Podcast appearances and mentions of Emmylou Harris

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

Send us a text“The business I have today exists because I made decisions before I felt ready. I hired when it scared me. I started before it was perfect. And I showed up every day not as the business owner I was—but the one I knew I was becoming.”In this solo episode, Sydney is pulling back the curtain on the mindset and execution shifts that helped her grow Renaissance Marketing Group, launch sold-out summits across the country, and step into a version of herself she hadn't yet fully met—but trusted enough to build for.If you're a small business owner, entrepreneur, or founder in a season of transition—or you know there's a bigger version of yourself on the horizon—this episode is for you.In This Episode:1. Make decisions based on where you're headed—not where you're standingThe mindset shift that changed everythingHow forecasting and future-casting help you break free from playing small2. Hire before you're comfortable—not after you're drowningWhy delegation is the first step in stepping into your CEO roleHow hiring before you're “ready” creates space for growth3. Operate your business like you take it seriously—because you doSystems, structure, and why “showing up like the future you” mattersBehind the scenes of how Sydney prepared her business (and team) for her maternity leave—and what happened next“The next version of you isn't waiting for perfect conditions. She's waiting for you to believe in her enough to act. So make the call. Hit publish. Show up like her. And run your business for the woman you're becoming.”Renaissance Founders is our newest done-for-you personal brand package designed for female founders ready to grow online—without doing it all themselves.Our team takes over your personal social strategy and content, so you can show up and shine.Book your free discovery call: renaissancemarketinggroup.com/contact-usPresented in Partnership with NexusPointFeeling overwhelmed in your business? If you're stuck in the weeds, NexusPoint helps founders streamline operations and integrate global talent—so you can lead like a CEO, not just survive like an operator.Exclusive for The Renaissance Podcast listeners: Get your $500 recruitinSupport the showAbout The Host:Sydney Dozier the visionary behind Renaissance Marketing Group, a leading Nashville-based social media agency founded in 2014. Over 9 years, Sydney has curated a top-tier team, establishing Renaissance as a go-to agency delivering proven social media marketing results. Renaissance offers a wide array of services, from social media management to content creation, professional photography and videography, branding, and more, serving clients across the nation. Their focus is clear: drive revenue, foster online growth, and exceed client expectations. Sydney is not only a business dynamo but also the co-host of The Renaissance Podcast, aimed at empowering entrepreneurs. Her dedication to supporting women entrepreneurs led to The Mona Lisa Foundation, offering mentorship, grants, education, and a vibrant community. She's also the brains behind The Renaissance Women's Summit, an annual event in Nashville with a mission in inspiring women entrepreneurs. Sydney is a wife and mother to Sawyer James and has an unwavering passion for entrepreneurship, the color pink, and her two furry companions, Stevie Nicks and EmmyLou Harris. Learn more: www.renaissancemarketinggroup.com

There is something that happens when two particular voices blend together that transcends all understanding or logic. And, when those voices share the same DNA, the magnetic pull is such that they become one voice. We've heard that family blend many times: The Everlys, The Wilsons, The Gibbs, The Andrew Sisters, etc. The list goes on.One of the most uncanny examples of this phenomenon belongs to Charlie and Ira Louvin, those titans of Country and Gospel music. When they sing with religious devotion, such as they do here in The River of Jordan - you can hear God and his miracles working in every keening, harmonic fifth. The other song presented today features Robert Plant and Alison Krauss, - a pair of folks about as far from siblings as you can get, but whose vocal cords also combine miraculously.THE LOUVINSThe first time I heard of Ira and Charlie Louvin was through Emmylou Harris's 1975 version of If I Could Only Win Your Love, and I had to know from whence this other-worldly sound originated. Like a hound on the scent, I tracked down several recordings from the brothers, and sat open mouthed as song after song cut through me. The Louvins, whose birth name was Loudermilk (cousins to the noted songwriter), had a contentious relationship, owing to Ira's drunken temperament and womanizing. Charlie contemplated going solo, but Ira's early demise, at 41, in a drunken car crash, made the decision permanent. Ira usually takes the high harmony, but they had the ability to switch mid way through a song so that it was often hard to tell who was covering which part.  Truly one of the all time great sibling singing duos. ALISON KRAUSS AND ROBERT PLANTA musical marriage made in heaven that no fiction writer could have invented, Robert Plant and Alison Krauss came together in one of the most celestial combos ever. The Led Zeppelin frontman, renowned for his soaring falsetto, melds with the rawboned steadiness of bluegrass's sweetheart in an eclectic stew of influences that somehow create a single entity. Today's featured song, Please Read the Letter, nestled among cuts by the Everlys, Gene Clark, Mel Tillis, and Townes Van Zandt was written by Plant and his Zeppelin brother, Jimmie Page, and is added seamlessly to the mix.The resulting album, Raising Sand, produced by the curatorial genius T-Bone Burnett, was released in 2007, and swept the Grammies and Americana Music Awards, taking its place in the pantheon of beautiful enigmas.  

Send us a textHiring someone to manage your social media is a big decision: and one that can have a lasting impact on your brand's growth. But how do you know if you should hire a freelance social media manager or bring on a full-service agency?In this episode, host Sydney Dozier, founder of Renaissance Marketing Group, breaks down the real differences between freelancers and agencies. From strategy and communication to execution, reporting, and resources, you'll walk away with the clarity you need to make the right call for your business.This isn't about bashing one or favoring the other, it's about understanding the experience, the outcomes, and the support level that comes with each option. Whether you're a founder just starting out or scaling fast and need a full creative team behind you, this episode is for you.Ready to explore what it would look like to work with a dedicated agency team? Email us at getsocial@renaissancemarketinggroup.com to schedule a discovery call and find out if Renaissance is the right fit for your brand.Support the showAbout The Host:Sydney Dozier the visionary behind Renaissance Marketing Group, a leading Nashville-based social media agency founded in 2014. Over 9 years, Sydney has curated a top-tier team, establishing Renaissance as a go-to agency delivering proven social media marketing results. Renaissance offers a wide array of services, from social media management to content creation, professional photography and videography, branding, and more, serving clients across the nation. Their focus is clear: drive revenue, foster online growth, and exceed client expectations. Sydney is not only a business dynamo but also the co-host of The Renaissance Podcast, aimed at empowering entrepreneurs. Her dedication to supporting women entrepreneurs led to The Mona Lisa Foundation, offering mentorship, grants, education, and a vibrant community. She's also the brains behind The Renaissance Women's Summit, an annual event in Nashville with a mission in inspiring women entrepreneurs. Sydney is a wife and mother to Sawyer James and has an unwavering passion for entrepreneurship, the color pink, and her two furry companions, Stevie Nicks and EmmyLou Harris. Learn more: www.renaissancemarketinggroup.com

WBCQ/The Planet airdate - 6/7/25 Interview conducted - 5/29/25 Welcome to Fluxedo Junction!. Each episode, we bring you the best music from all genres worldwide, and this episode, we'll be speaking with acclaimed violinist, composer, and vocalist Scarlet Rivera. Grammy-nominated Scarlet Rivera burned a hole in the fabric of rock history as a pioneer of the electric violin. While classically trained, Scarlet came to prominence as an integral part of Bob Dylan's 1975 Rolling Thunder Revue tour and the subsequent release of the legendary album Desire, which charted at number one and sold certified double platinum. She has also worked with many other of the world's most well-known artists, including Brandi Carlile, Emmylou Harris, Indigo Girls, Tracy Chapman, John Mayall, Keb Mo, Robbie Krieger, and Albert Lee. Her new album, Circle Back, will be released later this year, and she'll be performing in Roslyn, New York, on June 19 at the legendary venue My Father's Place. You can check her out on the web at www.scarletriveramusic.com

In this episode, Blake sits down with legendary singer-songwriter Mary Gauthier for a deep, honest, and surprisingly gear-heavy chat. Mary didn't pick up songwriting seriously until her mid-thirties—after years as a Boston-based chef, restaurant owner, and, as she puts it, a total mess. But once she got sober and started hitting open mics, everything changed. They talk about her early love for Taylor guitars, her eventual obsession with the low-end growl of vintage Gibsons, and how she's more about tone that serves the song than flashy technique. Mary shares the story behind her breakout song “I Drink,” explains why emotion always trumps complexity, and offers a masterclass in the art of getting doors to open in Nashville—even if you have to sneak in through a window. You'll also hear: The connection between fear and fog (and how to burn both off) What it's like to share a stage with John Prine, Emmylou Harris, and Lucinda Williams Why you should never underestimate the power of a good crust (yes, pizza crust) A crash course in humility, persistence, and the power of being kind This one's a gem. If you're a songwriter, storyteller, or just trying to figure out your path—hit play. Support The Show And Connect! The Text Chat is back! Hit me up at (503) 751-8577 You can also help out with your gear buying habits by purchasing stuff from ⁠⁠⁠⁠⁠⁠Tonemob.com/reverb⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠Tonemob.com/sweetwater⁠⁠⁠⁠⁠⁠ or grabbing your guitar/bass strings from ⁠⁠⁠⁠⁠⁠Tonemob.com/stringjoy⁠⁠⁠⁠⁠⁠ Release your music via DistroKid and save 30% by going to ⁠⁠⁠⁠⁠⁠Tonemob.com/distrokid Learn more about your ad choices. Visit megaphone.fm/adchoices

Send us a textIn this solo episode, I'm sharing 10 of the biggest life and business lessons I've learned in 33 years, straight from the heart and shaped by my journey as a founder, a mom, and a modern Renaissance woman. From letting go of perfectionism to redefining success on your terms, this episode is your reminder that your renaissance is already unfolding. One intentional step at a time.Learn about my fabulous and talented mom AND her books that I mention HERE!New from Renaissance Marketing GroupRenaissance Founders is our newest done-for-you personal brand package designed for female founders ready to grow online without doing it all themselves. Our team takes over your personal social strategy and content, so you can show up and shine.  Now onboarding for Summer 2025. Book your free discovery call!Presented in Partnership with NexusPointFeeling overwhelmed in your business? If you're stuck in the weeds, NexusPoint helps founders streamline operations and integrate global talent—so you can lead like a CEO, not just survive like an operator.  Exclusive for The Renaissance Podcast listeners: Get your $500 recruiting fee waived.  Book your free consult: go.nexuspt.io/rmgLoved this episode? Help us celebrate 152 episodes by leaving a quick rating or review—it truly means the world!Support the showAbout The Host:Sydney Dozier the visionary behind Renaissance Marketing Group, a leading Nashville-based social media agency founded in 2014. Over 9 years, Sydney has curated a top-tier team, establishing Renaissance as a go-to agency delivering proven social media marketing results. Renaissance offers a wide array of services, from social media management to content creation, professional photography and videography, branding, and more, serving clients across the nation. Their focus is clear: drive revenue, foster online growth, and exceed client expectations. Sydney is not only a business dynamo but also the co-host of The Renaissance Podcast, aimed at empowering entrepreneurs. Her dedication to supporting women entrepreneurs led to The Mona Lisa Foundation, offering mentorship, grants, education, and a vibrant community. She's also the brains behind The Renaissance Women's Summit, an annual event in Nashville with a mission in inspiring women entrepreneurs. Sydney is a wife and mother to Sawyer James and has an unwavering passion for entrepreneurship, the color pink, and her two furry companions, Stevie Nicks and EmmyLou Harris. Learn more: www.renaissancemarketinggroup.com

Diesmal referiert Matussek seine Lektüreeindrücke der Fahnen von Giorgia Melonis Rückblick auf ihr bisheriges Leben: „Ich bin Giorgia“, das nächste Woche im Europa-Verlag erscheint und schon jetzt ebenso heftige Ablehnung wie Zustimmung erhalten wird. Es ist ein Tabubruch: Äußerst gut gelaunt feiert die populärste Regierungschefin Europas die rechte Gegenkultur. Für sie bedeutet rechts, vernünftig und wirklichkeitsnah zu sein und die links-woke Diskurshoheit und ihre totalitäre Cancel-Kultur zu beenden. Tatsächlich: Rechts ist beautyful! Rechts ist cool! Von Meloni lernen heißt siegen lernen! Im zweiten Teil analysiert Matussek den neuen Papst Leo XIV. und dessen Friedensinitiativen und erläutert die katholische Lehre des gerechten Krieges („Bellum iustum“), der an die Bedingung geknüpft ist, dass er kurz sein und Erfolgsaussichten haben muss. Weitere Themen im zweiten Teil: die Jugend eines Missionars und die vielen Katholiken in Trumps Kabinett. Die Musik ist diesmal Freestyle, Steely Dan, Al Bano und Romina Power, Mailänder DJs mit einem Meloni-Mix, Beach Boys, Mark Knopfler und Emmylou Harris sowie ein nachgeholter Blues von Eric Clapton. Briefe.

Six String Hayride Classic Country Podcast, Episode 58 Louisiana Guitar Man, James Burton.James Burton is the guitar behind the classic Ricky Nelson hits, The Elvis Presley TCB Band, The Emmylou Harris "Hot Band" , John Denver's 1980's music, and much more. The man Keith Richards calls, "Master of the Telecaster" , Burton and his pink paisley telecaster are all over country, western, rockabilly, and rock and roll records you have been listening to for years. Working with Ricky Nelson, Emmylou Harris, Elvis Presley, Elvis Costello, Buffalo Springfield, Merle Haggard, Gram Parsons, Michael Nesmith, and Keith Richards, Burton has the talent and the telecaster to bring the perfect guitar parts to anything he plays. Chris and Jim discuss Burton's guitar playing and share a fine recipe for Louisiana Beignets. Join us for Six String Hayride Podcast Episode 58.https://www.facebook.com/profile.php?id=100086513555749https://www.patreon.com/user?u=81625843

The King's Wife offers a bold new perspective on the story of Katherine of Aragon, the first wife of Henry VIII, as she navigates the pressures of queenship and the fight to secure her legacy. A revolutionary pop musical by two-time Grammy-nominated songwriter Jamie Floyd and award-winning playwright Mêlisa Annis, this bold reimagining of history explores Katherine's resilience and the enduring impact of extraordinary women.Mêlisa Annis (bookwriter) is an award-winning playwright and theater-maker. Mêlisa has developed and presented work at and with Playwrights Horizons, Rosalind Productions, Primary Stages, BMG Music, The Lark, Parsnip Ship, The New School, The Playground Experiment, Rattlestick Theater, Tangent Theater, RAL Productions, Red Bull Theater, The Ambassadors Theatre Group (London), Arcola Theatre (London), Berkley Rep, Theatre for a New City, Colorado Springs Fine Arts Centre. Radio Drama: Mêlisa was lead writer on radio series For Spacious Skies which was awarded the True West Award, CO, her play Beginnings was awarded the Spirit of The Festival Award, Ireland, and she is currently developing a radio series based on love letters sent between soldiers during the American civil war. Mêlisa was the recipient of the Parity Commission for her play Charlie's Waiting, and is excited to be continuing development of her play The Inheritance of a Long-Term Fault with Clutch Productions. Mêlisa is a frequent contributor to the BBC, BBC Wales and S4C and she's a proud Welsh speaker. Diolch mawr i Peter.Jamie Floyd (Music, Lyrics, Co-Arranger) is a Nashville-based, independent 2x Grammy-nominated songwriter and recording artist. Her songs have been recorded by artists such as Kelly Clarkson, Kesha, Miranda Lambert, Ronnie Dunn, Madi Diaz, Sturgill Simpson, Lizzy McAlpine and Brian Wilson. She has written extensively for film and TV, including the finale for Dolly Parton's A Country Christmas Story. As an artist, she has toured nationally and internationally, performing at Stagecoach, The Grand Ole Opry, The Bluebird Cafe and the Country Music Hall Fame to name a few. Floyd's journey in the music industry, including her experience as the “Grammy-nominated waitress,” was featured alongside Garth Brooks, Emmylou Harris & Jason Isbell in the critically acclaimed documentary “The Last Songwriter,” which advocated for the Music Modernization Act. In addition to The King's Wife, she is currently working working on two other new musical theatre projects: That Boy Ain't Right and Killin' It: A Howdy Horror Murder Mystery Musical. Her latest single “Sad Girls Do” was featured on Spotify's “Fresh Finds: Best Of 2023″ playlist, which highlights the best of all-genre independent releases.

Send us a textIn this week's solo episode, Sydney opens with a Memorial Day reflection, honoring those who have served—including her father, brother, sister in law, and grandfather. With deep gratitude, she transitions into a message that so many women entrepreneurs need to hear right now:✨ You are not behind. ✨ You are right where you're meant to be. ✨ And there's no such thing as an overnight success.Sydney peels back the pressure we put on ourselves to “arrive” faster and reminds us that growth is not a straight line—it's built in quiet mornings, long nights, and the brave decision to keep going. Featuring a powerful quote from Gary Vaynerchuk, and stories of three iconic women who found massive success later in life—Vera Wang, Sara Blakely, and Kendra Scott—this episode is your reminder that you're on time.Sydney also shares her own 10-year journey as a founder, including a recent challenging season filled with loss, transition, and the unknown. Her message is clear: success isn't a finish line—it's a mindset.Highlights:A Memorial Day tribute and personal storyGary Vee's reminder: “You're just early.”The real (later-in-life) success stories of Vera Wang, Sara Blakely, and Kendra ScottSydney's raw look at the past year inside RenaissanceEncouragement for every woman in a season of building, waiting, or rebuildingIf you've been feeling behind, this episode is your permission slip to exhale—and keep building.You are a Renaissance Woman. Keep showing up. Keep building. And know—you have time.Presented in partnership with NexusPointFeeling overwhelmed in your business? If you're stuck in a cycle of constant to-dos and firefighting, you're operating—not owning. The solution isn't more hours; it's smarter systems and empowered delegation.That's where NexusPoint comes in. With over a decade of entrepreneurial experience, they help founders streamline operations and integrate global talent—so you can lead like a CEO, not just survive like an operator.✨ Exclusive for The Renaissance Podcast listeners: NexusPoint is waiving their $500 recruiting fee. Book your FREE consult: go.nexuspt.io/rmgLoved this episode? Help us celebrate 151 episodes by leaving a quick rating Support the showAbout The Host:Sydney Dozier the visionary behind Renaissance Marketing Group, a leading Nashville-based social media agency founded in 2014. Over 9 years, Sydney has curated a top-tier team, establishing Renaissance as a go-to agency delivering proven social media marketing results. Renaissance offers a wide array of services, from social media management to content creation, professional photography and videography, branding, and more, serving clients across the nation. Their focus is clear: drive revenue, foster online growth, and exceed client expectations. Sydney is not only a business dynamo but also the co-host of The Renaissance Podcast, aimed at empowering entrepreneurs. Her dedication to supporting women entrepreneurs led to The Mona Lisa Foundation, offering mentorship, grants, education, and a vibrant community. She's also the brains behind The Renaissance Women's Summit, an annual event in Nashville with a mission in inspiring women entrepreneurs. Sydney is a wife and mother to Sawyer James and has an unwavering passion for entrepreneurship, the color pink, and her two furry companions, Stevie Nicks and EmmyLou Harris. Learn more: www.renaissancemarketinggroup.com

01-This Dirty Little Town- Kieran Kane and Emmylou Harris · Lucinda Williams 02-Gentle On My Mind - The Band Perry 03-El Dorado-Molly Tuttle and Golden Highway 04-Running Out Of Hope, Arkansas - Brennen Leigh 05-Why Dallas (feat. Lukas Nelson) · Ernest 06-The Best Part of Loving You - The Carlton Showband 07-Hobo's Delight , Bobby Borchers 08-Big Bad John - Jimmy Dean 09-Tommy Overstreet - Gwen (Congratulations 10-Proud Mary ·-George Jones and Johnny Paycheck 11-Silver Wings-Merle Haggard 12-Leavin' Houston Blues- Bobbie Cryner 13-Gail Davies-Blue Heartache 14-Emmylou Harris - Tougher Than The Rest 15-Tomorrow Never Knows -Bruce Springsteen 16-Bob_Seger_-_California_Stars 17-Una Más Cerveza - Tommy Alverson

Send us a textOn this episode, we discuss Grievous Angel, the last album recorded by one of the most interesting, tragic, and influential people in modern music: Gram Parsons.   In just six short years, from 1967 until his death in the fall of 1973, Gram Parson help pioneer what would become known as country rock, or what he preferred to call  "Cosmic American Music." In those six years, he made several landmark albums with the International Submarine Band, the Byrds, and the Flying Burrito Brothers, as well recording two solo albums. None were commercially successful at the time of their release, but they cast a long shadow on the music of the later half of the 20th Century, and continue to do so today. Its difficult for modern listeners to understand how unique and innovative Parsons vision of blending elements of country, rock, folk, and (most importantly) soul was at the time because it has influenced so much that came after that its uniqueness gets lost crowd.For Grievous Angel, Parsons was able to get some of the best musicians in the business backing him. He also could recognize talent when he saw it and knew having Emmy Lou Harris as his duet partner would create magic, which it most certainly did. Released just months after Parsons untimely death, and containing some of his most beautiful, songs Grievous Angel is a remarkable and poignant album that chronicles Parsons influences and his devotion to traditional country music, while showcasing his ability to blend those influences with other genres into something entirely original.  Visit us at www.tappingvinyl.com.

Send us a textIt's our 150th episode!

ALEATORIO RANDOM PROJECT 007 1-GITANIKA GADITANA – NIÑO RICARDO 2-WELCOME TO THE WORKING WEEK – ELVIS COSTELLO 3-TWO OLD FRIENDS – MAGNA CARTA 4-LOST IN LOVE – GLOVER WAHINGTON JR. 5-AND SHE WAS – TALKING HEADS 6-HOME COOKIN – HORACE SILVER 7-CRY NO MORE – DANIELLE NICOLE 8-LADY BLUE – LEON RUSSELL 9-COUNTRY ROAD – JOHN MAYALL 10-LET THERE BE LIGHT – MIKE OLFIELD 11-EISENHOWER BLUES – J.B. LENOIR 12-WAITING ON THE WORLD TO CHANGE – JOHN MAYER 13-BRIGHT SIZE LIFE – PAT METHENY 14-I WANT TO KNOW WHAT LOVE IS – FOREIGNER 15-TO KNOW HIM IS TO LOVE HIM – DOLLY PARTON, LINDA RONSTADT & EMMYLOU HARRIS

Moin! Wir vom Team um "Philipps Playlist" wollen den Podcast immer weiter verbessern. Um das zu tun, möchten wir gerne Deine Meinung, Deine Ideen und Deine Kritik hören. Und ganz nebenbei möchten wir auch Dich und alle anderen besser kennenlernen. Vielen Dank, dass du an dieser Umfrage teilnimmst, das hilft uns wirklich sehr: https://umfrage-ndr.limequery.com/247836?lang=de-informal Musik, die direkt ins Herz geht. Schwermütige bis dankbare Klänge nehmen Dich mit auf eine Reise weit in den Westen. Jeder Klang berührt die Leere in Dir. Diese Musikstücke hast Du in der Folge gehört: Darius Rucker – "I hope they get to me in time" // Aaron Copland – "Appalachian Spring – Like a Prayer" // Diamond Rio – "She misses him on Sunday the most" // Amy Beach – "Dreaming" // Alan Jackson – "Freight train" // Emmylou Harris & Mark Knopfler – "This is us" // Den ARD Podcast "ESC Update" findest Du hier: https://www.ardaudiothek.de/sendung/esc-update/82411386/ Wenn Du eine Idee oder einen Wunsch zu einem musikalischen Thema hast, dann schreib ihm eine Mail: playlist@ndr.de

Cor Sanne is de man die countrymuziek de credits en het podium al gaf toen de makers van Countrykoorts nog met hun oude heer over de sloot sprongen. Hij haalde ze allemaal naar Nederland: Johnny Cash, Buck Owens, Bill Monroe, Emmylou Harris, Jerry Lee Lewis en vele anderen. Een podcast over ontbijten met Cash, zingen met Harris en gedoe met Buck Owens. Maar ook zijn onvoorwaardelijke liefde voor The Everly Brothers. Hij vernoemde zijn zoon zelfs naar één van de broers. Uiteraard blikt Sanne ook terug op zijn eigen muzikale carrière. Met Dick van Altena, Savannah en de Bluegrass Boogiemen. Hoe al deze verhalen in ruim een uur zijn gevangen? Dat is voor de makers ook een raadsel. Luister en geniet van een bescheiden boerenlul uit Nieuwkoop, die het allemaal toch maar mooi heeft meegemaakt.

This week Reid and Dan host Georgia Trio, The Castellows, out in God’s Country. Lily, Powell, and Ellie share their love for bow hunting whitetail, fishing, and turkey hunting. There is a contentious conversation on who kills the biggest deer and other pressing questions that will have you laughing out loud as you are listening. They share what growing up on their farm in Georgia looked like and how they had to drag one sister to Nashville because she never wanted to leave. All five of them discuss the musical dynamic of siblings and how the harmonies of siblings are unparalleled. The episode ends with some of the most beautiful harmonies you’ve ever heard and an Emmy Lou Harris gravorite that’s one of the best yet. God's Country on Instagram, TikTok, and Facebook MeatEater on Instagram, Facebook, Twitter, Youtube, and Youtube Clips Subscribe to The MeatEater Podcast Network on YouTube Shop God's Country Merch Shop MeatEater MerchSee omnystudio.com/listener for privacy information.

Send us a textWhat if taking a step back is exactly what your business needs to move forward?In this solo episode, our founder and host, Sydney Dozier, is pulling back the curtain on what maternity leave has really looked like — and how it's transformed the way she views sustainability, leadership, and longevity in business. A month into leave with her second baby, Sydney shares the 3 biggest (and most unexpected) lessons she's learned about building a business that doesn't just survive while you're gone... but thrives.Whether you're a mama, a future mama, or just a founder craving more space and sanity in your work — this one's for you.Here's what you'll walk away with:Why space is essential for your brilliance to shine — and how to build it into your calendar before burnout forces you to.Why stepping away doesn't lose you respect — it earns it (plus how your team might surprise you in the best way).Why mindset is still the most powerful tool in your business toolbox — and how Sydney's January intention-setting episode came full circle.You'll also hear about the book that was a game-changer in preparing for this season: Scale or Fail by Allison Maslan — highly recommend grabbing it on Audible!Sustainability in business isn't built in the hustle — it's built in the pauses. It's in the quiet moments where vision gets clearer, trust gets deeper, and longevity takes root.Take a moment to reflect:Where do you need more space? More trust? More mindset shifts? DM us or leave a review with the lesson that hit home — we love hearing what resonates.Presented in partnership with NexusPointFeeling overwhelmed in your business? If you're stuck in a loop of constant tasks and firefighting, you're operating — not owning. The solution isn't more hours, it's smarter systems and empowered delegation.That's where NexusPoint comes in. With over a decade of entrepreneurial experience, they help founders streamline operations and integrate global talent — so you can lead like a CEO, not just survive like an operator.Exclusive for The Renaissance Podcast listeners: NexusPoint is waiving their $500 recruiting fee. Book your FREE consult: go.nexuspt.io/rmgIf you loved this episode, please rate and review The Renaissance Podcast!Support the showAbout The Host:Sydney Dozier the visionary behind Renaissance Marketing Group, a leading Nashville-based social media agency founded in 2014. Over 9 years, Sydney has curated a top-tier team, establishing Renaissance as a go-to agency delivering proven social media marketing results. Renaissance offers a wide array of services, from social media management to content creation, professional photography and videography, branding, and more, serving clients across the nation. Their focus is clear: drive revenue, foster online growth, and exceed client expectations. Sydney is not only a business dynamo but also the co-host of The Renaissance Podcast, aimed at empowering entrepreneurs. Her dedication to supporting women entrepreneurs led to The Mona Lisa Foundation, offering mentorship, grants, education, and a vibrant community. She's also the brains behind The Renaissance Women's Summit, an annual event in Nashville with a mission in inspiring women entrepreneurs. Sydney is a wife and mother to Sawyer James and has an unwavering passion for entrepreneurship, the color pink, and her two furry companions, Stevie Nicks and EmmyLou Harris. Learn more: www.renaissancemarketinggroup.com

"Dance With Me" The married Michigan duo of Annagail are hard to categorize because of their startling musical range. With The Smiths, Steve Earle, Emmylou Harris and The Foo Fighters, Annagail's running through their musical DNA, Jared and Jennifer aren't afraid of a folk song or a pop song or a blues song or a roots song. It's fair to say that they're not afraid of anything. More on that in a minute. Filled with aching harmonies, wistful ballads, tender country and infectious hooks, Annagail, who used to operate under the moniker Route Three, may be tough to pin down in terms of genre, so it's easier to simply say they're brilliant at what they do and they do all of it. Jared and Jennifer have a musical symbiosis that's undeniable and profound and a tenth of their personal challenges would be enough to keep someone on the sidelines forever, but not these two. They've not only survived a list of hardships--and I'll let the interview cover that material, but just so you get an idea of how long and serious that list is, we didn't even cover the fire that destroyed their home and and studio--they've emerged from the darkness bursting with light. I'm not joking. But that word joking might be the key here; they have a sense of humor that has allowed them to navigate the trials they've encountered with perspective and wisdom and grace. I love this band. And not only is this a cool chat because they're open and lovely people, it's cool because we've caught them emerging from yet another scary moment with a renewed commitment to their craft. In many ways, this might be the most prolific period in the band's history. In fact, they have so many new albums, I'm not even sure what their latest one is. All I know is their music smolders with soulful resolve, sweeping momentum and harmonic and narrative poise. This is a wonderful chat with truly wonderful people. www.annagail.net (http://www.a) www.stereoembersmagazine.com (http://www.stereoembersmagazine.com) www.bombshellradio.com (http://www.bombshellradio.com) www.alexgreenbooks.com (http://www.alexgreenbooks.com) Stereo Embers IG + BLUESKY: @emberspodcast Email: editor@stereoembersmagazine.com

Send us a textThis week on The Renaissance Podcast, Sydney is off the mic (welcome baby Rowen!

Musicians like Emmylou Harris, Rosanne Cash, Guy Clark and others changed the scope of country music forever. Hosts Jim DeRogatis and Greg Kot talk with author Geoffrey Himes about the artists of the movement he calls “in-law country.” They also hear from some listeners.Join our Facebook Group: https://bit.ly/3sivr9TBecome a member on Patreon: https://bit.ly/3slWZvcSign up for our newsletter: https://bit.ly/3eEvRnGMake a donation via PayPal: https://bit.ly/3dmt9lUSend us a Voice Memo: Desktop: bit.ly/2RyD5Ah Mobile: sayhi.chat/soundops Featured Songs:Emmylou Harris, "Born to Run," Cimarron, Warner Bros. Nashville, 1981The Beatles, "With A Little Help From My Friends," Sgt. Pepper's Lonely Hearts Club Band, Parlophone, 1967Rosanne Cash, "Seven Year Ache," Seven Year Ache, Columbia, 1981Rosanne Cash, "My Baby Thinks He's A Train," Seven Year Ache, Columbia, 1981The Flying Burrito Brothers, "Six Days on the Road," Last of the Red Hot Burritos, A&M, 1972Emmylou Harris, "Luxury Liner," Luxury Liner, Warner Bros. Nashville, 1976The Byrds, "You Ain't Goin' Nowhere," Sweetheart of the Rodeo, Columbia, 1968The Byrds, "Time Between," Younger Than Yesterday, Columbia, 1967Emmylou Harris, "If I Could Only Win Your Love," Pieces of the Sky, Reprise, 1975Rodney Crowell, "I Couldn't Leave You If I Tried," Diamonds & Dirt, Columbia, 1988Emmylou Harris, "Two More Bottles of Wine," Quarter Moon in a Ten Cent Town, Warner Bros. Nashville, 1978Emmylou Harris, "Pancho and Lefty," Luxury Liner, Warner Bros. Nashville, 1976Emmylou Harris, "Till I Gain Control Again," Elite Hotel, Reprise, 1975Ricky Skaggs, "Heartbroke," Highways & Heartaches, Epic, 1982Guy Clark, "L.A. Freeway," Old No. 1, RCA, 1975Liquid Mike, "Drinking and Driving," Paul Bunyan's Slingshot, Temporal, 2024TAE & The Neighborly, "We Can Be," Self Help, smooth bean, 2024David Grisman and Jerry Garcia, "Whiskey In the Jar," Shady Grove, Acoustic Disc, 1996Graham Nash, "Chicago / We Can Change the World," Songs for Beginners, Atlantic, 1971Bnny, "Good Stuff," One Million Love Songs, Fire Talk, 2024See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Send us a textThis week on The Renaissance Podcast, we sit down with Jackie Oña Cascarano — lawyer-turned-career coach, founder of Juno Women's Collective, and living proof that your next chapter can be your most meaningful one yet.After navigating her own career pivot, Jackie realized just how isolating and uncertain those in-between seasons can feel — and how powerful they can be when paired with the right support. That's what inspired the creation of Juno: a Nashville-based community helping women gain clarity, confidence, and connection as they explore what's next in their professional lives.In this conversation, we dive into:How Jackie transitioned from law to mindset coachingThe power of Positive Psychology in career clarityWhat really happens inside a Juno Circle (and why it's changing lives)The six mindset shifts that will change your career trajectoryHow to take your first small step toward a more fulfilling life — whether you're pivoting or leveling upJackie's insight is as compassionate as it is actionable — and whether you're in a season of growth, reinvention, or rediscovery, this episode will remind you that you're not alone.✨ This episode is for any woman wondering, “What's next?”

171 - Jock Bartley (Firefall) In episode 171 of Have Guitar Will Travel”, presented by Vintage Guitar Magazine, host James Patrick Regan speaks with the original guitarist and leader of the band Firefall, Jock Bartley. In their conversation Jock discusses briefly what living in Colorado is like both now and early on… and why he never made the move to LA. Jock tells us about the two most recent Firefall releases both concept albums focusing on the songs of Firefall's contemporary bands that the original members were at times members of. Jock talks about his early musical experiences studying with guitarist Johnny Smith in Colorado Springs on a Gibson ES-140 he bought from Johnny's shop. Jock describes being hired by Gram Parsons and Emmylou Harris and touring with them. Jock tells us about his guitars: his 1958 Gibson sunburst Les Paul and his 1959 Fender Telecaster as well as a custom Paul Reed Smith that he plays through a Fender Super. Jock then explains the formation of Firefall which was a type of super group for the era and then after the heyday for the band how he kept the band alive to this point. Finally Jock tells us why he's considering selling his ‘58 Les Paul. To find out more about what Jock and Firefall are up too you can go to their website: FirefallOfficial.com Please subscribe, like, comment, share and review this podcast! #VintageGuitarMagazine #JockBartley #Firefall #GibsonGuitar #GramParsons #EmmylouHarris #VintageGuitar #Zephyr #Burst #theDeadlies #haveguitarwilltravelpodcast #HGWT . . . Please like, comment, and share this podcast! Download Link

Today, Sun writer and editor Kevin Simpson hosts a monthly chat with G. Brown, director of the Colorado Music Experience.See omnystudio.com/listener for privacy information.

Send us a textWhat if $5 and a dream were all you had? For Mignon François, that was her reality—and the beginning of a story that would inspire millions. This week on The Renaissance Podcast, we sit down with the powerhouse behind The Cupcake Collection, a #1 national best-selling author, entrepreneur, and woman of unwavering faith who turned financial struggle into a multi-million dollar cupcake empire.In this episode, Mignon opens up about what it truly means to build a legacy from scratch, why she considers herself a “food scientist” rather than a chef, and how she's using her story to empower others through entrepreneurship, faith, and fearless reinvention. From selling five million cupcakes to raising ten grandchildren and launching a new ministry, her journey is anything but ordinary.We talk:Why baking was just the beginningThe legacy she's leaving for her grandchildrenHer new business coaching program based on her book Made From ScratchHow faith is guiding her next chapter in ministryThe one thing she'd tell anyone starting with no roadmapIf you've ever doubted that something small could become something spectacular—this conversation is for you.Presented in partnership with NexusPoint Feeling overwhelmed in your business? If you're stuck in a loop of constant tasks and firefighting, you're operating—not owning. The solution isn't more hours, it's smarter systems and empowered delegation.That's where NexusPoint comes in. With over a decade of entrepreneurial experience, they help founders streamline operations and integrate global talent—so you can lead like a CEO, not just survive like an operator.Exclusive for The Renaissance Podcast listeners: NexusPoint is waiving their $500 recruiting fee.

Send us a textMusic's rich tapestry unfolds as we travel through time on this episode, celebrating the birthdays of legends like Marvin Gaye (born 1939) and Emmylou Harris (1947), while uncovering fascinating historical moments in the entertainment world. Remember when Mariah Carey signed that jaw-dropping $60 million Virgin Records deal in 2001? We break down why this watershed moment matters and how it shaped the industry we know today.The conversation heats up when we dive into today's breaking music news - from Miranda Lambert's game-changing partnership with Republic Records and independent powerhouse Big Loud, to Linkin Park's bold resurrection featuring new female vocalist Emily Armstrong. Their sold-out LA show marks a dramatic new chapter after the heartbreaking loss of Chester Bennington. Meanwhile, Green Day celebrates the 20th anniversary of "American Idiot" with unreleased tracks that prove some music deserves a second chance to be heard.Our listeners light up the chat when we pose our question of the day: who's the greatest male vocalist of all time? The passionate debate spans genres and generations - from Steve Perry's unmatched range to Frank Sinatra's impeccable phrasing, from Freddie Mercury's theatrical power to the raw emotion of Chris Cornell. Jay shares fascinating insider knowledge about vinyl record production, explaining how physical limitations influenced which songs appeared where on albums, and why bass-heavy tracks needed special consideration.Whether you're a music history buff, industry insider, or simply love great conversation about entertainment, this episode delivers stories you won't hear anywhere else. Join our community at jayfranze.com where the conversation continues long after the mics go silent. Subscribe now and become part of the behind-the-curtain experience that only The Jay Franze Show provides.LinksJay Franze: https://JayFranze.comVirtually You: https://www.virtuallyyouva.com/ Support the show

Send us a textPresented in partnership with NexusPoint Feeling overwhelmed in your business? If you're stuck in a loop of constant tasks and firefighting, you're operating—not owning. The solution isn't more hours, it's smarter systems and empowered delegation.That's where NexusPoint comes in. With over a decade of entrepreneurial experience, they help founders streamline operations and integrate global talent—so you can lead like a CEO, not just survive like an operator.Exclusive for The Renaissance Podcast listeners: NexusPoint is waiving their $500 recruiting fee. 

National ride your horse to a bar day/  Entertainment 1972.  Ponce De Leon finds Florida, 1st person shot out of a cannon.  Todays birthdays - Buddy Epsen, Alec Guinness, Jack Webb, Marvin Gaye, Emmylou Harris, Christopher Meloni, Keren Woodward, Billy Dean. Pope John Paul II died.Intro - God did good - Dianna Corcoran    https://www.diannacorcoran.com/Beer for my horses - Toby KeithA horse with no name - AmericaMy hang up is you - Freddie HartBirthdays - In da club - 50 Cent    https://www.50cent.com/Beverly Hillbillies tv themeDragnet tv themeHeard it through the grapevine - Marvin GayeTwo more bottles of wine - Emmylou HarrisVenus - BananaramaBilly the kid - Billy DeanExit - The river song - Mark Mckinney    https://www.markmckinney.com/countryundergroundradio.comHistory and Factoids website

Send us a textEpisode brought to you by: NexusPointFeeling overwhelmed in your business? If you're stuck in a loop of constant tasks and firefighting, you're operating—not owning. The solution isn't more hours, it's smarter systems and empowered delegation.That's where NexusPoint comes in. With over a decade of entrepreneurial experience, they help founders streamline operations and integrate global talent—so you can lead like a CEO, not just survive like an operator.Exclusive for The Renaissance Podcast listeners: NexusPoint is waiving their $500 recruiting fee.Book your FREE consult: go.nexuspt.io/rmgInterested in working with Renaissance Marketing Group on your brand or business? Book a free discovery call with our team here: Click to BookThis week on The Renaissance Podcast, we sit down with powerhouse entrepreneur, visionary, and connector Angie Lawless—a woman redefining what it means to lead with purpose in both business and life.From walking away from corporate law to founding Wagon Wheel Title, a company that's facilitated over 25,000 home closings in Nashville, Angie's journey is one of bold moves, heart-led decisions, and an unshakable belief in meaningful work. But her story doesn't stop there. Angie went on to launch multiple businesses across real estate, law, and insurance, author a book (Climbing the Charts), and host two podcasts—all while raising four children and championing causes that matter.In this episode, Angie opens up about:The leap from corporate law to entrepreneurship without a set planWhy chasing passion—not profit—is her ultimate currencyNavigating mom guilt and redefining success as a working momBuilding businesses with trusted partners who carry their weightHer biggest lessons on scaling with impact and trusting her teamFinding deeper purpose and fulfillment beyond businessIf you enjoyed this episode, please take a moment to rate and review The Renaissance Podcast. Your support helps us reach more entrepreneurs, dreamers, and doers just like you. REVIEW HERE.Support the showAbout The Host:Sydney Dozier the visionary behind Renaissance Marketing Group, a leading Nashville-based social media agency founded in 2014. Over 9 years, Sydney has curated a top-tier team, establishing Renaissance as a go-to agency delivering proven social media marketing results. Renaissance offers a wide array of services, from social media management to content creation, professional photography and videography, branding, and more, serving clients across the nation. Their focus is clear: drive revenue, foster online growth, and exceed client expectations. Sydney is not only a business dynamo but also the co-host of The Renaissance Podcast, aimed at empowering entrepreneurs. Her dedication to supporting women entrepreneurs led to The Mona Lisa Foundation, offering mentorship, grants, education, and a vibrant community. She's also the brains behind The Renaissance Women's Summit, an annual event in Nashville with a mission in inspiring women entrepreneurs. Sydney is a wife and mother to Sawyer James and has an unwavering passion for entrepreneurship, the color pink, and her two furry companions, Stevie Nicks and EmmyLou Harris. Learn more: www.renaissancemarketinggroup.com

Send us a textEpisode brought to you by: NexusPoint Feeling overwhelmed in your business? If you're stuck in a loop of constant tasks and firefighting, you're operating—not owning. The solution isn't more hours, it's smarter systems and empowered delegation.That's where NexusPoint comes in. With over a decade of entrepreneurial experience, they help founders streamline operations and integrate global talent—so you can lead like a CEO, not just survive like an operator.Exclusive for The Renaissance Podcast listeners: NexusPoint is waiving their $500 recruiting fee. Book your FREE consult: go.nexuspt.io/rmgIn this inspiring episode, we're joined by two podcasting powerhouses: Amanda Bennett, Podcast Guesting Strategist for mom entrepreneurs, and Cait Howard, founder of Amplify Boutique, who helps women launch authority-building, revenue-driving podcasts.They dive into why podcasting is the strategy for women founders in 2025—and how it fuels brand growth, community, and connection. From behind-the-scenes struggles to scaling with sound, Amanda and Cait pull back the curtain on what makes podcasting such a powerful tool.We also discuss their upcoming Podcasting Moms Conference (April 7, 2025)—a one-day, in-person event built to empower mom podcasters to grow their shows, monetize their platforms, and own their voices.In this episode:Why podcasting is a must for women entrepreneurs in 2025Signs podcasting is (or isn't) right for your businessAmanda & Cait's journeys into the podcasting worldHow to build a podcast community without relying on social mediaTech tools, monetization tips, and time-saving systemsThe truth about podcasting as a busy momWhy the Podcasting Moms Conference is unlike any other eventThis episode is your permission slip to show up, speak up, and shine.

President Leahy joins Matt Harmon for a mid-semester check-in to discuss construction progress and the topping-off ceremony at the new home of the Bruce Springsteen Archives & Center for American Music, as well as the upcoming American Music Honors featuring Smokey Robinson, John Fogerty, Emmylou Harris, Joe Ely, and Tom Morello —and the global attention […]

Lesley Logan speaks with author and publisher Kristen McGuiness about balancing motherhood, entrepreneurship, and creative pursuits. Kristen shares her journey in publishing, how she makes time for writing, and the inspiration behind her novel Live Through This. She also discusses activism, navigating personal challenges, and the importance of following your inner voice.If you have any questions about this episode or want to get some of the resources we mentioned, head over to LesleyLogan.co/podcast. If you have any comments or questions about the Be It pod shoot us a message at beit@lesleylogan.co. And as always, if you're enjoying the show please share it with someone who you think would enjoy it as well. It is your continued support that will help us continue to help others. Thank you so much! Never miss another show by subscribing at LesleyLogan.co/subscribe.In this episode you will learn about:How Kristen transitioned from editor to author while working in the publishing industry.The realities of balancing motherhood and a creative career.Why creating boundaries around personal time is essential for productivity.The inspiration behind Live Through This and its connection to real-world issues.Different forms of activism and how storytelling can drive change.The importance of trusting your intuition and taking action despite uncertainty.Episode References/Links:Rise Literary Website - https://riseliterary.comRise Literary Instagram - https://instagram.com/riseliteraryKristen McGuiness Instagram - https://www.instagram.com/kristenmcguiness/Guest Bio:Kristen McGuiness is the bestselling author of 51/50: The Magical Adventures of a Single Life, which was optioned by Original Films/CBS Cable with Alison Brie attached to star, and her new novel, Live Through This, which was released from Rise Books on October 10, 2023. She has over twenty years' experience in book publishing, as an author, editor, and book publisher, with such houses as St. Martin's Press, Simon & Schuster, and Harper Collins. Kristen is the publisher of Rise Books, launching in 2023, which publishes fiction, non-fiction, and poetry of radical inspiration, and also runs the book coaching company, Rise Writers, which provides book coaching and management for emerging and established authors. Kristen has appeared on the “TODAY Show,” in USA Today, and in Marie Claire, and has written for numerous publications, including Rolling Stone, Marie Claire, Shondaland, Huffington Post, Scary Mommy, Psychology Today, Salon, and The Fix. She lives in Ojai, CA with her husband, two children, and a dog named Peter. If you enjoyed this episode, make sure and give us a five star rating and leave us a review on iTunes, Podcast Addict, Podchaser or Castbox.DEALS! DEALS! DEALS! DEALS!Check out all our Preferred Vendors & Special Deals from Clair Sparrow, Sensate, Lyfefuel BeeKeeper's Naturals, Sauna Space, HigherDose, AG1 and ToeSoxBe in the know with all the workshops at OPCBe It Till You See It Podcast SurveyBe a part of Lesley's Pilates MentorshipFREE Ditching Busy Webinar Resources:Watch the Be It Till You See It podcast on YouTube!Lesley Logan websiteBe It Till You See It PodcastOnline Pilates Classes by Lesley LoganOnline Pilates Classes by Lesley Logan on YouTubeProfitable Pilates Follow Us on Social Media:InstagramThe Be It Till You See It Podcast YouTube channelFacebookLinkedInThe OPC YouTube Channel Episode Transcript:Kristen McGuiness 0:00  I'm a mom who prioritizes being a mom, but I also don't want to lose myself in that activity, and I don't think that is healthy for my children either.Lesley Logan 0:10  Welcome to the Be It Till You See It podcast where we talk about taking messy action, knowing that perfect is boring. I'm Lesley Logan, Pilates instructor and fitness business coach. I've trained thousands of people around the world and the number one thing I see stopping people from achieving anything is self-doubt. My friends, action brings clarity and it's the antidote to fear. Each week, my guest will bring bold, executable, intrinsic and targeted steps that you can use to put yourself first and Be It Till You See It. It's a practice, not a perfect. Let's get started. Be It babe, oh my gosh. Okay, I felt like I just met a dear friend who I've never known. But it's kind of shocking how we didn't know each other before, because I felt like our paths would have crossed. She's an author, she's a publisher, she's a mom, she's an honest, vulnerable human being who I think is going to inspire the heck out of you to lean into who you are and how you do things. And I just really, truly love this conversation. We are going to talk a lot about how Kristen McGuiness got into books, what her world is in books, how she does it and writes especially with kiddos. You're gonna hear some great ideas I hope you use. I love her quotes at the end. I will just say that we do get into talking a little bit about mass shootings and school shootings because of her fiction book. So just protect your heart if that is something raw for you in this moment. But I hope you listen, because I actually can't wait to read her book, and so I'm gonna read it before I do the recap, because it just sounds really cool, and I'm really inspired in this moment. And so I'm saying this after I interviewed her, so I know that you'll be inspired as soon as you're done listening to this. So here is Kristen McGuiness. All right, Be It babe. This is going to be fabulous. I already know it. I just met Kristen McGuiness a minute ago, but I can tell by who she is and what she's been up to that you are going to love this person, because, like you, they wear many hats. So Kristen, can you tell everyone who you are and what you rock at?Kristen McGuiness 2:11  Absolutely and thank you for having me on I'm so glad we were finally able to do this. And it always ends up being perfect timing when you get to do these things and the day and moment you get to do them, when it, you know, made sense at the other time. But, yeah, I'm Kristen McGuiness and I'm a book lady. I mean, I think that's the or a book bitch, depending on the moment. But I've been doing books my whole life, you know, since I was a kid, I always say they're my first addiction. I ended up gathering more than that, less healthy addictions, but I started with books. And just, you know, the places and imagination that we get to escape to when we're reading. And it's no wonder that that became my profession. I continued to love books, you know, try to write books. I ended up starting my career in book publishing at St. Martin's Press and Simon & Schuster and then later Harper Collins. I worked as a book scout in Hollywood for a brief bit, like reading books to develop into movies for Warner Brothers. And then I became a book publisher and a book coach and a bestselling author myself. So it's just, it's all books all the time. That's what I do, and a big and amazing part of that has been helping other people write their books. Lesley Logan 3:21  Okay. That is so fun. That's so cool. I imagine you as like a girl, little girl, like reading all the time, and then you get to just read all the time. Like, how fun is that? Okay. I think where I'd want to start is, it sounds like you were in books, but then you wrote a book. So what was it like to go from reading other people's work and, like, not picking it apart but going, oh, this would be great for this, or this is great for this, and then to writing your own? Was it an easy transition? Were you nervous? Were you excited? Like, what was going on?Kristen McGuiness 3:49  You know, there's some editors that are happy to be editors, and they know that's like, what they love to do. I was always an editor who wanted to be a writer, and so that's just a different dynamic. And I still love editing. I mean, I can simultaneously be editing a book and writing a book at the same time and enjoy both processes. And I mean, honestly, sometimes the editing is more fun because, you know, the stakes aren't as high, right? Like, and it's not on me. I mean, it's on me to help it be good, but I'm not the source of the goodness. Whereas when you were the author, it's really hard to be like, I'm a shitty editor. It's really easy to be like, I'm a shitty writer. So I really enjoy getting to do both. But I was definitely always someone who wanted to do both. I mean, I ended up leaving book publishing, and that's how I wrote my first book. I went into the world of nonprofits, and that became like a secondary career to books during a period of my life just because I moved out to California and there was no, I mean, now there's more opportunities in that field, but at that time, there was, like, no book publishing in Southern California, and I preferred I wanted the weather. So I chose weather over books.Lesley Logan 4:55  Wow, you really wanted the weather.Kristen McGuiness 4:59  I do. I really like the sun. Lesley Logan 5:00  Oh my God. Well, and you have some sun going on you. And also, I understand that, as someone who's California born and raised, I can visit a city, and I'm like, I could do two weeks in this weather, but I gotta go back.Kristen McGuiness 5:12  Yeah, no, I very romantically lived in Paris for one year, and my friends all joke about, like, how much Kristen hates Paris. And I'm like, I don't hate Paris. It was just that it was gray every day, and I ended up with seasonal affective disorder. Like it wasn't, I mean, it was like nothing I could control. I was just horrifically depressed and wanted to throw myself into the sun every day. But I'm like, it really wasn't Paris's fault. I just need sunshine. Lesley Logan 5:36  It's just like the location of Paris is just not ideal.Kristen McGuiness 5:41  If I could pick it up and move it somewhere else, that'd be fantastic. So I, you know, I ended up moving out to California and ended up in nonprofits, and that's when I did write my first book. And I think I did have to remove myself from the book publishing industry in order to write a book. And I don't think that's true anymore. I'm doing both very simultaneously right now, but in that period of my life, I did so that I could just really have that fuel tank of creative energy just for me. Lesley Logan 6:10  Yeah, yeah. I understand that. I I think, like even just to not have distractions or especially with something new, even though books weren't new to you, but writing your own is a new thing. You kind of have to, like, kind of immerse yourself so you can really get into it. You know, I know your mom, and I think having all of these hats and then having kids, I know, like, for our listeners, there's always people going, how do they balance it? And I don't have children. So when I say, I don't think balance is real. People nod, but don't really listen to me, because like, but I don't I think that there's a blend. And I think that, you know, my yoga teacher says balance is the art of not falling, and that just means that you're kind of tilting over here, and then you're tilting over here and you're trying not to fall either way. And that resonates with me. But can we talk a little about what it's like to be curating this amazing career that you have, you know, being in books, of writing books and being a publisher and doing that while, you know, parenting and bringing kids into this world. What was it like? Kristen McGuiness 7:06  Well, that's why I'm in a hotel room right now. So, you were like, so how do you, I'm like, I literally go to a hotel room two nights a month. That's what I do. And I joke, again, I'm a former addict, so it's like a drug vendor. I'm like a Hunter Biden, but with books. So I just, like, pull myself up in a hotel room for like, 48 hours, and I just write like a wild Banshee with caffeine and Red Bull. I mean, I find, though, whatever that looks like for people, I do think it's about creating the pockets of freedom and the pockets of concentration and the pockets of creativity, because, I mean, I'm also just somebody, like, I always eat one thing at a time. I'm not good at, like, fully integrating. So I can't be in the middle of parenting and then be like, give me five kids. I'm gonna go edit a book. My brain doesn't work that way. And I do think, speaking of the creative fuel tank, I think, at least for me, my creative fuel tank is the same place where I draw my maternal energy from, not surprisingly, because they're both creative forces. And so when I'm in my mom mode and I'm really with my kids, I am running off that creative fuel in the same way I would be if I was writing or editing. So I think it is really hard to be a creative and a mom, because if I've been momming all day long, like I, at the end of the day, I've got nothing left. I mean, I could, like, do an Excel spreadsheet. I can put the dishes in the dishwasher, but I'm not going to come up with a masterpiece. And so I've really learned how to pull this time out. Hence, I mean, I wrote a screenplay in the last 12 hours, that's what I have done here today. So I came here yesterday at 3pm and I was like, we're writing a screenplay before I got that podcast tomorrow, and I literally finished it right before we began. But that's how I've learned to like, if I'm if I care about my creative career, which is not even a career that pays my bills. I mean, that's still, you know? I mean, it's still, like a speculative career, if I care about that, whatever that thing is that you love to do, like, I've got to really create a boundary for myself to make that something that I hold sacred.Lesley Logan 9:14  I am obsessed with this. I love this so much. I really do. I, first of all, my friends make fun of me because I'm like, oh, you're going there. This is my favorite hotel. Because I love a hotel. I find I get so much done. I wasn't even in a hotel on Monday, but I was at a friend's house, it kind of felt like a hotel. And I was like, oh, I got all my work done in three hours. Okay. And I was like, that is so funny, because when you're at home, there's so many distractions. Like, before we're on this podcast, we have an older dog. By the time this episode comes out, it's probably passed at this point, but, you know, it's hard. It's how you're like, oh, okay, so we're gonna be late on that call because I got this thing, and then I gotta do some laundry. And you just can't be that creative person. You have to kind of remove yourself. But I also just love that you highlight, like, I have pockets of this, and I think protecting those pockets, like a pocket of this type of thing I'm going to focus on this here. It allows you to kind of show up and be their best version of yourself in that moment, and not kind of stress about all the things you thought you'd fill in those two hours. Kristen McGuiness 10:08  Yeah, yeah, I've learned. I mean, I've, I mean, look, I think most moms struggle with self sacrifice because motherhood really demands it. I mean, it is hard you constantly or be laboring like, how do I, I don't want to put myself ahead of my kids. I mean, I want to, you know, I mean, they are in and I have young children. I have a five year old and a nine year old. I mean, the nine year is obviously more independent, but they're still school-aged children. I don't have teenagers at home, and so there is a lot of caregiving, physical, emotional, psychological that is taking place. And I want to prioritize that I am a mom who prioritizes being a mom, but I also don't want to lose myself in that activity, and I don't think that is healthy for my children either. And when I do lose myself, that's when I am my worst mom, that's when I'm angry, that's when I'm quick to temper. It's when I don't feel like I'm getting to take care of me. And so I've just really learned that, you know, I come, you know, my mom's, like, a boomer, we're actually in a fight right now, so it's really interesting. And we're, and it's a fight about exactly these things like these intergenerational dynamics of like, I have to, like, still lie to my parents and tell them that I'm here doing a business meeting. Because they'd be like, why are you spending money on a hotel to work on a screenplay that you're not getting paid to do? And I'm like, because I will go insane, otherwise, it is so valuable for me to stay sane and creative and whole and human. My mom came from a generation, although she's incredibly makes very selfish choices now, like it was all about, like, you sacrifice all the way up until retirement, and then you just get to be selfish every minute of the day. And I'm like, that doesn't look I mean, I think we've seen by the gross impacts of your generation's choices, that probably wasn't a good idea. But also I don't think that makes it like a well-lived life. I want to feel like I'm getting to show up for others and getting to show up for me in some level of consistency. And I absolutely agree, like balance is just not falling down. And also, sometimes I think balance is falling down because that's also part of it. You're like, oh, fuck. You know, like, I'm off. But I do think creating that integration between we take care of others, but we still take care of ourselves and our dreams and who we are, and not losing that identity that exists before, during and long after our children are grown.Lesley Logan 12:22  Yeah, and also, I just think it's really cool for your young kids to see that you do protect the things that you love. You protect your time with them, but also they're seeing you go and protect the time for who, like, whether or not you get paid for the screenplay. Like, it's not about that, because the screenplay could lead to something else, into something else, but, like, it makes you feel whole, and it makes you feel alive, just as much as parenting would, but it's a different part of you. And so I think it's cool they get to see that, because then they get to, when they get older, know that there's an option for them, you know, like, there's, there's possibilities, and there's ways they get to see it an example. Kristen McGuiness 12:57  Yeah, no, I, and I think it's really about like showing. It's, I mean, again, I've just written, like, literally, I'm just coming off of writing the screenplay, and there's a whole like, scene in the screenplay where one of the characters say, we can't control what happens around us, right? The only thing we can control are the choices we make in that, you know? I mean, I'm an entrepreneur. My husband is also an entrepreneur, which is just, I mean, the level of insanity that that brings, and especially in the last couple of years where, like, the global economics have been far out of our control, so we've been terribly impacted by sort of the larger financial environment. And I'm like, but you know what? We get to make choices within that. And that doesn't mean that all of them are happy, some of them are hard. But just to feel like I have no choice, and that this, well, this is just the way it is, right? And it's like, no, I mean, we get to create our own pathway through whatever we're navigating. To me, you know, I always say to myself, it's like my little mantra, like, I'm going to write my way through this, whatever is going on, I'm going to write my way through this. And that's just, you know, for others might be, I'm going to Pilates my way through this, right? Like, whatever the thing is that's your source of healing. And also the thing that helps you to understand how and why life happens. That's what you have to tap into. And without that, I mean, then I think you are just on the floor, right? Then you can't even, then there's no balance, because you can't even, like, you don't even have a foundation underneath you.Lesley Logan 14:16  Yeah, yeah, it's so true. There's a million things that go on in a day. I was just recording the podcast drops that we call FYFs, Fuck Yeah Friday, and it's just a short episode where I share listeners wins, and I share one of mine. And I was like, there's 17 things that have gone wrong today, like 17, and they're all out of the control. None of them were things like, I knocked the first domino forward on that. So you have to just go, okay, what are those do I need to deal with? Can I just put that over here? Or what can I do? What is possible in this moment for me to handle so that I can keep moving the ball forward? Because, like you, my husband and I are both entrepreneurs. We work together, which is this own level of insanity. Kristen McGuiness 14:53  I love you both. Lesley Logan 14:55  I know everyone's like, so how do you do it? And I was like, I'm just gonna tell you right now. We're still figuring that out, and I think communication is really key, and sometimes we suck at it, but you try and you just go, okay, didn't handle that so good. Next time, I'll handle that better. But I think it's really there's honesty about it, and I love that you said you write your way through it. Some people will Pilates their way through it, or journal their way through it, or take a long bathrobe. But like, you, there's got to be a process for which you reflect and learn and integrate what's going on in your life.Kristen McGuiness 15:26  No, absolutely, and yeah, again. God bless you for being an entrepreneur with your husband. I try to, sometimes I have to help my husband with his business, and I'm like, I would quit this job in like five minutes, but he owns a restaurant, which is, like, I think the worst business you could open, honestly, I'm like, oh my God, every time I go to eat now at a restaurant, I have so much grace and gratitude for what happens. Our pediatrician once said, no one knows how expensive the cheat meal is. And I was like, so true. Like, you have no idea what people do to sell you food in a restaurant.Lesley Logan 16:01  Oh, you're, bless your husband and all the restaurateurs out there, but that's, I don't like the margins, but I would say books are very similar. So I feel.Kristen McGuiness 16:11  You realize that, thank you. We kind of realized that a little late. We're working our way through that. We did not know that. We thought, we knew that books were a slim profit margin. We naively thought the restaurant business wasn't. Then we discovered both were at the same time. We were like, you know, there's a great Macklemore song where he says, if I had done it for the money, I would have been a fucking lawyer. And I'm like, that's like, my bumper sticker I got in the back of my car. We're truly here for love and fun, and the belief in, apparently, pizza and books, but pizza is important. I will never deny that. But, yeah, no. I mean, we have learned. I mean, we are in a very high stress, double entrepreneurial situation, and also have an aging dog, and we are also in the end zone of what's to come on that. And it's just, it's so brutal, and yes, and it's the same thing where, like, there are days where we do not do it well, certainly. And then, like, recently, I've just, you know, been realizing that there is so much about this that you have to take your hands off the wheel, you know. And I've joked, like, I know, if you have seen the other the little gif at some point, I think everybody has. It's like, the end of Thelma and Louise. We're like, Thelma and Louise grab hands, and then the car flies off the Grand Canyon and like a hubcap falls off. And I've been using that gift is like, I just send it to everybody I work with, because I'm like, this is my business strategy. And last night, when my friends was like, you can't tell people that. And I was like, no, but it is because there is something about living your dreams that is just like a hope, a prayer and floor the fucking car, and, like, off you go, and you got to know that you're going to land. It might be a terrifying drop, but you're going to land. I mean, obviously, hopefully not in fire and death, but that's not going to happen, right? Like, no business ends like that. And so it is just this thing of, like, at a certain point you can work really hard, you can do all the strategies, right? But like, ultimately you didn't hit the first domino. And you just have to sometimes be like, Mercury is in retrograde, and we're just gonna wait until August 28 rolls around. Everything goes direct, or whatever it is, the thing that you know is, like, this is just, we're in the pressure cooker right now, but like, relief is always on the way. Lesley Logan 18:22  Oh, my God, this retrograde? We are feeling in every possible way of tech. I'm like, Okay, well, okay, we'll just redo that. We're like, I have a astrologist that I listen to who's always like, if it's put an argument in front of it, and that's the best thing, refine, reorganize, read, we're redoing. We're just gonna but I agree, you do have to take the action. You do have to put the pedal to the metal, but then you also have to, like, release and go, you know, it's gonna end somewhere. And some of the best things that ever happened in my business were the ones that felt that kind of happened for me, or to me or without, without the control, and I just have, it's not the right place at the right time, because I did the work to get there. But also, couldn't have happened without some just like magical or universal or divine appointment that happened along the way. And then you just have to ride that. You just have to enjoy that. And I also think it is crazy that I work with my husband. I also am so grateful because it's really fun to work with him. And I don't know that a lot of people can put up with my creative energy. There's not a lot of people who would be like, we love that idea. Lesley, we're gonna put that over here. You know, like a partner can go, yeah, later, until later. It's really refreshing and also just really nice to hear like, you know, you don't have everything figured out. Not everything happens the exact way it's supposed to. You didn't just turn a light switch on, and things worked. So thank you for sharing that. I want to get into, like, your latest book, is it Live Through This, and I just, can you tell us maybe, like, what was the drive like, why did you have to, like, why was it something you wanted to, like, get out of you, and what are you hoping that people get from it? Kristen McGuiness 19:52  Absolutely, yeah. I mean, I really lived through this. That nine-year-old was, at the time, only one years old. So it was in 2016, and it is not a spoiler alert, because it happens in chapter two. There's actually a mass shooting that sort of is the impetus for the whole story that kind of explodes across the rest of the pages, quite literally. And I was really moved to write it because, I mean, obviously we are a nation that deals with mass shootings all the time, but as we know, it's almost like a season, like there are these moments where it just feels like it's every day, you know, you're just like, oh my God, another one. Oh my God, another one. And 2016 felt that way. There were a lot of them, sort of back to back, and they had actually happened in places where I knew or was just felt like really emotionally connected to, actually, the shooting that happened in Paris, the Bataclan attack in November of 2015 I think that was, was in the neighborhood where we used to live in Paris. Someone was actually shot on our street corner. And then there was a shooting in San Bernardino at the regional center, which was 40 minutes from where I was working at that time at a nonprofit, also in a government building. So we began to get trained in our offices about what to do in the event of a mass shooting. And then the night of the Paul shooting was really the impetus where I was just like, oh my God, enough. My husband and I were about to go to a live concert a couple weeks after that shooting, and I began to get really scared. And I'm just not somebody who has, like, I have no agoraphobia. I'll go anywhere. I don't have a lot of just those kinds of fears. Or I'm really adventurous. I love to be out and about. And it was like a band we love and personally know, and a really fun night. And I actually began to get scared to go. And so it sort of led to this, you know, as a lot of books I think come out, oh, it was like, what would happen if, right? And I was like, what would happen if there was a shooting that night? And out of that began this story. And so it is about a shooting at a nightclub and a concert, and the main character loses her spouse, which, again, it happens in chapter two. So it, you know, it's kind of silly to hide it. And she begins to navigate what happens, not just after you lose someone, but also what happens after you go sort of like accidentally viral and suddenly and I started writing this long before Parkland, but it is the Parkland journey of what happened with a lot of those kids who've experienced significant trauma, not just from the event, but from the activism afterwards, because obviously they wanted to be part of activism, but the, and in the same with the Sandy Hook families and everything that happened with Alex Jones is that they're just dragged through the mud, and it's just so horrible what happens to them, and death threats, and, you know, it's like it was bad enough they went through the shooting, but now they have to go through this. And so she's navigating all of that, but it's 2016, it's on the eve of what ended up being a really shocking election that has dictated the last eight years of our lives. My God. oh my God, please let it end. And so this character isn't just deciding, hey, am I going to be an activist about what just happened to me? But also the story kind of stands on the pinnacle of art, what became our modern times. You know, how am I going to show up in this world as a person? And it's also about, really, her finding her voice, and she's coming out of a very complicated and hard marriage, and she grieves them, and she also has relief from what was a hard marriage. And so it's also about that, you know, I, I had that experience when my own father died, when my husband is completely alive and taking care of our kids, but, but when my father died, I really, you know, I really depicted it more about that relationship, because I had a very complicated relationship with my father, and when he passed away, I had a therapist who said to me, you know, you can have any reaction you want to this, and that includes relief, and it was such a freeing thing, because, you know, it's always like when someone dies, we're supposed to be sad. And it wasn't that I wasn't sad, but also I didn't have the complexity and the trauma of that relationship in my life. And so she's navigating that she has a young child, so she's also navigating being a single mom and all these different pieces. So it's interesting because it's set, now, it's almost like historical fiction, right? Oh, those sweet and gentle times of 2016 the days of yore, so, but it is also a lot about marriage and parenthood and sacrificing your dreams to show up and be a stable you know, I'm going to take care of the family and I'm going to do what I need to do, and she's in a nine-to-five job, and she sacrificed her dreams to just try to be like a normal person, only to discover that there's no such thing as normal, especially in modern America. And so we called it like a modern, suburban Western, because it is about that, and she has to become her own version of a gunslinger in the end.Lesley Logan 24:28  I do love that it's now historical fiction, because I too long for those days sometimes my husband and I sometimes I'm like, I just want to not know the house representative for, like, a state I've never been to. I just want to not know who that person is, but also like, how naive and how unique a time that was as well. Thank you for sharing the story. Now I feel like we need a Be It Till You See It book club, you guys, I want to hear all of your thoughts on reading it. I find fiction fascinating because I actually love it. I grew up on like Judy Blume, which is like fiction but not, you know what I mean. It's like, always based on something that happens, and then it's like, the story of it, your daughter, your it was your nine-year-old just one. Excuse me. Yeah, so with your, was there a part of you that was, like, writing it because also to be a parent of a time when, like, yeah, it's, I don't know how parents in their school, kids school, my mom's a school teacher. She's a first grade school teacher, and the thing she's telling me that she's have to prepare for, I'm like, you should not have a gun. I'm just gonna tell you right now, you know, I grew up with the earthquake drills. Now it's very different. And so was it partly just, it was even therapeutic, or just like, ways for you to kind of understand what you're going into as a parent at a time when this is such a scary thing going on?Kristen McGuiness 25:40  Yeah, no. I mean, that was definitely a driving force. I mean, it's a driving force every day, I think. I mean, especially now that I do have school aged children, and I mean, I make sure I kiss them every morning, just God forbid, I will not let them go to school without hugging them and kissing them. Because I remember one of the Parkland fathers, actually one of them who became quite active. I forget his name now, but he always said that the morning that his daughter left for school, they were really busy, and he didn't hug her and say goodbye, and he never knew he would never not see her again. And I just can't even fathom that pain, especially under the conditions that those murders take place. And so, yeah, I mean, I definitely wrote it for that. I mean, there's a as one of the my blurb authors, Gina Frangello, who's amazing, gave me this great blurb that's saying, like, it's a call to action, and the book really is. I mean, there's a moment in the book where the main character, I discovered, long after writing it, that there's actually a genre called autofiction, which is what I wrote. I just didn't know, you know, my own genre's name, until, like, six months ago, where it's like, it's totally my life, like anybody who reads the book, like, my husband's name is Terry, and my friends all call it the book where Terry dies and like, it freaks them out, because they're like, wait, he's still, he's still alive, like, I just saw him yesterday, but like, it's like the book where Terry dies, and I did. I mean, I did use our lives, because at the time, I had considered writing a memoir, but we're not that exciting of a couple. We don't drink, we don't smoke, we don't cheat on each other. I joke, it would just be like 100 pages of people arguing about finance and ADHD.Lesley Logan 27:08  There's, there's a, there's a group of people who would read that, you know?Kristen McGuiness 27:12  I mean, they still can, because they because the couple still argues about finance and ADHD in the book. But we just, we raised the stakes. They need a little more plot, a little more plot. So I gave it a lot of plot. But I mean, there's a scene in the book where the main character ends up having a meeting with the President of the time prior to Trump. And I didn't like, use Obama's name, but it's clearly him, because Obama would meet with people after those shootings, and she ends up with a one-on-one meeting, because she ends up kind of getting a little fame under her belt, and in that meeting, she flat out asked for an executive order banning assault weapons, because it's just and that's why, I mean, ultimately, I say like that is what? If you ask me what the book is about? Yeah, it's about marriage and single motherhood and mass shootings, but it's really about the need for, excuse me, an executive order banning assault weapons. One point, I'd actually worked on building a whole campaign around that, and an activism campaign, and then with everything that happened with the Biden administration, it didn't make sense. But I was just talking to one of my colleagues the other day, and I was like, look, if Trump makes it into office, we can just say goodbye, but if I'm like, truly, like, see you later, buddy.Lesley Logan 28:14  I know, especially after the most recent Supreme Court situation on that. I was like, What are we doing? Kristen McGuiness 28:18  I know. See on the flip side. Yeah, my husband and I like a boat, a boat sounds good. But if Kamala makes it into the office, there are some real changes that the Democrats have failed to make, multiple times over, with multiple opportunities, with control of the Senate, control of the House, and I would hope that she will take this enthusiasm and momentum, although obviously it will wane, because it is what it is. But I do think that people have returned to the fold in a way that's like, okay, let's just fucking do this. But once she, you know, presumably, gets to do it, she has to do something, because we just can't have somebody else show up again and not take control of the situation. Lesley Logan 28:59  Yeah, I love that. You said that what I'm thinking of is we live in a world where we do all have to be activists of some kind, but not every one of us is someone who wants to stand on a line and protest. That's not everyone's way of being an activist, but there are unique ways where we can be activating in people. And for some, you're barely keeping your head above water. And so your activism is telling your friends to vote, and you voting and doing the research, you know, like that could be your form of activism these days. Because, my goodness, if you don't know the US's voting records, or people are just don't do it. I've been to Australia. They're like, I don't understand. Like, we make it a holiday and everyone does it. It would be so weird to not do it. Kristen McGuiness 29:37  Well, it makes so much sense, wouldn't it? Lesley Logan 29:38  Yeah. And they're like, and you guys are just only this many people. I'm like, I don't really, I don't want to tell you. So for some of you, it might be an activating thing to go do that, but I love that you took this desire, this drive, this passion, and you put it in a form for people who want to have a really good read can be inspired by and also go, oh hold on, wait a minute. There are things that we can do, and there are things that can be done. And from our lips to their ears, my fucking goodness, if they do not hit the ground running, if they get what they need, like, I don't know what we're going to do. Want them to act with a little, just a little bit of urgency would be great, yeah, just that fucking tiny bit. And all this to say, the administration we have currently has done a lot with what they've had, but there was a two year mark where we could have just done a whole lot more, just saying, but I think like you're showing I hope that what everyone here is hearing this is like, you can have different ways of being an activist and different ways of inspiring people to think about what is possible and what can be done and keeping things in the forefront, because you're right, it goes in waves. That's not that we haven't had mass shootings. Unfortunately, they happen every day, and our media doesn't talk about it anymore. And then there'll be one, so then they'll talk about a few, and then they'll keep going, and then it becomes something else. And our media has talked about ADHD. They have a whole different acronym of what their attention span is. And so I appreciate your book, and I also appreciate this is a different way we can all figure out how we can take what we love and still use it to inspire others to take different actions. And I think that's really cool.Kristen McGuiness 31:14  Yeah. And I think, you know, going back sort of full circle on and, I mean, I think everybody has their the thing they used to get through life, right? Like I said, I write my way through this. So for me, my political activism, it makes sense for me to write it. That's the space in which I'm comfortable, you know. And everybody has their space in which they're comfortable. It's about to me, I think the most important thing is, as long as you keep paying attention, because the minute we stop paying attention, and that's the biggest thing too, is whatever way in which you can help other people to pay attention. You know, not just because you post on Instagram, although I don't not recognize how important that is, too. You know, the more that we are sharing information with each other, the more that we are talking, the more that we are activating each other into just awareness, hopefully, the better our world will be and the more we will demand the people in power to make certain decisions. And it does kind of go back into that idea, it's like, you know, we can, we can't control what the President does, but we can make choices every day to be part of that conversation in whatever way feels right and good and aligned with who we are. And so, you know, I've always been a political person, but I do believe that we all have our path through just navigating life and impacts those big systems have on all of us, no matter who we are.Lesley Logan 32:31  Yeah, you're so right. My husband, people wouldn't know, but his second hobby is like political podcast, the amount of research he does, and he's also the type of person who phone banks. So whenever they're like, are you volunteering? Like, only one person in the household can do it. Some of us have to keep the wheels on the bus right here. Kristen McGuiness 32:47  Like, phone banking's over here.Lesley Logan 32:48  He's phone banking, but he, I watch him all the time in his way of activating and activism, he's not afraid of a conversation with someone who disagrees. And he's like, oh, have you heard this podcast? And he'll just use a podcast episode that will explain to someone he's like, just think, just listen to it. There are ways of doing it. He's not on socials. Lucky him. You know. But like we each can have our way of being part of this society and making change. And it can be loud or it can be writing a book. It can be writing a play. It could also be how you teach a class. It can be the types of music that you're using to help and inspire people and have people ask questions. Or it can be like, Brad is like, oh, to our friend who had a flag up, we're like, it's interesting. I wouldn't have expected that from that person, and he just went with quiet curiosity and was like, oh, you should listen to this episode right here. And the guy did, that's where you make really big impact, is on those small relationships. It doesn't feel big in the moment, but it's big over time. And so you're just freaking cool. You're so cool, we're all gonna go read your book. What are you most excited about right now?Kristen McGuiness 33:50  I mean, I just wrote a screenplay in 12 hours, I'm very excited about that.Lesley Logan 33:55  Yeah. What did you guys do listening? She wrote a screenplay in 12 hours. I forgot my laundry in the wash machine. Kristen McGuiness 34:00  That's not what I do every day of my life, folks. So, by no means, there are a lot of days that are just laundry and lifting up a 80 pound dog who can't stand by himself. I take care of a lot of people, no, but I did get to do that. But the exciting part of that, the reason why I just cracked that out, is that Live Through This is actually going to a very big actress in the next week, and I wanted to have some sample writing to go with it. So that was the motivation to be like, I'm having dinner with the producer tonight. And I was like, I'm going to crack out that screenplay. She's a dear friend of mine. I'm going to give her a draft of it tonight, and hopefully next week we can turn around fast enough so that this book and this screenplay that I just wrote that is similar in that it's about, I mean, my poor husband has become a very unfortunate muse, but we just went on a two week trip to Greece that I said was like an odd DC and adventure. It was like, people like, how was your vacation? And I'm like, how do I respond to that? I'm far too honest to be like, it was fun. I'm like, it was not like two weeks laying around Hilton Head. It was a fucking life changing adventure, in good ways and bad. So I decided, you know what, I'm gonna write a screenplay about that experience, except for it includes, you know, talking cats and the goddess Artemis. And it's like, it's super funky and fun, and that's just what I did. And the beauty of it is that I am also a book publisher, and I'm a book coach. I have a book coaching company, Rise Writers, and a book publishing house, Rise Books. So, so much of my time when I am not parenting, I actually am not a writer. That's not what pays the bills, right? So I have this other really big creative job, but it's so much of my time and energy goes into other people's creative projects. So when I just finished that screenplay, I was like, who knows what's gonna happen with this crazy thing I just wrote. But the fact is, I got to just do that for me and the catharsis and excitement. I mean, I'll watch anything with a talking animal. So, I mean, I just figured if nobody else ever wants to see this movie, I'd watch it just for a talking cat named Gordon. Lesley Logan 35:57  Oh, don't you love a pet with, a pet with a human name. I screwed up. We named all of our animals like something important, and the next round is going to be like, Bob and Jonathan.Kristen McGuiness 36:09  My dog's name is Peter. It's actually like, it's so funny, because there are a lot of dogs with human names, but that wouldn't, for that reason. And he also looks like a human so he actually confuses people. When people look at my dog, they're like, oh Peter. And you see, there's a moment where they go, is that a person or a dog? Lesley Logan 36:26  Yeah, yeah, yeah. I understand. I understand. Oh my god. I adore you. I'm so excited to see where this goes. And I just so appreciate your vulnerability and honesty about how you do life, because I think that, for everyone listening, there's something to pick up there. We're gonna take a brief break, and then we're gonna find out how people can find you, follow you, read all of your goodness. All right, Kristen, tell us where people can read your amazing book, or find out if Gordon ever makes it on the big screen. Kristen McGuiness 36:51  Yeah, let's say if ever there was a cat who deserved the big screen. No, you can find me at Kristen McGinnis on Instagram or @RiseLiterary, but my website is riseliterary.com where you can learn more about me and the book publishing house, Rise Books, as well as all of our book coaching programs. If you are writing a book and are interested in finding out how you do that, we offer lots of ways to find your path to publishing, which is like our trademarkable motto. But also you can find Live Through This anywhere it's sold. It's distributed by Simon & Schuster. So we are everywhere, Barnes and Noble, Amazon, I guess I will flash the book, yeah. So wherever books are sold. So yeah, but otherwise, just come and check us out and hope to connect with some of y'all listening soon.Lesley Logan 37:40  All right, before I let you go, bold, executable, intrinsic, targeted steps people can take to be it till they see it. What do you have for us?Kristen McGuiness 37:48  All right. This is, when I read the email beforehand. I was like, yikes.Lesley Logan 37:55  I know you know what though, you're brilliant. It'll, every like, it's gonna be brilliant, whatever you say, so don't be yikes.Kristen McGuiness 38:02  No. I mean, I think if I could just show the gift from the end of Thelma and Louise, that would be it. But, I mean, I do think it is it, you know. I mean, I think it's about never lose sight of the dream, no matter what, and no matter what gets in the way, you know, no matter what life shows up, no matter what children you have, no matter where your marriage goes, or whether you get married or not, or whether you have kids, no matter whether the dog passes away or you get a kitten, you know, no matter what comes there's this great I think it's an Emmy Lou Harris song that says all that you have is your soul. And I think that that's really true. We are always there underneath it all, and as long as we connect back into that, and I'll actually end on an Oprah quote, one of my authors put this in a book that she just, we're publishing in May, called Rewrite the Mother Code. I will also honor her, Dr Gertrude Lyons, she's writing it, and she puts this Oprah quote in there that said, I've learned, and I'm going to not say the quote perfectly, but like I've learned over time that there is always a small, quiet voice inside me that's leading me where I'm supposed to go. And the only times I've ever made mistakes in life is when I've chosen to ignore that voice. And I think that, to me, is the biggest step is like, as long as you're listening to the small, quiet voice inside you, you will always end up where you need to go, so you don't need to grip the wheels so tightly. Let go and get the gas and enjoy the view. Lesley Logan 39:30  Oh, Kristen, I'm obsessed. You're amazing. Y'all, how are you going to use these tips in your life? Let Kristen know. Let us know at the Be It Pod. Share this with a friend. Sometimes it's like the thing that someone needs to help them listen to that voice inside and, you know, write their way through it, or Pilates their way through it, or whatever it is, because we all have something we can do in this world. Thank you so much. And until next time everyone, Be It Till You See It. That's all I got for this episode of the Be It Till You See It Podcast. One thing that would help both myself and future listeners is for you to rate the show and leave a review and follow or subscribe for free wherever you listen to your podcast. Also, make sure to introduce yourself over at the Be It Pod on Instagram. I would love to know more about you. Share this episode with whoever you think needs to hear it. Help us and others Be It Till You See It. Have an awesome day. Be It Till You See It is a production of The Bloom Podcast Network. If you want to leave us a message or a question that we might read on another episode, you can text us at +1-310-905-5534 or send a DM on Instagram @BeItPod.Brad Crowell 40:37  It's written, filmed, and recorded by your host, Lesley Logan, and me, Brad Crowell.Lesley Logan 40:42  It is transcribed, produced and edited by the epic team at Disenyo.co.Brad Crowell 40:47  Our theme music is by Ali at Apex Production Music and our branding by designer and artist, Gianfranco Cioffi.Lesley Logan 40:54  Special thanks to Melissa Solomon for creating our visuals.Brad Crowell 40:57  Also to Angelina Herico for adding all of our content to our website. And finally to Meridith Root for keeping us all on point and on time.Transcribed by https://otter.aiSupport this podcast at — https://redcircle.com/be-it-till-you-see-it/donationsAdvertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

Send us a textIn this episode of The Renaissance Podcast, we're diving deep into the world of wellness with Cara Clark, an integrative nutritionist, wellness educator, and the founder of Cara Clark Nutrition. With certifications in sports and clinical nutrition, blood chemistry, and integrative health, Cara has helped thousands—from group challenge participants, celebrities, to Olympic athletes and NBA/MLB draft prospects—understand the power of food beyond dieting.Cara joins us to share her “Feel Good” philosophy, which is the heart of her upcoming book, The Feel-Good Way: Simple Recipes for a Better Life (releasing May 13, 2025, from Penguin Random House). She talks about how busy women entrepreneurs can prioritize their health without sacrificing the things they love, and how every body is unique when it comes to nutrition and wellness.As a CEO, wife, and mom of four, Cara also opens up about her non-negotiables when it comes to well-being and living fully. If you've ever struggled with finding harmony between work, life, and health, this episode is packed with wisdom you won't want to miss!

Two guests on the Mulligan Stew Podcast Both great pals.   Stephen fearing is a key member of Blackie and the Rodeo Kings. Like all three members Front Line Members, they each have their own solo careers. That's one of the outstanding elements of their relationship. Freedom to create together or solo. Stephen Fearing has just released his newest album, The Empathist. Co-Produced in East Nashville with Ken Crooker (Uncle Tupelo, Wilco, Al Green, EmmyLou Harris, Steve Earle) Stephen is a truly talented songwriter, but he also carries with him, his Irish storytelling skills. The songs on The Empathist beautifully weave those skills together. Highly Recommended. Bill Henderson is the leader of Chilliwack. For some 30 years, they've been crafting hits and touring The World. As lead singer, songwriter and guitarist,t Bill has been inducted into the Canadian Songwriters Hall of Fame and the Rock Hall of Fame and made a member of the Order of Canada. In 2025, the band is on its last tour - Farewell to Friends!!   https://www.gonegonegone.com/wp-content/uploads/Farewell-Tour-Dates_Chilliwack-Site-1-7.docx   https://www.stephenfearing.ca/tour   Enjoy - Happy St Patrick's Day

Send us a textIf you feel like you're drowning in emails, meetings, and never-ending to-do lists, chances are you're the bottleneck in your own business—and it's costing you time, energy, and profit.In this episode of The Renaissance Podcast, Mike O'Connor, Founder & CEO of NexusPoint, and Kimeran Johnson, Partner & COO, reveal the one thing successful CEOs master that struggling entrepreneurs avoid: delegation.Mike, a serial entrepreneur who built and sold multiple businesses with $30M+ in annual revenue before the age of 32, shares how he pivoted from real estate to launching NexusPoint, a global talent sourcing firm designed to help entrepreneurs scale quickly and cost-effectively. Alongside Kimeran, who brings decades of executive leadership and scaling experience, they break down: ✅ The biggest mindset shifts that separate overwhelmed founders from thriving CEOs ✅ Why hiring a virtual or executive assistant (VA) is a game-changer for business growth ✅ The most impactful tasks to delegate that entrepreneurs often overlook ✅ How to identify the right moment to bring in support—and avoid common hiring mistakes ✅ How outsourcing can actually increase profitability and prevent burnoutIf you've been holding on too tightly to your to-do list, this episode is your permission slip to delegate, streamline, and scale smarter.Book a call with NexusPoint today to secure your VA or executive assistant: go.nexuspt.io/rmgListen in and learn how to free yourself from the weeds so you can focus on the needle-moving work that truly grows your business!Support the showAbout The Host:Sydney Dozier the visionary behind Renaissance Marketing Group, a leading Nashville-based social media agency founded in 2014. Over 9 years, Sydney has curated a top-tier team, establishing Renaissance as a go-to agency delivering proven social media marketing results. Renaissance offers a wide array of services, from social media management to content creation, professional photography and videography, branding, and more, serving clients across the nation. Their focus is clear: drive revenue, foster online growth, and exceed client expectations. Sydney is not only a business dynamo but also the co-host of The Renaissance Podcast, aimed at empowering entrepreneurs. Her dedication to supporting women entrepreneurs led to The Mona Lisa Foundation, offering mentorship, grants, education, and a vibrant community. She's also the brains behind The Renaissance Women's Summit, an annual event in Nashville with a mission in inspiring women entrepreneurs. Sydney is a wife and mother to Sawyer James and has an unwavering passion for entrepreneurship, the color pink, and her two furry companions, Stevie Nicks and EmmyLou Harris. Learn more: www.renaissancemarketinggroup.com

Send us a textThis week on The Renaissance Podcast, we're sitting down with Stacy Scarsella, CEO, Founder, and Executive Producer of Plaid Pony Productions—a creative force in the world of advertising and commercial production. With over 20 years of global production experience, Stacy has worked in the top creative hubs of NYC, LA, Boston, Austin, and beyond, producing award-winning campaigns for some of the biggest brands in the industry.But this isn't just any conversation—it's a special one. We're recording live from downtown Nashville, the day before the 2025 Renaissance Women's Summit: Unleash Your Revival, where we set up a mobile podcast studio at the summit venue. Stacy is set to take the stage the next day as one of our esteemed speakers on the highly anticipated "We Run This Mother" panel, where she'll dive deep into the realities of building a thriving business while managing the beautiful chaos of motherhood and personal life.Beyond business success, Stacy's story is one of resilience, balance, and purpose. She shares what inspired her leap from corporate to launching her own production company, how she navigates the challenges of entrepreneurship and motherhood, and why she prioritizes mentorship and giving back—even finding time to step into the classroom as a substitute teacher.We also explore the deeply personal side of Stacy's journey—how losing her best friend to suicide shaped the way she leads, lives, and builds her business. She opens up about the guilt many women feel when chasing big dreams, the creative problem-solving skills she's mastered in production and motherhood, and why she's passionate about helping the next generation of creative leaders rise.If you've ever felt the pull to take a big career leap, balance ambition with family, or redefine success on your own terms, this is the episode for you.

In this fun-filled episode of Friends Talking Nerdy, Professor Aubrey and Tim the Nerd take a deep dive into the music that has shaped their tastes thanks to each other's recommendations. Over the years, they've introduced one another to some incredible artists and songs, and today, they celebrate those discoveries! Their playlist for the episode includes: Guava Jelly – Ka'au Crater Boys (The Best of the Ka'au Crater Boys) She Makes Me Laugh – The Monkees (Good Times!) Together Again – Emmylou Harris (Elite Hotel) Me and Magdalena – The Monkees (Good Times!) Not Fade Away – Buddy Holly (The Chirping Crickets) Ace of Spades – Motörhead (Ace of Spades) If Not for You – Bob Dylan (New Morning) Holy Diver – Dio (Holy Diver) Here Comes the Rain Again – Eurythmics (Touch) The Game – Motörhead (Hammered)As they break down each track, Tim and Aubrey discuss what makes these songs special, how they were first introduced to them, and what impact they've had on their musical journeys. From the soulful stylings of Emmylou Harris to the hard-hitting energy of Motörhead, it's a genre-spanning conversation that any music fan will appreciate!Next, Tim the Nerd shares his thoughts on the 2025 WWE Royal Rumble, as presented on Peacock. With big names, surprise returns, and shocking eliminations, he gives his take on the highlights and controversies of the event. Did WWE deliver another unforgettable Rumble, or was it a night of missed opportunities? Tim breaks it all down, giving his perspective on the winners, the standout moments, and what the event means for the Road to WrestleMania.Finally, the episode takes a heartwarming turn as Tim and Aubrey celebrate the 2nd birthday of Annie, one of the show's beloved feline mascots! They share some of their favorite Annie stories—from her mischievous antics to the sweet moments that have made her such a special part of their lives. Whether it's her unexpected zoomies or her endearing way of demanding attention, Annie has brought so much joy to their home and to the podcast itself.As always, we wish to thank Christopher Lazarek for his wonderful theme song. Head to his ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠website⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ for information on how to purchase his EP, Here's To You, which is available on all digital platforms.Head to Friends Talking Nerdy's⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ website⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠for more information on where to find us online.

Send us a textSales—it's the lifeblood of any business, yet so many executives and entrepreneurs are winging it when it comes to selling. In this episode of The Renaissance Podcast, we sit down with Dew Tinnin, Head Coach & CEO of Skillway, to uncover game-changing sales strategies that help business leaders crush their goals and actually love selling in the process.A specialist in relationship-based selling, Dew brings decades of experience from the finance and mortgage industry, training thousands of sales professionals as a national sales trainer for Wells Fargo before launching Skillway. She shares how executives and entrepreneurs must narrow their focus, emphasizing that you can only do one thing—and maybe two—effectively. Trying to do everything? You're likely half-assing it all and missing out on true needle-moving activities.Dew also reveals one of the biggest sales mistakes business owners make: blindly sending proposals via email. Instead, she shares a powerful proposal strategy—verbally walking prospects through pricing and expectations before sending anything over. By securing a verbal “yes” on pricing first, you set the stage for a smoother close and avoid unnecessary objections.Whether you're a CEO, founder, or executive wearing multiple hats, this episode is packed with actionable sales tips tailored specifically for women in business. Don't miss this conversation that could transform the way you approach sales forever!

Ken Coomer joins me on the podcast today. Ken is a fantastic drummer, producer, and studio owner, as well as one of the few musicians I know that is actually from Nashville! Ken is well-known as the original drummer for Wilco, as well as the last for Uncle Tupelo, bands that literally defined the alt-country genre in the mid-90's. But before that, Ken came up in the punk and alternative rock scene here in Nashville with his band Clockhammer, and since leaving Wilco in 2002, he has had an incredible career as a studio drummer and producer, operating most recently out of his studio just a few blocks away from me in East Nashville called Cartoon Moon Recording. Ken was heavily involved in the recording of Uncle Tupelo's classic “Anodyne”, as well as the Wilco albums “FM”, “Being There”, “Summerteeth”, “Yankee Hotel Foxtrot” and the “Mermaid Avenue” projects with Wilco and Billy Bragg. After his run with Wilco, Ken returned to Nashville to try his hand at session work and producing. He's played with and recorded on albums for Steve Earle, Will Hoge, Al Green, Tim Finn, Lucinda Williams, Emmylou Harris and many more. He's also had an incredible run producing some huge Spanish artists, which is an intriguing left-turn that his more recent career has taken, with artists like Chetes, and AppleTree - albums that were huge in Mexico and Columbia.It was great to have Ken drop in to speak about all of this amazing history. You can get all the latest info on Ken at kencoomermusic.com - enjoy my conversation with Ken Coomer!This season is brought to you by our sponsors Larivée Guitars and Fishman AmplificationYou can join our Patreon here to get all episodes ad-free, as well as access to all early episodes.Visit us at: www.makersandshakerspodcast.com Get ad-free episodes and access to all early episodes by subscribing to Patreon. Hosted on Acast. See acast.com/privacy for more information.

We're celebrating our 10th anniversary all year by digging in the vaults to re-present classic episodes with fresh commentary. Today, we're revisiting our 2020 conversation with Lucinda Williams. ABOUT LUCINDA WILLIAMSOne of the most revered songwriters on the face of the earth, Lucinda Williams was once crowned “America's Best Songwriter” by People magazine. She first gained widespread attention after Mary Chapin Carpenter made her song “Passionate Kisses” a Top 5 hit, which earned Lucinda a Grammy award for Country Song of the Year. She went on to release a string of critically-acclaimed albums that garnered her a total of 15 Grammy nominations spanning the genres of rock, pop, country, folk, and Americana. One of the primary architects of the Americana genre, Lucinda has received more Americana Music Association award nominations than nearly any other artist, and she was the first female recipient of the AMA's Lifetime Achievement Award for Songwriting. VH1 named her one of the 100 Greatest Women in Rock & Roll, while Rolling Stone named her among its 100 Greatest Songwriters of All Time. In addition to her own success as an artist with songs such as “I Just Wanted to See You So Bad,” “Right in Time,” “Essence,” “Righteously,” “Are You Alright,” “Come On,” and “Real Love,” the daughter of famed poet Miller Williams has also had her songs recorded by Tom Petty, Elvis Costello, Emmylou Harris, Willie Nelson, Patty Loveless, Bettye LaVette, and many others.  

Send us a textMeet Mallory Strange Paulson—former NFL cheerleader turned social media powerhouse and the unstoppable force behind Bach Babes. What started as a side hobby during the pandemic skyrocketed into a seven-figure bachelorette party planning empire, spanning Nashville, Austin, and Charleston. With no formal business training, Mallory leaned on her self-taught marketing savvy, a viral TikTok moment, and her background in social media and influencer marketing at Home Depot Corporate to scale Bach Babes into a household name.In this episode, Mallory shares:The pivotal moment she knew Bach Babes could be more than a passion projectHow her experience as an NFL cheerleader shaped her approach to leadership and brand-buildingThe hardest lessons she had to learn as a first-time founder—without a business roadmapWhat it took to expand into multiple cities and grow a powerhouse team of more than 20 employeesThe strategy behind attracting top celebrities and influencers to her brand, and the safest way to work with influencers as a business ownerHer no-nonsense advice for entrepreneurs ready to turn their “hobby” into something biggerNavigating friendships and your inner circle while you are building successIf you've ever wondered what it takes to build a brand from the ground up, go viral, and dominate an industry, this episode is a must-listen.Support the showAbout The Host:Sydney Dozier the visionary behind Renaissance Marketing Group, a leading Nashville-based social media agency founded in 2014. Over 9 years, Sydney has curated a top-tier team, establishing Renaissance as a go-to agency delivering proven social media marketing results. Renaissance offers a wide array of services, from social media management to content creation, professional photography and videography, branding, and more, serving clients across the nation. Their focus is clear: drive revenue, foster online growth, and exceed client expectations. Sydney is not only a business dynamo but also the co-host of The Renaissance Podcast, aimed at empowering entrepreneurs. Her dedication to supporting women entrepreneurs led to The Mona Lisa Foundation, offering mentorship, grants, education, and a vibrant community. She's also the brains behind The Renaissance Women's Summit, an annual event in Nashville with a mission in inspiring women entrepreneurs. Sydney is a wife and mother to Sawyer James and has an unwavering passion for entrepreneurship, the color pink, and her two furry companions, Stevie Nicks and EmmyLou Harris. Learn more: www.renaissancemarketinggroup.com

Send us a textThis week, we sit down with Melissa Core-Caballo, the visionary CEO and co-founder of Dead Horse Branding, an award-winning PR and marketing firm based in Nashville. Melissa has never followed the traditional path—she's a high school dropout who knew from an early age that she was meant for something bigger: entrepreneurship on her own terms.Alongside her husband and co-founder, Rick Core, Melissa has developed a cutting-edge branding curriculum that they currently teach in schools, equipping the next generation of visionaries with the tools they need to build powerful, authentic brands. At Dead Horse Branding, they take a holistic approach to branding, ensuring that every element—strategic planning, design, photography, website development, marketing, social media, publicity, and licensing—works in harmony to create a brand that resonates.In this episode, Melissa shares why branding should be the foundation—not just social media strategy, the importance of building an identity before marketing, and how she's worked with some of the biggest names in entertainment, music, and business—including Cyndi Lauper, Steven Tyler's Loving Mary Band, The Today Show, Lionsgate, and Universal Music Group.As Melissa puts it, "The only thing you cannot afford to lose is your credibility."Get ready for an inspiring conversation about taking the road less traveled, disrupting the norm, and creating a brand that truly lasts. Support the showAbout The Host:Sydney Dozier the visionary behind Renaissance Marketing Group, a leading Nashville-based social media agency founded in 2014. Over 9 years, Sydney has curated a top-tier team, establishing Renaissance as a go-to agency delivering proven social media marketing results. Renaissance offers a wide array of services, from social media management to content creation, professional photography and videography, branding, and more, serving clients across the nation. Their focus is clear: drive revenue, foster online growth, and exceed client expectations. Sydney is not only a business dynamo but also the co-host of The Renaissance Podcast, aimed at empowering entrepreneurs. Her dedication to supporting women entrepreneurs led to The Mona Lisa Foundation, offering mentorship, grants, education, and a vibrant community. She's also the brains behind The Renaissance Women's Summit, an annual event in Nashville with a mission in inspiring women entrepreneurs. Sydney is a wife and mother to Sawyer James and has an unwavering passion for entrepreneurship, the color pink, and her two furry companions, Stevie Nicks and EmmyLou Harris. Learn more: www.renaissancemarketinggroup.com

***This show is brought to you by DistroKid. Go to http://distrokid.com/vip/the500 for 30% off your first year!*** Unlike most of his solo records, Bob collaborated with various artists on this release like Emmylou Harris and Eric Clapton. “Desire” marked Bob's heavy resurgence on social themes. Dan Fogler and Josh do a track-by-track breakdown of Dylan's sixth album on the podcast.  Follow Dan on Instagram: https://www.instagram.com/foglersfictions Follow Dan on TikTok: https://www.tiktok.com/discover/dan-fogler Dan's Graphic Novelsr: https://www.foglersfiction.com/ DistroKid Artist Of The Week: Joe Ely https://www.youtube.com/watch?v=OscWhvIycqI Follow Josh on Instagram: https://www.instagram.com/joshadammeyers/ Follow Josh on TikTok: https://www.tiktok.com/@joshadammeyers Follow Josh on Twitter: https://twitter.com/JoshAdamMeyers Follow Josh on Facebook: https://www.facebook.com/joshameyers Josh's Website: https://www.joshadammeyers.com/ Follow The 500 on Instagram: https://www.instagram.com/the500podcast/ Follow The 500 on Twitter: https://twitter.com/the500podcast Follow The 500 on Facebook: https://www.facebook.com/The500PodcastWithJAM/ Email the show: 500podcast@gmail.com Check the show's website: http://the500podcast.com Learn more about your ad choices. Visit megaphone.fm/adchoices

Send us a textIn a world craving authenticity beyond screens and small talk, Emma McCallie, Co-Founder of Folx Table, joins us on this episode of The Renaissance Podcast to share how she's redefining what it means to truly connect. Folx Table isn't a dating app, dinner club, or exclusive members-only space—it's The Sit-Down Social Network, where strangers become friends over meaningful conversations at local spots around Nashville.Emma opens up about her journey from hosting attic gatherings with “no work, no weather” rules to launching a platform that's welcomed over 1,500+ people. We dive into why people are done with surface-level chatter, the magic of vulnerability, and how asking questions like “What's the greatest lesson you've never learned?” can shift an entire room.If you've ever felt the itch for deeper connection, or wondered how to build community in an increasingly disconnected world, this episode is your invitation to pull up a chair, talk to strangers, and connect to something real.Learn more and book your seat in Nashville here: https://folxtable.com/Support the showAbout The Host:Sydney Dozier the visionary behind Renaissance Marketing Group, a leading Nashville-based social media agency founded in 2014. Over 9 years, Sydney has curated a top-tier team, establishing Renaissance as a go-to agency delivering proven social media marketing results. Renaissance offers a wide array of services, from social media management to content creation, professional photography and videography, branding, and more, serving clients across the nation. Their focus is clear: drive revenue, foster online growth, and exceed client expectations. Sydney is not only a business dynamo but also the co-host of The Renaissance Podcast, aimed at empowering entrepreneurs. Her dedication to supporting women entrepreneurs led to The Mona Lisa Foundation, offering mentorship, grants, education, and a vibrant community. She's also the brains behind The Renaissance Women's Summit, an annual event in Nashville with a mission in inspiring women entrepreneurs. Sydney is a wife and mother to Sawyer James and has an unwavering passion for entrepreneurship, the color pink, and her two furry companions, Stevie Nicks and EmmyLou Harris. Learn more: www.renaissancemarketinggroup.com

For the 20th anniversary of the sixth Bright Eyes album, I'm Wide Awake, It's Morning, we take a detailed look at how it was made. Conor Oberst began Bright Eyes in 1995 in Omaha, Nebraska as an outlet for his solo material that he had been writing as a teenager. He formed a partnership with Saddle Creek Records, a label founded by his brother Justin Oberst and Mike Mogis and began releasing his albums in 1998, starting with A Collection of Songs Written and Recorded 1995–1997. Later that year, he released Letting Off the Happiness, which marked his first collaboration with Mike Mogis. Fevers and Mirrors was released in 2000 and Lifted or The Story Is in the Soil, Keep Your Ear to the Ground followed in 2002. At this point, Conor moved to New York City and began writing the songs that would make up his next two albums. I'm Wide Awake, It's Morning and Digital Ash in a Digital Urn were eventually released on the same day in 2005. In this episode, Conor Oberst describes how moving to a New York as a midwestern transplant gave him a fresh perspective and brought a sense of romanticism to the songs he was writing. He also talks about a political awakening that he experienced after George W. Bush was elected and 9/11 happened. Connecting with musicians in New York inspired him musically as he began incorporating jazz elements and decided to embrace a minimal 70s folk sound for this record. Longtime Bright Eyes producer and band member Mike Mogis describes how they ended up making the record back in Nebraska but invited some new people to the sessions, including musicians from New York like Jesse Harris and Tim Luntzel. He also talks about the stripped down approach they used for this record and how he felt insecure about not relying on the studio tricks they had used for past records. By recording live with a small group of people and making the record in a very short amount of time, he discusses how this change suited the material Conor was writing. From a turbulent plane ride on the way to make the record to a creative burst in Conor's songwriting to working on two very different records simultaneously to sparse arrangements and musical jokes to the shot in the dark of asking Emmylou Harris to sing backup, we'll hear the stories of how the album came together.

Send us a textIn this episode of The Renaissance Podcast, we sit down with Britt Jones, the founder of COVERED, a faith-driven brand inspired by Psalm 91:4: "He will cover you with His feathers, and under His wings you will find refuge." Britt shares her incredible journey of faith, perseverance, and entrepreneurship, offering an honest and uplifting look into how she balances her many roles.From raising two young children and working a full-time job to building a brand that reflects her deeply rooted personal values, Britt opens up about the challenges and triumphs of following her calling. She shares how faith led her to take the leap into entrepreneurship, the resilience it has taken to grow COVERED, and why trusting in God has made it all worthwhile.We also explore:How to balance faith and business in today's worldWhat it takes to create a brand rooted in personal valuesNavigating motherhood, a career, AND a growing business with grace and resilienceBritt's story is a testament to the power of faith and following your purpose, even when the path isn't easy. Tune in for an inspiring conversation that will encourage you to trust your own journey and take bold steps toward your dreams.Connect with Britt on Instagram at @coveredbybrittjones or @brittainenicole, and learn more about COVERED at coveredbybrittjones.com.Support the showAbout The Host:Sydney Dozier the visionary behind Renaissance Marketing Group, a leading Nashville-based social media agency founded in 2014. Over 9 years, Sydney has curated a top-tier team, establishing Renaissance as a go-to agency delivering proven social media marketing results. Renaissance offers a wide array of services, from social media management to content creation, professional photography and videography, branding, and more, serving clients across the nation. Their focus is clear: drive revenue, foster online growth, and exceed client expectations. Sydney is not only a business dynamo but also the co-host of The Renaissance Podcast, aimed at empowering entrepreneurs. Her dedication to supporting women entrepreneurs led to The Mona Lisa Foundation, offering mentorship, grants, education, and a vibrant community. She's also the brains behind The Renaissance Women's Summit, an annual event in Nashville with a mission in inspiring women entrepreneurs. Sydney is a wife and mother to Sawyer James and has an unwavering passion for entrepreneurship, the color pink, and her two furry companions, Stevie Nicks and EmmyLou Harris. Learn more: www.renaissancemarketinggroup.com

Episode 307: It was 50 years ago this month that a 23-year-old Mickey Raphael felt his way through his first recording session with his relatively new band boss Willie Nelson. And it was no small thing, producing the iconic Red Headed Stranger. It was one event in a charmed life that set this Dallas musician on a path to the ultimate steady gig for more than 50 years, plus stature as the world's top on-call harmonica player. Raphael has played and recorded with Merle Haggard, Leon Russell, Don Williams, Emmylou Harris, Ray Charles, Bob Dylan, Paul Simon, Norah Jones, Wynton Marsalis, and even U2 and Motley Crue. In a session taped at WMOT's East Nashville satellite studio, we talk about it all.

Send us a textOn this week's episode of The Renaissance Podcast, we welcome back a powerhouse guest and one of the most inspiring voices of our time, Jessica Zweig. Recently described as "a voice of her time" by Marianne Williamson and a “Personal Branding Expert” by Forbes, Jessica is a serial entrepreneur, bestselling author, and spiritual leader who continues to redefine success and authenticity for women entrepreneurs around the globe.Jessica joins us to share her incredible journey since we last spoke in March 2023. From selling her multi-7-figure agency, SimplyBe., to Hawke Media, to releasing her latest USA Today bestselling book, THE LIGHT WORK: Reclaim Your Feminine Power, Live Your Cosmic Truth, and Illuminate the World, Jessica has been busy transforming not only her life but also the lives of countless women through her message of feminine power, abundance, and alignment.In this episode, Jessica dives into:The pivotal moment she knew it was time to sell SimplyBe.How to shift from hustle to spiritual hustle and manifest wealth effortlessly.The power of stepping into abundance, serving with generosity, and reconnecting with purpose.Tips for avoiding burnout and scaling a business in feminine flow.Why the personal brand is evolving into the community brand—and how entrepreneurs can lead this movement.With wisdom from her books and her global retreats, Jessica inspires listeners to ignite their inner light and Unleash Their Revival in 2025. This conversation is a must-listen for any woman ready to step boldly into her purpose.Don't forget to rate and review The Renaissance Podcast! Your support helps us share these empowering conversations with more listeners and continue to grow our community. Thank you for helping us spread the word!Don't miss this illuminating episode with Jessica Zweig. Available now wherever you listen to podcasts.Get Jessica's Book The Light Work and join her incredible community of Light Workers: https://resources.jessicazweig.com/the-light-work/book#jz-tlw-steps-titleSupport the showAbout The Host:Sydney Dozier the visionary behind Renaissance Marketing Group, a leading Nashville-based social media agency founded in 2014. Over 9 years, Sydney has curated a top-tier team, establishing Renaissance as a go-to agency delivering proven social media marketing results. Renaissance offers a wide array of services, from social media management to content creation, professional photography and videography, branding, and more, serving clients across the nation. Their focus is clear: drive revenue, foster online growth, and exceed client expectations. Sydney is not only a business dynamo but also the co-host of The Renaissance Podcast, aimed at empowering entrepreneurs. Her dedication to supporting women entrepreneurs led to The Mona Lisa Foundation, offering mentorship, grants, education, and a vibrant community. She's also the brains behind The Renaissance Women's Summit, an annual event in Nashville with a mission in inspiring women entrepreneurs. Sydney is a wife and mother to Sawyer James and has an unwavering passion for entrepreneurship, the color pink, and her two furry companions, Stevie Nicks and EmmyLou Harris. Learn more: www.renaissancemarketinggroup.com

Jerry Douglas is widely regarded as the best Dobro player in the world. Alison Krauss, Emmylou Harris, and James Taylor are counted among his many collaborators and his four-decade career has earned him 16 GRAMMY Awards and numerous other accolades. In our Basic Folk conversation, he shares stories about his upbringing in Warren, Ohio, where his father's steel mill job and love for music instilled in him a strong work ethic and a passion for playing. He also talks about getting scouted as a teenager by The Country Gentlemen, one of the greatest bluegrass bands ever, who eventually took young Jerry on tour.We also discuss Douglas' latest album, 'The Set,' which showcases his mastery of the resophonic guitar and features a unique blend of bluegrass, country, and Americana sounds. He also opens up about his experiences working with Molly Tuttle, John Hiatt, and other notable musicians, highlighting the importance of collaboration and creative freedom. Our chat offers a glimpse into Jerry Douglas' life, influences, and artistic approach through his humility, humor, and dedication to his craft.Follow Basic Folk on social media: https://basicfolk.bio.link/ Sign up for Basic Folk's newsletter: https://bit.ly/basicfolknews Help produce Basic Folk by contributing: https://basicfolk.com/donate/ Interested in sponsoring us? Contact BGS: https://bit.ly/sponsorBGSpods Advertising Inquiries: https://redcircle.com/brands