Podcasts about Crewe

This playlist is 63% vinyl friendly. Very poor. The Vertere DG-1 Dynamic Groove. One commentator queried whether ‘the design wandered in the direction of form over function‘, but this, the company’s entry level version, was voted in What Hi-Fi‘s updated 2025 ‘20 very best turntables of (the magazine’s) lifetime‘… but it had detractors elsewhere. My first thought was ‘sandwich’ and lo and behold the review mentions the plinth’s ‘three layers of acrylic reinforced with a steel chassis to give a rigid yet well-damped structure‘ with that middle layer, from a distance, reminding me of some marbled cheese. Near £2k for one standard version spotted on eBay and £3550 for a DG-1S updated model, with a bullet pointed spec to match. When you get up to these prices (and way, way beyond) manufacturers are duty bound to work overtime to justify their prices. NB: Apologies. A bit of a glitch in recording my parts for this show but they just about do the job. Any track marked * has been given either a tiny or a slightly larger 41 Rooms tweak/edit/chop and the occasional tune might sound a bit dodgy, quality-wise. On top of that, the switch between different decades and production values never helps in the mix here. Lyric of Playlist 149 On another day and in another frame of mind it could have gone to Baby Rose but much aided by a gorgeous key change backdrop, the gold star sticker goes to Banderas! It’s hard to tell though if their ‘There is no rehearsal. No second chance. No false start. No better circumstances… ‘ words of wisdom would change much with the type of peeps in their video. 00.00 (Intro) THE FLAMINGOS – Stars (Edit) – Unreleased demo – 1983. Episode #1 for info. 00.41 NEW ORDER – Doubts Even Here (Instrumental) (Cargo Demo) (2019 Remaster) – Movement, Definitive Edition Boxset – Warner Music – 2023 Doubts Even Hear? I should coco, and if you want ‘tentative’ in your music then this has it in shed loads. My guess is this maybe wasn’t Hooky’s first stab at the track in the band’s rehearsal room but you can nearly hear him finding his way into and over the ARP Quadra’s strings. 05.15 COCTEAU TWINS – Road River and Rail (Live) – Stream only – 2026 Live in 1991 but only very recently uploaded to the net, a mixing desk recording from The Warfield, in San Francisco and a rare treat to hear Liz this clear in a gig setting. At your leisure, search out the rest of the gig. There’s no visual from the above show, so here’s a barely rescued – but previously unseen/unpublished – photo of mine. Liz and Simon soundchecking at Newcastle’s Tiffany’s, 19.4.84. Photo credit / copyright: Dec Hickey 08.37 JOHN CALE – Thoughtless Kind (M:FANS) – M:FANS, 2LP – Double Six – 2016 A pedestrian, sledgehammer beat and a more forceful take on the lyrics than found in the ex-Velvet Underground man’s original. To my ears, they’re better suited here. 13.59 EMERSON, LAKE & PALMER – Take A Pebble * – Emerson, Lake & Palmer, LP – Island – 1970 I bought this album maybe four or five years after release and without doubt after having heard maybe just one of the three tracks on it I had taken to. I wouldn’t have been listening to any radio that might have played this album, so I’m guessing I borrowed it from a mate – very likely Phil Harris or Tom Locke (RIP). Greg Lake’s vocals were the thing for me back then and on my National Panasonic SG-1070L I’d have skipped Keith Emerson’s often lengthy rock-orchestral leaning keyboard workouts from all three… and likewise it’s a massive edit on the show for Take A Pebble. 17.33 BABY ROSE – Stop The Bleeding – Through And Through, LP – Secretly Canadian – 2023 If I thought the vibrato in Baby Rose’s vocal on the last 41 Rooms’ show entry (‘Go’) reminded me of Anonhi/Antony and the Johnsons then this does so with knobs on… as it maybe sounds even more of a song and arrangement the latter could have penned. 21.17 A RACE OF ANGELS – Golden – Broadcast No. 1, CD only – Luv Classics – 2005 It’s not often a CD gets a visual look in on 41 Rooms but the majority of Broadcast No. 1’s tracks have been or are on course for inclusion… and there was no vinyl. A 21st century left field folk soul beaut. Saluting Yeofi Andoh once again. 23.56 KRAFTWERK – Boing Boom Tschak * – Electric Cafe, LP – Kling Klang / EMI – 1986 The German maestros with some playful mid ’80s electro. Who else could it be? 27.01 BESIDE (with BERNARD FOWLER) – Odeon (Dance Mix) – 12″ – Celluloid – 1984 In 1984 the only place I’d have heard this was on John Peel’s radio shows – and he was partial to some electro. With the other side playlisted on 41 Rooms years ago, that would make this Afrika Bambaataa-produced 12″ a bargain to me these days, at less than the price of a pint on Discogs. Back in 1984, ordering it on import from Bedford’s HMV (as I did) its £5.29 price tag would seemingly have between five and ten pints plus worth! 32.37 MIDNIGHT STAR – Midas Touch (Vocal Extended Remix) – 12″ – Solar – 1986 With Electro roots, some breezy mid ’80s glitzy dance which has aged far better than – ‘Look away now’ (or don’t look at all) – the clothes and hair in the video. 38.42 ROZALLA – Born To Luv Ya – 12″ – Pulse-8 – 1990 At some point, when I do get to wade through the Record Mirror‘s I have from the the late ’80s/early ’90s I’d put a quiet fiver on the late James Hamilton having used ‘bubbling’ in a review of this particular mix of the tune. Par for the course lyrics but given some decent beats Rozalla has a voice that more than matches. 43.00 THOMAS LEER – Forgive and Forget – 1982, CD only – Klanggalerie – 2015 When I first happened on the 1982 CD recordings I thought Leer had re-found his youthful energy in the ‘now’. It’s in the title, Dec… so, a ‘series of tracks for unreleased album circa 1982‘ states the man himself. That would put them around the time of his Letter From America and Contradictions EPs but way before the ‘pop’ album, The Scale Of Ten. Forgive and Forget is though definitely a dry run for that album’s belter, Control Yourself. 47.23 MINT ROYALE – I Don’t Care – See You In The Morning, CD only – Faith & Hope Records Limited – 2005 Aagghh, it’s another CD… but needs must, as no vinyl surfaced and by this point Neil Claxton was flying solo as Mint Royale. 51.48 OSCAR FARRELL (feat SAMPHA) – Dream Therapy (George FitzGerald remix) – Download only – ? – 2026 The So Far South EP original rightly has many admirers but I’m more with this moodier take. Screenshot 55.22 NOSTALGIX – Mess With Me – Download only – Confession – 2019 Out of Vancouver, British Columbia, she seems through the years to have occasionally just digitally floated singular tracks out there. 58.32 SUICIDE – Ghost Rider – Self-titled, LP – Red Star Records – 1977 There’d be a bunch of my early ’80s mates who’d have gone for the album but it’s only this track that grabbed me. 01.01.01 CABARET VOLTAIRE – Nag Nag Nag (Live 2025 Single Edit) – Download only (for now) – Mute – 2026 ‘Updating’ and then capturing – just ‘right’ – this classic track’s first live outing in forty five or so years could have gone wrong but all involved nailed it, and seeing as I caught four of the Cabs’ six gigs last year there’s a good chance I was in on this actual recording. In fact, given the advances in sound technology Nag is likely sounding better in the room than it would have done live back in 1979-82… something I never witnessed. 01.05.10 THE SOUND – Heartland (Mike Read session, 1980) – The BBC Recordings – 2CD only – Renascent – 2004 If Adrian Borland and crew were pushing for a radio session in their early throws (who wasn’t) I’d have thought John Peel would have got in there first. The band did subsequently do a Peel session but here Mike Read edged it and the band were firing. 01.08.19 JOY DIVISION – Warsaw – An Ideal For Living, 7″ EP – Enigma – 1978 I never owned this original 7″ but somewhere around 1980-81 and through the back pages of the inkie press I bought the subsequent 12″ from an ‘MJ’ in Crewe who reckoned in an enclosed note he’d leant Steve Morris £60 to pay for the sleeves. When I sold the single years later I thought I’d kept the note… but if I did, it then went AWOL. 01.10.40 TURNSTILE – Dreaming – Never Enough, LP – Roadrunner – 2025 They’ve eased up here on their early hardcore leanings which might go some way to why this tune gets a thumbs up from me and those who take occasionally take a punt on an album because of the sleeve could still be in for a shock. 01.13.00 TV21 – Ideal Way Of Life – A Thin Red Line, LP – Deram – 1981 Other tracks on the album have already graced 41 Rooms as indeed they did back in Winkles in 1981-82. 01.15.27 THE TEARDROP EXPLODES – Went Crazy – Kilimanjaro, LP – Mercury – 1980 Julian in 1980. Sounding ‘quirky pop’ in 2026? 01.18.03 NATURAL SCIENTIST – See Through You – 7″ – Dental Records – 1982 Even though I bought their Terminal Velocity debut 12″ at the time, this their follow up somehow by-passed me for four decades 01.22.07 IRMA THOMAS – My Heart’s In Memphis – My Heart’s In Memphis – The Songs Of Dan Penn, CD only – Rounder Records – 2000 Criminally, only seven thousand plus peeps have ever viewed the fan video online of Irma on an outside stage, live in New Orleans from 2003 and I nearly went with its muffled sound here, as the more she gets in to the song the more she really lives it. 01.25.53 STEVIE WONDER – (I) Don’t Know Why (I Love You) – 7″ – Tamla Motown – 1968-9 For the UK release Motown couldn’t quite make up there mind on the title – but this stark outpouring and arrangement is still a killer, even though it was maybe trumped for radio play by the lusher, romantic appeal of the b-side, My Cherie Amour. 01.28.25 MT JONES – I Don’t Understand – Joy, LP – ? – 2026 New(ish) blue-eyed retro soul with as much effort on the visual. A fab single but I’ve got a feeling an album of his accentuated vocal might be too much for me. We’ll see. 01.31.49 WILLIE HUTCH – Hurt So Bad – Season For Love, LP – RCA – 1970 Before his switch to maybe his more spiritual Brother’s Gonna Work It Out home of Motown. 01.34.39 BANDERAS – This Is Your Life (PanoΣigma Edit) – Stream only – ? – 2019 Just the one album, squarely aimed at the mainstream, and some cerebral tunes from these two shaven-headed girls. I’m not sure how much the decent lyrics and sumptuous key change helped but this was their biggest UK hit. Even in the sometimes throwaway nature of ‘pop’ charts, quality will out. 01.39.36 DIANA BROWN & BARRIE K SHARPE – Eating Me Alive * – 12″ – FFRR – 1992 ‘Weaving together many different dance music sounds of the late sixties/early seventies, including such as vintage Jackson 5 and Norman Whitfield era Temptations, Timmy Thomas beats and Chicago Transit Authority guitar chords (“I’m a man, yes I am, and I love you so”), this brilliant intensely driving jiggly chugger has been promoed as a twinpack with 0-104.7-0bpm Undisputed Mix Part 1 & Part II, 0-104.7bpm Original Groundbeat, 0-105.25-0bpm Funky Funky Sugar Heavy Groundbeat Mix, 0-105.4bpm One Trip Too Many Mix, more recently influenced grooving 115.8-0bpm Groundbeat House Ensemble/Instrumental, hi-hat hustled 118.7bpm Undercover Dub Mix 1 and 118.6bpm Undercover Dub Mix 2, Dianamite!‘ – James Hamilton, Record Mirror (Music Week), 20.6.92 Any time I re-edit etc I really should remember the source of the original… and there’s a heavy 41 Rooms re-edit going on here. Whatever. James Hamilton’s ‘vintage Jackson 5’ reference is spot on and the bridges and chorus are so strong they make the verses sound absolutely tepid. Weird. 01.45.08 RHYTHIM IS RHYTHIM – Strings Of Life (‘Original Piano Mix’) – 12″ – Transmat – 1987 ‘So enduringly popular and still steadily selling that it could follow A Guy Called Gerald up the chart, Derrick ‘Mayday’ May’s synthetic strings stabbed and sawed techno pioneeringly jerky instrumental leaper is now out here in its frantic acidic 130/129 1/5-130-0bpm Exclusive Remix, more scrubbingly hustling organ accented 128 1/5-127 4/5-128-128 1/5bpm Flam-boy-ant Mix, and piano emphasising jerkier 122 1/5-122-121 2/5-121 1/5bpm Piano Mix, flipped by the washing machine ‘sizzled’ 129-129 1/3bpm ‘Kaos’ plus the ‘Magic Juan’ Atkins created jiggly wriggling Model 500 ‘Off To Battle’ in its 125 2/3-126 1/5bpm 2emix and 126 1/5-126 2/3bpm Original Version‘. – James Hamilton, Jocks, 3.89 ‘Based on a piano sequence by May’s friend Michael James. He dropped in for a visit at May’s house and sat down to play a piano ballad he had been working on called, “Lightning Strikes Twice”. This piece went into May’s sequencer and was kept there until May decided to listen to it all the way through. He found some portions which interested him, and he started to work with it. The song was originally at 80 BPM before May increased the tempo, chopped it up into loops, and added percussion and string samples’. Wikipedia The history of this stark track is interesting. I called this ‘near punk like, house / techno’ on the show, what with its crude/rough arrangement feeling like it nearly takes four minutes to settle… just in time for it to sound like it’s breaking down on the outro! And it’s become a classic! Enough to warrant a bunch of remixes and the mighty ‘live with orchestra’ version that follows. 01.52.18 RHYTHIM IS RHYTHIM – Strings Of Life (Live, Weather Festival, Paris, France) – Stream only – 2015 Derrick May, with Francesco Tristano (ex-Aufgang) loving it big time on extra keyboards, with the weight of the full Philharmonic Orchestra Lamoureux, under the direction of Dzijan Emin… and all beautifully captured by ‘producer, Amos Rozenberg and Paramax Films in 4K with 9 Cinema cameras by Samuel Petit for Arte TV‘… it says somewhere. Strings Of Life, indeed. Catch the video in the usual places. Show 150 will upload April 5. Dec x The post Post Punk Plus Podcast Playlist 149 – Original upload 1.3.26 appeared first on 41Rooms.

Dramat fortsätter, och i detta avsnitt skildras ett mycket fascinerande forensiskt arbete. Skrivet av Sofie Karlsson. Klippt av David Oscarsson. Berättat av Dan Hörning. Vill du att Olösta mord ska fortsätta att komma ut varje vecka? Du kan påverka genom att dela podden med alla du känner som kan tänkas vara intresserade och/eller sponsra via Patreon; https://www.patreon.com/olostamordHar du teorier om vad som hänt i fallen som vi tagit upp i podden? Skicka dem till: zimwaypodcast@gmail.com så kommer vi ta upp dem i kommande avsnitt.Vill du höra ett specifikt fall i podden? Önska dina fall i det här formuläret: https://docs.google.com/forms/d/e/1FAIpQLSfDlQxf9SgZyeGS-qFPaB4BP-L59lQhs7BbZACfwk7xSs-AFw/viewform?fbclid=IwAR0astYAY_SJLcst89FwKaPIeHHV9zlfAxEz6Cmrh37bbMwvMHGc8z5cwg4Mail: zimwaypodcast@gmail.comFacebook: https://www.facebook.com/Olostamord/Det här är en podd av Dan Hörning och David Oscarsson.Följ Dan Hörning här:X: @danhorningInstagram: https://www.instagram.com/dan_horning/?hl=enYoutube: https://www.youtube.com/channel/UCV2Qb7SmL9mejE5RCv1chwg Hosted on Acast. See acast.com/privacy for more information.

Defeat to Crewe has left Swindon in a difficult situation.

Det är dags att återbesöka ett fall som Dan Hörning nämnde i serien om Urban Höglin och Heidi Paakkonen: dubbelmordet på Harvey och Jeanette Crewe. En av Nya Zeelands allra största mordgåtor.Skrivet av Sofie Karlsson. Klippt av David Oscarsson. Berättat av Dan Hörning. Vill du att Olösta mord ska fortsätta att komma ut varje vecka? Du kan påverka genom att dela podden med alla du känner som kan tänkas vara intresserade och/eller sponsra via Patreon; https://www.patreon.com/olostamordHar du teorier om vad som hänt i fallen som vi tagit upp i podden? Skicka dem till: zimwaypodcast@gmail.com så kommer vi ta upp dem i kommande avsnitt.Vill du höra ett specifikt fall i podden? Önska dina fall i det här formuläret: https://docs.google.com/forms/d/e/1FAIpQLSfDlQxf9SgZyeGS-qFPaB4BP-L59lQhs7BbZACfwk7xSs-AFw/viewform?fbclid=IwAR0astYAY_SJLcst89FwKaPIeHHV9zlfAxEz6Cmrh37bbMwvMHGc8z5cwg4Mail: zimwaypodcast@gmail.comFacebook: https://www.facebook.com/Olostamord/Det här är en podd av Dan Hörning och David Oscarsson.Följ Dan Hörning här:X: @danhorningInstagram: https://www.instagram.com/dan_horning/?hl=enYoutube: https://www.youtube.com/channel/UCV2Qb7SmL9mejE5RCv1chwg Hosted on Acast. See acast.com/privacy for more information.

This podcast is about some of the work the volunteers do for Homeless people in Crewe and surrounding areas

Steve, Aaron and Adam go through a third successive Saturday with Crewe winning 1-0, this time over Gillingham. Crewe Alex women were in Cheshire County Cup action at Tranmere.We hear from Ben Knappers and Loathed Stranger podcast as they help us preview the home game against Fleetwood on Tuesday and Saturday's trip to Swindon. Click the link below to see the full range of our Railwaymen merchandise - If you would prefer names changing or a different colour shirt please reach out and we should be able to accommodate!https://the-railwaymen-podcast.teemill.com/You can also help the running of the podcast at https://buymeacoffee.com/therailwaymen Hosted on Acast. See acast.com/privacy for more information.

In tonight's programme: We look ahead to the first round of the Ecap FA Cup, as well as league action.In rugby, Douglas are at home to Birkenhead Park and in the Women's fixtures Vagabonds welcome Crewe & Nantwich and we see the start of the Hartford Homes Manx CupAnd in hockey, we get back to league action following last weekend's Cup actionWe also hear about Isle of Man Netball and how it's growing in popularityThis week hosted by Ben Cunningham and featuring Tony Mepham and Dave Christian.

Hermione Lee is the renowned biographer of Virginia Woolf, Edith Wharton, Penelope Fitzgerald, and, most recently, Tom Stoppard. Stoppard died at the end of last year, so Hermione and I talked about the influence of Shaw and Eliot and Coward on his work, the recent production of The Invention of Love, the role of ideas in Stoppard's writing, his writing process, rehearsals, revivals, movies. We also talked about John Carey, Brian Moore, Virginia Woolf as a critic. Hermione is Emeritus Professor of English Literature at the University of Oxford. Her life of Anita Brookner will be released in September.TranscriptHenry Oliver: Today I have the great pleasure of talking to Professor Dame Hermione Lee. Hermione was the first woman to be appointed Goldsmiths' Professor of English Literature at the University of Oxford, and she is the most renowned and admired living English biographer. She wrote a seminal life of Virginia Woolf. She's written splendid books about people like Willa Cather, Edith Wharton, and my own favorite, Penelope Fitzgerald. And most recently she has been the biographer of Tom Stoppard, and I believe this year she has a new book coming out about Anita Brookner. Hermione, welcome.Hermione Lee: Thank you very much.Oliver: We're mostly going to talk about Tom Stoppard because he, sadly, just died. But I might have a few questions about your broader career at the end. So tell me first how Shavian is Stoppard's work?Lee: He would reply “very close Shavian,” when asked that question. I think there are similarities. There are obviously similarities in the delighting forceful intellectual play, and you see that very much in Jumpers where after all the central character is a philosopher, a bit of a bonkers philosopher, but still a very rational one.And you see it in someone like Henry, the playwright in The Real Thing, who always has an answer to every argument. He may be quite wrong, but he is full of the sort of zest of argument, the passion for argument. And I think that kind of delight in making things intellectually clear and the pleasure in argument is very Shavian.Where I think they differ and where I think is really more like Chekov, or more like Beckett or more in his early work, the dialogues in T. S. Elliot, and less like Shaw is in a kind of underlying strangeness or melancholy or sense of fate or sense of mortality that rings through almost all the plays, even the very, very funny ones. And I don't think I find that in Shaw. My prime reading time for Shaw was between 15 and 19, when I thought that Shaw was the most brilliant grownup that one could possibly be listening to, and I think now I feel less impressed by him and a bit more impatient with him.And I also think that Shaw is much more in the business of resolving moral dilemmas. So in something like Arms and the Man or Man and Superman, you will get a kind of resolution, you will get a sort of sense of this is what we're meant to be agreeing with.Whereas I think quite often one of the fascinating things about Stoppard is the way that he will give all sides of the question; he will embody all sides of the question. And I think his alter ego there is not Shaw, but the character of Turgenev in The Coast of Utopia, who is constantly being nagged by his radical political friends to make his mind up and to have a point of view and come down on one side or the other. And Turgenev says, I take every point of view.Oliver: I must confess, I find The Coast of Utopia a little dull compared to Stoppard's other work.Lee: It's long. Yes. I don't find it dull. But I think it may be a play to read possibly more than a play to see now. And you're never going to get it put on again anyway because the cast is too big. And who's going to put on a nine-hour free play, 50 people cast about 19th-century Russian revolutionaries? Nobody, I would think.But I find it very absorbing actually. And partly because I'm so interested in Isaiah Berlin, who is a very strong presence in the anti-utopianism of those plays. But that's a matter of opinion.Oliver: No. I like Berlin. One thing about Stoppard that's un-Shavian is that he says his plays begin as a noise or an image or a scene, and then we think of him as this very thinking writer. But is he really more of an intuitive writer?Lee: I think it's a terribly good question. I think it gets right at the heart of the matter, and I think it's both. Sorry, I sound like Turgenev, not making my mind up. But yes, there is an image or there is an idea, or there are often two ideas, as it were, the birth of quantum physics and 18th-century landscape gardening. Who else but Stoppard would put those two things in one play, Arcadia, and have you think about both at once.But the image and the play may well have been a dance between two periods of time together in one room. So I think he never knew what the next play was going to be until it would come at him, as it were. He often resisted the idea that if he chose a topic and then researched it, a play would come out of it. That wasn't what happened. Something would come at him and then he would start doing a great deal of research usually for every play.Oliver: What sort of influence did T. S. Elliot have on him? Did it change the dialogue or, was it something else?Lee: When I was working with him on my biography, he gave me a number of things. I had extraordinary access, and we can perhaps come back to that interesting fact. And most of these things were loans he gave them to me to work on. Then I gave them back to him.But he gave me as a present one thing, which was a black notebook that he had been keeping at the time he was writing Rosencrantz and Guildenstern, and also his first and only novel Lord Malquist and Mr. Moon, which is little known, which he thought was going to make his career. The book was published in the same week that Rosencrantz came up. He thought the novel was going to make his career and the play was going to sink without trace. Not so. In the notebook there are many quotations from T. S. Elliot, and particularly from Prufrock and the Wasteland, and you can see him working them into the novel and into the play.“I am not Prince Hamlet nor was meant to be.” And that sense of being a disconsolate outsider. Ill at ease with and neurotic about the world that is charging along almost without you, and you are having to hang on to the edge of the world. The person who feels themself to be in internal exile, not at one with the universe. I think that point of view recurs over and over again, right through the work, but also a kind of epigrammatical, slightly mysterious crypticness that Elliot has, certainly in Prufrock and in the Wasteland and in the early poems. He loved that tone.Oliver: Yes. When I read your paper about that I thought about Rosencrantz and Guildenstern quite differently. I've always disliked the idea that it's a sort of Beckett imitation play. It seems very Elliotic having read what you described.Lee: There is Beckett in there. You can't get away from it.Oliver: Surface level.Lee: Beckett's there, but I think the sense of people waiting around—Stoppard's favorite description of Rosencrantz was: “It's two journalists on a story that doesn't add up, which is very clever and funny.”Yes. And that sense of, Vladimir going, “What are we supposed to be doing and how are we going to pass the time?” That's profoundly influential on Stoppard. So I don't think it's just a superficial resemblance myself, but I agree that Elliot just fills the tone of that play and other things too.Oliver: In the article you wrote about Stoppard and Elliot, the title is about biographical questing, and you also described Arcadia as a quest. How important is the idea of the quest to the way you work and also to the way you read Stoppard?Lee: I took as the epigraph for my biography of Stoppard a line from Arcadia: “It's wanting to know that makes us matter, otherwise we're going out the way we came in.” So I think that's right at the heart of Stoppard's work, and it's right at the heart of any biographical work, whether or not it's mine or someone else's. If you can't know, in the sense of knowing the person, knowing what the person is like, and also knowing as much as possible about them from different kinds of sources, then you might as well give up.You can't do it through impressions. You've got to do it through knowledge. Of course, a certain amount of intuition may also come into play, though I'm not the kind of biographer that feels you can make things up. Working on a living person, this is the only time I've done that.It was, of course, a very different thing from working on a safely dead author. And I knew Penelope Fitzgerald a little bit, but I had no idea I was going to write her biography when I had conversations with her and she wouldn't have told me anything anyway. She was so wicked and evasive. But it was a set up thing; he asked me to do it. And we had a proper contract and we worked together over several years, during which time he became a friend, which was a wonderful piece of luck for me.I was doing four things, really. One was reading all the material that he produced, everything, and getting to know it as well as I could. And that's obviously the basic task. One was talking to him and listening to him talk about his life. And he was very generous with those interviews. I'm sure there were things he didn't tell me, but that's fine. One was talking to other people about him, which is a very interesting process. And with someone like him who knew everyone in the literary, theatrical, cultural world, you have to draw a halt at some point. You can't talk to a thousand people, or I'd have still been doing it, so you talk to particularly fellow playwrights, directors, actors who've worked with him often, as well as family and friends. And then you start pitting the versions against each other and seeing what stands up and what keeps being said.Repetition's very important in that process because when several people say the same thing to you, then you know that's right. And that quest also involves some actual footsteps, as Richard Holmes would say. Footsteps. Traveling to places he'd lived in and going to Darjeeling where he had been to school before he came to England, that kind of travel.And then the fourth, and to me, in a way, almost the most exciting, was the opportunity to watch him at work in rehearsal. So with the director's permissions, I was allowed to sit in on two or three processes like that, the 50th anniversary production of Rosencrantz and Guildenstern at the Old Vic with David Lavoie. And Patrick Marber's wonderful production of Leopoldstadt and Nick Hytner's production of The Hard Problem at the National. So I was able to witness the very interesting negotiations going on between Tom and the director and the cast.And also the extraordinary fact that even with a play like Rosencrantz, which is on every school syllabus and has been for 50—however many years—he was still changing things in rehearsal. I can't get over that. And in his view, as he often said, theater is an event and not a text, and so one could see that actual process of things changing before one's very eyes, and that for a biographer, it's a pretty amazing privilege.Oliver: How much of the plays were written during rehearsal do you think?Lee: Oh, 99% of the plays were written with much labor, much precision, much correction alone at his desk. The text is there, the text is written, and everything changes when you go into the rehearsal room because you suddenly find that there isn't enough time with that speech for the person to get from the bed to the door. It's physics; you have to put another line in so that someone can make an entrance or an exit, that kind of thing.Or the actors will say quite often, because they were a bit in awe—by the time he became well known—the actors initially would be a bit in awe of the braininess and the brilliance. And quite often the actors will be saying, “I'm sorry, I don't understand. I don't understand this.” You'd often get, “I don't really understand.”And then he would never be dismissive. He would either say, “No, I think you've got to make it work.” I'm putting words into his mouth here. Or he would say, “Okay, let's put another sentence or something like that.”Oliver: Between what he wrote at his desk and the book that's available for purchase now, how much changed? Is it 10%, 50? You know what I mean?Lee: Yes. You should be talking to his editor at Faber, Dinah Wood. So Faber would print a relatively small number for the first edition before the rehearsal process and the final production. And then they would do a second edition, which would have some changes in it. So 2%. Okay. But crucial sometimes.Oliver: No, sure. Very important.Lee: And also some plays like Jumpers went through different additions with different endings, different solutions to plot problems. Travesties, he had a lot of trouble with the Lenins in Travesties because it's the play in which you've got Joyce and you've got Tristan Tzara and you've got the Lenins, and they're all these real people and he makes him talk.But he was a little bit nervous about the Lenin. So what he gave him to say were things that they had really said, that Lenin had really said. As opposed to the Tzara-Joyce stuff, which is all wonderfully made up. The bloody Lenins became a bit of a problem for him. And so that gets changed in later editions you'll find.Oliver: How closely do you think The Real Thing is based on Present Laughter by Noël Coward?Lee: Oh, I think there's a little bit of Coward in there. Yes, sure. I think he liked Coward, he liked Wilde, obviously. He likes brilliant, witty, playful entertainers. He wants to be an entertainer. But I think The Real Thing, he was proud of the fact that The Real Thing was one of the few examples of his plays at that time, which weren't based on something else. They weren't based on Hamlet. They weren't based on The Importance of Being Earnest. It's not based on a real person like Housman. I think The Real Thing came out of himself much more than out of literary models.Oliver: You don't think that Henry is a bit like the actor character in Present Laughter and it's all set in his flat and the couples moving around and the slight element of farce?The cricket bat speech is quite similar to when Gary Essendine—do you remember that very funny young man comes up on the train from Epping or somewhere and lectures him about the social value of art. And Gary Essendine says, “Get a job in a theater rep and write 20 plays. And if you can get one of them put on in a pub, you'll be damn lucky.” It's like a model for him, a loose model.Lee: Yes. Henry, I think you should write an article comparing these two plays.Oliver: Okay. Very good. What does Stoppardian mean?Lee: It means witty. It means brilliant with words. It means fizzing with verbal energy. It means intellectually dazzling. The word dazzling is the one that tends to get used. My own version of Stoppardian is a little bit different from, as it were, those standard received and perfectly acceptable accounts of Stoppardian.My own sense of Stoppardian has more to do with grief and mortality and a sense of not belonging and of puzzlement and bewilderment, within all that I said before, within the dazzling, playful astonishing zest and brio of language and the precision about language.Oliver: Because it's a funny word. It's hard to include Leopoldstadt under the typical use of Stoppardian, because it's an untypical Stoppard.Lee: One of the things about Leopoldstadt that I think is—let's get rid of that trope about Stoppardian—characteristic of him is the remarkable way it deals with time. Here's a play like Arcadia, all set in the same place, all set in the same room, in the same house, and it goes from a big hustling room, late 19th-century family play, just like the beginning of The Coast of Utopia, where you begin with a big family in Russia and then it moves through the '20s and then into the terrible appalling period of the Anschluss and the Holocaust.And then it ends up after the war with an empty room. This room, is like a different kind of theater, an empty room. Three characters, none of whom you know very well, speaking in three different kinds of English, reaching across vast spaces of incomprehension, and you've had these jumps through time.And then at the very end, the original family, all of whom have been destroyed, the original family reappears on the stage. I'm sorry to tell this for anyone who hasn't seen Leopoldstadt. Because when it happens on the stage, it's an absolutely astonishing moment. As if the time has gone round and as if the play, which I think it was for him, was an act of restitution to all those people.Oliver: How often did he use his charm to get his way with actors?Lee: A lot. And not just actors. People he worked with, film people, friends, companions. Charm is such an interesting thing, isn't it? Because we shouldn't deviate, but there's always a slightly sinister aspect to the word charm as in, a magic charm. And one tends to be a bit suspicious of charm. And he knew he had charm and he was physically very magnetic and good looking and very funny and very attentive to people.But I think the charm, in his case, he did use it to get the right results, and he did use it, as he would say, “to look after my plays.” He was always, “I want to look after my plays.” And that's why he went back to rehearsal when there were revivals and so on. But he wasn't always charming. Patrick Marber, who's a friend of his and who directed Leopoldstadt, is very good on how irritable Stoppard could be sometimes in rehearsal. And I've heard that from other directors too—Jack O'Brien, who did the American productions of things like The Invention of Love.If Stoppard felt it wasn't right, he could get quite cross. So this wasn't a sort of oleaginous character at all. It's not smooth, it's not a smooth charm at all. But yes, he knew his power and he used it, and I think in a good way. I think he was a benign character actually. And one of the things that was very fascinating to me, not only when he died and there was this great outpouring of tributes, very heartfelt tributes, I thought. But also when I was working on the biography, I was going around the world trying to find people to say bad things about him, because what I didn't want to do was write a hagiography. You don't want to do that; there would be no point. And it was genuinely quite hard.And I don't know the theater world; it's not my world. I got to know it a little bit then. But I have never necessarily thought of the theater world as being utterly loving and generous about everybody else. I'm sure there are lots of rivalries and spitefulness, as there is in academic life, all the rest of it. But it was very hard to find anyone with a bad word to say about him, even people who'd come up against the steeliness that there is in him.I had an interview with Steven Spielberg about him, with whom he worked a lot, and with whom he did Empire of the Sun. And I would ask my interviewees if they could come up with two or three adjectives or an adjective that would sum him up, that would sum Stoppard up to them. And when I asked Spielberg this question, he had a little think and then he said, intransigent. I thought, great. He must be the only person who ever stood up to him.Oliver: What was his best film script? Did he write a really great film.Lee: That one. I think partly the novel, I don't know if you know the Ballard novel, the Empire of the Sun, it's a marvelous novel. And Ballard was just a magical and amazing writer, a great hero of mine. But I think what Stoppard did with that was really clever and brilliant.I know people like Brazil, the Terry Gilliam sort of surrealist way. And there's some interesting early work. Most of his film work was not one script; it was little bits that he helped with. So there's famously the Indiana Jones and the Last Crusade, he did most of the dialogue for Harrison Ford.But there are others like the One Hundred and One Dalmatians, where I think there's one line, anonymously Stoppardian in there. One of the things about the obituaries that slightly narked me was that there, I felt there was a bit too much about the films. Truly, I don't think the film work was—he wanted it to be right and he wanted to get it right—but it wasn't as close to his heart as the theater work. And indeed the work for radio, which I thought was generally underwritten about when he died. There was some terrific work there.Oliver: Yes. And there aren't that many canonical writers who've been great on the radio.Lee: Absolutely. He did everything. He did film, he did radio. He wrote some opera librettos. He really did everything. And on top of that, there was the great work for the public good, which I think is a very important part of his legacy, his history.Oliver: How much crossover influence is there between the different bits of his career? Does the screenwriting influence the theater writing and the radio and so on? Or is he just compartmentalized and able to do a lot of different things?Lee: That's such an interesting question. I don't think I've thought about it enough. I think there are very cinematic aspects to some of the plays, like Night and Day, for instance, the play about journalism. That could easily have been a film.And perhaps Hapgood as well, although it could be a kind of John le Carré type film thriller, though it's such a set of complicated interlocking boxes that I don't know that it would work as a film. It's not one of my favorite players, I must say. I struggle a little bit with Hapgood. But, yes, I'm sure that they fed into each other. Because he was so busy, he was often doing several things at once. So he was keeping things in boxes and opening the lid of that box. But mentally things must have overlapped, I'm sure.Oliver: He once joked that rather than having read Wittgenstein from cover to cover, he had only read the covers. How true is that? Because I know some people who would say he's very clever in everything, but he's not as clever as he looks. It's obviously not true that he only read the covers.Lee: I think there was a phase, wasn't there, after the early plays when people felt that he was—it's that English phrase, isn't it—too clever by half. Which you would never hear anyone in France saying of someone that they were too clever by half. So he was this kind of jazzy intellectual who put all his ideas out there, and he was this sort of self-educated savant who hadn't been to Oxford.There was quite a lot of that about in the earlier years, I think. And a sense that he was getting away with it, to which I would countermand with the story of the writing of The Invention of Love. So what attracted him to the figure of Housman initially was not the painful, suppressed homosexual love story, but the fact that here was this person who was divided into a very pernickety, savagely critical classical editor of Latin and a romantic lyric poet. In order to work out how to turn this into a play, he probably spent about six years taking Latin lessons, reading everything he could read on the history of classical literature. Obviously reading about Housman, engaging in conversation with classical scholars about Housman's, finer points of editorial precision about certain phrases. And what he used from that was the tip of the iceberg. But the iceberg was real.He really did that work and he often used to say that it was his favorite play because he'd so much enjoyed the work that went into it. I think he took what he needed from someone like Wittgenstein. I know you don't like The Coast of Utopia very much, but if you read his background to Coast of Utopia, what went into it, and if you compare what's in the plays, those three plays, with what's in the writing about those revolutionaries, he read everything. He may have magpied it, but he's certainly knows what he's talking about. So I defend him a bit against that, I think.Oliver: Good, good. Did you see the recent production at the Hamstead Theatre of The Invention of Love?Lee: I did, yes.Oliver: What did you think?Lee: I liked it. I thought it was rather beautifully done. I liked those boats rowing around that clicked together. I thought Simon Russell Beale was extremely good, particularly very moving. And very good in Housman's vindictiveness as a critic. He is not a nice person in that sense. And his scornfulness about the women students in his class, that kind of thing. And so there was a wonderful vitriol and scorn in Russell Beale's performance.I think when you see it now, some of the Oxford context is a little bit clunky, those scenes with Jowett and Pater and so on, it's like a bit of a caricature of the context of cultural life at the time, intellectual life at the time. But I think that the trope of the old and the young Housman meeting each other and talking to each other, which I still think is very moving. I thought it worked tremendously well.Oliver: What are Tom Stoppard's poems like?Lee: You see them in Indian Ink where he invents a poet, Flora Crewe, who is a poet who was died young, turn of the century, bold feminist associated with Bloomsbury and gets picked up much later as a kind of Sylvia Plath-type, HD type heroine. And when you look at Stoppard's manuscripts in the Harry Ransom Center in the University of Austin, in Texas, there is more ink spent on writing and rewriting those poems of Flora Crewe than anything else I saw in the manuscript. He wrote them and rewrote them.Early on he wrote some Elliot—they're very like Elliot—little poems for himself. I think there are probably quite a lot of love poems out there, which I never saw because they belong to the people for whom he wrote them. So I wouldn't know about those.Oliver: How consistently did Stoppard hold to a kind of liberal individualism in his politics?Lee: He was accused of being very right wing in the 1980s really, 1970s, 1980s, when the preponderant tendency for British drama was radicalism, Royal Court, left wing, all of that. And Stoppard seemed an outlier then, because he approved of Thatcher. He was a friend of Thatcher. He didn't like the print union. It was particularly about newspapers because he'd been a newspaper man in his youth. That was his alternative university education, working in Bristol on the newspapers. He had a romance heroic feeling about the value of the journalist to uphold democracy, and he hated the pressure of the print unions to what he thought at the time was stifling that.He changed his mind. I think a lot about that. He had been very idealistic and in love with English liberal values. And I think towards the end of his life he felt that those were being eroded. He voted lots of different ways. He voted conservative, voted green. He voted lib dem. I don't if he ever voted Labour.Oliver: But even though his personal politics shifted and the way he voted shifted, there is something quite continuous from the early plays through to Rock ‘n' Roll. Is there a sort of basic foundation that doesn't change, even though the response to events and the idea about the times changes?Lee: Yes, I think that's right, and I think it can be summed up in what Henry says in The Real Thing about politics, which is a version of what's often said in his plays, which is public postures have the configuration of private derangement. So that there's a deep suspicion of political rhetoric, especially when it tends towards the final solution type, the utopian type, the sense that individual lives can be sacrificed in the interest of an ultimate rationalized greater good.And then, he's worked in the '70s for the victims of Soviet communism. His work alongside in support of Havel and Charter 77. And he wrote on those themes such as Every Good Boy Deserves Favour and Professional Foul. Those are absolutely at the heart of what he felt. And they come back again when he's very modest about this and kept it quiet. But he did an enormous amount of work for the Belarus exile, Belarus Free Theater collective, people in support of those trying to work against the regime in Belarus.And then the profound, heartfelt, intense feeling of horror about what happened to people in Leopoldstadt. That's all part of the same thing. I think he's a believer in individual freedom and in democracy and has a suspicion of political rhetoric.Oliver: How much were some of his great parts written for specific actors? Because I sometimes have a feeling when I watch one of his plays now, if I'd been here when Felicity Kendal was doing this, I would be getting the whole thing, but I'm getting most of it.Lee: I'm sure that's right. And he built up a team around him: Peter Wood, the director and John Wood who's such an extraordinary Henry Carr in in in Travesties. And Michael Hordern as George the philosopher in Jumpers. And he wrote a lot for Kendal, in the process of becoming life companions.But he'd obviously been writing and thinking of her very much, for instance, in Arcadia. And also I think very much, it's very touching now to see the production of Indian Ink that's running at Hampstead Theatre in which Felicity Kendal is playing the older woman, the surviving older sister of the poet Flora Crewe, where of course the part of Flora Crewe was written for her. And there's something very touching about seeing that now. And, in fact, the first night of that production was the day of Stoppard's funeral. And Kendal couldn't be at the funeral, of course, because she was in the first night of his play. That's a very touching thing.Oliver: Why did he think the revivals came too soon?Lee: I don't really know the answer to that. I think he thought a play had to hook up a lot of oxygen and attract a lot of attention. If you were lucky while it was on, people would remember the casting and the direction of that version of it, and it would have a kind of memory. You had to be there.But people who were there would remember it and talk about it. And if you had another production very soon after that, then maybe it would diminish or take away that effect. I think he had a sort of loyalty to first productions often. What do you think about that? I'm not quite sure of the answer to that.Oliver: I don't know. To me it seems to conflict a bit with his idea that it's a living thing and he's always rewriting it in the rehearsal room. But I think probably what you say is right, and he will have got it right in a certain way through all that rehearsing. You then need to wait for a new generation of people to make it fresh again, if you like.Lee: Or not a generation even, but give it five years.Oliver: Everyone new and this theater's working differently now. We can rework it in our own way. Can we have a few questions about your broader career before we finish?Lee: Depends what they are.Oliver: Your former colleague John Carey died at a similar time to Stoppard. What do you think was his best work?Lee: John Carey's best work? Oh. I thought the biography of Golding was pretty good. And I thought he wrote a very good book on Thackery. And I thought his work on Milton was good. I wasn't so keen on The Intellectuals and the Masses. He and I used to have vociferous arguments about that because he had cast Virginia Woolf with all the modernist fascists, as it were. He'd put her in a pile with Wyndham Lewis and Ezra Pound and so on. And actually, Virginia Woolf was a socialist feminist. And this didn't seem to have struck him because he was so keen to expose her frightful snobbery, which is what people in England reading Woolf, especially middle class blokes, were horrified by.And she is a snob, there's no doubt about it. But she knew that and she lacerated herself for it too. And I think he ignored all the other aspects of her. So I was angry about that. But he was the kind of person you could have a really good argument with. That was one of the really great things about John.Oliver: He seems to be someone else who was amenable and charming, but also very steely.Lee: Yes, I think he probably was I think he probably was. You can see that in his memoir, I think.Oliver: What was Carmen Callil like?Lee: Oh. She was a very important person in my life. It was she who got me involved in writing pieces for Virago. And it was she who asked me to write the life of Virginia Woolf for Chatto. And she was an enormous, inspiring encourager as she was to very many people. And I loved her.But I was also, as many people were, quite daunted by her. She was temperamental, she was angry. She was passionate. She was often quite difficult. Not a word I like to use about women because there's that trope of difficult women, but she could be. And she lost her temper in a very un-English way, which was quite a sight to behold. But I think of her as one of the most creative and influential publishers of the 20th century.Oliver: Will there be a biography of her?Lee: I don't know. Yes, it's a really interesting question, and I've been asking her executors whether they have any thoughts about that. Somebody said to me, oh, who wants a biography of a publisher? But, actually, publishers are really important people often, so I hope there would be. Yes. And it would need to be someone who understood the politics of feminism and who understood about coming from Australia and who understood about the Catholic background and who understood about her passion for France. And there are a whole lot of aspects to that life. It's a rich and complex life. Yes, I hope there will be someday.Oliver: Her papers are sitting there in the British Library.Lee: They are. And in fact—you kindly mentioned this to start with—I've just finished a biography of the art historian and novelist, Anita Brookner, who won the Booker prize in 1984 for a novel called Hotel du Lac.And Carmen and Anita were great buddies, surprisingly actually, because they were very different kinds of characters. And the year before she died, Carmen, who knew I was working on Anita, showed me all her diary entries and all the letters she'd kept from Anita. And that's the kind of generous person that she was.That material is now sitting in the British Library, along with huge reams of correspondence between Carmen and many other people. And it's an exciting archive.Oliver: She seems to have had a capacity to be friends with almost anyone.Lee: Yes, I think there were people she would not have wanted to be friends with. She was very disapproving of a lot of political figures and particularly right-wing figures, and there were people she would've simply spat at if she was in the room with them. But, yes, she an enormous range of friends, and she was, as I said, she was fantastically encouraging to younger women writers.And, also, another aspect of Carmen's life, which I greatly admired and was fascinated by: In Virago she would often be resuscitating the careers of elderly women writers who had been forgotten or neglected, including Antonia White and including Rosamund Lehmann. And part of Carmen's job at Virago, as she felt, was not just to republish these people, some of whom hadn't had a book published for decades, but also to look after them. And they were all quite elderly and often quite eccentric and often quite needy. And Carmen would be there, bringing them out and looking after them and going around to see them. And really marvelous, I think.Oliver: Yes, it is. Tell me about Brian Moore.Lee: Breean, as he called himself.Oliver: Oh, I'm sorry.Lee: No, it's all right. I think Brian became a friend because in the 1980s I had a book program on Channel 4, which was called Book Four. It had a very small audience, but had a wonderful time over several years interviewing lots and lots of writers who had new books out. We didn't have a budget; it was a table and two chairs and not the kind of book program you see on the television anymore. And I got to know Brian through that and through reviewing him a bit and doing interviews with him, and my husband and I would go out and visit him and his wife Jean.And I loved the work. I thought the work was such a brilliant mixture of popular cultural forms, like the thriller and historical novel and so on. And fascinating ideas about authority and religion and how to be free, how to break free of the bonds of what he'd grown up with in Ireland, in Northern Ireland, the bombs of religious autocracy, as it were. And very surreal in some ways as well. And he was also a very charming, funny, gregarious person who could be quite wicked about other writers.And, he was a wonderfully wicked and funny companion. What breaks my heart about Brian Moore is that while he was alive, he was writing a novel maybe every other year or every three years, and people would review them and they were talked about, and I don't think they were on academic syllabuses but they were really popular. And when he died and there were no more books, it just went. You can think of other writers like that who were tremendously well known in their time. And then when there weren't any more books, just went away. You ask people, now you go out and ask people, say, “What about The Temptation of Eileen Hughes or The Doctor's Wife or Black Robe? And they'll go, “Sorry?”Oliver: If anyone listening to this wants to try one of his novels, where do you say they should start?Lee: I think I would start with The Doctor's Wife and The Temptation of Eileen Hughes. And then if one liked those, one would get a taste for him. But there's plenty to choose from.Oliver: What about Catholics?Lee: Yes. Catholics is a wonderful book. Yes. Wonderful book. Bit like Muriel Spark's The Abbess of Crewe, I think.Oliver: How important is religion to Penelope Fitzgerald's work?Lee: She would say that she felt guilty about not having put her religious beliefs more explicitly into her fiction. I'm very glad that she didn't because I think it is deeply important and she believes in miracles and saints and angels and manifestations and providence, but she doesn't spell it out.And so when at the end of The Gate of Angels, for instance, there is a kind of miracle on the last page but it's much better not to have it spelt out as a miracle, in my view. And in The Blue Flower, which is not my favorite of her books, but it's the book of the greatest genius possibly. And I think she was a genius. There is a deep interest in Novalis's romantic philosophical ideas about a spiritual life, beyond the physical life, no more doctrinally than that. And she, of course, believes in that. I think she believed, in an almost Platonic way, that this life was a kind of cave of shadows and that there was something beyond that. And there are some very mysterious moments in her books, which, if they had been explained as religious experiences, I think would've been much less forceful and much less intense.Oliver: What is your favorite of her books?Lee: Oh, The Beginning of Spring. The Beginning of Spring is set in Moscow just before the revolution. And its concerns an Englishman who runs a print and publishing works. And it's based quite a lot on some factual narratives about people in Moscow at the time. And it's about the feeling of that place and that time, but it's also about being in love with two people at the same time.And, yes, and it's about cultural clashes and cultural misunderstanding, and it is an astonishingly evocative book. And when asked about this book, interviewers would say to Penelope, oh, she must have lived in Moscow for ages to know so much about it. And sometimes she would say, “Yes, I lived there for years.” And sometimes she would say, “No, I've never been there in my life.” And the fact was she'd had a week's book tour in Moscow with her daughter. And that was the only time she ever went to Russia, but she read. So it was a wonderful example of how she would be so wicked; she would lie.Oliver: Yes.Lee: Because she couldn't be bothered to tell the truth.Oliver: But wasn't she poking fun at their silly questions?Lee: Yes. It's not such a silly question. I would've asked her that question. It is an astonishing evocation of a place.Oliver: No, I would've asked it too, but I do feel like she had this sense of it's silly to be asked questions at all. It's silly to be interviewed.Lee: I interviewed her about three times—and it was fascinating. And she would deflect. She would deflect, deflect. When you asked her about her own work, she would deflect onto someone else's work or she would tell you a story. But she also got quite irritable.So for instance, there's a poltergeist in a novel called The Bookshop. And the poltergeist is a very frightening apparition and very strong chapter in the book. And I said to her in interview, “Look, lots of people think this is just superstition. There aren't poltergeists.” And she looked at me very crossly and said they just haven't been there. They don't know what they're talking about. Absolutely factual and matter of fact about the reality of a poltergeist.Oliver: What makes Virginia Woolf's literary criticism so good?Lee: Oh, I think it's a kind of empathy actually. That she has an extraordinary ability to try and inhabit the person that she's writing about. So she doesn't write from the point of view of, as it were, a dry, historical appreciation.She's got the facts and she's read the books, but she's trying to intimately evoke what it felt like to be that writer. I don't mean by dressing it up with personal anecdotes, but just she has an extraordinary way of describing what that person's writing is like, often in images by using images and metaphors, which makes you feel you are inside the story somehow.And she loves anecdotes. She's very good at telling anecdotes, I think. And also she's not soft, but she's not harshly judgmental. I think she will try and get the juice out of anything she's writing about. Most of these literary criticism pieces were written for money and against the clock and whilst doing other things.So if you read her on Dorothy Wordsworth or Mary Wollstonecraft or Henry James, there's a wonderful sense of, you feel your knowledge has been expanded. Knowledge in the sense of knowing the person; I don't mean in the sense of hard facts.Oliver: Sure. You've finished your Anita Brookner biography and that's coming this year.Lee: September the 10th this year, here and in the States.Oliver: What will you do next?Lee: Yes. That's a very good question, though a little soon, I feel.Oliver: Is there someone whose life you always wanted to write, but didn't?Lee: No. No, there isn't. Not at the moment. Who knows?Oliver: You are open to it. You are open.Lee: Who knows what will come up.Oliver: Yes. Hermione Lee, this was a real pleasure. Thank you very much.Lee: Thank you very much. It was a treat. This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit www.commonreader.co.uk

The Cat's Andy Cook interviewed Mayor Sally Graham and Tammy McClure (Fund Raining Manager of Crewe's YMCA) about "Sleep Easy 2026".

We sat down with Steve Walters to talk about his journey from a promising young player in Plymouth to Crewe Alex's first team, via Lilleshall. We pick out his highlights of his time playing for the Alex. We end with Steve telling us about his decision to come forward in 2016 and what impact it has had on him since then. Click the link below to see the full range of our Railwaymen merchandise - If you would prefer names changing or a different colour shirt please reach out and we should be able to accommodate!https://the-railwaymen-podcast.teemill.com/You can also help the running of the podcast at https://buymeacoffee.com/therailwaymen Hosted on Acast. See acast.com/privacy for more information.

Mark, Tom and Max go through a disappointing day at Notts County with Crewe coming away with a 1-0 defeat.The women's team were at home to Bolton Wanderers. We look ahead to two games this week; Bromley with Machel, and Colchester with SimonThere's a full AoB this week, again dealing with Radio Stoke, and news of our special pod out this week with Steve Walters!Tom is fighting in a charity boxing match (Yes Really!) you can donate here - https://givestar.io/gs/tom-boons-wilder-fight-night-fundraiserClick the link below to see the full range of our Railwaymen merchandise - If you would prefer names changing or a different colour shirt please reach out and we should be able to accommodate!https://the-railwaymen-podcast.teemill.com/You can also help the running of the podcast at https://buymeacoffee.com/therailwaymen Hosted on Acast. See acast.com/privacy for more information.

Following on from the club announcing their accounts for the 24/25 season we thought the time would be right to sit down with Kieran Maguire - From The Price Of Football Podcast to go through what they mean for the future of the club.We went through the highlights of the accounts before moving on to some more broader questions about football in general and more specifically surviving in League Two without a generous benefactor.Click the link below to see the full range of our Railwaymen merchandise - If you would prefer names changing or a different colour shirt please reach out and we should be able to accommodate!https://the-railwaymen-podcast.teemill.com/You can also help the running of the podcast at https://buymeacoffee.com/therailwaymen Hosted on Acast. See acast.com/privacy for more information.

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Send me a DM here (it doesn't let me respond), OR email me: imagineabetterworld2020@gmail.comToday I'm absolutely honored to introduce you all to: Child sexual abuse survivor, overcomer and whistleblower, former professional footballer for the English Football League, inspiration behind the film ‘Floodlights', public speaker, thought leader, Founder of “Inside the Boys Club”, and professional Hero: Andy WoodwardA little bit about Andy and what we will be discussing today: Born in 1973 in Stockport, England, Andy grew up in a protective working-class family scarred by tragedy even before his birth: in 1971, his aunt Lynda, nine months pregnant, was raped and murdered by Ronald Bennell. Football became Andy's escape and passion from a young age. Spotted as a gifted youngster playing for Stockport boys, he caught the eye of Barry Bennell, a charismatic scout linked to Manchester City and later Crewe Alexandra. Bennell, hailed as a youth coaching genius, groomed Andy and his soft-natured parents with promises of stardom.What began as weekend stays at Bennell's home - lured by video games, pool tables, and football training - quickly turned into a real life nightmare. From a tender age of just 10 years old, Andy endured relentless sexual abuse, living in dual worlds: the bright promise of football by day, and terror by night. Bennell's manipulation was masterful; he targeted vulnerable boys from humble backgrounds, wielding fear, threats, and control. The horror deepened when Bennell formed a relationship with Andy's older sister (also named Lynda, after their murdered aunt), married her, and had children with her - all while continuing to prey on Andy.Andy carried this secret for decades, channeling suppressed rage into his game. He turned professional with Crewe in 1992, contributing to promotions and playing nearly 200 league matches across clubs before retiring in 2003. Yet the trauma manifested in panic attacks, toxic relationship patterns, and struggles with mental health. In 1997, when Bennell was convicted in the US, Andy gave police a statement but stayed anonymous to protect his career. Joining the police force post-retirement, he sought to help others, only to face further institutional failures.The turning point came in November 2016. At 43, battling personal demons, Andy waived anonymity in a Guardian interview. He detailed the abuse, Bennell's grooming tactics, and systemic cover-ups. The response was seismic: hundreds of victims emerged, leading to Bennell's multiple convictions (totaling over 50 years) and revelations of a pedophile ring across clubs like Chelsea, Manchester City, and Southampton.Today, Andy remains a powerful and unstoppable advocate. Despite the targeting and harassment he has received since going public with his testimony, he continues to relentlessly engage in public speaking - sharing his experiences on podcasts and platforms to inspire survivors and demand accountability and justice. Believing in spiritual synergy and universal purpose, he vows to continue revealing more truths about institutional betrayals, emphasizing that light will overcome darkness through collective courage. Andy is no ordinary survivor - he is a warrior whose voice dismantled a hidden empire of abuse, saving countless present and future generations.CONNECT WITH ANDY: Purchase his book 'Position of Trust': https://a.co/d/jb0ntYKInside the Boys Club: https://whatwashidden.org/Facebook: https://www.facebook.com/andy.woodward.965CONNECT WITH EMMA: YouTube: https://www.youtube.com/@imaginationpodcastofficialEMAIL: imagineabetterworld2020@gmail.com OR standbysurvivors@protonmail.comMy Substack: https://emmakatherine.substaSupport the show

We're back with another episode of I Had Trials Once and this time we're joined by former Sheffield United, Bury, Plymouth, Sunderland, Crewe, Wrexham & Radcliffe defender...Callum McFadzean! Cal sits down with Gaz & Jord to discuss everything from dropping into non-league to play with Jordan at Radcliffe to those viral promotion parties in Las Vegas with Wrexham. The lads start the pod discussing how Callum is enjoying life at Radcliffe, how the move came about and what it's like playing alongside our very own Jordan Hulme. Callum then talks about his early life in football at Sheffield United, getting scouted by Real Madrid, representing England U16s with Raheem Sterling & also making his first team debut for his boyhood club. The trio then chat in depth about why Callum made a mistake joining Kilmarnock, dropping into non-league with Alfreton & Guiseley as well as what it was actually like at Bury during their turmoil period before they went bust. Callum then speaks about his time at Plymouth, why he struggled being so far away from his family & the experience of playing for a huge club in Sunderland. Finally they end the pod talking about how Callum's move to Wrexham came about, that journey from National League to League One, the brilliance of Ryan Reynolds & Rob McElhenney & those viral promotion parties in Las Vegas.

I am stuck at Crewe, the rail junction in Cheshire, but I have been hearing from two of the presenters of an excellent new Channel 4 series, Britain's favourite railway station: Si King and Siddy Holloway. The first episode is available now at channel4.comThis podcast is free, as is Independent Travel's weekly newsletter. Sign up here to get it delivered to your inbox. Hosted on Acast. See acast.com/privacy for more information.

Ian Street graces the south in a feature length match-day diary with Ed, Rhys & Jack for his first home game of the season. After today's performance, we are now negotiating with 1912 Exiles commercial to subsidise more visits as the official club's good luck charm! Come with us on a journey of bewilderment and bovril spice on-scene at Rodney Parade as we remember that winning feeling, not felt since March.As always, do contact us via your social media platform of choice and give us your thoughts. If you like what we do as a podcast and want to support it, please visit our Ko-Fi page and throw us a few pennies. Thanks to Tinty & The Bucket Hats for letting us use Discoland as our theme tune, and to the Riverside Sports Bar (the home of great sport and burgers in Newport) for their support of the pod. Hosted on Acast. See acast.com/privacy for more information.

Join comedians Rachel Fairburn and Kiri Pritchard-McLean as they explore a shared passion, serial killers. Each episode the pair will talk all things murder and macabre and have a right laugh doing it. This month's episode is all about Charles Albright, also known as The Dallas Ripper, The Dallas Slasher, and most disturbingly of all...The Eyeball Killer. Part 2 is recorded from an Airbnb in Crewe ahead of the All Killa Christmas Show! So, between details on Albright's crimes and trial, expect plenty of complaints about hotel accommodation - from reduced towel washing to rogue pubes.

Seth Johnson joins us this week to finally clear up one of football's biggest urban myths — the legendary Leeds United contract story. From leaving home at 14 to survive Dario Gradi's ruthless standards at Crewe, to becoming part of Derby's chaotic foreign-superstar era, Seth brings some unbelievable tales, including stories about Ravenelli turning up suited and spotless every day, a teammate praying in toilet cubicles before kick-off, and the car crash that nearly ended everything at 17. Seth also tells the full truth about the night out in Slovakia that saw him, Matt Jansen and Lee Hendrie banned from the England U21s for three months, why he turned down Liverpool despite late-night calls from Gérard Houllier, and what it was like making his England debut next to Del Piero. A funny, honest and long-awaited chat with a player fans have always wanted to understand properly. This show is sponsored by Talksport Bet Get £40 in FREE BETS at http://talksportbet.com/utc when you bet £10 18+ gambleaware.org T&Cs apply

A long-overdue episode, this one, as we explore Newport County's ownership, the potential loss of league status, and the current existential crisis at NP19.Ian is in the chair, and is joined by Rhys and Ed. The gang briefly discuss the Crewe and Fleetwood games, but then turn our attention to matters off the pitch. With a crunch fan forum meeting taking place next Wednesday, we ask what chairman Huw Jenkins needs to say and do, what the next six weeks may mean for the club's medium-term future, and what needs to change culturally to shift the dial at the club from gloom to joy.We'd welcome your thoughts, as always, so do contact us via your social media platform of choice. If you like what we do as a podcast and want to support it, please visit our Ko-Fi page and throw us a few pennies. Thanks to Tinty & The Bucket Hats for letting us use Discoland as our theme tune, and to the Riverside Sports Bar (the home of great sport and burgers in Newport) for their support of the pod.We'll be back soon to try and bring you some Christmas cheer, but in the meantime look after yourselves and each other, and above all - as always - Keep it County. Hosted on Acast. See acast.com/privacy for more information.

A big statement of intent - that's what Carl, Iwan and Sam made of the three late attacking substitutions made Cardiff City manager Brian Barry-Murphy that turned an acceptable away draw into a huge win at title rivals Stevenage. It increased their lead at the top of League One to four points, but also sent a clear message to their rivals on the manager's winning mentality.Swansea City had a super sub of their own as Liam Cullen struck to ensure a second successive home win that silenced talk of a relegation battle... for now. Newport County put a shocking FA Cup display behind them to earn a point at Crewe, giving Iwan new hope they can climb off the bottom of League Two as the hectic Christmas schedule arrives.And after Mo Salah's remarkable outburst against his treatment at Liverpool, Sam recalls his attempts to persuade Sean Dyche he was wrong to drop him to the Burnley bench.

After a shambolic TV broadcast this week which made the FIFA World Cup draw (complete with Rio Ferdinand-Gianni Infantino comedy skits and Wayne Gretzky attempting to pronounce “North Macedonia”) look like a polished, professional affair, Jamie attempts to unpack Newport County's humbling in the FA Cup away to Borehamwood.You may wish to cheer yourself up by listening to some Radiohead, or even better, Ed's chat with the Crewe pod The Railwaymen ahead of our away game on Wednesday. Check it out here.We'd welcome your thoughts, as always, so do contact us via your social media platform of choice. If you like what we do as a podcast and want to support it, please visit our ko-fi page to either buy some 1912 Exiles Bovril Spice, or to throw in a few pounds towards our #WhitmoresWarnings fund. Thanks to Tinty & The Bucket Hats for letting us use Discoland as our theme tune, and to the Riverside Sports Bar (the home of great sport and burgers in Newport) for their support of the pod.We'll be back soon to try and bring you some Christmas cheer, but in the meantime look after yourselves and each other, and above all - as always - Keep it County. Hosted on Acast. See acast.com/privacy for more information.

This week Russ and Andy are joined by regular, Lauren. We chat about Barnsley, Crewe, players coming back, performances needed (and got) and a quick look ahead to Cambridge on Saturday. There's loads more, plus a very difficult, Random Shit of the Week.Sign up to get ad free and exclusive special guest podcasts, a monthly giveaway plus first dibs on live events with former players (no extra cost!). Not only that, you'll be supporting the podcast and helping us maintain equipment and the services we need to run the pod.Join our Patreon membership: JOIN HERE Hosted on Acast. See acast.com/privacy for more information.

Back-to-back wins! Into the playoffs! A last minute winner! A penalty! It was an afternoon of firsts on Saturday, and it capped off a nearly perfect November. Tom, Caspell and Swindle are on hand this week to look over the comeback win against Crewe and review what has turned into a brilliant month for United.Subscribe to the Coconut Tier to get:

After a week of sporting disappointment down under for Jules, he's back on hosting duties in the hope United don't make it two in a row. Matt ‘D'you know what I mean' Caspell is with him, to look ahead to the visit of the Railwaymen in a game that presents a big opportunity for the U's to keep progressing up the table.Subscribe to the Coconut Tier to get:

As Mrs Whitehall is so keen to tell you, Crewe is a MAJOR junction in terms of rail travel in the UK... But they weren't just passing through. Mr & Mrs Whitehall took to the stage at The Lyceum for a wonderful evening which covered everything from proposals to breakups! JOIN THE WITTERING WHITEHALLS FOR THEIR BARELY (A)LIVE TOUR: https://thewitteringwhitehalls.co.uk/You can email your questions, thoughts or problems to TheWitteringWhitehalls@gmail.comOr, perhaps you'd like to send a WhatsApp message or Voice note? Why not?! Send them in to +447712147236This episode contains explicit language and adult themes that may not be suitable for all listeners.

Somehow, it ended 0-0 between Oldham and Crewe on Saturday, a combination of the woodwork, great goalkeeping and some good fortune keeping things all square. We discuss the game, football finance and the latest OASF initiative.The Boundary Park Alert System is sponsored by ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Pendle Nu Tech⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠. For information on all their fire safety services, click ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠here⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠. Big thanks to Latics fan Sebastian from Pendle Nu Tech for sponsoring the show.You can support the pod by paying a monthly subscription of just £2.99 via this link⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ here⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠If you'd like to make a one off donation, you can now also Buy Us A Coffee by clicking ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠here⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠You can also support us by visiting ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠our website⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠, subscribing to our mailing list and purchasing from our⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠online shop.⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Please subscribe to our ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠YouTube Channel⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ to watch the Latics Football Phone In live every Thursday from 8.30pm.BPAS and Latics Football Phone In are⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠KUPOD⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ productions for ⁠⁠⁠⁠⁠⁠⁠⁠⁠We Are Oldham - Dedicated Fan Media⁠⁠⁠⁠⁠⁠⁠⁠⁠. Title music is by Manchester DJ and producer Starion find out more ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠here.⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Laticsmind theme composed, recorded and produced by ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Matt Berry⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ at King Buzzard Studios in Shaw.

The Merciless One himself, ‘Merciless' Lord Crewe, joins It's Real To Us! for an in-depth interview you don't want to miss! We talk about his journey in professional wrestling, how he became “The Merciless One,” his signature beard, major career highlights, and the grind that keeps him going.Lord Crewe opens up about the pain and perseverance behind the scenes — from his torn pec to main eventing Gotham Wrestling — and shares his goals for the future.Follow "Merciless" Lord Crewe on Instagram and X @lordcrewekillshttps://www.instagram.com/lordcrewekills?utm_source=ig_web_button_share_sheet&igsh=ZDNlZDc0MzIxNw==BIG SHOUTOUT TO RAVENMOTHSTUDIOS  FOR AN AWESOME THUMBNAIL... FOLLOW AT https://www.instagram.com/ravenmothstudios?utm_source=ig_web_button_share_sheet&igsh=ZDNlZDc0MzIxNw==#wrestling #prowrestling #indywrestling #merciless #itsrealtous #wwe #aew 

There is an interesting theme coursing through these are three dynamic pop hits of the Brill Building era, all by one hit wonders, sung by extraordinary, up and coming stylists, and crafted by some of the most influential music men of the time: Cathy Carroll's 1962 hit, “Poor Little Puppet” (produced and arranged by Stan Applebaum, written by Howard Greenfield (Neil Sedaka's partner, here collaborating with Jack Keller); 1963's “Girls Grow Up Faster Than Boys Do,” by Earl-Jean McCrae (with the Cookies), produced by Gerry Goffin, written by Goffin and Carole King, also with Jack Keller; and Tracey Dey, singing “I Won't Tell,” from 1964, produced by Bob Crewe, written by Crewe with The Four Season's Bob Gaudio. The theme is irony. All three feature tough minded, independent young females, endeavoring for autonomy in a man's world, delivering songs written by powerful men who controlled every aspect of their creation and production. These appeared in the time pre-Women's Liberation, and demonstrate strength, heartbreak, and a tension that pulls against the undertoe of subservience.Taken in chronological order:“Poor Little Puppet” was originally recorded by Jan and Dean in 1961 as a sleepy, Everly Brothers clone, and it didn't do much. But, here, as interpreted by Cathy Carroll, and helmed by Stan Applebaum, the tune takes flight in a punchier, more uptempo arrangement. It charted at 91 on the top 100 - Cathy's only showing, and the surprise twist at the end is powerful, when the singer, looking in the mirror, admits that she herself is the puppet, whose strings are being controlled by the man whose love she craves.2. In 1963, The Cookies were on top with “Chains,” the Goffin-King hit, later covered by The Beatles, and “Girls Grow Up Faster Than Boys Do,” (also by those chart-topping songwriters), was perfectly designed for them and their irresistible lead singer Earl-Jean McCrae. When they sing: “I'm everything a girl should be.. 36-21-35,” it feels quite cringe-worthy nowadays. Irresistible is right, because Gerry Goffin proceeded to make a baby with the vocalist, even though his marriage with King remained undissolved until 6 years later. They even continued to write for Earl-Jean, creating (I'm Into Something Good - which she recorded before Herman's Hermits)3. In “I Won't Tell,” from 1964, the singer vows to keep her illicit romance a secret, so as not to hurt her sister. Tracey Dey, born Nora Ferrari in Yonkers, had made a name for herself as the “Teenage Cleopatra” capitalizing on the notoriety of  the Liz Taylor blockbuster. She caught the eye of The Four Season's maestro, Bob Gaudio when she recorded “Jerry, I'm your Sherry” , playing off the title of the group's hit ‘Sherry”. Together with the production genius Bob Crewe, they crafted this pop classic the teenage Cleo.  Tracey soon got out of the business, earned a Master's degree from Columbia, and became a teacher and screenwriter. Clearly, this was a savvy entrepreneur from an early age. (Btw: the original masters of this recording were lost - so, this version was taken directly off a 45 disc). Enjoy!

Being under the cover of darkness is difficult to do with the full moon right now. And it will be even bigger tonight.  We've got your bad hair days covered around here now that our Carmen's Crewe hats and camo hats are in.  This week's Midweek Praise Break covers you in the midst of the Holy Spirit with Blessed Assurance by CAIN, Goodness of God by CeCe Winans, and Worthy by Elevation Worship.  Turning on the TV, it's wall to wall coverage of the elections that took place...

Jonny Drury returns for the new episode of the Shrews Views podcast - alongside reporter Dan Stacey. Salop faced a potential cup upset at South Shields but came through it with flying colours. Jonny and Dan discuss the performance and why Michael Appleton deserves big praise for the recent up turn in form that has seen Salop go five unbeaten. They look at what has changed for Salop and preview this weekend's trip test at Crewe.

Town lose to Crewe on the road after a chance of going top. Brentford await and Town look at the options from the bench. Hosted on Acast. See acast.com/privacy for more information.

On today's episode, Kara welcomes Erin Piper, Founder of Saint Crewe, the skincare brand redefining what it means to care for young skin. With over 15 years of experience working with teens and young women as a licensed therapist, Erin witnessed firsthand how skincare is deeply tied to confidence, self-esteem, and the way we present ourselves to the world. Her insight led her to create Saint Crewe — a clinically tested, dermatologist-approved, vegan, and cruelty-free line designed specifically for Gen Z and Gen Alpha.Erin shares the story behind Saint Crewe's creation, how her background in psychology and years of supporting young women informed her brand philosophy, and why she's committed to changing the conversation around “clean beauty” for younger generations. We dive into her journey from therapy to entrepreneurship, how she's cutting through viral TikTok trends with science-backed products, and what it means to build a purpose-driven brand that parents and teens alike can trust. This episode is filled with insights for founders, beauty lovers, and anyone inspired by mission-led innovation. Don't miss it! Are you interested in sponsoring and advertising on The Kara Goldin Show, which is now in the Top 1% of Entrepreneur podcasts in the world? Let me know by contacting me at karagoldin@gmail.com. You can also find me @‌KaraGoldin on all networks. To learn more about Erin Piper and Saint Crewe:https://www.instagram.com/saintcrewe/https://www.linkedin.com/in/erin-smith-piper-lcsw-mph-3721b768/https://www.saintcrewe.com/ Sponsored By:Square - Get up to $200 off Square hardware when you sign up at square.com/go/karagoldinLinkedIn Jobs - Head to LinkedIn.com/KaraGoldin to post your job for free. Check out our website to view this episode's show notes: https://karagoldin.com/podcast/758

This week Jordan & Gaz are joined by former Bolton, Bristol City, Preston, Rotherham, Accrington, Mansfield, Leyton Orient, Notts County, Crewe, Darlington & Ashton United fullback...NICKY HUNT! Nicky sits down with the boys in part one of his episode to discuss all things football from his time at Bolton Wanderers to his life now managing Daisy Hill FC. The lads start the pod by discussing Nicky's time at Bolton Wanderers, DJing for Ricardo Gardner, relaxing on Mario Kart with Gary Cahill & his wonder goal vs Liverpool Nicky then talks about his transition into being a football manager for Daisy Hill FC linking up with social media superstars Aaron Hunt & Angry Ginge to help take Daisy Hill through the leagues. Nicky and the lads then continue to chat about life in non-league, having to release players, huge squad sizes and other issues that come with the territory. They then chat about Nicky's early life in football from getting released at a young age and showing the determination to make it as a professional and getting caught on a night out and being suspended for two weeks by Bolton. The trio then discuss how tough reserve football used to be before Nicky made his first team debut and had the task of marking Ryan Giggs and then a young Cristiano Ronaldo. Finally they end the pod discussing why modern footballers can't do anything these days, the sacrifices Nicky had to make to become a pro and who were the defenders he looked up to in the Premier League.

Sycamore senior Cooper Bode's interception stopped a La Salle-Peru drive in the red zone and eventually led to a stretch of four straight touchdowns as the Spartans held off a late Cavaliers' rally in a 34-28 win on Friday in Sycamore.Become a supporter of this podcast: https://www.spreaker.com/podcast/friday-night-drive--3534096/support.

On the phone-in: Best-selling author, Lesley Crewe, and Director of Writing and Publishing at Kings Gillian Turnbull will have tips on the process of writing a book AND selling it to a publisher and an update on the 3 beached sperm whales on PEI

Jerry Springer.Pete Rose.Steven Spielberg.All famous Citizens of Cincinnati. However, these people have zero chance of kicking your ass, especially in comparison to our next guest, The BareKnuckle Berserker himself, Merciless Lord Crewe. Join us this Tuesday as he joins The Dads for a chat. We're talking his career, his life, Cincinnati sports and much much more. Only on The Dad World Order Podcast!

Matt Davies-Adams, Sam Parkin and Adrian Clarke look back on the weekend that was in the EFL and ahead to the big games coming up this weekend CHAMPIONSHIP the weekend in brief and then Reviews of Norwich 2-3 Wrexham and Hull 3-1 Southampton, previews of Coventry v Birmingham and Ipswich v Portsmouth LEAGUE ONE the weekend in brief and then reviews of Lincoln 3-1 Luton and Cardiff 1-3 Bradford, preview of Leyton Orient v Stevenage LEAGUE TWO the weekend in brief and then a review of MK Dons 1-2 Accrington and a preview of Crewe v Notts County plus predictions and tweet of the week  https://quinnbet.click/o/L5trHE?lpage=T4KU20 Our partners Quinn Bet have a NEW offer: you can now get 50% back up to £25.   If your account has Sportsbook losses at the end of your first day's betting, QuinnBet will refund 50% of your losses as a Free Bet up to £25 (min 3 bets). Even if your account is up, you're guaranteed a £5 Free Bet provided you place at least 1 bet of £10 or greater at the minimum odds. T&Cs apply | 18+ New UK Customers Only | GambleAware.org | Gamble Responsibly”

What better way to kick off a new season (and a long-awaited return to Between the Sticks) than with two goalless draws? The ideal result at GKU Towers was witnessed at Selhurst Park and the Hill Dickinson Stadium (not sure that'll ever sound right) as four stoppers - including Premier League newcomer, Robin Roefs - made their way into Clean Sheet Club this weekend. Joining Roefs on that list is fellow Prem newbie, Gianluigi Donnarumma, who made a lightning start to life at Man City, plus now established Prem No1 David Raya - the Spaniard racking up his 100th appearance for Arsenal against Nottingham Forest. In the EFL, Lawrence Vigouroux returned in fine fettle from his international bow with Chile, Liam Roberts sounded the first klaxon of the campaign and Cieran Slicker saved two penalties as Barnet came from behind to win at Crewe.

In a change to what we normally do Pete Nordsted & JimmyKempton from this season will start looking at games from the EFL as well as the Premier League.This weeks matches we look at the following:Premier League:Burnley v LiverpoolMan City  v Man UnitedChampionship:Ipswich v Sheff UnitedOxford v LeicesterLeague 1:Bradford v HuddersfieldBarnsley v ReadingLeague 2:Crewe v BarnetGillingham v N Countyhttps://tradeonsports.co.uk

Throwback Trivia Takedown takes trivia back to the glory days from the late 20th century to the early 2000's. Two challengers go head to head in a duel of the decades where the one with the most nostalgic knowledge of pop culture comes out victorious.  Do you know your nostalgia? 

Hear why we've been so angry this week and how we've got into several arguments!Also, we speak about our unexpected meet up and our weird obsession with Crewe train station!If you want to send a message to the pod then you can email - kristina@thesocialpr.co.uk If you want to hear BONUS episodes every Friday, then please sign up to Apple Subscription or you can subscribe to our patreon - patreon.com/niptuckpod Hosted on Acast. See acast.com/privacy for more information.

Aaron Paul is joined by Reading CEO Joe Jacobson and Chelmsford City striker Lyle Taylor for this episode of 72+.The team reflect on all the latest midweek results in League One and Two, and speak to Barnsley boss Conor Hourihane, plus fellow League One manager of Cardiff City, Brian Barry-Murphy. And it's four wins from four for both Crewe manager Lee Bell and Stevenage boss Alex Revell, who both join the pod.Has Pep Guardiola ruined the English football pyramid?! And finally, the guys reflect on the takeover of Morecambe and the appointment of Ashvir Singh Johal as the first Sikh to manage a professional British club.Timecodes: 1:18 – Barnsley boss Conor Hourihane joins the pod 3:40 – Crewe manager Lee Bell chats about 100% win record 8:32 – Brian Barry-Murphy joins 72+ 13:11 – Alex Revell also makes it four wins from four for Stevenage 21:14 – Has Pep Guardiola ruined football? 28:03 – Morecambe saved by sale & appoint Sikh manager

The Adam Sandler Sports deep dive continues (for some reason) with his remake of the football classic: The Longest Yard! Disgraced pro football quarterback Paul Crewe (Adam Sandler) lands in jail, where manipulative Warden Hazen (James Cromwell) recruits him to advise the institution's team. This turns into a lead role quarterbacking a crew of inmates in a game against a team of prison guards. Aided by incarcerated ex-NFL coach Nate Scarborough (Burt Reynolds), Crewe and his team must overcome not only the bloodthirstiness of the opposition, but also the corrupt officials trying to fix the game against them. Release date: May 27, 2005 (USA) Director: Peter Segal Budget: 90 million USD, 82 million USD Adapted from: The Longest Yard MPAA rating: PG-13 Distributed by: Paramount Pictures, Columbia Pictures, Sony Pictures Releasing International

In a change to what we normally do Pete Nordsted & Jimmy Kempton from this season will start looking at games from the EFL as well as the Premier League.This weeks matches we look at the following:Premier League:Spurs v BurnleyN Forest v BrentfordChampionship:Wrexham v West BromSheff Wed v StokeLeague 1:Bradford v LutonOrient v StockportLeague 2:Crewe v CrawleyTranmere v Gillinghamhttps://tradeonsports.co.uk

In this episode of the Mad Rush Podcast, host Tricia Addicks talks with Laura Lucia Carothers and Erin Piper, the founder and CEO of Saint Crewe Skincare, respectively. They discuss their journey in creating clean, high-end skincare products for young women, inspired by Erin's observations of her daughter and other young girls' skincare habits. The conversation explores their meticulous approach to product development, the importance of intentionality, and how they handle life's challenges with resilience. Additionally, listeners are introduced to an exciting giveaway featuring Saint Crewe products and other premium items. Tricia also emphasizes the importance of having a well-thought-out skincare routine during sorority rush. Discover St. Crewe! https://saintcrewe.com/ https://www.instagram.com/saintcrewe/ Key Episode Moments: 00:00 Introduction to the Mad Rush Podcast 01:27 Meet Today's Guests: Laura Lucia Caruthers and Erin Piper 02:23 The Story Behind Saint Crewe Skincare 04:09 Erin's Journey: From Social Work to Skincare 10:34 The Importance of Coping Skills and Resilience 17:16 Navigating Social Media and Parental Guidance 19:45 Social Media and First Impressions 20:26 Background and Career Journey 22:12 Luxury Oral Care and Product Development 24:40 The Importance of Clean and Safe Products 30:38 Product Highlights and Packaging 33:29 Exciting Giveaway Details 36:02 Final Thoughts and Observations 40:33 Conclusion and Rush Tips Follow Trisha on IG: @rushwithconfidence Learn more about Trisha's company at: https://itsallgreektome.org Have questions or comments? Please send us an email: info@madrushpod.com

Good evening. The show begins in China where deflation now rules. 1800 CONFUCIUS CBS Eye on the World with John Batchelor FIRST HOUR 9-9:15 #LondonCalling: PRC and Missing Consumers. @JosephSternberg @WSJOpinion 9:15-9:30 #LondonCalling: Heathrow Cascade. Joseph Sternberg @JosephSternberg @WSJOpinion 9:30-9:45 #Gaza: Gunfight. Jonathan Schanzer, FDD 9:45-10:00 #Syria: Ankara vs Jerusalem. Jonathan Schanzer, FDD SECOND HOUR 10-10:15 1/4: #POTUS: Brief History of the Executive Battling the Judiciary, Jefferson, Jackson, Lincoln and FDR. John Yoo, Civitas Institute 10:15-10:30 2/4: #POTUS: Brief History of the Executive Battling the Judiciary, Jefferson, Jackson, Lincoln and FDR. John Yoo, Civitas Institute 10:30-10:45 3/4: #POTUS: Brief History of the Executive Battling the Judiciary, Jefferson, Jackson, Lincoln and FDR. John Yoo, Civitas Institute 10:45-11:00 4/4: #POTUS: Brief History of the Executive Battling the Judiciary, Jefferson, Jackson, Lincoln and FDR. John Yoo, Civitas Institute THIRD HOUR 11:00-11:15 #Black Sea Basin: Ceasefire. Gregory Copley, Defense & Foreign Affairs 11:15-11:30 # Gregory Copley, Defense & Foreign Affairs-47. Last of the Crewe 11:30-11:45 #Commonwealth: Elections for Ottawa and Canberra. Gregory Copley, Defense & Foreign Affairs 11:45-12:00 #King Charles Report: Rejoining the Sovereign. Gregory Copley, Defense & Foreign Affairs FOURTH HOUR 12-12:15 #Berlin: Herr Merz and the SPD. Judy Dempsey, Senior Scholar, Carnegie Endowment for International Peace in Berlin 12:15-12:30 #EU: Trump is the Motive. Judy Dempsey, Senior Scholar, Carnegie Endowment for International Peace in Berlin 12:30-12:45 #Syria: Sharaa Grabs for Power. Hussain Abdul-Hassan, FDD 12:45-1:00 AM UN: Weaponized Fictions. Peter Berkowitz