Podcasts about Distributism

In this bonus episode, we chat with Mike Vick about the American Solidarity Party. We explore the party's foundations, which are influenced by Christian democratic values and Catholic Social Teaching. Their thorough set of ethical platforms grounded in human dignity, the common good, and solidarity (in a way that neither Democratic nor Republican parties are offering!!) would really be a breath of fresh air in American politics!Mike Vick is the founder of the Liberation Caucus in the American Solidarity Party. The episode delves into Mike's personal and political journey, his stance on social and economic issues, and the challenges within the party, particularly concerning LGBT topics. Come join us as we think about the role of civic pluralism in US politics.—★ Timestamps(00:00) Welcome Mike Vick from the American Solidarity Party(01:50) LGBTQ Topics and Side B Perspective(04:10) Mike Vick's Background and Political Journey(15:51) Solidarity Party's Principles and Inclusivity(19:15) Distributism and Economic Democracy(26:33) Pro-Life Stance and Social Issues(28:32) Platforms and Opinions on LGBTQ+ Issues(32:29) Three Camps within the Party(36:07) Party Challenges and Tensions(42:43) Liberation Caucus and Party Dynamics(49:23) Political Theology and Civic Pluralism(52:14) How to Get Active—★ Links and References in This Episode* ASP Liberation Caucus: www.liberationasp.org* Mike's Linktree: linktr.ee/votevickusa* American Solidarity Party * www.solidarity-party.org/platform* linktr.ee/liberationasp* The Servile State by Hilaire Belloc (1912)* Toward a Truly Free Market: A Distributist Perspective on the Role of Government,Taxes, Health Care, Deficits, and More by John Medaille (2011)—★ Send us feedback, questions, comments, and support!Email: communionandshalom@gmail.com | Instagram: @newkinship | Substack: @newkinship | Patreon: @newkinship—★ CreditsCreators and Hosts: David Frank, TJ Espinoza This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit newkinship.substack.com

0:00 Intro8:00 Liberal Censorship & the Conservative Response27:30 King Henry VI30:00 Economic Theory Books33:00 Princess Josephine37:00 Guild Social, Distributism, and Corporatism54:00 Catholic History of MinnesotaSupport the show

Joe and Grettelyn talk with Dr. Alex Plato of Franciscan University about Chesterton and Belloc's socio-economic thought and how it is more relevant today than ever before. To learn more about Alex, visit https://spt.franciscan.edu/faculty/plato-alex/. To learn more about New Polity, visit https://newpolity.com/

Dr. Alex Plato is an associate Professor of philosophy at Franciscan university. He has done extensive study of Elizabeth Anscombe, Post-Liberalism, and Epistomology. He and Matt speak on Capitalism, Distributism, and Evidentialism. Support and Follow Alex's Work:   @Platos_Academy   https://platosacademy.locals.com/ Support us on Locals: https://mattfradd.locals.com/support Show Sponsored By: https://hallow.com/mattfradd  https://strive21.com/matt

We welcome back Joseph Pearce to discuss an article in his Unsung Heroes of Christendom series in Crisis Magazine highlighting E.F. Schumacher. What can an economist teach us about the true meaning of the phrase "the common good"?   Show Notes Joseph's Website The Unsung Convert Who Converted Millions to Catholic Teaching - Crisis Magazine Unsung Heroes of Christendom - Crisis Magazine Small is Still Beautiful: Economics as if Families Mattered | Joseph Pearce Return to Order: From A Frenzied Economy to An Organic Christian Society – Where We've Been, How We Got Here, and Where We Need to Go Rerum Novarum: On Capital and Labor (Pope Leo XIII, 1891) Quadragesimo Anno: Reconstruction of the Social Order (Pope Pius XI, 1931) Centesimus Annus: On Catholic Social Teaching (Pope John Paul II, 1991) Thomas Aquinas: De Regno | English & Latin Small Is Beautiful ( 1973) E. F. Schumacher | Internet Archive  What is Distributism? Understanding a Controversial Alternative to Socialism and Plutocracy - The Imaginative Conservative  Hilaire Belloc and the Catholic Cultural Revival - Crisis Magazine Reclaiming the Trades: A New of Form of Higher Education (Mike Sullivan) 12/19/23 Read Fr. McTeigue's Written Works! Listen to Fr. McTeigue's Preaching! | Herald of the Gospel Sermons Podcast on Spotify Visit Fr. McTeigue's Website | Herald of the Gospel Questions? Comments? Feedback? Ask Father!

on this episode, I sit down with my Friend Conner to talk about Distributism (or Locallism as we call it) Had a lot of Fun recording this one and I learned a lot, Hope you do too. Support Thomist Reviews here https://patreon.com/AustroThomism?utm... and read our Substack https://substack.com/@thomistreview

Maurin Academy Patreon: https://www.patreon.com/maurinacademy Maurin Academy Eventbrite: https://www.eventbrite.com/cc/the-maurin-academy-311669 Political Philosophy: https://political-philosophy.com Dustbowl Diatribes and Political Philosophy are podcasts of the Maurin Academy, which can be found on almost all podcast platforms! Follow the Maurin Academy on Twitter and Instagram for notifications about upcoming events, and get our free newsletter: https://pmaurin.org/newsletter/

In this episode of The Open Door (February 7th, 2024), panelists Jim Hanink, Mario Ramos-Reyes and Valerie Niemeyer continue to discuss two unmentionables: Religion and Politics! Our welcome guest is Jeff Culbreath, a married father of six residing in the obscure suburbs of Sacramento. He works in the apparel industry, drives his busy kids around, and tries to be a low-maintenance husband to his hard-working wife. He enjoys writing on various topics and has maintained several blogs over the years. Please feel free to suggest others!By way of introduction, could you please tell us a bit about yourself and your family?You've been influenced by, among others, Russell Kirk, Wendell Berry, and Neil Postman. In what ways?How did you come to be a Roman Catholic?What led you to the Republican Party and, in recent years, away from it?Can we have good government without good people?Can public policy help people be good? If not, why not? If yes, can you give examples?The preamble to the American Solidarity Party (ASP) platform states, “we acknowledge the state should be pluralistic.” What does that mean? How do pluralism and solidarity impact each other?What is “the gift economy”? How does it relate to the Gross Domestic Product (GDP)? Why is it important? What can be done to improve it?The ASP platform addresses “marriage and family” issues in detail, but doesn't have much to say about extended families. How can public policy strengthen extended families?How do you reconcile belief in an “ownership society”, that is, Distributism, with the huge economies of scale that we all depend upon in a modern economy? We can't all be owners, can we? BONUS: Do you plan on running for public office?

Dr. Alexander William Salter, Comparative Economics Research Fellow at the Free Market Institute and Georgie G. Snyder Associate Professor of Economics in the Jerry S. Rawls College of Business Administration at Texas Tech University, discusses Hillaire Belloc, G.K. Chesterton, and Distributism. If you are interested in learning more about the online M.A. in Pastoral Ministry Program for lay students at St. John's Seminary, email Dr. Stuart Squires at mapm@stjohnsem.edu

The New Discourses Podcast with James Lindsay, Episode 129 Degrowth is a death cult. Degrowth means starving while you freeze to death in the dark. That said, Degrowth Communism is something more. Specifically, it's something that should be called "Degrowth Distributism," and it's the overarching plan of the United Nations, World Economic Forum, World Health Organization, and the rest operating under the brand name of the "well-being economy." In this long and detailed episode of the New Discourses Podcast, host James Lindsay takes apart the Marxist manipulations of the key words, "scarcity," "wealth," and "abundance," necessary to lure the world into this devious trap. By tracing the seventh chapter of Kohei Saito's recent book Marx in the Anthropocene: Towards the Idea of Degrowth Communism (https://amzn.to/47x5nwL), he's able to unlock the mystery of the what, why, and how for the destination point of this global Communist revolution and explain its fascistic corporate subsidiary structure in unprecedented clarity. Join him to see the big picture. Get James Lindsay's new book, The Marxification of Education: https://amzn.to/3RYZ0tY Support New Discourses: https://newdiscourses.com/support Follow New Discourses on other platforms: https://newdiscourses.com/subscribe Follow James Lindsay: https://linktr.ee/conceptualjames © 2023 New Discourses. All rights reserved. #NewDiscourses #JamesLindsay #Degrowth

"Doctrines of Devils" Hosts: Darren Weeks, Vicky Davis Website for the show: https://governamerica.com Vicky's website: https://thetechnocratictyranny.com COMPLETE SHOW NOTES AND CREDITS AT: https://governamerica.com/radio/radio-archives/22534-govern-america-september-23-2023-doctrines-of-devilsListen LIVE every Saturday at 11AM Eastern or 8AM Pacific at http://radio.governamerica.com or on your favorite app. Text GOVERN to 80123 to be notified of live transmissions that occur outside of our regularly-scheduled Saturday broadcasts. These transmissions are moved when/if circumstances warrant. Ray Epps' new misdemeanor charge indicates he is still being protected by the Establishment. DHS offering work permits and deportation protection to 470,000 communist Venezuelans. Democrat Sen. Robert Menendez and his wife are indicted over bribery schemes, but where are the bribery charges for the Biden crime family? Follow-up on Texas AG Ken Paxton, as he has been fully acquitted of all charges. ESG continues to implode, as a number of companies have walked back their efforts. Seattle City Council finally reverses course and makes public drug use illegal, paving the way for police to get the addicts off of sidewalks. Deep dive into the Michael O'Fallon lecture on Progressive Integralism, which connects a lot of dots pertaining to the globalist order agenda. While one would expect Christianity to fight the Order, many are actually assisting in its implementation. Through the Hegelian process, America is being irrepairably fragmented into atomized groups to simplify domination. Phone calls.

On this Heard Tell Good Talks our guest is Economist Alexander Salter returns to talk about economics and his new book, The Political Economy of Distributism, how we have failed to properly understand and teach basic concepts like property, liberty, common good, and other building blocks to good economic understanding, and better ways to discuss them. Dr. Salter also talks about ethics in economics, how that influences politics and policy, and why everyone from news media to social media to office holders can't seem to figure out how to talk about it.All that and more on this episode of Heard Tell.--------------------Heard Tell SubStack Free to subscribe, comes right to your inboxQuestions, comments, concerns, ideas, or epistles? Email us HeardTellShow@gmail.comPlease make sure to follow to @Heard Tell, like the program, comment with your thoughts, and share with others.Heard Tell SubStack Free to subscribe, comes right to your inboxSupport Heard Tell here: https://app.redcircle.com/shows/4b87f374-cace-44ea-960c-30f9bf37bcff/donationsSupport this podcast at — https://redcircle.com/heard-tell/donationsAdvertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

Voice Of GO(r)D is very happy to bring you Mr Michael Thomas of Sharon, to discuss the idea of Distributism, a political and economic program influenced by Catholic Social teaching, the RERUM NOVARUM, an encyclical by Pope Leo XIII, and the ideas of such early 20th century thinkers as G.K. Chesterton and Hillaire Belloc. Mr. Sharon describes Distributism thusly - "A good social order is one which guarantees the rights of property to the widest amount of people, and that helps them turn that property productive for their own use first." “Well distributed private property is very, very, different, than equally distributed government property.” Or as Chesterton put it, everyone gets 3 acres and a cow. Through this wide ranging chat, we go through the history of Distributism as an idea, the Catholic Land Movement, and make diversions into critiques of our degenerate zeitgeist and economic situation, eventually landing on how Distributism can be applied to many economic markets, including trucking. You can find Michael on Twitter - https://twitter.com/michaeltg09 You can read Pope Leo XIII encyclical RERUM NOVARUM here - https://www.vatican.va/content/leo-xiii/en/encyclicals/documents/hf_l-xiii_enc_15051891_rerum-novarum.html Distributism Wiki - https://en.wikipedia.org/wiki/Distributism The U.S. Catholic Land Movement's website - https://catholiclandmovement.info/ If you want to meet me at a great conference discussing many ideas explored on this show and by many of my friends and associates, you can find me at Front Porch Republic 2023 in Madison, Wisconsin, on October 20-21. https://www.frontporchrepublic.com/2023-conference/ Feel free to contact Voice Of GO(r)D - gordilocks@protonmail.com I always answer my emails, most of them immediately. Subscribe to this show and my writings on Substack - https://autonomoustruckers.substack.com/

Your Heard Tell Show for Thursday, August 31st is turning down the noise of the news cycle and getting to the information we need to discern our times by talking about how fandom is ruining politics and skewing folks' perspective on what is really going on. Economist Alexander Salter returns to talk about economics and his new book, The Political Economy of Distributism, how we have failed to properly understand and teach basic concepts like property, liberty, common good, and other building blocks to good economic understanding, and better ways to discuss them. Dr. Salter also talks about ethics in economics, how that influences politics and policy, and why everyone from news media to social media to office holders can't seem to find a way to discuss the current complicated economic situation. Then, with hurricane season upon us, host Andrew reups his classic rant and newly updated for the Heard Tell SubStack his piece about the ridiculous habit of news media to put reporters and weather people in danger just for the action shots during storms in Information: But Dumber, Louder, and Wetter. Plus, Jill Jacobson of Young Voices joins Heard Tell to talk about the latest versions of the very old debate on books in school, or more to the point what is/isn't obscene and who gets to decide the difference. Jill talks about the Texas SAFER Act, what it does and doesn't do, how even well-intentioned legislation can be derailed when poorly written, the cycle of legislate/litigate, the big business of American education, and the conflict between parents, students, teachers, school systems, and now even school vendors like the book suppliers. We end on a good note with the amazing story of a failed college kicker who finally made the team, after a 16-year detour through the Marine Corps, grad school, and not taking no for an answer.All that and more on this episode of Heard Tell.--------------------Heard Tell SubStack Free to subscribe, comes right to your inboxQuestions, comments, concerns, ideas, or epistles? Email us HeardTellShow@gmail.comPlease make sure to follow to @Heard Tell, like the program, comment with your thoughts, and share with others.Heard Tell SubStack Free to subscribe, comes right to your inboxSupport Heard Tell here: https://app.redcircle.com/shows/4b87f374-cace-44ea-960c-30f9bf37bcff/donationsSupport this podcast at — https://redcircle.com/heard-tell/donationsAdvertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

In this episode, Joe and Grettelyn speak with Andrew McNabb, a lay Dominican and the great-grandnephew of Father Vincent McNabb, OP, the great Distributist and contemporary of Chesterton. Andrew's new book, Walking with Father Vincent, is on sale now! Links: chesterton.org/mcnabb andrew-mcnabb.com

Hey, y'all! We are back with part two on the 2023 American Solidarity Party National Convention. In this episode, we cover the five people who stepped forward to compete for the presidential nomination.

Distributism, the social-political-economic philosophy advanced by G.K. Chesterton and Hilaire Belloc under the influence of Catholic social teaching, offers intriguing ways of rethinking the modern social-political-economic order. But distributists have often been found lacking in serious practical plans to bring about their ideal social order, and in the economic fallacies they commit when critiquing other schools of thought. Distributists and economists have often seemed to be natural enemies. As an economist, Alexander W. Salter is not willing to embrace many distributists' skepticism that there can such a thing as economic science. But he also believes it would be a mistake to neglect the powerful social vision of Chesterton and Belloc on account of their shortcomings in economic theory. He joins the podcast to discuss his new book, The Political Economy of Distributism, in which he argues that a combination of distributist social philosophy and modern price theory can help us to achieve the much-discussed goal of "common good capitalism". The Political Economy of Distributism: Property, Liberty, and the Common Good https://www.cuapress.org/9780813236810/the-political-economy-of-distributism/ DONATE at http://www.catholicculture.org/donate/audio Go to Catholic Culture's website for tons of written content, including news, articles, liturgical year info, and a vast library of documents: https://www.catholicculture.org

Hey, y'all! After a long hiatus, we are back. This week is the first episode of our two-parter on the American Solidarity Party's 2023 National Convention. In this episode, we cover Christian Democracy in general, the history of the ASP, and their official platform going into the election year.

David is joined this week once again by Dr. Alexander Salter for a comprehensive talk on the economy, current policy problems causing significant harm, the dangers of cronyism, and most importantly: the subject of distributism. They unpack the good and bad of valuing more widespread ownership of private property and seek to work within first principles in understanding how one's opinions on these things ought to work. You won't be disappointed!

 In this episode:Alexander Salter, professor of economics at Texas Tech University, joins the podcast to discuss his new book, The Political Economy of Distributismhow capitalism does or does not support the common good of society, and how the re-emergence of discourse about the common good in politics can be bolstered by returning to the distributist writerswhat Wilhelm Röpke contributed to both economic science and towards creating a “humane economy,” and why we need to read him todayTexts Mentioned:The Political Economy of Distributism by Alexander Salter“Catholic Social Doctrine and the Dignity of Work” by Sen. Marco RubioThe Servile State by Hilaire BellocThe Outline of Sanity by G.K. ChestertonA Humane Economy by Wilhelm Röpkeawsalter.comBecome a part of ISI:Become a MemberSupport ISIUpcoming ISI Events

“If you reject me on account of my religion, I shall thank God that He has spared me the indignity of being your representative.”Like most of the words that escaped from his mouth or his pen, Hilaire Belloc's famous speech to British voters was fiery, forceful and fueled by his faith.It's a great tragedy of history that Belloc has been pushed into the shadow of his friend and collaborator, G.K. Chesterton. Whether in prose or Parliament, Belloc was a force of nature. His life was one extended adventure, from escaping death as an infant to achieving fame as Oxford's top debater to challenging the anti-Catholic prejudices of the British establishment.And although he lived from 1870-1953, the alarm bells which he rang against elitist assaults on the Christian foundations of Western civilization are as prophetic and resonant today as they were in his time.Our guest for this episode is Belloc biographer and internationally acclaimed writer, scholar and speaker, Joseph Pearce. Pearce is the author of over a dozen books. Alongside Old Thunder, his biography of Hilaire Belloc, his works include best-selling volumes on G. K. Chesterton, C.S. Lewis, J.R.R. Tolkien, and Shakespeare. Pearce currently serves as St. John Henry Newman Chair in Catholic Studies at Thomas More College, Director of Book Publishing at the Augustine Institute, editor of the Ignatius Critical Editions and the St. Austin Review, and senior contributor at The Imaginative Conservative.Websites / resources referencedJoseph Pearce official websiteJoseph Pearce, Old Thunder: A Life of Hilaire BellocHilaire Belloc (Encyclopedia Britannica)Hilaire Belloc, The Path to Rome (1902)Hilaire Belloc, The Servile State (1912)Joseph Pearce, “What is Distributism?” The Imaginative Conservative (June 12, 2014)Pope Leo XIII, Rerum Novarum (1891)Support the showwww.crownandcrozier.comtwitter.com/crownandcrozierfacebook.com/crownandcrozierhttps://www.instagram.com/crownandcrozier/Please note that this podcast has been edited for length and clarity.

In this episode, we speak with Jacob Imam, co-editor of New Polity and co-founder of the College of St. Joseph the Worker in Steubenville, OH. We speak about economics, almsgiving, and the importance of friendship and localism. https://chesterton.org/uncommonsense New Polity website: https://newpolity.com/ New Polity "Redeeming Politics" conference: https://newpolity.com/events/redeeming-politics-2023 Annual Chesterton Conference: https://chesterton.org/conference  

On this episode of Uncommon Sense, Grettelyn and Albert interview Tim Streiff, the Program Director of Catholic Rural Life. We talk about how Catholic Rural Life relates to Chesterton's thoughts on social economy. All of that and more on this episode of Uncommon Sense! https://chesterton.org/uncommonsense Catholic Rural Life https://catholicrurallife.org/

You and Your business welcomes Dr. Jacob Imam, founder of the think tank New Polity, to discuss Distributism, work, education, community, and anything else that contributes to a fully integrated Christian life.  Imam, an Oxford man and Steubenville graduate, offers a thoughtful and well researched perspective on such matters that draws further richness from his entreprenurial ventures.  Tune in for a riveting conversation!:05 - Introductory shenanigans7:40 - Background and family history16:30 - Falling into a Christian economics36:00 - Distributism: A Christo-centric approach to government58:50 - Innovative projects and new directions at New Polity

In this episode, I have a great discussion with my friends Jason and Moshe. We talk about Distributism, Groundhog Day, School of Rock, being an underdog, free will, the lasting effects of childhood, the rigors of the Jewish tradition, code switching, the hood mentality, N.W.A., the importance of present fathers, the Philando Castile case, not …

AC and Tres interview Tom, the nicest guy on twitter, about his homestead, localism, distributism, as well as his mentorship with Tres. Tom Ruby is CEO of Bluegrass Critical Thinking Solutions (www.bgcts.com), a strategic planning and leadership development consulting company geared to small businesses. Tom was born in Belgrade, Serbia, in January, 1964. His parents escaped the country in 1965 and arrived in Los Angeles in 1966 where they settled. In 1982, Tom received an appointment to the US Air Force Academy where he received his Bachelor of Science in Humanities. A 1986 USAFA graduate and three-time football letterman, Colonel Tom Ruby served 26 years on active duty in positions from Squadron Intelligence Officer, to Chief of Doctrine for the AF Intelligence, Surveillance and Reconnaissance Enterprise at the Pentagon, to Chief of Special Programs for Air Force Materiel Command where he oversaw a more than $4 Billion annual portfolio of over 100 highly classified programs. He earned a Doctorate in Political Science from the University of Kentucky and is widely published and speaks globally on topics ranging from Morality in Warfare, to Leadership, to strategy, to localism and Distributism. Tom is a Board Member of the Society of GK Chesterton and has served on 3 non-profit boards. He mentors students from high school through graduate school, as well as individuals looking to change direction in life. He and his wife, Laura, live on 15 acres in Central Kentucky where he practices land management, reforestation, gardening and building a strong local community. They strive to live a Chestertonian Distributist life. They have three daughter and a son and five grandchildren. So far... Anarcho-contrarian @anarcontrarian is a nostalgia-poasting Twitter Anon who is passionate about the resiliency of rural places. Tres Crow @dogeatcrow is a writer, podcast host, occasional thinker, and the President and co-owner of Roots Down, an environmental education startup that's revolutionizing the landscaping industry from one of the dirtiest industries in the US to a powerful force for positive change.

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

David W. Cooney discusses where Distributism fits among the social, political and cultural views of society. For more content, please visit the main site: https://PracticalDistributism.blogspot.com For an in-depth look at the principles that are the basis of distributism- Distributism Basics: Foundational Principles https://thebp.site/167644 If you're able, please consider supporting this work through SubscribeStar or Anchor.FM. https://www.subscribestar.com/practical-distributism https://anchor.fm/practicaldistributism/support --- Support this podcast: https://anchor.fm/practicaldistributism/support

On this episode, Ashley Colby (@RizomaSchool) teams up with Nathan Gates (@TornadoNate) to co-host an intriguing conversation about Distributism with Chris Smaje (@csmaje) and Sean Domencic (@tradtom), co-founder of Tradistae. About Sean Domencic Sean Domencic is the director of Tradistae, a contributing author at New Polity, and a maintenance man who speaks and writes about Distributism and Catholic Social Teaching. He and his wife live in community at Holy Family Catholic Worker in Lancaster, PA. About Chris Smaje Chris Smaje has coworked a small farm in Somerset, southwest England, for the last 17 years. Previously, he was a university-based social scientist, working in the Department of Sociology at the University of Surrey and the Department of Anthropology at Goldsmiths College on aspects of social policy, social identities and the environment. Since switching focus to the practice and politics of agroecology, he's written for various publications, such as The Land , Dark Mountain , Permaculture magazine and Statistics Views, as well as academic journals such as Agroecology and Sustainable Food Systems and the Journal of Consumer Culture . Smaje writes the blog Small Farm Future, is a featured author at www.resilience.org and a current director of the Ecological Land Co-op. Chris' latest book is: A Small Farm Future: Making the Case for a Society Built Around Local Economies, Self-Provisioning, Agricultural Diversity, and a Shared Earth. About Nathan Gates Nathan is a licensed psychotherapist and co-host of Altered States of Context, a podcast about psychedelics, science and psychotherapy. He also practices regenerative ranching and writes from his family's farm in rural west-central Illinois. About Ashley Colby Ashley is an Environmental Sociologist who studied at Washington State University, the department that founded the subdiscipline. She's interested in and passionate about the myriad creative ways in which people are forming new social worlds in resistance to the failures of late capitalism and resultant climate disasters. I am a qualitative researcher so I tend to focus on the informal spaces of innovation. She's the founder of Rizoma Field School and Rizoma Foundation.

In which co-hosts Kenny and Sam discuss the economic philosophy of distributism and how it influences Tolkien's depiction of life in The Shire.Primary sources: The Hobbit | The Lord of the Rings | The Silmarillion | The Letters of J.R.R. Tolkien | Rerum Novarum | Quadragesimo AnnoSecondary sources: Imbert - Tolkien's Shire | Nardi - Political Institutions in J.R.R. Tolkien's Middle-earth | Carpenter - J.R.R. Tolkien: A Biography | Hren - Middle-earth and the Return of the Common Good Hosted on Acast. See acast.com/privacy for more information.

Today the Pugcast welcomes Dr. David Deavel on to the show to discuss G. K. Chesterton in all of his enormity. Perhaps best known among evangelicals for his book Orthodoxy, Chesterton also wrote detective fiction about a priest named, Father Brown, as well as longer works of fiction such as the remarkable, The Man Who Was Thursday, biographies about Francis of Assisi and Thomas Aquinas. He’s also known for a “Third Way” economic theory known as Distributism. Today’s show ranges over all the large legacy of this larger than life man. Enjoy! Support the Pugcast on Patreon: https://www.patreon.com/thetheologypugcast?fbclid=IwAR17UHhfzjphO52C_kkZfursA_C784t0ldFix0wyB4fd-YOJpmOQ3dyqGf8

Today the Pugcast welcomes Dr. David Deavel on to the show to discuss G. K. Chesterton in all of his enormity. Perhaps best known among evangelicals for his book Orthodoxy, Chesterton also wrote detective fiction about a priest named, Father Brown, as well as longer works of fiction such as the remarkable, The Man Who Was Thursday, biographies about Francis of Assisi and Thomas Aquinas. He’s also known for a “Third Way” economic theory known as Distributism. Today’s show ranges over all the large legacy of this larger than life man. Enjoy! Support the Pugcast on Patreon: https://www.patreon.com/thetheologypugcast?fbclid=IwAR17UHhfzjphO52C_kkZfursA_C784t0ldFix0wyB4fd-YOJpmOQ3dyqGf8

Today the Pugcast welcomes Dr. David Deavel on to the show to discuss G. K. Chesterton in all of his enormity. Perhaps best known among evangelicals for his book Orthodoxy, Chesterton also wrote detective fiction about a priest named, Father Brown, as well as longer works of fiction such as the remarkable, The Man Who Was Thursday, biographies about Francis of Assisi and Thomas Aquinas. He’s also known for a “Third Way” economic theory known as Distributism. Today’s show ranges over all the large legacy of this larger than life man. Enjoy! Support the Pugcast on Patreon: https://www.patreon.com/thetheologypugcast?fbclid=IwAR17UHhfzjphO52C_kkZfursA_C784t0ldFix0wyB4fd-YOJpmOQ3dyqGf8

Today the Pugcast welcomes Dr. David Deavel on to the show to discuss G. K. Chesterton in all of his enormity. Perhaps best known among evangelicals for his book Orthodoxy, Chesterton also wrote detective fiction about a priest named, Father Brown, as well as longer works of fiction such as the remarkable, The Man Who Was Thursday, biographies about Francis of Assisi and Thomas Aquinas. He's also known for a “Third Way” economic theory known as Distributism. Today's show ranges over all the large legacy of this larger than life man. Enjoy! Support the Pugcast on Patreon: https://www.patreon.com/thetheologypugcast?fbclid=IwAR17UHhfzjphO52C_kkZfursA_C784t0ldFix0wyB4fd-YOJpmOQ3dyqGf8

Interview with Fr. Thomas Crean OP on what a Catholic Government looks like. Fr Thomas Crean OP was born in 1973, in Harpenden, England.  He studied at St. John's College, Oxford.  He entered the Dominican Order in 1995, and was ordained priest in 2001.  He received the licence in theology from the Institut Thomas d'Aquin in Toulouse and the doctorate in theology from the International Theological Institute in Trumau, Austria.He has worked in parochial and hospital ministry and as a university chaplain.  He has taught at various institutions of higher education in the United Kingdom and abroad.  His books include A Catholic Replies to Professor Dawkins; The Mass and the Saints; Integralism: a Manual of Political Philosophy (co-written with Alan Fimister); and St Luke's Gospel: a commentary for believers.  His book Florence became a New Sion: a defence of the 'Filioque' and the Council of Florence is due to be published in Autumn 2022 by Emmaus Academic.He is currently resident at Holy Cross Priory, Leicester.  He is a Fellow of the Dialogos Institute.http://www.christendom-awake.org/pages/thomas-crean/thomas-crean.htm What legitimate governments exist?What is integralism? Does it mean monarchy? What is distributism and how does it relate? How do you create an integralist government? People are fed up with "democracy" so among faithful Catholics there is more and more talk about other forms of government like Fascism, Monarchy, Distributism, Catholic Anarchy, Theocracy, Solidarity Party, and Feudalism.Can we fix our current forms of government or do they need to fundamentally change? How would a Catholic country look like? Do we tolerate other religions? Does the Church run the country? Can non-Catholic's hold office? What level of obedience do these Catholic rulers owe to their bishops and the pope? Two swords doctrine? What is it? I have been told that the Church no longer believes this, is that true? Where does the supernatural element play in here? I am personally thinking of the coming of the reign of Mary and the prophecy of the Great French Monarch. Should we take into account private revelation into this conversation? Contact Me:Email: FonsecaProduction@gmail.comWebsite: http://catholicconversations.buzzsprout.comIG: @ffonzeFacebook: Adrian Fonseca Facebook: Catholic Conversations Twitter: @AdrianFonzeYouTube: Catholic ConversationsYouTube: Adrian Fonseca

Sri Lanka is in dire straights. Dutch farmers have grown a backbone. The world economic forum is quaking in its boots. But has the poison of communism already taken to the arteries of global society? Connor Neville joins me again but this time, picking up where we left off last time, tackling the question how do we combat global communism as it is being dictated to the nations of the world? We explore this new (to us) economic/political ideology called Distributism, or Subsidiarity. Can we have a economic system that embraces the virtues of individualism while also obligating him to higher duty? And can this sort of system that introduces obligations and duty be founded on any system other than the biblical one? Nope. ---------------------------------------------------------   Dutch Farmer Protests https://dailycaller.com/2022/07/05/dutch-farmers-fighting-esg-policies/   What is Distributism? https://theimaginativeconservative.org/2014/06/what-is-distributism.html 4 points of Distributism Faith has to be at the center Cornerstone is the family (state / indiv) Calling - not just for me (community) Calling to place - against nomadism   --------------------------------------------------------------- Ekklesia Design www.ekklesiadesign.com   Good Fight Outfitters www.goodfightoutfitters.com   All things Christ and Capital:  ———————-SUBSCRIBE https://linktr.ee/Christ_and_Capital   Merch https://www.christandcapital.com/apparel     ———————————————————————————————— Music By: SUNDANCE Track Title: Persephone - Retro Funky Creation: SUNDANCE (Remix) My additions: clips from Jay Richards, Thomas Sowell, Walter Williams, Gary Vaynerchuk, Jeff Durbin, and Gary North.  

It is good to work and to be invested in our work. Distributism fits well with traditional Anabaptist values, even though it has largely been articulated by Catholic thinkers. Stephen Russell urges us to “look at distributism and see how it fits with what we have traditionally tried to do, and learn from it”. These themes include valuing craftsmanship, family businesses, and widespread ownership of the tools and infrastructure needed for business.  Recommended Resources: https://www.goodreads.com/book/show/15798769-the-hound-of-distributism  (The Hound of Distributism) edited by Richard Altman: https://www.goodreads.com/en/book/show/184565   (What's Wrong with the World) by G.K. Chesterton: https://www.epi.org/publication/ceo-pay-in-2020/  (Economic Policy Institute), “CEOs were paid 351 times as much as a typical worker in 2020.”   https://en.wikipedia.org/wiki/Mondragon_Corporation   (Mandragora Corporation) https://en.m.wikipedia.org/wiki/The_Guild_of_St_Joseph_and_St_Dominic   (Guild of St. Joseph and St. Dominique): “Men rich in virtue studying beautifulness living in peace in their houses.” https://en.m.wikipedia.org/wiki/Social_credit  (Social Credit Party) https://www.newswise.com/articles/spanish-town-without-poverty   (Barbara Peter's Observations about Mondragon) https://www.vatican.va/content/leo-xiii/en/encyclicals/documents/hf_l-xiii_enc_15051891_rerum-novarum.html  (Pope Leo's Statement on Distributism ) “Men always work harder and more readily when they work on that which belongs to them; nay, they learn to love the very soil that yields in response to the labor of their hands, not only food to eat, but an abundance of good things for themselves and those that are dear to them. That such a spirit of willing labor would add to the produce of the earth and to the wealth of the community is self evident.”  https://www.vatican.va/content/pius-xi/en/encyclicals/documents/hf_p-xi_enc_19310515_quadragesimo-anno.html   (Pope Prius XI's statement on subsidiarity)  “Just as it is gravely wrong to take from individuals what they can accomplish by their own initiative and industry and give it to the community, so also it is an injustice and at the same time a grave evil and disturbance of right order to assign to a greater and higher association what lesser and subordinate organizations can do. For every social activity ought of its very nature to furnish help to the members of the body social, and never destroy and absorb them.   Watch Stephen's testimony about exiting political engagement on https://youtu.be/4yuCYnrqEhw  (YouTube). This is the 152nd episode of Anabaptist Perspectives, a podcast, blog, and YouTube channel that examines various aspects of conservative Anabaptist life and thought.  Visit our https://www.youtube.com/anabaptistperspectives/ (YouTube channel) Connect with us on https://www.facebook.com/anabaptistperspectives/ (Facebook) Listen to our episodes on our https://www.soundcloud.com/anabaptistperspectives/ (podcast) Read our https://www.anabaptistperspectives.org/blog/ (blog) https://anabaptistperspectives.org/donate/ (Support us) or https://anabaptistperspectives.org/about (learn more about us!) The views expressed by our guests are solely their own and do not necessarily reflect the views of Anabaptist Perspectives or Wellspring Mennonite Church.

I know it's cool and trendy in Catholic circles to consider Distributism as an alternative to the Free-Market. But that's a bad idea and here's why.

The Interview with Jacob has become the most popular episode. I have gotten a ton of feedback and need to address a few points.

Trent and I discuss what is wrong with Socialism and Distributism, what is right with the Free-Markets and Why Catholics ought to care. Also, we present some ideas that would make the world a better place.

You can support this podcast and get early releases at https://www.patreon.com/aksubversive Or check out my writing on Substack at https://www.alexkaschuta.substack.com​ I speak to Joe Norman about the perils of running a civilization at scale, localism, and how small is not only beautiful, it's the only scale at which humanity works. We also chat about: - Being Luddites - The cheapening of "Lindy" and timelessness as a better concept - Jordan Peterson and his adventures with GMOs - Covid as a warning on the dangers of scale - The dangers of modeling society on one single level - the individual - Distributism as a potential political compromise re: scale - Deflating big institutions - How to cultivate options without getting trapped in infinite optionality - Libertarianism and its discontents His recommended subversives are Christopher Alexander (architect) and Robert Rosen (theoretical biologist). Joe Norman is the Founder and Chief Scientist at Applied Complexity Science, LLC, and one of the world's most interesting and outspoken voices in the field of complexity science. He's also the author of the brilliant Applied Complexity Newsletter. You can find this and his other work through his Twitter @normonics --- Send in a voice message: https://anchor.fm/aksubversive/message

You know what they say... This is the third and final part of the interview I did with Dr Jeremy Cowan, an expert in organic and permaculture agriculture, we conclude our reflections on Distributism by breaking both taboos. In this one we deal with the role of religion and politics in changing the way we grow food, but we do more than that. We delve into questions such as why religion is often unhelpful and how it could be otherwise, why political divisions get in the way and what might solve that problem … More Religion and Politics–Whoops, We Talked About Both (Jeremy Cowan Interview Part 3)

On this episode, Chris and regular guest Dr. Jon Schaff unpack an economic and social idea known as distributism. Rooted in the social teaching of Pope Leo XIII, Pope Pius XI, and others, distributism contains critiques of both unfettered capitalism and socialism, and exhorts society to seek widespread ("distributed") ownership of capital by small business owners, farmers, and so forth. According to distributism, there are great dangers to freedom and human dignity when capital and power is greatly concentrated in either the state, or in the hands of a very small number of commercial corporations. For more on distributism and its foundations in the magisterium, see https://thosecatholicmen.com/articles/does-the-church-teach-distributism/ (this article) by Dr. Jared Staudt, the Director of Formation for the Offices of Evangelization and Catholic Schools of the Archdiocese of Denver and teaches for the Augustine Institute.

Today my guest is Ryan Randall, also known as Electric Dinosaur. Randall is the writer and artist behind the Southern-without-apology comic book “Rebel Yell,” as well as “Gun on the Chickahominy,” a casual pixel-target game set during the War Between the States, which is due out May 21. This young and creative Southern son has already felt the burn of internet censorship, so let's find out why some crowd-funding platforms and YouTube have their panties in such a progressive wad over his content and see what keeps Randall keepin' on in these sometimes seemingly fruitless and never-ending battles. Let's “exercise our imaginations,” shall we?! A few links pertaining to our conversation: “Rebel Yell, A Hero for Southerners” –  A 2019 interview with Randall by our compatriot Carolina Contrarian “Brother in Arms” – My eulogy for our mutual friend and graphic artist Matthew Silber Good Reads – Reviews of issues #1-3 of “Rebel Yell” “Eric July on PC Comics” – Tom Woods Show interview “Mosby's Confederacy” and “Ultimate General: Gettysburg” – Southern video games on Steam “What is Distributism?” – An explanation by Joseph Pearce of The Imaginative Conservative DM Podcast, episode 29 - My interview with Dr. John Devanny

Level: beginner In this episode I am joined by Jacob Imam to look at the nature and history of money and economics. Jacob is a doctoral student at Oxford University, and is the president of New Polity, an academic resource for post liberal thought. For the courses that Jacob mentions, visit newpolity.com/video Intro: Scott Holmes Music - Inspirational OutlookOutro: Bacalao - Quatre Saisons Carrosse - IntroSupport the show (https://www.patreon.com/thelogosproject)

CPA, attorney, coder, bodybuilder & founder of Keykeeper Bitcoin IRA Jeff Vandroux outlines his thesis for how markets are an ouroboros that devour themselves and how the establishment of social democracy is inherent to the arc of capitalist development. Charity, Welfare, and Usury: The Capitalist Paradox? Is the goal of modern social democracy to expand inequality? Will the U.S. go full servile state?

Some learned Catholics opposed both Socialism and Capitalism and endorse “Distributism” as the ideal Catholic “third way.” Distributists cite GK Chesterton and Hilaire Belloc as advocates for their system. #TnT (Dr. Taylor Marshall and Timothy Gordon) are joined by Dr. Jay Richards of Catholic University of America to discuss the faults of Distributism in the context of Catholic doctrine and tradition. They conclude that it is essentially Socialism. They also look at what the Popes have said over time regarding Capitalism and Socialism. Do you find benefit from my videos and podcasts? If so, please help me make more by becoming a Patron via Patreon (and I'll send you some signed books as a Thank You. Click here to become a Patron. Watch the Youtube video by clicking here.  Or listen to the audio mp3 here: The Taylor Marshall Show Podcast is now also available on Spotify: Play “Taylor Marshall Show” inside Spotify. Check out Patreon Patron Benefits! All these video discussions are free. Do you want to recommend a show, get signed books, and show support? Here's how: click on Patreon Patron link: Become a Patron of this Podcast: I am hoping to produce more free weekly podcast Videos. Please help me launch these videos by working with me on Patreon to produce more free content. In gratitude, I'll send you some signed books or even stream a theology event for you and your friends. Please become one of my patrons and check out the various tier benefits at: https://www.patreon.com/drtaylormarshall If the audio player does not show up in your email or browser, please click here to listen. If you find this podcast episode helpful, please share this podcast on Facebook. Announcements: * The podcast is now on my channel on Youtube.com * The complete Sword and Serpent Trilogy is now published, including the the third Book: Storm of Fire and Blood. * Download the Study Guide at: http://swordandserpent.com * New classes at New Saint Thomas Institute. We have just begun our New Testament Studies curriculum. Please visit: newsaintthomas.com for more details. I'd love to read your feedback: While you listen to today's podcast, would you please take 30 seconds to write a review? Please click here to Rate this Podcast! Please Share Your Feedback: * iTunes: 2,347,041 downloads on iTunes as of today. * Youtube: Leave a comment on Youtube here. * SHOUT OUTS: A huge “shout out” to all 1,181 (!