Podcasts about Donahue

You are in for a real treat on this episode. My guest this time is Greg Schwem. Greg is a corporate comedian. What is a corporate comedian? You probably can imagine that his work has to do with corporations, and you would be right. Greg will explain much better than I can. Mr. Schwem began his career as a TV journalist but eventually decided to take up what he really wanted to do, be a comedian. The story of how he evolved is quite fascinating by any standard. Greg has done comedy professionally since 1989. He speaks today mostly to corporate audiences. He will tell us how he does his work. It is quite interesting to hear how he has learned to relate to his audiences. As you will discover as Greg and I talk, we often work in the same way to learn about our audiences and thus how we get to relate to them. Greg has written three books. His latest one is entitled “Turning Gut Punches into Punch Lines: A Comedian's Journey Through Cancer, Divorce and Other Hilarious Stuff”. As Greg says, “Don't worry, it's not one of those whiny, ‘woe is me,' self- serving books. Instead, it's a hilarious account of me living the words I've been preaching to my audiences: You can always find humor in every situation, even the tough ones. Greg offers many interesting observations as he discusses his career and how he works. I think we all can find significant lessons we can use from his remarks. About the Guest: Hi! I'm Greg Schwem. a Chicago-based business humor speaker and MC who HuffPost calls “Your boss's favorite comedian.” I've traveled the world providing clean, customized laughs to clients such as Microsoft, IBM, McDonald's and even the CIA. I also write the bi-weekly Humor Hotel column for the Chicago Tribune syndicate. I believe every corporate event needs humor. As I often tell clients, “When times are good, people want to laugh. When times are bad, people need to laugh.” One Fortune 500 client summed things up perfectly, saying “You were fantastic and just what everybody needed during these times.” In September 2024 I released my third and most personal book, Turning Gut Punches into Punch Lines: A Comedian's Journey Through Cancer, Divorce and Other Hilarious Stuff. Don't worry, it's not one of those whiny, “woe is me,” self-serving books. Instead, it's a hilarious account of me living the words I've been preaching to my audiences: You can always find humor in every situation, even the tough ones. You can pick up a copy at Amazon or select book stores. Ways to connect with Greg: Website: www.gregschwem.com YouTube: www.youtube.com/gregschwem LinkedIn www.linkedin.com/in/gregschwem Instagram: www.instagram.com/gregschwem X: www.x.com/gregschwem About the Host: Michael Hingson is a New York Times best-selling author, international lecturer, and Chief Vision Officer for accessiBe. Michael, blind since birth, survived the 9/11 attacks with the help of his guide dog Roselle. This story is the subject of his best-selling book, Thunder Dog. Michael gives over 100 presentations around the world each year speaking to influential groups such as Exxon Mobile, AT&T, Federal Express, Scripps College, Rutgers University, Children's Hospital, and the American Red Cross just to name a few. He is Ambassador for the National Braille Literacy Campaign for the National Federation of the Blind and also serves as Ambassador for the American Humane Association's 2012 Hero Dog Awards. https://michaelhingson.com https://www.facebook.com/michael.hingson.author.speaker/ https://twitter.com/mhingson https://www.youtube.com/user/mhingson https://www.linkedin.com/in/michaelhingson/ accessiBe Links https://accessibe.com/ https://www.youtube.com/c/accessiBe https://www.linkedin.com/company/accessibe/mycompany/ https://www.facebook.com/accessibe/ Thanks for listening! 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Transcription Notes: Michael Hingson ** 00:00 Access Cast and accessiBe Initiative presents Unstoppable Mindset. The podcast where inclusion, diversity and the unexpected meet. Hi, I'm Michael Hingson, Chief Vision Officer for accessiBe and the author of the number one New York Times bestselling book, Thunder dog, the story of a blind man, his guide dog and the triumph of trust. Thanks for joining me on my podcast as we explore our own blinding fears of inclusion unacceptance and our resistance to change. We will discover the idea that no matter the situation, or the people we encounter, our own fears, and prejudices often are our strongest barriers to moving forward. The unstoppable mindset podcast is sponsored by accessiBe, that's a c c e s s i capital B e. Visit www.accessibe.com to learn how you can make your website accessible for persons with disabilities. And to help make the internet fully inclusive by the year 2025. Glad you dropped by we're happy to meet you and to have you here with us.   Michael Hingson ** 01:16 Hi everyone, and welcome to unstoppable mindset. Today we are going to definitely have some fun. I'll tell you about our guests in a moment, but first, I want to tell you about me. That'll take an hour or so. I am Michael Hingson, your host, and you're listening to unstoppable mindset where inclusion, diversity and the unexpected meet. And I don't know, we may get inclusion or diversity into this, but our guest is Greg Schwem. Greg used to be a TV reporter, now he's a comedian, not sure which is funnier, but given some of the reporters I've seen on TV, they really should go into tonight club business. But anyway, Greg, I want to welcome you to unstoppable mindset. We're really glad you're here. I really appreciate you being here and taking the time   Greg Schwem ** 02:04 Well, Michael, it is an honor to be included on your show. I'm really looking forward to the next hour of conversation. I   Speaker 1 ** 02:10 told Greg a little while ago, one of my major life ambitions that I never got to do was to go to a Don Rickles concert and sit in the front row so that hopefully he would pick on me, so that I could say, Yeah, I saw you once on TV, and I haven't been able to see since. What do you think of that? You hockey puck, but I never got to do it. So very disappointed. But everybody has bucket list moments, everybody has, but they don't get around to I'm sorry. Yeah, I know. Well, the other one is, I love to pick on Mike Wallace. I did a radio show for six years opposite him in 60 minutes, and I always love to say that Wallace really had criminal tendencies, because he started out being an announcer in radio and he announced things like The Green Hornet and the Sky King and other shows where they had a lot of criminals. So I just figured he had to be associated with criminals somewhere in his life. Of course, everybody picked on him, and he had broad shoulders. And I again, I regret I never got to to meet him, which is sort of disappointing. But I did get to meet Peter Falk. That was kind of fun.   Greg Schwem ** 03:15 Mike Wallace to Peter Falk. Nice transition there. I know.   Michael Hingson ** 03:21 Well I am really glad you're with us. So why don't we start? We'll start with the serious part. Why don't you tell us, kind of about the early Greg schwim and growing up and all that sort of stuff, just to set the stage, as it were,   Greg Schwem ** 03:34 how far back you want to go? You want to go back to Little League, or you want to   Speaker 1 ** 03:37 just, oh, start at the beginning, a long time ago, right? I was a   Greg Schwem ** 03:41 very strange child. No, I you. You obviously introduced me as a as a comedian, and that is my full time job. And you also said that I was a former journalist, and that is my professional career. Yes, I went from, as I always like to say, I went from depressing people all day long, to making them laugh. And that's, that's kind of what I did. I always did want to be I majored in Journalism at Northwestern University, good journalism school. Originally, I always wanted to be a television reporter. That was as a professional career I was, I dabbled in comedy. Started when I was 16. That is the first time I ever got on stage at my school, my high school, and then at a comedy club. I was there one of the first comedy clubs in Chicago, a place called the comedy cottage. It was in the suburb of beautiful, beautiful suburb of Rosemont, Illinois, and they were one of the very, very first full time comedy clubs in the nation. And as a 16 year old kid, I actually got on stage and did five minutes here and five minutes there. And thought I was, I was hot stuff, but I never, ever thought I would do it for a living. I thought comedy would always be just a hobby. And I. Especially when I went to college, and I thought, okay, Northwestern is pretty good school, pretty expensive school. I should actually use my degree. And I did. I moved down to Florida, wrote for a newspaper called The Palm Beach post, which, don't let that title fool you. It's Palm Beach was a very small segment of of the area that it was, that it served, but I did comedy on the side, and just because I moved down there, I didn't know anybody, so I hung out at comedy clubs just to have something to do. And little by little, comedy in the late 80s, it exploded. Exploded. There were suddenly clubs popping up everywhere, and you were starting to get to know guys that were doing these clubs and were starting to get recognition for just being comedians. And one of them opened up a very, very good Club opened up about 10 minutes from my apartment in West Palm Beach, and I hung out there and started to get more stage time, and eventually started to realize at the same time that I was getting better as a comedian, I was becoming more disillusioned as a journalist in terms of what my bosses wanted me to report on and the tone they wanted me to use. And I just decided that I would I would just never be able to live with myself if I didn't try it, if I didn't take the the plunge into comedy, and that's what I did in 1989 and I've been doing it ever since. And my career has gone in multiple directions, as I think it needs to. If you're going to be in show business and sustain a career in show business, you have to wear a lot of different hats, which I feel like I've done.   Michael Hingson ** 06:40 So tell me more about that. What does that mean exactly?   Greg Schwem ** 06:43 Well, I mean, I started out as a what you would pretty much if somebody said, If you heard somebody say, I'm a comedian, they would envision some guy that just went to comedy clubs all the time, and that's what I did. I was just a guy that traveled by car all over the Midwest and the Southeast primarily, and did comedy clubs, but I quickly realized that was kind of a going nowhere way to attack it, to do comedy unless you were incredibly lucky, because there were so many guys doing it and so many clubs, and I just didn't see a future in it, and I felt like I had to separate myself from the pack a little bit. And I was living in Chicago, which is where I'm from, and still, still exist. Still reside in Chicago, and I started to get involved with a company that did live trade show presentations. So if you've ever been on a trade show floor and you see people, they're mostly actors and actresses that wear a headset and deliver a spiel, a pitch, like every, every twice an hour, about some company, some new product, and so forth. And I did that, and I started to write material about what I was seeing on trade show floors and putting it into my stand up act, stuff about business, stuff about technology, because I was Hawking a lot of new computers and things like that. This was the mid 90s when technology was exploding, and I started to put this into my stand up act. And then I'd have people come up to me afterwards and say, hey, you know those jokes you did about computers and tech support, if you could come down to our office, you know, we're having a golf tournament, we're having a Christmas party, we would love to hear that material. And little by little, I started transitioning my act into doing shows for the corporate market. I hooked up with a corporate agent, or the corporate agent heard about me, and started to open a lot of doors for me in terms of working for very large corporations, and that's pretty much what I've been doing. I stopped working clubs, and I transitioned, instead of being a comedian, I became a corporate humor speaker. And that's what I do, primarily to this day, is to speak at business conferences. Just kind of get people to loosen up, get them to laugh about what they do all day without without making it sound like I'm belittling what they do. And also when I'm not doing that, I work about eight to 10 weeks a year on cruise ships, performing for cruise audiences. So that's a nice getaway.   Speaker 1 ** 09:18 It's interesting since I mentioned Don Rickles earlier, years ago, I saw an interview that he did with Donahue, and one of the things that Don Rickles said, and after he said it, I thought about it. He said, I really don't want to pick on anyone who's going to be offended by me picking on them. He said, I try to watch really carefully, so that if it looks like somebody's getting offended, I'll leave them alone, because that's not what this is all about. It isn't about abusing people. It's about trying to get people to have fun, and if somebody's offended, I don't want to to pick on them, and I've heard a number of albums and other things with him and just. Noticed that that was really true. He wouldn't pick on someone unless they could take it and had a lot of fun with it. And I thought that was absolutely interesting, because that certainly wasn't, of course, the rep that he had and no, but it was   Greg Schwem ** 10:16 true. It is, and it doesn't take long to see as a as a comedian, when you're looking at an audience member and you're talking to them, it, you can tell very quickly, Are they enjoying this? Are they enjoying being the center of attention? A lot of people are, or are they uncomfortable with it? Now, I don't know that going in. I mean, I you know, of course. And again, that's a very small portion of my show is to talk to the audience, but it is something particularly today. I think audiences want to be more involved. I think they enjoy you talk you. Some of these, the new comedians in their 20s and 30s and so forth. Them, some of them are doing nothing, but what they call crowd work. So they're just doing 45 minutes of talking to the audience, which can be good and can be rough too, because you're working without a net. But I'm happy to give an audience a little bit of that. But I also have a lot of stuff that I want to say too. I mean, I work very hard coming up with material and and refining it, and I want to talk about what's going on in my life, too. So I don't want the audience to be the entire show, right?   Speaker 1 ** 11:26 And and they shouldn't be, because it isn't about that. But at the same time, it is nice to involve them. I find that as a keynote and public speaker, I find that true as well, though, is that audiences do like to be involved. And I do some things right at the outset of most talks to involve people, and also in involving them. I want to get them to last so that I start to draw them in, because later, when I tell the September 11 story, which isn't really a humorous thing. Directly,   Greg Schwem ** 12:04 i know i Good luck. I'm spinning 911 to make it I don't think I've ever heard anybody say, by the way, I was trapped in a building. Stick with me. It's kind of cute. It's got a funny ending. And   Speaker 1 ** 12:20 that's right, and it is hard I can, I can say humorous things along the way in telling the story, but, sure, right, but, but clearly it's not a story that, in of itself, is humorous. But what I realized over the years, and it's really dawned on me in the last four or five years is we now have a whole generation of people who have absolutely no memory of September 11 because they were children or they weren't even born yet. And I believe that my job is to not only talk about it, but literally to draw them into the building and have them walk down the stairs with me, and I have to be descriptive in a very positive way, so that they really are part of what's going on. And the reality is that I do hear people or people come up and say, we were with you when you were going down the stairs. And I think that's my job, because the reality is that we've got to get people to understand there are lessons to be learned from September 11, right? And the only real way to do that is to attract the audience and bring them in. And I think probably mostly, I'm in a better position to do that than most people, because I'm kind of a curious soul, being blind and all that, but it allows me to to draw them in and and it's fun to do that, actually. And I, and   Greg Schwem ** 13:52 I gotta believe, I mean, obviously I wasn't there, Michael, but I gotta believe there were moments of humor in people, a bunch of people going down the stairs. Sure, me, you put people get it's like, it's like when a bunch of people are in an elevator together, you know, I mean, there's I, when I look around and I try to find something humorous in a crowded and it's probably the same thing now, obviously it, you know, you got out in time. But I and, you know, don't that's the hotel phone, which I just hung up so but I think that I can totally see where you're going from, where, if you're if you're talking to people who have no recollection of this, have no memory where you're basically educating them on the whole event. I think you then you have the opportunity to tell the story in whatever way you see fit. And I think that however you choose to do it is there's no wrong way to do it, I guess is what I'm trying to get at.   Speaker 1 ** 14:55 Well, yeah, I think the wrong way is to be two. Graphic and morbid and morbid, but one of the things that I talk about, for example, is that a colleague of mine who was with me, David Frank, at about the 50th floor, suddenly said, Mike, we're going to die. We're not going to make it out of here. And as as I tell the audience, typically, I as as you heard my introduction at the beginning, I have a secondary teaching credential. And one of the things that you probably don't know about teachers is that there's a secret course that every teacher takes called Voice 101, how to yell at students and and so what I tell people is that when David said that, I just said in my best teacher voice, stop it, David, if Roselle and I can go down these stairs, so can you. And he told me later that that brought him out of his funk, and he ended up walking a floor below me and shouting up to me everything he saw. And it was just mainly, everything is clear, like I'm on floor 48 he's on 47/47 floor. Everything is good here, and what I have done for the past several years in telling that part of the story is to say David, in reality, probably did more to keep people calm and focused as we went down the stairs than anyone else, because anyone within the sound of his voice heard someone who was focused and sounded okay. You know, hey, I'm on the 44th floor. This is where the Port Authority cafeteria is not stopping. And it it helps people understand that we all had to do what we could to keep everyone from not panicking. And it almost happened a few times that people did, but we worked at it. But the i The idea is that it helps draw people in, and I think that's so important to do for my particular story is to draw them in and have them walk down the stairs with me, which is what I do, absolutely, yeah, yeah. Now I'm curious about something that keeps coming up. I hear it every so often, public speaker, Speaker experts and people who are supposedly the great gurus of public speaking say you shouldn't really start out with a joke. And I've heard that so often, and I'm going give me a break. Well, I think, I think it depends, yeah, I think   Greg Schwem ** 17:33 there's two schools of thought to that. I think if you're going to start out with a joke, it better be a really good one, or something that you either has been battle tested, because if it doesn't work now, you, you know, if you're hoping for a big laugh, now you're saying, Well, you're a comedian, what do you do? You know, I mean, I, I even, I just sort of work my way into it a little bit. Yeah, and I'm a comedian, so, and, you know, it's funny, Michael, I will get, I will get. I've had CEOs before say to me, Hey, you know, I've got to give this presentation next week. Give me a joke I can tell to everybody. And I always decline. I always it's like, I don't need that kind of pressure. And it's like, I can, I can, I can tell you a funny joke, but,   Michael Hingson ** 18:22 but you telling the   Greg Schwem ** 18:23 work? Yeah, deliver it. You know, I can't deliver it for you. Yeah? And I think that's what I also, you know, on that note, I've never been a big fan of Stand Up Comedy classes, and you see them all popping up all over the place. Now, a lot of comedy clubs will have them, and usually the you take the class, and the carrot at the end is you get to do five minutes at a comedy club right now, if that is your goal, if you're somebody who always like, Gosh, I wonder what it would like be like to stand up on stage and and be a comedian for five minutes. That's something I really like to try. By all means, take the class, all right. But if you think that you're going to take this class and you're going to emerge a much funnier person, like all of a sudden you you weren't funny, but now you are, don't take the class, yeah? And I think, sadly, I think that a lot of people sign up for these classes thinking the latter, thinking that they will all of a sudden become, you know, a comedian. And it doesn't work that way. I'm sorry you cannot teach unfunny people to be funny. Yeah, some of us have the gift of it, and some of us don't. Some of us are really good with our hands, and just know how to build stuff and how to look at things and say, I can do that. And some of us, myself included, definitely do not. You know, I think you can teach people to be more comfortable, more comfortable in front of an audience and. Correct. I think that is definitely a teachable thing, but I don't think that you can teach people to be funnier   Speaker 1 ** 20:10 and funnier, and I agree with that. I tend to be amazed when I keep hearing that one of the top fears in our world is getting up in front of an audience and talking with them, because people really don't understand that audiences, whatever you're doing, want you to succeed, and they're not against you, but we have just conditioned ourselves collectively that speaking is something to be afraid of?   Greg Schwem ** 20:41 Yes, I think, though it's, I'm sure, that fear, though, of getting up in front of people has only probably been exacerbated and been made more intense because now everybody in the audience has a cell phone and to and to be looking out at people and to see them on their phones. Yeah, you're and yet, you prepped all day long. You've been nervous. You've been you probably didn't sleep the night before. If you're one of these people who are afraid of speaking in public, yeah, and then to see people on their phones. You know, it used to bother me. It doesn't anymore, because it's just the society we live in. I just, I wish, I wish people could put their phones down and just enjoy laughing for 45 minutes. But unfortunately, our society can't do that anymore, so I just hope that I can get most of them to stop looking at it.   Speaker 1 ** 21:32 I don't make any comments about it at the beginning, but I have, on a number of occasions, been delivering a speech, and I hear a cell phone ring, and I'll stop and go, Hello. And I don't know for sure what the person with the cell phone does, but by the same token, you know they really shouldn't be on their phone and and it works out, okay, nobody's ever complained about it. And when I just say hello, or I'll go Hello, you don't say, you know, and things like that, but, but I don't, I don't prolong it. I'll just go back to what I was talking about. But I remember, when I lived in New Jersey, Sandy Duncan was Peter Pan in New York. One night she was flying over the audience, and there was somebody on his cell phone, and she happened to be going near him, and she just kicked the phone out of his hand. And I think that's one of the things that started Broadway in saying, if you have a cell phone, turn it off. And those are the announcements that you hear at the beginning of any Broadway performance today.   Greg Schwem ** 22:39 Unfortunately, people don't abide by that. I know you're still hearing cell phones go off, yeah, you know, in Broadway productions at the opera or wherever, so people just can't and there you go. There that just shows you're fighting a losing battle.   Speaker 1 ** 22:53 Yeah, it's just one of those things, and you got to cope with it.   Greg Schwem ** 22:58 What on that note, though, there was, I will say, if I can interrupt real quick, there was one show I did where nobody had their phone. It was a few years ago. I spoke at the CIA. I spoke for some employees of the CIA. And this might, this might freak people out, because you think, how is it that America's covert intelligence agency, you think they would be on their phones all the time. No, if you work there, you cannot have your phone on you. And so I had an audience of about 300 people who I had their total attention because there was no other way to they had no choice but to listen to me, and it was wonderful. It was just a great show, and I it was just so refreshing. Yeah,   Speaker 1 ** 23:52 and mostly I don't hear cell phones, but they do come up from time to time. And if they do, then you know it happens. Now my one of my favorite stories is I once spoke in Maryland at the Department of Defense, which anybody who knows anything knows that's the National Security Agency, but they call it the Department of Defense, as if we don't know. And my favorite story is that I had, at the time, a micro cassette recorder, and it died that morning before I traveled to Fort Meade, and I forgot to just throw it away, and it was in my briefcase. So I got to the fort, they searched, apparently, didn't find it, but on the way out, someone found it. They had to get a bird Colonel to come to decide what to do with it. I said, throw it away. And they said, No, we can't do that. It's yours. And they they decided it didn't work, and they let me take it and I threw it away. But it was so, so funny to to be at the fort and see everybody running around crazy. See, what do we do with this micro cassette recorder? This guy's been here for an hour. Yeah. So it's it. You know, all sorts of things happen. What do you think about you know, there's a lot of discussion about comedians who use a lot of foul language in their shows, and then there are those who don't, and people seem to like the shock value of that.   Greg Schwem ** 25:25 Yeah, I'm very old school in that. I guess my short answer is, No, I've never, ever been one of those comedians. Ever I do a clean show, I actually learned my lesson very early on. I think I think that I think comedians tend to swear because when they first start out, out of nerves, because I will tell you that profanity does get laughter. And I've always said, if you want to, if you want to experiment on that, have a comedian write a joke, and let's say he's got two shows that night. Let's say he's got an eight o'clock show and a 10 o'clock show. So let's say he does the joke in the eight o'clock and it's, you know, the cadence is bumper, bump up, bump up, bump up, punch line. Okay, now let's and let's see how that plays. Now let's now he does the 10 o'clock show and it's bumper, bump up, bump up F and Okay, yeah, I pretty much guarantee you the 10 o'clock show will get a bigger laugh. Okay? Because he's sort of, it's like the audience is programmed like, oh, okay, we're supposed to laugh at that now. And I think a lot of comedians think, Aha, I have just discovered how to be successful as a comedian. I will just insert the F word in front of every punch line, and you can kind of tell what comedians do that and what comedians I mean. I am fine with foul language, but have some jokes in there too. Don't make them. Don't make the foul word, the joke, the joke, right? And I can say another thing nobody has ever said to me, I cannot hire you because you're too clean. I've never gotten that. And all the years I've been doing this, and I know there's lots of comedians who who do work blue, who have said, you know, who have been turned down for that very reason. So I believe, if you're a comedian, the only way to get better is to work any place that will have you. Yeah, and you can't, so you might as well work clean so you can work any place that will have you, as opposed to being turned away.   Speaker 1 ** 27:30 Well, and I, and I know what, what happened to him and all that, but at the same time, I grew up listening to Bill Cosby and the fact that he was always clean. And, yeah, I understand everything that happened, but you can't deny and you can't forget so many years of humor and all the things that that he brought to the world, and the joy he brought to the world in so many ways.   Greg Schwem ** 27:57 Oh, yeah, no, I agree. I agree. And he Yeah, he worked everywhere. Jay Leno is another one. I mean, Jay Leno is kind of on the same wavelength as me, as far as don't let the profanity become the joke. You know, Eddie Murphy was, you know, was very foul. Richard Pryor, extremely foul. I but they also, prior, especially, had very intelligent material. I mean, you can tell and then if you want to insert your F bombs and so forth, that's fine, but at least show me that you're trying. At least show me that you came in with material in addition to the   Speaker 1 ** 28:36 foul language. The only thing I really have to say about all that is it? Jay Leno should just stay away from cars, but that's another story.   Greg Schwem ** 28:43 Oh, yeah, it's starting to   Greg Schwem ** 28:47 look that way. Yeah, it   Michael Hingson ** 28:49 was. It was fun for a while, Jay, but yeah, there's just two. It's like, Harrison Ford and plains. Yeah, same concept. At some point you're like, this isn't working out. Now I submit that living here in Victorville and just being out on the streets and being driven around and all that, I am firmly convinced, given the way most people drive here, that the bigoted DMV should let me have a license, because I am sure I can drive as well as most of the clowns around here. Yeah, so when they drive, I have no doubt. Oh, gosh. Well, you know, you switched from being a TV journalist and so on to to comedy. Was it a hard choice? Was it really difficult to do, or did it just seem like this is the time and this is the right thing to do. I was   Greg Schwem ** 29:41 both, you know, it was hard, because I really did enjoy my job and I liked, I liked being a TV news reporter. I liked, I liked a job that was different every day once you got in there, because you didn't know what they were going to send you out to do. Yes, you had. To get up and go to work every day and so forth. So there's a little bit of, you know, there's a little bit of the mundane, just like there is in any job, but once you were there, I liked, just never known what the day would bring, right? And and I, I think if I'd stayed with it, I think I think I could have gone pretty far, particularly now, because the now it's more people on TV are becoming more entertainers news people are becoming, yeah, they are. A lot of would be, want to be comedians and so forth. And I don't particularly think that's appropriate, but I agree. But so it was hard to leave, but it gets back to what I said earlier. At some point, you got to say, I was seeing comedians making money, and I was thinking, gosh, you know, if they're making money at this I I'm not hilarious, but I know I'm funnier than that guy. Yeah, I'm funnier than her, so why not? And I was young, and I was single, and I thought, if I if I don't try it now, I never will. And, and I'll bet there's just some hilarious people out there, yeah, who who didn't ever, who just were afraid   Michael Hingson ** 31:14 to take that chance, and they wouldn't take the leap, yeah,   Greg Schwem ** 31:16 right. And now they're probably kicking themselves, and I'm sure maybe they're very successful at what they do, but they're always going to say, what if, if I only done this? I don't ever, I don't, ever, I never, ever wanted to say that. Yeah,   Speaker 1 ** 31:31 well, and there's, there's something to be said for being brave and stepping out and doing something that you don't expect, or that you didn't expect, or that you weren't sure how it was going to go, but if you don't try, then you're never going to know just how, how much you could really accomplish and how much you can really do. And I think that the creative people, whatever they're being creative about, are the people who do step out and are willing to take a chance.   Greg Schwem ** 31:59 Yeah, yeah. And I told my kids that too. You know, it's just like, if it's something that you're passionate about, do it. Just try it. If it doesn't work out, then at least you can say I tried   Speaker 1 ** 32:09 it and and if it doesn't work out, then you can decide, what do I need to do to figure out why it didn't work out, or is it just not me? I want   Greg Schwem ** 32:18 to keep going? Yeah. Yeah. Yeah.   Speaker 1 ** 32:21 So what is the difference between being a nightclub comedian and a corporate comedian? Because they are somewhat different. I think I know the answer. But what would you say that the differences between them? I think   Greg Schwem ** 32:33 the biggest thing is the audiences. I think when you when you are a nightclub comedian, you are working in front of people who are there to be entertained. Yeah, they, they paid money for that. That's what they're expecting. They, they, at some point during the day, they said, Hey, let's, let's go laugh tonight. That's what we really want to do when you're working in front of a corporate audiences. That's not necessarily the case. They are there. I primarily do business conferences and, you know, association meetings and so forth. And I'm just one cog in the wheel of a whole day's worth of meetings are, for the most part, very dry and boring, maybe certainly necessary educational. They're learning how to do their job better or something. And then you have a guy like me come in, and people aren't always ready to laugh, yeah, despite the fact that they probably need to, but they just they're not always in that mindset. And also the time of day. I mean, I do a lot of shows at nine in the morning. I do shows after lunch, right before lunch. I actually do very few shows in the evening, believe it or not. And so then you you have to, you kind of have to, in the while you're doing your act or your presentation or your speech, as I call it, you kind of have to let them know that it is okay. What you're doing is okay, and they should be okay with laughing. They shouldn't be looking around the whole time wondering if other people are laughing. You know, can I, can I? Can I tell you a quick story about how I drive that point home. Why not? Yeah, it's, I'll condense it into like five minutes. I mentioned that I worked on that I work on cruise ships occasionally, and I one night I was performing, and it was the first night of the cruise. And if anybody's ever been on a cruise, note, the first night, first night entertainers don't like the first night because people are tired. You know, they're they're a little edgy because they've been traveling all day. They're they're confused because they're not really sure where they're going on a ship. And the ones that have got it figured out usually over serve themselves because they're on vacation. So you put all that, so I'm doing my show on the first. Night, and it's going very well. And about five, six minutes in, I do a joke. Everybody laughs. Everybody shuts up. And from the back of the room in total darkness, I hear hat just like that. And I'm like, All right, you know, probably over served. So the rule of comedy is that everybody gets like. I was like, I'll let it go once, yeah. So I just kind of looked off in that direction, didn't say anything. Kept going with my active going with my act. About 10 minutes later, same thing happens. I tell a joke. Everybody laughs. Everybody shuts up. Hat now I'm like, Okay, I have got to, I've got to address the elephant in the room. So I think I just made some comment, like, you know, I didn't know Roseanne Barr was on this cruise, you know, because that was like the sound of the Yeah. Okay, everybody laugh. Nothing happened about five minutes later. It happens a third time. And now I'm just like, this is gonna stop. I'm going to put a stop to this. And I just fired off. I can't remember, like, three just like, hey man, you know you're you're just a little behind everybody else in this show and probably in life too, that, you know, things like that, and it never happened again. So I'm like, okay, mission accomplished on my part. Comedians love it when we can shut up somebody like that. Anyway. Show's over, I am out doing a meet and greet. Some guy comes up to me and he goes, hey, hey, you know that kid you were making fun of is mentally handicapped. And now, of course, I don't know this, but out of the corner of my eye, I see from the other exit a man pushing a son, his son in a wheelchair out of the showroom. And I'm just like, Oh, what have I done? And yeah. And of course, when you're on a cruise, you're you're on a cruise. When you're a cruise ship entertainer, you have to live with your audience. So I couldn't hide. I spent like the next three days, and it seemed like wherever I was, the man and his son in the wheelchair were nearby. And finally, on the fourth day, I think was, I was waiting for an elevator. Again, 3500 people on this ship, okay, I'm waiting for an elevator. The elevator door opens. Guess who are the only two people the elevator, the man and his son. And I can't really say I'll wait for the next one. So I get on, and I said to this the father, I said, I just want you to know I had no idea. You know, I'm so sorry. I can't see back there, this kind of thing. And the dad looks at me. He puts his hand up to stop me, and he points to me, and he goes, I thought you were hysterical. And it was, not only was it relief, but it kind of, it's sort of a lesson that if you think something is funny, you should laugh at it. Yeah. And I think sometimes in corporate America, my point in this. I think sometimes when you do these corporate shows, I think that audience members forget that. I think very busy looking around to see if their immediate boss thinks it's funny, and eventually everybody's looking at the CEO to see if they're like, you know, I think if you're doing it that way, if that's the way you're you're approaching humor. You're doing yourself a disservice, if right, stopping yourself from laughing at something that you think is funny.   Speaker 1 ** 38:09 I do think that that all too often the problem with meetings is that we as a as a country, we in corporations, don't do meetings, right anyway, for example, early on, I heard someone at a convention of the National Federation of the Blind say he was the new executive director of the American Foundation for the Blind, and he said, I have instituted a policy, no Braille, no meetings. And what that was all about was to say, if you're going to have a meeting, you need to make sure that all the documentation is accessible to those who aren't going to read the print. I take it further and say you shouldn't be giving out documentation during the meeting. And you can use the excuse, well, I got to get the latest numbers and all that. And my point is, you shouldn't be giving out documentation at a meeting, because the meeting is for people to communicate and interact with each other. And if you're giving out papers and so on, what are people going to do? They're going to read that, and they're not going to listen to the speakers. They're not going to listen to the other people. And we do so many things like that, we've gotten into a habit of doing things that become so predictable, but also make meetings very boring, because who wants to look at the papers where you can be listening to people who have a lot more constructive and interesting things to say anyway?   Greg Schwem ** 39:36 Yeah, yeah. I think, I think COVID definitely changed, some for the some for the better and some for the worse. I think that a lot of things that were done at meetings COVID and made us realize a lot of that stuff could be done virtually, that you didn't have to just have everybody sit and listen to people over and over and over again.   Speaker 1 ** 39:58 But unless you're Donald Trump. Up. Yeah, that's another story.   Greg Schwem ** 40:02 Yes, exactly another podcast episode. But, yeah, I do think also that. I think COVID changed audiences. I think, you know, we talked a little bit earlier about crowd work, right, and audiences wanting to be more involved. I think COVID precipitated that, because, if you think about it, Michael, for two and a half years during COVID, our sole source of entertainment was our phone, right? Which meant that we were in charge of the entertainment experience. You don't like something, swipe left, scroll down, scroll, scroll, scroll, find something else. You know, that kind of thing. I'm not I'm not entertained in the next four or five seconds. So I'm going to do this. And I think when live entertainment returned, audiences kind of had to be retrained a little bit, where they had to learn to sit and listen and wait for the entertainment to come to them. And granted, it might not happen immediately. It might not happen in the first five seconds, but you have to just give give people like me a chance. It will come to you. It will happen, but it might not be on your timetable,   Speaker 1 ** 41:13 right? Well, and I think that is all too true for me. I didn't find didn't find COVID to be a great inconvenience, because I don't look at the screen anyway, right? So in a sense, for me, COVID wasn't that much of a change, other than not being in an office or not being physically at a meeting, and so I was listening to the meeting on the computer, and that has its nuances. Like you don't necessarily get the same information about how everyone around you is reacting, but, but it didn't bother me, I think, nearly as much as it did everyone else who has to look at everyone. Of course, I have no problems picking on all those people as well, because what I point out is that that disabilities has to be redefined, because every one of you guys has your own disability. You're light dependent, and you don't do well when there's dark, when, when the dark shows up and and we now have an environment where Thomas Edison invented the electric light bulb, and we've spent the last 147 years doing everything we can to make sure that light is pretty ubiquitous, but it doesn't change a thing when suddenly the power goes out and you don't have immediate access to light. So that's as much a disability as us light, independent people who don't   Greg Schwem ** 42:36 care about that, right? Right? I hear, I agree, but it is but   Speaker 1 ** 42:41 it is interesting and and it is also important that we all understand each other and are willing to tolerate the fact that there are differences in people, and we need to recognize that with whatever we're doing.   42:53 Yeah, I agree.   Speaker 1 ** 42:57 What do you think about so today, we have obviously a really fractured environment and fractured country, and everyone's got their own opinions, and nobody wants to talk about anything, especially politics wise. How do you think that's all affecting comedy and what you get to do and what other people are doing?   Greg Schwem ** 43:18 Well, I think Pete, I think there's, there's multiple answers to that question too. I think, I think it makes people nervous, wondering what the minute a comedian on stage brings up politics, the minute he starts talking about a politician, whether it's our president, whether it's somebody else, you can sense a tension in the room a little bit, and it's, it's, I mean, it's funny. I, one of my best friends in comedy, got to open for another comedian at Carnegie Hall a couple of years ago, and I went to see him, and I'm sitting way up in the top, and he is just crushing it. And then at one point he he brought up, he decided to do an impression of Mitch McConnell, which he does very well. However, the minute he said, Mitch McConnell, I you could just sense this is Carnegie freaking Hall, and after the show, you know, he and I always like to dissect each other's shows. That's what comedians do. And I just said to him, I go. Why did you decide to insert Mitch McConnell in there? And I, and I didn't say it like, you moron, that was stupid, yeah, but I was genuinely curious. And he just goes, well, I just really like doing that bit, and I like doing that voice and so forth, but, and it's not like the show crashed and burned afterwards. No, he did the joke, and then he got out of it, and he went on to other stuff, and it was fine, but I think that people are just so on their guard now, yeah, and, and that's why, you know, you know Jay Leno always said he was an equal opportunity offender. I think you will do better with politics if you really want. Insert politics into your act. I think he would be better making fun of both sides. Yeah, it's true. Yeah. And I think too often comedians now use the the stage as kind of a Bully, bully pulpit, like I have microphone and you don't. I am now going to give you my take on Donald Trump or the Democrats or whatever, and I've always said, talk about anything you want on stage, but just remember, you're at a comedy club. People came to laugh. So is there a joke in here? Yeah, or are you just ranting because you gotta be careful. You have to get this off your chest, and your way is right. It's, it's, you know, I hate to say it, but that's, that's why podcast, no offense, Michael, yours, is not like this. But I think one of the reasons podcasters have gotten so popular is a lot of people, just a lot of podcast hosts see a podcast is a chance to just rant about whatever's on their mind. And it's amazing to me how many podcast hosts that are hosted by comedians have a second guy have a sidekick to basically laugh and agree with whatever that person says. I think Joe Rogan is a classic example, and he's one of the most popular ones. But, and I don't quite understand that, because you know, if you're a comedian, you you made the choice to work solo, right? So why do you need somebody else with you?   Speaker 1 ** 46:33 I'm I'm fairly close to Leno. My remark is a little bit different. I'm not so much an equal opportunity offender as I am an equal opportunity abuser. I'll pick on both sides if politics comes into it at all, and it's and it's fun, and I remember when George W Bush was leaving the White House, Letterman said, Now we're not going to have anybody to joke about anymore. And everyone loved it. But still, I recognize that in the world today, people don't want to hear anything else. Don't confuse me with the facts or any of that, and it's so unfortunate, but it is the way it is, and so it's wiser to stay away from a lot of that, unless you can really break through the barrier,   Greg Schwem ** 47:21 I think so. And I also think that people, one thing you have to remember, I think, is when people come to a comedy show, they are coming to be entertained. Yeah, they are coming to kind of escape from the gloom and doom that unfortunately permeates our world right now. You know? I mean, I've always said that if you, if you walked up to a comedy club on a Saturday night, and let's say there were 50 people waiting outside, waiting to get in, and you asked all 50 of them, what do you hope happens tonight? Or or, Why are you here? All right, I think from all 50 you would get I would just like to laugh, yeah, I don't think one of them is going to say, you know, I really hope that my opinions on what's happening in the Middle East get challenged right now, but he's a comedian. No one is going to say that. No, no. It's like, I hope I get into it with the comedian on stage, because he thinks this way about a woman's right to choose, and I think the other way. And I really, really hope that he and I will get into an argument about to the middle of the   Speaker 1 ** 48:37 show. Yeah, yeah. That's not why people come?   Greg Schwem ** 48:40 No, it's not. And I, unfortunately, I think again, I think that there's a lot of comedians that don't understand that. Yeah, again, talk about whatever you want on stage, but just remember that your your surroundings, you if you build yourself as a comedian,   48:56 make it funny. Yeah, be funny.   Speaker 1 ** 49:00 Well, and nowadays, especially for for you, for me and so on, we're we're growing older and and I think you point out audiences are getting younger. How do you deal with that?   Greg Schwem ** 49:12 Well, what I try to do is I a couple of things. I try to talk as much as I can about topics that are relevant to a younger generation. Ai being one, I, one of the things I do in my my show is I say, oh, you know, I I really wasn't sure how to start off. And when you're confused these days, you you turn to answer your questions. You turn to chat GPT, and I've actually written, you know, said to chat GPT, you know, I'm doing a show tonight for a group of construction workers who work in the Midwest. It's a $350 million company, and it says, try to be very specific. Give me a funny opening line. And of course, chat GPT always comes up with some. Something kind of stupid, which I then relate to the audience, and they love that, you know, they love that concept. So I think there's, obviously, there's a lot of material that you can do on generational differences, but I, I will say I am very, very aware that my audience is, for the most part, younger than me now, unless I want to spend the rest of my career doing you know, over 55 communities, not that they're not great laughers, but I also think there's a real challenge in being older than your audience and still being able to make them laugh. But I think you have to remember, like you said, there's there's people now that don't remember 911 that have no concept of it, yeah, so don't be doing references from, say, the 1980s or the early 1990s and then come off stage and go, Man, nobody that didn't hit at all. No one, no one. They're stupid. They don't get it. Well, no, they, they, it sounds they don't get it. It's just that they weren't around. They weren't around, right? So that's on you.   Speaker 1 ** 51:01 One of the things that you know people ask me is if I will do virtual events, and I'll do virtual events, but I also tell people, the reason I prefer to do in person events is that I can sense what the audience is doing, how they're reacting and what they feel. If I'm in a room speaking to people, and I don't have that same sense if I'm doing something virtually, agreed same way. Now for me, at the same time, I've been doing this now for 23 years, so I have a pretty good idea in general, how to interact with an audience, to draw them in, even in a virtual environment, but I still tend to be a little bit more careful about it, and it's just kind of the way it is, you know, and you and you learn to deal with it well for you, have you ever had writer's block, and how did you deal with it?   Greg Schwem ** 51:57 Yes, I have had writer's block. I don't I can't think of a single comedian who's never had writer's block, and if they say they haven't, I think they're lying when I have writer's block, the best way for me to deal with this and just so you know, I'm not the kind of comedian that can go that can sit down and write jokes. I can write stories. I've written three books, but I can't sit down and just be funny for an hour all by myself. I need interaction. I need communication. And I think when I have writer's block, I tend to go out and try and meet strangers and can engage them in conversation and find out what's going on with them. I mean, you mentioned about dealing with the younger audience. I am a big believer right now in talking to people who are half my age. I like doing that in social settings, because I just, I'm curious. I'm curious as to how they think. I'm curious as to, you know, how they spend money, how they save money, how what their hopes and dreams are for the future, what that kind of thing, and that's the kind of stuff that then I'll take back and try and write material about. And I think that, I think it's fun for me, and it's really fun to meet somebody who I'll give you a great example just last night. Last night, I was I there's a there's a bar that I have that's about 10 a stone's throw from my condo, and I love to stop in there and and every now and then, sometimes I'll sit there and I won't meet anybody, and sometimes different. So there was a guy, I'd say he's probably in his early 30s, sitting too over, and he was reading, which I find intriguing, that people come to a bar and read, yeah, people do it, I mean. And I just said to him, I go, and he was getting ready to pay his bill, and I just said, if you don't mind me asking, What are you reading? And he's like, Oh, it's by Ezra Klein. And I go, you know, I've listened to Ezra Klein before. And he goes, Yeah, you know? He says, I'm a big fan. And debt to debt to dad. Next thing, you know, we're just, we're just riffing back and forth. And I ended up staying. He put it this way, Michael, it took him a very long time to pay his bill because we had a conversation, and it was just such a pleasure to to people like that, and I think that, and it's a hard thing. It's a hard thing for me to do, because I think people are on their guard, a little bit like, why is this guy who's twice my age talking to me at a bar? That's that seems a little weird. And I would get that. I can see that. But as I mentioned in my latest book, I don't mean because I don't a whole chapter to this, and I I say in the book, I don't mean you any harm. I'm not trying to hit on you, or I'm not creepy old guy at the bar. I am genuinely interested in your story. And. In your life, and and I just, I want to be the least interesting guy in the room, and that's kind of how I go about my writing, too. Is just you, you drive the story. And even though I'm the comedian, I'll just fill in the gaps and make them funny.   Speaker 1 ** 55:15 Well, I know that I have often been invited to speak at places, and I wondered, What am I going to say to this particular audience? How am I going to deal with them? They're they're different than what I'm used to. What I found, I guess you could call that writer's block, but what I found is, if I can go early and interact with them, even if I'm the very first speaker, if I can interact with them beforehand, or if there are other people speaking before me, invariably, I will hear things that will allow me to be able to move on and give a relevant presentation specifically to that group, which is what it's really all about. And so I'm with you, and I appreciate it, and it's good to get to the point where you don't worry about the block, but rather you look at ways to move forward and interact with people and make it fun, right,   Greg Schwem ** 56:13 right? And I do think people, I think COVID, took that away from us a little bit, yeah, obviously, but I but, and I do think people missed that. I think that people, once you get them talking, are more inclined to not think that you're you have ulterior motives. I think people do enjoy putting their phones down a little bit, but it's, it's kind of a two way street when I, when I do meet people, if it's if it's only me asking the questions, eventually I'm going to get tired of that. Yeah, I think there's a, there has to be a reciprocity thing a little bit. And one thing I find is, is with the Gen Z's and maybe millennials. They're not, they're not as good at that as I think they could be. They're more they're they're happy to talk about themselves, but they're not really good at saying so what do you do for a living? Or what you know, tell me about you. And I mean, that's how you learn about other people. Yeah,   Speaker 1 ** 57:19 tell me about your your latest book, Turning gut punches into punchlines. That's a interesting title, yeah, well, the more   Greg Schwem ** 57:26 interesting is the subtitle. So it's turning gut punches into punch punch lines, A Comedian's journey through cancer, divorce and other hilarious stuff.   Speaker 1 ** 57:35 No, like you haven't done anything in the world. Okay, right? So   Greg Schwem ** 57:38 other than that, how was the play, Mrs. Lincoln. Yeah, exactly. See, now you get that reference. I don't know if I could use that on stage, but anyway, depend on your audience. But yeah, they're like, What's he talking   Speaker 1 ** 57:50 who's Lincoln? And I've been to Ford theater too, so that's okay, yes, as have I. So it was much later than, than, well, than Lincoln, but that's okay.   Greg Schwem ** 57:58 You're not that old, right? No. Well, okay, so as the title, as the title implies, I did have sort of a double, double gut punch, it just in the last two years. So I, I got divorced late in life, after 29 years of marriage. And while that was going on, I got a colon cancer diagnosis and and at this end, I was dealing with all this while also continuing work as a humor speaker, okay, as a comedian. And I just decided I got it. First of all, I got a very clean bill of health. I'm cancer free. I am finally divorced so and I, I started to think, I wonder if there's some humor in this. I I would, I would, you know, Michael, I've been on stage for like, 25 years telling people that, you know, you can find something funny to laugh at. You can find humor in any situation. It's kind of like what you're talking about all the people going down the stairs in the building in the world trade center. All right, if you look around enough, you know, maybe there's something funny, and I've been preaching that, but I never really had to live that until now. And I thought, you know, maybe there's something here. Maybe I can this is my chance now to embrace new experiences. It was kind of when I got divorced, when you've been married half your life and all of a sudden you get divorced, everything's new to you, yeah, you're, you're, you're living alone, you you're doing things that your spouse did, oh, so many years. And you're having to do those, and you're having to make new friends, yeah, and all of that, I think, is very humorous. So the more I saw a book in there that I started writing before the cancer diagnosis, and I thought was there enough here? Just like, okay, a guy at 60 years old gets divorced now what's going to happen to him? The diagnosis? Kind. Made it just added another wrinkle to the book, because now I have to deal with this, and I have to find another subject to to make light of a little bit. So the book is not a memoir, you know, I don't start it off. And, you know, when I was seven, you know, I played, you know, I was, I went to this school night. It's not that. It's more just about reinvention and just seeing that you can be happy later in life, even though you have to kind of rewrite your your story a little   Speaker 1 ** 1:00:33 bit. And I would assume, and I would assume, you bring some of that into your ACT every so   Greg Schwem ** 1:00:38 very much. So yeah, I created a whole new speech called Turning gut punches into punchlines. And I some of the stuff that I, that I did, but, you know, there's a chapter in the book about, I about gig work, actually three chapters I, you know, I went to work for Amazon during the Christmas holiday rush, just scanning packages. I wanted to see what that was like. I drove for Uber I which I did for a while. And to tell you the truth, I miss it. I ended up selling my car, but I miss it because of the what we just talked about. It was a great way to communicate with people. It was a great way to talk to people, find out about them, be the least interesting person in the car, anyway. And there's a chapter about dating and online dating, which I had not had to do in 30 years. There's a lot of humor in that. I went to therapy. I'd never gone to therapy before. I wrote a chapter about that. So I think people really respond to this book, because they I think they see a lot of themselves in it. You know, lots of people have been divorced. There's lots of cancer survivors out there, and there's lots of people who just suddenly have hit a speed bump in their life, and they're not really sure how to deal with it, right? And my way, this book is just about deal with it through laughter. And I'm the perfect example.   Speaker 1 ** 1:01:56 I hear you, Oh, I I know, and I've been through the same sort of thing as you not a divorce, but my wife and I were married for 40 years, and she passed away in November of 2022 after 40 years of marriage. And as I tell people, as I tell people, I got to be really careful, because she's monitoring me from somewhere, and if I misbehave, I'm going to hear about it, so I got to be a good kid, and I don't even chase the women so. But I also point out that none of them have been chasing me either, so I guess I just do what we got to do. But the reality is, I think there are always ways to find some sort of a connection with other people, and then, of course, that's what what you do. It's all about creating a connection, creating a relationship, even if it's only for a couple of hours or an hour or 45 minutes, but, but you do it, which is what it's all about?   Greg Schwem ** 1:02:49 Yeah, exactly. And I think the funniest stuff is real life experience. Oh, absolutely, you know. And if people can see themselves in in what I've written, then I've done my job as a writer.   Speaker 1 ** 1:03:03 So do you have any plans to retire?   Greg Schwem ** 1:03:06 Never. I mean, good for you retire from what   1:03:09 I know right, making fun of people   Greg Schwem ** 1:03:12 and making them laugh. I mean, I don't know what I would do with myself, and even if I there's always going to be I don't care how technology, technologically advanced our society gets. People will always want and need to laugh. Yeah, they're always going to want to do that. And if they're want, if they're wanting to do that, then I will find, I will find a way to get to them. And that's why I, as I said, That's why, like working on cruise ships has become, like a new, sort of a new avenue for me to make people laugh. And so, yeah, I don't I there's, there's no way. I don't know what else I would do with   Speaker 1 ** 1:03:53 myself, well and from my perspective, as long as I can inspire people, yes, I can make people think a little bit and feel better about themselves. I'm going to do it right. And, and, and I do. And I wrote a book during COVID that was published last August called Live like a guide dog. And it's all about helping people learn to control fear. And I use lessons I learned from eight guide dogs and my wife service dog to do that. My wife was in a wheelchair her whole life. Great marriage. She read, I pushed worked out well, but, but the but the but the bottom line is that dogs can teach us so many lessons, and there's so much that we can learn from them. So I'm grateful that I had the opportunity to create this book and and get it out there. And I think that again, as long as I can continue to inspire people, I'm going to do it. Because   Greg Schwem ** 1:04:47 why wouldn't you? Why wouldn't I exactly right? Yeah, yeah. So,   Speaker 1 ** 1:04:51 I mean, I think if I, if I stopped, I think my wife would beat up on me, so I gotta be nice exactly. She's monitoring from somewhere

Gen. Christopher Todd Donahue, who leads U.S. Army Europe and Africa as well as Allied Land Command, joined Ryan for a discussion at WOTR HQ. For the first five minutes, they chat about his Army story, his time in the Ranger Regiment, before discussing how the Army Transformation Initiative is unfolding in Europe, from maneuver brigades, new technologies, command-and-control, drone and counter-drone operations, and more. Donahue previews how the U.S. Army has deliberately identified lessons from the war in Ukraine and how the Army fits into the joint fight. 

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

 Trip Ison is the Host of the Ain't Dead Yet podcast, Trip is a deeply reflective and purpose-driven leader. Known for his raw honesty, physical intensity, and commitment to service, he speaks directly to men navigating internal battles, offering a blueprint for rebuilding through consistency, discipline, and community. Jacob Donahue is the Founder of Muse and a high-performing operator, Jacob represents what it looks like to live with quiet discipline. He's built a life around intentionality, simplicity, and constant personal refinement, often leading by example in community, faith, and physical pursuit.  In this powerful roundtable, Harry sits down with Trip and Jacob—two high-integrity men redefining masculinity through purpose, self-discipline, and pain-forged wisdom. The conversation cuts deep on topics like self-love, sobriety, modern dating, and mental health, offering a refreshing and unfiltered take on what it means to show up fully in life. If you're a man in transition, building something bigger than yourself, or battling inner darkness—this one's for you. What we cover:-  Building self-love through boundaries - The power of consistency- Crafting a meaningful daily routine- Dating vs. idolizing a relationshipTimestamps: (00:00) Intro: Meet Trip and Jacob (01:30) Responsibility reveals who you really are (03:45) Stewarding your current gifts before receiving more (06:30) Learning self-love through boundaries (10:00) Why men in their 20s shouldn't date (14:30) Real relationships come from aligned environments (20:00) Daily routines that build discipline (29:00) Who they're speaking to with Muse and Ain't Dead Yet (40:45) Mental health, suicidal thoughts, and pushing through (47:00) “Just keep going”—the mindset that saves lives  *** LINKS***Check out our supplement company - Noble Origins- 100% grass-fed beef protein with added collagen, colostrum and organs- Use code MAFIA25 for 25% OFF your orderCheck out our Newsletter - Food for Thought - to dramatically improve your health this year!Join The Meat Mafia community Telegram group for daily conversations to keep up with what's happening between episodes of the show. Connect with Jacob: Instagram Connect with Trip: InstagramConnect with Brett:InstagramConnect with Harry:InstagramXConnect with Meat Mafia:Instagram - Meat MafiaX - Meat MafiaYouTube - Meat MafiaConnect with Noble Protein:Website - Noble ProteinX - Noble ProteinInstagram - Noble ProteinAFFILIATESLMNT - Electrolyte salts to supplement minerals on low-carb dietThe Carnivore Bar - Use Code 'MEATMAFIA' for 10% OFF - Delicious & convenient Pemmican BarPerennial Pastures - Use CODE 'MEATMAFIA' 10% OFF - Regeneratively raised, grass-fed & grass-finished beef from California & MontanaFarrow Skincare - Use CODE 'MEATMAFIA' at checkout for 20% OFFHeart & Soil - CODE ‘MEATMAFIA' for 10% OFF - enhanced nutrition to replace daily vitamins!Carnivore Snax - Use CODE 'MEATMAFIA' Crispy, airy meat chips that melt in your mouth. Regeneratively raised in the USA.Pluck Seasoning - 15% OFF - Nutrient-dense seasoning with INSANE flavor! Use CODE: MEATMAFIAWe Feed Raw 25% OFF your first order - ancestrally consistent food for your dog! Use CODE 'MEATMAFIA'Fond Bone Broth - 15% OFF - REAL bone broth with HIGH-QUALITY ingredients! It's a daily product for us! Use CODE: MAFIAMaui Nui- 15% OFF. Use CODE: MEATMAFIA 

This is a repeat podcast from over two years ago. Ihave not made any edits, so I am laying it as it aired then. Here were the notes: Do you ever find yourself hiding from the truth? There are 3 people with whom we need to be truthful. Without one, each of the others is affected. They are truthfulness with God, truthfulness with ourselves, and truthfulness with one another. This podcast, which was from a workshop I led a few years ago, is an introduction to growing in truthfulness in ourselves and our kids in each of these. This is the fourth podcast of this series and it is about truthfulness with one another. To hear the first, second, and third go back to podcasts #36, #37, and #38. Be sure to stay to the end because I list several resources that I have made available to you. 00:00 Introduction02:27 A bit of review03:21 Honesty with others04:47 Why do our kids lie?05:37 2 ways to help them be authentic06:12 They want things they don't have07:05 They want control07:58 They're afraid of losing something09:15 They want value10:00 Lying stunts our growth11:52 Train their hearts12:47 A lying story of my own14:35 Opportunites, resources and final words I referred to several resources in this podcast. They are listed below: 25 Conversation Starters about God's Purpose PDF Honesty Course Wait List (small registration fee) Honesty podcast #36 Honesty podcast #37 Honesty podcast #38 Communications Tools podcast #24 Communications Tools podcast #25 Discipline podcast #14 To contact me you can mail me at: Laurie@kidstrength4Life.com Website: https://KidStrength4Life.com Click "What We Offer" in the upper right corner.

Do you ever find yourself hiding from the truth? There are 3 people with whom we need to be truthful. without one, each of the others is affected. They are truthfulness with God, truthfulness with ourselves, and truthfulness with one another. This podcast, which was from a workshop I led a few years ago, is an introduction to growing in truthfulness in ourselves and our kids in each of these. This is the second podcast of this series. To hear the first and second, go back to podcasts #147 and #148.00:00 Self-handicapping (continuation from Podcast #36)00:15 Introduction01:59 Examples of the challenge of honesty05:43 Come clean and closer to God07:11 Ways we might lie to ourselves13:41 Honesty is important to grow and my example15:00 Effects of lying to ourselves16:05 Final words and free offer If you wany to talk with me about anything, email me at: Laurie@kidstrength4Life.com Website: https://KidStrength4Life.com

Actor James Donahue talks evolving w/ Cory Kastle.youtube.com/ @draculawmovie https://www.tiktok.com/@actor.james.donah

Do you ever find yourself hiding from the truth? There are 3 people with whom we need to be truthful. without one, each of the others is affected. They are truthfulness with God, truthfulness with ourselves, and truthfulness with one another. This podcast, which was from a workshop I led a few years ago, is an introduction to growing in truthfulness in ourselves and our kids in each of these. This is the second podcast of this series. To hear the first, go back to podcast #147.00:00 Self-handicapping (continuation from Podcast #147)00:15 Introduction01:59 Examples of the challenge of honesty05:43 Come clean and closer to God07:11 Ways we might lie to ourselves13:41 Honesty is important to grow and my example15:00 Effects of lying to ourselves16:05 Final words and free offer If you want to talk with me about anything, email me at: Laurie@kidstrength4Life.com Website: https://KidStrength4Life.com

Gus T. Renegade gives counter-racist analysis on the 4th day of the Sade C. Robinson murder trial in Milwaukee, Wisconsin. More than a year after the murder and dismemberment of the 19-year-old black teen, Suspected Racist Maxwell Anderson is accused of arson, dismemberment, hiding a corpse and homicide. Day 3 of trial concluded with Det. Casey Donahue offering gripping testimony about surveillance footage depicting a Maxwell Anderson lookalike walking away from the scene of Sade's burning Honda Civic on the morning of April 2nd. On Friday, Det. Donahue returned to the stand to explain his participation in searches at the 31st & Galena Playground - which is south of where Sade's car was burned. Donahue testified to finding additional human remains - including Sade Robinson's left foot. This was plastered on the courtroom screens to start our Friday morning. This set an ominous tone for the day's testimony, which concluded with pictures of Sade's butchered torso. She was decapitated, missing one arm, both legs, and her right breast had been sliced away. In between this mountain of demonic carnage, Det. Ryan Bergemann positively identified Max Anderson as the figure who boarded a public bus on the morning of April 2nd, 2024 after setting fire to Sade's Honda Civic. Anderson's attorney had "no comment" about his client's perfect resemblance to the character on the video, and his White parents left early as opposed to staying to view all the body parts their child is accusing of littering throughout park lands of Milwaukee County. #ForSade INVEST in The C.O.W.S. - https://cash.app/$TheCOWS #TheCOWS16Years CALL IN NUMBER: 605.313.5164 CODE: 564943#

Episode SummaryWelcome to We Go Boldly the Podcast, where we're diving deep into taking control and becoming the authors of our own stories! In this powerful episode, we speak with Dr. Melissa Donahue, a Licensed Clinical Social Worker and Certified Sex Therapist, about breaking free from limiting beliefs and intentionally crafting a life filled with purpose and authenticity. Dr. Donahue shares her expertise on sexual health, wellness, and how addressing these important aspects of our lives can help us rewrite our personal narratives.Topics DiscussedBreaking free from limiting beliefs around sexuality and relationshipsThe importance of accurate sexual education for personal empowermentHow sexual wellness connects to overall life satisfaction and authenticityNavigating cultural, religious, and personal barriers to sexual healthResources for those dealing with specific conditions like vaginismusCreating intentional relationships that honor your authentic selfAbout Our GuestDr. Melissa Donahue, DSW, LCSW, CST, CSTS is a Licensed Clinical Social Worker and AASECT Certified Sex Therapist and Supervisor. As the owner of MD Counseling, LLC, she is committed to supporting individuals of all backgrounds with sexual health concerns. Dr. Donahue is a national presenter and advocate for comprehensive sexual education, and co-authored a chapter in "The Art of Sex Therapy Supervision." She completed her Doctorate of Social Work at Rutgers University, where she specialized in vaginismus research, creating the informational resource vaginismushealth.com. Dr. Donahue also serves as an adjunct professor at Montclair State University in the Department of Social Work and Child Advocacy. Listen, subscribe, and share your story with us on Instagram @GoBoldlyTogether and use #AuthorMyStoryThank you for tuning in to this episode of We Go Boldly Podcast. We hope you found our discussion insightful and that the strategies we covered inspire you to take actionable steps towards your personal development goals. Don't forget to subscribe, rate, and review our podcast on Spotify, Apple or wherever you get your podcasts, subscribe to our channel on YouTube, and follow us on IG @goboldlytogether, FB @goboldlytogether, or LI @goboldlyinitiative for more updates and exclusive content.Did you enjoy this episode? We would love to hear your thoughts. Head to Apple Podcasts and then rate, review, and subscribe. This way you will get notified once a new episode goes live.CONNECT WITH RIELLY AND TOVAHInstagram: https://www.instagram.com/goboldlytogether/Website: goboldlythepodcast.comFacebook: https://www.facebook.com/Go-Boldly-Together-105942584706928LinkedIn: https://linkedin.com/company/go-boldly-initiativeYouTube: http://bit.ly/boldlyyoutubePinterest: https://www.pinterest.com/GoBoldlyTogether/_saved/Twitter: https://twitter.com/goboldlypodcastPatreon: https://www.patreon.com/wegoboldly   Did you enjoy this episode? We would love to hear your thoughts and more about your personal development journey. Head to Apple Podcasts and then rate, review, and subscribe. This way you will get notified once a new episode goes live. Don't forget to find us and subscribe on YouTube too. CONNECT WITH RIELLY AND TOVAHInstagram: https://www.instagram.com/goboldlytogether/Website: goboldlyinitiative.com or https://we-go-boldly-podcast.simplecast.com/YouTube:https://www.youtube.com/channel/UCsPh8gu_ugJqvvnYiuRSyPQLinkedIn: https://linkedin.com/company/go-boldly-initiativePatreon: https://www.patreon.com/wegoboldlyFacebook: https://www.facebook.com/GoBoldlyTogetherPinterest: https://www.pinterest.com/GoBoldlyTogether/

Do you ever find yourself hiding from the truth? There are 3 people with whom we need to be truthful. without one, each of the others is affected. They are truthfulness with God, truthfulness with ourselves, and truthfulness with one another. This podcast, which was from a workshop I led a few years ago, is an introduction to growing in truthfulness in ourselves and our kids in each of these. 00:00 Intro02:39 Is honesty a dying character trait in our culture?03:42 A look back at the 1960s04:43 Everyone's own truth05:26 Dishonesty destroys relationships06:23 God's truth vs. man's truth07:00 The values of honesty07:50 The boy who cried wolf10:15 Dishonesty in our culture11:22 Dishonesty in the individual13:16 Lying destroys relationships14:40 Three areas where we need truthfulness15:51 Truthfulness with God18:13 First relationship fail and the hope to follow20:19 God's perfection vs. my perfectionFinal words I am excited to say there are some exciting things to come regarding this series! Stay tuned and remember to rest in the Lord this week! Any questions? email me at: Laurie@kidstrength4Life.com Website: https://KidStrength4Life.com

Want to know how to 10x your impact in business without doing all the things?Feel like you're constantly overwhelmed and desperate for a way to work smarter, not harder?Wish there was a way to achieve all your goals while still enjoying your life?In today's inspiring episode, I have the honour of chatting with Stephanie Donahue; a CEO Growth Partner, High Performance Coach, and Business Strategist who helps faith-driven entrepreneurs and CEOs build profitable, scalable businesses with smart strategy, ethical marketing, and high performance leadership. With over eight years of experience as a Marketing Strategist, Director of Operations, and Offer & Launch Expert, Stephanie has worked alongside business owners as their trusted right-hand strategist, helping them scale their offers, optimize their systems, and execute with confidence. Tune into this value packed episode for insight on:how high performers actually show up (vs. high achievers)the pillars that help every leader grow to their next levelthe advantages of being a Christ-led entrepreneurwhy forward movement is always a winthe importance of ethical marketing SO MUCH MORE!Stephanie is also the host of Commit to High Performance Growth, a podcast where she shares raw insights for self-improvement, business strategy, and faith-driven leadership tips for ambitious entrepreneurs who are serious about scaling with integrity. Tune in to HERE Grab her free E-book: https://link.stephaniedonahue.co/freeguideVisit Stephanie's website: https://stephaniedonahue.co Connect with her on Instagram https://www.instagram.com/stephaniedonahue.co/ Connect with her on LinkedIn: https://www.linkedin.com/in/stephaniedonahueco/OTHER RESOURCES:'Don't Say That' book https://link.stephaniedonahue.co/compliancebookLearn more about FTC: https://www.ftc.gov/enforcementNow I'd love to hear from you! What's one thing you learned and how will you take action today? Let me know by: leaving the show a review. or sending me an email at info@emanuelahall.com YOUR NEXT STEPS:

ABC 15's Lilian Donahue joins Bruce and Pamela Hughes to discuss the latest on the Greer fire

Art Bell - Aaron Donahue - Luciferian Thought Remote Viewing

The Greer fire has burned more than 7000 acres since its start Tuesday morning. Live from Greer, Lily Donahue, ABC 15 reporter, calls into the show to give the latest details. 

Rafe entertains (or is entertained by?) his sister, Big Brain Smart Head™ Maura Donahue.  Together they discuss horses and frogs, stagecoaches and getting to where you want to go, the forthcoming hurdles awaiting higher education, the joys of learning new things in new ways, trusting your gut, hitting a curveball, and much, much more.Maura can be reached at https://www.linkedin.com/in/maura-donahue*****As always, you can reach the Buf at bufnagle@bufnagle.com*****As you know, this is an independent podcast so your hosts also carry all the expenses of running this podcast. As such, some of you have asked how you can help out. Well, here's the answer: support us on Buy Me a Coffee:https://buymeacoffee.com/bufnagleOn this page, you can do a really nice thing like send us a couple dollars to help cover the cost of recording and hosting and microphones and research and all that. Any little bit really helps! Thank you in advance!!!

Resident gearhead Mr. Donahue updates us on what the track was like today and some strategies going into tomorrow. He talks about what it is going to take to win a race like this. He talks about one player who shares one weird piece of history. Tony talks about his upcoming shows and what the new show that he started and how you can catch him on that. He gives his final thoughts on who has a good advantage going into tomorrow and who can give the top man a race for his money. BK joins to talk about his South Bend Cubs game and what he is going to be doing moving forward. He will be running the show next week and the coach is passing the torch for a weekend. He talks about one special player who is no stranger to going yard this week. Jeremiah Johnson joins the show to talk about the Pacers and offers a new perspective on tonight's game. He says we may be able to chalk this one up to too much media attention and they may have needed this wake-up call. He talks about him being confident in their leadership and thinks they will hit film hard tonight and go forward in this series.See omnystudio.com/listener for privacy information.

Art Bell - Aaron Donahue - Luciferian Thought Remote Viewing

“Turn your beauty routines into beauty rituals, so it's not about adding another 20 minutes of meditation to your scheudle. These are steps you do every single day, and if you can just be a bit slower and more mindful, it affects the rest of your day,” says clean beauty content creator Sara Rose Donahue, also known as @sararosie on Instagram. In this episode of Clean Beauty School, mindbodygreen beauty director and host Alexandra Engler chats with Donahue about her favorite products, how she does a quick glowy makeup look, and her daily routine.  Show notes: -Follow our guest: @sararosie -Shop beauty products mentioned in this episode: MOB BEAUTY Smooth Precision Waterproof Lip Liner in 1990, RMS Beauty SuperNatural Radiance Serum Broad Spectrum SPF 30 Sunscreen, RMS Beauty Eyelights Cream Eyeshadow, RMS Beauty Go Nude Lip Pencil, RMS Beauty ReDimension Hydra Powder Blush, ALPYN Beauty Pore Perfecting Toner, ALPYN Beauty PlantGenius Line-Filling Eye Balm with Bakuchiol, ALPYN Beauty Super Peptide & Ghostberry Barrier Repair Cream, Iris&Romeo Weekend Skin SPF 50, Tweezerman ProCurl Eyelash Curler, LAWLESS Forget The Filler Lip Gloss, YTTP Kale + Spinach Superfood Cleanser, True Botanicals Chebula Active Serum, True Botanicals Chebula Extreme Cream, Odacité Repair Balm Le Blue Balm, Tower 28 SunnyDays SPF 30 Tinted Moisturizer, Tower 28 Swipe Serum Concealer, Tower 28 Make Waves Mascara, Saie Slip Tint Lightweight Tinted Moisturizer with Mineral Zinc SPF 35, Ilia Super Serum Skin Tint, Kosas Revealer Concealer Super Creamy + Brightening, Kosas Cloud Set Baked Setting & Smoothing Powder, Saie Dew Blush & Bronzer Follow the host: @alex_blair_ Call in: sayhi.chat/cleanbeautyschool Comments: podcast@mindbodygreen.com Sponsorship inquiries: sales@mindbodygreen.com 

Pull up a bowl of your favorite sugar cereal and get ready for an episode where Laura Donahue Brady (Dedication: Fans Remember The Bay City Rollers Podcast) and me talk about the famous (or perhaps infamous) Bay City Rollers Show (aka The Krofft Superstar Hour)!What happens when you combine one of the biggest teen pop groups with the likes of Witchiepoo, Stupid Bat, and Mr. Munchie?  A Saturday morning kids' show with the music of the Bay City Rollers and crazy comedy skits that was so over the top, the lead singer left the band as soon as the show filmed it's last episode!But there was some fun to be had in re-watching these classic shows featuring Scotland's greatest export next to Sean Connery, The Bay City Rollers, and Laura and me certainly had fun re-living our respective memories of this classic piece of Saturday morning schtick.

On the latest episode of the State of Choice podcast, Ed Tarnowski and Katherine Schultz welcomed Trish Donahue, Senior Vice President of Legal and Policy at HopSkipDrive, to talk about a topic that's critical but often overlooked in school choice conversations: transportation.

Send us a textIn this month's episode, Beth, Brittany, and Stephanie get a crash course in the Hallyu (Hal –you) Wave as librarian Elena teaches them about the phenomenon of South Korean pop culture. In honor of Mystery Month, they discuss their favorite characters, settings and tropes (spoiler alert – it's the librarian, in the small town, with a cat sidekick). And finally, they're celebrating Mother's Day with books by, for, and about moms!Some upcoming programs:Adults: QCMade: Miss Effie's Country Flowers – Thursday, May 22nd @ 27387 130th Ave, Donahue, IA 52746  Tweens/Teens: Teen Gaming – Every Wednesday, 4pm @ Fairmount  Kids: Yoga Storytime and Pop-Up Library at Autistic & Loved – Thursday, May 22nd, 10am @ 3811 Harrison St Suite 200, Davenport, IA 52806To find out what books were mentioned in this episode, visit our Checked In LibGuide!Helpful links from our discussion:Freegal Kpop Playlist Newspaper ArchiveAmerica's NewspapersCommunity Experience Passes Library Links:Calendar of Events - Learn more about the events discussed in this episode and about what is coming up at the Library!Library Catalog - Place holds on all of the books discussed today!Beanstack - Sign up to participate in our reading challenges!2025 Online Reading Challenge

April 26, 2025 - "Sonnet" by Alice Moore Dunbar-Nelson, read by Frances Donahue by The Desmond-Fish Public Library & The Highlands Current, hosted by Ryan Biracree

“Telecom law is a niche, but it's a powerful one — and it's about to become even more important in the world of vCons.” — Diana James, Attorney, Marashlian & Donahue, PLLC At vCon 2025, Diana James Highlights Why Telecom Law Is Key to the Next Era of Communication Hyannis, MA - April 2025 - Speaking from the vCon Conference in Hyannisport, Massachusetts, Diana James, attorney with Marashlian & Donahue (The CommLaw Group), emphasized how crucial it is to have legal expertise tailored to technology and telecom — especially as new communication formats like vCon emerge. “Telecom law is a very niche area, and there's a lot to keep track of,” said James. “But it's incredibly exciting, and it's becoming even more critical as innovations like vCon reshape how businesses manage, share, and protect conversations.” Marashlian & Donahue represents clients across the telecom industry, including the Cloud Communications Alliance. James and her colleagues are deeply involved in helping organizations navigate the complex regulatory environment that governs emerging technologies like virtualized conversations. The vCon standard, which captures and containers conversations (voice, text, video, chat) into structured, portable files, presents vast new opportunities — but also raises important legal questions around data privacy, consent, and regulatory compliance. “It's not just about building the technology. It's about making sure it's implemented ethically and legally,” James noted. With enterprises and service providers racing to adopt AI, customer intelligence, and new conversational formats, specialized telecom and tech law firms like Marashlian & Donahue are more important than ever — helping innovators stay ahead of regulatory requirements while protecting customer trust. #vCon #TelecomLaw #PrivacyCompliance #EmergingTech #MarashlianAndDonahue #TheCommLawGroup #CloudCommunications #AICompliance #TechRegulation #DataPrivacy #VoiceOfTheCustomer

Use code MAFIA25 and go check out our product Noble Origins.This is a high quality, nutrient packed grass-fed protein powder with colostrum, collagen, and an organ complex (including liver), plus we used beef protein isolate for people who struggle with whey protein or plant protein! Give it a try and let us know what you think!Jacob Donahue is a former collegiate hockey player turned machine learning engineer and competitive CrossFit athlete. Driven by curiosity and relentless self-improvement, Jacob uses his personal experiences in athletics, technology, and mental resilience to inspire others. His pursuit to blend performance, creativity, and entrepreneurship has shaped his unique perspective on what it truly means to find your calling.  In this episode, Brett and Harry sit down with Jacob Donahue—athlete, engineer, and creator behind Muse. From playing college hockey at Babson to reinventing himself as a machine learning engineer and competitive CrossFit athlete, Jacob shares powerful insights on how to unlock personal greatness. They dive deep into overcoming anxiety, embracing resistance, finding clarity in chaos, and turning life's trials into fuel for growth. Jacob challenges listeners to rethink entrepreneurship, emphasizing that the key to success might already be within you—if you're willing to keep tinkering. What we cover:- How to Discover Your Muse- Why You Should Keep Tinkering- Turning Your Energy into Real Action- Balancing Ambition with Strategic Rest- Being Entrepreneurial Within Your OrganizationTimestamps: (00:00) Intro and Babson background (05:00) Leaving hockey and letting go (10:00) Gamifying life and chasing goals (15:00) Outsourcing vs owning your weaknesses (20:00) Leaving corporate life for purpose (25:00) Finding clarity through CrossFit (30:00) Managing anxiety and negative thought loops (35:00) What Muse really means and becoming who you're meant to be *** LINKS***Check out our supplement company - Noble Origins- 100% grass-fed beef protein with added collagen, colostrum and organs- Use code MAFIA25 for 25% OFF your orderCheck out our Newsletter - Food for Thought - to dramatically improve your health this year!Join The Meat Mafia community Telegram group for daily conversations to keep up with what's happening between episodes of the show.Connect with Jacob:InstagramConnect with Brett:InstagramXConnect with Harry:InstagramXConnect with Meat Mafia:Instagram - Meat MafiaX - Meat MafiaYouTube - Meat MafiaConnect with Noble Protein:Website - Noble ProteinX - Noble ProteinInstagram - Noble ProteinAFFILIATESLMNT - Electrolyte salts to supplement minerals on low-carb dietThe Carnivore Bar - Use Code 'MEATMAFIA' for 10% OFF - Delicious & convenient Pemmican BarPerennial Pastures - Use CODE 'MEATMAFIA' 10% OFF - Regeneratively raised, grass-fed & grass-finished beef from California & MontanaFarrow Skincare - Use CODE 'MEATMAFIA' at checkout for 20% OFFHeart & Soil - CODE ‘MEATMAFIA' for 10% OFF - enhanced nutrition to replace daily vitamins!Carnivore Snax - Use CODE 'MEATMAFIA' Crispy, airy meat chips that melt in your mouth. Regeneratively raised in the USA.Pluck Seasoning - 15% OFF - Nutrient-dense seasoning with INSANE flavor! Use CODE: MEATMAFIAWe Feed Raw 25% OFF your first order - ancestrally consistent food for your dog! Use CODE 'MEATMAFIA'Fond Bone Broth - 15% OFF - REAL bone broth with HIGH-QUALITY ingredients! It's a daily product for us! Use CODE: MAFIAMaui Nui- 15% OFF. Use CODE: MEATMAFIA

Donald Trump’s tariffs had many investors worried about their money in the market, but Australian investors continue to be consistent according to HSBCSee omnystudio.com/listener for privacy information.

harvestva

160. Becoming the Warrior (with Jenn Donahue) Jenn Donahue PhD, was a US Navy Captain and Commodore for an 1,800-personnel Regiment. She is also a civil engineer who works on large-scale, high profile geotechnical projects. Over her military career, Jenn has built a bridge across the Euphrates River in the midst of the Iraq war, commanded an 800-personnel Battalion in Afghanistan, and constructed combat outposts in the middle of deserts filled with insurgents. Jenn has designed the seismic plans for a bridge over the Panama Canal and built roads by drilling and blasting in Ketchikan. She is President of JL Donahue Engineering and Dare to Rise. Her forthcoming book is titled Becoming the Warrior. In this episode: Jenn shared about her career as an engineer and then going into the Navy for 27 years, both active and reserve. She was only the 3rd woman to lead a battalion at that time. She shared what it has been like to be in male dominated fields for her career where there were always a small percentage of women vs men. How she honed her leadership style which was non-traditional compared to her peers. Discussed why she wanted to write her upcoming book, Becoming the Warrior. The book is for people with big goals that they want to achieve, but they have doubts as to whether they are good enough to complete them. She shared one of the most challenging life or death decisions she had to make. Walked through the Warrior Framework and some of the other tools from her book. Information on Jenn:   JennDonahue.com Jenn Donahue on LinkedIn (in/jenndonahue-phd-pe) The Book that Janet Recommends: The Visibility Factor by Susan M Barber Thank you for listening to The Visibility Factor Podcast Check out my website to order my book and view the videos/resources for The Visibility Factor book. As always, I encourage you to reach out! You can email me at hello@susanmbarber.com. You can also find me on social media everywhere – Facebook, LinkedIn, and of course on The Visibility Factor Podcast! I look forward to connecting with you! If you liked The Visibility Factor, I would be so grateful if you could subscribe and rate it where you listen to podcasts! It helps the podcast get in front of more people who can learn how to be visible too! Thank you to the team at Sheep Jam Productions for the amazing support of The Visibility Factor Podcast! 

Chad and I focus on his career as a Biology teacher and what young people are attracted to in the outdoors. Or how to get them interested in the outdoors. With 25 years of teaching behind him Chad has a lot of experience keeping students engaged in learning about the wild.Thank you to our sponsorsAspen Thicket Grouse Dogs aspenthicketgrousedogs.comPine Hill Gun Dogs phkscllc@gmail.comSecond Chance Bird dogs Field Armor fieldarmorusa.comCollar Clinic collarclinic.comWild Card Outfitters and Guide Service wildcardoutdoors.com

Give to help Chris make Truce Milton Friedman may be the most famous American economist. His research and theories have profoundly shaped the modern American economy. But few of us can clearly articulate what he taught and what it means for our times. Friedman's career was defined by the aftermath of the Great Depression. He worked in the government administering the New Deal, but never really agreed with it. He joined the faculty at the University of Chicago and built a department around him that taught a version of free-market economics known as monetarism. Essentially, monetarism is the idea that inflation is a product of how much money is in circulation. Friedman did not like the Federal Reserve or the gold standard, instead, advocating for a standard 4% increase in the money supply every year that would not be shifted. By setting a rule, he hoped to do away with an entire governmental department. Friedman and his co-authors ventured into areas that other economists thought, perhaps, unwise. They used economics to explain things like marriage and school choice. He was also a proponent of school vouchers. Stanford professor Jennifer Burns joins Chris today to explore the many facets of Milton Friedman. This is the first of two parts. Sources: Milton Friedman: The Last Conservative by Jennifer Burns The Years of Lyndon Johnson: The Part to Power by Robert Caro https://www.merriam-webster.com/dictionary/laissez-faire “Keynesian Economics Theory: Definition and How It's Used” Investopedia article https://www.bls.gov/opub/mlr/2014/article/one-hundred-years-of-price-change-the-consumer-price-index-and-the-american-inflation-experience.htm Reaganland by Rick Perlstein Capitalism and Freedom by Milton Friedman Milton Friedman: A Concise Guide to the Ideas and Influence of the Free-Market Economist by Eamonn Butler Friedman on the Donahue show in 1979 Discussion Questions: Had you heard of Friedman before this episode? If so, what did you know about him? What does "laissez-faire" mean in economic terms? Does it line up with the Bible in any direct way? Why do you think so many conservative Christians lean toward laissez-faire? How bad was the Great Depression? If you had worked for the government during the Depression, what would you have advocated? Why are some people against the New Deal? What did the New Deal mean to starving people during the Depression? How does a fear of communism play into anti-New Deal sentiment? Learn more about your ad choices. Visit podcastchoices.com/adchoices

Please join Author Anna Donahue and Children's Book Illustrator, Beatriz McDonald, as they give a sneak peek into Anna's newest Children's Book: ‘Do You See What I See?' What God Sees When He Looks at You! Order your copy today by visiting: https://annadonahueministries.com/do-you-see-what-i-see/Support the show

Sesame Street is in the news for some not-so-fun reasons these days, so we're warping back in time to 1988 when they were hanging out with Donahue, riffing on Watergate, and sitting pretty on top of the world of public broadcasting! Check out http://kermitmentstuff.com/ to get your Kermitment merch! Kermitment has a Patreon! Running a podcast is deceptively expensive work, so by becoming our Patron, you help us cover those costs and allow us to do funner, cooler stuff in the future! Find out more here! Visit our website to find a link to the Kermitment Patreon and more fun stuff at http://Kermitment.com! If you can't get enough Kermitment, follow @Kermitment.com, where we'll tweet fun stuff and interact with our listeners! And you can follow each of us individually: Matt: @MatthewGaydos Sam: @im-sam-schultz

Discover all of the podcasts in our network, search for specific episodes, get the Optimal Living Daily workbook, and learn more at: OLDPodcast.com. Episode 1616: Paige Donahue explores how embracing a life with less can lead to greater fulfillment, clarity, and peace. Simplifying possessions, commitments, and distractions creates space for deeper meaning, stronger connections, and true contentment. Letting go of the excess isn't about deprivation, it's about making room for what truly matters. Read along with the original article(s) here: https://nosidebar.com/less-becomes-more/ Quotes to ponder: "Having less isn't about deprivation, it's about making room for what truly matters." "When we clear the clutter from our lives, we create space for more meaningful experiences and deeper connections." "Simplifying doesn't mean giving up what we love; it means keeping only what adds real value to our lives." Learn more about your ad choices. Visit megaphone.fm/adchoices

In 2023 I had the pleasure of meeting R. Donahue Peebles, the richest African American real estate developer in America. His journey and wisdom offer key insights for anyone looking to achieve success at the highest level, both in business and in life. Here are the five principles of success that Peebles shared when we met and in his keynote speech at the event: 1. Create an Environment for Wealth Creation – You need to be in spaces that encourage and facilitate financial growth. 2. Develop Skills & Knowledge to Identify Opportunity – Learn how to create value in the marketplace and spot opportunities others may miss. 3. Build a Team & Apply Leverage – Success is not a solo journey; building the right team and applying leverage is essential. 4. Seek Mentorship – Guidance from experienced individuals can accelerate your path to success. 5. Set a WIG (Wildly Important Goal) – Define a bold, clear, and specific goal that will drive your long-term success. By applying these principles, you'll be empowered to reach new heights and elevate your business and personal growth. These lessons are not just theoretical—they have been proven to lead to massive success, as demonstrated by Peebles' journey in real estate development.

About Jenn DonahueJenn is a 27-year retired Navy combat veteran who served on the ground in Iraq and Afghanistan. If you are wondering what the Navy does on the ground, well, she was part of the expeditionary construction group called the Seabees. They deploy to hostile regions and build bases, repair and build roads and bridges, and drill water wells. She retired in 2022 as the Commodore in charge of an 1800-personnel Regiment. Along the way I've dealt with numerous obstacles including self-doubt, fear, and imposter syndrome. Being in charge of a unit that is 90% male construction workers had its own set of challenges. Through my many experiences including getting shot at, having insurgents try to blow up our base, and even an assassination attempt on my life, I found a way to transcend barriers and unlock true potential.https://www.linkedin.com/in/jenndonahue-phd-pe/https://www.jenndonahue.com/---------------------------------About Joe SprangelMy work as an author includes "Humanist Manufacturing: A Humanitarian Approach to Excellence in High-Impact Plant Operations." The book introduces the Humanist Manufacturing framework encompassing what I see as the evolving elements of an exemplary manufacturing operation. I saw a need for a book that laid out a framework that could shape the unique requirements for completing a significant manufacturing operation transformation—one where manufacturing exists for a higher purpose benefiting all internal and external stakeholders.https://www.emmanuelstrategicsustainability.com/----------------------------------When It Worked Podcasthttps://getoffthedamnphone.com/podcast

Sign Up For Patreon—> https://www.patreon.com/MetaMysteriesFor 10% OFF Orgonite----> Click Here! (Use Code: ONE)Reach out to us! ---> MetaMysteries111@gmail.comGive us a follow on Instagram---> @MetaMysteriesBecome a supporter of this podcast: https://www.spreaker.com/podcast/meta-mysteries--5795466/support.

In this episode, FSA speaks with the president of the National Sheriffs Association (NSA), Canyon County Sheriff Kieran Donahue. Now serving his fourth term, Sheriff Donahue talks about the pride he has in serving and protecting the citizens of his county. We learn about the special features of Canyon County, Idaho, and why he ran and was then successfully elected the 84th president of NSA. Sheriff Donahue's platform during his one-year term as president is to focus on border security, national security, and addressing the epidemic of domestic violence. And we cover all three in great detail in this episode!

Join host Bill Donohue as he welcomes former Los Angeles Dodgers first-baseman Steve Garvey, who reflects on his illustrious career and connections to Long Island, where his family roots lie. Garvey shares anecdotes from his time as a bat boy for the Dodgers and his journey in Major League Baseball, highlighting the camaraderie and competitive spirit that defined his time on the field. Following Garvey, author Mark Whicker discusses his new biography, “Up and In,” which delves into the life of legendary Dodgers pitcher Don Drysdale. Whicker explores Drysdale's impact on the game, his fierce pitching style, and the significance of his holdout with Sandy Koufax that changed baseball's economics. This episode offers a rich tapestry of stories from baseball history, celebrating the legacies of two iconic figures in Dodgers lore.Show DetailsBill Donohue opens the show with an engaging introduction, setting the tone for an evening rich in baseball nostalgia and insight, as he welcomes former Los Angeles Dodgers first baseman Steve Garvey to the program. Garvey's presence brings a wave of memories as he reflects on his early years in Tampa and his journey to the major leagues, reminiscing about his childhood as a bat boy with the Dodgers. He shares heartfelt stories about his family's connection to the Long Island area and the influence of legendary players he idolized during his formative years. Garvey's discussions reveal the profound impact of mentorship and community in his development, showcasing the spirit of teamwork that defined the Dodgers during his time. His anecdotes not only highlight individual achievements but also illuminate the collective experience of being part of a storied franchise, offering listeners a glimpse into the camaraderie that fueled their success.As the conversation progresses, the focus shifts to Garvey's illustrious career, where he recounts pivotal moments, including his first game and interactions with Dodgers greats. Donahue steers the dialogue towards the significance of Garvey's contributions to the team, emphasizing his role in the Dodgers' storied history. The discussion seamlessly transitions to the next segment, where Whicker joins to talk about his new biography, “Up and In,” dedicated to the legacy of Don Drysdale. Whicker's insights into Drysdale's career highlight his fierce competitiveness and the cultural significance he held within the game. The author shares captivating anecdotes from his research, including interviews with Drysdale's teammates and friends, enriching the narrative of a player whose influence extended beyond the diamond.The episode culminates in a powerful exploration of the legacies of both Garvey and Drysdale, underscoring the impact they had on the Dodgers and the world of baseball as a whole. Donahue masterfully weaves together the personal stories and historical context, creating a tapestry that celebrates the enduring spirit of the game. The reflections shared by both guests resonate deeply with listeners, leaving them with a sense of connection to the past and an appreciation for the stories that continue to shape baseball culture. This episode is a compelling tribute to two icons of the sport, offering a blend of nostalgia, insight, and a celebration of what it means to be part of the Dodgers legacy.Takeaways: Steve Garvey shares his early experiences as a bat boy for the Brooklyn Dodgers and how it shaped his career. The discussion highlights the significance of Don Drysdale's 58 and two-thirds consecutive scoreless innings record in baseball history. Mark Whicker emphasizes the impact of Don Drysdale and Sandy Koufax's holdout on baseball economics in the 1960s. Garvey recounts his transition from a kid growing up in Tampa to becoming a Major League Baseball star. The episode explores the camaraderie

Beaver Sports Podcast featuring Laura Berg, Lici Campbell, Madison Weir, and Nicole DonahueSee Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

The Rich Zeoli Show- Hour 1: 3:05pm- On Monday night, President Donald Trump pardoned 1,500+ Americans arrested for a series of crimes related to events at the U.S. Capitol on January 6th, 2021, and he commuted the sentences of 14 others. Rich notes that several things can be true at once: some of those arrested acted abhorrently, but the Department of Justice was overly aggressive with prosecutions. According to some reports, Philadelphia District Attorney Larry Krasner is at least considering charging January 6th offenders with local crimes which would not be covered under President Trump's pardon. 3:15pm- In the Oval Office on Monday night, President Donald Trump signed an executive order clarifying the 14th Amendment—emphasizing limitations to “birthright citizenship.” The Trump Administration's interpretation states that the children of non-U.S. citizens who are in the country unlawfully should not be granted citizenship. The Congressional Research Center has noted that the Supreme Court “has not firmly settled the issue in the modern era.” Rich points out that courts already recognize a narrow exception to the 14th Amendment, not granting U.S. citizenship to the children of diplomats. 3:40pm- Michael Donahue—Cape May GOP Chairman & former New Jersey Superior Court Judge—joins The Rich Zeoli Show to discuss the American First Policy Institute establishing a New Jersey-based chapter of their organization with Donahue serving as Chair!

The Rich Zeoli Show- Full Episode (01/23/2025): 3:05pm- On Monday night, President Donald Trump pardoned 1,500+ Americans arrested for a series of crimes related to events at the U.S. Capitol on January 6th, 2021, and he commuted the sentences of 14 others. Rich notes that several things can be true at once: some of those arrested acted abhorrently, but the Department of Justice was overly aggressive with prosecutions. According to some reports, Philadelphia District Attorney Larry Krasner is at least considering charging January 6th offenders with local crimes which would not be covered under President Trump's pardon. 3:15pm- In the Oval Office on Monday night, President Donald Trump signed an executive order clarifying the 14th Amendment—emphasizing limitations to “birthright citizenship.” The Trump Administration's interpretation states that the children of non-U.S. citizens who are in the country unlawfully should not be granted citizenship. The Congressional Research Center has noted that the Supreme Court “has not firmly settled the issue in the modern era.” Rich points out that courts already recognize a narrow exception to the 14th Amendment, not granting U.S. citizenship to the children of diplomats. 3:40pm- Michael Donahue—Cape May GOP Chairman & former New Jersey Superior Court Judge—joins The Rich Zeoli Show to discuss the American First Policy Institute establishing a New Jersey-based chapter of their organization with Donahue serving as Chair! 4:05pm- On Thursday, President Donald Trump invited reporters to the Oval Office to watch him sign several executive orders—including one which authorizes the release of the John F. Kennedy, Robert Kennedy, and Martin Luther King Jr. assassination files. He also pardoned imprisoned pro-life activists. 4:40pm- While speaking with Sean Hannity on Fox News, President Donald Trump suggested it might be a wise decision to be less reliant upon the Federal Emergency Management Agency (FEMA) and instead allow states to manage their own disaster relief. 5:00pm- Steve Milloy—Senior Legal Fellow with the Energy and Environment Legal Institute & former Trump EPA Transition Team Member—joins The Rich Zeoli Show to recap President Donald Trump's speech to the World Economic Forum (WEF). At one point, Trump defiantly proclaimed: “I terminated the ridiculous and incredibly wasteful Green New Deal—I call it the Green New Scam. I withdrew from the one-sided Paris Climate Accord and ended the insane and costly electric vehicle mandate. We're going to let people buy the car they want to buy.” 5:30pm- On Thursday, President Donald Trump invited reporters to the Oval Office to watch him sign several executive orders—including one which authorizes the release of the John F. Kennedy, Robert Kennedy, and Martin Luther King Jr. assassination files. Will the soon-to-be released files show that President Kennedy was killed by the C.I.A.??? Matt emphatically says he doesn't believe in conspiracy theories and thinks Gerald Posner's assessment is likely correct—there was no “inside job.” But Rich and Justin want to see the unredacted files before accepting that Lee Harvey Oswald acted alone. 5:40pm- While speaking to reporters outside of the White House, Press Secretary Karoline Leavitt confirmed that 1,500 U.S. troops will be sent to the Southern border to protect the country's sovereignty. In an executive order signed on Monday night, the Trump Administration classified unlawful border crossings as an “invasion” and designated drug cartels as “foreign terrorist organizations” which should allow the administration to circumvent the Posse Comitatus Act. 6:05pm- Will former Vice President Kamala Harris run for Governor of California? PLUS, why is Doug Emhoff pretending to be tough? 6:20pm- Appearing on Fox News, Sen. Rand Paul (R-KY) reacted to Dr. Anthony Fauci's pardon—explaining that history will judge Fauci “harshly.” 6:30pm- On Monday night, President Donald Trump pardoned 1,500+ ...

Peter joins Andy to share some stories about some new students he inherited from Andy, as well as the philosophies and methods he's using with them. They also explore various aspects of golf coaching, focusing on the importance of personalized instruction, the challenges of teaching different students, and the significance of experimentation in learning. They discuss the complexities of golf, the lurking fear of the shank, and the necessity of adapting techniques to fit individual needs. The dialogue emphasizes the value of variety in practice, the distinction between learning and performing, and the role of marketing in golf instruction.   03:40Teaching Golf: Lessons and Experiences 07:32Addressing the Shank: A Student's Journey 17:20Innovative Teaching Methods and Learning Process 24:55The Power of Collaboration 26:37Complexity of Problem Solving 34:31The Fallacy of Cause and Effect in Learning 36:13Subtle Changes Leading to Major Improvements 38:25Redefining the Role of a Teacher 41:58Empowering Students Through Intrigue    

Corey, Caroline, & Chunky React To  Milton Friedman On Donahue Show Click "Follow" For The Best Self-Reliance Tips, News & Information.  Subscribe To My Newsletter To Read My eBooks “3% Man” & “Mastering Yourself”  Free: http://bit.ly/CCWeBooks  Follow Caroline on Instagram: https://www.instagram.com/carolinevelsss/

Chicago actor Christopher Donahue (currently playing Ebenezer Scrooge in the Goodman Theatre's production of A Christmas Carol), discusses playing the role of Gayev in the Goodman's 2023 production of Anton Chekhov's The Cherry Orchard, directed by Robert Falls. Donahue reveals the challenges and rewards of discovering a character in rehearsal; how he finds humor alongside absurdity; how he takes inspiration from the original Dickens novel of A Christmas Carol; how people can be capable of change; his relationship with Tony-winning director (and friend of the pod) Mary Zimmerman; and finally, how the audience teaches you how to perform the play because the audience is the reason we do this. (Length 20:51) The post Chekhov To Dickens appeared first on Reduced Shakespeare Company.

00:00 Intro06:40 Upcoming Shows Schedule07:38 Drones in New Jersey09:40 Brian Thompson23:00 Trump & Economy37:00 Russian Economy39:05 EU & Latin America Trade Deal43:30 Trudeau47:25 Vaccines56:48 Energy1:02:45 Gaza Deaths1:09:10 Gaza DealLive Questions:1:19:04 Has your opinion of Australia's political culture improved or declined since your recent visit?1:22:16 Following up. Yes, it was disappointing to see such a large conservative contingent at the conference

December 8-14, 1979 This week Ken welcomes former Farside singer/guitarist, voice actor, and all around good dude Popeye Vogelsang to the show. Ken and Popeye discuss disrespecting the Fonz, leaving a legacy, where Potsy and Ralph Malph ended up, knocking out Paulie Shore, nicknames, ADR, voicing for video games, smoking, putting allen wrenches in cigarette filters, low tar, lower tar, even lower tar, growing up in Orange County, 80s SoCal punk rock, Watt, being innocent, Dick Cavett, SCTV, the greatness of Dave Thomas, Christmas with Cigarettes, how all women love Robert Redford, The Jane Fonda Workout, piledriving, non-sequitur movie ads, "coming this Christmas", Norman Fell, putting two names in alphabetical order incorrectly, Hanna Barbera characters singing We Are Family, Farrah Fawcett and Jeff Bridges in the beloved Christmas classic "Somebody Killed Her Husband", candlepin bowling, The Return of the Pink Panther, Don Kirshner's Rock Concert, being confused by Heart playing with Smokey Robinson and Olivia Newton John, A Charlie Brown Christmas, 8-Tracks, menthol, getting interviewed by Ali G, Surgeon General C. Everett Coop, Happy Days, The Wild Wild World of Animals, Fight or Flight, Lorenzo Lamas, Chuck Berry's weirdness, Real People vs That's Incredible, whistling through your navel, washing coins, Donahue after dark, Doug Henning, how you can't top Martin Short, boxing head injuries, Laverne and Shirley, the god like powers of Michael McKeon, Lenny and the Squigtones, Dom DeLuise, renting VHS tapes to Donny Osmond, Rockford Files, Jaws 2, Summer Without Boys, 30 Minutes: the kids version of 60 minutes, the Christmas miracle of Adam Rich, subversion on television, how massive Hart to Hart was in the UK, being a Presto household, never having to do laundry thanks to promotional t-shirts, and the value of just screwing around. 

Alex, Jesse and Mike jump into the Assassination of JFK one last time. Or so Alex says. MERCH - http://www.theyetee.com/collections/chilluminati HelloFresh - http://www.hellofresh.com/freechill HeroForge - http://www.heroforge.com All you lovely people at Patreon! HTTP://PATREON.COM/CHILLUMINATIPOD Jesse Cox - http://www.youtube.com/jessecox Alex Faciane - http://www.youtube.com/user/superbeardbros Editor - DeanCutty http://www.twitter.com/deancutty Show art by - https://twitter.com/JetpackBraggin http://www.instagram.com/studio_melectro JFK III: NOTE FROM THE PUBLISHER Clip of Donahue shooting faster than Oswald: https://www.youtube.com/watch?v=ghmY6HmR4fs Youtube upload of the Zapruder film (CONTENT WARNING: EXTREME GRAPHIC REAL VIOLENCE): https://www.youtube.com/watch?v=HBJFT-OyDEc Zapruder film frame by frame (CONTENT WARNING: EXTREME GRAPHIC REAL VIOLENCE): https://www.assassinationresearch.com/zfilm/ Most shown photo of Hickey with the AR-15: https://upload.wikimedia.org/wikipedia/commons/e/e4/Hickey-ar-15_jfk.jpg

With a game between the top-ranked Oregon Ducks and No. 3 Penn State in the Big Ten Championship later in the week, the boys are joined by Nittany Lions insider Tyler Donahue to help break everything down. Donahue discusses Penn State's unlikely path to this game, their offensive improvement and what's made this defense so good under James Franklin. To learn more about listener data and our privacy practices visit: https://www.audacyinc.com/privacy-policy Learn more about your ad choices. Visit https://podcastchoices.com/adchoices

Phil Donahue, the game-changing daytime television host, died last week at 88. Mr. Donahue turned “The Phil Donahue Show” into a participation event, soliciting questions and comments on topics as varied as human rights and orgies.Michael Barbaro explains what Phil Donahue meant to him.Background reading: An obituary for Mr. Donahue, who died last week at 88.Here are 3 episodes that explain Mr. Donahue's daytime dominance.For more information on today's episode, visit nytimes.com/thedaily. Transcripts of each episode will be made available by the next workday.