Podcasts about EPS

Perfect Match: Season 3 Eps 2-6 Recap Perfect Match hosts Aysha Welch (@ayshalikeasia) Kirsten MacInnis (@kirstensaidwhat) and Jason Reed (@jayr1084) are here to recap Netflix's Perfect Match Season 3! This week, they recap episodes 2-6 of season 3. Perfect Match is a Netflix reality dating show! Some of the most discussed reality contestants from other Netflix shows such as The Circle, Love is Blind, Too Hot to Handle, Dated and Related are here for their second chance at love! Previously on the Love at First Sight Feed:Love at First Sight Recap Archives LISTEN! Subscribe to the Perfect Match RHAPUp podcast feed!WATCH! Watch and subscribe to the podcast on YouTubeSUPPORT! Become a RHAP Patron for bonus content, access to Facebook and Discord groups plus more great perks! Learn more about your ad choices. Visit megaphone.fm/adchoices

Perfect Match: Season 3 Eps 1-3 Recap Perfect Match hosts Aysha Welch (@ayshalikeasia) Kirsten MacInnis (@kirstensaidwhat) and Jason Reed (@jayr1084) are here to recap Netflix's Perfect Match Season 3! This week, they recap episodes 1-3. Perfect Match is a Netflix reality dating show! Some of the most discussed reality contestants from other Netflix shows such as The Circle, Love is Blind, Too Hot to Handle, Dated and Related are here for their second chance at love! Previously on the Love at First Sight Feed:Love at First Sight Recap Archives LISTEN! Subscribe to the Perfect Match RHAPUp podcast feed!WATCH! Watch and subscribe to the podcast on YouTubeSUPPORT! Become a RHAP Patron for bonus content, access to Facebook and Discord groups plus more great perks! Learn more about your ad choices. Visit megaphone.fm/adchoices

June quarter records for total company revenue, iPhone revenue and EPS. Services revenue reaches new all-time high.

GDP, Earnings and FOMC meeting Cover Art - Best Ever - Not... New term - QUISHING I gotchooo and Say less PLUS we are now on Spotify and Amazon Music/Podcasts! Click HERE for Show Notes and Links DHUnplugged is now streaming live - with listener chat. Click on link on the right sidebar. Love the Show? Then how about a Donation? Follow John C. Dvorak on Twitter Follow Andrew Horowitz on Twitter INTERACTIVE BROKERS  Warm-Up - Cover Art - Best Ever - Not... - New term - QUISHING - I gotchooo and Say less Markets - What a Week! - GDP, Earnings and FOMC meeting - MORE ATHs! - Earnings Season Update - Homes - Capital Gains? Cover Art - Can we take a close look at what was AI generated this week? - At least TWO glaring issues ... China - another delay/pause? - President Trump tells reporters on Air Force One that he could meet with Chinese President Xi by the end of the year (???) EU Deal  - Framework of the deal seems done - 15% across the board tariff on EU goods into the US (a couple of exceptions) - Prices for Olive Oil from your favorite region is going up - Some new benefits for US cars into Europe - - If this is all so good for say US car manufactures, why aren't Ford and GM stocks doing anything? Earnings this week of note: - Microsoft (MSFT): Expected to report on July 30, 2025 - Meta Platforms (META): Scheduled to report on July 30, 2025 - Amazon (AMZN): Scheduled to report on July 31, 2025 - Apple (AAPL): Scheduled to report on July 31, 2025 --- Those 4 companies are 20% of the S&P weighting Earnings Season Update - Overall, 34% of the companies in the S&P 500 have reported actual results for Q2 2025 to date. Of these companies, 80% have reported actual EPS above estimates, which is above the 5-year average of 78% and above the 10-year average of 75%. - If 80% is the final number for the quarter, it will mark the largest percentage of S&P 500 companies reporting a positive EPS surprise for a quarter since Q3 2023 (81%). - In aggregate, companies are reporting earnings that are 6.1% above estimates, which is below the 5-year average of 9.1% and below the 10-year average of 6.9%. Real Estate  - Existing home sales fell 2.7% in June but were unchanged from June 2024. - According to the latest report from the National Association of Realtors®, record-high home prices, elevated mortgage rates, and a moderate supply are discouraging some potential home buyers, particularly first-time home purchasers. - The median existing-home sale price in June was $435,300, up from the May price of $423,700, and higher than the June 2024 price of $426,900 - Inventory ticked up from a 4.6-month supply in May to 4.7 months in June - Sales of single-family existing homes dipped 3.0% last month. The median single-family existing home price was $441,500 in June, compared to $428,800 in May and $432,900 in June 2024. Quishing - QR codes used to trick people into visiting malicious websites or unknowingly share private information, a scam that has become known as “quishing.” - The increasing prevalence of QR code scams prompted a warning from the Federal Trade Commission earlier this year about unwanted or unexpected packages showing up with a QR code that when scanned “could take you to a phishing website that steals your personal information, like credit card numbers or usernames and passwords. It could also download malware onto your phone and give hackers access to your device.” - There is work being doen to develop a “smart” QR code called a SDMQR (Self-Authenticating Dual-Modulated QR) that has built-in security to prevent scams. But first, he needs buy-in from Google and Microsoft, the companies that build the cameras and control the camera infrastructure. Thoughts? - During a pivotal push by Ukraine to retake territory from Russia in late September 2022, Elon Musk gave an order that disrupted the counteroffensive and dented Kyiv's trust ...

READING THE BIBLE WITH THE DEAD/RBWD - Season 02, Eps #03 [Meredith Kline]: Menjadi Vasal Allah atau Dunia?Pdt. Jimmy Pardede, Denni Girsang, dan Samuel C. PantouDi Sikhem, Yosua menantang umat Israel dengan pilihan yang tampak sederhana, namun sarat makna kekal: Setia kepada Allah yang telah bertindak dalam sejarah, atau berpaling kepada ilah yang tak berdaya. Sebab Yosua tahu—iman bukan diwariskan secara otomatis; ia harus dipilih, diperbarui, dan dihidupi. Maka kini, tantangan itu pun sampai kepada kita: Setelah Kristus, Sang Raja, mengalahkan dunia, kuasa dosa, dan maut, masihkah kita ragu kepada siapa kita akan berserah?Saksikan juga dan nikmati diskusinya di:https://grii.to/rbwd2-03

From dodging serial killers, to fake uber drivers, to finding someone in your room in the middle of the night, today we're talking all about terrifying close encounters. Find Psychopedia here!! https://psychopediapodcast.com/ Psychopedia Episodes Mentioned: EP42: Sex Parts: Severed and Stored  EP130: Greyhound Bus Beheading EPS 113 & 114: Pinup Predator: Serial Killer Harvey Glatman (Parts 1 and 2) EPS 134 & 135: The Serial Killer Next Door: Joel Rifkin (Parts 1 and 2) https://www.youtube.com/watch?v=lP1Wqa_oCkc Subscribe on Patreon for bonus content and to become a member of our Rogue Detecting Society. Patrons have access to bonus content as well as other perks. And members of our High Council on Patreon have access to our after-show called Footnotes, where I share my case file with our producer, Matt. Apple subscriptions are now live! Get access to ad-free episodes and bonus episodes when you subscribe on Apple Podcasts. Follow on Tik Tok and Instagram for a daily dose of horror. To learn more about listener data and our privacy practices visit: https://www.audacyinc.com/privacy-policy Learn more about your ad choices. Visit https://podcastchoices.com/adchoices

AI adoption, dollar weakness and tax savings from the Big Beautiful Bill are some of the factors boosting our CIO and Chief U.S. Equity Strategist Mike Wilson's confidence in U.S. stocks.Read more insights from Morgan Stanley.----- Transcript -----Welcome to Thoughts on the Market. I'm Mike Wilson, Morgan Stanley's CIO and Chief U.S. Equity Strategist. Today on the podcast I will discuss what's driving my optimism on stocks. It's Tuesday, July 29th at 11:30am in New York. So, let's get after it. Over the past few weeks, I have been leaning more toward our bull case of 7200 for the S&P 500 by the middle of next year. This view is largely based on a more resilient earnings and cash flow backdrop than anticipated. The drivers are numerous and include positive operating leverage, AI adoption, dollar weakness, cash tax savings from the Big Beautiful Bill, and easy growth comparisons and pent-up demand for many sectors in the market. While many are still focused on tariffs as a headwind to growth, our analysis shows that tariff cost exposures for S&P 500 industry groups is fairly contained given the countries in scope and the exemptions that are still in place from the USMCA. Meanwhile, deals are being signed with our largest trading partners like Japan and Europe that appear favorable to the U.S. Due to the lack of pricing power, the main area of risk in the stock market from tariffs is consumer goods; and that's why we remain underweight that sector. However, the main tariff takeaway for investors is that the rate of change on policy uncertainty peaked in early April. This is the primary reason why earnings guidance bottomed in April as evidenced by the significant inflection higher in earnings revisions breadth—the key fundamental factor that we have been focused on. Of course, the near-term set up is not without risks. These include still high long-term interest rates, tariff-related inflation and potential margin pressure. As a result, a correction is possible during the seasonally weak third quarter, but pull-backs should be shallow and bought. In addition to the growth tailwinds already cited, it's worth pointing out that many companies also face very easy growth comparisons. I've had a long standing out of consensus view that the U.S. has been experiencing a rolling recession for the last three years. This fits with the fact that much of the soft economic data that has been hovering in recession territory for much of that period as well—things like purchasing manager indices, consumer confidence, and the private labor market. It also aligns with my long-standing view that government spending has helped to keep the headline economic growth statistics strong, while much of the private sector and many consumers have been crowded out by that heavy spending which has also kept the Fed too tight. Meanwhile, private sector wage growth has been in a steady decline over the last several years, and payroll growth across Tech, Financials and Business Services has been negative – until recently. Conversely, Government and Education/Health Services payroll growth has been much stronger over this time horizon. This type of wage growth and sluggish payroll growth in the private sector is typical of an early cycle backdrop. It's a key reason why operating leverage inflects in early cycle environments, and margins expand. Our earnings model is picking up on this underappreciated dynamic, and AI adoption is likely to accelerate this phenomenon. In short, this is looking more and more like an early cycle set up where leaner cost structures drive positive operating leverage after an extended period of wage growth consolidation. Bottom line, the capitulatory price action and earnings estimate cuts we saw in April of this year around Liberation Day represented the end of a rolling recession that began in 2022. Markets bottom on bad news and we are transitioning from that rolling earnings recession backdrop to a rolling recovery environment. The combination of positive earnings and cash flow drivers with the easy growth comparisons fostered by the rolling EPS recession and the high probability of the Fed re-starting the cutting cycle by the first quarter of next year should facilitate this transition. The upward inflection we're seeing in earnings revisions breadth confirms this process is well underway and suggests returns for the average stock are likely to be strong over the next 12-months. In short, buy any dips that may occur in the seasonally weak quarter of the year. Thanks for tuning in; I hope you found it informative and useful. Let us know what you think by leaving us a review. And if you find Thoughts on the Market worthwhile, tell a friend or colleague to try it out!

Jon Pike is a singer-songwriter, music producer, yoga teacher, and aspiring practical philosopher. Originally from Newfoundland, Pike is based in Toronto. Primarily releasing music under the name “BRDGS”, he's released 3 albums and 3 EPs, notable tracks such as “dancing without music” having been streamed over 40 million times. Pike's workhas been featured in Netflix films, on TV's “Love Island” and “Barney's World”, and charted on top 20 radio in Canada. As a yoga teacher and a student of psychology/philosophy, Pike is passionate about the connection between consciousness and physics. Primarily stemming from the COVID years, Pike began to introduce more political and cultural commentary in his music, centering around the “meaning crisis” and the “category crisis”.FOLLOW: brdgsmsc[00:05:00] - Introduction to Jon Pike: The host introduces Jon Pike, discussing his unique approach to songwriting and his impact on the music industry.[00:10:30] - Personal Connection to Music: Jon shares his background, growing up in a musical household, and how music became a significant part of his life.[00:20:00] - Music as a Healing Tool: Jon talks about how music has been a source of healing and personal growth, especially during challenging times.[00:35:00] - The Emotional Power of Music: The conversation delves into how music can evoke emotions and serve as a conduit for expressing complex feelings.[01:00:00] - Music and Mental Health: Jon discusses the role of music in mental health, sharing personal experiences and insights into how it has helped him and others.Substack: https://substack.com/@kelsisheren - - - - - - - - - - - -SUPPORT OUR SPONSORS - - - - - - - - - - - -RHO Nutrition - Code: KELSI20 -  https://rhonutrition.com/KELSIKetone IQ- 30% off with code KELSI - https://ketone.com/KELSIGood Livin- 20% off with code KELSI - https://www.itsgoodlivin.com/?ref=KELSIBrass & Unity - 20% off with code UNITY - http://brassandunity.com - - - - - - - - - - - - -SHOPB&U Jewelry & Eyewear: https://brassandunity.com - - - - - - - - - - - - -Follow #thekelsisherenperspective- - - - - - - - - - - - -CHARITYHeroic Hearts Project - https://www.heroicheartsproject.orgAll Secure Foundation - http://allsecurefoundation.orgDefenders of Freedom -https://www.defendersoffreedom.usBoot Campaign - https://bootcampaign.org

Today on Wednesday Brekkie, Rosetta is flying solo in the studio - because Milly is on a mission to get to Rosedale Bakery in Albany, to try to winning pie of the Supreme Pie Awards last night! Also on the show, What's Up with The National Party's Chris Penk, and a kōrero with Half Hexagon's James Milne about their a new track + the release of their EPs on vinyl! Whakarongo mai nei! Thanks to Atomic!

James from Half Hexagon joins Rosetta for a kōrero about the re-release of Half Hexagon's two EPs on vinyl! The new wax is available for pre-order now, and each 12-inch vinyl will include a bonus-track. Whakarongo mai nei!

Plastic foam pollution continues to be a widespread and dangerous threat to ocean health. In this episode of How to Protect the Ocean, Oceana's Christy Leavitt breaks down their 2025 report exposing the true environmental cost of expanded polystyrene foam (EPS) used in foodware across the US. With shocking statistics and real-life examples, Christy explains how foam harms marine ecosystems, why it's rarely recycled, and how local and national bans are gaining momentum. Plastic pollution solutions begin with better policies, informed choices, and collective action. Christy walks us through Oceana's campaign victories, the data behind foam bans, and how individuals can help push corporations and governments to make the switch to reusable and compostable alternatives. Whether you're a policymaker, a concerned citizen, or someone just learning about this issue, this episode will give you clear actions to take and hope for change. Link to report: https://usa.oceana.org/wp-content/uploads/sites/4/2025/04/2025-Foam-Report-FINAL.pdf Link to Oceana: https://usa.oceana.org/   Join the Undertow: https://www.speakupforblue.com/jointheundertow Connect with Speak Up For Blue Website: https://bit.ly/3fOF3Wf Instagram: https://bit.ly/3rIaJSG TikTok: https://www.tiktok.com/@speakupforblue Twitter: https://bit.ly/3rHZxpc YouTube: www.speakupforblue.com/youtube    

Analysts say AIADMK leader losing political dignity by inviting anti-BJP parties. EPS says DMK humiliating its allies, AIADMK will welcome them with red carpet.  

Dan Jones is a retired EPS member (spent time with the gang's unit and homicide team), chair of justice studies, NorQuest College Learn more about your ad choices. Visit megaphone.fm/adchoices

Interview by Kris PetersSingapore grindcore band Wormrot, known for their intense, fast-paced, and boundary-pushing music, are headed our way for a ferocious double touring bill which also includes Pig Destroyer. Formed in 2007 after the members completed their mandatory national service, Wormrot have released four studio albums and several EPs, touring extensively through Europe and the United States, in the process becoming the first Singaporean act to play at the Glastonbury Festival.Following the recent reuniting of the original line-up, the band have spent the first part of 2025 touring the UK and Europe and after a couple of months to refresh hit Australia in September.Guitarist Rasyid joined HEAVY to talk about the tour. We ask about their pairing with Pig Destroyer and the relationship between the two bands."We have played before together," he nodded. "It was on the Napalm Death campaign for the Musical Destruction Tour. Before that I was acquainted with Adam Jarvis through Misery Index so then we started talking, and we took the Pig Destroyer on the tour bus. It was fun. Nice guys and we are quite excited to see them again."We ask what Aussie fans can expect from Wormrot live."We just play hard and fast," Rasyid grinned. "I don't know what else to say, we just play hard and fast. We try to do a curated set with less talk in between and just more attack, so we'll see (laughs)."In the full interview, Rasyid spoke about the upcoming tour and what to expect, the reuniting of himself with the other two original band members and Wormrot's recent live album TNT, noting that the setlist for the Australian shows will differ from that. He also discussed the current music scene in Singapore, highlighting the decline of metal culture since the band's inception in 2007, while punk and hardcore shows remain popular. Rasyid acknowledged the challenges of establishing a global presence without local peers and mentioned that their increasing recognition in Europe and the US is beginning to resonate back home. The band is currently focused on touring and plans to start writing new music in early 2024.Become a supporter of this podcast: https://www.spreaker.com/podcast/heavy-music-interviews--2687660/support.

Daniel Mahncke and Shawn O'Malley dive into PayPal's post-pandemic reset, tracing the fintech pioneer's slide from market darling to value-story candidate. Once lifted by lockdown spending and eBay tailwinds, PayPal has seen its growth stall, its take-rate decline, and investors seem to have given up on it. In this episode, Shawn and Daniel unpack whether new CEO Alex Chriss's “profitable growth” playbook, Fastlane one-click checkout, a margin-focused Braintree overhaul, and fresh bets on Ads and the PYUSD stablecoin, can restore momentum. They also debate how realistic PayPal's ambitious goals for the future are, what a sustained 6% share shrink via buybacks does for long-term EPS, how the new management team is incentivized, and whether PayPal's consumer moat still matters in an Apple-Pay world. IN THIS EPISODE, YOU'LL LEARN 00:00 - Intro 04:38 - How PayPal became the No.1 payment provider and what the PayPal Mafia is. 09:47 - Why investors fell out of love with PayPal's stock. 14:03 - What the next chapter under the new CEO will look like. 26:42 - Which new businesses could make PayPal dramatically more profitable? 33:31 - How the new strategy shows up in the numbers. 50:06 - Why the management incentive structure is a big benefit for shareholders. 51:36 - Whether stablecoins are bearish or bullish for PayPal. 01:01:11 - Whether PayPal is attractively valued at its current levels. 01:10:05 - Whether Shawn & Daniel add PYPL to The Intrinsic Value Portfolio. And much, much more! *Disclaimer: Slight timestamp discrepancies may occur due to podcast platform differences. BOOKS AND RESOURCES Get smarter about valuing businesses in just a few minutes each week through our newsletter, ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠The Intrinsic Value Newsletter⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠. Sign Up for ⁠⁠⁠⁠⁠⁠⁠⁠The Intrinsic Value Community.⁠⁠⁠⁠⁠⁠⁠ Emerging Value Substack ⁠Article⁠. Crossroad's ⁠Interview⁠ with Alex Chriss. PayPal 2025 ⁠Investor Day⁠. The Reservist ⁠Article⁠ on the Payment Industry. Jimmy Soni's Book on The ⁠PayPal Mafia⁠. Explore our previous Intrinsic Value breakdowns: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Uber,⁠⁠⁠⁠Nike,⁠⁠ ⁠⁠Reddit,⁠⁠ ⁠⁠Nintendo⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠, ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Airbnb⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠, ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠AutoZone⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠, ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Alphabet⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠, ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Ulta⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠, ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠John Deere⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠, and ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Madison Square Garden Sports⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠. Check out the books mentioned in the podcast ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠here⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠. Enjoy ad-free episodes when you subscribe to our ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Premium Feed⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠. NEW TO THE SHOW? Follow our official social media accounts: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠X (Twitter)⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ | ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠LinkedIn⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ | ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Instagram⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ | ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Facebook⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ | ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠TikTok⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠. Browse through all our episodes (complete with transcripts) ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠here⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠. Try Shawn's favorite tool for picking stock winners and managing our portfolios: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠TIP Finance⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠. Enjoy exclusive perks from our ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠favorite Apps and Services⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠. Learn how to better start, manage, and grow your business with the ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠best business podcasts⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠.⁠⁠⁠⁠⁠ SPONSORS Support our free podcast by supporting our ⁠⁠sponsors⁠⁠: ⁠⁠Harvest Right⁠⁠ Connect with Shawn: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Twitter⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ | ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠LinkedIn⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ | ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Email⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Connect with Daniel: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Twitter⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ | ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠LinkedIn⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ | ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Email⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ HELP US OUT! Help us reach new listeners by leaving us a ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠rating and review⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ on ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Spotify⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠! It takes less than 30 seconds and really helps our show grow, which allows us to bring on even better guests for you all! Thank you – we really appreciate it!  Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://theinvestorspodcastnetwork.supportingcast.fm

OYA Talks monolog Eps. 91

This week we go back in time to 2022 to re-enter the world of cardiogenetics and electrophysiology when we review the topic of catecholaminergic polymorphic ventricular tachycardia (CPVT). Is there a 'best' beta blocker for the treatment of this condition? Why is one better than others? How should one manage the patient who is intolerant of beta blockade but needs it for prevention of arrhythmia? What is the role of flecainide, sympathectomy or even ICD's for these patients? PhD candidate and physician Dr. Puck Peltenburg and CPVT world authority, Dr. Christian van der Werf (both of University of Amsterdam) share their deep insights this week. doi: 10.1161/CIRCULATIONAHA.121.056018. Epub 2021 Dec 7

In this episode, Kristy sits down with Jamie Shelton, lead singer and primary songwriter of Atlanta-based band Sister Sleep. They discuss the band's origins, creative process, influences, and the unique blend of horror, fantasy, and punk energy that defines their music.Key Topics:-The story behind Sister Sleep's formation, including the transition from their previous band, The Keepsake.-The influence of bands like My Chemical Romance, Bring Me The Horizon, The Used, and Hail The Sun on Sister Sleep's sound.-The meaning and inspiration behind the band's name, and how occult and horror themes shape their aesthetic.-The collaborative songwriting process, from Dropbox demos to working with producer Aaron Pace.-The challenges and rewards of being a DIY band in today's music landscape, including touring, social media, and building a dedicated fanbase.-The importance of community and supporting other bands in the scene.Sister Sleep's vision for the future: writing a full-length album, hopes for label support, and balancing artistic integrity with career ambitions.-Reflections on the changing music industry, the role of social media, and the value of authenticity.Featured Track:"Counter Skeletons" by Sister SleepNotable Quotes:“We wanted to take all of these things—horror, fantasy, punk—and just shake it up to see what comes out.”“It's about bringing a cohesive vision to life with people you care about.”“I'd rather have a thousand true fans than ten thousand casual listeners.”Connect with Sister Sleep:Listen to their latest single and mini-EPs on Spotify and other streaming platforms.Follow them on social media for updates on new music and upcoming shows.Shoutouts:Maude Stout, Split Jaw, Pulses, Kaist Cowboys, and other bands in the DIY scene.Closing Thoughts:Sister Sleep is carving out a unique space in the alternative music world, blending theatricality, emotional depth, and a strong sense of community. Don't miss their latest releases and keep an eye out for their upcoming full-length album!

@CharlesSchwab's Kevin Gordon says earnings so far this quarter have proven to be "solid," both in EPS and revenue. However, he'll be watching for further tariff impacts and potential growth deterioration, especially in Big Tech. He adds that the recently announced tariff agreement with Japan isn't finalized and signals a need to reach agreements with other countries. Inflation impact is another thing Kevin believes can also keep the Fed "on hold" for interest rate cuts.======== Schwab Network ========Empowering every investor and trader, every market day.Subscribe to the Market Minute newsletter - https://schwabnetwork.com/subscribeDownload the iOS app - https://apps.apple.com/us/app/schwab-network/id1460719185Download the Amazon Fire Tv App - https://www.amazon.com/TD-Ameritrade-Network/dp/B07KRD76C7Watch on Sling - https://watch.sling.com/1/asset/191928615bd8d47686f94682aefaa007/watchWatch on Vizio - https://www.vizio.com/en/watchfreeplus-exploreWatch on DistroTV - https://www.distro.tv/live/schwab-network/Follow us on X – / schwabnetwork Follow us on Facebook – / schwabnetwork Follow us on LinkedIn - / schwab-network About Schwab Network - https://schwabnetwork.com/about

Intel (INTC) missed on EPS but posted a beat on revenue as the company seeks to regain lost ground in the A.I. race. Deckers (DECK) soared after it posted a beat and strong sales with some of its biggest brands. Marley Kayden, Alex Coffey and Jeff Pierce break down the reports and price action as it unfolded.======== Schwab Network ========Empowering every investor and trader, every market day.Subscribe to the Market Minute newsletter - https://schwabnetwork.com/subscribeDownload the iOS app - https://apps.apple.com/us/app/schwab-network/id1460719185Download the Amazon Fire Tv App - https://www.amazon.com/TD-Ameritrade-Network/dp/B07KRD76C7Watch on Sling - https://watch.sling.com/1/asset/191928615bd8d47686f94682aefaa007/watchWatch on Vizio - https://www.vizio.com/en/watchfreeplus-exploreWatch on DistroTV - https://www.distro.tv/live/schwab-network/Follow us on X – / schwabnetwork Follow us on Facebook – / schwabnetwork Follow us on LinkedIn - / schwab-network About Schwab Network - https://schwabnetwork.com/about

Today we had the pleasure of hosting Isabelle Boemeke, author of the forthcoming book, “Rad Future: The Untold Story of Nuclear Electricity and How It Will Save the World.” The book will be published on August 12 and is available for preorder here. Isabelle is a passionate advocate for nuclear energy and is also the creator of Isodope, a social media persona she uses to engage and educate the public about the benefits of nuclear power. Isabelle was involved in pushing to save the Diablo Canyon nuclear facility and has visited nuclear sites around the world. We were thrilled to hear her fresh and insightful perspectives. In our conversation, we explore nuclear energy's rapid shift in public perception and the surge in investment and media attention from just three years ago to today. We discuss the role of advocacy in changing narratives, generational differences in attitudes toward nuclear, and the decline of the organized anti-nuclear movement. Isabelle shares her perspective on international attitudes toward nuclear, the origin of Isodope and her use of social media as an educational tool, the gender gap in nuclear support, and her personal background and journey to becoming curious about nuclear energy. We touch on the nuclear industry's reception to Isabelle, including the strong support she's received from women in the field. She shares her strategy for communicating complex nuclear topics to a broader audience, the key risks facing the nuclear renaissance, and the next major hurdles the industry must overcome, particularly challenges around financing and project management. We cover public awareness of SMRs compared to large-scale nuclear, community attitudes toward nuclear, and the strong local support Isabelle has seen near existing plants. Isabelle discusses her continued focus on nuclear for the next few years, where her interests may take her in the future, her 10-year outlook for energy and climate, and more. Mike Bradley kicked off the show by noting that broader U.S. equity markets continue to hit new all-time highs. A major driver of broader markets so far this year has been euphoria surrounding AI/Tech equities and the significant capital spending to support data centers. “Meme stock mania” seems to be rearing its head again and could be an early signal of a frothy equity market. On the energy equity front, he highlighted that both HAL and SLB have reported Q2 results and, for the most part, are guiding towards a weaker 2H25 market (especially NAM oil service pricing). Most oil service investors were hopeful Q2 would be the last quarter for downward 2025 revisions, which could be a reason why oil service stocks aren't reacting to negative downward 2025 EPS revisions. Electric Utilities are up ~13% this year and continue to be viewed as “growth” stocks. The PJM Capacity Auction posted results after the close, with pricing coming in at ~$330/mw versus last year's print of ~$270/mw. A handful of PJM exposed IPPs were up modestly after the close on the news. Mike wrapped by noting that SMR equities are up on average ~175% YTD and continue to be electricity darlings. He also flagged today's news out of Japan that Kansai Electric is reportedly exploring a plan to build the country's first nuclear plant since the Fukushima disaster in 2011. Brett Rampal peppered in his nuclear perspective and questions to the discussion. We are excited to continue following Isabelle's activities as a positive “influencer” for nuclear and hope you enjoy the conversation as much as we did. Our best to you all!

Alphabet (GOOGL) shares slip lower after an initial pop. George Tsilis and Scott Durfey join Marley Kayden to digest the latest quarterly figures from Google's parent company. Both George and Scott denote the company's capital expenditure number as one to watch as A.I. expansion could weigh on overall company profits. However, they point to its YouTube business as a positive checking in with $9.8B revenue reported in the 2Q. Then, they turn their attention to IBM after an earnings beat and Tesla (TSLA) after missing on its Adj. EPS figure. Scott adds that Tesla's still looking for direction on it being an EV company or an A.I. company. George highlights prior significant cuts in Tesla's guidance as potentially softening the blow and believes tomorrow's trading reaction will be key.======== Schwab Network ========Empowering every investor and trader, every market day.Subscribe to the Market Minute newsletter - https://schwabnetwork.com/subscribeDownload the iOS app - https://apps.apple.com/us/app/schwab-network/id1460719185Download the Amazon Fire Tv App - https://www.amazon.com/TD-Ameritrade-Network/dp/B07KRD76C7Watch on Sling - https://watch.sling.com/1/asset/191928615bd8d47686f94682aefaa007/watchWatch on Vizio - https://www.vizio.com/en/watchfreeplus-exploreWatch on DistroTV - https://www.distro.tv/live/schwab-network/Follow us on X – / schwabnetwork Follow us on Facebook – / schwabnetwork Follow us on LinkedIn - / schwab-network About Schwab Network - https://schwabnetwork.com/about

READING THE BIBLE WITH THE DEAD/RBWD - Season 02, Eps #02 [George Bush]: Instrumen Penghakiman AllahPdt. Jimmy Pardede, Denni Girsang, dan Samuel C. PantouYosua menumpas habis semua yang bernafas dari negeri orang Amori atas perintah Tuhan. Bukankah Tuhan Yesus berkata, "Siapa menggunakan pedang akan binasa oleh pedang"?Lalu, mengapa Allah memakai pedang Israel untuk menghakimi Amori? Benarkah orang Amori tidak mendapatkan belas kasihan Tuhan? Dan adakah Israel lebih layak sehingga Tuhan memakai mereka sebagai instrumen penghakiman-Nya?Saksikan juga dan nikmati diskusinya di:https://grii.to/rbwd2-02 Note:George Bush (1796–1859) adalah seorang profesor sastra Timur Tengah dan seorang pendeta dari tradisi Presbiterian. Ia mengambil studi teologi di Princeton Theological Seminary dan menerbitkan berbagai karya teologis pada pertengahan abad ke-19. Ia merupakan anak bungsu dari empat bersaudara, putra dari John Bush dan Abigail Marvin.https://www.eapoe.org/people/bushgeor.htm

This week on the podcast, Tara shares a story that so many of you will relate to.   A woman in her early 50s came to me after spending hundreds of dollars on functional testing - the DUTCH hormone test and the GI MAP stool test - and you know what? They offered her no real answers.   She was still exhausted. Still bloated. Still not sleeping. And still stuck with zero direction on what to do next. So what went wrong?       In this Episode: 00:54 - Why a 51-year-old client came to Tara after getting no answers from standard functional testing (DUTCH + GI MAP). 02:11 - Why DUTCH testing can fall flat when hormone production has already declined - and why it's not useful for many women in menopause. 04:06 - The limits of the GI MAP when gut dysfunction is mild or metabolic - and why gut symptoms don't always mean gut damage. 05:22 - How this client's low energy, low mood, and low motivation pointed to hormone and thyroid depletion - not just gut dysfunction. 11:32 - Tara's approach: rebuilding from the bottom of the pyramid up - focusing first on nutrition, minerals, hormone/thyroid support. 14:10 - Final thoughts on test interpretation, why you don't always need more data, and how to assess your next steps strategically.     Other Episodes You May Enjoy: EPS 45: My thoughts on the DUTCH test EPS 91: Debunking common arguments for needing to run the DUTCH test  EPS 102: Why we don't test hormones in perimenopause  EPS 112: Why we stopped using the GI MAP in my practice & how we are approaching gut testing these days  EPS 131: Should we be concerned about estrogen metabolites?    Mentioned in this episode: Purchase Herbatonin here - Save 10% when you use Tara's code: Tara10 MegaSporeBiotic – Click HERE to grab this probiotic and use my practitioner code, which also gets you 10% off: TaraMegaSpore Paleovalley – Grab your goodies as mentioned in this episode, HERE Blue Light Blocking Glasses Recommendations: Baxter Blue (Australian site) Save 15% when you use Tara's code: Tara15 Bon Charge Save 15% when you use Tara's code: TARA15 HRT Made Simple™ - Learn how to confidently speak to your doctor about the benefits of hormone replacement therapy so you can set yourself up for symptom-free, unmedicated years to come without feeling confused, dismissed, or leaving the medical office minus your HRT script. Hair Loss Solutions Made Simple™ – This course will teach you the best natural, highly effective, and safe solutions for your hair loss so you can stop it, reverse it, and regrow healthy hair without turning to medications. The Perimenopause Solution™ – My signature 6-month comprehensive hormonal health program for women in midlife who want to get solid answers to their hormonal health issues once and for all so they can kick the weight gain, moodiness, gut problems, skin issues, period problems, fatigue, overwhelm, insomnia, hair/eyebrow loss, and other symptoms in order to get back to the woman they once were. [FREE] The Ultimate Midlife Perimenopause Handbook - Grab my free guide and RECLAIM your confidence, your mood, your waistline and energy without turning to medications or restrictive diets (or spending a fortune on testing you don't need!).   [BOOK A 30-MINUTE SESSION WITH TARA HERE]

Začátkem července Česko postihl největší výpadek proudu za dlouhou dobu. Ministerstvo průmyslu přišlo vzápětí s tím, že blackout způsobilo spadlé vedení a následný výpadek elektrárny Ledvice. Vyšetřování ale pokračuje. Kdy budeme vědět, kdo za blackout skutečně může?Hostem Ptám se já byl ministr průmyslu a obchodu a místopředseda hnutí STAN Lukáš Vlček.„Vyšetřování bude ještě probíhat několik týdnů. Nechci teď do předběžných závěrů ukazovat na viníka. Přece jenom ta technická závada byla opravdu rozsáhlá. Je důležité nezávislé odborné vyšetření této situace, která opravdu není dobrá,“ řekl v Ptám se já ministr Vlček.Výpadek proudu zasáhl v pátek 4. července zhruba milion odběrných míst v Česku, už zrhuba za dvě hodiny se ale podařilo dodávku energie obnovit. Do vyšetřování před pár dny vstoupil šéf společnosti ČEZ Daniel Beneš, který dopisem vládě i některým ministrům požádal o prošetření Energetickým regulačním úřadem a poslal úředníkům seznam několika velmi konkrétních otázek.„Okamžitě jsem požádal ředitele ČEPS o rozšíření té analýzy, kterou jsme zadali, o odpověď na tyto otázky. Pokud padají tyto konkrétní dotazy, tak mě samotného zajímají odpovědi na ty otázky,“ říká Vlček.Jaké okolnosti blackoutu chce prošetřit šéf společnosti ČEZ Daniel Beneš? S jak velkými investicemi do přenosové soustavy musíme v budoucnu počítat? A proč ministerstvo nedokáže uhlídat firmy, jejichž výrobky navzdory sankcím končí v Rusku?--Podcast Ptám se já. Rozhovory s lidmi, kteří mají vliv, odpovědnost, informace.Sledujte na Seznam Zprávách, poslouchejte na Podcasty.cz a ve všech podcastových aplikacích.Archiv všech dílů najdete tady. Své postřehy, připomínky nebo tipy nám pište prostřednictvím sociálních sítí pod hashtagem #ptamseja nebo na e-mail: audio@sz.cz.

Today's Post - https://bahnsen.co/414n2Lt Market Overview and Economic Insights: Dividend Cafe In this episode of Dividend Cafe, Brian Szytel stands in for David to provide a comprehensive update on market activities and economic indicators. Despite a quiet day, the Dow closed down 19 points, contrasting with record closes for the S&P and Nasdaq. Interest rates saw a decrease, influenced partly by political events in Japan. Earnings are generally positive with a 5.6% EPS growth, and 83% of reporting S&P 500 companies beating earnings estimates. Economic activity remains resilient with balanced labor markets and upcoming economic reports on jobless claims, PMI data, new home sales, and durable goods orders. Key political and economic developments in Japan, housing market dynamics, and potential Federal Reserve actions are also discussed. Lastly, insights on oil, energy, and the impact of tariffs on inflationary measures are shared. Brian encourages audience engagement through questions and looks forward to upcoming episodes. 00:00 Introduction and Market Overview 00:17 Market Performance and Earnings 00:41 Economic Indicators and Interest Rates 02:19 Sector Analysis and Valuations 03:37 Economic Calendar and Labor Market 04:15 Global Political Events and Currency Movements 06:00 Housing Market Insights 06:40 Federal Reserve and Interest Rate Speculations 07:37 Oil and Energy Sector Update 08:07 Inflation and Tariff Impacts 09:10 Conclusion and Viewer Engagement Links mentioned in this episode: DividendCafe.com TheBahnsenGroup.com

Derek Moore and Shane Skinner give their thoughts on the Fed, interest rates, and the Trump vs. Powell situation. Plus, looking at new data on how much revenue US companies derive from overseas markets. Later the talk about what many get wrong about where their stock market returns come from year over year plus those crazy surveys and inflation expectations. Finally, they talk about what the option market is expecting around TSLA earnings   How long are Fed Governor terms? How long is the term of the Federal Reserve Chair? Where returns come from changes in revenues, margins, EPS, buybacks, and dividends Q2 Earnings Season kicks off  Will earnings beat by more than people expect? What percentage do S&P 500 Index companies revenues come from overseas? What about the Mag 7 percentage of foreign earnings? U of Michigan inflation survey still shows crazy disparity between democrats and republicans Trump vs Powell debate Fed interest rate probabilities Will the Fed lower interest rates in July? What the options market says about the TSLA earnings move this week TSLA implied volatility   Mentioned in this Episode   Semper Augustus 2021 letter talking about where returns come from over longer periods https://static.fmgsuite.com/media/documents/db64b928-53d6-43a9-a4d0-a9d2f69f76ba.pdf   Derek Moore's book Broken Pie Chart https://amzn.to/3S8ADNT   Jay Pestrichelli's book Buy and Hedge https://amzn.to/3jQYgMt   Derek's book on public speaking Effortless Public Speaking https://amzn.to/3hL1Mag   Contact Derek derek.moore@zegainvestments.com   

Big Brother is off to a fast start, the first houseguest has departed. Is there an Art of the Jimmy? Join the Tally the Votes gang to find out. Send us an email at tallythefeedback@yahoo.com. Listen to “Big Brother 27, Eps 2-4” on Spreaker.

美股財報季: 1:02 銀行股高檔幅度不大，因為關稅直接影響低，又有鬆綁監管加持 2:35 摩根史丹利，吃盡Q2大動盪的交易收入增幅，但展望Q3放緩 5:00 高盛投行業務展望類似，但商銀佔比更多，多了eSLR、穩定幣利多 6:25 CPI、PPI傳導還不完全，6月主要反映油價，不能過度延伸推論 8:30 商銀NIM穩定，Q3獲利展望不會差，美銀因展望保守遭下殺機 13:30 Golden Rule1: 高位階對應高標準，賣方預期高標還高才及格 14:24 Rule2: 不確定存在，展望不太可能樂觀，展望講愈多股價愈不利 14:58 ASML財報觀點，展望多嘴出大事，清晰的符合兩條Golden Rules 台積電法說會: 19:45 EPS爆炸高! 超預期來自於毛利率匯率影響低 20:58 調高全年展望可不是利多，因為隱含Q4季減，非正常年度旺季不旺 24:14 Q3毛利率比預期低，匯率反而Q3又扛不住了!? 如何解讀? 28:48 業外匯損倚靠增資海外子公司，成功藏到EPS以外(大水庫理論) 32:10 台積電法說會公司與產業觀點的小結 35:33 有趣QA1: H20解禁的影響，去化庫存、持續用RTX6000應是事實 39:35 有趣QA2: AI持續旺製程也持續前進，N5稼動率與轉換製程的分析 43:45 有趣QA3: 人型機器人今明兩年太早，但市場規模將是EV10倍大!? 47:35 本集總結 -- Hosting provided by SoundOn

Broadcasting LIVE from Riverside Online Studios, CT, Rich & Phil had so much FUN catching up and chatting about what has been going on the last few months since Eps 78. Rich traveled the world, CT changed jobs, and Phil went into Witness Protection … well, that is what he looked like on his laptop camera!  We can now post pics from our recording.   We're excited to fire the show back up, so stay tuned for new episodes being recorded every Thursday evening on Riverside!   ASGP is POWERed by Riverside Online Studios!  Please like and subscribe to our show on your podcast app of choice.  Tell a friend!  If you'd like to become a sponsor or if you have A Great Story, please send us a message at agr8storypodcast@gmail.com!  And, please share feedback be on our show, we'd love to hear from you.   Follow our AGSP socials: Instagram:  @AGreatStoryPodcast / https://twitter.com/AGreatStoryPod X:  @AGreatStoryPod, https://www.instagram.com/AGreatStoryPodcast FB:  A Great Story Podcast - A Great Story Podcast | Facebook Love,   CT, Rich … and Phil!!!   (me) (Rich) (Phil)      

Celý díl najdete na našem Patreonu nebo HeroHero.V Česku je paradoxně pravděpodobnější blackout v létě než v zimě. Problémy tvoří OZE, respektive nedostatečná kapacita přenosové soustavy na přetoky elektřiny z Německa a Polska. Markéta a Michal nám popsali jaké se rozehrávají hry o zodpovědnosti za blackout mezi ČEPS, ČEZ a vládou. Stručně jsme zvládli probrat eutanázii, rozpočet Evropské unie na další sedmiletku a tradičně jsme si zabědovali nad neakceschopností, ideové vyprázdněnosti a virtue signalingu politiků.VŠECHNY NAŠE LETNÍ/PODZIMNÍ AKCE MŮŽETE ZAKOUPIT ZDE:https://connect.boomevents.org/organizer/41b026b3-ccea-453a-b0dd-ab8fc3b61bc0

Loxapine is a first-generation (typical) antipsychotic with dopamine D2 receptor antagonism as its primary mechanism, though it also has affinity for serotonin 5-HT2A receptors, making its pharmacology somewhat atypical. Loxapine is available in multiple formulations, including oral capsules and an inhalation powder, the latter approved specifically for acute agitation in patients with schizophrenia or bipolar I disorder. Sedation and extrapyramidal symptoms (EPS), including dystonia, akathisia, and parkinsonism, are common adverse effects due to its potent dopamine blockade in the nigrostriatal pathway. Orthostatic hypotension can occur with loxapine due to its alpha-1 adrenergic blockade, requiring monitoring in elderly patients or those on antihypertensives.

Tražili ste Vladu u 200. epizodi - evo vam ga! Malo kasnimo, ali valjda nam je oprošteno, ipak je jubilej! Dok se Vlada topi sa nama u studiju, Viktor se javlja sa nekog sumnjivog mora da proveri da li smo još uvek živi. Jesmo, i luđi nego ikad! A teme... pa, odakle početi? Spremite se, jer u ovoj epizodi saznajete: Zašto tek otvoreni Prokop puca po šavovima kao jeftine farmerke? Kako je Alta Banka postala novi EPS i zašto im SVI plaćamo proviziju? Zašto je Ćacijeva desetka vest dana i da li je Ana Brnabić plakala od sreće? Kako Dragan J. Vučićević preti celoj Srbiji dok glumi najveću žrtvu? Zašto su protesti u Užicu uspeli i šta vlast radi kao odgovor? A to je samo početak! Tu je i nezaobilazno pismo Bogoljuba Karića "bratu po viziji" Ilonu Masku, koje smo detaljno analizirali, Vučićeva poseta misterioznoj livadi i još mnogo, mnogo toga! Hvala vam na neverovatnoj podršci tokom ovih 200 epizoda! Bez vas, sve ovo ne bi imalo smisla. Nazdravite sa nama i uživajte u epizodi!

READING THE BIBLE WITH THE DEAD/RBWD - Season 02, Eps #01 [Origen]: Untuk Apa Berperang?Pdt. Jimmy Pardede, Denni Girsang, dan Samuel C. PantouJika setiap langkah kaki Yosua sudah dijamin kemenangan oleh Tuhan, mengapa ia tetap harus mengangkat pedang? Apakah peperangan Israel hanya soal merebut dan menaklukkan tanah Kanaan? Lalu, bagaimana dengan kita hari ini, apakah hidup ini memang sebuah medan peperangan yang harus kita menangkan? Jika ya, siapa panglima kita, siapa pula lawan sejati kita, dan apa sebenarnya tujuan ultimat perjuangan ini? Atau jangan-jangan selama ini kita hidup dalam ilusi damai, tanpa menyadari bahwa perang sedang berlangsung?Saksikan juga dan nikmati diskusinya di:https://youtu.be/jD2AS7qD3jw

從雞豬蛋麵到品牌零食，台幣升值讓食品股成本壓力舒緩，誰能最先反映在毛利與EPS？ 本集記者實地走訪多家食品廠股東會，帶你從原物料到品牌力，看懂這波「匯率＋旺季」雙利多下的真機會！

Dave James is a former Force Recon Marine who served with 1st and 3rd Reconnaissance Battalions. Check out our other interviews on Eps. 063 and 065.Support the pagehttps://jcramergraphics.comhttps://ANGLICOshop.comhttps://patreon.com/formeractionguys00:00:00 J Cramer Graphics Ad00:00:21 Texas Floods00:04:19 Coast Guard Rescue Swimmer00:08:00 Tim Kennedy Drama00:21:29 Ranger School00:24:36 3rd Recon Battalion00:26:35 SFARTAETC00:31:39 Force Recon Weapons | Teams00:36:23 From Army Engineer to Marine Recon00:44:45 Filming of Heartbreak Ridge01:07:57 Insights from the Qualification Course

The big things you need to know: First, we are lifting our year-end 2025 S&P 500 price target to 6,250, essentially taking our price target back to where it was in mid-March. Second, there is no change to our 2025 S&P 500 EPS forecast of $258, which is slightly below consensus. We also review what we've learned from the early reporters, which makes us think it's too early to stop worrying about tariff impacts. Third, we're adding the momentum trade and earnings sentiment for mega cap growth to the list of things worrying us about the stock market near-term.

In this episode we sat down with Josh of Teeth Out from Charlettotown PEI...thats on the eastside of Canada yall! We learned all about the longest bridge ever (8miles to be exact) and chatted about some music thangs too ha! Thank you so much Josh for joining us and chatting about not just one..but 2 EPs that they have out...and working on their 3rd EP planned to be out by November! They are working hard...and rocking out. We love itttttt! Check out their Instagram for upcoming shows and events happening near them...plus more in our interview...such as a subtle drop of a maybe...show in Costa Rica...whaaa! Sign us up! : )

On this week's Talkhouse Podcast we've got one of our favorite repeat Talkhouse guests alongside an artist who just released her debut album—on which they collaborated. It's Ben Gibbard and Natalie Lew. Gibbard is of course the frontman and primary songwriter behind both Death Cab for Cutie and The Postal Service, and he's been writing heartfelt, incredible songs for the past, oh, 30 years or so. The latest Death Cab album, called Asphalt Meadows, came out back in 2022, but he's kept busy with an anniversary Postal Service tour and, coming later this summer, some shows celebrating the 20th anniversary of Death Cab's Plans album. I'm a fan—the guy has written some of my favorite songs of all time, and he hasn't lost a step over the years. He's also been super supportive of other musicians over the years, including today's other guest. Natalie Lew who, like Gibbard, calls Seattle home, records under the name Sea Lemon. Like a lot of younger artists, she started out by releasing singles and EPs, but in May she graduated to what some folks think it's a lost artform: the full-length album. It's called Diving for a Prize, and it's full of shoegazy indie-pop goodness, hiding catchy melodies under swirling layers. Gibbard was already a fan of Sea Lemon's music, so it seemed like a no-brainer that she'd ask him to duet on a song from the album. Check out “Crystals” right here. In this lively chat, these two talk about their shared city and how they'll never live anywhere else, the sanctity of the album as an artistic statement, and whether they'd like to venture into creative pursuits beyond music. One of them is a yes, the other not so much. Enjoy. Thanks for listening to the Talkhouse Podcast, and thanks to Natalie Lew and Ben Gibbard for chatting. If you liked what you heard, please follow Talkhouse on your favorite podcasting platform, and check out all the great stuff at Talkhouse.com. This episode was produced by Myron Kaplan, and the Talkhouse theme is composed and performed by the Range. See you next time! Find more illuminating podcasts on the ⁠⁠⁠Talkhouse Podcast Network⁠⁠⁠. Visit ⁠⁠⁠talkhouse.com⁠⁠⁠ to read essays, reviews, and more. Follow @talkhouse on ⁠⁠⁠Instagram⁠⁠⁠, ⁠⁠⁠Bluesky⁠⁠⁠, ⁠⁠⁠Twitter (X)⁠⁠⁠, ⁠⁠⁠Threads⁠⁠⁠, and ⁠⁠⁠Facebook⁠⁠⁠.

Is the West DEAD? Japanese & Gacha Games, Anime Series, Manga, Movies, Gaming News about Xbox layoff! Weeb Week #3! Mecha BREAK, UmaMusume: Pretty Derby, Wuthering Waves aka WuWa, Bakeru, Zenless Zone Zero, Ni no Kuni Wrath of the White Witch™ Remastered, Final Fantasy IV 25 year anniversary remake rumors and Memoria Mod + Moguri Mod, Solo Leveling Arise Overdrive, Outrider Mako, win RAIDOU Remastered The Mystery of the Soulless Army from CDKeys in our VGO Discord, gacha games, and more! Plus Josee the Tiger and the Fish, 90's Berserk, Jujutsu Kaisen JJK, Solo Leveling, The Apothecary Diaries, Attack on Titan, and the bad rep anime gets. We also get into the Xbox drama. To listen to Weeb Week 1&2 (Eps 837 & 882), support us in Discord to get weekly bonus shows, ad-free VGO, and the entire back catalog of 20 years on VideoGameOutsiders.com via https://discord.gg/Ab6pxpT Head to Twitch.tv/johnANDmichelle and sub free with Amazon Prime every month for our game streams and to support the show. 

OBBBA written into law! Big week for Coney Island The American Party - Musk taking a shot Amazon Prime Day (Prime Week) happening PLUS we are now on Spotify and Amazon Music/Podcasts! Click HERE for Show Notes and Links DHUnplugged is now streaming live - with listener chat. Click on link on the right sidebar. Love the Show? Then how about a Donation? Follow John C. Dvorak on Twitter Follow Andrew Horowitz on Twitter INTERACTIVE BROKERS  Warm-Up - OBBBA written into law! - Big week for Coney Island - The American Party - Musk taking a shot - Amazon Prime Day (Prime Week) happening - BIG WIN FOR US AT AIRPORTS! Markets - ATH before the July 4th break - Jobs numbers - a bit surprising - Tariff threats are back - full court press is on! -- Letters are going out! - NVDA - History in the making THE WINNER OF THE CTP - Something that never happened before! Earnings Season According to Factset: - During the second quarter, analysts reduced earnings-per-share (EPS) estimates by a wider margin than usual. - The bottom-up EPS estimate for Q2—which aggregates the median EPS forecasts for all companies in the index—fell by 4.2%, dropping from $65.55 on March 31 to $62.83 by June 30. - While it's common for analysts to lower EPS estimates during a quarter, the size of this quarter's decline stands out. Over the past 5 years (20 quarters), the average quarterly decline in the bottom-up EPS estimate has been 3.0%. - Over the past 10 years (40 quarters), the average drop was 3.1%, and over the past 15 years (60 quarters), it was 3.2%. - Only when looking back 20 years (80 quarters) does the average match this quarter's 4.2% decline. --- What this means is that easier hurdles to get over for companies that have had their earnings estimates slashed. ELON - On July 5, Musk said he would found an "America Party" as an alternative to the Republican and Democratic parties. Musk says the party will focus on "just 2 or 3 Senate seats and 8 to 10 house districts." - He can't be President, what are his aspirations here? Joey, Joey, Joey - Joey Chestnut on Friday regained his longtime title of champion in the Nathan's Famous Hot Dog Eating contest at New York City's Coney Island after he was banned from the competition last year. - In the 2025 contest, he ate 70.5 hot dogs and buns in 10 minutes, totaling roughly 21,150 calories, 1,269 grams of fat, and 48,280 milligrams of sodium Tariffs - After OBBBA - good time to start this up again - Bessent, White House and Navarro are back on the Tariff Trail -  Treasury Secretary Scott Bessent said President Donald Trump will send letters to some trading partners saying tariffs will boomerang back to April 2 levels on Aug. 1 if there is no progress. - Bessent rejected that Aug. 1 is a new trading deadline, but it could still give countries more time to negotiate. Bessent also said that he expects to see “several big announcements over the next couple of days” about trade deals. - Johnny:I am going to count to three! - Trump has threatened an additional 10% tariff on countries that orient themselves along the “Anti-American policies of BRICS.” - Trump's announcement, which did not elaborate on any specific policy of BRICS, came as the group's meeting is underway in Rio de Janeiro, Brazil. - Navarro out with his usual tough talk about all countries in the world screwing America on CNBC Monday.. - Trump said he had signed letters to 12 countries outlining the various tariff levels they would face on goods they export to the United States, with the “take it or leave it” offers to be sent out on Monday. OOPS THERE IT IS! - Monday 12PM: President Trump posts letters to Prime Minister of Japan, President of the Republic of Korea outlining 25% tariffs starting August 1}- Sends out a total of 14 letters. Markets miffed, but don't care China and Trade Deal - GE Aerospace has received U.S.

ITPM Flash provides insight into what professional traders are thinking about in the markets RIGHT NOW! Markets are ripping, earnings are strong, and a new takeover rumor has caught Ben Berggreen's attention. In episode of ITPM Flash, Ben kicks things off with a quick macro rundown—tech and cyclicals are pushing new highs despite soft economic data. Then he dives into a fresh long idea: Papa John's. The stock is trading well below its 2021 peak, but a potential $2B buyout and improving fundamentals—margin expansion, tech initiatives, and accelerating EPS growth—make it a compelling setup. Ben outlines a defined-risk call spread aimed at capturing upside if the deal gains momentum. Enjoy the episode!

The Ultimatum: Queer Love Season 2 Eps 7-10 A Perfect Match hosts Aysha Welch, Mary Kwiatkowski and Evvie Jagoda are here to recap The Ultimatum: Queer Love Season 2. The Ultimatum is a reality dating show where couples at a crossroads face a life-changing decision: get married or break up. Over the course of the experiment, participants swap partners, live in trial marriages, and explore their relationships, forcing them to confront their doubts, desires, and what they truly want for their future. Today, Aysha, Mary, and Evvie discuss episodes 6-10 of The Ultimatum: Queer Love. Catch up with us on Twitter and let us know how you liked this podcast (@RobHasAPodcast)! Previously on the Love at First Sight Feed:Love at First Sight Recap Archives LISTEN: Subscribe to the Perfect Match RHAPUp podcast feed by visiting https://robhasawebsite.com/feed/mafsWATCH: Watch and subscribe to the podcast on YouTubeSUPPORT: Become a RHAP Patron for bonus content, access to Facebook and Discord groups plus more great perks! Learn more about your ad choices. Visit megaphone.fm/adchoices

The Ultimatum: Queer Love Season 2 Eps 2-6 A Perfect Match hosts Aysha Welch, Mary Kwiatkowski and Evvie Jagoda are here to recap The Ultimatum: Queer Love Season 2. The Ultimatum is a reality dating show where couples at a crossroads face a life-changing decision: get married or break up. Over the course of the experiment, participants swap partners, live in trial marriages, and explore their relationships, forcing them to confront their doubts, desires, and what they truly want for their future. Today, Aysha, Mary, and Evvie discuss episodes 2-6 of The Ultimatum: Queer Love. Catch up with us on Twitter and let us know how you liked this podcast (@RobHasAPodcast)! Previously on the Love at First Sight Feed:Love at First Sight Recap Archives LISTEN: Subscribe to the Perfect Match RHAPUp podcast feed by visiting https://robhasawebsite.com/feed/mafsWATCH: Watch and subscribe to the podcast on YouTubeSUPPORT: Become a RHAP Patron for bonus content, access to Facebook and Discord groups plus more great perks! Learn more about your ad choices. Visit megaphone.fm/adchoices

The big things you need to know:First, we review the bull thesis that we heard in client meetings last week, and our thoughts on where it could go wrong.Second, we review how the rally in equities has been looking a bit overdone on our valuation and EPS modeling, and how we're also starting to run out of room on one of our sentiment studies.Third, conditions are rather mixed for US equities at the moment. We walk through things that look good, and things that look not so good. In the latter camp, one thing that stands out as particularly important to us is the failure of c-suite sentiment in widely followed surveys to inflect positively, as has been the case with consumer, small business, and investor sentiment surveys.

Nate gives an update on the recent delayed episode releases and ponders out loud about the generative AI band with hundreds of thousands of streams on Spotify. Then, Nate sits down with David Lowery (Cracker, Camper Van Beethoven). They talk about David's childhood living across the world as a son of a member of the Air Force, how music entered his life, the move to California and exposure to neighborhood bands, forming the band Sitting Ducks that eventually became the band Camper Van Beethoven, Johnny Hickman, the timing of the 40th anniversary release of Telephone Free Landslide Victory, A Cracker Retrospective, and Fathers, Sons & Brothers, releasing music in 2025, the music industry in the 90s, streaming, Substack, Emily White, releasing the three EPs that would become Fathers, Sons & Brothers on Bandcamp, non-commercial radio, tour plans, the reactions to Fathers, Sons & Brothers from family, and the song "Everybody Get a Fucking Day Job." Then David partakes in The Jawntlet!David Lowery websiteDavid Lowery on SubstackDavid Lowery on X ⁠Yo! That's My Jawn on Substack⁠⁠ | ⁠⁠⁠Subscribe to the Y!TMJ Newsletter!

Yung Gravy, the stage name of Matthew Raymond Hauri, is a Minnesota-born rapper known for his humorous lyrics and trap beats. He broke out in 2016 and achieved viral fame with his 2017 song "Mr. Clean". His persona embraces being “extra” and his songs often feature funny lyrics about food, memes, and romance. He's collaborated with bbno$ and released EPs like Mr. Clean.  Subscribe to When a Stranger Callz with Howie & Harland: https://www.youtube.com/@WhenAStrangerCallz Bobbys World Merchandise from Retrokid: https://retrokid.ca/collections/bobbys-world Howie Mandel Does Stuff available on every Podcast Platform Visit the Official Howie Mandel Website for more: https://www.howiemandel.com/ Howie Mandel Does Stuff Merchandise available on Amazon.com here https://www.amazon.com/shop/howiemandeldoesstuff Join the "Official Howie Mandel Does Stuff" Reddit: https://www.reddit.com/r/HowieMandelPodcast/ Say Hello to our house band Sunny and the Black Pack! Follow them here! YouTube: https://www.youtube.com/@BlackMediaPresents TikTok: https://www.tiktok.com/@blackmediapresents Spotify: https://open.spotify.com/artist/01uFmntCHwOW438t7enYOO?si=0Oc-_QJdQ0CrMkWii42BWA&nd=1&dlsi=a9792af062844b4f Facebook: https://www.facebook.com/SunnyAndTheBlackPack/ Instagram: https://www.instagram.com/blackmediapresents/ Twitch: https://www.twitch.tv/blackmediapresents Twitter: twitter.com/blackmedia @howiemandel @jackelynshultz @yunggravy

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

Sermon we watched: https://www.youtube.com/watch?v=0MSztUqdlosCome to OUR FIRST EVER EXPERIENCE! https://brushfire.com/wholewomanco/utwwwco/603899__________________________________________________________________Give us feedback on your Wide Open experience so far here: https://docs.google.com/forms/d/e/1FAIpQLSfnasZey2g7HM7D9vvugUpTsYwPQBgYvx0Y7vLolCvjRmJHFg/viewform?pli=1__________________________________________________________________Members get Eps 2 Days early, vlogs, & exclusive STREAMS! Join today!https://www.youtube.com/channel/UCqzgGwRrOLH20OIc8bM_VAg/join__________________________________________________________________COME SEE TIM DO COMEDY - Get Tickets Here https://linktr.ee/timross(Tim's Lip Balm) - GlowSkin Care - https://www.facebook.com/AllNaturalOrganicProductsMadeWithLove/