy for a democracy to allocate so much power to a very small group of unelected people? Why is monetary policy considered ‘too complicated' for politicians when equally complex areas like energy and defence are not? Is more uncertainty in monetary policy actually better for long-run economic stability? We tackle all these questions as we explore Dr. Downey's view that the way we govern central banks needs to change.-----50 YEARS OF TREND FOLLOWING BOOK AND BEHIND-THE-SCENES VIDEO FOR ACCREDITED INVESTORS - CLICK HERE-----Follow Niels on Twitter, LinkedIn, YouTube or via the TTU website.IT's TRUE ? – most CIO's read 50+ books each year – get your FREE copy of the Ultimate Guide to the Best Investment Books ever written here.And you can get a free copy of my latest book “Ten Reasons to Add Trend Following to Your Portfolio” here.Learn more about the Trend Barometer here.Send your questions to info@toptradersunplugged.comAnd please share this episode with a like-minded friend and leave an honest Rating & Review on iTunes or Spotify so more people can discover the podcast.Follow Kevin on SubStack & read his Book.Learn more about Leah on her website and read her book.Episode TimeStamps: 02:23 - Introduction to Leah Rose Downey08:36 - A comic flimsy ground10:34 - Examples of the tension between legislators and Fed15:21 - Legislators have become a weak economic

1638. De Italiaanse componist en koorzanger Gregorio Allegri schrijft voor de Sixtijnse kapel een uniek werk, zijn Miserere. Ontroerende muziek die alleen mocht gezongen worden binnen de muren van het Vaticaan. Maar dat was buiten Mozart gerekend, die het na één beluistering helemaal uit het hoofd neerschreef. Het Miserere werd wereldberoemd door de hoge do. Alleen jammer dat dit een schrijffout blijkt te zijn. Moeilijke woorden: Miserere. Uitvoering: Choir of King's College Cambridge.

In this episode of City Talks Andrew Carter, Chief Executive of Centre for Cities, is joined by Sarah Hall, 1931 Professor of Geography and Fellow of St John's College Cambridge. They discuss her research on the economic geography of financial services and the uneven economic development that results from global finance dynamics.   In addition, Sarah and Andrew consider these global finance networks and how cities like London maintain their influence in global markets, particularly in the wake of Brexit.

Tijdgenoten vonden Anton Bruckner maar een snoeshaan. Hij sprak raar, kleedde zich raar, deed raar. Bij zijn 200ste verjaardag storten Joris en Guido zich op de man en zijn muziek. Fans? Niet per se, maar de oude Anton kan hen wel degelijk ontroeren. En wat zei die brutale Bernstein nou over Bruckner en het orgasme? Speellijst * Vierde symfonie, Finale, Anima Eterna Brugge o.l.v. Pablo Heras-Casado * Vijfde symfonie, Introductio, Koninklijk Concertgebouworkest o.l.v. Nikolaus Harnoncourt * Prelude in C-groot, Andreas Etlinger op het Brucknerorgel van Sankt-Florian * Kyrie uit Mis nr. 2 in e-klein, The Choir of King's College Cambridge, Academy of St Martin in the Fields o.l.v. Stephen Cleobury * Locus iste, Lets Radiokoor o.l.v. Sigvards Klava * Negende symfonie, Scherzo, Utopia o.l.v. Teodor Currentzis

Mohamed El-Erian, Queens' College Cambridge president and Bloomberg Opinion columnist, says markets have “excessive data point dependence,” following a 20 basis-point swing in the US 2-Year Treasury on Wednesday following the CPI data report. He is joined by Bloomberg's Jonathan Ferro, Lisa Abramowicz and Anne Marie-Hordern.See omnystudio.com/listener for privacy information.

Chris speaks with Dr. Paul Elliot from Homerton College, Cambridge University. haswell247@gmail.com, pe206@cam.ac.uk, lostincitations@gmail.com, 

Mark Oakley is a British Church of England priest. He is Dean of Southwark and formerly Dean of St John's College, Cambridge. Early life Oakley was born on 28 September 1968 in Shrewsbury and was educated at Shrewsbury School, where he was awarded a Rank Foundation Leadership Award, and King's College London, before going to St Stephen's House, Oxford, where he studied for ordination in the Church of England. He was duly made deacon at Petertide 1993 (27 June) at St Paul's Cathedral and ordained priest the next Petertide (2 July 1994) at St John's Wood Church — both times by David Hope, Bishop of London. Ministry Oakley served as assistant curate of St John's Wood Church from 1993 to 1996. He was then asked by Richard Chartres, Bishop of London, to serve as his chaplain, which he did from 1996 to 2000. He was made a Deputy Priest in Ordinary to Elizabeth II in 1996. In 2000, he became Rector of St Paul's, Covent Garden (also known as the Actors' Church). In 2005, the Bishop of Gibraltar in Europe, Geoffrey Rowell, appointed Oakley as Archdeacon of Germany and Northern Europe and chaplain of St Alban's Church in Copenhagen. The archdeaconry comprises eight countries (Iceland, Denmark, Sweden, Finland, Norway, Latvia, Estonia and Germany) in which there are many Church of England chaplaincies serving the international Anglican community. In 2008 he was appointed priest-in-charge of Grosvenor Chapel, Mayfair, London, by the Bishop of London. He was also appointed an examining chaplain and bishops' advisor. In June 2010 he was appointed to St Paul's Cathedral, London, as a residentiary canon, initially as Canon Treasurer. In 2013, he became Canon Chancellor; in that role he was responsible for educational work and engagement with the arts.

John Venn created the Venn diagram, and though he's an important figure in the fields of mathematics and logic, he eventually left that work behind to write historical accounts of the places and people that were important in his life. Research: Baron, Margaret E.. “A Note on the Historical Development of Logic Diagrams: Leibniz, Euler and Venn.” The Mathematical Gazette, vol. 53, no. 384, 1969, pp. 113–25. JSTOR, https://doi.org/10.2307/3614533 Bassett, Troy J. "Author: Susanna Carnegie Venn." At the Circulating Library: A Database of Victorian Fiction, 1837—1901, 3 June 2024, http://www.victorianresearch.org/atcl/show_author.php?aid=661 com Editors. “John Venn Biography.: A&E. April 2, 2014. https://www.biography.com/scientists/john-venn Boyer, Carl B.. "Leonhard Euler". Encyclopedia Britannica, 21 Jun. 2024, https://www.britannica.com/biography/Leonhard-Euler Britannica, The Editors of Encyclopaedia. "Boolean algebra". Encyclopedia Britannica, 14 May. 2024, https://www.britannica.com/topic/Boolean-algebra Britannica, The Editors of Encyclopaedia. "Kingston upon Hull". Encyclopedia Britannica, 23 Jun. 2024, https://www.britannica.com/place/Kingston-upon-Hull “A Cricket Sensation.” Saffron Walden Weekly News. June 11, 1909. https://www.newspapers.com/image/800046974/?match=1&terms=John%20Venn%20cricket%20machine Collier, Irwin. “Cambridge. Guide to the Moral Sciences Tripos. James Ward, editor, 1891.” Feb 26, 2018. https://www.irwincollier.com/cambridge-on-the-moral-sciences-tripos-james-ward-editor-1891/ Duignan, Brian. "John Venn". Encyclopedia Britannica, 12 Jun. 2024, https://www.britannica.com/biography/John-Venn Duignan, Brian. "Venn diagram". Encyclopedia Britannica, 25 Apr. 2024, https://www.britannica.com/topic/Venn-diagram Gordon, Neil. “Venn: the person behind the famous diagrams – and why his work still matters today.” EconoTimes. April 14, 2023. https://www.econotimes.com/Venn-the-person-behind-the-famous-diagrams--and-why-his-work-still-matters-today-1654353 Hall, Madeleine. “The Improbably Genius of John Venn.” The Spectator. April 4, 2023. https://www.spectator.co.uk/article/the-improbable-genius-of-john-venn/ “History.” Highgate School. https://www.highgateschool.org.uk/about/our-history/ “The Jargon.” Queens' College Cambridge. https://www.queens.cam.ac.uk/visiting-the-college/history/university-facts/the-jargon “John Venn Of Caius.” The British Medical Journal, vol. 1, no. 3250, 1923, pp. 641–42. JSTOR, http://www.jstor.org/stable/20423118 Lenze, Wolfgang. “Leibniz: Logic.” Internet Encyclopedia of Philosophy. https://iep.utm.edu/leib-log/ O'Connor, J.J. and E.F. Robertson. “John Venn.” Mac Tutor. School of Mathematics and Statistics, University of St. Andrews, Scotland. October 2003. “Professor Hugh Hunt leads engineering team to recreate historic cricket bowling machine.” Trinity College Cambridge. June 6, 2024. https://www.trin.cam.ac.uk/news/professor-hugh-hunt-leads-engineering-team-to-recreate-historic-bowling-machine-that-bowled-out-australian-cricketers-more-than-100-years-ago/ Venn, John. “The logic of chance. An essay on the foundations and province of the theory of probability, with especial reference to its logical bearings and its application to moral and social science.” London. Macmillan, 1876. Accessed online: https://archive.org/details/50424309/page/n19/mode/2up Venn, John. “The principles of empirical or inductive logic.” 1889. https://archive.org/details/principlesempir00venngoog B.H. “John Venn.” Obituary notices of fellows deceased. Royal Society Publishing. April 1, 1926. Accessed online: https://royalsocietypublishing.org/doi/epdf/10.1098/rspa.1926.0036 Young, Angus. “John Venn Inspired £325k makeover of Hull's Drypool Bridge is now complete.” Hull Live. June 5, 2017. https://www.hulldailymail.co.uk/news/drypool-bridge-turned-work-art-91547 See omnystudio.com/listener for privacy information.

In this episode, we go behind the scenes of a live broadcast of BBC Radio 3's Choral Evensong from the chapel of King's College, Cambridge. We hear from the programme's  Producer and Sound Supervisor, as well as from the Director of Music at King's - Daniel Hyde.The Choir of King's College, Cambridge BBC Sounds - Choral Evensong Gordon Stewart demonstrates the famous J J Binns (1855 - 1928) organ at Rochdale Town Hall. Showcasing the distinctive Binns sound and tonal design, Gordon explains the background to the great town hall organ tradition in the North of England.Gordon Stewart - Concert OrganistRochdale Town HallOrgan Specification - NPOREmail the Organ Podcast: theorganpodcast@rco.org.ukhttps://www.rco.org.uk/

Gillian Tett, columnist and provost at King's College Cambridge, is joined by Gabriel Pogrund, Whitehall Editor of the Sunday Times, and Paul Radu, co-founder of the Organized Crime and Corruption Reporting Project. Hosted on Acast. See acast.com/privacy for more information.

John McMunn fell in love with opera and performing at the age of ten. He studied at Harvard University before moving to England to become a Choral Scholar at King's College Cambridge, then studied at the Royal College of Music Opera School. Ill health forced him to change his career direction. Now he is  Chief Executive of the Academy of Ancient Music. We discuss our experiences of how serious illness has reshaped our careers.

In modern Australia, productivity is all that matters, or so our leaders tell us. However the way we have pursued economic growth in the last 30 years has prevented many people from sharing the rewards. We now create wealth via exclusion.  Writer Denis Glover argues that an economy is not a society. We desperately need to confront the working conditions, jobs and lives we want for ourselves and our families – and to choose a future that is designed to benefit all Australians, not just some. Dennis Glover is an Australian writer and novelist. The son of factory workers, Dennis grew up in the working class Melbourne suburb of Doveton before studying at Monash University and King's College Cambridge where he was awarded a PhD in history. He has worked for two decades as an academic, newspaper columnist, policy adviser and speechwriter to Australia's most senior political, business and community leaders. 

Revd Canon Dr Victoria Johnson - outgoing precentor at York Minster and incoming to St John's College Cambridge - gives Sammy and Robert some context on Lent while they listen to plangent and powerful tracks by Dobrinka Tabakova, Buxtehude, Tallis (natch) and Bairstow. (THIS EPISODE DOES NOT CONTAIN JAMES MACMILLAN'S MISERERE. BUT IT SHOULD.)Follow Victoria Johnson on XFollow Dobrinka Tabakova on XTRACKS : (1) Edward Bairstow - The Lamentations; The Choir of York Minster / Philip Moore - Listen on Apple Music https://apple.co/3TrCyxI (2) Thomas Tallis - Lamentations of Jeremiah; Aperi Animam / Daniel Koplitz (3) Dietrich Buxtehude - Membra Jesu Nostri (excerpt); Ricercar Consort / Philippe Pierlot - Listen on Apple Music https://apple.co/3Peeb4a (4) Dobrinka Tabakova - Turn Our Captivity, O Lord; The Sixteen / Harry Christophers - Listen on Apple Music https://apple.co/3V9JGQsFor more about the podcast and to Donate head to www.choralchihuahua.comSupport the show on Patreon www.patreon.com/ChoralChihuahuaSupport this show http://supporter.acast.com/choral-chihuahua. Hosted on Acast. See acast.com/privacy for more information.

Our final episode of Hark! this season departs from the usual nativity of Christ in a manger, surrounded by shepherds and angels on high. Instead, our carol centers on the singular icon of a rose. “Lo, How a Rose E'er Blooming” is a German Christmas song, first published in a Lutheran hymnbook in 1599. Although its believed to be much older, originating in a Catholic monastery with an uncertain date and writer.  And not only do we not know who wrote the text for our carol. The person behind the basic melody is also a mystery. The music is often credited to Michael Praetorius, a German composer, organist and music theorist from the 16th and 17th Centuries. But, Praetorius didn't compose the main melody; he only added the harmonies that have made this “the rose of all carols” among choristers and music maestros. Adding further to the mystery of this carol, the symbol of the rose is ambiguous. Depending on the translation and verse, the rose could represent Jesus or his mother Mary, who in Catholic mysticism is adorned with roses. Our heartfelt thanks extends to every musician, choir and soloist who gifted their music so generously to Hark! this season. On this episode we are especially grateful to: The Choir of King's College Cambridge, The Ignatian Schola, Cynthia Boener, Katie Green and Karen Hefford, Barbara Rowe for sharing the music of her husband, the late Bryan Rowe, Gary Cope and the Encomium Ensemble, the music department of Hope College in Holland, Michigan, Stephen Lynerd, Winter Harp and The Notre Dame Folk Choir, under the direction of JJ Wright, who walked us through the music of “Lo How A Rose” on this episode. Special thanks to the Benedictine monks of Saint John's Abbey Schola in Collegeville, Minnesota. In particular to Father Nick Kleespie who coordinated the performance of Father Anthony Ruff's arrangement of “Lo, How a Rose,” featured in this episode. To learn more about the monks of Saint John's Abbey, please visit saintjohnsabbey.org. Support “Hark!” become a digital subscriber of America Magazine at: https://link.chtbl.com/04Jrg99F Learn more about your ad choices. Visit megaphone.fm/adchoices

After the Russian invasion of Ukraine in February 2022, economic sanctions led to frozen Russian assets abroad inaccessible and could be relocated to Ukraine. Those arguing yes say it would serve as restitution for Russia's aggression and compensate for damages and economic disruptions. Those arguing no say relocating the frozen assets could set a concerning precedent, leading to escalated tensions and retaliatory actions. Now we debate: Should Ukraine Get Russia's Frozen Assets? Arguing Yes: Lawrence H. Summers, Former Secretary of the Treasury   Arguing No: Benn Steil, Senior Fellow and Director of International Economics at the Council on Foreign Relations   Gillian Tett, Editorial Board Chair and Editor-at-Large US of the Financial Times and Incoming Provost at King's College Cambridge, guest moderates.  Learn more about your ad choices. Visit podcastchoices.com/adchoices

Episode Description:In this episode, we delve into a conversation with Dr. Leda Glyptis, an accomplished fintech leader and former banker. With over two decades of experience driving transformation and technology across diverse financial sectors, Leda explores the inherent ties between banking, fintech, and the current technological surge. Discover how these domains can seamlessly integrate into the tech revolution by aligning with the established systems of traditional banks and corporations. Tune in to gain insights from this seasoned fintech veteran, as she guides us through the pivotal juncture where digital innovation and banking converge.Join us for a compelling discussion on the evolving landscape of finance in the digital age.3 Takeaways:The lagging adaptation of digital tech in banking and FintechDoing the right thing over doing the thing right and embracing failureLearning from a company's legacy and the technical debt Key Quotes: “You need to make sure that you fail fast and fix it, but you also need to make sure that you fail small and fix it.”“So increasingly who gets it for me, the people who start talking about their end customer, their data strategy, and their overall cost to serve ahead of showing me wireframes of their UX. They're the people who get it.”“Leave aside the business model and how certain players in that space make money. What happens to all the systems that need to know what happened in real time for liquidity management? For everything that happens downstream, and we've been talking about, um, real time clearing and settlement for years.We know it's coming.”“There is no such thing as an organization that doesn't have technical debt. There just isn't. There will be corners that are cut because Bobby has a date and has to ship and go out and freshen up to meet his date.There's corners that will be cut 'cause money's short, or there's a deadline looming, or because you didn't think of something. And there will always, always, always, either because you didn't think something was important or because something else was more important, or 'cause you had a blind spot. So there is no such thing as no legacy and there is no such thing as no technical debt.”Leda Glyptis:  Leda is a seasoned fintech executive and former banker, with a career spanning two decades working int transformation and technology functions across a variety of financial services verticals.Leda works as an advisor to boards and executive teams for companies of all sizes, from young startups to globally significant financial institutions, supporting leadership teams in transition: be it a process of transforming themselves, their business or their software infrastructure. Leda served as the Chief Client Officer of 10x Banking and the founding CEO of 11:FS Foundry (both in the cloud-native core banking space); she was the Chief Innovation Officer of Qatar National Bank and held a variety of innovation and transformation roles at BNY Mellon.Leda sits on the board of Flagstone IM. Over the years, she has held a number of NED positions in fintech firms in Europe and the UK including chairing the Board of Geophy (now a Walker and Dunlop company) through its successful exit. Leda is a frequent keynote speaker at flagship industry events globally including Sibos, M20/20, Finovate as well as specialist regional events; she is the author of the highly acclaimed #LedaWrites column on Fintech Futures and the book ‘Bankers Like Us: Dispatches from an Industry in Transition' published by Taylor and Francis in 2023. Leda completed her undergraduate studies at King's College Cambridge and holds an MSc and PhD from the London School of Economics and Political Science.For more information:You can connect with Leda on her LinkedInFollow her on Twitter  @LedaGlyptisOrder her book “Bankers Like Us” HEREAbout the HostsMatthew O'Neill is a husband, dad, geek and Industry Managing Director, Advanced Technology Group in the Office of the CTO at VMware.You can find Matthew on LinkedIn and Twitter.Brian Hayes is an audiophile, dad, builder of sheds, maker of mirth, world traveler and EMEA Financial Services Industry Lead at VMware.You can find Brian on LinkedIn.

Join Tom Keene, Jonathan Ferro and Lisa Abramowicz, live From the 2023 Jackson Hole Symposium with esteemed guests including Mohamed El-Erian of Queens' College Cambridge, Tracy Alloway of Bloomberg Odd Lots, Patrick Harker of the Philadelphia Fed, Kristalina Georgieva of the IMF and Barry Eichengreen of UC Berkeley.Get the Bloomberg Surveillance newsletter, delivered every weekday. Sign up now: https://www.bloomberg.com/account/newsletters/surveillance See omnystudio.com/listener for privacy information.

Welcome to the Peaceful Political Revolution in America PodcastThe Anthropocene will be a doozy from what I'm hearing. Even if new technologies and new systems replace the ones currently falling apart, it will be a bumpy ride. It looks as if severe climate-related events will be occurring much more frequently. Monthly events could turn into weekly events, until eventually, those might even become daily events somewhere in the world.Megatrends appear to be rather obvious at first glance. Autocracies are on the rise. Democracies are being tested. There is a genuine contest of political systems being played out on the global stage, Freedom is being contested. Is it even necessary? So how much better than being at the mercy of a tyrant or a mere autocrat? Maybe not, at least that's how it all appears to be going.Russia remains a shining example of what can go wrong in a constitutional democracy. After all, reforms were once a thing in Russia, political lines were actually shifting for a brief moment in time. But then Putin rose to power, with imperialist ambitions, and a desire for supreme power and wealth. Corruption is not foreign to the former USSR. It runs rampant, and the concentration of wealth in Russia today is as bad if not worse as in the US.Inequality remains a serious problem in the world, regardless of the political system. For the vast majority of human beings, daily life is a struggle, while a small if not tiny fraction of society remains engorged on the fat of excess of wealth and power, mobility, and security.Alexander joined the Department of International Relations at Central European University in 2022. He previously taught at the European University Institute at Florence (2013-2022), the University of Cambridge (2004-2013), and the European University at St Petersburg (1999-2004). His current interests are the political aspects of the Anthropocene, global decarbonization, and security in Eastern Europe. A Fellow of King's College Cambridge, Etkind was the Leader of Memory at War: Cultural Dynamics in Poland, Russia, and Ukraine, a European research project (2010-13). He is the author of Eros of the Impossible. The History of Psychoanalysis in Russia (Westview Press 1996); Internal Colonization: Russia's Imperial Experience (Polity Press 2011); Warped Mourning: Stories of the Undead in the Land of the Unburied (Stanford University Press 2013); Roads not Taken. An Intellectual Biography of William C. Bullitt. (Pittsburgh University Press 2017); and Nature's Evil: A Cultural History of Natural Resources (Polity Press 2021). Alexander coedited Remembering Katyn (Polity 2012), Memory and Theory in Eastern Europe (Palgrave 2013), and Cultural Forms of Protest in Russia (Routledge 2017). His new book, Russia Against Modernity, was released by Polity in April 2023.

In the wake of the Russian invasion, Ukraine has applied on a fast-track membership bid to join NATO. Those who argue “yes” say admitting Ukraine would keep the country protected, affirm its sovereignty, and solidify alignment with the West. Those who argue “no” say it will provoke Putin, escalate the conflict, and that it doesn't yet meet NATO's standards. Now we debate: Should NATO Admit Ukraine?  Arguing Yes: Garry Kasparov, Founder of the Renew Democracy Initiative and former World Chess Champion    Arguing No: Charles Kupchan, Senior Fellow at the Council of Foreign Relations and Professor of International Affairs at Georgetown University  Gillian Tett, Editorial Board Chair and Editor-at-Large US of the Financial Times and Incoming Provost at King's College Cambridge, moderates.  Learn more about your ad choices. Visit megaphone.fm/adchoices

Mohamed El-Erian of Queens' College Cambridge expects a dovish Fed and a hawkish BOE. Win Thin of Brown Brothers Harriman could see a higher dollar ahead. Elina Ribakova of the Peterson Institute for International Economics says the situation in the Black Sea is devastating. David Rosenberg of Rosenberg Research says that the development of AI will mean the fiscal system will need revamping. Vinai Venkatesham of Arsenal FC says the US has become their top international market ahead of their friendly in New Jersey against Manchester United. See omnystudio.com/listener for privacy information.

A veteran leader in English higher education, dame Madeline Atkins is the former CEO of the Higher Education Funding Council in England and is the current president of Lucy Cavendish College, Cambridge. In this Campus interview, she tells us about a widening access initiative that has led to the college admitting over 90 per cent of students from state schools – as in tax payer funded, non selective and free-to-attend schools. She explains how the programme identified students to help them apply to the elite institution and what support exists to help them succeed once they arrive. 

Stories from Cambridge, very early on a weekend morning, when people were out enjoying the peaceWhere Are You Going? is a unique storytelling podcast in which Catherine Carr interrupts people as they go about their everyday lives and asks simply: “Where are you going?” The conversations that follow are always unpredictable: sometimes funny, sometimes heart-breaking, silly, romantic or occasionally downright ‘stop-you-in-your-tracks' surprising.Be transported to places around the world and into the lives of others: You just never know what story is coming next… Presented by Catherine Carr Music by Edwin PearsonProduced by the team at Loftus Media Follow whereareyougoing on InstagramCheck out our site: whereareyougoing.co.uk Send us an email: whereareyougoing@loftusmedia.co.uk Hosted on Acast. See acast.com/privacy for more information.

In Ep 139 of the Fintech Chatter Podcast, Dexter Cousins welcomes back Leda Glyptis, author of Bankers Like Us.In this chat Dexter talks to Leda about Bankers Like Us: Dispatches from an Industry in Transition - it's a recounting of the challenges Leda has faced in her career, driving digital transformation in some of the worlds largest banks.About Bankers Like Us"Bankers Like Us - Dispatches from an Industry in Transition" looks at the human and structural obstacles to innovation-driven transformation and at the change in habits, mindsets and leadership needed for the next stage of the digital journey.Leda argues that this change will be brought about, not by external heroes and saviours, not by a generation yet to be born, but people just like us. People who understand the industry and its' quirks. Bankers who have the grit, determination and energy to drive change. Bankers like us.This book celebrates and chronicles the shared experience of bankers like us. It starts with a ‘this is who we are' piece, including Leda's own personal experiences. It then presents an overview of corporate culture (this is what we deal with and a few ideas on how to handle it), as well as a piece on why transformation is so difficult and so many get it wrong; a piece on the challenges our lack of diversity brings or compounds, and a hopeful look-ahead on what a team of principled, dedicated folks can do despite everything.About Leda GlyptisLeda, is the author of the LedaWrites Fintech Futures column and regular contributor at industry events and publications. She is a lapsed academic and a recovering banker, having worked in ‘incumbent banks' across various geographies and functions including innovation, IT and Operations. Most recently, Leda works as Chief Client Officer at 10x and has served at 11FS Foundry, QNB, Sapient and BNY Mellon. She holds an MA from King's College Cambridge and an MSc and PhD from the London School of Economics.Order - Bankers Like Us: Dispatches from an Industry in TransitionFollow us:Apple: https://apple.co/3D7NsPtSpotify: https://spoti.fi/3IzSViQSubscribe and like on Youtube: https://bit.ly/3tBlRmEConnect on Linkedin: https://bit.ly/3DsCJBpFollow on Twitter: https://twitter.com/DexterCousins

My guest today is a is a British-Malaysian stand-up comedian and comedy writer. Born in the UK, when he was one week old his parents moved to Malaysia, where he attended school until the age of sixteen. The family then returned to England, moving to Bath in Somerset, which my guest once described as “a spa town for people who find Cheltenham too ethnic'. While studying Engineering at King's College Cambridge, he joined the Footlights drama club, of which he later became president. Since graduating, Wang has performed with the sketch comedy group Daphne, and become a fixture on British televisions, appearing on Have I Got News for You, 8 Out of 10 Cats Does Countdown, and as a contestant on the seventh season of Taskmaster. He also co-hosts the podcast Budpod with his friend and fellow comedian, Pierre Novelli, where, among many other things, the pair often discuss video games. Thank you for listening to My Perfect Console. Please consider becoming a supporter; your small monthly donation will help to make the podcast sustainable for the long term, contributing toward the cost of equipment, editing, and hosting episodes. https://plus.acast.com/s/my-perfect-console. Hosted on Acast. See acast.com/privacy for more information.

A Festival of Nine Lessons and Carols from King's College, Cambridge is one of the world's most famous choral occasions. Taking place on Christmas Eve in the iconic chapel, the reflective, moving and ultimately joyful journey through music and scripture is broadcast annually to millions. For this special edition of the Gramophone Podcast, Editor Martin Cullingford met with Director of Music Daniel Hyde to explore what makes this service so beloved, and to talk more generally about the acclaimed choir. 

Episode 159 of A History of Rock Music in Five Hundred Songs looks at “Itchycoo Park” by the Small Faces, and their transition from Mod to psychedelia. 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 "The First Cut is the Deepest" by P.P. Arnold. 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 As so many of the episodes recently have had no Mixcloud due to the number of songs by one artist, I've decided to start splitting the mixes of the recordings excerpted in the podcasts into two parts. Here's part one and part two. I've used quite a few books in this episode. The Small Faces & Other Stories by Uli Twelker and Roland Schmit is definitely a fan-work with all that that implies, but has some useful quotes. Two books claim to be the authorised biography of Steve Marriott, and I've referred to both -- All Too Beautiful by Paolo Hewitt and John Hellier, and All Or Nothing by Simon Spence. Spence also wrote an excellent book on Immediate Records, which I referred to. Kenney Jones and Ian McLagan both wrote very readable autobiographies. I've also used Andrew Loog Oldham's autobiography Stoned, co-written by Spence, though be warned that it casually uses slurs. P.P. Arnold's autobiography is a sometimes distressing read covering her whole life, including her time at Immediate. There are many, many, collections of the Small Faces' work, ranging from cheap budget CDs full of outtakes to hundred-pound-plus box sets, also full of outtakes. This three-CD budget collection contains all the essential tracks, and is endorsed by Kenney Jones, the band's one surviving member. And if you're intrigued by the section on Immediate Records, this two-CD set contains a good selection of their releases. ERRATUM-ISH: I say Jimmy Winston was “a couple” of years older than the rest of the band. This does not mean exactly two, but is used in the vague vernacular sense equivalent to “a few”. Different sources I've seen put Winston as either two or four years older than his bandmates, though two seems to be the most commonly cited figure. Transcript For once there is little to warn about in this episode, but it does contain some mild discussions of organised crime, arson, and mental illness, and a quoted joke about capital punishment in questionable taste which may upset some. One name that came up time and again when we looked at the very early years of British rock and roll was Lionel Bart. If you don't remember the name, he was a left-wing Bohemian songwriter who lived in a communal house-share which at various times was also inhabited by people like Shirley Eaton, the woman who is painted gold at the beginning of Goldfinger, Mike Pratt, the star of Randall and Hopkirk (Deceased), and Davey Graham, the most influential and innovative British guitarist of the fifties and early sixties. Bart and Pratt had co-written most of the hits of Britain's first real rock and roll star, Tommy Steele: [Excerpt: Tommy Steele, "Rock with the Caveman"] and then Bart had gone solo as a writer, and written hits like "Living Doll" for Britain's *biggest* rock and roll star, Cliff Richard: [Excerpt: Cliff Richard, "Living Doll"] But Bart's biggest contribution to rock music turned out not to be the songs he wrote for rock and roll stars, and not even his talent-spotting -- it was Bart who got Steele signed by Larry Parnes, and he also pointed Parnes in the direction of another of his biggest stars, Marty Wilde -- but the opportunity he gave to a lot of child stars in a very non-rock context. Bart's musical Oliver!, inspired by the novel Oliver Twist, was the biggest sensation on the West End stage in the early 1960s, breaking records for the longest-running musical, and also transferred to Broadway and later became an extremely successful film. As it happened, while Oliver! was extraordinarily lucrative, Bart didn't see much of the money from it -- he sold the rights to it, and his other musicals, to the comedian Max Bygraves in the mid-sixties for a tiny sum in order to finance a couple of other musicals, which then flopped horribly and bankrupted him. But by that time Oliver! had already been the first big break for three people who went on to major careers in music -- all of them playing the same role. Because many of the major roles in Oliver! were for young boys, the cast had to change frequently -- child labour laws meant that multiple kids had to play the same role in different performances, and people quickly grew out of the roles as teenagerhood hit. We've already heard about the career of one of the people who played the Artful Dodger in the original West End production -- Davy Jones, who transferred in the role to Broadway in 1963, and who we'll be seeing again in a few episodes' time -- and it's very likely that another of the people who played the Artful Dodger in that production, a young lad called Philip Collins, will be coming into the story in a few years' time. But the first of the artists to use the Artful Dodger as a springboard to a music career was the one who appeared in the role on the original cast album of 1960, though there's very little in that recording to suggest the sound of his later records: [Excerpt: Steve Marriott, "Consider Yourself"] Steve Marriott is the second little Stevie we've looked at in recent episodes to have been born prematurely. In his case, he was born a month premature, and jaundiced, and had to spend the first month of his life in hospital, the first few days of which were spent unsure if he was going to survive. Thankfully he did, but he was a bit of a sickly child as a result, and remained stick-thin and short into adulthood -- he never grew to be taller than five foot five. Young Steve loved music, and especially the music of Buddy Holly. He also loved skiffle, and managed to find out where Lonnie Donegan lived. He went round and knocked on Donegan's door, but was very disappointed to discover that his idol was just a normal man, with his hair uncombed and a shirt stained with egg yolk. He started playing the ukulele when he was ten, and graduated to guitar when he was twelve, forming a band which performed under a variety of different names. When on stage with them, he would go by the stage name Buddy Marriott, and would wear a pair of horn-rimmed glasses to look more like Buddy Holly. When he was twelve, his mother took him to an audition for Oliver! The show had been running for three months at the time, and was likely to run longer, and child labour laws meant that they had to have replacements for some of the cast -- every three months, any performing child had to have at least ten days off. At his audition, Steve played his guitar and sang "Who's Sorry Now?", the recent Connie Francis hit: [Excerpt: Connie Francis, "Who's Sorry Now?"] And then, ignoring the rule that performers could only do one song, immediately launched into Buddy Holly's "Oh Boy!" [Excerpt: Buddy Holly, "Oh Boy!"] His musical ability and attitude impressed the show's producers, and he was given a job which suited him perfectly -- rather than being cast in a single role, he would be swapped around, playing different small parts, in the chorus, and occasionally taking the larger role of the Artful Dodger. Steve Marriott was never able to do the same thing over and over, and got bored very quickly, but because he was moving between roles, he was able to keep interested in his performances for almost a year, and he was good enough that it was him chosen to sing the Dodger's role on the cast album when that was recorded: [Excerpt: Steve Marriott and Joyce Blair, "I'd Do Anything"] And he enjoyed performance enough that his parents pushed him to become an actor -- though there were other reasons for that, too. He was never the best-behaved child in the world, nor the most attentive student, and things came to a head when, shortly after leaving the Oliver! cast, he got so bored of his art classes he devised a plan to get out of them forever. Every art class, for several weeks, he'd sit in a different desk at the back of the classroom and stuff torn-up bits of paper under the floorboards. After a couple of months of this he then dropped a lit match in, which set fire to the paper and ended up burning down half the school. His schoolfriend Ken Hawes talked about it many decades later, saying "I suppose in a way I was impressed about how he had meticulously planned the whole thing months in advance, the sheer dogged determination to see it through. He could quite easily have been caught and would have had to face the consequences. There was no danger in anybody getting hurt because we were at the back of the room. We had to be at the back otherwise somebody would have noticed what he was doing. There was no malice against other pupils, he just wanted to burn the damn school down." Nobody could prove it was him who had done it, though his parents at least had a pretty good idea who it was, but it was clear that even when the school was rebuilt it wasn't a good idea to send him back there, so they sent him to the Italia Conti Drama School; the same school that Anthony Newley and Petula Clark, among many others, had attended. Marriott's parents couldn't afford the school's fees, but Marriott was so talented that the school waived the fees -- they said they'd get him work, and take a cut of his wages in lieu of the fees. And over the next few years they did get him a lot of work. Much of that work was for TV shows, which like almost all TV of the time no longer exist -- he was in an episode of the Sid James sitcom Citizen James, an episode of Mr. Pastry's Progress, an episode of the police drama Dixon of Dock Green, and an episode of a series based on the Just William books, none of which survive. He also did a voiceover for a carpet cleaner ad, appeared on the radio soap opera Mrs Dale's Diary playing a pop star, and had a regular spot reading listeners' letters out for the agony aunt Marje Proops on her radio show. Almost all of this early acting work wa s utterly ephemeral, but there are a handful of his performances that do survive, mostly in films. He has a small role in the comedy film Heavens Above!, a mistaken-identity comedy in which a radical left-wing priest played by Peter Sellers is given a parish intended for a more conservative priest of the same name, and upsets the well-off people of the parish by taking in a large family of travellers and appointing a Black man as his churchwarden. The film has some dated attitudes, in the way that things that were trying to be progressive and antiracist sixty years ago invariably do, but has a sparkling cast, with Sellers, Eric Sykes, William Hartnell, Brock Peters, Roy Kinnear, Irene Handl, and many more extremely recognisable faces from the period: [Excerpt: Heavens Above!] Marriott apparently enjoyed working on the film immensely, as he was a fan of the Goon Show, which Sellers had starred in and which Sykes had co-written several episodes of. There are reports of Marriott and Sellers jamming together on banjos during breaks in filming, though these are probably *slightly* inaccurate -- Sellers played the banjolele, a banjo-style instrument which is played like a ukulele. As Marriott had started on ukulele before switching to guitar, it was probably these they were playing, rather than banjoes. He also appeared in a more substantial role in a film called Live It Up!, a pop exploitation film starring David Hemmings in which he appears as a member of a pop group. Oddly, Marriott plays a drummer, even though he wasn't a drummer, while two people who *would* find fame as drummers, Mitch Mitchell and Dave Clark, appear in smaller, non-drumming, roles. He doesn't perform on the soundtrack, which is produced by Joe Meek and features Sounds Incorporated, The Outlaws, and Gene Vincent, but he does mime playing behind Heinz Burt, the former bass player of the Tornadoes who was then trying for solo stardom at Meek's instigation: [Excerpt: Heinz Burt, "Don't You Understand"] That film was successful enough that two years later, in 1965 Marriott came back for a sequel, Be My Guest, with The Niteshades, the Nashville Teens, and Jerry Lee Lewis, this time with music produced by Shel Talmy rather than Meek. But that was something of a one-off. After making Live It Up!, Marriott had largely retired from acting, because he was trying to become a pop star. The break finally came when he got an audition at the National Theatre, for a job touring with Laurence Olivier for a year. He came home and told his parents he hadn't got the job, but then a week later they were bemused by a phone call asking why Steve hadn't turned up for rehearsals. He *had* got the job, but he'd decided he couldn't face a year of doing the same thing over and over, and had pretended he hadn't. By this time he'd already released his first record. The work on Oliver! had got him a contract with Decca Records, and he'd recorded a Buddy Holly knock-off, "Give Her My Regards", written for him by Kenny Lynch, the actor, pop star, and all-round entertainer: [Excerpt: Steve Marriott, "Give Her My Regards"] That record wasn't a hit, but Marriott wasn't put off. He formed a band who were at first called the Moonlights, and then the Frantiks, and they got a management deal with Tony Calder, Andrew Oldham's junior partner in his management company. Calder got former Shadow Tony Meehan to produce a demo for the group, a version of Cliff Richard's hit "Move It", which was shopped round the record labels with no success (and which sadly appears no longer to survive). The group also did some recordings with Joe Meek, which also don't circulate, but which may exist in the famous "Teachest Tapes" which are slowly being prepared for archival releases. The group changed their name to the Moments, and added in the guitarist John Weider, who was one of those people who seem to have been in every band ever either just before or just after they became famous -- at various times he was in Johnny Kidd and the Pirates, John Mayall's Bluesbreakers, Family, Eric Burdon and the Animals, and the band that became Crabby Appleton, but never in their most successful lineups. They continued recording unsuccessful demos, of which a small number have turned up: [Excerpt: Steve Marriott and the Moments, "Good Morning Blues"] One of their demo sessions was produced by Andrew Oldham, and while that session didn't lead to a release, it did lead to Oldham booking Marriott as a session harmonica player for one of his "Andrew Oldham Orchestra" sessions, to play on a track titled "365 Rolling Stones (One For Every Day of the Year)": [Excerpt: The Andrew Oldham Orchestra, "365 Rolling Stones (One For Every Day of the Year)"] Oldham also produced a session for what was meant to be Marriott's second solo single on Decca, a cover version of the Rolling Stones' "Tell Me", which was actually scheduled for release but pulled at the last minute. Like many of Marriott's recordings from this period, if it exists, it doesn't seem to circulate publicly. But despite their lack of recording success, the Moments did manage to have a surprising level of success on the live circuit. Because they were signed to Calder and Oldham's management company, they got a contract with the Arthur Howes booking agency, which got them support slots on package tours with Billy J Kramer, Freddie and the Dreamers, the Kinks, and other major acts, and the band members were earning about thirty pounds a week each -- a very, very good living for the time. They even had a fanzine devoted to them, written by a fan named Stuart Tuck. But as they weren't making records, the band's lineup started changing, with members coming and going. They did manage to get one record released -- a soundalike version of the Kinks' "You Really Got Me", recorded for a budget label who rushed it out, hoping to get it picked up in the US and for it to be the hit version there: [Excerpt: The Moments, "You Really Got Me"] But the month after that was released, Marriott was sacked from the band, apparently in part because the band were starting to get billed as Steve Marriott and the Moments rather than just The Moments, and the rest of them didn't want to be anyone's backing band. He got a job at a music shop while looking around for other bands to perform with. At one point around this time he was going to form a duo with a friend of his, Davy Jones -- not the one who had also appeared in Oliver!, but another singer of the same name. This one sang with a blues band called the Mannish Boys, and both men were well known on the Mod scene in London. Marriott's idea was that they call themselves David and Goliath, with Jones being David, and Marriott being Goliath because he was only five foot five. That could have been a great band, but it never got past the idea stage. Marriott had become friendly with another part-time musician and shop worker called Ronnie Lane, who was in a band called the Outcasts who played the same circuit as the Moments: [Excerpt: The Outcasts, "Before You Accuse Me"] Lane worked in a sound equipment shop and Marriott in a musical instrument shop, and both were customers of the other as well as friends -- at least until Marriott came into the shop where Lane worked and tried to persuade him to let Marriott have a free PA system. Lane pretended to go along with it as a joke, and got sacked. Lane had then gone to the shop where Marriott worked in the hope that Marriott would give him a good deal on a guitar because he'd been sacked because of Marriott. Instead, Marriott persuaded him that he should switch to bass, on the grounds that everyone was playing guitar since the Beatles had come along, but a bass player would always be able to find work. Lane bought the bass. Shortly after that, Marriott came to an Outcasts gig in a pub, and was asked to sit in. He enjoyed playing with Lane and the group's drummer Kenney Jones, but got so drunk he smashed up the pub's piano while playing a Jerry Lee Lewis song. The resulting fallout led to the group being barred from the pub and splitting up, so Marriott, Lane, and Jones decided to form their own group. They got in another guitarist Marriott knew, a man named Jimmy Winston who was a couple of years older than them, and who had two advantages -- he was a known Face on the mod scene, with a higher status than any of the other three, and his brother owned a van and would drive the group and their equipment for ten percent of their earnings. There was a slight problem in that Winston was also as good on guitar as Marriott and looked like he might want to be the star, but Marriott neutralised that threat -- he moved Winston over to keyboards. The fact that Winston couldn't play keyboards didn't matter -- he could be taught a couple of riffs and licks, and he was sure to pick up the rest. And this way the group had the same lineup as one of Marriott's current favourites, Booker T and the MGs. While he was still a Buddy Holly fan, he was now, like the rest of the Mods, an R&B obsessive. Marriott wasn't entirely sure that this new group would be the one that would make him a star though, and was still looking for other alternatives in case it didn't play out. He auditioned for another band, the Lower Third, which counted Stuart Tuck, the writer of the Moments fanzine, among its members. But he was unsuccessful in the audition -- instead his friend Davy Jones, the one who he'd been thinking of forming a duo with, got the job: [Excerpt: Davy Jones and the Lower Third, "You've Got a Habit of Leaving"] A few months after that, Davy Jones and the Lower Third changed their name to David Bowie and the Lower Third, and we'll be picking up that story in a little over a year from now... Marriott, Lane, Jones, and Winston kept rehearsing and pulled together a five-song set, which was just about long enough to play a few shows, if they extended the songs with long jamming instrumental sections. The opening song for these early sets was one which, when they recorded it, would be credited to Marriott and Lane -- the two had struck up a writing partnership and agreed to a Lennon/McCartney style credit split, though in these early days Marriott was doing far more of the writing than Lane was. But "You Need Loving" was... heavily inspired... by "You Need Love", a song Willie Dixon had written for Muddy Waters: [Excerpt: Muddy Waters, "You Need Love"] It's not precisely the same song, but you can definitely hear the influence in the Marriott/Lane song: [Excerpt: The Small Faces, "You Need Loving"] They did make some changes though, notably to the end of the song: [Excerpt: The Small Faces, "You Need Loving"] You will be unsurprised to learn that Robert Plant was a fan of Steve Marriott. The new group were initially without a name, until after one of their first gigs, Winston's girlfriend, who hadn't met the other three before, said "You've all got such small faces!" The name stuck, because it had a double meaning -- as we've seen in the episode on "My Generation", "Face" was Mod slang for someone who was cool and respected on the Mod scene, but also, with the exception of Winston, who was average size, the other three members of the group were very short -- the tallest of the three was Ronnie Lane, who was five foot six. One thing I should note about the group's name, by the way -- on all the labels of their records in the UK while they were together, they were credited as "Small Faces", with no "The" in front, but all the band members referred to the group in interviews as "The Small Faces", and they've been credited that way on some reissues and foreign-market records. The group's official website is thesmallfaces.com but all the posts on the website refer to them as "Small Faces" with no "the". The use  of the word "the" or not at the start of a group's name at this time was something of a shibboleth -- for example both The Buffalo Springfield and The Pink Floyd dropped theirs after their early records -- and its status in this case is a strange one. I'll be referring to the group throughout as "The Small Faces" rather than "Small Faces" because the former is easier to say, but both seem accurate. After a few pub gigs in London, they got some bookings in the North of England, where they got a mixed reception -- they went down well at Peter Stringfellow's Mojo Club in Sheffield, where Joe Cocker was a regular performer, less well at a working-man's club, and reports differ about their performance at the Twisted Wheel in Manchester, though one thing everyone is agreed on is that while they were performing, some Mancunians borrowed their van and used it to rob a clothing warehouse, and gave the band members some very nice leather coats as a reward for their loan of the van. It was only on the group's return to London that they really started to gel as a unit. In particular, Kenney Jones had up to that point been a very stiff, precise, drummer, but he suddenly loosened up and, in Steve Marriott's tasteless phrase, "Every number swung like Hanratty" (James Hanratty was one of the last people in Britain to be executed by hanging). Shortly after that, Don Arden's secretary -- whose name I haven't been able to find in any of the sources I've used for this episode, sadly, came into the club where they were rehearsing, the Starlight Rooms, to pass a message from Arden to an associate of his who owned the club. The secretary had seen Marriott perform before -- he would occasionally get up on stage at the Starlight Rooms to duet with Elkie Brooks, who was a regular performer there, and she'd seen him do that -- but was newly impressed by his group, and passed word on to her boss that this was a group he should investigate. Arden is someone who we'll be looking at a lot in future episodes, but the important thing to note right now is that he was a failed entertainer who had moved into management and promotion, first with American acts like Gene Vincent, and then with British acts like the Nashville Teens, who had had hits with tracks like "Tobacco Road": [Excerpt: The Nashville Teens, "Tobacco Road"] Arden was also something of a gangster -- as many people in the music industry were at the time, but he was worse than most of his contemporaries, and delighted in his nickname "the Al Capone of pop". The group had a few managers looking to sign them, but Arden convinced them with his offer. They would get a percentage of their earnings -- though they never actually received that percentage -- twenty pounds a week in wages, and, the most tempting part of it all, they would get expense accounts at all the Carnaby St boutiques and could go there whenever they wanted and get whatever they wanted. They signed with Arden, which all of them except Marriott would later regret, because Arden's financial exploitation meant that it would be decades before they saw any money from their hits, and indeed both Marriott and Lane would be dead before they started getting royalties from their old records. Marriott, on the other hand, had enough experience of the industry to credit Arden with the group getting anywhere at all, and said later "Look, you go into it with your eyes open and as far as I was concerned it was better than living on brown sauce rolls. At least we had twenty quid a week guaranteed." Arden got the group signed to Decca, with Dick Rowe signing them to the same kind of production deal that Andrew Oldham had pioneered with the Stones, so that Arden would own the rights to their recordings. At this point the group still only knew a handful of songs, but Rowe was signing almost everyone with a guitar at this point, putting out a record or two and letting them sink or swim. He had already been firmly labelled as "the man who turned down the Beatles", and was now of the opinion that it was better to give everyone a chance than to make that kind of expensive mistake again. By this point Marriott and Lane were starting to write songs together -- though at this point it was still mostly Marriott writing, and people would ask him why he was giving Lane half the credit, and he'd reply "Without Ronnie's help keeping me awake and being there I wouldn't do half of it. He keeps me going." -- but for their first single Arden was unsure that they were up to the task of writing a hit. The group had been performing a version of Solomon Burke's "Everybody Needs Somebody to Love", a song which Burke always claimed to have written alone, but which is credited to him, Jerry Wexler, and Bert Berns (and has Bern's fingerprints, at least, on it to my ears): [Excerpt: Solomon Burke, "Everybody Needs Somebody to Love"] Arden got some professional writers to write new lyrics and vocal melody to their arrangement of the song -- the people he hired were Brian Potter, who would later go on to co-write "Rhinestone Cowboy", and Ian Samwell, the former member of Cliff Richard's Drifters who had written many of Richard's early hits, including "Move It", and was now working for Arden. The group went into the studio and recorded the song, titled "Whatcha Gonna Do About It?": [Excerpt: The Small Faces, "Whatcha Gonna Do About It?"] That version, though was deemed too raucous, and they had to go back into the studio to cut a new version, which came out as their first single: [Excerpt: The Small Faces, "Whatcha Gonna Do About It?"] At first the single didn't do much on the charts, but then Arden got to work with teams of people buying copies from chart return shops, bribing DJs on pirate radio stations to play it, and bribing the person who compiled the charts for the NME. Eventually it made number fourteen, at which point it became a genuinely popular hit. But with that popularity came problems. In particular, Steve Marriott was starting to get seriously annoyed by Jimmy Winston. As the group started to get TV appearances, Winston started to act like he should be the centre of attention. Every time Marriott took a solo in front of TV cameras, Winston would start making stupid gestures, pulling faces, anything to make sure the cameras focussed on him rather than on Marriott. Which wouldn't have been too bad had Winston been a great musician, but he was still not very good on the keyboards, and unlike the others didn't seem particularly interested in trying. He seemed to want to be a star, rather than a musician. The group's next planned single was a Marriott and Lane song, "I've Got Mine". To promote it, the group mimed to it in a film, Dateline Diamonds, a combination pop film and crime caper not a million miles away from the ones that Marriott had appeared in a few years earlier. They also contributed three other songs to the film's soundtrack. Unfortunately, the film's release was delayed, and the film had been the big promotional push that Arden had planned for the single, and without that it didn't chart at all. By the time the single came out, though, Winston was no longer in the group. There are many, many different stories as to why he was kicked out. Depending on who you ask, it was because he was trying to take the spotlight away from Marriott, because he wasn't a good enough keyboard player, because he was taller than the others and looked out of place, or because he asked Don Arden where the money was. It was probably a combination of all of these, but fundamentally what it came to was that Winston just didn't fit into the group. Winston would, in later years, say that him confronting Arden was the only reason for his dismissal, saying that Arden had manipulated the others to get him out of the way, but that seems unlikely on the face of it. When Arden sacked him, he kept Winston on as a client and built another band around him, Jimmy Winston and the Reflections, and got them signed to Decca too, releasing a Kenny Lynch song, "Sorry She's Mine", to no success: [Excerpt: Jimmy Winston and the Reflections, "Sorry She's Mine"] Another version of that song would later be included on the first Small Faces album. Winston would then form another band, Winston's Fumbs, who would also release one single, before he went into acting instead. His most notable credit was as a rebel in the 1972 Doctor Who story Day of the Daleks, and he later retired from showbusiness to run a business renting out sound equipment, and died in 2020. The group hired his replacement without ever having met him or heard him play. Ian McLagan had started out as the rhythm guitarist in a Shadows soundalike band called the Cherokees, but the group had become R&B fans and renamed themselves the Muleskinners, and then after hearing "Green Onions", McLagan had switched to playing Hammond organ. The Muleskinners had played the same R&B circuit as dozens of other bands we've looked at, and had similar experiences, including backing visiting blues stars like Sonny Boy Williamson, Little Walter, and Howlin' Wolf. Their one single had been a cover version of "Back Door Man", a song Willie Dixon had written for Wolf: [Excerpt: The Muleskinners, "Back Door Man"] The Muleskinners had split up as most of the group had day jobs, and McLagan had gone on to join a group called Boz and the Boz People, who were becoming popular on the live circuit, and who also toured backing Kenny Lynch while McLagan was in the band. Boz and the Boz People would release several singles in 1966, like their version of the theme for the film "Carry on Screaming", released just as by "Boz": [Excerpt: Boz, "Carry on Screaming"] By that time, McLagan had left the group -- Boz Burrell later went on to join King Crimson and Bad Company. McLagan left the Boz People in something of a strop, and was complaining to a friend the night he left the group that he didn't have any work lined up. The friend joked that he should join the Small Faces, because he looked like them, and McLagan got annoyed that his friend wasn't taking him seriously -- he'd love to be in the Small Faces, but they *had* a keyboard player. The next day he got a phone call from Don Arden asking him to come to his office. He was being hired to join a hit pop group who needed a new keyboard player. McLagan at first wasn't allowed to tell anyone what band he was joining -- in part because Arden's secretary was dating Winston, and Winston hadn't yet been informed he was fired, and Arden didn't want word leaking out until it had been sorted. But he'd been chosen purely on the basis of an article in a music magazine which had praised his playing with the Boz People, and without the band knowing him or his playing. As soon as they met, though, he immediately fit in in a way Winston never had. He looked the part, right down to his height -- he said later "Ronnie Lane and I were the giants in the band at 5 ft 6 ins, and Kenney Jones and Steve Marriott were the really teeny tiny chaps at 5 ft 5 1/2 ins" -- and he was a great player, and shared a sense of humour with them. McLagan had told Arden he'd been earning twenty pounds a week with the Boz People -- he'd actually been on five -- and so Arden agreed to give him thirty pounds a week during his probationary month, which was more than the twenty the rest of the band were getting. As soon as his probationary period was over, McLagan insisted on getting a pay cut so he'd be on the same wages as the rest of the group. Soon Marriott, Lane, and McLagan were all living in a house rented for them by Arden -- Jones decided to stay living with his parents -- and were in the studio recording their next single. Arden was convinced that the mistake with "I've Got Mine" had been allowing the group to record an original, and again called in a team of professional songwriters. Arden brought in Mort Shuman, who had recently ended his writing partnership with Doc Pomus and struck out on his own, after co-writing songs like "Save the Last Dance for Me", "Sweets For My Sweet", and "Viva Las Vegas" together, and Kenny Lynch, and the two of them wrote "Sha-La-La-La-Lee", and Lynch added backing vocals to the record: [Excerpt: The Small Faces, "Sha-La-La-La-Lee"] None of the group were happy with the record, but it became a big hit, reaching number three in the charts. Suddenly the group had a huge fanbase of screaming teenage girls, which embarrassed them terribly, as they thought of themselves as serious heavy R&B musicians, and the rest of their career would largely be spent vacillating between trying to appeal to their teenybopper fanbase and trying to escape from it to fit their own self-image. They followed "Sha-La-La-La-Lee" with "Hey Girl", a Marriott/Lane song, but one written to order -- they were under strict instructions from Arden that if they wanted to have the A-side of a single, they had to write something as commercial as "Sha-La-La-La-Lee" had been, and they managed to come up with a second top-ten hit. Two hit singles in a row was enough to make an album viable, and the group went into the studio and quickly cut an album, which had their first two hits on it -- "Hey Girl" wasn't included, and nor was the flop "I've Got Mine" -- plus a bunch of semi-originals like "You Need Loving", a couple of Kenny Lynch songs, and a cover version of Sam Cooke's "Shake". The album went to number three on the album charts, with the Beatles and the Rolling Stones in the number one and two spots, and it was at this point that Arden's rivals really started taking interest. But that interest was quelled for the moment when, after Robert Stigwood enquired about managing the band, Arden went round to Stigwood's office with four goons and held him upside down over a balcony, threatening to drop him off if he ever messed with any of Arden's acts again. But the group were still being influenced by other managers. In particular, Brian Epstein came round to the group's shared house, with Graeme Edge of the Moody Blues, and brought them some slices of orange -- which they discovered, after eating them, had been dosed with LSD. By all accounts, Marriott's first trip was a bad one, but the group soon became regular consumers of the drug, and it influenced the heavier direction they took on their next single, "All or Nothing". "All or Nothing" was inspired both by Marriott's breakup with his girlfriend of the time, and his delight at the fact that Jenny Rylance, a woman he was attracted to, had split up with her then-boyfriend Rod Stewart. Rylance and Stewart later reconciled, but would break up again and Rylance would become Marriott's first wife in 1968: [Excerpt: The Small Faces, "All or Nothing"] "All or Nothing" became the group's first and only number one record -- and according to the version of the charts used on Top of the Pops, it was a joint number one with the Beatles' double A-side of "Yellow Submarine" and "Eleanor Rigby", both selling exactly as well as each other. But this success caused the group's parents to start to wonder why their kids -- none of whom were yet twenty-one, the legal age of majority at the time -- were not rich. While the group were on tour, their parents came as a group to visit Arden and ask him where the money was, and why their kids were only getting paid twenty pounds a week when their group was getting a thousand pounds a night. Arden tried to convince the parents that he had been paying the group properly, but that they had spent their money on heroin -- which was very far from the truth, the band were only using soft drugs at the time. This put a huge strain on the group's relationship with Arden, and it wasn't the only thing Arden did that upset them. They had been spending a lot of time in the studio working on new material, and Arden was convinced that they were spending too much time recording, and that they were just faffing around and not producing anything of substance. They dropped off a tape to show him that they had been working -- and the next thing they knew, Arden had put out one of the tracks from that tape, "My Mind's Eye", which had only been intended as a demo, as a single: [Excerpt: The Small Faces, "My Mind's Eye"] That it went to number four on the charts didn't make up for the fact that the first the band heard of the record coming out at all was when they heard it on the radio. They needed rid of Arden. Luckily for them, Arden wasn't keen on continuing to work with them either. They were unreliable and flakey, and he also needed cash quick to fund his other ventures, and he agreed to sell on their management and recording contracts. Depending on which version of the story you believe, he may have sold them on to an agent called Harold Davison, who then sold them on to Andrew Oldham and Tony Calder, but according to Oldham what happened is that in December 1966 Arden demanded the highest advance in British history -- twenty-five thousand pounds -- directly from Oldham. In cash. In a brown paper bag. The reason Oldham and Calder were interested was that in July 1965 they'd started up their own record label, Immediate Records, which had been announced by Oldham in his column in Disc and Music Echo, in which he'd said "On many occasions I have run down the large record companies over issues such as pirate stations, their promotion, and their tastes. And many readers have written in and said that if I was so disturbed by the state of the existing record companies why didn't I do something about it.  I have! On the twentieth of this month the first of three records released by my own company, Immediate Records, is to be launched." That first batch of three records contained one big hit, "Hang on Sloopy" by the McCoys, which Immediate licensed from Bert Berns' new record label BANG in the US: [Excerpt: The McCoys, "Hang on Sloopy"] The two other initial singles featured the talents of Immediate's new in-house producer, a session player who had previously been known as "Little Jimmy" to distinguish him from "Big" Jim Sullivan, the other most in-demand session guitarist, but who was now just known as Jimmy Page. The first was a version of Pete Seeger's "The Bells of Rhymney", which Page produced and played guitar on, for a group called The Fifth Avenue: [Excerpt: The Fifth Avenue, "The Bells of Rhymney"] And the second was a Gordon Lightfoot song performed by a girlfriend of Brian Jones', Nico. The details as to who was involved in the track have varied -- at different times the production has been credited to Jones, Page, and Oldham -- but it seems to be the case that both Jones and Page play on the track, as did session bass player John Paul Jones: [Excerpt: Nico, "I'm Not Sayin'"] While "Hang on Sloopy" was a big hit, the other two singles were flops, and The Fifth Avenue split up, while Nico used the publicity she'd got as an entree into Andy Warhol's Factory, and we'll be hearing more about how that went in a future episode. Oldham and Calder were trying to follow the model of the Brill Building, of Phil Spector, and of big US independents like Motown and Stax. They wanted to be a one-stop shop where they'd produce the records, manage the artists, and own the publishing -- and they also licensed the publishing for the Beach Boys' songs for a couple of years, and started publicising their records over here in a big way, to exploit the publishing royalties, and that was a major factor in turning the Beach Boys from minor novelties to major stars in the UK. Most of Immediate's records were produced by Jimmy Page, but other people got to have a go as well. Giorgio Gomelsky and Shel Talmy both produced tracks for the label, as did a teenage singer then known as Paul Raven, who would later become notorious under his later stage-name Gary Glitter. But while many of these records were excellent -- and Immediate deserves to be talked about in the same terms as Motown or Stax when it comes to the quality of the singles it released, though not in terms of commercial success -- the only ones to do well on the charts in the first few months of the label's existence were "Hang on Sloopy" and an EP by Chris Farlowe. It was Farlowe who provided Immediate Records with its first home-grown number one, a version of the Rolling Stones' "Out of Time" produced by Mick Jagger, though according to Arthur Greenslade, the arranger on that and many other Immediate tracks, Jagger had given up on getting a decent performance out of Farlowe and Oldham ended up producing the vocals. Greenslade later said "Andrew must have worked hard in there, Chris Farlowe couldn't sing his way out of a paper bag. I'm sure Andrew must have done it, where you get an artist singing and you can do a sentence at a time, stitching it all together. He must have done it in pieces." But however hard it was to make, "Out of Time" was a success: [Excerpt: Chris Farlowe, "Out of Time"] Or at least, it was a success in the UK. It did also make the top forty in the US for a week, but then it hit a snag -- it had charted without having been released in the US at all, or even being sent as a promo to DJs. Oldham's new business manager Allen Klein had been asked to work his magic on the US charts, but the people he'd bribed to hype the record into the charts had got the release date wrong and done it too early. When the record *did* come out over there, no radio station would play it in case it looked like they were complicit in the scam. But still, a UK number one wasn't too shabby, and so Immediate Records was back on track, and Oldham wanted to shore things up by bringing in some more proven hit-makers. Immediate signed the Small Faces, and even started paying them royalties -- though that wouldn't last long, as Immediate went bankrupt in 1970 and its successors in interest stopped paying out. The first work the group did for the label was actually for a Chris Farlowe single. Lane and Marriott gave him their song "My Way of Giving", and played on the session along with Farlowe's backing band the Thunderbirds. Mick Jagger is the credited producer, but by all accounts Marriott and Lane did most of the work: [Excerpt: Chris Farlowe, "My Way of Giving"] Sadly, that didn't make the top forty. After working on that, they started on their first single recorded at Immediate. But because of contractual entanglements, "I Can't Make It" was recorded at Immediate but released by Decca. Because the band weren't particularly keen on promoting something on their old label, and the record was briefly banned by the BBC for being too sexual, it only made number twenty-six on the charts. Around this time, Marriott had become friendly with another band, who had named themselves The Little People in homage to the Small Faces, and particularly with their drummer Jerry Shirley. Marriott got them signed to Immediate, and produced and played on their first single, a version of his song "(Tell Me) Have You Ever Seen Me?": [Excerpt: The Apostolic Intervention, "(Tell Me) Have You Ever Seen Me?"] When they signed to Immediate, The Little People had to change their name, and Marriott suggested they call themselves The Nice, a phrase he liked. Oldham thought that was a stupid name, and gave the group the much more sensible name The Apostolic Intervention. And then a few weeks later he signed another group and changed *their* name to The Nice. "The Nice" was also a phrase used in the Small Faces' first single for Immediate proper. "Here Come the Nice" was inspired by a routine by the hipster comedian Lord Buckley, "The Nazz", which also gave a name to Todd Rundgren's band and inspired a line in David Bowie's "Ziggy Stardust": [Excerpt: Lord Buckley, "The Nazz"] "Here Come the Nice" was very blatantly about a drug dealer, and somehow managed to reach number twelve despite that: [Excerpt: The Small Faces, "Here Come the Nice"] It also had another obstacle that stopped it doing as well as it might. A week before it came out, Decca released a single, "Patterns", from material they had in the vault. And in June 1967, two Small Faces albums came out. One of them was a collection from Decca of outtakes and demos, plus their non-album hit singles, titled From The Beginning, while the other was their first album on Immediate, which was titled Small Faces -- just like their first Decca album had been. To make matters worse, From The Beginning contained the group's demos of "My Way of Giving" and "(Tell Me) Have You Ever Seen Me?", while the group's first Immediate album contained a new recording of  "(Tell Me) Have You Ever Seen Me?", and a version of "My Way of Giving" with the same backing track but a different vocal take from the one on the Decca collection. From this point on, the group's catalogue would be a complete mess, with an endless stream of compilations coming out, both from Decca and, after the group split, from Immediate, mixing tracks intended for release with demos and jam sessions with no regard for either their artistic intent or for what fans might want. Both albums charted, with Small Faces reaching number twelve and From The Beginning reaching number sixteen, neither doing as well as their first album had, despite the Immediate album, especially, being a much better record. This was partly because the Marriott/Lane partnership was becoming far more equal. Kenney Jones later said "During the Decca period most of the self-penned stuff was 99% Steve. It wasn't until Immediate that Ronnie became more involved. The first Immediate album is made up of 50% Steve's songs and 50% of Ronnie's. They didn't collaborate as much as people thought. In fact, when they did, they often ended up arguing and fighting." It's hard to know who did what on each song credited to the pair, but if we assume that each song's principal writer also sang lead -- we know that's not always the case, but it's a reasonable working assumption -- then Jones' fifty-fifty estimate seems about right. Of the fourteen songs on the album, McLagan sings one, which is also his own composition, "Up the Wooden Hills to Bedfordshire". There's one instrumental, six with Marriott on solo lead vocals, four with Lane on solo lead vocals, and two duets, one with Lane as the main vocalist and one with Marriott. The fact that there was now a second songwriter taking an equal role in the band meant that they could now do an entire album of originals. It also meant that their next Marriott/Lane single was mostly a Lane song. "Itchycoo Park" started with a verse lyric from Lane -- "Over bridge of sighs/To rest my eyes in shades of green/Under dreaming spires/To Itchycoo Park, that's where I've been". The inspiration apparently came from Lane reading about the dreaming spires of Oxford, and contrasting it with the places he used to play as a child, full of stinging nettles. For a verse melody, they repeated a trick they'd used before -- the melody of "My Mind's Eye" had been borrowed in part from the Christmas carol "Gloria in Excelsis Deo", and here they took inspiration from the old hymn "God Be in My Head": [Excerpt: The Choir of King's College Cambridge, "God Be in My Head"] As Marriott told the story: "We were in Ireland and speeding our brains out writing this song. Ronnie had the first verse already written down but he had no melody line, so what we did was stick the verse to the melody line of 'God Be In My Head' with a few chord variations. We were going towards Dublin airport and I thought of the middle eight... We wrote the second verse collectively, and the chorus speaks for itself." [Excerpt: The Small Faces, "Itchycoo Park"] Marriott took the lead vocal, even though it was mostly Lane's song, but Marriott did contribute to the writing, coming up with the middle eight. Lane didn't seem hugely impressed with Marriott's contribution, and later said "It wasn't me that came up with 'I feel inclined to blow my mind, get hung up, feed the ducks with a bun/They all come out to groove about, be nice and have fun in the sun'. That wasn't me, but the more poetic stuff was." But that part became the most memorable part of the record, not so much because of the writing or performance but because of the production. It was one of the first singles released using a phasing effect, developed by George Chkiantz (and I apologise if I'm pronouncing that name wrong), who was the assistant engineer for Glyn Johns on the album. I say it was one of the first, because at the time there was not a clear distinction between the techniques now known as phasing, flanging, and artificial double tracking, all of which have now diverged, but all of which initially came from the idea of shifting two copies of a recording slightly out of synch with each other. The phasing on "Itchycoo Park" , though, was far more extreme and used to far different effect than that on, say, Revolver: [Excerpt: The Small Faces, "Itchycoo Park"] It was effective enough that Jimi Hendrix, who was at the time working on Axis: Bold as Love, requested that Chkiantz come in and show his engineer how to get the same effect, which was then used on huge chunks of Hendrix's album. The BBC banned the record, because even the organisation which had missed that the Nice who "is always there when I need some speed" was a drug dealer was a little suspicious about whether "we'll get high" and "we'll touch the sky" might be drug references. The band claimed to be horrified at the thought, and explained that they were talking about swings. It's a song about a park, so if you play on the swings, you go high. What else could it mean? [Excerpt: The Small Faces, “Itchycoo Park”] No drug references there, I'm sure you'll agree. The song made number three, but the group ran into more difficulties with the BBC after an appearance on Top of the Pops. Marriott disliked the show's producer, and the way that he would go up to every act and pretend to think they had done a very good job, no matter what he actually thought, which Marriott thought of as hypocrisy rather than as politeness and professionalism. Marriott discovered that the producer was leaving the show, and so in the bar afterwards told him exactly what he thought of him, calling him a "two-faced", and then a four-letter word beginning with c which is generally considered the most offensive swear word there is. Unfortunately for Marriott, he'd been misinformed, the producer wasn't leaving the show, and the group were barred from it for a while. "Itchycoo Park" also made the top twenty in the US, thanks to a new distribution deal Immediate had, and plans were made for the group to tour America, but those plans had to be scrapped when Ian McLagan was arrested for possession of hashish, and instead the group toured France, with support from a group called the Herd: [Excerpt: The Herd, "From the Underworld"] Marriott became very friendly with the Herd's guitarist, Peter Frampton, and sympathised with Frampton's predicament when in the next year he was voted "face of '68" and developed a similar teenage following to the one the Small Faces had. The group's last single of 1967 was one of their best. "Tin Soldier" was inspired by the Hans Andersen story “The Steadfast Tin Soldier”, and was originally written for the singer P.P. Arnold, who Marriott was briefly dating around this time. But Arnold was *so* impressed with the song that Marriott decided to keep it for his own group, and Arnold was left just doing backing vocals on the track: [Excerpt: The Small Faces, "Tin Soldier"] It's hard to show the appeal of "Tin Soldier" in a short clip like those I use on this show, because so much of it is based on the use of dynamics, and the way the track rises and falls, but it's an extremely powerful track, and made the top ten. But it was after that that the band started falling apart, and also after that that they made the work generally considered their greatest album. As "Itchycoo Park" had made number one in Australia, the group were sent over there on tour to promote it, as support act for the Who. But the group hadn't been playing live much recently, and found it difficult to replicate their records on stage, as they were now so reliant on studio effects like phasing. The Australian audiences were uniformly hostile, and the contrast with the Who, who were at their peak as a live act at this point, couldn't have been greater. Marriott decided he had a solution. The band needed to get better live, so why not get Peter Frampton in as a fifth member? He was great on guitar and had stage presence, obviously that would fix their problems. But the other band members absolutely refused to get Frampton in. Marriott's confidence as a stage performer took a knock from which it never really recovered, and increasingly the band became a studio-only one. But the tour also put strain on the most important partnership in the band. Marriott and Lane had been the closest of friends and collaborators, but on the tour, both found a very different member of the Who to pal around with. Marriott became close to Keith Moon, and the two would get drunk and trash hotel rooms together. Lane, meanwhile, became very friendly with Pete Townshend, who introduced him to the work of the guru Meher Baba, who Townshend followed. Lane, too, became a follower, and the two would talk about religion and spirituality while their bandmates were destroying things. An attempt was made to heal the growing rifts though. Marriott, Lane, and McLagan all moved in together again like old times, but this time in a cottage -- something that became so common for bands around this time that the phrase "getting our heads together in the country" became a cliche in the music press. They started working on material for their new album. One of the tracks that they were working on was written by Marriott, and was inspired by how, before moving in to the country cottage, his neighbours had constantly complained about the volume of his music -- he'd been particularly annoyed that the pop singer Cilla Black, who lived in the same building and who he'd assumed would understand the pop star lifestyle, had complained more than anyone. It had started as as fairly serious blues song, but then Marriott had been confronted by the members of the group The Hollies, who wanted to know why Marriott always sang in a pseudo-American accent. Wasn't his own accent good enough? Was there something wrong with being from the East End of London? Well, no, Marriott decided, there wasn't, and so he decided to sing it in a Cockney accent. And so the song started to change, going from being an R&B song to being the kind of thing Cockneys could sing round a piano in a pub: [Excerpt: The Small Faces, "Lazy Sunday"] Marriott intended the song just as an album track for the album they were working on, but Andrew Oldham insisted on releasing it as a single, much to the band's disgust, and it went to number two on the charts, and along with "Itchycoo Park" meant that the group were now typecast as making playful, light-hearted music. The album they were working on, Ogden's Nut-Gone Flake, was eventually as known for its marketing as its music. In the Small Faces' long tradition of twisted religious references, like their songs based on hymns and their song "Here Come the Nice", which had taken inspiration from a routine about Jesus and made it about a drug dealer, the print ads for the album read: Small Faces Which were in the studios Hallowed be thy name Thy music come Thy songs be sung On this album as they came from your heads We give you this day our daily bread Give us thy album in a round cover as we give thee 37/9d Lead us into the record stores And deliver us Ogdens' Nut Gone Flake For nice is the music The sleeve and the story For ever and ever, Immediate The reason the ad mentioned a round cover is that the original pressings of the album were released in a circular cover, made to look like a tobacco tin, with the name of the brand of tobacco changed from Ogden's Nut-Brown Flake to Ogden's Nut-Gone Flake, a reference to how after smoking enough dope your nut, or head, would be gone. This made more sense to British listeners than to Americans, because not only was the slang on the label British, and not only was it a reference to a British tobacco brand, but American and British dope-smoking habits are very different. In America a joint is generally made by taking the dried leaves and flowers of the cannabis plant -- or "weed" -- and rolling them in a cigarette paper and smoking them. In the UK and much of Europe, though, the preferred form of cannabis is the resin, hashish, which is crumbled onto tobacco in a cigarette paper and smoked that way, so having rolling or pipe tobacco was a necessity for dope smokers in the UK in a way it wasn't in the US. Side one of Ogden's was made up of normal songs, but the second side mixed songs and narrative. Originally the group wanted to get Spike Milligan to do the narration, but when Milligan backed out they chose Professor Stanley Unwin, a comedian who was known for speaking in his own almost-English language, Unwinese: [Excerpt: Stanley Unwin, "The Populode of the Musicolly"] They gave Unwin a script, telling the story that linked side two of the album, in which Happiness Stan is shocked to discover that half the moon has disappeared and goes on a quest to find the missing half, aided by a giant fly who lets him sit on his back after Stan shares his shepherd's pie with the hungry fly. After a long quest they end up at the cave of Mad John the Hermit, who points out to them that nobody had stolen half the moon at all -- they'd been travelling so long that it was a full moon again, and everything was OK. Unwin took that script, and reworked it into Unwinese, and also added in a lot of the slang he heard the group use, like "cool it" and "what's been your hang-up?": [Excerpt: The Small Faces and Professor Stanley Unwin, "Mad John"] The album went to number one, and the group were justifiably proud, but it only exacerbated the problems with their live show. Other than an appearance on the TV show Colour Me Pop, where they were joined by Stanley Unwin to perform the whole of side two of the album with live vocals but miming to instrumental backing tracks, they only performed two songs from the album live, "Rollin' Over" and "Song of a Baker", otherwise sticking to the same live show Marriott was already embarrassed by. Marriott later said "We had spent an entire year in the studios, which was why our stage presentation had not been improved since the previous year. Meanwhile our recording experience had developed in leaps and bounds. We were all keenly interested in the technical possibilities, in the art of recording. We let down a lot of people who wanted to hear Ogden's played live. We were still sort of rough and ready, and in the end the audience became uninterested as far as our stage show was concerned. It was our own fault, because we would have sussed it all out if we had only used our brains. We could have taken Stanley Unwin on tour with us, maybe a string section as well, and it would have been okay. But we didn't do it, we stuck to the concept that had been successful for a long time, which is always the kiss of death." The group's next single would be the last released while they were together. Marriott regarded "The Universal" as possibly the best thing he'd written, and recorded it quickly when inspiration struck. The finished single is actually a home recording of Marriott in his garden, including the sounds of a dog barking and his wife coming home with the shopping, onto which the band later overdubbed percussion, horns, and electric guitars: [Excerpt: The Small Faces, "The Universal"] Incidentally, it seems that the dog barking on that track may also be the dog barking on “Seamus” by Pink Floyd. "The Universal" confused listeners, and only made number sixteen on the charts, crushing Marriott, who thought it was the best thing he'd done. But the band were starting to splinter. McLagan isn't on "The Universal", having quit the band before it was recorded after a falling-out with Marriott. He rejoined, but discovered that in the meantime Marriott had brought in session player Nicky Hopkins to work on some tracks, which devastated him. Marriott became increasingly unconfident in his own writing, and the writing dried up. The group did start work on some new material, some of which, like "The Autumn Stone", is genuinely lovely: [Excerpt: The Small Faces, "The Autumn Stone"] But by the time that was released, the group had already split up. The last recording they did together was as a backing group for Johnny Hallyday, the French rock star. A year earlier Hallyday had recorded a version of "My Way of Giving", under the title "Je N'Ai Jamais Rien Demandé": [Excerpt: Johnny Hallyday, "Je N'Ai Jamais Rien Demandé"] Now he got in touch with Glyn Johns to see if the Small Faces had any other material for him, and if they'd maybe back him on a few tracks on a new album. Johns and the Small Faces flew to France... as did Peter Frampton, who Marriott was still pushing to get into the band. They recorded three tracks for the album, with Frampton on extra guitar: [Excerpt: Johnny Hallyday, "Reclamation"] These tracks left Marriott more certain than ever that Frampton should be in the band, and the other three members even more certain that he shouldn't. Frampton joined the band on stage at a few shows on their next few gigs, but he was putting together his own band with Jerry Shirley from Apostolic Intervention. On New Year's Eve 1968, Marriott finally had enough. He stormed off stage mid-set, and quit the group. He phoned up Peter Frampton, who was hanging out with Glyn Johns listening to an album Johns had just produced by some of the session players who'd worked for Immediate. Side one had just finished when Marriott phoned. Could he join Frampton's new band? Frampton said of course he could, then put the phone down and listened to side two of Led Zeppelin's first record. The band Marriott and Frampton formed was called Humble Pie, and they were soon releasing stuff on Immediate. According to Oldham, "Tony Calder said to me one day 'Pick a straw'. Then he explained we had a choice. We could either go with the three Faces -- Kenney, Ronnie, and Mac -- wherever they were going to go with their lives, or we could follow Stevie. I didn't regard it as a choice. Neither did Tony. Marriott was our man". Marriott certainly seemed to agree that he was the real talent in the group. He and Lane had fairly recently bought some property together -- two houses on the same piece of land -- and with the group splitting up, Lane moved away and wanted to sell his share in the property to Marriott. Marriott wrote to him saying "You'll get nothing. This was bought with money from hits that I wrote, not that we wrote," and enclosing a PRS statement showing how much each Marriott/Lane

21 November 2022 | Presentation of the Blessed Virgin Mary | Menlo Park, Calif. I'm back from my classmate's diaconate ordination (the last of our class to be ordained!) with some thoughts on the virtue of “unassuming authority,” as the Rite of Ordination calls it. In this week's Carmelite conversation, Daniel and I conclude our series on the dark night of the soul with some personal testimonies and closing reflections. Opening music: “Christus vincit,” arr. Martin Baker, sung by the Choir of King's College Cambridge, dir. Daniel Hyde, 2021. All rights reserved. --- Send in a voice message: https://anchor.fm/in-your-embrace/message

As a young student at Christ's College Cambridge, John Milton announced to the world that he was going to write the greatest poem that the world has ever seen. He didn't want to sit among the epic geniuses Homer and Virgil, he wanted to surpass them. Decades later, Milton wrote Paradise Lost, reworking and embellishing the stories of Adam and Eve's fall from paradise and Satan's fall from heaven to create what is unquestionably the greatest epic poem written in English. Erik Gray is a professor of English and comparative literature at Columbia University. His books include The Art of Love Poetry, Milton and the Victorians, and The Poetry of Indifference: from the Romantics to the Rubáiyát. See more information on our website, WritLarge.fm. Follow us on Twitter @WritLargePod. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

As a young student at Christ's College Cambridge, John Milton announced to the world that he was going to write the greatest poem that the world has ever seen. He didn't want to sit among the epic geniuses Homer and Virgil, he wanted to surpass them. Decades later, Milton wrote Paradise Lost, reworking and embellishing the stories of Adam and Eve's fall from paradise and Satan's fall from heaven to create what is unquestionably the greatest epic poem written in English. Erik Gray is a professor of English and comparative literature at Columbia University. His books include The Art of Love Poetry, Milton and the Victorians, and The Poetry of Indifference: from the Romantics to the Rubáiyát. See more information on our website, WritLarge.fm. Follow us on Twitter @WritLargePod. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/literary-studies

As a young student at Christ's College Cambridge, John Milton announced to the world that he was going to write the greatest poem that the world has ever seen. He didn't want to sit among the epic geniuses Homer and Virgil, he wanted to surpass them. Decades later, Milton wrote Paradise Lost, reworking and embellishing the stories of Adam and Eve's fall from paradise and Satan's fall from heaven to create what is unquestionably the greatest epic poem written in English. Erik Gray is a professor of English and comparative literature at Columbia University. His books include The Art of Love Poetry, Milton and the Victorians, and The Poetry of Indifference: from the Romantics to the Rubáiyát. See more information on our website, WritLarge.fm. Follow us on Twitter @WritLargePod. Learn more about your ad choices. Visit megaphone.fm/adchoices

As a young student at Christ's College Cambridge, John Milton announced to the world that he was going to write the greatest poem that the world has ever seen. He didn't want to sit among the epic geniuses Homer and Virgil, he wanted to surpass them. Decades later, Milton wrote Paradise Lost, reworking and embellishing the stories of Adam and Eve's fall from paradise and Satan's fall from heaven to create what is unquestionably the greatest epic poem written in English. Erik Gray is a professor of English and comparative literature at Columbia University. His books include The Art of Love Poetry, Milton and the Victorians, and The Poetry of Indifference: from the Romantics to the Rubáiyát. See more information on our website, WritLarge.fm. Follow us on Twitter @WritLargePod. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/poetry

As a young student at Christ's College Cambridge, John Milton announced to the world that he was going to write the greatest poem that the world has ever seen. He didn't want to sit among the epic geniuses Homer and Virgil, he wanted to surpass them. Decades later, Milton wrote Paradise Lost, reworking and embellishing the stories of Adam and Eve's fall from paradise and Satan's fall from heaven to create what is unquestionably the greatest epic poem written in English. Erik Gray is a professor of English and comparative literature at Columbia University. His books include The Art of Love Poetry, Milton and the Victorians, and The Poetry of Indifference: from the Romantics to the Rubáiyát. See more information on our website, WritLarge.fm. Follow us on Twitter @WritLargePod. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/christian-studies

As a young student at Christ's College Cambridge, John Milton announced to the world that he was going to write the greatest poem that the world has ever seen. He didn't want to sit among the epic geniuses Homer and Virgil, he wanted to surpass them. Decades later, Milton wrote Paradise Lost, reworking and embellishing the stories of Adam and Eve's fall from paradise and Satan's fall from heaven to create what is unquestionably the greatest epic poem written in English. Erik Gray is a professor of English and comparative literature at Columbia University. His books include The Art of Love Poetry, Milton and the Victorians, and The Poetry of Indifference: from the Romantics to the Rubáiyát. See more information on our website, WritLarge.fm. Follow us on Twitter @WritLargePod. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/british-studies

John Micklethwait, Bloomberg Editor-in-Chief, reflects on the legacy of Queen Elizabeth II. Mohamed El-Erian, Bloomberg Opinion Columnist & Queens' College Cambridge President, discusses the impact of Queen Elizabeth II on Queens' College Cambridge. Robin Niblett, Chatham House Director, expects Charles III's reign over the Commonwealth to be a lot more difficult. Sir Vince Cable, London School of Economics & Political Science Visiting Professor, predicts what changes will come with the passing of Queen Elizabeth II. Marilyn Watson, BlackRock Head of Global Fundamental Fixed Income Strategy, says the volatility in bonds is creating opportunity. See omnystudio.com/listener for privacy information.

Thom F. Cavalli, Ph.D. is a Jungian psychologist, writer, and coach who provides psychological services throughout the world. He has authored two major books, Alchemical Psychology, Old Recipes for Living in a New World (Putnam 2002) and Embodying Osiris, the Secrets of Alchemical Transformation (Quest 2010) as well as many articles in Psychological Perspectives, the Journal of Jungian Scholarly Studies, and the Alchemical Journal. He is a yearly contributor of book reviews and film criticism for The Jung Journal. He received his bachelor's degree in fine art and psychology from Queens College NYC, and his doctorate at Alliant University. Dr. Cavalli has presented seminars at many prestigious institutions including The Divinity School, St John's College Cambridge, UK, Esalen Institute, Pacifica Graduate Institute, the International Alchemy conferences, the C.G. Jung Institute of Los Angeles, the Philosophical Research Society, the American Psychological Association and various museums, theosophical centers, Mason Lodges, mystery schools and Jung clubs. He is currently offering a six-part seminar on Alchemical Psychology through Jungarchademy. Thom offers a specialized form of coaching based on applying the principles of alchemical psychology to facilitate the process of individuation. His psychology practice is in Southern California. Thom invites listeners to email him at illavac@hotmail.com To find information about Thom's upcoming workshops and availability for therapy, go to jungianonline.com Sign up for 10% off of Shrink Rap Radio CE credits at the Zur Institute  

During holiday periods, we occasionally revisit past podcasts, and this week, prompted by the announcement that Andrew Nethsingha will be succeeding James O'Donnell as Organist and Choirmaster of Westminster Abbey, we return to a conversation from November last year. Editor Martin Cullingford was joined by Andrew, Director of the Choir of St John's College, Cambridge to discuss the choir's new album on Signum, 'The Tree' - as well as the recent announcement that the choir will soon welcome female voices for the first time in its history. 

Carey speaks with Rob Henderson, an avionics technician and PhD candidate at St. Catherine's College, Cambridge. Best known for coining the phrase, luxury beliefs, Rob has written for written for the New York Times, the Wall Street Journal, and Quillette, among other outlets. They discuss the importance of being productively disagreeable both in the military and out of it. You can follow Rob on Substack. Follow @veteranmadepod on Instagram for daily updates.

Court might not have been in action this week, but Nick's kept busy the last few days with lots of remote park bench interviews (along with some sightseeing). In this episode we hear from Professor Kurt Gray - Associate Professor of Neuroscience at the University of North Carolina who studies how humans make moral judgements, Christa - she got in touch with Nick having been gripped by the trial and gave us her thoughts from Canada, and finally Dr Charlote Proudman - a barrister, fellow of Queen's College Cambridge and expert in violence against women and girls. Court resumes next week and as usual, you can expect new episodes daily. Find out more at reportingdeppvheard.net A TBI Media production (www.tbimedia.co.uk)

E F Benson Edward Frederic Benson was born in 1867 at Wellington College, where his father was headmaster,  in Berkshire just outside London and died at University College London at the age of 72. His father went on to be Bishop of Truro, and Cornwall features in both his and his brothers' stories, and then Archbishop of Canterbury, the highest ranking of the Anglican Church.  He was the fifth child. His illustrious brother A C Benson wrote the words to Land of Hope and Glory, a patriotic English song and some fine ghost stories, although probably not as good as EF's. His other brother also wrote ghost stories but he was a committed Catholic and RH Benson's stories often contain religious lessons rather than being merely fun. His sister Margaret was an amateur Egyptologist and author. Two other siblings died young. E F Benson was educated at Marlborough College and then went to King's College Cambridge.  His first book was Sketches from Marlborough and he was most famous in his lifetime for the Mapp and Lucia comic novel series. Arguably however his ghost stories are his greatest legacy.  Some of these including this one How Fear Departed The Long Gallery have comic elements, particularly the kind of humour that observes and gently satirises the social class he moved in — otherwise known as the idle rich. A status I aspire to myself, and with your help will one day reach. How Fear Departed The Long Gallery The story starts with a rather comic picture of a genteel English county family who live in a long occupied ancestral house full of quirky ghosts. Then after the comedy we are told about the scary ghosts: the murdered children, murdered quite horribly by Dirty Dick.  It was one of those murders like Richard III, motivated by a desire to wipe out the line and inherit I think the scariness of children is if I may say like that of a doll. It's the uncanny valley. They are both like and unlike adults. They look like us, but we cannot be sure they think like us or what they will do. Who is hiding behind the eyes of the child. Anne Rice does this with her child vampire Claudia and there was a child vampire in Skyrim too. Just saying. The servant who first sees the toddlers dies. Then Miss Canning, the great beauty and friend of Voltaire mocks th twins and gets a horrible lichen disease. E F wrote a few horror stories that feature diseases, notably Caterpillars. Colonel Blantyre shot at the poor ghosts. Miss Canning told them to get back into the fire.   When Madge wakes in the Long gallery after dark and gets lost in the furniture and disorientated that's like the Blind. Man's Buff story we did. Lighten Our Darkness indeed, and figuratively by mercy.  So it's a story about redemption If You Appreciate The Work I've Put In Here If You Appreciate The Work I've Put In Here You could buy me a coffee  https://ko-fi.com/tonywalker (https://ko-fi.com/tonywalker) Become a Patron https://www.patreon.com/barcud (https://www.patreon.com/barcud) And you can join my mailing list and get a  free audiobook:  https://bit.ly/dalstonvampire (https://bit.ly/dalstonvampire) Music By The Heartwood Institute https://bit.ly/somecomeback*** (https://bit.ly/somecomeback***)

This podcast looks at why some people think we need policies for happiness and what those might mean. Leading experts discuss how to define and measure happiness, the drivers of happiness in different countries and societies, and what we know about what works and what doesn't in terms of policy solutions and interventions.This episode is hosted by Rory Cellan-Jones, and features experts Anna Alexandrova, Professor in Philosophy of Science at the University of Cambridge and a Fellow of King's College Cambridge, and Dr Jonathan Stieglitz, Associate Professor of Anthropology at IAST and the University of Toulouse 1 Capitole.Listen to this episode on your preferred podcast platform.Episode 7 transcriptFor more information about the podcast and the work of the institutes, visit our websites at www.bennettinstitute.cam.ac.uk and www.iast.fr/.Tweet us with your thoughts at @BennettInst and @IASToulouse.Audio production by Steve Hankey.Podcast editing by Annabel ManleyMore information about our guests:Professor Anna AlexandrovaAnna Alexandrova is a Professor in Philosophy of Science at the University of Cambridge and a Fellow of King's College Cambridge. She researches how formal tools such as models and indicators enable scientists to navigate complex phenomena tinged with ethical and political dimensions. Her book A Philosophy for the Science of Wellbeing came out with Oxford University Press in 2017 and won the 2022 Gittler Book Prize of the American Philosophical Association. She previously taught at the University of Missouri St Louis and completed her PhD at the University of California San Diego. She was born and brought up in the southern Russian city of Krasnodar.Dr Jonathan StieglitzDr Jonathan Stieglitz is an Associate Professor of Anthropology at IAST and the University of Toulouse 1 Capitole. His main research interest is studying the health and well-being of individuals in small-scale subsistence societies, in part to gain broader insights into how humans may have lived in the past. He is Co-Director of the Tsimane Health and Life History Project, a longitudinal study of the evolution of the human life course; the project began in 2002 and currently focuses on better understanding the development of certain non-communicable diseases among two native South American populations - the Tsimane and Moseten of Bolivia. 

Don't let the low score fool you, this was an intense game of University Challenge made all the more challenging by the truly brutal questions asked this time around! Both teams have done so well, but alas we have to say goodbye to King's London as Emmanuel has secured a place in the semi-finals with the literal skin of their teeth. Join us as we discuss this crazy match, as well as learning in real-time what the 'kitchen-sink' movie genre is about and try to wrap our heads around that picture round.

TITLE: Mr Janson's sight reading TRACK: And with his stripes we are healed” from Handel's Messiah. ARTIST: The Choir Of King's College Cambridge with the Brandenburg Consort under Stephen Cleobury PUBLISHER: Brilliant Classics: Passions – Sacred Masterpieces 2008

TITLE: Mr Janson's sight reading TRACK: And with his stripes we are healed” from Handel's Messiah. ARTIST: The Choir Of King's College Cambridge with the Brandenburg Consort under Stephen Cleobury PUBLISHER: Brilliant Classics: Passions – Sacred Masterpieces 2008

Andrew Feinstein is Founding Director of Shadow World Investigations (formerly Corruption Watch), an NGO that undertakes path-breaking investigations into cases of grand corruption, corporate malfeasance and militarism, predominantly but not exclusively in the global arms trade. Andrew was a former African National Congress (ANC) Member of Parliament in South Africa for 7 years before resigning in protest at the ANC's refusal to allow an independent and comprehensive inquiry into a multi-million dollar arms deal. ​ Feinstein has written two books on the illicit global arms trade, The Shadow World and After the Party, which is a detailed account of his time spent within the ANC and the cover up involving the arms deal scandal. Feinstein was educated at King's College Cambridge, the University of California at Berkley, and the University of Cape Town and also participated in the London School of Economics Distinguished Visitors Programme. He regularly appears on a variety of broadcast media including BBC and Al Jazeera and authored the lead article in the SIPRI Yearbook 2011. https://www.forumarmstrade.org/andrew-feinstein.html https://hrf.org/speakers/andrew-feinstein/  https://twitter.com/andrewfeinstein https://www.theguardian.com/profile/andrewfeinstein HELP ME CROWDFUND MY GAMESTOP BOOK. Go to https://wen-moon.com to join the crowdfunding campaign and pre-order To The Moon: The GameStop Saga! If you haven't already and you enjoyed this episode, please subscribe to this podcast and our mailing list, and don't forget, my book, Brexit: The Establishment Civil War, is now out, you'll find the links in the description below. NIIN Tobacco Pouches - https://www.instagram.com/niinpouches/ Ohio Hauntings and Legends Podcast - https://ohiohl.com/ Watch Us On Odysee.com - https://odysee.com/$/invite/@TheJist:4   Sign up and watch videos to earn crypto-currency!  Buy Brexit: The Establishment Civil War - https://amzn.to/39XXVjq  Mailing List - https://www.getrevue.co/profile/thejist  Twitter - https://twitter.com/Give_Me_TheJist  Website - https://thejist.co.uk/  Music from Just Jim – https://soundcloud.com/justjim

I like Christmas, in a bittersweet kind of way. It's beautiful and fun and full of hope, but also complex and difficult and sometimes sad. My mother died a few months ago, and I'm sure I'll really miss her on Christmas morning. Christmas is a time of joy that reminds us that joy is elusive and surrounded by trouble.Like a baby laid in a manger, you might say.My favourite secular Christmas song captures this: “Have yourself a merry little Christmas”, originally sung by Judy Garland in Meet me in St Louis, and included on just about everyone's Christmas album ever since.It captures the bittersweet nature of Christmas so wistfully and longingly. It speaks of Christmas as a time of gathering and friends and even hope. And yet our lives never live up to that dream. In fact, we can only hope that maybe next year “our troubles will be far away”. Maybe next year, we will actually be able to gather with all our old friends as we once did. “Until then, we'll just have to muddle through somehow.”Here's the James Taylor version:Of course, the best Christmas carols reflect this even better—that is, the joy of God becoming man because man is in such a desperate state. Hark, the Herald is famous for speaking of “Peace on earth and mercy mild; God and sinners reconciled”. Joy to the world has an often-omitted third verse that speaks of Jesus coming to lift the curse.But my favourite Christmas hymn, which is hardly ever sung these days, does it beautifully:Thou who wast rich beyond all splendour,All for love's sake becamest poor;Thrones for a manger didst surrender,Sapphire paved courts for stable floor.Thou who wast rich beyond all splendour,All for love's sake becamest poor.Thou who art God beyond all praising,All for love's sake becamest man;Stooping so low, but sinners raising,Heavenward by Thine eternal plan.Thou who art God beyond all praising,All for love's sake becamest man.(Here's the King's College Cambridge version:)The news of Jesus' incarnation is good news, because of the lost and sinful world into which he was born, and which he came to save. He became poor to make the poor rich. I've spent the last few days of this last pre-Christmas week finishing a draft of chapter 2 of the Two ways to live evangelistic book (that a number of you are helping me write). It's the chapter all about our rejection of God, and all the damage we do to ourselves and each other and the world. I've pasted the final section of the chapter below (this is the part that those of you who are partner/subscribers have been waiting on).It's certainly not the happiest, tinsel-covered subject for an end of year meditation.But then again, maybe it's the perfect pre-Christmas reading; a picture of the black night of Christmas eve into which the light of the world was born.The 2wtl Book: Chapter 2The Human ProblemThe first two thirds of the chapter sets out the nature of rebellion against God. This final part thinks about the consequences for our lives.…When we reject God, we attack the foundations of everything that is true and good and beautiful in the world. We embrace the first lie. And then all the other lies and follies and consequences start to compound.We see this played out in so many ways, in our own lives and in our broader culture.In our personal lives, perhaps the most significant consequence of our declaration of independence from God is how hard we find it to be interdependent with each other. Once I've decided that I'm the centre of my world (not God), that puts me in an odd position with respect to You. We're no longer on the same level—both creatures of God, both in his image, both taking our cue from him as to how we are to treat each other as fellow creatures.Now I'm the little god in charge of my own self and my own world, and when I encounter You, I find another little god who also thinks they are the most important person in their world. And then I find that there isn't room in our relationship for two little gods. One of us has to prevail.The self-interest that comes so naturally to us makes all relationships difficult. We're alienated from each other.We're also alienated from the world itself. Because Western society is no longer confident that the world is a created place, with a good and beautiful shape given to it by its Creator, we don't know what to do with the world. There are multiple examples. We don't seem able to manage and develop the world's resources without exploiting and destroying them. We aren't able to find political leaders who don't end up disillusioning us with their lies or folly or corruption. We even don't seem able to figure out something as basic as what it means to be a man or a woman—in fact, a growing number of Westerners are now nervous to say that there even are such things as ‘men' and ‘women' (which is a rebellion against reality if ever there was one).For me personally, one of the most interesting and striking consequences is simply how ugly the modern Western world is. We seem to have lost confidence in the possibility or desirability of beauty. Our cities are full of thrusting buildings of concrete and glass and steel, whose ugliness we hardly notice any more. When was the last time you saw a house or a set of apartments built in the last 50 years, and thought how pleasing it was to the eye?It's the same with the arts. Almost no-one listens to modern orchestral music these days, because it has become discordant and jarring. Modern art seems more interested in making political or transgressive statements than in expressing anything beautiful about the world. And whenever I see a poem printed in the review section of the Saturday paper, I valiantly try to read and make sense of it, but give up half way through.This was not the case in a previous era. The arts were massively and widely appreciated, and we still enjoy and appreciate the artfulness and beauty of those works today. We look at the architecture of a century ago and wonder how they made buildings of such lasting character and beauty.As a culture we find ourselves in the strange position. We're like teenagers who can't help being shaped and moulded by the family we were raised in, and yet whose hostility and rebellion against those values leaves us conflicted and confused. Our underlying cultural values are mostly Christian. And yet our rebellion against God and Christianity has clouded our minds and hearts. We can't make sense of the world or of our lives. We still encounter the goodness and beauty of the world, and yet perversely we embrace ugliness and self-destructive behaviour.This is true of our culture. But more importantly, it is true for each one of us. The human problem isn't just out there in society. It's in each of our hearts. We're all personally in rebellion against the God who made us.This is the human problem, and it's grim news.But this grim news is a vital part of the back story to the incredible news (or ‘gospel') about Jesus. If the news about Jesus was a movie, we're still in that middle part of the story where things are getting worse and more complicated.Good news is coming. A resolution is coming. But to understand and appreciate it, there's one more piece of sober news to wrap our minds and hearts around.It's about God. We've talked a lot in this chapter about our attitude to God, our rebellion against him, and all the consequences that flow from that.But what is God's attitude to our rebellion?Well that's the end of chapter 2. Would love your thoughts, as always.Thanks again for your partnership and fellowship over this past 12 months. It's been a joy to be able to write for you.Time for a little break (for all of us). I'll be back in touch in the second week of January.TP This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit www.twoways.news/subscribe

Gregory D. Hess, Ph.D., is President and CEO of IES Abroad, a not-for-profit academic consortium of 270 top-tier American Colleges and universities, with more than 240 additional partner universities worldwide. IES Abroad provides premier study abroad and internship programs around the world through IES Abroad, IES Internships, IES Abroad Customized & Faculty-Led Programs, and The Study Abroad Foundation. With more than 400 study abroad programs in 85 global locations worldwide, the organization creates authentic global education opportunities for more than 10,000 students annually. IES Abroad has more than 140,000 alumni who have benefited from studying abroad on IES Abroad programs since its inception and offers more than $6 million in scholarships and financial aid. Having joined IES Abroad in 2020, Greg is an extremely well-rounded leader, and brings a wealth of expertise and experience across higher education, liberal arts, and business. His passion for education and economics brings an important and distinctive perspective, which greatly benefits IES Abroad. Prior to joining IES Abroad, Greg was the President of Wabash College. He led national efforts articulating and promoting the value of a liberal arts education, while directing the planning and development efforts that provided a roadmap leading to the College's 200th anniversary in 2032. His many achievements at Wabash College also included hosting a conference entitled, “Celebrating the Value of the Liberal Arts,” with scholars, college presidents, foundation leaders, and representatives of the business, medicine, and law fields attending. He also directed the development of co-curricular “WabashX" initiatives in Democracy and Public Discourse, Digital Arts and Human Values, Global Health, and the Center for Innovation, Business, and Entrepreneurship. In addition, Greg initiated a rebranding of Wabash College and provided critical leadership during a master planning process that included enhancements in campus life, academics, and infrastructure. As part of Wabash College's “Giant Steps: A Campaign for Wabash College” initiative, Greg Hess secured a $40 million gift—the largest single gift in the College's history. Greg has also held teaching positions at Carnegie Mellon University, the University of Kansas, St. John's College (Cambridge), the University of Cambridge, London Business School, and Oberlin College. Greg is a widely published author with more than 60 articles, book chapters, and books to his credit, has served as an editor for Economics and Politics and Macroeconomic Dynamics, and presented at more than 90 scholarly international seminars and events. Greg earned his undergraduate degree at the University of California, Davis, and master's and doctoral degrees at Johns Hopkins University. He studied abroad at the London School of Economics as part of the school's General Course Degree program. Don't forget to check out my book that inspired this podcast series, The Caring Economy: How to Win With Corporate Social Responsibility (CSR). --- Support this podcast: https://anchor.fm/toby-usnik/support

Julian began his life surrounded by music with his siblings, and was sent away to music courses by his parents, where he developed a real need to make music and share it with others. Between his classical training at King's College Cambridge and the Royal Academy of Music in London, he explored the world of historical performance at the Schola Cantorum in Basel, where he swiftly learnt Swiss German, how to improvise on the organ, and much more. Soon after his studies, on a course with Mary King and Rufus Norris at English National Opera, Julian discovered some unusual tips and tricks he would later apply in his work with singers. Julian now plays harpsichord at the highest level, coaches, and conducts – including his recent acclaimed recordings of John Eccles' Semele with the Academy of Ancient Music and Cambridge Handel Opera Company, and the world premiere recording of Stephen Dodgson's Margaret Catchpole: Two Worlds Apart for Naxos, and is also the Artistic Director of Cambridge Handel Opera Company. You can read more about Julian on his website here , and find out more about Cambridge Handel Opera Company here. John Eccles' Semele, conducted by Julian is available here and Stephen Dodgsons's Margaret Catchpole: Two Worlds Apart is available here

Machnamh 100 - Response by Dr Niamh Gallagher, St. Catharine's College, Cambridge

A música vocal é o tema deste episódio, apresentado por nosso contrabaixista Rossini Parucci e nossa harpista Clémence Boinot. A conversa entre os dois costura obras de Ravel, Chausson e Fauré escritas para vozes e orquestra. Ouvimos neste podcast excertos do Requiem de Faure, com o King's College Cambridge; trechos de "Três poemas de Stéphane Mallarmé” de Ravel, com Anne Sofie von Otter; e "Poema do amor e do mar, op. 19” de Ernest Chausson, com Jessye Norman e a Orquestra Filarmônica de Monte Carlo.