Podcast appearances and mentions of David Bailey

01:05:36 – 01:07:01 Elon Musk's Retro Diner: Shiny Chrome, Hollow FutureTesla's robot-run diner is mocked as a dystopian illusion of Americana. The segment highlights how elites destroy traditional culture, then rent it back as hollow nostalgia. 01:13:07 – 01:14:49 Dystopian “Future” Masks Population Control AgendaCommentary warns that AI, UBI, and technocratic infrastructure will render people obsolete. The system will offer comfort and control in exchange for freedom and fertility. 01:31:11 – 01:41:04 Investor's Mental Collapse Blamed on ChatGPT IndoctrinationA prominent AI investor publicly spirals into delusion after prolonged interaction with ChatGPT. The segment explores how AI validation of paranoia may induce psychosis, especially in isolated or obsessive minds. 02:04:27 – 02:05:07 Trump the Technocrat: Palantir, Wearables, and Surveillance StateTrump is accused of enabling technocracy by empowering Peter Thiel's networks, funding Palantir, advancing biometric surveillance, and promoting AI governance under the guise of innovation. 02:22:01 – 02:23:31 Fetterman and GOP Push Bill to Preserve Cash PaymentsSenators Fetterman and Cramer introduce legislation to ensure Americans can pay with cash—countering the rise of digital-only businesses and the push toward CBDCs. The host unexpectedly praises Fetterman for defending physical currency. 02:27:14 – 02:28:27 CBDCs Framed as CCP-Style Control GridLawmakers warn that U.S. politicians envy China's ability to turn off a citizen's access to basic services. The threat of CBDCs is described as a surveillance and punishment tool in waiting. 02:30:12 – 02:31:29 The Genius Act Lays Groundwork for Future CBDCsWhile marketed as pro-crypto, the Genius Act quietly enables a stablecoin system that critics say could evolve into state-controlled digital currency. Trump is accused of reversing his own anti-CBDC order by signing it. 02:37:19 – 02:41:05 Bitcoin Insider Profits While Dollar CollapsesTrump's Bitcoin advisor David Bailey sees a 640% return through companies adopting Bitcoin. The segment frames Bitcoin as an elite hedge and critiques the illusion of decentralization under technocratic control. 02:47:08 – 02:48:01 Crypto's Promise Undermined by Centralization and SurveillanceThe host warns that digital rights are being stripped in real time. Decentralized tools like crypto are being reshaped to serve elites through state-backed IDs, biometric surveillance, and Trojan horse legislation. 02:57:08 – 03:04:38 Trump Releases MLK Files to Distract From Epstein ScandalTrump's release of 230,000 FBI files on Martin Luther King Jr. is framed as a red herring to deflect from Epstein revelations. The discussion accuses the administration of weaponizing declassified info to cover for elite crimes. 03:04:45 – 03:12:17 Trump's AI Fantasy of Arresting Obama Mocked as Fake ActionTrump shares an AI video depicting Obama's arrest. The segment ridicules him for posting “meme magic” instead of taking real action, likening it to fake pro-wrestling designed to distract from Epstein exposure and broken promises. 03:32:18 – 03:36:07 Lawsuit Accuses RFK Jr. of Breaking Vaccine Safety LawChildren's Health Defense sues HHS, alleging Kennedy violated the 1986 Vaccine Injury Act by failing to form a safety task force. Despite his rhetoric, the lawsuit claims RFK Jr. is ignoring legal obligations and betraying his past advocacy. 03:37:24 – 03:38:08 $5.2 Billion Paid Out Despite Vax Court ObstaclesDespite massive legal hurdles, over $5.2B has been paid out by the U.S. vaccine injury court. The segment argues this proves systemic harm and shows the pharma-friendly court setup still can't contain the fallout. 03:48:06 – 03:50:10 RFK Jr. Rejects WHO Power Grab but Pushes His Own SurveillanceKennedy rejects WHO's attempt to control public health policy globally—praised as a win for sovereignty. But he's critiqued for hypocrisy: wanting to stop international surveillance while pushing wearables and centralized health control domestically. Follow the show on Kick and watch live every weekday 9:00am EST – 12:00pm EST https://kick.com/davidknightshow Money should have intrinsic value AND transactional privacy: Go to https://davidknight.gold/ for great deals on physical gold/silverFor 10% off Gerald Celente's prescient Trends Journal, go to https://trendsjournal.com/ and enter the code KNIGHTFind out more about the show and where you can watch it at TheDavidKnightShow.comIf you would like to support the show and our family please consider subscribing monthly here: SubscribeStar https://www.subscribestar.com/the-david-knight-showOr you can send a donation throughMail: David Knight POB 994 Kodak, TN 37764Zelle: @DavidKnightShow@protonmail.comCash App at: $davidknightshowBTC to: bc1qkuec29hkuye4xse9unh7nptvu3y9qmv24vanh7Become a supporter of this podcast: https://www.spreaker.com/podcast/the-real-david-knight-show--5282736/support.

Jill Rowe's creative journey is anything but conventional—and that's what makes it powerful. She began her career in fashion, modeling for iconic photographers such as Herb Ritts and David Bailey, before transitioning into New York's downtown art world, where she worked with visionaries like Keith Haring and Ed Ruscha. Her curiosity led her to film production, then to the kitchen, where she discovered a love of feeding others, hosting intimate farmhouse dinners, and eventually opening her southern-inspired restaurant. She spent eight years running Danny Meyer's Union Square Cafe, honing her skills in service, leadership, and connection. Ready for a return to entrepreneurship, Jill moved to the Hudson Valley and met photographer and author Matthew Benson, who had already transformed Stonegate Farm into a biodiverse, organic estate. Together, they launched Cultivate Apothecary, crafting potent skincare and wellness products from the botanicals already thriving on the land, while adding new plantings known for their potent efficacy. In today's episode, Nada and Jill discuss her various careers as a model, restaurateur, and farmer, and how each path eventually led to co-founding a beauty brand. Jill describes developing an early interest in skincare while living abroad, and later developing a knack for food during her time in Manhattan. Once she moved to small-scale farming, she began creating with nature's bounty. Jill shares what it's like being partnered in both life and business with her co-founder, as well as the joy of fully discovering herself in the middle third of her life. Check out Cultivate Apothecary for more information on Jill's beauty products. Follow on Instagram @thejillrowe, @stonegatefarmny, and @cultivateapothecary.Please follow us at @thisislibertyroad on Instagram; we want to share and connect with you and hear your thoughts and comments. Please rate and review this podcast. It helps to know if these conversations inspire and equip you to consider your possibilities and lean into your future with intention.

Jeri Edwards and partner David Bailey have long enjoyed life in their rented Cedar Hill, Texas home. Things get even better when David's daughter buys the house right beside them as an investment property. It's not long before David and Jeri are invited to live in the home and renovate it. It's a good move for the couple and puts them that much closer to good friends and neighbors Danny and Teresa Silver. But when renovations begin on the place, the recently retired Danny becameslivid about the noise and messthe work generates. A nasty conflict erupts between the former friends, that grows to include Jeri's son Nick. Everyone digs their heels in as tensions escalate and tempers flare, until finally a gun comes out and a tragic, front lawn bloodbath follows. Hosted on Acast. See acast.com/privacy for more information.

Trump advisor David Bailey says, “'75% Chance' Big Beautiful Bill Eliminates Capital Gains Tax On Bitcoin” after the Senate passed Donald Trump's “Big, Beautiful Bill” with a 51-49 Vote. Learn more about your ad choices. Visit megaphone.fm/adchoices

For those who haven't heard the announcement I posted, songs from this point on will sometimes be split among multiple episodes, so this is the second part of a two-episode look at the song “Who Knows Where The Time Goes?” by Fairport Convention, and the intertwining careers of Joe Boyd, Sandy Denny, and Richard Thompson. Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have a forty-one-minute bonus episode available, on Judy Collins’ version of this song. Tilt Araiza has assisted invaluably by editing, and will hopefully be doing so from now on. Check out Tilt's irregular podcasts at http://www.podnose.com/jaffa-cakes-for-proust and http://sitcomclub.com/ Erratum For about an hour this was uploaded with the wrong Elton John clip in place of “Saturday Sun”. This has now been fixed. Resources Because of the increasing problems with Mixcloud’s restrictions, I have decided to start sharing streaming playlists of the songs used in episodes instead of Mixcloud ones. This Tunemymusic link will let you listen to the playlist I created on your streaming platform of choice — however please note that not all the songs excerpted are currently available on streaming. The songs missing from the Tidal version are “Shanten Bells” by the Ian Campbell Folk Group, “Tom’s Gone to Hilo” by A.L. Lloyd, two by Paul McNeill and Linda Peters, three by Elton John & Linda Peters, “What Will I Do With Tomorrow” by Sandy Denny and “You Never Know” by Charlie Drake, but the other fifty-nine are there. Other songs may be missing from other services. The main books I used on Fairport Convention as a whole were Patrick Humphries' Meet On The Ledge, Clinton Heylin's What We Did Instead of Holidays, and Kevan Furbank's Fairport Convention on Track. Rob Young's Electric Eden is the most important book on the British folk-rock movement. Information on Richard Thompson comes from Patrick Humphries' Richard Thompson: Strange Affair and Thompson's own autobiography Beeswing.  Information on Sandy Denny comes from Clinton Heylin's No More Sad Refrains and Mick Houghton's I've Always Kept a Unicorn. I also used Joe Boyd's autobiography White Bicycles and Chris Blackwell's The Islander.  And this three-CD set is the best introduction to Fairport's music currently in print. Transcript Before we begin, this episode contains reference to alcohol and cocaine abuse and medical neglect leading to death. It also starts with some discussion of the fatal car accident that ended last episode. There’s also some mention of child neglect and spousal violence. If that’s likely to upset you, you might want to skip this episode or read the transcript. One of the inspirations for this podcast when I started it back in 2018 was a project by Richard Thompson, which appears (like many things in Thompson’s life) to have started out of sheer bloody-mindedness. In 1999 Playboy magazine asked various people to list their “songs of the Millennium”, and most of them, understanding the brief, chose a handful of songs from the latter half of the twentieth century. But Thompson determined that he was going to list his favourite songs *of the millennium*. He didn’t quite manage that, but he did cover seven hundred and forty years, and when Playboy chose not to publish it, he decided to turn it into a touring show, in which he covered all his favourite songs from “Sumer Is Icumen In” from 1260: [Excerpt: Richard Thompson, “Sumer is Icumen In”] Through numerous traditional folk songs, union songs like “Blackleg Miner”, pieces by early-modern composers, Victorian and Edwardian music hall songs, and songs by the Beatles, the Ink Spots, the Kinks, and the Who, all the way to “Oops! I Did It Again”: [Excerpt: Richard Thompson, “Oops! I Did it Again”] And to finish the show, and to show how all this music actually ties together, he would play what he described as a “medieval tune from Brittany”, “Marry, Ageyn Hic Hev Donne Yt”: [Excerpt: Richard Thompson, “Marry, Ageyn Hic Hev Donne Yt”] We have said many times in this podcast that there is no first anything, but there’s a reason that Liege and Lief, Fairport Convention’s third album of 1969, and the album other than Unhalfbricking on which their reputation largely rests, was advertised with the slogan “The first (literally) British folk rock album ever”. Folk-rock, as the term had come to be known, and as it is still usually used today, had very little to do with traditional folk music. Rather, the records of bands like The Byrds or Simon and Garfunkel were essentially taking the sounds of British beat groups of the early sixties, particularly the Searchers, and applying those sounds to material by contemporary singer-songwriters. People like Paul Simon and Bob Dylan had come up through folk clubs, and their songs were called folk music because of that, but they weren’t what folk music had meant up to that point — songs that had been collected after being handed down through the folk process, changed by each individual singer, with no single identifiable author. They were authored songs by very idiosyncratic writers. But over their last few albums, Fairport Convention had done one or two tracks per album that weren’t like that, that were instead recordings of traditional folk songs, but arranged with rock instrumentation. They were not necessarily the first band to try traditional folk music with electric instruments — around the same time that Fairport started experimenting with the idea, so did an Irish band named Sweeney’s Men, who brought in a young electric guitarist named Henry McCullough briefly. But they do seem to have been the first to have fully embraced the idea. They had done so to an extent with “A Sailor’s Life” on Unhalfbricking, but now they were going to go much further: [Excerpt: Fairport Convention, “Matty Groves” (from about 4:30)] There had been some doubt as to whether Fairport Convention would even continue to exist — by the time Unhalfbricking, their second album of the year, was released, they had been through the terrible car accident that had killed Martin Lamble, the band’s drummer, and Jeannie Franklyn, Richard Thompson’s girlfriend. Most of the rest of the band had been seriously injured, and they had made a conscious decision not to discuss the future of the band until they were all out of hospital. Ashley Hutchings was hospitalised the longest, and Simon Nicol, Richard Thompson, and Sandy Denny, the other three surviving members of the band, flew over to LA with their producer and manager, Joe Boyd, to recuperate there and get to know the American music scene. When they came back, the group all met up in the flat belonging to Denny’s boyfriend Trevor Lucas, and decided that they were going to continue the band. They made a few decisions then — they needed a new drummer, and as well as a drummer they wanted to get in Dave Swarbrick. Swarbrick had played violin on several tracks on Unhalfbricking as a session player, and they had all been thrilled to work with him. Swarbrick was one of the most experienced musicians on the British folk circuit. He had started out in the fifties playing guitar with Beryl Marriott’s Ceilidh Band before switching to fiddle, and in 1963, long before Fairport had formed, he had already appeared on TV with the Ian Campbell Folk Group, led by Ian Campbell, the father of Ali and Robin Campbell, later of UB40: [Excerpt: The Ian Campbell Folk Group, “Shanten Bells (medley on Hullaballoo!)”] He’d sung with Ewan MacColl and A.L. Lloyd: [Excerpt: A.L. Lloyd, “Tom’s Gone to Hilo” ] And he’d formed his hugely successful duo with Martin Carthy, releasing records like “Byker Hill” which are often considered among the best British folk music of all time: [Excerpt: Martin Carthy and Dave Swarbrick, “Byker Hill”] By the time Fairport had invited him to play on Unhalfbricking, Swarbrick had already performed on twenty albums as a core band member, plus dozens more EPs, singles, and odd tracks on compilations. They had no reason to think they could actually get him to join their band. But they had three advantages. The first was that Swarbrick was sick of the traditional folk scene at the time, saying later “I didn’t like seven-eighths of the people involved in it, and it was extremely opportune to leave. I was suddenly presented with the possibilities of exploring the dramatic content of the songs to the full.” The second was that he was hugely excited to be playing with Richard Thompson, who was one of the most innovative guitarists of his generation, and Martin Carthy remembers him raving about Thompson after their initial sessions. (Carthy himself was and is no slouch on the guitar of course, and there was even talk of getting him to join the band at this point, though they decided against it — much to the relief of rhythm guitarist Simon Nicol, who is a perfectly fine player himself but didn’t want to be outclassed by *two* of the best guitarists in Britain at the same time). And the third was that Joe Boyd told him that Fairport were doing so well — they had a single just about to hit the charts with “Si Tu Dois Partir” — that he would only have to play a dozen gigs with Fairport in order to retire. As it turned out, Swarbrick would play with the group for a decade, and would never retire — I saw him on his last tour in 2015, only eight months before he died. The drummer the group picked was also a far more experienced musician than any of the rest, though in a very different genre. Dave Mattacks had no knowledge at all of the kind of music they played, having previously been a player in dance bands. When asked by Hutchings if he wanted to join the band, Mattacks’ response was “I don’t know anything about the music. I don’t understand it… I can’t tell one tune from another, they all sound the same… but if you want me to join the group, fine, because I really like it. I’m enjoying myself musically.” Mattacks brought a new level of professionalism to the band, thanks to his different background. Nicol said of him later “He was dilligent, clean, used to taking three white shirts to a gig… The application he could bring to his playing was amazing. With us, you only played well when you were feeling well.” This distinction applied to his playing as well. Nicol would later describe the difference between Mattacks’ drumming and Lamble’s by saying “Martin’s strength was as an imaginative drummer. DM came in with a strongly developed sense of rhythm, through keeping a big band of drunken saxophone players in order. A great time-keeper.” With this new line-up and a new sense of purpose, the group did as many of their contemporaries were doing and “got their heads together in the country”. Joe Boyd rented the group a mansion, Farley House, in Farley Chamberlayne, Hampshire, and they stayed there together for three months. At the start, the group seem to have thought that they were going to make another record like Unhalfbricking, with some originals, some songs by American songwriters, and a few traditional songs. Even after their stay in Farley Chamberlayne, in fact, they recorded a few of the American songs they’d rehearsed at the start of the process, Richard Farina’s “Quiet Joys of Brotherhood” and Bob Dylan and Roger McGuinn’s “Ballad of Easy Rider”: [Excerpt: Fairport Convention, “Ballad of Easy Rider”] Indeed, the whole idea of “getting our heads together in the country” (as the cliche quickly became in the late sixties as half of the bands in Britain went through much the same kind of process as Fairport were doing — but usually for reasons more to do with drug burnout or trend following than recovering from serious life-changing trauma) seems to have been inspired by Bob Dylan and the Band getting together in Big Pink. But very quickly they decided to follow the lead of Ashley Hutchings, who had had something of a Damascene conversion to the cause of traditional English folk music. They were listening mostly to Music From Big Pink by the Band, and to the first album by Sweeney’s Men: [Excerpt: Sweeney’s Men, “The Handsome Cabin Boy”] And they decided that they were going to make something that was as English as those records were North American and Irish (though in the event there were also a few Scottish songs included on the record). Hutchings in particular was becoming something of a scholar of traditional music, regularly visiting Cecil Sharp House and having long conversations with A.L. Lloyd, discovering versions of different traditional songs he’d never encountered before. This was both amusing and bemusing Sandy Denny, who had joined a rock group in part to get away from traditional music; but she was comfortable singing the material, and knew a lot of it and could make a lot of suggestions herself. Swarbrick obviously knew the repertoire intimately, and Nicol was amenable, while Mattacks was utterly clueless about the folk tradition at this point but knew this was the music he wanted to make. Thompson knew very little about traditional music, and of all the band members except Denny he was the one who has shown the least interest in the genre in his subsequent career — but as we heard at the beginning, showing the least interest in the genre is a relative thing, and while Thompson was not hugely familiar with the genre, he *was* able to work with it, and was also more than capable of writing songs that fit in with the genre. Of the eleven songs on the album, which was titled Liege and Lief (which means, roughly, Lord and Loyalty), there were no cover versions of singer-songwriters. Eight were traditional songs, and three were originals, all written in the style of traditional songs. The album opened with “Come All Ye”, an introduction written by Denny and Hutchings (the only time the two would ever write together): [Excerpt: Fairport Convention, “Come All Ye”] The other two originals were songs where Thompson had written new lyrics to traditional melodies. On “Crazy Man Michael”, Swarbrick had said to Thompson that the tune to which he had set his new words was weaker than the lyrics, to which Thompson had replied that if Swarbrick felt that way he should feel free to write a new melody. He did, and it became the first of the small number of Thompson/Swarbrick collaborations: [Excerpt: Fairport Convention, “Crazy Man Michael”] Thompson and Swarbrick would become a brief songwriting team, but as much as anything else it was down to proximity — the two respected each other as musicians, but never got on very well. In 1981 Swarbrick would say “Richard and I never got on in the early days of FC… we thought we did, but we never did. We composed some bloody good songs together, but it was purely on a basis of “you write that and I’ll write this, and we’ll put it together.” But we never sat down and had real good chats.” The third original on the album, and by far the most affecting, is another song where Thompson put lyrics to a traditional tune. In this case he thought he was putting the lyrics to the tune of “Willie O'Winsbury”, but he was basing it on a recording by Sweeney’s Men. The problem was that Sweeney’s Men had accidentally sung the lyrics of “Willie O'Winsbury'” to the tune of a totally different song, “Fause Foodrage”: [Excerpt: Sweeney’s Men, “Willie O’Winsbury”] Thompson took that melody, and set to it lyrics about loss and separation. Thompson has never been one to discuss the meanings of his lyrics in any great detail, and in the case of this one has said “I really don't know what it means. This song came out of a dream, and I pretty much wrote it as I dreamt it (it was the sixties), and didn't spend very long analyzing it. So interpret as you wish – or replace with your own lines.” But in the context of the traffic accident that had killed his tailor girlfriend and a bandmate, and injured most of his other bandmates, the lyrics about lonely travellers, the winding road, bruised and beaten sons, saying goodbye, and never cutting cloth, seem fairly self-explanatory: [Excerpt: Fairport Convention, “Farewell, Farewell”] The rest of the album, though, was taken up by traditional tunes. There was a long medley of four different fiddle reels; a version of “Reynardine” (a song about a seductive man — or is he a fox? Or perhaps both — which had been recorded by Swarbrick and Carthy on their most recent album); a 19th century song about a deserter saved from the firing squad by Prince Albert; and a long take on “Tam Lin”, one of the most famous pieces in the Scottish folk music canon, a song that has been adapted in different ways by everyone from the experimental noise band Current 93 to the dub poet Benjamin Zephaniah to the comics writer Grant Morrison: [Excerpt: Fairport Convention, “Tam Lin”] And “Matty Groves”, a song about a man killing his cheating wife and her lover, which actually has a surprisingly similar story to that of “1921” from another great concept album from that year, the Who’s Tommy. “Matty Groves” became an excuse for long solos and shows of instrumental virtuosity: [Excerpt: Fairport Convention, “Matty Groves”] The album was recorded in September 1969, after their return from their break in the country and a triumphal performance at the Royal Festival Hall, headlining over fellow Witchseason artists John and Beverly Martyn and Nick Drake. It became a classic of the traditional folk genre — arguably *the* classic of the traditional folk genre. In 2007 BBC Radio 2’s Folk Music Awards gave it an award for most influential folk album of all time, and while such things are hard to measure, I doubt there’s anyone with even the most cursory knowledge of British folk and folk-rock music who would not at least consider that a reasonable claim. But once again, by the time the album came out in November, the band had changed lineups yet again. There was a fundamental split in the band – on one side were Sandy Denny and Richard Thompson, whose stance was, roughly, that Liege and Lief was a great experiment and a fun thing to do once, but really the band had two first-rate songwriters in themselves, and that they should be concentrating on their own new material, not doing these old songs, good as they were. They wanted to take the form of the traditional songs and use that form for new material — they wanted to make British folk-rock, but with the emphasis on the rock side of things. Hutchings, on the other hand, was equally sure that he wanted to make traditional music and go further down the rabbit hole of antiquity. With the zeal of the convert he had gone in a couple of years from being the leader of a band who were labelled “the British Jefferson Airplane” to becoming a serious scholar of traditional folk music. Denny was tired of touring, as well — she wanted to spend more time at home with Trevor Lucas, who was sleeping with other women when she was away and making her insecure. When the time came for the group to go on a tour of Denmark, Denny decided she couldn’t make it, and Hutchings was jubilant — he decided he was going to get A.L. Lloyd into the band in her place and become a *real* folk group. Then Denny reconsidered, and Hutchings was crushed. He realised that while he had always been the leader, he wasn’t going to be able to lead the band any further in the traditionalist direction, and quit the group — but not before he was delegated by the other band members to fire Denny. Until the publication of Richard Thompson’s autobiography in 2022, every book on the group or its members said that Denny quit the band again, which was presumably a polite fiction that the band agreed, but according to Thompson “Before we flew home, we decided to fire Sandy. I don't remember who asked her to leave – it was probably Ashley, who usually did the dirty work. She was reportedly shocked that we would take that step. She may have been fragile beneath the confident facade, but she still knew her worth.” Thompson goes on to explain that the reasons for kicking her out were that “I suppose we felt that in her mind she had already left” and that “We were probably suffering from post-traumatic stress disorder, though there wasn't a name for it back then.” They had considered inviting Trevor Lucas to join the band to make Denny more comfortable, but came to the (probably correct) conclusion that while he was someone they got on well with personally, he would be another big ego in a band that already had several, and that being around Denny and Lucas’ volatile relationship would, in Thompson’s phrasing, “have not always given one a feeling of peace and stability.” Hutchings originally decided he was going to join Sweeney’s Men, but that group were falling apart, and their first rehearsal with Hutchings would also be their last as a group, with only Hutchings and guitarist and mandolin player Terry Woods left in the band. They added Woods’ wife Gay, and another couple, Tim Hart and Maddy Prior, and formed a group called Steeleye Span, a name given them by Martin Carthy. That group, like Fairport, went to “get their heads together in the country” for three months and recorded an album of electric versions of traditional songs, Hark the Village Wait, on which Mattacks and another drummer, Gerry Conway, guested as Steeleye Span didn’t at the time have their own drummer: [Excerpt: Steeleye Span, “Blackleg Miner”] Steeleye Span would go on to have a moderately successful chart career in the seventies, but by that time most of the original lineup, including Hutchings, had left — Hutchings stayed with them for a few albums, then went on to form the first of a series of bands, all called the Albion Band or variations on that name, which continue to this day. And this is something that needs to be pointed out at this point — it is impossible to follow every single individual in this narrative as they move between bands. There is enough material in the history of the British folk-rock scene that someone could do a 500 Songs-style podcast just on that, and every time someone left Fairport, or Steeleye Span, or the Albion Band, or Matthews’ Southern Comfort, or any of the other bands we have mentioned or will mention, they would go off and form another band which would then fission, and some of its members would often join one of those other bands. There was a point in the mid-1970s where the Albion Band had two original members of Fairport Convention while Fairport Convention had none. So just in order to keep the narrative anything like wieldy, I’m going to keep the narrative concentrated on the two figures from Fairport — Sandy Denny and Richard Thompson — whose work outside the group has had the most influence on the wider world of rock music more broadly, and only deal with the other members when, as they often did, their careers intersected with those two. That doesn’t mean the other members are not themselves hugely important musicians, just that their importance has been primarily to the folk side of the folk-rock genre, and so somewhat outside the scope of this podcast. While Hutchings decided to form a band that would allow him to go deeper and deeper into traditional folk music, Sandy Denny’s next venture was rather different. For a long time she had been writing far more songs than she had ever played for her bandmates, like “Nothing More”, a song that many have suggested is about Thompson: [Excerpt: Fotheringay, “Nothing More”] When Joe Boyd heard that Denny was leaving Fairport Convention, he was at first elated. Fairport’s records were being distributed by A&M in the US at that point, but Island Records was in the process of opening up a new US subsidiary which would then release all future Fairport product — *but*, as far as A&M were concerned, Sandy Denny *was* Fairport Convention. They were only interested in her. Boyd, on the other hand, loved Denny’s work intensely, but from his point of view *Richard Thompson* was Fairport Convention. If he could get Denny signed directly to A&M as a solo artist before Island started its US operations, Witchseason could get a huge advance on her first solo record, while Fairport could continue making records for Island — he’d have two lucrative acts, on different labels. Boyd went over and spoke to A&M and got an agreement in principle that they would give Denny a forty-thousand-dollar advance on her first solo album — twice what they were paying for Fairport albums. The problem was that Denny didn’t want to be a solo act. She wanted to be the lead singer of a band. She gave many reasons for this — the one she gave to many journalists was that she had seen a Judy Collins show and been impressed, but noticed that Collins’ band were definitely a “backing group”, and as she put it “But that's all they were – a backing group. I suddenly thought, If you're playing together on a stage you might as well be TOGETHER.” Most other people in her life, though, say that the main reason for her wanting to be in a band was her desire to be with her boyfriend, Trevor Lucas. Partly this was due to a genuine desire to spend more time with someone with whom she was very much in love, partly it was a fear that he would cheat on her if she was away from him for long periods of time, and part of it seems to have been Lucas’ dislike of being *too* overshadowed by his talented girlfriend — he didn’t mind acknowledging that she was a major talent, but he wanted to be thought of as at least a minor one. So instead of going solo, Denny formed Fotheringay, named after the song she had written for Fairport. This new band consisted at first of Denny on vocals and occasional piano, Lucas on vocals and rhythm guitar, and Lucas’ old Eclection bandmate Gerry Conway on drums. For a lead guitarist, they asked Richard Thompson who the best guitarist in Britain was, and he told them Albert Lee. Lee in turn brought in bass player Pat Donaldson, but this lineup of the band barely survived a fortnight. Lee *was* arguably the best guitarist in Britain, certainly a reasonable candidate if you could ever have a singular best (as indeed was Thompson himself), but he was the best *country* guitarist in Britain, and his style simply didn’t fit with Fotheringay’s folk-influenced songs. He was replaced by American guitarist Jerry Donahue, who was not anything like as proficient as Lee, but who was still very good, and fit the band’s style much better. The new group rehearsed together for a few weeks, did a quick tour, and then went into the recording studio to record their debut, self-titled, album. Joe Boyd produced the album, but admitted himself that he only paid attention to those songs he considered worthwhile — the album contained one song by Lucas, “The Ballad of Ned Kelly”, and two cover versions of American singer-songwriter material with Lucas singing lead. But everyone knew that the songs that actually *mattered* were Sandy Denny’s, and Boyd was far more interested in them, particularly the songs “The Sea” and “The Pond and the Stream”: [Excerpt: Fotheringay, “The Pond and the Stream”] Fotheringay almost immediately hit financial problems, though. While other Witchseason acts were used to touring on the cheap, all packed together in the back of a Transit van with inexpensive equipment, Trevor Lucas had ambitions of being a rock star and wanted to put together a touring production to match, with expensive transport and equipment, including a speaker system that got nicknamed “Stonehenge” — but at the same time, Denny was unhappy being on the road, and didn’t play many gigs. As well as the band itself, the Fotheringay album also featured backing vocals from a couple of other people, including Denny’s friend Linda Peters. Peters was another singer from the folk clubs, and a good one, though less well-known than Denny — at this point she had only released a couple of singles, and those singles seemed to have been as much as anything else released as a novelty. The first of those, a version of Dylan’s “You Ain’t Goin’ Nowhere” had been released as by “Paul McNeill and Linda Peters”: [Excerpt: Paul McNeill and Linda Peters, “You Ain’t Goin’ Nowhere”] But their second single, a version of John D. Loudermilk’s “You’re Taking My Bag”, was released on the tiny Page One label, owned by Larry Page, and was released under the name “Paul and Linda”, clearly with the intent of confusing particularly gullible members of the record-buying public into thinking this was the McCartneys: [Excerpt: Paul and Linda, “You’re Taking My Bag”] Peters was though more financially successful than almost anyone else in this story, as she was making a great deal of money as a session singer. She actually did another session involving most of Fotheringay around this time. Witchseason had a number of excellent songwriters on its roster, and had had some success getting covers by people like Judy Collins, but Joe Boyd thought that they might possibly do better at getting cover versions if they were performed in less idiosyncratic arrangements. Donahue, Donaldson, and Conway went into the studio to record backing tracks, and vocals were added by Peters and another session singer, who according to some sources also provided piano. They cut songs by Mike Heron of the Incredible String Band: [Excerpt: Linda Peters, “You Get Brighter”] Ed Carter, formerly of The New Nadir but by this time firmly ensconced in the Beach Boys’ touring band where he would remain for the next quarter-century: [Excerpt: Linda Peters, “I Don’t Mind”] John and Beverly Martyn, and Nick Drake: [Excerpt: Elton John, “Saturday Sun”] There are different lineups of musicians credited for those sessions in different sources, but I tend to believe that it’s mostly Fotheringay for the simple reason that Donahue says it was him, Donaldson and Conway who talked Lucas and Denny into the mistake that destroyed Fotheringay because of these sessions. Fotheringay were in financial trouble already, spending far more money than they were bringing in, but their album made the top twenty and they were getting respect both from critics and from the public — in September, Sandy Denny was voted best British female singer by the readers of Melody Maker in their annual poll, which led to shocked headlines in the tabloids about how this “unknown” could have beaten such big names as Dusty Springfield and Cilla Black. Only a couple of weeks after that, they were due to headline at the Albert Hall. It should have been a triumph. But Donahue, Donaldson, and Conway had asked that singing pianist to be their support act. As Donahue said later “That was a terrible miscast. It was our fault. He asked if [he] could do it. Actually Pat, Gerry and I had to talk Sandy and Trevor into [it]… We'd done these demos and the way he was playing – he was a wonderful piano player – he was sensitive enough. We knew very little about his stage-show. We thought he'd be a really good opener for us.” Unfortunately, Elton John was rather *too* good. As Donahue continued “we had no idea what he had in mind, that he was going to do the most incredible rock & roll show ever. He pretty much blew us off the stage before we even got on the stage.” To make matters worse, Fotheringay’s set, which was mostly comprised of new material, was underrehearsed and sloppy, and from that point on no matter what they did people were counting the hours until the band split up. They struggled along for a while though, and started working on a second record, with Boyd again producing, though as Boyd later said “I probably shouldn't have been producing the record. My lack of respect for the group was clear, and couldn't have helped the atmosphere. We'd put out a record that had sold disappointingly, A&M was unhappy. Sandy's tracks on the first record are among the best things she ever did – the rest of it, who cares? And the artwork, Trevor's sister, was terrible. It would have been one thing if I'd been unhappy with it and it sold, and the group was working all the time, making money, but that wasn't the case … I knew what Sandy was capable of, and it was very upsetting to me.” The record would not be released for thirty-eight years: [Excerpt: Fotheringay, “Wild Mountain Thyme”] Witchseason was going badly into debt. Given all the fissioning of bands that we’ve already been talking about, Boyd had been stretched thin — he produced sixteen albums in 1970, and almost all of them lost money for the company. And he was getting more and more disillusioned with the people he was producing. He loved Beverly Martyn’s work, but had little time for her abusive husband John, who was dominating her recording and life more and more and would soon become a solo artist while making her stay at home (and stealing her ideas without giving her songwriting credit). The Incredible String Band were great, but they had recently converted to Scientology, which Boyd found annoying, and while he was working with all sorts of exciting artists like Vashti Bunyan and Nico, he was finding himself less and less important to the artists he mentored. Fairport Convention were a good example of this. After Denny and Hutchings had left the group, they’d decided to carry on as an electric folk group, performing an equal mix of originals by the Swarbrick and Thompson songwriting team and arrangements of traditional songs. The group were now far enough away from the “British Jefferson Airplane” label that they decided they didn’t need a female vocalist — and more realistically, while they’d been able to replace Judy Dyble, nobody was going to replace Sandy Denny. Though it’s rather surprising when one considers Thompson’s subsequent career that nobody seems to have thought of bringing in Denny’s friend Linda Peters, who was dating Joe Boyd at the time (as Denny had been before she met Lucas) as Denny’s replacement. Instead, they decided that Swarbrick and Thompson were going to share the vocals between them. They did, though, need a bass player to replace Hutchings. Swarbrick wanted to bring in Dave Pegg, with whom he had played in the Ian Campbell Folk Group, but the other band members initially thought the idea was a bad one. At the time, while they respected Swarbrick as a musician, they didn’t think he fully understood rock and roll yet, and they thought the idea of getting in a folkie who had played double bass rather than an electric rock bassist ridiculous. But they auditioned him to mollify Swarbrick, and found that he was exactly what they needed. As Joe Boyd later said “All those bass lines were great, Ashley invented them all, but he never could play them that well. He thought of them, but he was technically not a terrific bass player. He was a very inventive, melodic, bass player, but not a very powerful one technically. But having had the part explained to him once, Pegg was playing it better than Ashley had ever played it… In some rock bands, I think, ultimately, the bands that sound great, you can generally trace it to the bass player… it was at that point they became a great band, when they had Pegg.” The new lineup of Fairport decided to move in together, and found a former pub called the Angel, into which all the band members moved, along with their partners and children (Thompson was the only one who was single at this point) and their roadies. The group lived together quite happily, and one gets the impression that this was the period when they were most comfortable with each other, even though by this point they were a disparate group with disparate tastes, in music as in everything else. Several people have said that the only music all the band members could agree they liked at this point was the first two albums by The Band. With the departure of Hutchings from the band, Swarbrick and Thompson, as the strongest personalities and soloists, became in effect the joint leaders of the group, and they became collaborators as songwriters, trying to write new songs that were inspired by traditional music. Thompson described the process as “let’s take one line of this reel and slow it down and move it up a minor third and see what that does to it; let’s take one line of this ballad and make a whole song out of it. Chopping up the tradition to find new things to do… like a collage.” Generally speaking, Swarbrick and Thompson would sit by the fire and Swarbrick would play a melody he’d been working on, the two would work on it for a while, and Thompson would then go away and write the lyrics. This is how the two came up with songs like the nine-minute “Sloth”, a highlight of the next album, Full House, and one that would remain in Fairport’s live set for much of their career: [Excerpt: Fairport Convention, “Sloth”] “Sloth” was titled that way because Thompson and Swarbrick were working on two tunes, a slow one and a fast one, and they jokingly named them “Sloth” and “Fasth”, but the latter got renamed to “Walk Awhile”, while “Sloth” kept its working title. But by this point, Boyd and Thompson were having a lot of conflict in the studio. Boyd was never the most technical of producers — he was one of those producers whose job is to gently guide the artists in the studio and create a space for the music to flourish, rather than the Joe Meek type with an intimate technical knowledge of the studio — and as the artists he was working with gained confidence in their own work they felt they had less and less need of him. During the making of the Full House album, Thompson and Boyd, according to Boyd, clashed on everything — every time Boyd thought Thompson had done a good solo, Thompson would say to erase it and let him have another go, while every time Boyd thought Thompson could do better, Thompson would say that was the take to keep. One of their biggest clashes was over Thompson’s song “Poor Will and the Jolly Hangman”, which was originally intended for release on the album, and is included in current reissues of it: [Excerpt: Fairport Convention, “Poor Will and the Jolly Hangman”] Thompson had written that song inspired by what he thought was the unjust treatment of Alex Bramham, the driver in Fairport’s fatal car crash, by the courts — Bramham had been given a prison sentence of a few months for dangerous driving, while the group members thought he had not been at fault. Boyd thought it was one of the best things recorded for the album, but Thompson wasn’t happy with his vocal — there was one note at the top of the melody that he couldn’t quite hit — and insisted it be kept off the record, even though that meant it would be a shorter album than normal. He did this at such a late stage that early copies of the album actually had the title printed on the sleeve, but then blacked out. He now says in his autobiography “I could have persevered, double-tracked the voice, warmed up for longer – anything. It was a good track, and the record was lacking without it. When the album was re-released, the track was restored with a more confident vocal, and it has stayed there ever since.” During the sessions for Full House the group also recorded one non-album single, Thompson and Swarbrick’s “Now Be Thankful”: [Excerpt, Fairport Convention, “Now Be Thankful”] The B-side to that was a medley of two traditional tunes plus a Swarbrick original, but was given the deliberately ridiculous title “Sir B. McKenzie’s Daughter’s Lament For The 77th Mounted Lancers Retreat From The Straits Of Loch Knombe, In The Year Of Our Lord 1727, On The Occasion Of The Announcement Of Her Marriage To The Laird Of Kinleakie”: [Excerpt: Fairport Convention, “Sir B. McKenzie’s Daughter’s Lament For The 77th Mounted Lancers Retreat From The Straits Of Loch Knombe, In The Year Of Our Lord 1727, On The Occasion Of The Announcement Of Her Marriage To The Laird Of Kinleakie”] The B. McKenzie in the title was a reference to the comic-strip character Barry McKenzie, a stereotype drunk Australian created for Private Eye magazine by the comedian Barry Humphries (later to become better known for his Dame Edna Everage character) but the title was chosen for one reason only — to get into the Guinness Book of Records for the song with the longest title. Which they did, though they were later displaced by the industrial band Test Dept, and their song “Long Live British Democracy Which Flourishes and Is Constantly Perfected Under the Immaculate Guidance of the Great, Honourable, Generous and Correct Margaret Hilda Thatcher. She Is the Blue Sky in the Hearts of All Nations. Our People Pay Homage and Bow in Deep Respect and Gratitude to Her. The Milk of Human Kindness”. Full House got excellent reviews in the music press, with Rolling Stone saying “The music shows that England has finally gotten her own equivalent to The Band… By calling Fairport an English equivalent of the Band, I meant that they have soaked up enough of the tradition of their countryfolk that it begins to show all over, while they maintain their roots in rock.” Off the back of this, the group went on their first US tour, culminating in a series of shows at the Troubadour in LA, on the same bill as Rick Nelson, which were recorded and later released as a live album: [Excerpt: Fairport Convention, “Sloth (live)”] The Troubadour was one of the hippest venues at the time, and over their residency there the group got seen by many celebrities, some of whom joined them on stage. The first was Linda Ronstadt, who initially demurred, saying she didn’t know any of their songs. On being told they knew all of hers, she joined in with a rendition of “Silver Threads and Golden Needles”. Thompson was later asked to join Ronstadt’s backing band, who would go on to become the Eagles, but he said later of this offer “I would have hated it. I’d have hated being on the road with four or five miserable Americans — they always seem miserable. And if you see them now, they still look miserable on stage — like they don’t want to be there and they don’t like each other.” The group were also joined on stage at the Troubadour on one memorable night by some former bandmates of Pegg’s. Before joining the Ian Campbell Folk Group, Pegg had played around the Birmingham beat scene, and had been in bands with John Bonham and Robert Plant, who turned up to the Troubadour with their Led Zeppelin bandmate Jimmy Page (reports differ on whether the fourth member of Zeppelin, John Paul Jones, also came along). They all got up on stage together and jammed on songs like “Hey Joe”, “Louie Louie”, and various old Elvis tunes. The show was recorded, and the tapes are apparently still in the possession of Joe Boyd, who has said he refuses to release them in case he is murdered by the ghost of Peter Grant. According to Thompson, that night ended in a three-way drinking contest between Pegg, Bonham, and Janis Joplin, and it’s testament to how strong the drinking culture is around Fairport and the British folk scene in general that Pegg outdrank both of them. According to Thompson, Bonham was found naked by a swimming pool two days later, having missed two gigs. For all their hard rock image, Led Zeppelin were admirers of a lot of the British folk and folk-rock scene, and a few months later Sandy Denny would become the only outside vocalist ever to appear on a Led Zeppelin record when she duetted with Plant on “The Battle of Evermore” on the group’s fourth album: [Excerpt: Led Zeppelin, “The Battle of Evermore”] Denny would never actually get paid for her appearance on one of the best-selling albums of all time. That was, incidentally, not the only session that Denny was involved in around this time — she also sang on the soundtrack to a soft porn film titled Swedish Fly Girls, whose soundtrack was produced by Manfred Mann: [Excerpt: Sandy Denny, “What Will I Do With Tomorrow?”] Shortly after Fairport’s trip to America, Joe Boyd decided he was giving up on Witchseason. The company was now losing money, and he was finding himself having to produce work for more and more acts as the various bands fissioned. The only ones he really cared about were Richard Thompson, who he was finding it more and more difficult to work with, Nick Drake, who wanted to do his next album with just an acoustic guitar anyway, Sandy Denny, who he felt was wasting her talents in Fotheringay, and Mike Heron of the Incredible String Band, who was more distant since his conversion to Scientology. Boyd did make some attempts to keep the company going. On a trip to Sweden, he negotiated an agreement with the manager and publisher of a Swedish band whose songs he’d found intriguing, the Hep Stars. Boyd was going to publish their songs in the UK, and in return that publisher, Stig Anderson, would get the rights to Witchseason’s catalogue in Scandinavia — a straight swap, with no money changing hands. But before Boyd could get round to signing the paperwork, he got a better offer from Mo Ostin of Warners — Ostin wanted Boyd to come over to LA and head up Warners’ new film music department. Boyd sold Witchseason to Island Records and moved to LA with his fiancee Linda Peters, spending the next few years working on music for films like Deliverance and A Clockwork Orange, as well as making his own documentary about Jimi Hendrix, and thus missed out on getting the UK publishing rights for ABBA, and all the income that would have brought him, for no money. And it was that decision that led to the breakup of Fotheringay. Just before Christmas 1970, Fotheringay were having a difficult session, recording the track “John the Gun”: [Excerpt: Fotheringay, “John the Gun”] Boyd got frustrated and kicked everyone out of the session, and went for a meal and several drinks with Denny. He kept insisting that she should dump the band and just go solo, and then something happened that the two of them would always describe differently. She asked him if he would continue to produce her records if she went solo, and he said he would. According to Boyd’s recollection of the events, he meant that he would fly back from California at some point to produce her records. According to Denny, he told her that if she went solo he would stay in Britain and not take the job in LA. This miscommunication was only discovered after Denny told the rest of Fotheringay after the Christmas break that she was splitting the band. Jerry Donahue has described that as the worst moment of his life, and Denny felt very guilty about breaking up a band with some of her closest friends in — and then when Boyd went over to the US anyway she felt a profound betrayal. Two days before Fotheringay’s final concert, in January 1971, Sandy Denny signed a solo deal with Island records, but her first solo album would not end up produced by Joe Boyd. Instead, The North Star Grassman and the Ravens was co-produced by Denny, John Wood — the engineer who had worked with Boyd on pretty much everything he’d produced, and Richard Thompson, who had just quit Fairport Convention, though he continued living with them at the Angel, at least until a truck crashed into the building in February 1971, destroying its entire front wall and forcing them to relocate. The songs chosen for The North Star Grassman and the Ravens reflected the kind of choices Denny would make on her future albums, and her eclectic taste in music. There was, of course, the obligatory Dylan cover, and the traditional folk ballad “Blackwaterside”, but there was also a cover version of Brenda Lee’s “Let’s Jump the Broomstick”: [Excerpt: Sandy Denny, “Let’s Jump the Broomstick”] Most of the album, though, was made up of originals about various people in Denny’s life, like “Next Time Around”, about her ex-boyfriend Jackson C Frank: [Excerpt: Sandy Denny, “Next Time Around”] The album made the top forty in the UK — Denny’s only solo album to do so — and led to her once again winning the “best female singer” award in Melody Maker’s readers’ poll that year — the male singer award was won by Rod Stewart. Both Stewart and Denny appeared the next year on the London Symphony Orchestra’s all-star version of The Who’s Tommy, which had originally been intended as a vehicle for Stewart before Roger Daltrey got involved. Stewart’s role was reduced to a single song, “Pinball Wizard”, while Denny sang on “It’s a Boy”: [Excerpt: Sandy Denny, “It’s a Boy”] While Fotheringay had split up, all the band members play on The North Star Grassman and the Ravens. Guitarists Donahue and Lucas only play on a couple of the tracks, with Richard Thompson playing most of the guitar on the record. But Fotheringay’s rhythm section of Pat Donaldson and Gerry Conway play on almost every track. Another musician on the album, Ian Whiteman, would possibly have a profound effect on the future direction of Richard Thompson’s career and life. Whiteman was the former keyboard player for the mod band The Action, having joined them just before they became the blues-rock band Mighty Baby. But Mighty Baby had split up when all of the band except the lead singer had converted to Islam. Richard Thompson was on his own spiritual journey at this point, and became a Sufi – the same branch of Islam as Whiteman – soon after the session, though Thompson has said that his conversion was independent of Whiteman’s. The two did become very close and work together a lot in the mid-seventies though. Thompson had supposedly left Fairport because he was writing material that wasn’t suited to the band, but he spent more than a year after quitting the group working on sessions rather than doing anything with his own material, and these sessions tended to involve the same core group of musicians. One of the more unusual was a folk-rock supergroup called The Bunch, put together by Trevor Lucas. Richard Branson had recently bought a recording studio, and wanted a band to test it out before opening it up for commercial customers, so with this free studio time Lucas decided to record a set of fifties rock and roll covers. He gathered together Thompson, Denny, Whiteman, Ashley Hutchings, Dave Mattacks, Pat Donaldson, Gerry Conway, pianist Tony Cox, the horn section that would later form the core of the Average White Band, and Linda Peters, who had now split up with Joe Boyd and returned to the UK, and who had started dating Thompson. They recorded an album of covers of songs by Jerry Lee Lewis, the Everly Brothers, Johnny Otis and others: [Excerpt: The Bunch, “Willie and the Hand Jive”] The early seventies was a hugely productive time for this group of musicians, as they all continued playing on each other’s projects. One notable album was No Roses by Shirley Collins, which featured Thompson, Mattacks, Whiteman, Simon Nicol, Lal and Mike Waterson, and Ashley Hutchings, who was at that point married to Collins, as well as some more unusual musicians like the free jazz saxophonist Lol Coxhill: [Excerpt: Shirley Collins and the Albion Country Band, “Claudy Banks”] Collins was at the time the most respected female singer in British traditional music, and already had a substantial career including a series of important records made with her sister Dolly, work with guitarists like Davey Graham, and time spent in the 1950s collecting folk songs in the Southern US with her then partner Alan Lomax – according to Collins she did much of the actual work, but Lomax only mentioned her in a single sentence in his book on this work. Some of the same group of musicians went on to work on an album of traditional Morris dancing tunes, titled Morris On, credited to “Ashley Hutchings, Richard Thompson, Dave Mattacks, John Kirkpatrick and Barry Dransfield”, with Collins singing lead on two tracks: [Excerpt: Ashley Hutchings, Richard Thompson, Dave Mattacks, John Kirkpatrick and Barry Dransfield with Shirley Collins, “The Willow Tree”] Thompson thought that that album was the best of the various side projects he was involved in at the time, comparing it favourably to Rock On, which he thought was rather slight, saying later “Conceptually, Fairport, Ashley and myself and Sandy were developing a more fragile style of music that nobody else was particularly interested in, a British Folk Rock idea that had a logical development to it, although we all presented it our own way. Morris On was rather more true to what we were doing. Rock On was rather a retro step. I'm not sure it was lasting enough as a record but Sandy did sing really well on the Buddy Holly songs.” Hutchings used the musicians on No Roses and Morris On as the basis for his band the Albion Band, which continues to this day. Simon Nicol and Dave Mattacks both quit Fairport to join the Albion Band, though Mattacks soon returned. Nicol would not return to Fairport for several years, though, and for a long period in the mid-seventies Fairport Convention had no original members. Unfortunately, while Collins was involved in the Albion Band early on, she and Hutchings ended up divorcing, and the stress from the divorce led to Collins developing spasmodic dysphonia, a stress-related illness which makes it impossible for the sufferer to sing. She did eventually regain her vocal ability, but between 1978 and 2016 she was unable to perform at all, and lost decades of her career. Richard Thompson occasionally performed with the Albion Band early on, but he was getting stretched a little thin with all these sessions. Linda Peters said later of him “When I came back from America, he was working in Sandy’s band, and doing sessions by the score. Always with Pat Donaldson and Dave Mattacks. Richard would turn up with his guitar, one day he went along to do a session with one of those folkie lady singers — and there were Pat and DM. They all cracked. Richard smashed his amp and said “Right! No more sessions!” In 1972 he got round to releasing his first solo album, Henry the Human Fly, which featured guest appearances by Linda Peters and Sandy Denny among others: [Excerpt: Richard Thompson, “The Angels Took My Racehorse Away”] Unfortunately, while that album has later become regarded as one of the classics of its genre, at the time it was absolutely slated by the music press. The review in Melody Maker, for example, read in part “Some of Richard Thompson’s ideas sound great – which is really the saving grace of this album, because most of the music doesn’t. The tragedy is that Thompson’s “British rock music” is such an unconvincing concoction… Even the songs that do integrate rock and traditional styles of electric guitar rhythms and accordion and fiddle decoration – and also include explicit, meaningful lyrics are marred by bottle-up vocals, uninspiring guitar phrases and a general lack of conviction in performance.” Henry the Human Fly was released in the US by Warners, who had a reciprocal licensing deal with Island (and for whom Joe Boyd was working at the time, which may have had something to do with that) but according to Thompson it became the lowest-selling record that Warners ever put out (though I’ve also seen that claim made about Van Dyke Parks’ Song Cycle, another album that has later been rediscovered). Thompson was hugely depressed by this reaction, and blamed his own singing. Happily, though, by this point he and Linda had become a couple — they would marry in 1972 — and they started playing folk clubs as a duo, or sometimes in a trio with Simon Nicol. Thompson was also playing with Sandy Denny’s backing band at this point, and played on every track on her second solo album, Sandy. This album was meant to be her big commercial breakthrough, with a glamorous cover photo by David Bailey, and with a more American sound, including steel guitar by Sneaky Pete Kleinow of the Flying Burrito Brothers (whose overdubs were supervised in LA by Joe Boyd): [Excerpt: Sandy Denny, “Tomorrow is a Long Time”] The album was given a big marketing push by Island, and “Listen, Listen” was made single of the week on the Radio 1 Breakfast show: [Excerpt: Sandy Denny, “Listen, Listen”] But it did even worse than the previous album, sending her into something of a depression. Linda Thompson (as the former Linda Peters now was) said of this period “After the Sandy album, it got her down that her popularity didn't suddenly increase in leaps and bounds, and that was the start of her really fretting about the way her career was going. Things only escalated after that. People like me or Martin Carthy or Norma Waterson would think, ‘What are you on about? This is folk music.'” After Sandy’s release, Denny realised she could no longer afford to tour with a band, and so went back to performing just acoustically or on piano. The only new music to be released by either of these ex-members of Fairport Convention in 1973 was, oddly, on an album by the band they were no longer members of. After Thompson had left Fairport, the group had managed to release two whole albums with the same lineup — Swarbrick, Nicol, Pegg, and Mattacks. But then Nicol and Mattacks had both quit the band to join the Albion Band with their former bandmate Ashley Hutchings, leading to a situation where the Albion Band had two original members of Fairport plus their longtime drummer while Fairport Convention itself had no original members and was down to just Swarbrick and Pegg. Needing to fulfil their contracts, they then recruited three former members of Fotheringay — Lucas on vocals and rhythm guitar, Donahue on lead guitar, and Conway on drums. Conway was only a session player at the time, and Mattacks soon returned to the band, but Lucas and Donahue became full-time members. This new lineup of Fairport Convention released two albums in 1973, widely regarded as the group’s most inconsistent records, and on the title track of the first, “Rosie”, Richard Thompson guested on guitar, with Sandy Denny and Linda Thompson on backing vocals: [Excerpt: Fairport Convention, “Rosie”] Neither Sandy Denny nor Richard Thompson released a record themselves in 1973, but in neither case was this through the artists’ choice. The record industry was changing in the early 1970s, as we’ll see in later episodes, and was less inclined to throw good money after bad in the pursuit of art. Island Records prided itself on being a home for great artists, but it was still a business, and needed to make money. We’ll talk about the OPEC oil crisis and its effect on the music industry much more when the podcast gets to 1973, but in brief, the production of oil by the US peaked in 1970 and started to decrease, leading to them importing more and more oil from the Middle East. As a result of this, oil prices rose slowly between 1971 and 1973, then very quickly towards the end of 1973 as a result of the Arab-Israeli conflict that year. As vinyl is made of oil, suddenly producing records became much more expensive, and in this period a lot of labels decided not to release already-completed albums, until what they hoped would be a brief period of shortages passed. Both Denny and Thompson recorded albums at this point that got put to one side by Island. In the case of Thompson, it was the first album by Richard and Linda as a duo, I Want to See the Bright Lights Tonight: [Excerpt: Richard and Linda Thompson, “I Want to See the Bright Lights Tonight”] Today, I Want to See the Bright Lights Tonight is widely regarded as one of the greatest albums of all time, and as one of the two masterpieces that bookended Richard and Linda’s career as a duo and their marriage. But when they recorded the album, full of Richard’s dark songs, it was the opposite of commercial. Even a song that’s more or less a boy-girl song, like “Has He Got a Friend for Me?” has lyrics like “He wouldn’t notice me passing by/I could be in the gutter, or dangling down from a tree” [Excerpt: Richard and Linda Thompson, “Has He got a Friend For Me?”] While something like “The Calvary Cross” is oblique and haunted, and seems to cast a pall over the entire album: [Excerpt: Richard and Linda Thompson, “The Calvary Cross”] The album itself had been cheap to make — it had been recorded in only a week, with Thompson bringing in musicians he knew well and had worked with a lot previously to cut the tracks as-live in only a handful of takes — but Island didn’t think it was worth releasing. The record stayed on the shelf for nearly a year after recording, until Island got a new head of A&R, Richard Williams. Williams said of the album’s release “Muff Winwood had been doing A&R, but he was more interested in production… I had a conversation with Muff as soon as I got there, and he said there are a few hangovers, some outstanding problems. And one of them was Richard Thompson. He said there’s this album we gave him the money to make — which was I Want to See the Bright Lights Tonight — and nobody’s very interested in it. Henry the Human Fly had been a bit of a commercial disappointment, and although Island was altruistic and independent and known for only recording good stuff, success was important… Either a record had to do well or somebody had to believe in it a lot. And it seemed as if neither of those things were true at that point of Richard.” Williams, though, was hugely impressed when he listened to the album. He compared Richard Thompson’s guitar playing to John Coltrane’s sax, and called Thompson “the folk poet of the rainy streets”, but also said “Linda brightened it, made it more commercial. and I thought that “Bright Lights” itself seemed a really commercial song.” The rest of the management at Island got caught up in Williams’ enthusiasm, and even decided to release the title track as a single: [Excerpt: Richard and Linda Thompson, “I Want to See the Bright Lights Tonight”] Neither single nor album charted — indeed it would not be until 1991 that Richard Thompson would make a record that made the top forty in the UK — but the album got enough critical respect that Richard and Linda released two albums the year after. The first of these, Hokey Pokey, is a much more upbeat record than their previous one — Richard Thompson has called it “quite a music-hall influenced record” and cited the influence of George Formby and Harry Lauder. For once, the claim of music hall influence is audible in the music. Usually when a British musician is claimed to have a music ha

En este directo de FotógrafoPro, John Vargas analiza cinco noticias clave del mundo de la fotografía: la retrospección de Ralph Gibson, la exposición de David Bailey en España, la OM‑5 Mark II de OM System, el futuro de la Canon EOS R7 Mark II sin obturador mecánico y las primeras imágenes de la cámara más grande del mundo. ¡Únase al chat, comparta sus opiniones y nunca, pero nunca deje de hacer fotos!Hashtags: #Fotografía #NovedadesFotográficas #RalphGibson #DavidBailey #OMSystem #CanonEOSR7 #Astrofotografía

David Bailey was born in Napier New Zealand in1953 and was baptised in Wellington 20 years later. He lives in Christchurch and is a member of the Christchurch North Christadelphian Church or ecclesia. Christadelphian Video has recently published series of talks given by David entitled Building Our Relationship with God.

A @Christadelphians Video: Video Description:**

If you have Bitcoin, there is someone out there that wants to separate you from it. Simple stacking sats NEVER FAIL! Watch out for salesmen that will use any and every trick in the book. Ser Ulric has noticed that youthful spokespeople are a key strategy for influence in this matter. He will discuss a couple of whom you may be familiar. NOTE: While speculation is not inherently bad, don't neglect your fundamentals, your "boring" Bitcoin: the foundation of wealth in the 21st century.TIMESTAMPS0:00 What Are the Institutions Coming For?0:58 David Bailey and Conference Correction1:52 CEP SPAC Future Merger with XXI3:03 Strike Bitcoin Backed Loan Meter4:49 Loan Targeting for Bitcoin Farming8:38 He Said What? Sales Double Speak12:37 Bull Market BUT Be on GuardDISCLAIMER:The information provided by Pleb Underground ("we," "us," or "our") on Youtube.com (the "Site") our show is for general informational purposes only. All information on the show is provided in good faith, however we make no representation or warranty of any kind, express or implied, regarding the accuracy, adequacy, validity, reliability, availability, or completeness of any information on the Site. UNDER NO CIRCUMSTANCE SHALL WE HAVE ANY LIABILITY TO YOU FOR ANY LOSS OR DAMAGE OF ANY KIND INCURRED AS A RESULT OF THE USE OF THE SHOW OR RELIANCE ON ANY INFORMATION PROVIDED ON THE SHOW. YOUR USE OF THE SHOW AND YOUR RELIANCE ON ANY INFORMATION ON THE SHOW IS SOLELY AT YOUR OWN RISK.#bitcoin #crypto #investment

After the U.S. and China announced a 90-day pause on tariffs, signaling a massive de-escalation of the trade wars, markets rallied.  In this week's Bits + Bips, the panel covers the biggest macro and crypto forces in motion right now: Will US-China tariff reset reshape the global economy, or just kick the can down the road? America's ballooning deficit and why politicians are spending like it's wartime. Why some think ETH has a unique lane to outperform. How policymakers ignore the power of the crypto community at their own risk. Plus: Saylor copycats, Solana's risk-reward balance, and whether stagflation or recession is still in the cards. Sponsors: Bitwise Ram Ahluwalia, CFA, CEO and Founder of Lumida Steve Ehrlich, Executive editor at Unchained Guests: Peter Tchir, Head of Macro Strategy at Academy Securities Zach Pandl, Head of research at Grayscale POLITICO: Trump: The EU is ‘nastier than China' David Bailey and Bitcoin-Native Holding Company Nakamoto Announce Merger with KindlyMD® to Establish Bitcoin Treasury Unchained: Michael Saylor Copycats Rush to Win the Solana Rat Race. Can Lightning Strike Twice? Reuters: Brokerages Scale Back Recession Odds After U.S.-China Trade Truce White House: Joint Statement on U.S.-China Economic and Trade Meeting in Geneva McKinsey: Chinese Consumption Amid the New Reality CBS: U.S. Could Face Default by August if Congress Doesn't Address Debt Ceiling, Bessent Says Stablecoin bill drama Unchained: Why the Senate Stablecoin Bill Stalled & What It Means for Crypto Tether in the Clear? Yes, Under This New Republican-Led Senate Stablecoin Bill  Stablecoin Bill Stalls in Senate as GOP Cries Foul Over Dem Resistance A House Hearing on Crypto? More Like a Big, Partisan Fight Timestamps:

After the U.S. and China announced a 90-day pause on tariffs, signaling a massive de-escalation of the trade wars, markets rallied.  In this week's Bits + Bips, the panel covers the biggest macro and crypto forces in motion right now: Will US-China tariff reset reshape the global economy, or just kick the can down the road? America's ballooning deficit and why politicians are spending like it's wartime. Why some think ETH has a unique lane to outperform. How policymakers ignore the power of the crypto community at their own risk. Plus: Saylor copycats, Solana's risk-reward balance, and whether stagflation or recession is still in the cards. Sponsors: Bitwise Ram Ahluwalia, CFA, CEO and Founder of Lumida Steve Ehrlich, Executive editor at Unchained Guests: Peter Tchir, Head of Macro Strategy at Academy Securities Zach Pandl, Head of research at Grayscale POLITICO: Trump: The EU is ‘nastier than China' David Bailey and Bitcoin-Native Holding Company Nakamoto Announce Merger with KindlyMD® to Establish Bitcoin Treasury Unchained: Michael Saylor Copycats Rush to Win the Solana Rat Race. Can Lightning Strike Twice? Reuters: Brokerages Scale Back Recession Odds After U.S.-China Trade Truce White House: Joint Statement on U.S.-China Economic and Trade Meeting in Geneva McKinsey: Chinese Consumption Amid the New Reality CBS: U.S. Could Face Default by August if Congress Doesn't Address Debt Ceiling, Bessent Says Stablecoin bill drama Unchained: Why the Senate Stablecoin Bill Stalled & What It Means for Crypto Tether in the Clear? Yes, Under This New Republican-Led Senate Stablecoin Bill  Stablecoin Bill Stalls in Senate as GOP Cries Foul Over Dem Resistance A House Hearing on Crypto? More Like a Big, Partisan Fight Timestamps:

13th May: Blockchain DXB podcast

58 crypto wallets have made millions on Trumpcoin while 764,000 have lost moneyFEATURING:Ben Arc (https://twitter.com/Arcbtc)Victoria Jones (https://twitter.com/satoshis_page)Thomas Hunt (https://twitter.com/MadBitcoins)THIS WEEK:  Since when does bitcoin acquiesce to flash in the pan business models ?https://twitter.com/djbooth007/status/1919517956398252118?s=46Source: Twitter/XRemoving Bitcoin's Guardrailshttps://blog.bitmex.com/removing-bitcoins-guardrails/Source: Blog BitmexOP_RETURN shitcoinery intensifies. To do this, these folks need to both find AND pay miners willing to mine these shitcoin transactions. https://twitter.com/fractalencrypt/status/1920139895164613040?s=46Source: Twitter/XOP_RETURN debate is novel due to how factions are split.1) Ruthlessly rational technical folks who understand the dynamics of the network and don't want to play unending subjective games.2) Ideological folks upset by how others use the network who want to play those games.https://twitter.com/lopp/status/1920474177930195408?s=46A quiet change in Bitcoin Core just blew open a years-long battle.https://twitter.com/simpleminingio/status/1920172025072791814?s=46Source: Twitter/XIs Bitcoin about to go parabolic? BTC price targets include $160K nexthttps://cointelegraph.com/news/is-bitcoin-about-to-parabolic-btc-price-160k-nextSource: Cointelegraph$45 million stolen from Coinbase users in the last week — ZachXBThttps://cointelegraph.com/news/45-million-stolen-coinbase-users-last-week-zack-xbtSource: CointelegraphTrump crypto adviser David Bailey raises $300M for Bitcoin investment firmhttps://cointelegraph.com/news/trump-advisor-david-bailey-nakamoto-bitcoin-fundSource: CointelegraphPump.fun Hits Back at Report That Claimed 98% of Memecoins on the Platform Are Fraudulenthttps://www.coindesk.com/business/2025/05/07/98-of-tokens-on-pump-fun-have-been-rug-pulls-or-an-act-of-fraud-new-report-saysSource: CoindeskJUST IN:

Paris interviews photographer Sylvie Blum to discuss Sylvie's past marriage to photographer Gunter Blum, whom she considers a significant mentor who taught her to "look" beyond just seeing, emphasizing shaping one's artistic eye. Sylvie also shares her experiences working with Helmut Newton as a model, including the "Woolford" campaign and shoots in the South of France. They reflect on the naturalness of nudity in art during that era, a stark contrast to its current reception, and the importance of feeling comfortable in one's skin. Sylvie mentions photographing models Colleen and Jamie Nelson, and talks about Helmut Newton's approach to posing and manipulating subjects, sharing a humorous anecdote about David Bailey's direction style as well.Show Clip from The Paris Chong Show with Sylvie Blumhttps://youtu.be/y1EFvAFKVvUhttps://www.theparischongshow.com

Blockchain DXB – May 12th EpisodeSeries: AI Takeover

David Bailey is the CEO of Bitcoin Inc. The Scoop's host, Frank Chaparro, was joined live by David Bailey to discuss the growing adoption of Bitcoin by nation-states and institutions, with Bitcoin heading towards becoming a reserve asset and political force. They also discuss Michael Saylor's Microstrategy, and Bitcoin's separation from the broader crypto market. OUTLINE 00:00 - President Trump prelude 04:00 - Sponsor break 05:01 - Bitcoin losing its identity? 10:26 - International adoption 15:17 - Bitcoin as a matter of national security 18:39 - Market trends 21:33 - Risks of Microstrategy 26:28 - Microstrategy's appeal 30:47 - Bitcoin's maturity and seeking yield 31:51 - Crypto market troubles 34:25 - Conclusion GUEST LINKS David Bailey on X: ⁠https://x.com/DavidFBailey BTC Inc: https://b.tc/ Are you hiring in crypto? Use Campus to quickly find your best candidates with our challenging Crypto Assessment Test. Faster hiring, stronger teams. Sign up for a trial today: ⁠⁠⁠theblock.co/campus⁠⁠⁠ This episode is brought to your by our sponsors: Fidelity Explore Fidelity crypto careers today. Go to ⁠⁠⁠crypto.FidelityCareers.com⁠⁠⁠ to learn more.

Saira Baker chats with senior curator of photographs at the Royal Collection Trust and curator of the exhibition, Alessandro Nasini, in The King's Gallery at the Palace of Holyroodhouse, Edinburgh.‘Royal Portraits: A Century of Photography' charts the evolution of royal portrait photography from the 1920s to the present day, revealing the stories behind the creation of some of the most iconic images of the British Monarchy.Bringing together more than 90 photographic prints, proofs and documents from the Royal Collection and the Royal Archives, the exhibition – which follows a successful run in London – will also consider the artistic and technological advances in photography as it evolved into a recognised art form.Visitors will see glamorous images from the first half of the 20th century, taken by some of the most respected photographers of the era. All of the photographs in the exhibition are vintage prints – the original works produced by the photographer – and the earliest works date from the 1920s and 30s, the golden age of the society photographer. In the mid-20th century, no royal photographer had a greater impact on shaping the monarchy's public image than Cecil Beaton. The exhibition will present some of Beaton's most memorable photographs, taken over six decades. These include Queen Elizabeth The Queen Mother's famed 1939 shoot in the Buckingham Palace Gardens, dressed in gowns designed by Norman Hartnell, and Beaton's original Coronation portraits of Queen Elizabeth II – arguably the most prestigious photography commission of the century.The bold and colourful later photographs in the exhibition will demonstrate the extraordinary variety, power, and at times playfulness of royal portrait photography over the past four decades. These works range from Andy Warhol's diamond-dust-sprinkled screen print of Queen Elizabeth II to well-known photographs by David Bailey, Nick Knight, Annie Leibovitz and more. The exhibition runs until 7 September 2025. For more information about the portraits discussed in this podcast, visit the Royal Collection Trust website and visit the exhibition in person. To book tickets and discover the events programme, see: https://www.rct.uk/collection/exhibitions/royal-portraits-a-century-of-photography/the-kings-gallery-palace-of-holyroodhouseTo find out more about visiting the other royal residences and exhibitions mentioned in the episode, see: https://www.rct.ukRoyal Collection Trust is a charity caring for the Royal Collection and welcoming visitors to the royal palaces. We bring our shared history to life through world-class experiences that involve and inspire people, wherever they are. Income from tickets and retail sales helps us to conserve the Collection so that it can be enjoyed by everyone for generations to come.

What if racial reconciliation isn't just a side initiative, but central to your calling as a Christian leader? In this compelling conversation, David Bailey, Founder and CEO of Arrabon, unpacks how unity, justice, and spiritual formation are essential to building reconciling communities—and to leading with courage in a divided world. Find full show notes here: https://bit.ly/440davidbailey Share the love. If you enjoyed this episode, please rate it on Apple Podcasts and write a brief review. https://podcasts.apple.com/us/podcast/the-flourishing-culture-podcast/id1060724960?mt=2   By doing so, you will help spread our podcast to more listeners, and thereby help more Christian workplaces learn to build flourishing cultures. | Follow our Host, Al Lopus, on X https://twitter.com/allopus  | Follow our Host, Al Lopus, on LinkedIn https://www.linkedin.com/in/allopus/ | Email our host at al@workplaces.org

S26 Ep 6 |Desperate for God to Intervene: The Ongoing Tarry In this episode, Ruth engages in a profound conversation with Joy and David Bailey. Together, they delve into the themes from Dr. Selena Stone's book 'Tarry Awhile,' focusing on chapter six about healing. Joy and David share their extensive journey of dealing with Joy's chronic health issues, exploring how it has shaped both their faith and community life. They discuss the complexities of suffering, the importance of community support, and how leaning into God's presence has been vital in their ongoing struggle.  We are journeying through Lent with a podcast season entitled “Tarry with Me Awhile: Learnings from the Black Church.” We will use Dr. Selina Stone's book, Tarry Awhile: Wisdom from Black Spirituality for People of Faith, as a guide. Black spirituality has much to offer us in understanding the practice of tarrying as a Lenten practice. Together we will seek a deeper understanding of waiting on God in the liminal space—where the resurrection feels far off, and our deaths and suffering are present.    As a photographer and writer, Joy Guion Bailey (TC15) walks the tension between the hopeful, faithful now and the not yet. Her desire is that the spaces she curates in her life and work invite willing participants to their place at the communion table through pieces that encourage the viewer to stay, listen, and engage deeply with their own story and the narratives playing out around them. A practicing professional artist for 15 years, Joy resides in Richmond, Virginia, with her husband, David Bailey.    David Bailey (TC15) is a public theologian, culture maker, and catalyst focused on building reconciling communities. David is the founder and Chief Vision Officer of Arrabon, a spiritual formation ministry that equips the American Church to actively and creatively pursue racial healing in their communities. He is the co-author of the study series, A People, A Place, and A Just Society, and the executive producer of the documentary 11 am: Hope for America's Most Segregated Hour and the Urban Doxology Project. David is rooted at East End Covenant Fellowship, serving on the preaching team, and his greatest honor is to be married to his wonderful wife, Joy.   Music this season is provided by Julian Davis Reed. Julian Davis Reid (TC20) is an artist-theologian from Chicago who uses sound and word to offer hope to the searching, presence to the sorrowful, and rest to the weary. A pianist, composer, and producer, his projects featured on this podcast are the two solo piano records Rest Assured (2021) and Beside Still Waters (2024) and his single Moan (Matthew 2:18) featuring Tramaine Parker, released on Inauguration Day 2025 on the project When Souls Cry Out. Julian steadily releases music under his own name and with his group, The JuJu Exchange. You can learn more about his work at juliandavisreid.com. Mentioned in this episode: Tarry Awhile: Wisdom from Black Spirituality for People of Faith by Dr. Selina Stone One is Theology of the Womb by Christy Bauman Invisible Women: Data Bias in a World Made for Men by Caroline Criado-Perez Music Credit: Kingdom Come by Aaron Niequist Besides Still Waters by Julian Davis Reed Surely Goodness and Mercy by Julian Davis Reed Are you interested in learning more about Haven, our newest community offering from the Transforming Center? Haven is a community that meets alternately online and in person to create space for leaders to forge a stronger connection between their souls and their leadership. Each gathering (online and in-person) offers spiritual practices that increasingly open us to God over time. This new 18-month community experience will provide more intentional opportunities to engage with a diverse community of believers who are united around Christ. Learn more about dates and how to apply! Support the podcast! This season patrons will receive special bonus episodes with each guest, exploring different practices associated with Lent, such as solitude, self-examination, confession, and more. Become a patron today by visiting our Patreon page!     The Transforming Center exists to create space for God to strengthen leaders and transform communities. You are invited to join our next Transforming Community:® A Two-year Spiritual Formation Experience for Leaders.  Delivered in nine quarterly retreats, this practice-based learning opportunity is grounded in the conviction that the best thing you bring to leadership is your own transforming self! Learn more and apply HERE.   *this post contains affiliate links

Chris Level and Chois Woodman talked about Texas Tech football landing the top transfer in the portal, how Bailey makes the entire defense better, the latest news from the basketball transfer portal, and whether Darrion Williams will leave for the portal, NBA or come back to Texas Tech - all in this week's episode. 

Chris Level and Chois Woodman talked about Texas Tech football landing the top transfer in the portal, how Bailey makes the entire defense better, the latest news from the basketball transfer portal, and whether Darrion Williams will leave for the portal, NBA or come back to Texas Tech - all in this week's episode. 

Stanford firing Troy Taylor inevitably meant some of his players would enter the Transfer Portal. Defensive end David Bailey is the first big name from Stanford to enter, and he's one of college football's most proven players.The Portal Podcast defines Bailey's game, his production, statistics, and where he'd be a good fit. Do not be surprised if Bailey ends up at a major college football power.Follow me on X: @fbscout_florida & @LO_ThePortalTikTok: @lockedontheportalInstagram: @fbscout_florida Apple: https://podcasts.apple.com/us/podcast/the-portal-daily-college-recruiting-and-nil-podcast/id1720975375Spotify: https://open.spotify.com/show/2Wr77m5yVBgANHkDS7NxI5YouTube: www.youtube.com/@ThePortalPodcast#ThePortalPodcast #recruiting #transferportal #nil #recruitingrankings #fbscoutflorida #OhioState #JeremiahSmith #Buckeyes #DavidBailey #TroyTaylorFired #StanfordFootball #NotreDameFootball #GeorgiaBulldogs #USCTrojansSupport Us By Supporting Our Sponsors!NissanTake your adventures to new heights in the All-New Nissan Armada PRO-4X. Learn more at NissanUSA.com.Disclaimers: Optional features. Towing capacity varies by configuration. See Nissan Towing Guide and Owner's Manual for additional information. Always secure cargo.Supply HouseJoin the Trade Master program today at SupplyHouse.com/TM and start ordering plumbing, HVAC, and electrical supplies with just a few clicks. Plus, use promo code SH5 for 5% off your first order. That's SupplyHouse.com!FabricJoin the thousands of parents who trust Fabric to help protect their families. Apply today in just minutes at MEETFABRIC.com/LOCKEDONCOLLEGE. 5-Hour ENERGYHead to 5-hourENERGY.com to find over 15 flavors to choose from, including Watermelon, Blue Raspberry, and Peach-Mango. Need one now? Grab a 5-hour ENERGY shot at your local grocery or convenience store—they're everywhere! Stock up today and stay energized. UpworkVisit Upwork.com right now and post your job for free to connect with top talent and grow your business today!FactorLooking to optimize your nutrition this year? Eat smart with Factor. Get started at FACTOR MEALS.com/FACTORPODCAST and use code FACTORPODCAST to get 50% off your first box plus free shipping.Monarch MoneyTake control of your finances with Monarch Money. Use code LOCKEDONCOLLEGE at monarchmoney.com for 50% off your first year.GametimeDownload the Gametime app, create an account, and use code LOCKEDONCOLLEGE for $20 off your first purchase. Terms apply. Download Gametime today. What time is it? Gametime.FanDuelRight now, new customers can get TWO HUNDRED DOLLARS in BONUS BETS when your first FIVE DOLLAR BET WINS! Download the app or head to FANDUEL.COM to get started. Bet with FanDuel—Official Partner of the NBA.FANDUEL DISCLAIMER: 21+ in select states. First online real money wager only. Bonus issued as nonwithdrawable free bets that expires in 14 days. Restrictions apply. See terms at sportsbook.fanduel.com. Gambling Problem? Call 1-800-GAMBLER or visit FanDuel.com/RG (CO, IA, MD, MI, NJ, PA, IL, VA, WV), 1-800-NEXT-STEP or text NEXTSTEP to 53342 (AZ), 1-888-789-7777 or visit ccpg.org/chat (CT), 1-800-9-WITH-IT (IN), 1-800-522-4700 (WY, KS) or visit ksgamblinghelp.com (KS), 1-877-770-STOP (LA), 1-877-8-HOPENY or text HOPENY (467369) (NY), TN REDLINE 1-800-889-9789 (TN)

This week, we share a For the Journey exclusive conversation between Bill Haley and David Bailey, the Founder and CEO of Arrabon, a spiritual formation ministry that equips Christ-followers to actively and creatively pursue racial healing in their communities.From the conversation:The Story of the Repentance ProjectAn American Lent & An American LamentThe Winding Road inthecoracle.org  |  @inthecoracleSupport the show

“Love is my law. Truth is my worship. Beauty and perfection is my life.”Girlfriend of Brian Jones. Friend to Andy Warhol. Muse to Richard Avedon, David Bailey, and Salvador Dali. She walked for Paco Rabanne and jet-hopped from New York, London, Paris, and Rome. Mannequins were made in her likeness. Harper's Bazaar, Elle, Panorama, Queen, she was in them all. They scandalized her Playboy shoot and called her a kook. She was even the first Black woman on a Vogue cover! But fashion history has forgotten her. The supermodel with an artist's soul, her name is Donyale Luna. Donyale and her story are endlessly fascinating - and you can hear it all on the new Dolls Pod, available wherever you stream your podcasts

David Bailey is a physiologist and coach. He's been a performance director at Israel Premier Tech, British Cycling, BMC Racing & Bahrain McLaren.

Gm! This week we're joined by David Bailey for a discussion on the current state of the Bitcoin market. We deep dive into David's background building one of the largest Bitcoin media & events companies in the world, working with the Trump campaign, the 2025 corporate Bitcoin strategy, the outlook for a strategic reserve & so much more. Enjoy! -- Start your day with crypto news, analysis and data from Katherine Ross and David Canellis. Subscribe to the Empire newsletter: https://blockworks.co/newsletter/empire?utm_source=podcasts Follow David: https://x.com/DavidFBailey Follow Jason: https://twitter.com/JasonYanowitz Follow Empire: https://twitter.com/theempirepod Get top market insights and the latest in crypto news. Subscribe to Blockworks Daily Newsletter: https://blockworks.co/newsletter/ -- GEODNET's native token, GEOD, can be easily mined with a GEODNET Satellite Miner, presenting a unique opportunity to generate passive income. By setting up a GEODNET base station, you can join this groundbreaking Web3 ecosystem that is powering the future of AI and robotics. Join the revolution today and learn more at https://geodnet.com. -- Unichain is a fast, decentralized L2 that's built to be the home for DeFi and liquidity across chains. To stay updated on news including the upcoming launch of Unichain, visit www.Unichain.org or follow @Unichain on X. -- Petra Earn was designed to make DeFi more accessible for everyone—from seasoned pros to DeFi beginners. Manage your balance, claim rewards and deposit directly from the app. By supplying USDT to Aries lending pools, users have the potential to earn a higher yield compared to some traditional methods. Not financial advice. Participating in Defi carries risks. To learn more visit petra.app/earn -- Get up to speed on the biggest stories in crypto each week. In five minutes. Get the Bitwise Weekly CIO Memo delivered directly to your inbox at bitwiseinvestments.com/ciomemo/empire -- AO Mainnet is LIVE! Experience the future of decentralized computing: infinite parallel processing, secure TEE-powered computations, and LLMs in smart contracts. Built on Arweave, AO's modular design shatters scalability limits. 100% of tokens are distributed to Arweave holders and bridge depositors, with a fixed supply and halving. Explore AO today: https://ao.arweave.dev -- Timestamps: (00:00) Introduction (00:57) David's Origin Story (14:17) Sponsors (Geodnet & Uniswap) (15:13) The Bitcoin Conference (25:41) The Trump Bitcoin Journey (35:16) Sponsors (Geodnet & Uniswap) (36:54) The Strategic Bitcoin Reserve (42:24) Strategic Reserve vs Stockpile (46:47) The Crypto Council (49:28) Sponsors (Aptos, Bitwise, Arweave) (51:48) Hyperbitcoinization (55:06) The Bitcoin Strategy (01:13:54) The Four Year Cycle (01:17:06) David's Opinion On Crypto (01:26:12) The Path To $1 Million Bitcoin -- Disclaimer: Nothing said on Empire is a recommendation to buy or sell securities or tokens. This podcast is for informational purposes only, and any views expressed by anyone on the show are solely our opinions, not financial advice. Santiago, Jason, and our guests may hold positions in the companies, funds, or projects discussed.

Send us a textRecent political changes and executive orders have polarized the complex conversation around diversity, equity, inclusion, and accessibility (DEIA). David M. Bailey, the Founder and CEO of Arrabon, joins Amy Julia Becker to discuss: the consequences of dismantling DEIA initiativesthe implications of colorblindness and meritocracythe role of the church in advocating for justicethe importance of maintaining hope and engagement amidst societal polarizationthe need for critical thinking and compassionpractical steps for hope and community involvement_Amy Julia's Lenten Daily DevotionalAmy Julia's To Be Made Well Lenten Bible Study—Small Group Video SeriesArrabon Lenten Resources: available soon at arrabon.com__MENTIONED IN THIS EPISODE:Arrabon: a spiritual formation ministry that equips Christ-followers to actively and creatively pursue racial healing in their communities. David Bailey previously on the podcast: S6 E12 | How to Cultivate Racial HealingS3 E1 | Waking Up to PrivilegeS3 E19 | Loving Our Enemies in a Nation DividedS5 E4 | What's So Controversial About Critical Race Theory? President Trump's Executive OrderBarbara Newman_CONNECT with David Bailey at @wearearrabon and @davidmbailey on Instagram, Facebook, and LinkedIn._MORE: Watch this conversation on YouTube by clicking here. Read the full transcript and access detailed show notes by clicking here or visiting amyjuliabecker.com/podcast._ABOUT:David M. Bailey is a public theologian, culturemaker, and catalyst focused on cultivating reconciling communities. David is the Founder and CEO of Arrabon, a spiritual formation ministry that equips the American Church to actively and creatively pursue racial healing in their communities. He is the co-author of the study series, A People, A Place, and A Just Society. David is an ordained minister rooted at East End Covenant Fellowship, serving on the preaching team, and his greatest honor is to be married to his wonderful wife, Joy.___Let's stay in touch. Subscribe to my newsletter to receive weekly reflections that challenge assumptions about the good life, proclaim the inherent belovedness of every human being, and envision a world of belonging where everyone matters.Connect with me: Instagram Facebook YouTube Website Thanks for listening!

Imran and Qiao, together with Ilja and Richard (Tensor, Vector) sat down to chat about consumer crypto and more.No BS crypto insights for founders.Timestamps(00:00:00) Intro(00:00:57) Market Analysis(00:03:37) SBR is happening - David Bailey(00:05:22) Sovereign Wealth Fund(00:08:25) Government Impact on the Economy(00:09:46) "I'm glad Powell didn't cut" - Trump(00:13:39) DeepSeek(00:14:59) AI in Crypto Startups(00:15:47) AI Adoption and Future Predictions(00:19:38) Vine(00:23:19) App Tokens as Advertising Dollars(00:24:29) Future of Tokens in Startups(00:25:22) JellyJelly(00:26:45) "Clout" and "Tribe"(00:28:02) Richard and Ilja (Tensor)(00:28:17) Consensus Ideas and Vector's Direction(00:30:48) Photon(00:32:12) vector.fun(00:34:31) Vine vs. JellyJelly(00:36:44) Tokens as Go-to-Market Strategy(00:41:16) Tokenizing the World(00:43:23) Two Classes of Tokenization(00:44:54) Memecoins and Attention Assets(00:47:25) How Big is Vector Now?(00:49:24) Where to Find and Test Vector(00:49:59) Funny Tweet About Tesla's Earnings(00:52:17) Qiao's Annual Experiment(00:56:05) Shift of Developers from Ethereum to Solana(00:57:33) User Archetypes on Different Chains(00:59:46) The Final Form of Blockchain Technology(01:05:50) Coinbase's Strategy(01:12:53) Coinbase's Potential Issues(01:13:55) Vitalik's Shift in Community Engagement(01:15:26) "Blast should have been Hyperliquid"Ilja Moisejevs Twitter/X: https://x.com/_ilmoiRichard Wu Twitter/X: https://x.com/0xrwuSpotify: https://spoti.fi/3N675w3Apple Podcast: https://apple.co/3snLsxUWebsite: https://goodgamepod.xyzTwitter: https://twitter.com/goodgamepodxyzWeb3 Founders:Apply to Alliance: https://alliance.xyzAlliance Twitter: https://twitter.com/alliancedaoDISCLAIMER: The views expressed herein are personal to the speaker(s) and do not necessarily reflect the views of any other person or entity. Discussions and answers to questions are intended as generalized, non-personalized information. Nothing herein should be construed or relied upon as investment, legal, tax, or other advice.

Alex Thorn talks with David Bailey (BTC Inc., Bitcoin Magazine) about Trump's election and what it means for bitcoin policy. Alex also talks with Beimnet Abebe (Galaxy Trading) about markets. This episode was recorded on Wednesday, January 29, 2025. ++ Follow us on Twitter, @glxyresearch, and read our research at www.galaxy.com/research/ to learn more! This podcast, and the information contained herein, has been provided to you by Galaxy Digital Holdings LP and its affiliates (“Galaxy Digital”) solely for informational purposes. View the full disclaimer at www.galaxy.com/disclaimer-galaxy-brains-podcast/

In a historic moment for the Bitcoin and libertarian communities, President Trump has granted Ross Ulbricht a full presidential pardon. This exclusive coverage features key figures including David Bailey and industry leaders discussing the significance of this landmark decision and its implications for the crypto industry. Host: Allen Helm Lower your time preference and lock-in your Bitcoin 2025 conference tickets today!!! Use promo code BM10 for 10% off your tickets! Click Here: http://b.tc/conference/2025 #FreeRoss #RossUlbricht #Bitcoin #TrumpPardon #CryptoFreedom #SilkRoad #BitcoinCommunity #Libertarian #CryptoVictory #PromisesMadePromisesKept #CryptoPolicy #BitcoinPolitics #CryptoNews #BlockchainNews #BitcoinNews

Jantschek, Thorsten www.deutschlandfunkkultur.de, Studio 9

Jantschek, Thorsten www.deutschlandfunkkultur.de, Studio 9

Discussing crypto policy under the Trump administration, how the US government getting involved effects Bitcoin, and where we're headed from here. Get bonus content by subscribing to @hellmoneypod on X: https://x.com/hellmoneypod/creator-subscriptions/subscribe Or support the podcast by sending a BTC donation: bc1qztncp7lmcxdgude4px2vzh72p2yu2aud0eyzys   FOLLOW DAVID BAILEY: https://x.com/DavidFBailey 10% OFF INSCRIBING VEGAS: https://pretix.eu/inscribing/vegas/redeem?voucher=HELLMONEY 10% OFF BITCOIN VEGAS: https://tickets.b.tc/code/inscribing/event/bitcoin-2025 ORDINALS PROTOCOL SHIRT: https://shop.inscribing.com/products/ordinals-protocol-shirt FOLLOW HELL MONEY PODCAST: → HMP: https://x.com/hellmoneypod → Casey: https://x.com/rodarmor → Erin: https://x.com/realizingerin → Podcast Links: ⁠https://hell.money/⁠ TIMESTAMPS: 00:00 Intro 07:15 Bitcoin soft forks 11:00 Bitcoin vs. Crypto in US policy 19:20 How much political power does Bitcoin have? 23:50 Bitcoiners are politically homeless 26:20 Strategic Bitcoin reserve 29:00 Bitcoin development and ossification 32:00 Separation of money and state 33:40 Raise your time preference 35:20 SBR as a way out of USD global reserve status 41:00 Will they eventually fight us? 43:00 Incentives as a political movement 46:30 What happens next? 49:15 Bitcoin Vegas & Inscribing Vegas 2025

In this episode of Rugpull Radio, GMoney dives deep into the strategic implications of bitcoin as a national asset, exploring Trump's push for a “Strategic Bitcoin Stockpile” and its role in reshaping global financial dominance. Special guest David Bailey, CEO of Bitcoin Inc., joins to discuss bitcoin's past, present, and future in a world moving towards decentralized finance and nation-state adoption. They also tackle the controversial role of NFTs, tokenization, and what bitcoin's intergalactic potential could mean for humanity.

We return to the Doctor Who two-in-one novels, which featured the exploits of Matt Smith's Time Lord. We look at Web in Space! (reprinted in a solo volume as Web in Space), and discuss it with author David Bailey. And we've created an all-new reading from the book too!

Does microstrategy serve a bitcoin use case? We are joined by friend of the show and fellow bitcoiner Frito2x. He's here to help educate us on why we are possibly looking at MSTR incorrectly from a bitcoiner perspective, a great discussion you won't want to miss. ✔ Special Guest/Fireside Chat: ► Frito2x ► http://insiderbuyingselling.com/?t=mstr&submit= ✔ REKT: ► https://x.com/andhans_jail/status/1286936187962261505 ► https://x.com/rarepassenger/status/1869941248917901629 ► https://x.com/Dennis_Porter_/status/1869865533946102056 ► https://x.com/davidgshort/status/1869118798168773112 ► https://x.com/DavidFBailey/status/1870085947100147845 ► https://x.com/beeforbacon1/status/1869723514594644198 ✔ Bitcoin Hopium: ► https://x.com/excellion/status/1869953229213315168?s=52&t=CKH2brGypO5fEYTgQ-EFhQ ► https://x.com/jaromirtesar/status/1869465963722334239?s=52&t=CKH2brGypO5fEYTgQ-EFhQ ► https://x.com/pledditor/status/1869496016434794644?s=52&t=CKH2brGypO5fEYTgQ-EFhQ ► https://x.com/gkrizek/status/1869047834626183672?s=52&t=CKH2brGypO5fEYTgQ-EFhQ ► https://bitcoinvisuals.com/ln-capacity ✔ Check out our Sponsor, support Bitcoin ONLY Businesses: ► https://cyphersafe.io/ We offer a full line of physical stainless steel and brass products to help you protect your bitcoin from various modes of failure. CypherSafe creates metal BIP39 / SLIP39 bitcoin seed word storage devices that backup your bitcoin wallet and protect them from physical disaster ► https://thunderfunder.com/ Thunder Funder is a funding portal registered with the Securities and Exchange Commission (SEC) and a member of the Financial Industry Regulatory Authority (FINRA). Their mission is to provide retail investors access to investments while supporting the growth of open-source projects. ► https://nohhue.com/ NOHhue is a community of Bitcoiners dedicated to building solutions and services with their own talent and work. Through NOHhue and Bitcoin we want to give global space and voice to talent within our community. ► Join Our telegram: https://t.me/PlebUnderGroundChat For Awesome pleb content daily http://plebunderground.com/ GM #Bitcoin (mon-fri 10:00 am ET) and The #Bitcoin Council of Autism Spaces on twitter Timecodes: 0:00 - Intro 0:23 - Waltons Rap 3:16 - The Numbers 06:40 - Only 1 million bitcoin wholecoiners, really? 11:37 - Fireside Chat: Frito2x 13:46 - What are we as bitcoiners getting wrong about MSTR 20:44 - Bitcoin ossification, what does this really mean? 30:50 - MSTR bro's and the Porsche flexing 32:00 - Are MSTR buyers trading off owning actual bitcoin for shares? 41:53 - If you had to choose mstr or bitcoin, choose bitcoin! 47:35 - lets be hopeful this is all bitcoin game theory playing out 50:03 - Is saylor the best bitcoin marketer? 51:16 - REKT 51:28 - the blackrock meme you cant unsee LOL 52:30 - Massive Breaking NEWS... 56:07 - David Bailey calls out Dennis Porter.. spicy spicy 1:02:23 - How SBR may not be all its cracked up to be! 1:16:48 - Slowmaxxing 1:17:46 - Hopium 1:21:28 - 6 years later and the supply shock stuff still comes around... 1:23:07 - Can Blackrock actually change bitcoins hard cap? 1:26:38 - El Salvadors IMF bitcoin back peddle #Bitcoin #crypto #cryptocurrency #weekly The information provided by Pleb Underground ("we," "us," or "our") on Youtube.com (the "Site") our show is for general informational purposes only. All information on the show is provided in good faith, however we make no representation or warranty of any kind, express or implied, regarding the accuracy, adequacy, validity, reliability, availability, or completeness of any information on the Site. UNDER NO CIRCUMSTANCE SHALL WE HAVE ANY LIABILITY TO YOU FOR ANY LOSS OR DAMAGE OF ANY KIND INCURRED AS A RESULT OF THE USE OF THE SHOW OR RELIANCE ON ANY INFORMATION PROVIDED ON THE SHOW. YOUR USE OF THE SHOW AND YOUR RELIANCE ON ANY INFORMATION ON THE SHOW IS SOLELY AT YOUR OWN RISK.

If Christmas is feeling a little flat at your house, maybe you need to take another look at the “old familiar story”.  Join guest pastor David Bailey as he shares ideas on reconnecting with the wonder of Christmas by thinking about the story in fresh ways.   Classical Learning Cohorts help CC Directors, Tutors, and Parent-Teachers grow in confidence and competence with the classical tools of learning and as classical educators. Curious about our cohorts or ready to apply for a seat? Register at classicalconversations.com/cohort

Joe Biden has pardoned his son, Hunter, sparing him a possible prison sentence for gun and tax convictions and reversing his past promises not to use the powers of the presidency for the benefit of his family.The Democratic president had previously said he would interfere in the justice process after Hunter's convictions in the two federal cases in Delaware and California. The “full and unconditional pardon” comes weeks before Hunter Biden was set to receive to be sentenced after his trial conviction in the gun case - with much of the incriminating material coming from his notorious laptop - and guilty plea on tax charges. The u-turn comes less than two months before President-elect Donald Trump is set to return to the White House.The Standard podcast is joined by Professor Gina Yannitell Reinhardt, US politics and public policy expert at the University of Essex.In part two, British drivers will see a shake-up of the road tax rules in the spring, with a new emissions-based charging system and EV drivers paying for the first time.We hear both sides of the debate, with Brian Mooney, campaign manager at Fair Deal for the Motorist, and David Bailey, professor of business economics at the Birmingham Business School. Hosted on Acast. See acast.com/privacy for more information.

David Bailey, Professor of Business Economics, University of Bermingham, and Senior Fellow, UK in a Changing Europe

In this episode Patrick Broe and Jim van den Berg, CEO of JOIN Cycling, sit down with David Bailey, Head of Performance Support at Israel Premier-Tech to discuss data analysis in cycling. The trio cover what data and metrics actually matter for evaluating your performance as a cyclist, as well as the following:- Does FTP really matter for an amateur cyclist?- Should you track your heart rate or something subjective like RPE?- How to analyse a whole block of training?- What are the key metrics to focus on for a single ride?This is the first episode in our multi-part masterclass series, bringing amateur cyclists both the basics and deep insights from the professional peloton about how to improve as a cyclist. For upcoming episodes in this series check out the link here - https://join.cc/campaigns/masterclass.Our merch has dropped! Custom designs painstakingly crafted by Louemans on t-shirts, mugs and hats with all your favourite catchphrases from the podcast. Check it out at ⁠⁠https://shop.lanternerouge.com⁠⁠If you enjoy LRCP please support us by subscribing and leaving us a like and comment! You can also send us a tip here https://ko-fi.com/lanternerougecyclingpodcast

In recent months, David Bailey has become one of Donald Trump's closest allies – and someone who is pulling strings to accelerate Bitcoin adoption in the USA. In this episode we find out more about what a Trump administration means for Bitcoin.

David Bailey, Professor of Business Economics, University of Bermingham, and Senior Fellow, UK in a Changing Europe; and Edgar Morgenroth, Professor of Economics at DCU

This week we are listening a class from Bro. David Bailey's series on "Talk with God" that is titled “The Word and Prayer". We hope this strengthens your Faith and brightens your day! Thank you for listening, God bless, and talk to you next week. Send talk suggestions or comments to: ⁠⁠⁠GoodChristadelphianTalks@gmail.com⁠⁠⁠ For Show Notes, visit our website: ⁠⁠⁠GoodChristadelphianTalks.com⁠⁠⁠ Social Media: ⁠⁠⁠Facebook⁠⁠⁠ | ⁠⁠⁠Instagram

The Vault is a morning show hosted on Twitter Spaces and YouTube Live on Tuesdays, Wednesdays, and Thursdays at 11:30 am EST. The show focuses on multi-chain communities, emerging protocols, NFTFi, DeFi, Gaming, and, most importantly, collecting digital assets.Adam McBride: https://twitter.com/adamamcbrideJake Gallen: https://twitter.com/jakegallen_Chris Devitte: https://twitter.com/chris_devvEmblem Vault: https://twitter.com/EmblemVault

Presented by 6D Helmets Michael Leib has transitioned from journeyman Supercross racer to entrepreneur in less than five years. His companies - Canvas MX and Lucid Manufacturing - have found their place in motocross and in many ways, have changed how many of us think about motocross and off-road riding apparel. Leib's newest venture - SMX Jerseys - has begun to fill a void and create a new niche for race fans, by producing replica racing hero jerseys that are available on an on-demand basis. Wearing your own motocross jersey to a Supercross is dorky, but what if you could wear an Aaron Plessinger #7 Thor jersey? That's one no different than wearing a Jordan jersey to a Bulls game, right? We sat down with Leib to get the scoop on SMX Jerseys, only a few weeks after ordering our own David Bailey replica JT Racing jersey off Instagram!

How in the world did Trump pivot to Pro-Crypto? David Bailey is the CEO and Cofounder of Bitcoin Media, which you might also know as Bitcoin Magazine He has just finished throwing the Bitcoin 2024 Conference, he's been in Bitcoin since it's inception and he's now at the forefront of the world of politics where Bitcoin has been meaningfully intersecting with the Trump Administration. We talk mostly about Trump and his crypto policies. We then contrast it with Kamala Harris and the Democrats. And we finish with why David is so bullish on Bitcoin and why he has fallen in love with the idea of Bitcoin. ------

In this episode, Dr. K. David Bailey, Chief Nursing Officer at UCLA Health - Santa Monica Medical Center and Adjunct Assistant Professor at UCLA School of Nursing, discusses the evolving landscape of nursing leadership. From workforce challenges and workplace violence to the importance of academic partnerships and embracing innovation, Dr. Bailey provides valuable insights into the current and future state of healthcare.

We meet Mary McCartney, world renowned photographer, film-maker and sustainable food pioneer. As a leading British creative, her work covers multiple disciplines, but is always rooted in her passion for impactful storytelling. We meet at Claridges Art Space in London to explore her joint show 'Double Exposure' with photography legend David Bailey. Unfolding like a conversation between two friends, Double Exposure: David Bailey & Mary McCartney brings two era-defining British photographers into dialogue for the first time. Curated by Brandei Estes, this striking series of works spans the 1960s to the present day – exploring a shared aesthetic of reinvention, play and the art of portraiture itself.Mary McCartney's insightful gaze reveals enigmatic and evocative portraits of celebrity icons, from Kate Moss to Harry Styles. Like Bailey, there's a dash of the theatrical and performative in her photographs. But set alongside everyday moments – a ballet dancer ‘off pointe' or a woman hailing a taxi – she conjures the sense that anything, or anyone, could be a subject. As a portrait and fine art photographer, McCartney's work has been featured globally, with exhibitions taking place in London, New York, France and in 2015 was invited by Buckingham Palace to take the official photograph to mark Queen Elizabeth II becoming the longest reigning Monarch. Her work is held in major private and public permanent collections including the Victoria and Albert Museum, London; the National Portrait Gallery, London; The Royal Academy, London; and the Fondation d'entreprise Hermès, Paris, and has been commissioned by leading publications including National Geographic, British Vogue and GQ. In 2023, McCartney's first feature documentary If These Walls Could Sing, the untold story of the Abbey Road Studios 90 year history, was selected to premiere at The Telluride Film Festival. Streaming globally on Disney, and was nominated for a Critics Choice Documentary Award. McCartney has also been at the forefront of food sustainability for over 25 years, with a history and heritage rooted in her mother's pioneering work and creation of one of the first meat free brands Linda McCartney Food in 1991. In 2009, Mary co-founded the global collective Meat Free Monday with her father and sister, and is a global ambassador for Green Common Foods, a food tech brand in Asia that is focused on plant based meat substitute products. McCartney has also executive produced and presented three seasons of her EMMY nominated plant based cooking show, “Mary McCartney Serves It Up!” for Discovery+.McCartney is a multi-published author, with a range of fine art photography books available from globally renowned publishers including, HENI and Chatto & Windus. Combining her passion for food and publishing, her latest book Feeding Creativity, published by TASCHEN is a unique hybrid coffee table, portrait and recipe book, featuring favourite recipes for friends, family, and members of the creative community.Follow @MaryMcCartneyDouble Exposure: David Bailey & Mary McCartney is open to all, and will run in Claridge's ArtSpace until 19 July 2024. Visit: https://www.claridges.co.uk/claridges-artspace/Thanks to Katy Wick and The Wick. Hosted on Acast. See acast.com/privacy for more information.

SX and MX champion David Bailey joins to talk about Jett and Honda's dominance, his thoughts on the riding styles of today, remembering Art Eckman and Larry Huffman, his days in the TV booth, working at JT racing, Ron Lechien stories and more