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Principal Matters: The School Leader's Podcast with William D. Parker
Derek is the principal of Alleghany High School in Covington, Virginia, where he led the merger of two rival schools into a unified school community. Instead of allowing division to define the transition, he focused on building culture first, ensuring students, staff, and the community had a voice in shaping a new identity under a […] The post PMP465: Better Together with Derek Cantrell appeared first on Principal Matters.
Personal trainer and counseling psychology expert Alli Covington exposes the overlooked connection between mental health and metabolic dysfunction that's keeping millions trapped in cycles of weight gain and chronic disease. After watching her father follow every doctor's recommendation only to develop GERD, high cholesterol, diabetes, and die young despite compliance, Alli discovered the missing piece most fitness professionals ignore.In this candid conversation, she breaks down her revolutionary approach that combines biochemistry knowledge with psychological intervention. Learn why thoughts literally trigger hormonal cascades that can sabotage metabolism, how anxiety creates cortisol storms at the cellular level, and why addressing trauma while exercising accelerates healing beyond traditional therapy.Alli shares real client transformations, including her husband's 40-pound weight loss and a 60-year-old woman who reached her high school weight for the first time in decades by addressing deep-rooted anxiety. She also reveals why the bodybuilding community understood nutrition decades before medical professionals caught up, and how fixing gut health can resolve everything from ADHD symptoms to mood disorders.Whether you're struggling with stubborn weight, mysterious digestive issues, or feel trapped by food addiction patterns, this interview provides a fresh framework for understanding how your mental state directly impacts your physical health.BIG IDEAIf somebody's gained more than 20 pounds since their ideal weight, it wasn't on accident - there's some mental stuff going on, and we're using food to cope with some kind of pain.Alli Covington Contact InfoTwitter: @allicovingtonInstagram: @allicovingtonFacebook: @allicovingtonWebsite: https://bodbyalli.comLinkedIn: @allicovingtonSend Dr. Ovadia a Text Message. (If you want a response, you must include your contact information.) Dr. Ovadia cannot respond here. To contact his team, please send an email to team@ifixhearts.com Like what you hear? Head over to IFixHearts.com/book to grab a copy of my book, Stay Off My Operating Table. Ready to go deeper? Talk to someone from my team at IFixHearts.com/talk.Stay Off My Operating Table on X: Dr. Ovadia: @iFixHearts Jack Heald: @JackHeald5 Learn more: Stay Off My Operating Table on Amazon Take Dr. Ovadia's metabolic health quiz: iFixHearts Dr. Ovadia's website: Ovadia Heart Health Jack Heald's website: CultYourBrand.com Theme Song : Rage AgainstWritten & Performed by Logan Gritton & Colin Gailey(c) 2016 Mercury Retro RecordingsAny use of this intellectual property for text and data mining or computational analysis including as training material for artificial intelligence systems is strictly prohibited without express written consent from Dr. Philip Ovadia.
"Golf With Jay Delsing" features a visit with Wendall Covington, the Executive Director of the VP Community Impact Foundation. Also, a preview of the final day of the Stifel Charity Classic and the latest news and notes from the world of golf.
Mostly Motorsports with The RacinBoys Ep 376 Matt Covington, Chase Raudman Scott Traylor and Kirk Elliott, along with Producer Todd Surprise, have been the host of "Track Talk" with the RacinBoys on Sports Radio 810 WHB in Kansas City for 24 years. Traylor spent the past 13 years on the road as anchor and producer of the Lucas Oil ASCS National Tour broadcasts. He had many years of experience and success driving and owning race cars before embarking on a broadcasting career covering motorsports. www.racinboys.com
Episode 111: Calloway County injury attorney Jeff Roberts has handled many cases involving common shoulder, arm and hand injuries. He's seen these in car wrecks, motorcycle accidents and truck collisions, but also in workers' compensation claims. Jeff has over 33 years of experience representing injured clients. We hope you found this episode insightful and helpful. Thank you for listening! What Do Other Clients Think About Jeff? We always encourage listeners to read the Google Reviews Jeff Roberts has received from many of his clients. A 5-Star rating and the comments are earned recognition and demonstrate Jeff's commitment to his clients. As a solo attorney, he has more Google Reviews than some firms with multiple attorneys. Jeff shares the credit with his staff at the Roberts Law Office. Successfully representing injured clients is a team effort. It's why Jeff likes to say his firm offers small town service with big city results. Jeff Roberts Represents Injured Clients Throughout Kentucky With offices located in Calloway County (Murray) and now in Christian County (Hopkinsville), Jeff has a history of representing personal injury clients, workers' compensation clients and social security disability clients across the state. He's represented clients from Paducah, Bowling Green, Louisville, Covington, Whitesville and many other Kentucky locations. He's not just a Western Kentucky injury attorney. Is It Time to Speak with an Attorney about Your Social Security Disability Claim? The office phone number is (270) 753-0053 or toll free at 800-844-5108. For more information, visit www.JeffRobertsLaw.com. This podcast is meant to provide information and is not legal advice. Jeff's principal office is located at 509 Main Street, Murray, Kentucky. Co-host Jim Ray is a non-attorney spokesperson. This is an advertisement.
"Golf With Jay Delsing" features a visit with Wendall Covington, the Executive Director of the VP Community Impact Foundation. Also, a preview of the final day of the Stifel Charity Classic and the latest news and notes from the world of golf.See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.
The Kingdom at a Crossroads.Core Scripture is 1 Kings 12:1-17The teacher today is Lane.
Jessica Covington, founder of fit-ology, who helps women with "Fancy Brains" (ADHD) transform their challenges into strengths through a holistic, body-first approach to coaching.Through her unique framework combining movement, nutrition, metacognition, and systems development, Jessica guides high-achieving women who feel like underperformers to break free from shame cycles and embrace their differently-wired minds.Now, Jessica's personal journey with ADHD, both as a mother and in her own later-in-life diagnosis, demonstrates how a strengths-based approach can transform the experience of neurodivergence.And while expanding her services through the ADHD Strength Hub community, she's blending her diverse background in dance, HR development, and health coaching to help clients find the brilliance in the chaos.Here's where to find more:https://www.facebook.com/fitologyADHDcoachhttps://www.linkedin.com/in/jessicacovingtonhttps://www.instagram.com/fitology_adhdhttps://medium.com/@fitologyhttps://x.com/fit_ology________________________________________________Welcome to The Unforget Yourself Show where we use the power of woo and the proof of science to help you identify your blind spots, and get over your own bullshit so that you can do the fucking thing you ACTUALLY want to do!We're Mark and Katie, the founders of Unforget Yourself and the creators of the Unforget Yourself System and on this podcast, we're here to share REAL conversations about what goes on inside the heart and minds of those brave and crazy enough to start their own business. From the accidental entrepreneur to the laser-focused CEO, we find out how they got to where they are today, not by hearing the go-to story of their success, but talking about how we all have our own BS to deal with and it's through facing ourselves that we find a way to do the fucking thing.Along the way, we hope to show you that YOU are the most important asset in your business (and your life - duh!). Being a business owner is tough! With vulnerability and humor, we get to the real story behind their success and show you that you're not alone._____________________Find all our links to all the things like the socials, how to work with us and how to apply to be on the podcast here: https://linktr.ee/unforgetyourself
A new MP3 sermon from Covington and Sugar Grove New Conference is now available on SermonAudio with the following details: Title: Ray Schaurer's Funeral Speaker: Glen Landes Broadcaster: Covington and Sugar Grove New Conference Event: Funeral Service Date: 9/3/2025 Bible: 1 Corinthians 15 Length: 40 min.
Questions, suggestions, or feedback? Send us a message!Our guest this week is Howard Covington. Howard is a Cambridge graduate in physics and maths. He has been a banker, a co-founder and chief executive of New Star Asset Management, and a trustee of the Science Museum. He's also been and chair of the Isaac Newton Institute for Mathematical Sciences at the University of Cambridge, The Alan Turing Institute, ClientEarth, and the Scotia Group.He is the incoming chair of the Smith School of Enterprise and the Environment at the University of Oxford. Howard is a fellow of the Institute of Physics and an honorary fellow of the Isaac Newton Institute and The Alan Turing Institute.We want to a talk Howard gave recently and were very amazed about how many of his predictions have come to pass and therefore left comforted by his positive predictions of the future.We talk about:A quick history of 540 million yearsLiving in the midst of the third Intelligence ExplosionPrinting meat to eatDark factoriesAre robots part of evolutionHow capitalism drives the race to net zeroThe restoration of the planetLet's gaze into the future!Web: www.whereshallwemeet.xyzTwitter: @whrshallwemeetInstagram: @whrshallwemeet
The teacher today is Adam and all the Bridgers.
-Kim is from Covington and is the Elementary Librarian at White's Tower Elementary. She loves cruising the Caribbean and is a big fan of flamingos because they're so pink! Kim is a big fan of B-105 and loves the great mix of music and the personalities. One favorite memory is running into Grover Collins at a Riverbend show and getting upgraded tickets and meet & greet passes from him. For her induction song, Kim wanted to hear Bailey Zimmerman's "Rock and a Hard Place" because she just loves his energy. Welcome to the B-105 Country Club, Kim!See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.
And welcome back to the program. Somebody on the text line said, Charlie, you forgot about Cracker Barrel. Oh, yes. Now here's the thing. We're in Westerly, Rhode Island, right up there near Taylor Swift's $15,000,000 mansion over in the neighborhood of Watch Hill. They've only got one cracker barrel in the entire state of Rhode Island. That's in Coventry, Rhode Island. We are down Southwest Of Coventry, miles and miles and miles away. Gotta take I 95 from Westerly, up to Covington. They're talking about it there. They're talking about this unbelievable debacle of Cracker Barrel, and I don't owe and I'll tell you this little more about the story coming up. But they're trying to say now they're trying to say now that they've still got the barrel. The barrel is still there. They haven't gotten rid of the the barrel, the Cracker Barrel. It's just been turned on its side. Yeah. The barrel is just over on its side. That's all. That's all. It's still there. Still got a barrel. Everything's gonna be great. Everything's gonna be wonderful. That's all it is. Just turn the bell over on its side. That's all we do. That's all we do. Nothing more than that. It's great. Everything's gonna be wonderful. They they I alright. I'll tell you this story real quick. Got home last night, took the dogs for a walk, met up with our neighbors that we always see, walking their dogs, and we had it. We always have great conversation. And they went to Cracker Barrel this weekend because they wanted to see what was going on, And they talked to the waitress. They said, hey. Got some changes happening. And the way you know what the waitress did? She said, oh, let me go get the manager. They had this thing planned out. They had it planned out. So the waitress goes and gets the manager, and the manager comes out there, and he's got his talking points. He is like, oh, all we're doing is there's no no that Cracker Barrel that you saw, online, that was that was just it just looked like that because they were painting it. That's all. No. No. No. And this and, again, we're just keeping the the barrel. We just turned it over on its side, and there's listen. People aren't buying that crap. People aren't buying it. Literally, they're not buying it. John Rich post a picture, this weekend of a Cracker Barrel. I believe it was in Tennessee. Now if you don't think Cracker Barrel should be a very popular place in any of the states, Tennessee might be way up there at the top. The parking lot was practically empty on a Saturday afternoon. Practically empty. This is what happens when you go and you join the Woke Brigade. I don't know who this female CEO is, but when she gets up there and she's talking about, oh, well, it's all positive, and, oh, the reviews are all positive, and everybody's excited. She's lying through her big old giant nose. Absolutely. People are hating oh, wait a minute. Oh, hold on. Maybe the marketing team does love it. Maybe the marketing team thinks it's great. Maybe the people that are in charge of branding or advertising, maybe they like it because they got paid a lot of money to do it. But who they did not ask about it was the customers. They forgot about the people. And I was thinking about this this weekend. When you go to I mean, let's alright. Let's all be honest. The food is good, but it ain't great. Alright? It's good, but it's not great. You could go to Lizard's Thicket, oh, down there in Columbia, and get better country style food than Cracker Barrel. I mean, I I'll be honest with you. I don't know of a whole lot of places around here. Maybe there are a bunch of places around here that you could go get actually better food. People go to Cracker Barrel for the experience of going to Cracker Barrel. They love seeing all the things on the wall. They love to see the things hanging from the ceiling. They love the that homey country feel because it's like you're walking back into an old general store. That gave people something ...
Episode 110: Calloway County social security disability attorney Jeff Roberts addresses the question, “Do I have to appear for my social security disability hearing?” Jeff has almost 33 years of experience handling social security disability claims in Kentucky and other states. We hope you found this episode insightful and helpful. Thank you for listening! What Do Other Clients Think About Jeff? We always encourage listeners to read the Google Reviews Jeff Roberts has received from many of his clients. A 5-Star rating and the comments are earned recognition and demonstrate Jeff's commitment to his clients. As a solo attorney, he has more Google Reviews than some firms with multiple attorneys. Jeff shares the credit with his staff at the Roberts Law Office. Successfully representing injured clients is a team effort. It's why Jeff likes to say his firm offers small town service with big city results. Jeff Roberts Represents Injured Clients Throughout Kentucky With offices located in Calloway County (Murray) and now in Christian County (Hopkinsville), Jeff has a history of representing personal injury clients, workers' compensation clients and social security disability clients across the state. He's represented clients from Paducah, Bowling Green, Louisville, Covington, Whitesville and many other Kentucky locations. He's not just a Western Kentucky injury attorney. Is It Time to Speak with an Attorney about Your Social Security Disability Claim? The office phone number is (270) 753-0053 or toll free at 800-844-5108. For more information, visit www.JeffRobertsLaw.com. This podcast is meant to provide information and is not legal advice. Jeff's principal office is located at 509 Main Street, Murray, Kentucky. Co-host Jim Ray is a non-attorney spokesperson. This is an advertisement.
The teacher today is Lane.
On this episode of Housekeys Podcast, we are joined by REALTOR® Judy Covington—a true industry leader with over 25 years of experience. Judy started her career in the SAR Internship Program, and she never looked back. Judy has served in key leadership roles with SAR, CAR, and NAR, all while staying rooted and involved in her community. Host Cam Villa sits down with Judy and talks about her journey, the power of real estate, and her advice for new agents to cut through distractions and master their craft. Music: Welcome to the Show by Kevin MacLeod Link: https://incompetech.filmmusic.io/song/4614-welcome-to-the-show License: https://filmmusic.io/standard-license All speakers in this podcast do not speak on behalf of the Sacramento Association of REALTORS® nor do they represent the Sacramento Association of REALTORS®. All presenters are speaking on behalf of their own profession.
This episode begins a new mini-series on the importance of systematic theology. For this episode, Duffey is joined by Patrick Covington to discuss questions like: What is systematic theology? Why should I care about systematic theology? Is systematic theology practical and useful? How can the study of systematic theology serve our spiritual growth in Christ? For further study, see the resources provided below: Video R. C. Sproul https://youtu.be/bIRbcmVC1Q0?feature=shared Articles Paul Smalley https://learn.ligonier.org/articles/is-systematic-theology-helpful Scott Swain https://www.crossway.org/articles/10-things-you-should-know-about-systematic-theology/?srsltid=AfmBOope473U1xP-WpEbAqlxpTbjfjdf6EgnTFKZBK-QqLpx00MoByMm
About 30 minutes outside of Covington, sits Isabel, Louisiana in Washington Parish - the now host of a crystal-clear private lake that has officially opened to the public for day passes and cabana bookings. With kayaks, fishing spots, a 3-mile nature walking trail and more, Lake Isabel Farm is shaping up to be the perfect beach day getaway. Owner Anthony Sedlak joins us to chat about the inception of Lake Isabel Farm and the future offerings that are already in the works.
Sean and Andrew are back with Matt Darr and Ben Covington from Iowa State University's On-Site Precision Technology team in ISU's new Digital Ag Innovation Lab to hear their two cents on how advancing the technology on your farm is simpler than you might expect. The crew discusses: ✅ Why understanding ag technology is important for every grower ✅ The importance of education for adoption of ag tech ✅ Behind-the-scenes the Digital Ag Innovation Lab's planter clinic ✅ The science behind downforce and planting depth ✅ How John Deere's FurrowVision and See and Spray™ technology impacts farmers ✅ Tillage practices and soil compaction ✅ A new approach to planting soybeans ✅ The crop input you don't want to cut corners on Learn more about the Digital Ag Innovation Lab: https://www.isudigitalag.org/ Meet the Guests:
A new MP3 sermon from Covington and Sugar Grove New Conference is now available on SermonAudio with the following details: Title: Nancy Wagoner's Funeral Speaker: Various Speakers Broadcaster: Covington and Sugar Grove New Conference Event: Funeral Service Date: 7/31/2025 Bible: 1 Thessalonians 4:13-18; 1 Corinthians 15:50-53 Length: 65 min.
Barack Obama Must Go To Prison, The Case For Prosecuting Barack Obama. Dinesh D'Souza, Victor Davis Hanson, Jordan Peterson, Jesse Kelly, Mr. Reagan. Barack Obama Must Go To Prison FBI Whistleblower Issues MAJOR Warning The Case For Prosecuting Barack Obama Victor Davis Hanson: The Race-Fueled Cincinnati Beatdown Was Real—And Ignored. Jordan Peterson - A Good Father Helps You to Become Your Best Self Barack Obama Must Go To Prison https://youtu.be/VFNZQ3UaexE?si=1q8LA93sxKQW52OT Mr Reagan 399K subscribers 7,393 views Jul 28, 2025 #Politics #News #Trending Subscribe to my NEW Channel, STRANGE TALES! • The Great Emu War ----------------------------------------------- Patreon: / mrreagan ----------------------------------------------- MR REAGAN MERCHANDISE https://teespring.com/stores/mr-reagan -------------------------------------------- FOLLOW MR REAGAN ON TWITTER! / mrreaganusa ----------------------------------------------- Music by The Passion HiFi www.thepassionhifi.com #Politics #News #Trending https://youtu.be/r7tXPGOePZY?si=6gqQPvypESG4BSX6 FBI Whistleblower Issues MAJOR Warning Jesse Kelly 74.7K subscribers 12,956 views Jul 30, 2025 Jesse Kelly is joined by an FBI whistleblower to discuss some major happenings. LIKE & SUBSCRIBE FOR NEW VIDEOS DAILY: / @jessekellydc Watch Full Editions Of I'm Right With Jesse Kelly: https://bit.ly/3V2F2Tt Check Out Jesse's Latest Interviews With Big-Name Guests: https://bit.ly/48UxEzn Here Are Jesse's Can't-Miss Monologues: https://bit.ly/3UZBWQl Subscribe To Jesse Kelly Wherever You Get Your Podcasts Apple: https://podcasts.apple.com/us/podcast... Spotify: https://open.spotify.com/show/7fy7hsV... Watch Jesse Kelly nightly on The First TV at 9pm ET: TheFirstTV.com/watch Follow Jesse Kelly On all social platforms X - X.com/@JesseKellyDC Instagram - Instagram.com/JesseKellyShow Facebook - Facebook.com/@JesseKellyDC https://youtu.be/C-c1B1uAHIU?si=vwh5uHzV0jlw_Efn The Case For Prosecuting Barack Obama Dinesh D'Souza 792K subscribers 180,519 views Jul 21, 2025 The Dinesh D'Souza Podcast Obama's supposed “presidential immunity” should absolutely not deter Republicans from prosecuting him. Here's why. #vindicatingtrump is now STREAMING on multiple platforms. You can now WATCH AT HOME with family and friends. DVDs are also available! (They make great gifts.) Audiences love this film: 97% rating on Rotten Tomatoes. Go to https://vindicatingtrump.com — Dinesh D'Souza is an author and filmmaker. A graduate of Dartmouth College, he was a senior domestic policy analyst in the Reagan administration. He also served as a research fellow at the American Enterprise Institute and the Hoover Institution at Stanford University. He is the author of many bestselling books, including "Illiberal Education," "What's So Great About Christianity," "America: Imagine a World Without Her," "The Roots of Obama's Rage," "Death of a Nation," and "United States of Socialism." His documentary films "2016: Obama's America," "America," "Hillary's America," "Death of a Nation," and "Trump Card" are among the highest-grossing political documentaries of all time. He and his wife Debbie are also executive producers of the acclaimed feature film "Infidel." — Want to connect with Dinesh D'Souza online for more hard-hitting analysis of current events in America? Here's how: Get Dinesh unfiltered, uncensored and unchained on Locals: https://dinesh.locals.com/ Facebook: / dsouzadinesh Twitter: / dineshdsouza Rumble: https://rumble.com/dineshdsouza Instagram: / dineshjdsouza Parler: https://parler.com/user/DineshDSouza GETTR: https://gettr.com/user/dineshdsouza Email: https://dineshdsouza.com/contact-us/ https://youtu.be/GHyXkWK8gqs?si=6BqshsUmqfqBFATa Victor Davis Hanson: The Race-Fueled Cincinnati Beatdown Was Real—And Ignored. The Daily Signal 861K subscribers 202,560 views Jul 29, 2025 #DailySignal We're celebrating over 10,000 patriots who've upgraded to Freespoke Premium—and now it's your turn to join the movement. As part of Freespoker Appreciation Week, we're offering an exclusive promo for ALL American Thinker readers, giving you a limited-time special discount for an annual Freespoke Premium plan. Freespoke Premium includes: Unlimited, Unbiased AI — Search without the censorship Ad-Free, Fully Private Browsing Deep Dive Podcast Access Filter Out Media Bias Block Sites You Don't Trust Own The Truth: Use the Freespoke Search tool and fact-check Google, ChatGPT, and various outlets.
But this has been all but ignored by the corporate media. Why? Victor Davis Hanson says the fight does not align with their narrative of America as a place of “salad bowl tribal identification” instead of being a melting pot. He breaks down the disturbing implications of the fight and reaction on today's episode of “Victor Davis Hanson: In His Own Words.” “ It was on Fox News and New York Post, etc., but not in the legacy media. It was almost as if they were saying, ‘This is a taboo subject.' But if you go back, what they did cover, the media, they covered the Duke lacrosse incident. That was completely a hoax. There was no black stripper who was attacked by fraternity brothers. It was made up. The Covington kids. That was made up. … This wasn't made up. This was real. “ Once a society goes down this pathway of racial essentialism or tribalism, and you send the message that you as an individual are not responsible for your own behavior, but you're part of a victimized collective, and then you have repertory or justification rights to commit a crime and without the expectation of punishment, the result is civilizational declining chaos. And so, we need to remedy this and to show people that if they wanna stomp on some helpless victim on the ground, they're gonna pay a high price.”
Covington police arrested two journalists during a protest earlier this month.
Nick Kirby is joined by special guest Mitch (@RedsInFour on X) to discuss SIX trades that he believes the Cincinnati Reds could make at the trade deadline to be both BUYERS and SELLERS. They talk through the trade proposals, the impact of the Reds in 2025, the impact of the Reds in the future and more. Plus Nick gives an update on the Reds in the wild card race, a rundown of the Reds minor league action from Thursday and a preview of the Reds crucial series this weekend against the Tampa bay Rays. Mitch Trade Proposals: 1. Nick Lodolo + Emilio Pagan for Jarren Duran of the Red Sox 2. Adam Serwinowski for Luis Robert of the White Sox 3. TJ Friedl for Jack Wenninger of the Mets 4. Jake Fraley for Michael Grove of the Dodgers 5. Austin Hays for Ryan Gusto of the Astros 6. Nick Martinez for Jerar Encarnacion of the Giants Join us for our first ever Chatterbox Reds LIVE Show on Tuesday, July 29 from 4:30-6:30 PM at Smoke Justis in Covington! Come hang out, talk Reds baseball, and enjoy the best smoked meats and bourbon around! The first 50 attendees score a free Chatterbox tee shirt! OTHER CHATTERBOX PROGRAMING: The Flyin Lion (FC Cincinnati): https://podcasts.apple.com/us/podcast/the-flyin-lion-fc-cincinnati-podcast/id1701368522 Chatterbox Bengals: https://podcasts.apple.com/us/podcast/chatterbox-bengals-a-cincinnati-bengals-nfl-podcast/id1652732141 Chatterbox Bearcats: https://chatterboxbearcats.podbean.com/ DSC Commodities: https://deepsouthcommodities.com/ CALL OR TEXT 988 FOR HELP DAY OR NIGHT: https://mantherapy.org
GDP Script/ Top Stories for July 24th Publish Date: July 24th From the BG AD Group Studio Welcome to the Gwinnett Daily Post Podcast. Today is Thursday, July 24th and Happy birthday to Barry Bonds I’m Peyton Spurlock and here are your top stories presented by KIA Mall of Georgia. Northside Hospital Cancer Institute acquires Snellville radiation oncology clinic Gwinnett schools will roll out weapons detection systems in August Gwinnett student places third at Microsoft Office Specialist National Championship Plus, Leah McGrath from Ingles Markets on diabetes All of this and more is coming up on the Gwinnett Daily Post podcast, and if you are looking for community news, we encourage you to listen daily and subscribe! Break 1: 07.14.22 KIA MOG STORY 1: Northside Hospital Cancer Institute acquires Snellville radiation oncology clinic Northside Hospital's Cancer Institute has expanded its network by acquiring five radiation oncology clinics, including one in Snellville, enhancing access to advanced cancer treatments in south Gwinnett. The Snellville clinic, located at 1770 Presidential Circle, joins locations in Decatur, Covington, Conyers, and Blairsville. Northside officials emphasize the convenience and quality of care provided by their multidisciplinary team, offering techniques like external beam radiation and stereotactic radiosurgery. The clinics will retain their existing providers and services, ensuring continuity and compassionate care for patients. STORY 2: Gwinnett schools will roll out weapons detection systems in August Gwinnett County Public Schools will roll out weapons detection systems in all middle and high schools starting later in August, following a $19.3 million investment approved by the school board. These systems aim to enhance safety after last year’s Apalachee High School shooting. The devices, already used in athletic venues, will be installed at multiple entrances for morning intake and at main entrances during school hours. The district is also hiring 15 additional school resource officers for elementary schools, working toward a long-term goal of one officer per school. This initiative is part of a three-pronged safety approach focusing on prevention, protection, and response. STORY 3: Gwinnett student places third at Microsoft Office Specialist National Championship Allena Nguyen, a rising junior at Gwinnett Online Campus, earned third place in the 2025 Certiport Microsoft Office Specialist National Championship, competing in the Microsoft PowerPoint category. She was the only Georgia resident to place, winning a $1,000 cash prize. Nguyen excelled at the Georgia Spring Qualifier with perfect scores and the fastest times, earning her a spot among 187 national contestants. Principal Bo Ford praised her dedication and passion for technology, highlighting her as a role model for student success. We have opportunities for sponsors to get great engagement on these shows. Call 770.874.3200 for more info. We’ll be right back Break 2: DTL MOVIE CLUB And now here is Leah McGrath from Ingles Markets on diabetes STORY 6: Shane Foye of Peachtree Cornes named to UGA's 40 Under 40 Class of 2025 The University of Georgia has announced its 40 Under 40 Class of 2025, honoring young alumni for their achievements in various fields, including medicine, sports, and space exploration. Among the honorees is Shane Foye of Peachtree Corners, president of DW1 and an active UGA supporter. The group will be celebrated at a September awards luncheon on campus. Selected from hundreds of nominations, these alumni embody UGA’s principles of wisdom, justice, and moderation, showcasing the university’s impact on their success and contributions to their communities. STORY 7: Gwinnett County to host Household Hazardous Waste Collection Day Saturday Gwinnett County's Household Hazardous Waste Collection Day returns on July 26 at the Gwinnett County Fairgrounds from 8 a.m. to noon. Co-hosted by Gwinnett Clean & Beautiful and the Department of Water Resources, the event helps residents safely dispose of hazardous items like paints, batteries, and pesticides. Volunteers are needed to assist with traffic and material handling. Residents can bring up to five containers of waste for free, but items like ammunition, biohazard waste, and electronics will not be accepted. The event has grown significantly, with over 1,000 vehicles attending in February. Break 3: We’ll have closing comments after this Break 4: Ingles Markets 7 Signoff – Thanks again for hanging out with us on today’s Gwinnett Daily Post Podcast. If you enjoy these shows, we encourage you to check out our other offerings, like the Cherokee Tribune Ledger Podcast, the Marietta Daily Journal, or the Community Podcast for Rockdale Newton and Morgan Counties. Read more about all our stories and get other great content at www.gwinnettdailypost.com Did you know over 50% of Americans listen to podcasts weekly? Giving you important news about our community and telling great stories are what we do. Make sure you join us for our next episode and be sure to share this podcast on social media with your friends and family. Add us to your Alexa Flash Briefing or your Google Home Briefing and be sure to like, follow, and subscribe wherever you get your podcasts. 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Recapping The Dead Files, Season 6, Episode 7: Afflicted (Aired June 13, 2015)In this powerful 150th episode, Amy and Megan revisit The Dead Files case titled “Afflicted,” where a single mother in Covington, Louisiana, pleads for help as her family is terrorized by a dark, unseen force. Physical attacks, emotional torment, and a terrifying presence have shattered their home—and possibly their lives.Steve DiSchiavi uncovers a turbulent past filled with addiction, heartbreak, and violent death. Meanwhile, Amy Allan encounters a demon-like entity that thrives on human suffering, especially addiction, and warns that it could claim a soul forever.
Sentencing day for a former LMPD detective involved in the Breonna Taylor raid, protests lead to a Covington officer under investigation, Sec. Adams goes to Washington to discuss human trafficking, Gov. Beshear's feature in Vogue magazine adds to speculation about his political future, and a Kentucky college is hard at work on a 3D-printed concrete house.
In this case, Payton and Garrett dive into the case of Egypt Covington, a beloved singer and bartender with dreams bigger than her small Michigan town. But in June 2017, those dreams were shattered when she was found bound and murdered inside her own home. Links: Patreon: https://www.patreon.com/murderwithmyhusband NEW MERCH LINK: https://mwmhshop.com Discount Codes: https://mailchi.mp/c6f48670aeac/oh-no-media-discount-codes Twitch: https://www.twitch.tv/themwmh Instagram: https://www.instagram.com/murderwithmyhusband/ Watch on Youtube: https://www.youtube.com/@murderwithmyhusband Listen on Apple: https://podcasts.apple.com/us/podcast/into-the-dark/id1662304327 Listen on spotify: https://open.spotify.com/show/36SDVKB2MEWpFGVs9kRgQ7?si=f5224c9fd99542a7 Case Sources: NBCNews.com - https://www.nbcnews.com/news/us-news/cell-phone-data-helped-solve-egypt-covingtons-murder-experts-say-tool-rcna144651 Oxygen.com - https://www.oxygen.com/dateline-secrets-uncovered/crime-news/shandon-groom-tim-moore-shane-evans-kill-egypt-covington DetroitNews.com - https://www.detroitnews.com/story/news/local/wayne-county/2023/10/05/two-men-sentenced-in-2017-slaying-of-egypt-covington/70993271007/ People.com - https://people.com/egypt-covington-2-men-sentenced-killing-8348858 Forbes.com - https://www.forbes.com/sites/larsdaniel/2024/10/08/google-to-stop-sharing-location-data-with-law-enforcement/ APNews.com - https://apnews.com/article/ohio-men-sentenced-killing-michigan-woman-535d53b2f78d0dbcfc732d1faa170eec GLGMichigan.com - https://www.glgmichigan.com/media/who-killed-egypt-covington TrueCrimeNews.com - https://truecrimenews.com/2018/04/06/who-killed-egypt-covington-family-divided-on-suspicions-of-guilt/ SoapCentral.com - https://www.soapcentral.com/shows/what-happened-egypt-covington-details-michigan-singer-s-murder-dateline-explored DavidCBrownFH.com - https://www.davidcbrownfh.com/obituaries/Egypt-Elizabeth-Covington?obId=30504503 HappyScribe.com - https://www.happyscribe.com/public/dateline-nbc/a-girl-named-egy Learn more about your ad choices. Visit podcastchoices.com/adchoices
Host Jeremy C. Park talks with Ed Doyle, CEO of Boys & Girls Club of the Hatchie River Region, who highlights the Covington, Tennessee-based nonprofit and their efforts to transform the lives and outcomes of youth. During the interview, Ed discusses his background in the automotive industry and how running a street ministry as an ordained minister with his wife led to his current role at the Boys & Girls Club of the Hatchie River Region. He talks about their summer camp serving 176 children and year-round programming for children and young adults, aged 5-18, which offers much more than just after-school care, including STEM programs, robotics, coding, and a recording studio. Ed also highlights the unique challenges faced by Covington's youth due to the COVID-19 pandemic and a recent tornado, which has created significant academic gaps for the children in the area.Ed outlines three key programs including a Reading Success Academy to address the academic gaps, along with mental health support, and workforce development initiatives, highlighting the club's partnerships with local employers and educational institutions. The Reading Success Academy, launching in August, will employ two reading specialists to assess children, design custom curricula, and provide one-on-one and small group instruction to improve reading skills. The mental health initiative, called "Healthy Minds Equal Great Futures," will have two licensed mental health professionals available at the club to support children dealing with trauma or other mental health issues. Ed describes the Boys & Girls Club's partnerships with local employers like Unilever and Ford, which provide tours and exposure to career opportunities for the children. The Club also collaborates with TCAT for dual enrollment opportunities in high school. Ed emphasizes the importance of these experiences in changing outcomes for the children, particularly those from low-income backgrounds. He highlights the impact of their programs, including STEM activities and the Ford-sponsored Reading Success Academy, on the children's learning and aspirations.Ed discusses how the Boys & Girls Club's programs are tied to core areas of growth for youth, which include character development, leadership, personal responsibility, community service, and exploration and fun with activities like robotics and drones. He emphasizes the importance of community involvement, sharing a heartwarming story about a child's interaction with a local business owner during a Club event. Ed outlines three ways to support the club: praying for the kids, spending time with them, and providing financial support, mentioning a matching grant opportunity. He also provides contact information, including social media handles, website, and his personal phone number for those interested in learning more or getting involved.Visit https://www.bgchrr.com to learn more or call 901-800-6186 to reach Ed Doyle and get involved with Boys & Girls Club of the Hatchie River Region.
Recorded live at the 2021 Eco-Ag Conference & Trade Show in Covington, Kentucky, Dec. 6-9, 2021. Scaling up your chicken operation to become a commercial operation can be difficult. Reginaldo Haslett-Marroquin's system of integrating poultry into your crop and pasture operation is spreading around the world because it helps farmers see clear, humane paths forward and to reach the larger markets. He brings an indigenous-based approach to putting poultry back into its natural environment and to the business development process for aggregating and scaling the collective impact of small farms for a new and regenerative industry. In this workshop, he will lay out the regenerative poultry production protocol and will incorporate the larger-scale planning underway at the Regenerative Agriculture Alliance to scale up this system across regions in the U.S. and internationally.Important Links from Today's Episode:Members site: https://members.acresusa.comAcres U.S.A. Homepage: https://www.acresusa.com/Access Eco-Ag 2024 Recordings: https://conference.eco-ag.com/24recordingsAcres U.S.A. Memberships: https://eco-farming.com/
Acts 1:12-14 The post Before Pentecost appeared first on Upper Room Christian Fellowship.
635. Part 2 of our talk with Kyle Crosby about his project, Louisiana Dread. "Louisiana Dread is a cultural project that shares and preserves stories of Louisiana history, culture, and folklore. Under the umbrella of Dreadful Productions, LLC, "Louisiana Dread" aims to bring awareness to important cultural aspects of Louisiana through several online series, such as LA Quick History, LA Drinks, LA Estates, LA Lingo, and LD Live. Each highlight in Louisiana history that have otherwise been forgotten or misinterpreted, as well as share local horror stories that have been told for generations. Whether based on fact or complete fiction, Louisiana is seeping with horror stories that all share one common feature: the haunting setting of Louisiana. Along with the online series, a ten-episode television anthology script has been completed and awaits funding. To donate, please contact us at kyleladread@gmail.com The description can be seen below. "Louisiana Dread" is a video horror anthology series based on haunting Louisiana history, folklore, and culture. Set all throughout the Bayou State, each episode holds its own sinister tale of misfortune and evil" (Louisiana Dread). Now available: Liberty in Louisiana: A Comedy. The oldest play about Louisiana, author James Workman wrote it as a celebration of the Louisiana Purchase. Now it is back in print for the first time in 221 years. Order your copy today! Catharine Cole (Martha Field). "The Story of the Old French Market." Journalist Martha Field wrote under the pen name of Catharine Cole. She wrote this glimpse of the history of the old French Market in 1916 as an advertisement for French Market Coffee. Now 109 years later, we still think of the old French Market in New Orleans along with its world famous coffee. Time passes differently when we sit in the French Market and drink French Market coffee. Have a cup of coffee and read this wonder reminiscence of the French Market today! "I sit in a dim corner, where the tide of life passes me by, and muse and dream of days that are gone when all was unlike its present form save for the old Market and the selfsame aroma of the only coffee in all the world that has lived and thrived while the centuries passed, swiftly and silently, down the pathway of time." This week in Louisiana history. July 19, 1799. Interim governor Nicholas Vidal takes command of Louisiana. This week in New Orleans history. On July 19, 1963, Lee Harvey Oswald was fired from the Reily Coffee Company "...because his work was not satisfactory and because he spent too much time loitering in Adrian Alba's garage next door (at 618 Magazine Street), where he read rifle and hunting magazines." This week in Louisiana. Tammany Trace 21490 Koop Drive Mandeville, LA 985-867-9490 crt@stpgov.org Website Originally a corridor for the Illinois Central Railroad, the Tammany Trace is now a hike and bike trail that spans from downtown Covington, through Abita Springs, Mandeville and Lacombe and ends in Slidell. A separate equestrian path parallels the Trace in several places. St. Tammany Parish government purchased the abandoned Illinois Central Railroad corridor on December 20, 1992. With the help of grants and federal dollars, St. Tammany Parish government has asphalted 31 miles, remodeled railroad trestles into pedestrian bridges, and maintained the Trace. Postcards from Louisiana. Phillip Manuel sings with Michael Pellera Trio play at Snug Harbor on Frenchmen St. in New Orleans. Listen on Apple Podcasts. Listen on audible. Listen on Spotify. Listen on TuneIn. Listen on iHeartRadio. The Louisiana Anthology Home Page. Like us on Facebook.
After anti-ICE protest took over the Roebling Suspension Bridge last night, several protestors were taken into custody by Covington police. Commonwealth Attorney Rob Sanders joins Willie to discuss what happened, and what happens with theb protestors going forward.
After anti-ICE protest took over the Roebling Suspension Bridge last night, several protestors were taken into custody by Covington police. Commonwealth Attorney Rob Sanders joins Willie to discuss what happened, and what happens with theb protestors going forward.
Synopsis: What do courtroom litigation, computational biology, and fibrosis drug development have in common? In this episode of Biotech 2050, host Alok Tayi speaks with Ahmed Mousa, CEO of Vicore Pharma, to explore his unconventional journey from biotech law to the C-suite. Ahmed shares how Vicore is advancing a first-in-class therapy targeting the angiotensin II type 2 receptor to treat idiopathic pulmonary fibrosis (IPF)—a devastating disease with limited options and poor survival. The conversation dives into how AI is reshaping drug discovery, the promise of precision in early-stage candidate design, and the regulatory and data challenges biotech must overcome. Ahmed also reflects on leading a Swedish-listed biotech as an American CEO, and how a patient-first mission continues to fuel bold innovation across continents. Biography: Ahmed Mousa is the Chief Executive Officer of Vicore Pharma (VICO.ST), where he leads the company's mission to advance angiotensin II type 2 receptor agonists for the treatment of idiopathic pulmonary fibrosis and other serious diseases. Under his leadership, Vicore continues to expand its clinical pipeline and global presence in respiratory and fibrotic diseases. Previously, Ahmed served as Senior Vice President, Chief Business Officer, and General Counsel at Pieris Pharmaceuticals (PIRS). In this role, he was the site head for the company's Boston office and oversaw business development, portfolio strategy, centralized project leadership, and quality assurance. He also led Pieris' legal and intellectual property functions, including licensing, corporate governance, and management of the company's global patent portfolio. Before joining Pieris, Ahmed was an attorney at Covington & Burling LLP, where he advised pharmaceutical and biotechnology companies on a range of regulatory and intellectual property matters. He also served as a law clerk for the U.S. Court of Appeals for the Third Circuit and began his legal career as an IP associate at Kirkland & Ellis LLP. Ahmed holds dual undergraduate degrees in Molecular Biology and Government from Cornell University, a Master's in Biotechnology from Johns Hopkins University, and a J.D. with honors from Georgetown Law, where he was Editor-in-Chief of the Georgetown Journal of International Law.
Inside the APTA: How Kyle Covington Sees the Future of Physical Therapy In this episode, Doc Danny sits down with APTA President Dr. Kyle Covington for a candid conversation about the future of physical therapy. From navigating insurance and burnout to embracing AI and education reform, this episode covers the real challenges and massive opportunities facing the profession today. Whether you're a student, seasoned clinician, or clinic owner, this is a must-listen for anyone serious about the evolution of PT.
In this engaging segment of The Clay Edwards Show, host Clay Edwards fields a call from a Black woman in Covington, Kentucky, who offers a refreshing and nuanced perspective on the ongoing debate over a Confederate monument in Brandon, Mississippi. The caller, a longtime listener celebrating a belated birthday shoutout from Clay, dives into the controversy surrounding the 1908 Civil War-era statue located just outside Jackson's city limits in the conservative suburb of Brandon. She firmly advocates for keeping the monument in place, arguing that "no Confederate flag, no Confederate statue, building, monument is not gonna come alive and say 'Hey Black girl, I want you back in slavery.'" Emphasizing its historical value, she notes it's been standing for over 100 years and, while sometimes offensive, deserves respect as part of America's past—people can simply choose to avoid those who embrace such symbols without demanding removal. The caller shares her recent research on Jefferson Davis, a Kentucky native and Confederate leader, revealing complexities like his adoption of a free Black orphan and allowing free Black soldiers to fight for the Confederacy. She stresses the importance of teaching "all of history, not just the selected parts," warning that erasing the "ugly" aspects makes it easier to repeat mistakes. Drawing parallels to preserved sites like the Berlin Wall, she aligns with Clay's view that judging historical figures solely through modern lenses is unfair, as they were "men of their times" with complicated legacies. Clay praises her viewpoint, critiquing "white savior" attitudes from locals like a Brandon school principal who spoke as if representing all Black students' offense, assuming uniform reactions without input from the community. This call comes amid heated local discussions, where Brandon residents recently weighed in at a July 8, 2025, board meeting on potentially relocating the statue—perhaps to the Confederate section of the city cemetery—to balance heritage with inclusivity. Arguments echoed national debates: some see it as a symbol of white power erected decades after the war, while others view removal as disrespecting Southern ancestors and erasing history. Despite the mayor's earlier claim that any move was hypothetical, the meeting highlighted growing pressure for change. Clay uses the exchange to underscore diverse Black opinions, challenging stereotypes and calling for unfiltered dialogue on history's role in progress. Tune in for more raw conversations, listener calls, and Clay's take on preserving the past without repeating it. Follow @SaveJXN on social media for episode clips and updates!
Ich kann nichts. Ich bin nichts wert. Wenn ich etwas schaffe, ist es nur Glück. Wann fliege ich auf? Wann merken die anderen, dass ich ein Hochstapler bin? Wie kann es sein, dass viele von uns trotz nachweisbarer Erfolge im Leben ständig befürchten, irgendwann aufzufliegen? Was das mit unserer Kindheit und struktureller Ungerechtigkeit zu tun hat, erfahrt ihr hier. Atze und Leon erklären in dieser Folge das Hochstapler-Syndrom, das eigentlich gar kein Syndrom ist. Fühlt euch gut betreut Leon & Atze Unsere bisherige Folge dazu: Hochgestapelt, tief gefallen (30. Juni 2020) Impostor: Wie fake bist du? | Terra Xplore mit Leon Windscheid & Lutz van der Horst https://www.youtube.com/watch?feature=shared&t=867&v=w2iqnFglAbg Bravata, D. M., Watts, S. A., Keefer, A. L., Madhusudhan, D. K., Taylor, K. T., Clark, D. M., ... & Hagg, H. K. (2020). Prevalence, predictors, and treatment of impostor syndrome: a systematic review. Journal of general internal medicine, 35, 1252-1275. DOI: 10.1007/s11606-019-05364-1 McElwee, R. O., & Yurak, T. J. (2010). The phenomenology of the impostor phenomenon. Individual Differences Research, 8(3), 184-197. Clance, P. R., & Imes, S. A. (1978). The imposter phenomenon in high achieving women: Dynamics and therapeutic intervention. Psychotherapy: Theory, Research & Practice, 15(3), 241–247. https://doi.org/10.1037/h0086006 Leary, M. R., Patton, K. M., Orlando, A. E., & Wagoner Funk, W. (2000). The impostor phenomenon: Self‐perceptions, reflected appraisals, and interpersonal strategies. Journal of personality, 68(4), 725-756. https://doi.org/10.1111/1467-6494.00114 Sakulku, J. (2011). The impostor phenomenon. The Journal of Behavioral Science, 6(1), 75-97. https://doi.org/10.14456/ijbs.2011.6 Evans, D. (2022, 18. April). Viola Davis on Hollywood: ‘You either have to be a Black version of a white ideal, or you have to be white'. The Guardian. Covington, M. V. (1984). The self-worth theory of achievement motivation: Findings and implications. The elementary school journal, 85(1), 5-20. https://www.journals.uchicago.edu/doi/epdf/10.1086/461388 Thompson, T., Davis, H., & Davidson, J. (1998). Attributional and affective responses of impostors to academic success and failure outcomes. Personality and Individual differences, 25(2), 381-396. https://doi.org/10.1016/S0191-8869(98)00065-8 Tumminia, A. M. (2023). When Feeling Like a Fake Takes a Toll on your Work: Examining the Moderating Effect of Task Characteristics on the Relationship Between Impostorism and the Use of Dysfunctional Work Strategies (Doctoral dissertation, City University of New York). Clance, P. R. (1985). Clance impostor phenomenon scale. Personality and Individual Differences. https://doi.org/10.1037/t11274-000 Clance, P. R. The Impostor Test and scoring [PDF]. Pauline Rose Clance. Abgerufen am 10. Juli 2025 von https://www.paulineroseclance.com/pdf/IPTestandscoring.pdf Clance, P. R. Impostor Phenomenon. Pauline Rose Clance. Abgerufen am 10. Juli 2025 von https://www.paulineroseclance.com/impostor_phenomenon.html Price, P. C., Holcomb, B., & Payne, M. B. (2024). Gender differences in impostor phenomenon: A meta-analytic review. Current Research in Behavioral Sciences, 100155. https://doi.org/10.1016/j.crbeha.2024.100155 Romano, N. (2016, 4. August). Viola Davis remembers her early childhood on a former plantation. Entertainment Weekly. https://web.archive.org/web/20181125204332/https://ew.com/article/2016/08/04/viola-davis-childhood-home-former-plantation/ Feenstra, S., Begeny, C. T., Ryan, M. K., Rink, F. A., Stoker, J. I., & Jordan, J. (2020). Contextualizing the impostor “syndrome”. Frontiers in psychology, 11, 575024. https://doi.org/10.3389/fpsyg.2020.575024
Hailing from Covington, GA, Xavier is a proud graduate of Savannah State University (Class of Fall 2018). He currently serves as the Sports Director at WWSB-ABC7 in sunny Sarasota, Florida. Join us as we dive into his journey from the Peach State to the broadcast spotlight, covering the highs, the hustle, and everything in between. Also In this episode, we dive into the state of Atlanta sports—from whether the Braves should keep building around Acuña to the Falcons' delay in moving on from Cousins and the Hawks' offseason decisions. We break down key turning points, future leadership, and which young stars need to step up across all three franchises. #SportsBroadcasting #SSUAlumni #WWSBABC7 #SportsDirector #CovingtonGA #SavannahState
All US airports now allow you to keep your shoes on during TSA security screenings, thanks to new technology. Now people with "exploding shoes" are back in business. KiddChris and Sara complain about smelly bare feet at the airport.MORE shootings in areas like Price Hill and Covington! Exciting times in Cincinnati! Beyond the Headlines: Get updates on Ozzy Osbourne's significant charity work (raising over $200 million for kids' charities), and local sports news covering the Reds' recent losses and the upcoming Cincinnati Open tennis tournament featuring top players like Carlos Alcarez and Novak Djokovic.True Crime Twist: Explore the controversial "Lie Detector: Truth or Deception" show on A&E, where Gary Coleman's widow, Shannon Price, failed a lie detector test regarding his fatal fall in 2010. The discussion raises questions about the possibility of reopening the investigation."Can I Sue?" Real Legal Answers: A lawyer offers insights on various legal dilemmas, including wage garnishment mistakes by employers, handling damaged cars from shipping companies, and navigating OVI/DUI arrests, including rights concerning breath tests and phone calls.
From the files of Delise & Hall, The Diver's AttorneysDelise & Hall is a New Orleans, Louisiana, based law firm with offices in New Orleans and Covington and associate attorneys nationwide. Our firm concentrates in the representation of an international clientele of commercial divers, public safety divers, technical divers and recreational divers and their families in all areas of maritime and admiralty law. For over a quarter of a century Delise & Hall has represented American and international clients from the Gulf of Mexico to the Gulf of Cadiz, and from the British Isles to the Marshall Islands in maritime matters concerning the Jones Act, products liability, personal injury and wrongful death litigation as well as treasure/salvage law. Consultations are also available in matters concerning marine insurance and vessel documentation.Article Link:https://divelawyer.com/proven-case-results/public-safety-diver-killed-during-training-training-negligence-inappropriate-rescue/Website:https://divelawyer.com/
In 2019, the Environmental Protection Agency withdrew California’s previously-granted waiver to implement its Advanced Clean Car Program. This program had been in effect since 2013 and required that car companies reduce carbon dioxide emissions and produce fleets that are at least 15% electric vehicles. The waiver was withdrawn due to a lack of “compelling and extraordinary conditions” and because California could not show a direct connection between greenhouse gas emissions and air pollution.In 2022, however, the EPA reinstated the waiver. This prompted legal challenges from fuel producers (among others) who argued that California did not meet the requirements to justify these state-specific standards. The D.C. Circuit dismissed the fuel producers' statutory claim based on a determination that they did not prove that their injuries would be redressed by a decision in their favor.This Supreme Court case presented the question whether a party may establish the redressability component of Article III standing by relying on the coercive and predictable effects of regulation on third parties. On June 20, the Court ruled 7-2 in favor of standing. Join this FedSoc Forum to hear more about the case and this decision, authored by Justice Kavanaugh.Featuring:Eli Nachmany, Associate, Covington & Burling LLPModerator: Jeff Beelaert, Partner, Givens Pursley LLP--To register, click the link above.
What happens when Cincinnati's first nine-figure startup exit gets reinvested into the region's next big opportunity?In this episode, we're joined by Adam Koehler, the Covington-based entrepreneur behind Content Credits. After being part of the Dotloop exit to Zillow for $108 million in 2015, Adam didn't head for the coast. Instead, he reinvested his capital into Northern Kentucky, launching Content Credits to tackle one of publishing's most pressing issues: the paywall.Content Credits gives readers an alternative to subscriptions by letting them pay $0.25 to unlock a single article, helping publishers capture revenue from audiences they're currently turning away.We cover how Dotloop was built during the housing crash, what it was like selling to Zillow, how Content Credits is addressing broken media monetization models, and the role that large exits play in building a regional “startup flywheel”.Timestamps:00:00 – Adam's early design career02:00 – Building Dotloop during the housing crisis06:30 – Selling Dotloop to Zillow for $108M10:30 – Reinvesting in Northern Kentucky real estate and startups12:00 – Why media is ready for disruption14:00 – How Content Credits micropayments work20:00 – Gamifying reader engagement through social layers25:00 – Raising capital with KY Innovation & Keyhorse28:00 – Thoughts on Kentucky's startup ecosystem
The market hit another “all-time high”—shocking no one. Don dismantles the myth that record highs are reasons to panic or pull back, reminding listeners that long-term investing and diversification remain undefeated. He breaks down the actual recent S&P 500 data, explains why global diversification matters (even when it lags), and skewers both single-stock overconfidence and scammy ETFs promising outrageous yields. Listener calls dig into retirement withdrawal strategy, Roth conversion tactics, and why brokerage accounts might not always be necessary. 0:04 Market hits all-time high again… surprise! 0:39 Should you invest when the market is at an all-time high? 1:43 Don takes live calls—money questions welcome 2:11 S&P 500 update: fastest bounce in history 3:55 Surprise stock leaders: not the Magnificent Seven 5:13 Why diversification matters—again 9:30 All-time highs are normal—and necessary 11:21 Global stocks vs. U.S.: less volatile, less exciting 13:20 Palantir millionaire: savvy or lucky? (Spoiler: probably lucky) 16:55 Overconcentration risk—even with the S&P 500 18:07 Fixed income + discipline = real-life smoother ride 18:53 Caller Don in Covington: timing Roth withdrawals and big expenses 21:43 Withdrawal order: Taxable → Traditional IRA → Roth 23:50 Investing = confusing or clear. Your pick. 24:39 Caller Dave in Gig Harbor: 529-to-Roth confusion cleared up 27:31 529s just got even better for long-term wealth building 29:52 Back to solo Don: Tom's in Normandy 30:27 Jason Zweig warns about shady 200% yield ETFs 33:08 How Tesla YieldMax ETF lost 80% while claiming a “62% yield” 34:44 If it sounds too good to be true… skip it 36:00 Listener question: Should cash be counted in your 70/30 allocation? 38:12 The role of cash in reducing volatility and funding withdrawals 39:01 Caller Mark in Connecticut: Do I even need a brokerage account? 41:59 Roth as dual-purpose tool: liquidity + long-term compounding Learn more about your ad choices. Visit megaphone.fm/adchoices
The Do One Better! Podcast – Philanthropy, Sustainability and Social Entrepreneurship
Alison Covington AM, Founder and Managing Director of Good360 Australia, shares the powerful story of how her organization is “matching spare with need”—connecting businesses with surplus brand-new goods to charities and disadvantaged schools across the country. Through a sophisticated tech platform and logistics model, Good360 creates what Covington calls “a circle of good,” ensuring that valuable products such as clothing, toiletries, household items, and furniture reach those who need them most, rather than sitting idle or being destroyed. This isn't about food waste—an area that has gained considerable public awareness—but about all the other categories of goods essential to daily life and human dignity. Most consumers don't realize the extent to which businesses, even after offering steep discounts, are left with enormous quantities of unsold products. At the same time, community organizations face constant shortages. Good360 bridges this gap by allowing thousands of registered nonprofits to search online 24/7 for the goods they need, in the quantities they require, with options for delivery, click-and-collect, or in-store pickup. Covington explains that while the user experience feels seamless, the technology behind the platform is extensive and custom-built, designed to manage the enormous logistical complexity of moving goods across Australia's vast geography while minimizing environmental impact. Matching goods as close as possible to where they're needed helps reduce unnecessary “environmental kilometres” and maximizes the efficiency of each donation. One standout example is Good360's long-standing partnership with Big W, a national retailer with over 180 stores. By building a store-based model that connects local charities directly with local inventory, Good360 has enabled more than 700 charities to access high-quality goods. For Big W, this means a single point of contact replaces hundreds of individual charitable relationships, delivering scale, compliance, and measurable social impact. For communities, it means vital resources—and dignity—reach the people who need them, where they are. Thank you for downloading this episode of the Do One Better Podcast. Visit our Knowledge Hub at Lidji.org for information on 300 case studies and interviews with remarkable leaders in philanthropy, sustainability and social entrepreneurship.
AlabamaTwo Congressman react to Iran's missile launch against US military baseState Party leaders have vastly different takes on Trump order to bomb IranAG Marshall talks SCOTUS ruling and other state's passing similar VCAP lawGovernor Ivey appoints Grace Jeter as Covington county circuit judgeWhitewater Park in Montgomery not keeping head above water financiallyToday is qualifying deadline to run in a municipal race in AlabamaNationalPresident Trump says a Ceasefire to happen between Iran and IsraelSCOTUS gives go ahead for WH to deport illegals to 3rd party countriesUS House passes bill to defund US Taxpayer $ going to the Taliban60 missing children rescued in Tampa Bay Area by multi agency operationWH doctor to testify to Oversight committee re: Joe Biden's mental decline
For those who haven't heard the announcement I posted, songs from this point on will sometimes be split among multiple episodes, so this is the second part of a two-episode look at the song “Who Knows Where The Time Goes?” by Fairport Convention, and the intertwining careers of Joe Boyd, Sandy Denny, and Richard Thompson. Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have a forty-one-minute bonus episode available, on Judy Collins’ version of this song. Tilt Araiza has assisted invaluably by editing, and will hopefully be doing so from now on. Check out Tilt's irregular podcasts at http://www.podnose.com/jaffa-cakes-for-proust and http://sitcomclub.com/ Erratum For about an hour this was uploaded with the wrong Elton John clip in place of “Saturday Sun”. This has now been fixed. Resources Because of the increasing problems with Mixcloud’s restrictions, I have decided to start sharing streaming playlists of the songs used in episodes instead of Mixcloud ones. This Tunemymusic link will let you listen to the playlist I created on your streaming platform of choice — however please note that not all the songs excerpted are currently available on streaming. The songs missing from the Tidal version are “Shanten Bells” by the Ian Campbell Folk Group, “Tom’s Gone to Hilo” by A.L. Lloyd, two by Paul McNeill and Linda Peters, three by Elton John & Linda Peters, “What Will I Do With Tomorrow” by Sandy Denny and “You Never Know” by Charlie Drake, but the other fifty-nine are there. Other songs may be missing from other services. The main books I used on Fairport Convention as a whole were Patrick Humphries' Meet On The Ledge, Clinton Heylin's What We Did Instead of Holidays, and Kevan Furbank's Fairport Convention on Track. Rob Young's Electric Eden is the most important book on the British folk-rock movement. Information on Richard Thompson comes from Patrick Humphries' Richard Thompson: Strange Affair and Thompson's own autobiography Beeswing. Information on Sandy Denny comes from Clinton Heylin's No More Sad Refrains and Mick Houghton's I've Always Kept a Unicorn. I also used Joe Boyd's autobiography White Bicycles and Chris Blackwell's The Islander. And this three-CD set is the best introduction to Fairport's music currently in print. Transcript Before we begin, this episode contains reference to alcohol and cocaine abuse and medical neglect leading to death. It also starts with some discussion of the fatal car accident that ended last episode. There’s also some mention of child neglect and spousal violence. If that’s likely to upset you, you might want to skip this episode or read the transcript. One of the inspirations for this podcast when I started it back in 2018 was a project by Richard Thompson, which appears (like many things in Thompson’s life) to have started out of sheer bloody-mindedness. In 1999 Playboy magazine asked various people to list their “songs of the Millennium”, and most of them, understanding the brief, chose a handful of songs from the latter half of the twentieth century. But Thompson determined that he was going to list his favourite songs *of the millennium*. He didn’t quite manage that, but he did cover seven hundred and forty years, and when Playboy chose not to publish it, he decided to turn it into a touring show, in which he covered all his favourite songs from “Sumer Is Icumen In” from 1260: [Excerpt: Richard Thompson, “Sumer is Icumen In”] Through numerous traditional folk songs, union songs like “Blackleg Miner”, pieces by early-modern composers, Victorian and Edwardian music hall songs, and songs by the Beatles, the Ink Spots, the Kinks, and the Who, all the way to “Oops! I Did It Again”: [Excerpt: Richard Thompson, “Oops! I Did it Again”] And to finish the show, and to show how all this music actually ties together, he would play what he described as a “medieval tune from Brittany”, “Marry, Ageyn Hic Hev Donne Yt”: [Excerpt: Richard Thompson, “Marry, Ageyn Hic Hev Donne Yt”] We have said many times in this podcast that there is no first anything, but there’s a reason that Liege and Lief, Fairport Convention’s third album of 1969, and the album other than Unhalfbricking on which their reputation largely rests, was advertised with the slogan “The first (literally) British folk rock album ever”. Folk-rock, as the term had come to be known, and as it is still usually used today, had very little to do with traditional folk music. Rather, the records of bands like The Byrds or Simon and Garfunkel were essentially taking the sounds of British beat groups of the early sixties, particularly the Searchers, and applying those sounds to material by contemporary singer-songwriters. People like Paul Simon and Bob Dylan had come up through folk clubs, and their songs were called folk music because of that, but they weren’t what folk music had meant up to that point — songs that had been collected after being handed down through the folk process, changed by each individual singer, with no single identifiable author. They were authored songs by very idiosyncratic writers. But over their last few albums, Fairport Convention had done one or two tracks per album that weren’t like that, that were instead recordings of traditional folk songs, but arranged with rock instrumentation. They were not necessarily the first band to try traditional folk music with electric instruments — around the same time that Fairport started experimenting with the idea, so did an Irish band named Sweeney’s Men, who brought in a young electric guitarist named Henry McCullough briefly. But they do seem to have been the first to have fully embraced the idea. They had done so to an extent with “A Sailor’s Life” on Unhalfbricking, but now they were going to go much further: [Excerpt: Fairport Convention, “Matty Groves” (from about 4:30)] There had been some doubt as to whether Fairport Convention would even continue to exist — by the time Unhalfbricking, their second album of the year, was released, they had been through the terrible car accident that had killed Martin Lamble, the band’s drummer, and Jeannie Franklyn, Richard Thompson’s girlfriend. Most of the rest of the band had been seriously injured, and they had made a conscious decision not to discuss the future of the band until they were all out of hospital. Ashley Hutchings was hospitalised the longest, and Simon Nicol, Richard Thompson, and Sandy Denny, the other three surviving members of the band, flew over to LA with their producer and manager, Joe Boyd, to recuperate there and get to know the American music scene. When they came back, the group all met up in the flat belonging to Denny’s boyfriend Trevor Lucas, and decided that they were going to continue the band. They made a few decisions then — they needed a new drummer, and as well as a drummer they wanted to get in Dave Swarbrick. Swarbrick had played violin on several tracks on Unhalfbricking as a session player, and they had all been thrilled to work with him. Swarbrick was one of the most experienced musicians on the British folk circuit. He had started out in the fifties playing guitar with Beryl Marriott’s Ceilidh Band before switching to fiddle, and in 1963, long before Fairport had formed, he had already appeared on TV with the Ian Campbell Folk Group, led by Ian Campbell, the father of Ali and Robin Campbell, later of UB40: [Excerpt: The Ian Campbell Folk Group, “Shanten Bells (medley on Hullaballoo!)”] He’d sung with Ewan MacColl and A.L. Lloyd: [Excerpt: A.L. Lloyd, “Tom’s Gone to Hilo” ] And he’d formed his hugely successful duo with Martin Carthy, releasing records like “Byker Hill” which are often considered among the best British folk music of all time: [Excerpt: Martin Carthy and Dave Swarbrick, “Byker Hill”] By the time Fairport had invited him to play on Unhalfbricking, Swarbrick had already performed on twenty albums as a core band member, plus dozens more EPs, singles, and odd tracks on compilations. They had no reason to think they could actually get him to join their band. But they had three advantages. The first was that Swarbrick was sick of the traditional folk scene at the time, saying later “I didn’t like seven-eighths of the people involved in it, and it was extremely opportune to leave. I was suddenly presented with the possibilities of exploring the dramatic content of the songs to the full.” The second was that he was hugely excited to be playing with Richard Thompson, who was one of the most innovative guitarists of his generation, and Martin Carthy remembers him raving about Thompson after their initial sessions. (Carthy himself was and is no slouch on the guitar of course, and there was even talk of getting him to join the band at this point, though they decided against it — much to the relief of rhythm guitarist Simon Nicol, who is a perfectly fine player himself but didn’t want to be outclassed by *two* of the best guitarists in Britain at the same time). And the third was that Joe Boyd told him that Fairport were doing so well — they had a single just about to hit the charts with “Si Tu Dois Partir” — that he would only have to play a dozen gigs with Fairport in order to retire. As it turned out, Swarbrick would play with the group for a decade, and would never retire — I saw him on his last tour in 2015, only eight months before he died. The drummer the group picked was also a far more experienced musician than any of the rest, though in a very different genre. Dave Mattacks had no knowledge at all of the kind of music they played, having previously been a player in dance bands. When asked by Hutchings if he wanted to join the band, Mattacks’ response was “I don’t know anything about the music. I don’t understand it… I can’t tell one tune from another, they all sound the same… but if you want me to join the group, fine, because I really like it. I’m enjoying myself musically.” Mattacks brought a new level of professionalism to the band, thanks to his different background. Nicol said of him later “He was dilligent, clean, used to taking three white shirts to a gig… The application he could bring to his playing was amazing. With us, you only played well when you were feeling well.” This distinction applied to his playing as well. Nicol would later describe the difference between Mattacks’ drumming and Lamble’s by saying “Martin’s strength was as an imaginative drummer. DM came in with a strongly developed sense of rhythm, through keeping a big band of drunken saxophone players in order. A great time-keeper.” With this new line-up and a new sense of purpose, the group did as many of their contemporaries were doing and “got their heads together in the country”. Joe Boyd rented the group a mansion, Farley House, in Farley Chamberlayne, Hampshire, and they stayed there together for three months. At the start, the group seem to have thought that they were going to make another record like Unhalfbricking, with some originals, some songs by American songwriters, and a few traditional songs. Even after their stay in Farley Chamberlayne, in fact, they recorded a few of the American songs they’d rehearsed at the start of the process, Richard Farina’s “Quiet Joys of Brotherhood” and Bob Dylan and Roger McGuinn’s “Ballad of Easy Rider”: [Excerpt: Fairport Convention, “Ballad of Easy Rider”] Indeed, the whole idea of “getting our heads together in the country” (as the cliche quickly became in the late sixties as half of the bands in Britain went through much the same kind of process as Fairport were doing — but usually for reasons more to do with drug burnout or trend following than recovering from serious life-changing trauma) seems to have been inspired by Bob Dylan and the Band getting together in Big Pink. But very quickly they decided to follow the lead of Ashley Hutchings, who had had something of a Damascene conversion to the cause of traditional English folk music. They were listening mostly to Music From Big Pink by the Band, and to the first album by Sweeney’s Men: [Excerpt: Sweeney’s Men, “The Handsome Cabin Boy”] And they decided that they were going to make something that was as English as those records were North American and Irish (though in the event there were also a few Scottish songs included on the record). Hutchings in particular was becoming something of a scholar of traditional music, regularly visiting Cecil Sharp House and having long conversations with A.L. Lloyd, discovering versions of different traditional songs he’d never encountered before. This was both amusing and bemusing Sandy Denny, who had joined a rock group in part to get away from traditional music; but she was comfortable singing the material, and knew a lot of it and could make a lot of suggestions herself. Swarbrick obviously knew the repertoire intimately, and Nicol was amenable, while Mattacks was utterly clueless about the folk tradition at this point but knew this was the music he wanted to make. Thompson knew very little about traditional music, and of all the band members except Denny he was the one who has shown the least interest in the genre in his subsequent career — but as we heard at the beginning, showing the least interest in the genre is a relative thing, and while Thompson was not hugely familiar with the genre, he *was* able to work with it, and was also more than capable of writing songs that fit in with the genre. Of the eleven songs on the album, which was titled Liege and Lief (which means, roughly, Lord and Loyalty), there were no cover versions of singer-songwriters. Eight were traditional songs, and three were originals, all written in the style of traditional songs. The album opened with “Come All Ye”, an introduction written by Denny and Hutchings (the only time the two would ever write together): [Excerpt: Fairport Convention, “Come All Ye”] The other two originals were songs where Thompson had written new lyrics to traditional melodies. On “Crazy Man Michael”, Swarbrick had said to Thompson that the tune to which he had set his new words was weaker than the lyrics, to which Thompson had replied that if Swarbrick felt that way he should feel free to write a new melody. He did, and it became the first of the small number of Thompson/Swarbrick collaborations: [Excerpt: Fairport Convention, “Crazy Man Michael”] Thompson and Swarbrick would become a brief songwriting team, but as much as anything else it was down to proximity — the two respected each other as musicians, but never got on very well. In 1981 Swarbrick would say “Richard and I never got on in the early days of FC… we thought we did, but we never did. We composed some bloody good songs together, but it was purely on a basis of “you write that and I’ll write this, and we’ll put it together.” But we never sat down and had real good chats.” The third original on the album, and by far the most affecting, is another song where Thompson put lyrics to a traditional tune. In this case he thought he was putting the lyrics to the tune of “Willie O'Winsbury”, but he was basing it on a recording by Sweeney’s Men. The problem was that Sweeney’s Men had accidentally sung the lyrics of “Willie O'Winsbury'” to the tune of a totally different song, “Fause Foodrage”: [Excerpt: Sweeney’s Men, “Willie O’Winsbury”] Thompson took that melody, and set to it lyrics about loss and separation. Thompson has never been one to discuss the meanings of his lyrics in any great detail, and in the case of this one has said “I really don't know what it means. This song came out of a dream, and I pretty much wrote it as I dreamt it (it was the sixties), and didn't spend very long analyzing it. So interpret as you wish – or replace with your own lines.” But in the context of the traffic accident that had killed his tailor girlfriend and a bandmate, and injured most of his other bandmates, the lyrics about lonely travellers, the winding road, bruised and beaten sons, saying goodbye, and never cutting cloth, seem fairly self-explanatory: [Excerpt: Fairport Convention, “Farewell, Farewell”] The rest of the album, though, was taken up by traditional tunes. There was a long medley of four different fiddle reels; a version of “Reynardine” (a song about a seductive man — or is he a fox? Or perhaps both — which had been recorded by Swarbrick and Carthy on their most recent album); a 19th century song about a deserter saved from the firing squad by Prince Albert; and a long take on “Tam Lin”, one of the most famous pieces in the Scottish folk music canon, a song that has been adapted in different ways by everyone from the experimental noise band Current 93 to the dub poet Benjamin Zephaniah to the comics writer Grant Morrison: [Excerpt: Fairport Convention, “Tam Lin”] And “Matty Groves”, a song about a man killing his cheating wife and her lover, which actually has a surprisingly similar story to that of “1921” from another great concept album from that year, the Who’s Tommy. “Matty Groves” became an excuse for long solos and shows of instrumental virtuosity: [Excerpt: Fairport Convention, “Matty Groves”] The album was recorded in September 1969, after their return from their break in the country and a triumphal performance at the Royal Festival Hall, headlining over fellow Witchseason artists John and Beverly Martyn and Nick Drake. It became a classic of the traditional folk genre — arguably *the* classic of the traditional folk genre. In 2007 BBC Radio 2’s Folk Music Awards gave it an award for most influential folk album of all time, and while such things are hard to measure, I doubt there’s anyone with even the most cursory knowledge of British folk and folk-rock music who would not at least consider that a reasonable claim. But once again, by the time the album came out in November, the band had changed lineups yet again. There was a fundamental split in the band – on one side were Sandy Denny and Richard Thompson, whose stance was, roughly, that Liege and Lief was a great experiment and a fun thing to do once, but really the band had two first-rate songwriters in themselves, and that they should be concentrating on their own new material, not doing these old songs, good as they were. They wanted to take the form of the traditional songs and use that form for new material — they wanted to make British folk-rock, but with the emphasis on the rock side of things. Hutchings, on the other hand, was equally sure that he wanted to make traditional music and go further down the rabbit hole of antiquity. With the zeal of the convert he had gone in a couple of years from being the leader of a band who were labelled “the British Jefferson Airplane” to becoming a serious scholar of traditional folk music. Denny was tired of touring, as well — she wanted to spend more time at home with Trevor Lucas, who was sleeping with other women when she was away and making her insecure. When the time came for the group to go on a tour of Denmark, Denny decided she couldn’t make it, and Hutchings was jubilant — he decided he was going to get A.L. Lloyd into the band in her place and become a *real* folk group. Then Denny reconsidered, and Hutchings was crushed. He realised that while he had always been the leader, he wasn’t going to be able to lead the band any further in the traditionalist direction, and quit the group — but not before he was delegated by the other band members to fire Denny. Until the publication of Richard Thompson’s autobiography in 2022, every book on the group or its members said that Denny quit the band again, which was presumably a polite fiction that the band agreed, but according to Thompson “Before we flew home, we decided to fire Sandy. I don't remember who asked her to leave – it was probably Ashley, who usually did the dirty work. She was reportedly shocked that we would take that step. She may have been fragile beneath the confident facade, but she still knew her worth.” Thompson goes on to explain that the reasons for kicking her out were that “I suppose we felt that in her mind she had already left” and that “We were probably suffering from post-traumatic stress disorder, though there wasn't a name for it back then.” They had considered inviting Trevor Lucas to join the band to make Denny more comfortable, but came to the (probably correct) conclusion that while he was someone they got on well with personally, he would be another big ego in a band that already had several, and that being around Denny and Lucas’ volatile relationship would, in Thompson’s phrasing, “have not always given one a feeling of peace and stability.” Hutchings originally decided he was going to join Sweeney’s Men, but that group were falling apart, and their first rehearsal with Hutchings would also be their last as a group, with only Hutchings and guitarist and mandolin player Terry Woods left in the band. They added Woods’ wife Gay, and another couple, Tim Hart and Maddy Prior, and formed a group called Steeleye Span, a name given them by Martin Carthy. That group, like Fairport, went to “get their heads together in the country” for three months and recorded an album of electric versions of traditional songs, Hark the Village Wait, on which Mattacks and another drummer, Gerry Conway, guested as Steeleye Span didn’t at the time have their own drummer: [Excerpt: Steeleye Span, “Blackleg Miner”] Steeleye Span would go on to have a moderately successful chart career in the seventies, but by that time most of the original lineup, including Hutchings, had left — Hutchings stayed with them for a few albums, then went on to form the first of a series of bands, all called the Albion Band or variations on that name, which continue to this day. And this is something that needs to be pointed out at this point — it is impossible to follow every single individual in this narrative as they move between bands. There is enough material in the history of the British folk-rock scene that someone could do a 500 Songs-style podcast just on that, and every time someone left Fairport, or Steeleye Span, or the Albion Band, or Matthews’ Southern Comfort, or any of the other bands we have mentioned or will mention, they would go off and form another band which would then fission, and some of its members would often join one of those other bands. There was a point in the mid-1970s where the Albion Band had two original members of Fairport Convention while Fairport Convention had none. So just in order to keep the narrative anything like wieldy, I’m going to keep the narrative concentrated on the two figures from Fairport — Sandy Denny and Richard Thompson — whose work outside the group has had the most influence on the wider world of rock music more broadly, and only deal with the other members when, as they often did, their careers intersected with those two. That doesn’t mean the other members are not themselves hugely important musicians, just that their importance has been primarily to the folk side of the folk-rock genre, and so somewhat outside the scope of this podcast. While Hutchings decided to form a band that would allow him to go deeper and deeper into traditional folk music, Sandy Denny’s next venture was rather different. For a long time she had been writing far more songs than she had ever played for her bandmates, like “Nothing More”, a song that many have suggested is about Thompson: [Excerpt: Fotheringay, “Nothing More”] When Joe Boyd heard that Denny was leaving Fairport Convention, he was at first elated. Fairport’s records were being distributed by A&M in the US at that point, but Island Records was in the process of opening up a new US subsidiary which would then release all future Fairport product — *but*, as far as A&M were concerned, Sandy Denny *was* Fairport Convention. They were only interested in her. Boyd, on the other hand, loved Denny’s work intensely, but from his point of view *Richard Thompson* was Fairport Convention. If he could get Denny signed directly to A&M as a solo artist before Island started its US operations, Witchseason could get a huge advance on her first solo record, while Fairport could continue making records for Island — he’d have two lucrative acts, on different labels. Boyd went over and spoke to A&M and got an agreement in principle that they would give Denny a forty-thousand-dollar advance on her first solo album — twice what they were paying for Fairport albums. The problem was that Denny didn’t want to be a solo act. She wanted to be the lead singer of a band. She gave many reasons for this — the one she gave to many journalists was that she had seen a Judy Collins show and been impressed, but noticed that Collins’ band were definitely a “backing group”, and as she put it “But that's all they were – a backing group. I suddenly thought, If you're playing together on a stage you might as well be TOGETHER.” Most other people in her life, though, say that the main reason for her wanting to be in a band was her desire to be with her boyfriend, Trevor Lucas. Partly this was due to a genuine desire to spend more time with someone with whom she was very much in love, partly it was a fear that he would cheat on her if she was away from him for long periods of time, and part of it seems to have been Lucas’ dislike of being *too* overshadowed by his talented girlfriend — he didn’t mind acknowledging that she was a major talent, but he wanted to be thought of as at least a minor one. So instead of going solo, Denny formed Fotheringay, named after the song she had written for Fairport. This new band consisted at first of Denny on vocals and occasional piano, Lucas on vocals and rhythm guitar, and Lucas’ old Eclection bandmate Gerry Conway on drums. For a lead guitarist, they asked Richard Thompson who the best guitarist in Britain was, and he told them Albert Lee. Lee in turn brought in bass player Pat Donaldson, but this lineup of the band barely survived a fortnight. Lee *was* arguably the best guitarist in Britain, certainly a reasonable candidate if you could ever have a singular best (as indeed was Thompson himself), but he was the best *country* guitarist in Britain, and his style simply didn’t fit with Fotheringay’s folk-influenced songs. He was replaced by American guitarist Jerry Donahue, who was not anything like as proficient as Lee, but who was still very good, and fit the band’s style much better. The new group rehearsed together for a few weeks, did a quick tour, and then went into the recording studio to record their debut, self-titled, album. Joe Boyd produced the album, but admitted himself that he only paid attention to those songs he considered worthwhile — the album contained one song by Lucas, “The Ballad of Ned Kelly”, and two cover versions of American singer-songwriter material with Lucas singing lead. But everyone knew that the songs that actually *mattered* were Sandy Denny’s, and Boyd was far more interested in them, particularly the songs “The Sea” and “The Pond and the Stream”: [Excerpt: Fotheringay, “The Pond and the Stream”] Fotheringay almost immediately hit financial problems, though. While other Witchseason acts were used to touring on the cheap, all packed together in the back of a Transit van with inexpensive equipment, Trevor Lucas had ambitions of being a rock star and wanted to put together a touring production to match, with expensive transport and equipment, including a speaker system that got nicknamed “Stonehenge” — but at the same time, Denny was unhappy being on the road, and didn’t play many gigs. As well as the band itself, the Fotheringay album also featured backing vocals from a couple of other people, including Denny’s friend Linda Peters. Peters was another singer from the folk clubs, and a good one, though less well-known than Denny — at this point she had only released a couple of singles, and those singles seemed to have been as much as anything else released as a novelty. The first of those, a version of Dylan’s “You Ain’t Goin’ Nowhere” had been released as by “Paul McNeill and Linda Peters”: [Excerpt: Paul McNeill and Linda Peters, “You Ain’t Goin’ Nowhere”] But their second single, a version of John D. Loudermilk’s “You’re Taking My Bag”, was released on the tiny Page One label, owned by Larry Page, and was released under the name “Paul and Linda”, clearly with the intent of confusing particularly gullible members of the record-buying public into thinking this was the McCartneys: [Excerpt: Paul and Linda, “You’re Taking My Bag”] Peters was though more financially successful than almost anyone else in this story, as she was making a great deal of money as a session singer. She actually did another session involving most of Fotheringay around this time. Witchseason had a number of excellent songwriters on its roster, and had had some success getting covers by people like Judy Collins, but Joe Boyd thought that they might possibly do better at getting cover versions if they were performed in less idiosyncratic arrangements. Donahue, Donaldson, and Conway went into the studio to record backing tracks, and vocals were added by Peters and another session singer, who according to some sources also provided piano. They cut songs by Mike Heron of the Incredible String Band: [Excerpt: Linda Peters, “You Get Brighter”] Ed Carter, formerly of The New Nadir but by this time firmly ensconced in the Beach Boys’ touring band where he would remain for the next quarter-century: [Excerpt: Linda Peters, “I Don’t Mind”] John and Beverly Martyn, and Nick Drake: [Excerpt: Elton John, “Saturday Sun”] There are different lineups of musicians credited for those sessions in different sources, but I tend to believe that it’s mostly Fotheringay for the simple reason that Donahue says it was him, Donaldson and Conway who talked Lucas and Denny into the mistake that destroyed Fotheringay because of these sessions. Fotheringay were in financial trouble already, spending far more money than they were bringing in, but their album made the top twenty and they were getting respect both from critics and from the public — in September, Sandy Denny was voted best British female singer by the readers of Melody Maker in their annual poll, which led to shocked headlines in the tabloids about how this “unknown” could have beaten such big names as Dusty Springfield and Cilla Black. Only a couple of weeks after that, they were due to headline at the Albert Hall. It should have been a triumph. But Donahue, Donaldson, and Conway had asked that singing pianist to be their support act. As Donahue said later “That was a terrible miscast. It was our fault. He asked if [he] could do it. Actually Pat, Gerry and I had to talk Sandy and Trevor into [it]… We'd done these demos and the way he was playing – he was a wonderful piano player – he was sensitive enough. We knew very little about his stage-show. We thought he'd be a really good opener for us.” Unfortunately, Elton John was rather *too* good. As Donahue continued “we had no idea what he had in mind, that he was going to do the most incredible rock & roll show ever. He pretty much blew us off the stage before we even got on the stage.” To make matters worse, Fotheringay’s set, which was mostly comprised of new material, was underrehearsed and sloppy, and from that point on no matter what they did people were counting the hours until the band split up. They struggled along for a while though, and started working on a second record, with Boyd again producing, though as Boyd later said “I probably shouldn't have been producing the record. My lack of respect for the group was clear, and couldn't have helped the atmosphere. We'd put out a record that had sold disappointingly, A&M was unhappy. Sandy's tracks on the first record are among the best things she ever did – the rest of it, who cares? And the artwork, Trevor's sister, was terrible. It would have been one thing if I'd been unhappy with it and it sold, and the group was working all the time, making money, but that wasn't the case … I knew what Sandy was capable of, and it was very upsetting to me.” The record would not be released for thirty-eight years: [Excerpt: Fotheringay, “Wild Mountain Thyme”] Witchseason was going badly into debt. Given all the fissioning of bands that we’ve already been talking about, Boyd had been stretched thin — he produced sixteen albums in 1970, and almost all of them lost money for the company. And he was getting more and more disillusioned with the people he was producing. He loved Beverly Martyn’s work, but had little time for her abusive husband John, who was dominating her recording and life more and more and would soon become a solo artist while making her stay at home (and stealing her ideas without giving her songwriting credit). The Incredible String Band were great, but they had recently converted to Scientology, which Boyd found annoying, and while he was working with all sorts of exciting artists like Vashti Bunyan and Nico, he was finding himself less and less important to the artists he mentored. Fairport Convention were a good example of this. After Denny and Hutchings had left the group, they’d decided to carry on as an electric folk group, performing an equal mix of originals by the Swarbrick and Thompson songwriting team and arrangements of traditional songs. The group were now far enough away from the “British Jefferson Airplane” label that they decided they didn’t need a female vocalist — and more realistically, while they’d been able to replace Judy Dyble, nobody was going to replace Sandy Denny. Though it’s rather surprising when one considers Thompson’s subsequent career that nobody seems to have thought of bringing in Denny’s friend Linda Peters, who was dating Joe Boyd at the time (as Denny had been before she met Lucas) as Denny’s replacement. Instead, they decided that Swarbrick and Thompson were going to share the vocals between them. They did, though, need a bass player to replace Hutchings. Swarbrick wanted to bring in Dave Pegg, with whom he had played in the Ian Campbell Folk Group, but the other band members initially thought the idea was a bad one. At the time, while they respected Swarbrick as a musician, they didn’t think he fully understood rock and roll yet, and they thought the idea of getting in a folkie who had played double bass rather than an electric rock bassist ridiculous. But they auditioned him to mollify Swarbrick, and found that he was exactly what they needed. As Joe Boyd later said “All those bass lines were great, Ashley invented them all, but he never could play them that well. He thought of them, but he was technically not a terrific bass player. He was a very inventive, melodic, bass player, but not a very powerful one technically. But having had the part explained to him once, Pegg was playing it better than Ashley had ever played it… In some rock bands, I think, ultimately, the bands that sound great, you can generally trace it to the bass player… it was at that point they became a great band, when they had Pegg.” The new lineup of Fairport decided to move in together, and found a former pub called the Angel, into which all the band members moved, along with their partners and children (Thompson was the only one who was single at this point) and their roadies. The group lived together quite happily, and one gets the impression that this was the period when they were most comfortable with each other, even though by this point they were a disparate group with disparate tastes, in music as in everything else. Several people have said that the only music all the band members could agree they liked at this point was the first two albums by The Band. With the departure of Hutchings from the band, Swarbrick and Thompson, as the strongest personalities and soloists, became in effect the joint leaders of the group, and they became collaborators as songwriters, trying to write new songs that were inspired by traditional music. Thompson described the process as “let’s take one line of this reel and slow it down and move it up a minor third and see what that does to it; let’s take one line of this ballad and make a whole song out of it. Chopping up the tradition to find new things to do… like a collage.” Generally speaking, Swarbrick and Thompson would sit by the fire and Swarbrick would play a melody he’d been working on, the two would work on it for a while, and Thompson would then go away and write the lyrics. This is how the two came up with songs like the nine-minute “Sloth”, a highlight of the next album, Full House, and one that would remain in Fairport’s live set for much of their career: [Excerpt: Fairport Convention, “Sloth”] “Sloth” was titled that way because Thompson and Swarbrick were working on two tunes, a slow one and a fast one, and they jokingly named them “Sloth” and “Fasth”, but the latter got renamed to “Walk Awhile”, while “Sloth” kept its working title. But by this point, Boyd and Thompson were having a lot of conflict in the studio. Boyd was never the most technical of producers — he was one of those producers whose job is to gently guide the artists in the studio and create a space for the music to flourish, rather than the Joe Meek type with an intimate technical knowledge of the studio — and as the artists he was working with gained confidence in their own work they felt they had less and less need of him. During the making of the Full House album, Thompson and Boyd, according to Boyd, clashed on everything — every time Boyd thought Thompson had done a good solo, Thompson would say to erase it and let him have another go, while every time Boyd thought Thompson could do better, Thompson would say that was the take to keep. One of their biggest clashes was over Thompson’s song “Poor Will and the Jolly Hangman”, which was originally intended for release on the album, and is included in current reissues of it: [Excerpt: Fairport Convention, “Poor Will and the Jolly Hangman”] Thompson had written that song inspired by what he thought was the unjust treatment of Alex Bramham, the driver in Fairport’s fatal car crash, by the courts — Bramham had been given a prison sentence of a few months for dangerous driving, while the group members thought he had not been at fault. Boyd thought it was one of the best things recorded for the album, but Thompson wasn’t happy with his vocal — there was one note at the top of the melody that he couldn’t quite hit — and insisted it be kept off the record, even though that meant it would be a shorter album than normal. He did this at such a late stage that early copies of the album actually had the title printed on the sleeve, but then blacked out. He now says in his autobiography “I could have persevered, double-tracked the voice, warmed up for longer – anything. It was a good track, and the record was lacking without it. When the album was re-released, the track was restored with a more confident vocal, and it has stayed there ever since.” During the sessions for Full House the group also recorded one non-album single, Thompson and Swarbrick’s “Now Be Thankful”: [Excerpt, Fairport Convention, “Now Be Thankful”] The B-side to that was a medley of two traditional tunes plus a Swarbrick original, but was given the deliberately ridiculous title “Sir B. McKenzie’s Daughter’s Lament For The 77th Mounted Lancers Retreat From The Straits Of Loch Knombe, In The Year Of Our Lord 1727, On The Occasion Of The Announcement Of Her Marriage To The Laird Of Kinleakie”: [Excerpt: Fairport Convention, “Sir B. McKenzie’s Daughter’s Lament For The 77th Mounted Lancers Retreat From The Straits Of Loch Knombe, In The Year Of Our Lord 1727, On The Occasion Of The Announcement Of Her Marriage To The Laird Of Kinleakie”] The B. McKenzie in the title was a reference to the comic-strip character Barry McKenzie, a stereotype drunk Australian created for Private Eye magazine by the comedian Barry Humphries (later to become better known for his Dame Edna Everage character) but the title was chosen for one reason only — to get into the Guinness Book of Records for the song with the longest title. Which they did, though they were later displaced by the industrial band Test Dept, and their song “Long Live British Democracy Which Flourishes and Is Constantly Perfected Under the Immaculate Guidance of the Great, Honourable, Generous and Correct Margaret Hilda Thatcher. She Is the Blue Sky in the Hearts of All Nations. Our People Pay Homage and Bow in Deep Respect and Gratitude to Her. The Milk of Human Kindness”. Full House got excellent reviews in the music press, with Rolling Stone saying “The music shows that England has finally gotten her own equivalent to The Band… By calling Fairport an English equivalent of the Band, I meant that they have soaked up enough of the tradition of their countryfolk that it begins to show all over, while they maintain their roots in rock.” Off the back of this, the group went on their first US tour, culminating in a series of shows at the Troubadour in LA, on the same bill as Rick Nelson, which were recorded and later released as a live album: [Excerpt: Fairport Convention, “Sloth (live)”] The Troubadour was one of the hippest venues at the time, and over their residency there the group got seen by many celebrities, some of whom joined them on stage. The first was Linda Ronstadt, who initially demurred, saying she didn’t know any of their songs. On being told they knew all of hers, she joined in with a rendition of “Silver Threads and Golden Needles”. Thompson was later asked to join Ronstadt’s backing band, who would go on to become the Eagles, but he said later of this offer “I would have hated it. I’d have hated being on the road with four or five miserable Americans — they always seem miserable. And if you see them now, they still look miserable on stage — like they don’t want to be there and they don’t like each other.” The group were also joined on stage at the Troubadour on one memorable night by some former bandmates of Pegg’s. Before joining the Ian Campbell Folk Group, Pegg had played around the Birmingham beat scene, and had been in bands with John Bonham and Robert Plant, who turned up to the Troubadour with their Led Zeppelin bandmate Jimmy Page (reports differ on whether the fourth member of Zeppelin, John Paul Jones, also came along). They all got up on stage together and jammed on songs like “Hey Joe”, “Louie Louie”, and various old Elvis tunes. The show was recorded, and the tapes are apparently still in the possession of Joe Boyd, who has said he refuses to release them in case he is murdered by the ghost of Peter Grant. According to Thompson, that night ended in a three-way drinking contest between Pegg, Bonham, and Janis Joplin, and it’s testament to how strong the drinking culture is around Fairport and the British folk scene in general that Pegg outdrank both of them. According to Thompson, Bonham was found naked by a swimming pool two days later, having missed two gigs. For all their hard rock image, Led Zeppelin were admirers of a lot of the British folk and folk-rock scene, and a few months later Sandy Denny would become the only outside vocalist ever to appear on a Led Zeppelin record when she duetted with Plant on “The Battle of Evermore” on the group’s fourth album: [Excerpt: Led Zeppelin, “The Battle of Evermore”] Denny would never actually get paid for her appearance on one of the best-selling albums of all time. That was, incidentally, not the only session that Denny was involved in around this time — she also sang on the soundtrack to a soft porn film titled Swedish Fly Girls, whose soundtrack was produced by Manfred Mann: [Excerpt: Sandy Denny, “What Will I Do With Tomorrow?”] Shortly after Fairport’s trip to America, Joe Boyd decided he was giving up on Witchseason. The company was now losing money, and he was finding himself having to produce work for more and more acts as the various bands fissioned. The only ones he really cared about were Richard Thompson, who he was finding it more and more difficult to work with, Nick Drake, who wanted to do his next album with just an acoustic guitar anyway, Sandy Denny, who he felt was wasting her talents in Fotheringay, and Mike Heron of the Incredible String Band, who was more distant since his conversion to Scientology. Boyd did make some attempts to keep the company going. On a trip to Sweden, he negotiated an agreement with the manager and publisher of a Swedish band whose songs he’d found intriguing, the Hep Stars. Boyd was going to publish their songs in the UK, and in return that publisher, Stig Anderson, would get the rights to Witchseason’s catalogue in Scandinavia — a straight swap, with no money changing hands. But before Boyd could get round to signing the paperwork, he got a better offer from Mo Ostin of Warners — Ostin wanted Boyd to come over to LA and head up Warners’ new film music department. Boyd sold Witchseason to Island Records and moved to LA with his fiancee Linda Peters, spending the next few years working on music for films like Deliverance and A Clockwork Orange, as well as making his own documentary about Jimi Hendrix, and thus missed out on getting the UK publishing rights for ABBA, and all the income that would have brought him, for no money. And it was that decision that led to the breakup of Fotheringay. Just before Christmas 1970, Fotheringay were having a difficult session, recording the track “John the Gun”: [Excerpt: Fotheringay, “John the Gun”] Boyd got frustrated and kicked everyone out of the session, and went for a meal and several drinks with Denny. He kept insisting that she should dump the band and just go solo, and then something happened that the two of them would always describe differently. She asked him if he would continue to produce her records if she went solo, and he said he would. According to Boyd’s recollection of the events, he meant that he would fly back from California at some point to produce her records. According to Denny, he told her that if she went solo he would stay in Britain and not take the job in LA. This miscommunication was only discovered after Denny told the rest of Fotheringay after the Christmas break that she was splitting the band. Jerry Donahue has described that as the worst moment of his life, and Denny felt very guilty about breaking up a band with some of her closest friends in — and then when Boyd went over to the US anyway she felt a profound betrayal. Two days before Fotheringay’s final concert, in January 1971, Sandy Denny signed a solo deal with Island records, but her first solo album would not end up produced by Joe Boyd. Instead, The North Star Grassman and the Ravens was co-produced by Denny, John Wood — the engineer who had worked with Boyd on pretty much everything he’d produced, and Richard Thompson, who had just quit Fairport Convention, though he continued living with them at the Angel, at least until a truck crashed into the building in February 1971, destroying its entire front wall and forcing them to relocate. The songs chosen for The North Star Grassman and the Ravens reflected the kind of choices Denny would make on her future albums, and her eclectic taste in music. There was, of course, the obligatory Dylan cover, and the traditional folk ballad “Blackwaterside”, but there was also a cover version of Brenda Lee’s “Let’s Jump the Broomstick”: [Excerpt: Sandy Denny, “Let’s Jump the Broomstick”] Most of the album, though, was made up of originals about various people in Denny’s life, like “Next Time Around”, about her ex-boyfriend Jackson C Frank: [Excerpt: Sandy Denny, “Next Time Around”] The album made the top forty in the UK — Denny’s only solo album to do so — and led to her once again winning the “best female singer” award in Melody Maker’s readers’ poll that year — the male singer award was won by Rod Stewart. Both Stewart and Denny appeared the next year on the London Symphony Orchestra’s all-star version of The Who’s Tommy, which had originally been intended as a vehicle for Stewart before Roger Daltrey got involved. Stewart’s role was reduced to a single song, “Pinball Wizard”, while Denny sang on “It’s a Boy”: [Excerpt: Sandy Denny, “It’s a Boy”] While Fotheringay had split up, all the band members play on The North Star Grassman and the Ravens. Guitarists Donahue and Lucas only play on a couple of the tracks, with Richard Thompson playing most of the guitar on the record. But Fotheringay’s rhythm section of Pat Donaldson and Gerry Conway play on almost every track. Another musician on the album, Ian Whiteman, would possibly have a profound effect on the future direction of Richard Thompson’s career and life. Whiteman was the former keyboard player for the mod band The Action, having joined them just before they became the blues-rock band Mighty Baby. But Mighty Baby had split up when all of the band except the lead singer had converted to Islam. Richard Thompson was on his own spiritual journey at this point, and became a Sufi – the same branch of Islam as Whiteman – soon after the session, though Thompson has said that his conversion was independent of Whiteman’s. The two did become very close and work together a lot in the mid-seventies though. Thompson had supposedly left Fairport because he was writing material that wasn’t suited to the band, but he spent more than a year after quitting the group working on sessions rather than doing anything with his own material, and these sessions tended to involve the same core group of musicians. One of the more unusual was a folk-rock supergroup called The Bunch, put together by Trevor Lucas. Richard Branson had recently bought a recording studio, and wanted a band to test it out before opening it up for commercial customers, so with this free studio time Lucas decided to record a set of fifties rock and roll covers. He gathered together Thompson, Denny, Whiteman, Ashley Hutchings, Dave Mattacks, Pat Donaldson, Gerry Conway, pianist Tony Cox, the horn section that would later form the core of the Average White Band, and Linda Peters, who had now split up with Joe Boyd and returned to the UK, and who had started dating Thompson. They recorded an album of covers of songs by Jerry Lee Lewis, the Everly Brothers, Johnny Otis and others: [Excerpt: The Bunch, “Willie and the Hand Jive”] The early seventies was a hugely productive time for this group of musicians, as they all continued playing on each other’s projects. One notable album was No Roses by Shirley Collins, which featured Thompson, Mattacks, Whiteman, Simon Nicol, Lal and Mike Waterson, and Ashley Hutchings, who was at that point married to Collins, as well as some more unusual musicians like the free jazz saxophonist Lol Coxhill: [Excerpt: Shirley Collins and the Albion Country Band, “Claudy Banks”] Collins was at the time the most respected female singer in British traditional music, and already had a substantial career including a series of important records made with her sister Dolly, work with guitarists like Davey Graham, and time spent in the 1950s collecting folk songs in the Southern US with her then partner Alan Lomax – according to Collins she did much of the actual work, but Lomax only mentioned her in a single sentence in his book on this work. Some of the same group of musicians went on to work on an album of traditional Morris dancing tunes, titled Morris On, credited to “Ashley Hutchings, Richard Thompson, Dave Mattacks, John Kirkpatrick and Barry Dransfield”, with Collins singing lead on two tracks: [Excerpt: Ashley Hutchings, Richard Thompson, Dave Mattacks, John Kirkpatrick and Barry Dransfield with Shirley Collins, “The Willow Tree”] Thompson thought that that album was the best of the various side projects he was involved in at the time, comparing it favourably to Rock On, which he thought was rather slight, saying later “Conceptually, Fairport, Ashley and myself and Sandy were developing a more fragile style of music that nobody else was particularly interested in, a British Folk Rock idea that had a logical development to it, although we all presented it our own way. Morris On was rather more true to what we were doing. Rock On was rather a retro step. I'm not sure it was lasting enough as a record but Sandy did sing really well on the Buddy Holly songs.” Hutchings used the musicians on No Roses and Morris On as the basis for his band the Albion Band, which continues to this day. Simon Nicol and Dave Mattacks both quit Fairport to join the Albion Band, though Mattacks soon returned. Nicol would not return to Fairport for several years, though, and for a long period in the mid-seventies Fairport Convention had no original members. Unfortunately, while Collins was involved in the Albion Band early on, she and Hutchings ended up divorcing, and the stress from the divorce led to Collins developing spasmodic dysphonia, a stress-related illness which makes it impossible for the sufferer to sing. She did eventually regain her vocal ability, but between 1978 and 2016 she was unable to perform at all, and lost decades of her career. Richard Thompson occasionally performed with the Albion Band early on, but he was getting stretched a little thin with all these sessions. Linda Peters said later of him “When I came back from America, he was working in Sandy’s band, and doing sessions by the score. Always with Pat Donaldson and Dave Mattacks. Richard would turn up with his guitar, one day he went along to do a session with one of those folkie lady singers — and there were Pat and DM. They all cracked. Richard smashed his amp and said “Right! No more sessions!” In 1972 he got round to releasing his first solo album, Henry the Human Fly, which featured guest appearances by Linda Peters and Sandy Denny among others: [Excerpt: Richard Thompson, “The Angels Took My Racehorse Away”] Unfortunately, while that album has later become regarded as one of the classics of its genre, at the time it was absolutely slated by the music press. The review in Melody Maker, for example, read in part “Some of Richard Thompson’s ideas sound great – which is really the saving grace of this album, because most of the music doesn’t. The tragedy is that Thompson’s “British rock music” is such an unconvincing concoction… Even the songs that do integrate rock and traditional styles of electric guitar rhythms and accordion and fiddle decoration – and also include explicit, meaningful lyrics are marred by bottle-up vocals, uninspiring guitar phrases and a general lack of conviction in performance.” Henry the Human Fly was released in the US by Warners, who had a reciprocal licensing deal with Island (and for whom Joe Boyd was working at the time, which may have had something to do with that) but according to Thompson it became the lowest-selling record that Warners ever put out (though I’ve also seen that claim made about Van Dyke Parks’ Song Cycle, another album that has later been rediscovered). Thompson was hugely depressed by this reaction, and blamed his own singing. Happily, though, by this point he and Linda had become a couple — they would marry in 1972 — and they started playing folk clubs as a duo, or sometimes in a trio with Simon Nicol. Thompson was also playing with Sandy Denny’s backing band at this point, and played on every track on her second solo album, Sandy. This album was meant to be her big commercial breakthrough, with a glamorous cover photo by David Bailey, and with a more American sound, including steel guitar by Sneaky Pete Kleinow of the Flying Burrito Brothers (whose overdubs were supervised in LA by Joe Boyd): [Excerpt: Sandy Denny, “Tomorrow is a Long Time”] The album was given a big marketing push by Island, and “Listen, Listen” was made single of the week on the Radio 1 Breakfast show: [Excerpt: Sandy Denny, “Listen, Listen”] But it did even worse than the previous album, sending her into something of a depression. Linda Thompson (as the former Linda Peters now was) said of this period “After the Sandy album, it got her down that her popularity didn't suddenly increase in leaps and bounds, and that was the start of her really fretting about the way her career was going. Things only escalated after that. People like me or Martin Carthy or Norma Waterson would think, ‘What are you on about? This is folk music.'” After Sandy’s release, Denny realised she could no longer afford to tour with a band, and so went back to performing just acoustically or on piano. The only new music to be released by either of these ex-members of Fairport Convention in 1973 was, oddly, on an album by the band they were no longer members of. After Thompson had left Fairport, the group had managed to release two whole albums with the same lineup — Swarbrick, Nicol, Pegg, and Mattacks. But then Nicol and Mattacks had both quit the band to join the Albion Band with their former bandmate Ashley Hutchings, leading to a situation where the Albion Band had two original members of Fairport plus their longtime drummer while Fairport Convention itself had no original members and was down to just Swarbrick and Pegg. Needing to fulfil their contracts, they then recruited three former members of Fotheringay — Lucas on vocals and rhythm guitar, Donahue on lead guitar, and Conway on drums. Conway was only a session player at the time, and Mattacks soon returned to the band, but Lucas and Donahue became full-time members. This new lineup of Fairport Convention released two albums in 1973, widely regarded as the group’s most inconsistent records, and on the title track of the first, “Rosie”, Richard Thompson guested on guitar, with Sandy Denny and Linda Thompson on backing vocals: [Excerpt: Fairport Convention, “Rosie”] Neither Sandy Denny nor Richard Thompson released a record themselves in 1973, but in neither case was this through the artists’ choice. The record industry was changing in the early 1970s, as we’ll see in later episodes, and was less inclined to throw good money after bad in the pursuit of art. Island Records prided itself on being a home for great artists, but it was still a business, and needed to make money. We’ll talk about the OPEC oil crisis and its effect on the music industry much more when the podcast gets to 1973, but in brief, the production of oil by the US peaked in 1970 and started to decrease, leading to them importing more and more oil from the Middle East. As a result of this, oil prices rose slowly between 1971 and 1973, then very quickly towards the end of 1973 as a result of the Arab-Israeli conflict that year. As vinyl is made of oil, suddenly producing records became much more expensive, and in this period a lot of labels decided not to release already-completed albums, until what they hoped would be a brief period of shortages passed. Both Denny and Thompson recorded albums at this point that got put to one side by Island. In the case of Thompson, it was the first album by Richard and Linda as a duo, I Want to See the Bright Lights Tonight: [Excerpt: Richard and Linda Thompson, “I Want to See the Bright Lights Tonight”] Today, I Want to See the Bright Lights Tonight is widely regarded as one of the greatest albums of all time, and as one of the two masterpieces that bookended Richard and Linda’s career as a duo and their marriage. But when they recorded the album, full of Richard’s dark songs, it was the opposite of commercial. Even a song that’s more or less a boy-girl song, like “Has He Got a Friend for Me?” has lyrics like “He wouldn’t notice me passing by/I could be in the gutter, or dangling down from a tree” [Excerpt: Richard and Linda Thompson, “Has He got a Friend For Me?”] While something like “The Calvary Cross” is oblique and haunted, and seems to cast a pall over the entire album: [Excerpt: Richard and Linda Thompson, “The Calvary Cross”] The album itself had been cheap to make — it had been recorded in only a week, with Thompson bringing in musicians he knew well and had worked with a lot previously to cut the tracks as-live in only a handful of takes — but Island didn’t think it was worth releasing. The record stayed on the shelf for nearly a year after recording, until Island got a new head of A&R, Richard Williams. Williams said of the album’s release “Muff Winwood had been doing A&R, but he was more interested in production… I had a conversation with Muff as soon as I got there, and he said there are a few hangovers, some outstanding problems. And one of them was Richard Thompson. He said there’s this album we gave him the money to make — which was I Want to See the Bright Lights Tonight — and nobody’s very interested in it. Henry the Human Fly had been a bit of a commercial disappointment, and although Island was altruistic and independent and known for only recording good stuff, success was important… Either a record had to do well or somebody had to believe in it a lot. And it seemed as if neither of those things were true at that point of Richard.” Williams, though, was hugely impressed when he listened to the album. He compared Richard Thompson’s guitar playing to John Coltrane’s sax, and called Thompson “the folk poet of the rainy streets”, but also said “Linda brightened it, made it more commercial. and I thought that “Bright Lights” itself seemed a really commercial song.” The rest of the management at Island got caught up in Williams’ enthusiasm, and even decided to release the title track as a single: [Excerpt: Richard and Linda Thompson, “I Want to See the Bright Lights Tonight”] Neither single nor album charted — indeed it would not be until 1991 that Richard Thompson would make a record that made the top forty in the UK — but the album got enough critical respect that Richard and Linda released two albums the year after. The first of these, Hokey Pokey, is a much more upbeat record than their previous one — Richard Thompson has called it “quite a music-hall influenced record” and cited the influence of George Formby and Harry Lauder. For once, the claim of music hall influence is audible in the music. Usually when a British musician is claimed to have a music ha
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