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Ste, Howard and Lloyd audit the title contenders, squad strength, what they need to do, and then rank them all. *This is the first 15 minutes of the show. For the full episode, and all our other content on the 93:20 player, you can join below - for less than the price of a pint of beer each month.* ninetythreetwenty.com/9320-player/about-9320-player/ SIGN UP FOR OUR NEWSLETTER! A FREE WEEKLY UPDATE WITH NEW CONTENT GUARANTEED AND A WHOLE LOT MORE. CLICK THE LINK BELOW AND ENTER YOUR EMAIL IN THE BOX. ninetythreetwenty.com/contact/

Ste is joined by Howard to look back at all of City's late, late goals under Pep Guardiola - and a few from before. *This is the first 15 minutes of the show. For the full episode, and all our other content on the 93:20 player, you can join below - for less than the price of a pint of beer each month.* ninetythreetwenty.com/9320-player/about-9320-player/ SIGN UP FOR OUR NEWSLETTER! A FREE WEEKLY UPDATE WITH NEW CONTENT GUARANTEED AND A WHOLE LOT MORE. CLICK THE LINK BELOW AND ENTER YOUR EMAIL IN THE BOX. ninetythreetwenty.com/the-9320-newsletter/ AND - THE NEWSLETTER BOOK WILL BE OUT WITHIN A COUPLE OF WEEKS!

This is an excerpt from a patrons-only episode. To hear the full thing, and dozens more, visit Patreon.com/LoveMessagePod and become a patron from £3 a month.In this patrons episode we wanted to spend some time talking about the band on everyone's lips: Kneecap. The Belfast three-piece have been in the headlines of all the papers in recent weeks for their vocal support of Palestine, trouble with the law, and Transatlantic festival shutdowns. Tim and Jeremy provide a healthy dollop of context to the group, including a potted history of Irish independence, the post-Good Friday Northern Irish settlement, working class culture and the changing status of the Irish language at home and abroad. In addition to this they discuss rave rap, drug humour, Welsh, McCarthyism, Kneecap's eponymous 2024 film, their Glastonbury appearance, the BBC, and the British state response to their music and performances. Jeremy is going to follow up this show with a supplementary episode on some of the musical antecedents to what Kneecap are up to, so hold tight for that in the coming few weeks.Tracklist: Kneecap - C.E.A.R.T.AKneecap - Amach Anocht Kneecap x DYRT - Mam Kneecap - Parful Kneecap - Guilty Conscience Kneecap ft Money - The Recap

In an 11-minute excerpt from a July webinar for the California Association of Public Procurement Officials, Dustin focuses on new trends and topics in generative ai that procurement professionals need to know about in mid 2025.

התוכן א' מהחמשה דברים שאירעו בשבעה עשר בתמוז הוא ש"בוטל התמיד", וזה קשור עם חמישי דפ' פינחס שמדובר שם על הציווי של הקרבן תמיד וכו'. וי"ל שבקריאת פ' התמיד, ש"כל העוסק בתורת עולה כאילו הקריב עולה", מרומז התיקון לביטול התמיד וכו'. ויש לקשר זה גם עם המאורע של "הובקעה העיר", כי הנקודה התיכונה והנשמה של כל העיר‏ – ‏ירושלים‏ – ‏היא ביהמ"ק, והנקודה של ביהמ"ק היא הקרבת הקרבנות, אשר, התחלת וסיום הקרבנות הוא עם קרבן תמיד של בוקר ושל צהריים! (ע"ד ענין ה"חומה" שסובבת ומקיפה את הענינים שבתוך העיר וכו'). ועוד‏.‏משיחת יום ה' דפ' פנחס, י"ז בתמוז ה'תשמ"ט ל"הנחה פרטית" או התרגום ללה"ק של השיחה: https://thedailysicha.com/?date=17-07-2025 Synopsis One of the five events that occurred on 17 Tammuz is the cessation of the Tamid offering. This has a special connection to chamishi of parashas Pinchas, which discusses the commandment of the Tamid offering, and being that “Whoever engages in studying the law of the Olah offering is considered as though he brought an Olah offering,” reading the Parashas HaTamid in the Torah also contributes to the undoing of cessation of the Tamid offering. This can also be connected to the fact that on 17 Tammuz the city was breached: the essential point and soul of the entire city of Yerushalayim is the Beis Hamikdash, and the essential point of the Beis Hamikdash is the bringing of the korbanos, which begin and end every day with the Tamid offering in the morning and afternoon (similar to a wall that surrounds and encompasses everything in the city etc.).Excerpt from sichah of Thursday, parashas Pinchas, 17 Tammuz 5749 For a transcript in English of the Sicha: https://thedailysicha.com/?date=17-07-2025 לזכות מנחם מענדל בן שיינא שי' ליום ההולדת שלו כ"א תמוזלשנת ברכה והצלחה, ואריכות ימים ושנים טובות

Erik and Chris are back to argue about station wagons, T-shirt disasters, and the everyday struggle of finding a decent haircut or coffee spot. They share Family Feud set stories, talk about overpriced barbers, and swap takes on sitcom roles and behind-the-scenes chaos. DC's Superman obsession gets roasted, every recent actor gets a quick verdict, and a caller sparks candid debate about spilled beers at concerts. The episode wraps with digs at lip ring age limits, honest hits on Houston rap, Will Smith's new freestyle, forgotten actors, alarm song routines, and sitcom nostalgia—no hype, just what happened. Get the full episode plus two extra episodes every month at https://patreon.com/thegoldenhourpodcastSee Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Health and wellness trends can be found on every social platform. But what happens when the pursuit of a particular body type morphs into harmful content and risky, or even life-threatening, behavior? Across social media platforms like TikTok and Instagram, it's easy to find content from creators who push excessive weight loss goals and promote an unhealthy obsession with eating only certain types of foods. What previously trended as thinspo, short for thin inspiration, gave way to SkinnyTok. This June, TikTok banned the SkinnyTok hashtag, but social media giants are still struggling to keep up with the pervasiveness of unsafe weight loss content. USA TODAY Wellness Reporter Alyssa Goldberg joins The Excerpt to discuss the persistent trend of potentially dangerous body image mythology on social media.Please let us know what you think of this episode by sending an email to podcasts@usatoday.com.See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

The Calocaerus Revolt (334 CE) was an uprising led by a certain Calocaerus, the Magister Pecoris Camelorum (Master of the Flock and Camels) in Cyprus, who declared himself emperor. The revolt was short lived and ruthlessly suppressed in the same year by Flavius Dalmatius, half brother to Emperor Constantine I. We know of the events from historians such as St. Jerome (Jerome of Stridon), St. Theophanes the Confessor and (our earliest source) from Sextus Aurelius Victor in his work De Caesaribus. Written in the 4th century, it provides a concise summary of the lives and reigns of Roman emperors from Augustus to Constantius II, and it draws heavily from the Enmannsche Kaisergeschichte, a lost source that served as a common framework for several late Roman historical accounts. This short (but important) source springboards us to next month's episode: the little known and enigmatic Calocaerus Revolt with Maria Castello!

Welcome to Light On Light Through episode 413, in which I interview Mike Grynbaum about his book Empire of the Elite: Inside Condé Nast, the Media Dynasty That Reshaped America, which was just published today. Condé Nast is the publisher of The New Yorker, Vanity Fair, Vogue, GQ, Wired, and other iconic magazines, so we had a lot to talk about. order Empire of the Elite Maureen Dowd interviews Mike Grynbaum at the 92nd Street Y tonight! Mike Grynbaum's "Mangia Mafia! Food, Punishment, and Cultural Identity in The Sopranos" in The Essential Sopranos Reader, eds. David Lavery, Douglas Howard, and Paul Levinson; University Press of Kentucky, 2011 Excerpt from Empire of the Elite in The Hollywood Reporter

As many of you know, I'm releasing my latest book tomorrow-- July 15, 2025. It's called The Club: Where American Women Artists Found Refuge in Belle Époque Paris, published by Bloomsbury. And It's a story that's close to my heart—a vibrant, true tale of a group of pioneering American women artists who crossed the Atlantic to chase their dreams in Paris at the turn of the twentieth century. Today, I wanted to give you a little taste of the audiobook, which I also had the great honor of narrating. I hope you enjoy it. BUY THE CLUB HERE! Learn more about your ad choices. Visit podcastchoices.com/adchoices

CONTENT WARNING: Discussion of homophobia, sexual assault, spousal abuse. This week's movie may not be the gayest movie ever but it's certainly one of the most famous. The star power here is off the charts, with two absolute bona fide movie stars and a perfect up and comer as our three gorgeous, fabulous, out of this world drag queens. Unfortunately the movie seems to think that ultimately we need less time with the queens and more time with a small town looking for help. It's a mistake, and one that keeps the movie from being in the ultimate pantheon. But my, what a magic fairy-dust ride it is. We're headed to Hollywood as we watch 1995's To Wong Foo, Thanks for Everything! Julie Newmar on Have a Good Movie! You can email us with feedback at macintoshandmaud@gmail.com, or you can connect with us on BlueSky! If you like the podcast, please subscribe, rate and review the show on your favorite podcatcher, and tell your friends. Intro and outro music taken from the Second Movement of Ludwig von Beethoven's 9th Symphony. Licensed under an Attribution-NonCommercial-NoDerivs 3.0 Hong Kong (CC BY-NC-ND 3.0 HK) license. To hear the full performance or get more information, visit the song page at the Internet Archive. Excerpt taken from "I Am The Body Beautiful", written by Bernadette Cooper and Cheryl "Salt" James, and performed by Salt-N-Pepa. Copyright 1995 MCA Records. Excerpt taken from "Remembering Munich" from the soundtrack to Munich, written and composed by John Williams. Copyright 2005 Universal Classics Group, a Division of UMG Recordings Inc.

How can a Christian prepare for death? It is a question pertinent to us all, and yet it is asked earnestly by so few. This week we seek guidance on this question from the work of the seventeenth-century minister George Swinnock and the nineteenth-century pastoral theologian Archibald Alexander.    Featured Resources:  - Excerpt from 'The Fading of the Flesh' in The Works of George Swinnock, Vol. 3 (1672; repr. Edinburgh: Banner of Truth, 1996), pages 466–471.  - Excerpt from Archibald Alexander, Thoughts on Religious Experience (1844; repr. Edinburgh: Banner of Truth, 1978, 2024), pages 277–280.    Related resources:  The Works of George Swinnock (5 volumes, 2526 pages, clothbound) The Works of George Swinnock, Volume 3 (source of today's excerpt from The Fading of the Flesh, a work contained in volumes 3 and 4 of Swinnock's Works) Archibald Alexander, Thoughts on Religious Experience   Explore the work of the Banner of Truth: www.banneroftruth.org Subscribe to the Magazine (print/digital/both): www.banneroftruth.org/magazine Leave us your feedback or a testimony: www.speakpipe.com/magazinepodcast

Lee, Daniel, and the returning Lady Leah cover a classic of the silent era, once thought lost, Carl Theodor Dreyer's "The Passion of Joan of Arc" (1928), featuring one of, if not the greatest, performance ever captured on film, from Maria Falconetti, starring as the titular Joan of Arc. The history of the film and its various versions are briefly touched upon, and the hosts dig into the various lenses the film can be viewed through, as well as spending time talking about Dreyer's rule-breaking filming techniques he employed to make the film. Will Lee manage to struggle through reading all the French names in the cast? All this, and the cast also talks about what they've watched recently. We are putting you, the listener, on trial! Confess! You will listen to this episode! Repent! "The Passion of Joan of Arc" IMDB  From the Danish Film Institute: Hermann Warm and the models for Jeanne D' Arc.  Lee on Bluesky.  Daniel on Bluesky, his other Podcast, and his Patreon.    Featured music: Excerpt from "Joan of Arc" by Leonard Cohen; "Bigmouth Strikes Again" by The Smiths, and "Maid Of Orleans" by Orchestral Manoeuvres in the Dark.

CONTENT WARNING: Discussion of suicide and suicidal ideation. While presented in a lighthearted manner, listener discretion is advised. If you are experiencing a mental health crisis or experiencing suicidal thoughts, please call or text 988 for help. Savage Steve Holland probably never contemplated his cartoons and wacky sense of humor would result in him making a true cult teen classic, but that's exactly what happened. John Cusack is just starting to find his path to the ultra-awkward teen of our dreams, and his supporting cast is pretty fun to boot. But mostly, the bits just keep on coming and just when you think a joke is overdone, a new one pops up in its place. We want our two dollars as we watch 1985's Better Off Dead on Have a Good Movie! You can email us with feedback at macintoshandmaud@gmail.com, or you can connect with us on BlueSky! If you like the podcast, please subscribe, rate and review the show on your favorite podcatcher, and tell your friends. Intro and outro music taken from the Second Movement of Ludwig von Beethoven's 9th Symphony. Licensed under an Attribution-NonCommercial-NoDerivs 3.0 Hong Kong (CC BY-NC-ND 3.0 HK) license. To hear the full performance or get more information, visit the song page at the Internet Archive. Excerpt taken from "Better Off Dub (Title Music)" from the soundtrack to Better Off Dead, written and composed by Rupert Hine. Copyright 1985 CBS Inc. Excerpts taken from the film Better Off Dead, copyright 1985 CBS Inc. All Rights Reserved. Excerpt taken from "I Am The Body Beautiful", written by Bernadette Cooper and Cheryl "Salt" James, and performed by Salt-N-Pepa. Copyright 1995 MCA Records.

Excerpt of the 12 Jul 1937 Tribute to George Gershwin, featuring Al Jolson. This was one of two numbers performed by Al Jolson on a radio tribute broadcast the evening following George Gershwin's death. The complete broadcast circulates with other Jolson radio shows on the Official Al Jolson Website at www.jolson.org.

התוכן בסליחות די"ז בתמוז, קודם אמירת הפיוטים המיוחדים ליום זה, אומרים ג' פסוקים: 1) אל תתנו דמי לו עד יכונן ועד ישים את ירושלים תהלה בארץ. 2) כי עמך מקור חיים באורך נראה אור. 3) אלקינו בושנו במעשינו ונכלמנו בעוונינו. והסדר מדוייק: פותחים ב"שטורעם" ש"אל תתנו דמי לו'" - אסור להניח לה' לשתוק, ויש להפציר בו, "עד יכונן ועד ישים את ירושלים תהלה בארץ"!! וכשטוענים כיצד יתכן לפנות אל ה' כך?! באה התשובה - "כי עמך.. באורך נראה אור" - התורה, "באורך", שמאירה דרכו של יהודי, אומרת "אל תתנו וגו'"! ורק לאח"ז נעשים רגועים ובמילא יכולים לעשות תשובה שלימה - "אלקינו בושנו וגו'". ומובן שעיקר ה"שטורעם" בי"ז בתמוז הוא "אל תתנו דמי לו וגו'", כי בנוגע לתשובה - 1) "עיקר התשובה בלב" וברגע שמחליט ש"אלקינו בושנו וגו'" ה"ז תשובה שלימה. 2) עצם הפני' לה' של "אל תתנו וגו'" ה"ז תשובה אמיתית.משיחת ט"ו תמוז ה'תשמ"ב ל"הנחה פרטית" או התרגום ללה"ק של השיחה: https://thedailysicha.com/?date=13-07-2025 Synopsis In the selichos for 17 Tammuz, before reciting the special piyutim for the day, we say three verses: (1) “And give Him no rest, until He establishes and until He makes Yerushalayim a praise in the land.” (2) “For with You is the source of life; in Your light we will see light.” (3) “Our G-d, we are ashamed of our deeds and disgraced by our iniquities.” The order is precise: We begin with making a stir about “Giving Him no rest” –we cannot allow Hashem to remain silent, and we must entreat Him “until He establishes and until He makes Yerushalayim a praise in the earth.” And if one asks how it's appropriate to address Hashem this way – comes the second verse and says, “For with You… in Your light we will see light” – it is the Torah, which is “Your light” and which illuminates the path for a Jew, that declares to “Give Him no rest….”And only afterwards is one calmed, so that he is able to do complete teshuvah – “Our G-d, we are ashamed….” Obviously, the main focus of 17 Tammuz is to “Give Him no rest,” etc., because regarding teshuvah, (1) “The essence of teshuvah is in the heart,” so the moment one decides that “Our G-d, we are ashamed,” etc., that already constitutes complete teshuvah, and (2) the very act of turning to Hashem to “Give Him no rest,” etc. is itself true teshuvah.Excerpt from sichah of 15 Tammuz 5742 For a transcript in English of the Sicha: https://thedailysicha.com/?date=13-07-2025

Excerpt from LIBERTAS by Pope Leo XIIISponsored by Charity Mobilehttps://www.charitymobile.com/rtt.phpSources:https://www.returntotradition.orgContact Me:Email: return2catholictradition@gmail.comSupport My Work:Patreonhttps://www.patreon.com/AnthonyStineSubscribeStarhttps://www.subscribestar.net/return-to-traditionBuy Me A Coffeehttps://www.buymeacoffee.com/AnthonyStinePhysical Mail:Anthony StinePO Box 3048Shawnee, OK74802Follow me on the following social media:https://www.facebook.com/ReturnToCatholicTradition/https://twitter.com/pontificatormax+JMJ+

Cop mode, black tar CBD, and the USA Tour Help 2015 Facebook group. Patton Magee (The Nude Party, Patton Magee) "For The Nude Party, nearly a decade has flown by in the blink of an eye. In that time, the New York-based band has released a pair of well-received albums, an EP, and played countless shows. Prior to the pandemic, the band was really starting to hit its stride. They had a system in place and were spreading their brand of melodic rock to the masses. In fact, they could count Jack White, Arctic Monkeys, and Orville Peck as vocal supporters, which led to support slots for each. Soon, incredible live appearances at Bonnaroo, Lollapalooza, Newport Folk Festival, and Shaky Knees became the norm. In late 2020, The Nude Party released its sophomore album, Midnight Manor, which debuted at #1 on the Alternative New Artists Album Chart. The sextet was unable to tour behind it and compared its release to skipping a stone over a raging river. A byproduct was that it showed the band that on their third album, they couldn't lean on their tried-and-true method of testing out new material live and then hunker down to record. Instead of sitting around, the band got busy. Setting up shop in their Upstate New York headquarters, the group used the funds they'd saved and spent a year building a studio space out of a barn. Tired of paying for studio time and being rushed, The Nude Party methodically worked at their own pace. Out were the sessions lasting a strict handful of days. In were impromptu writing moments and picking every sound as they went along. When the band met the Tampa based engineer Matthew Horner, they discovered that they had the opposite problems: Matthew had a collection of incredible gear with no studio and The Nude Party had a great new studio with no gear. So they invited him to move his equipment up to the Catskills to record an album together. Such was the origin of the band's third album, Rides On. Unlike their first two albums, The Nude Party decided to produce Rides On themselves. With their new space and the help of Horner, The Nude Party had as much fun creating as they ever had at any other point in their career. The lack of pressure allowed them to record over 20 songs, including some that dabbled in electro-pop and stripped-down country before settling on the final 14 songs. Rides On, the band confidently says, is their best record. It's also the most homegrown and the most organic record The Nude Party has created to date. Working on the album themselves allowed for a democratic process where each band member could take a fuller role in producing the songs they wrote. There was some initial trepidation about there being too many cooks in the kitchen. But as is the benefit of owning your own studio space, time was not a factor. In turn, it allowed for the band's ideas to blossom, everyone's voice be taken into account and create an exciting, collaborative vibe. The relaxed atmosphere of the sessions, and arriving with only loosely structured material, allowed the band to thrive in the studio. It also unleashed a diverse sonic texture compared to their previous releases, as best demonstrated by the title track, “Ride On.” Sonically, the song is reminiscent of Sticky Fingers-era Stones, but its lyrics are mini-vignettes where Magee sings about persevering through adversity. The twangy, blues-drenched licks of the title track, the breezy desert dust encapsulated by the ‘70s infused “Hard Times,” the Shaun Couture-led “Sold Out of Love,” the swinging ‘60s garage vibes of “Cherry Red Boots,” which captures the spirit of what The Nude Party are going for — and showcases their growth as a band. As does expanding the band's sonic palate with a cover of Dr. John's “Somebody Tryin' To Hoodoo Me.” It would have been easy to stick to the New Orleans musician's format, but the band showed off their prowess with their own darker, electric version of the deep cut. The Nude Party coalesced and embraced the spirit of collaboration. They're excited to begin the next chapter of their career. At a time when it would have been easy to pack it in, the band continues to persevere." Excerpt from https://www.thenudepartymusic.com/bio The Nude Party: Bandcamp: https://riokosta.bandcamp.com Instagram: @thenudeparty Website: https://www.thenudepartymusic.com Records: https://newwestrecords.com Merch: https://www.hellomerch.com Patton Magee: Bandcamp: https://pattonmagee.bandcamp.com Instagram: @pattonmagee Website: https://www.pattonmagee.com Records: https://www.nudierecords.com The Vineyard: Instagram: @thevineyardpodcast Website: https://www.thevineyardpodcast.com Youtube: https://www.youtube.com/@thevineyardpodcast

Devastating rains in Texas Hill County on the morning of July 4th created deadly floods that have now claimed over 100 lives and counting. The catastrophic rains took place in a region that's known as "flash flood alley," causing the Guadalupe River to rise from less than a foot on July 3 to more than 34 feet by the morning of July 4. Experts say that warming temperatures over land and especially in the Gulf are stoking extreme rainfall events across the United States, largely due to climate change. These super storms are also unleashing extreme fear in young people. It's called eco-anxiety. How can we maintain the mental health of young people in the midst of our worsening climate? Caroline Hickman, a psychologist who has been treating eco-anxiety for decades and sits on the board of the Climate Psychology Alliance, joins The Excerpt to share her insights into this growing psychological issue. Please let us know what you think of this episode by sending a note to podcasts@usatoday.com.Episode Transcript available hereSee Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

After a furious few weeks of debate, closed door negotiations, open floor debate and deal-making, the Republican-controlled legislature has finally passed a final version of President Donald Trump's budget priorities referred to by Republicans as “One Big Beautiful Bill.” It is likely going to be the most significant legislative accomplishment of Trump's second term. And as with most bills, this one has its winners and its losers. But make no mistake, it will impact every American one way or another. USA TODAY Senior Congress and Campaigns Reporter Riley Beggin joins The Excerpt to explain what's in the final bill. Please let us know what you think of this episode by sending a note to podcasts@usatoday.com.See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Ahsan is joined by Howard in the first of a new series, looking at the media, their coverage, legacies, the CWC , classics from the archives and much more. *This is the first 15 minutes of the show. For the full episode, and all our other content on the 93:20 player, you can join below - for less than the price of a pint of beer each month.* ninetythreetwenty.com/9320-player/about-9320-player/ SIGN UP FOR OUR NEWSLETTER! A FREE WEEKLY UPDATE WITH NEW CONTENT GUARANTEED AND A WHOLE LOT MORE. CLICK THE LINK BELOW AND ENTER YOUR EMAIL IN THE BOX. ninetythreetwenty.com/the-9320-newsletter/ AND - THE NEWSLETTER BOOK WILL BE OUT IN A COUPLE OF WEEKS!

In today's episode:The opening monologue from The Endgame 070825 - DisarmedRumble: https://rumble.com/v6vwcqs-the-endgame-070825-disarmed.htmlYouTube: https://youtube.com/live/HU01hMe_afo?feature=shareConnect with Be Reasonable: https://linktr.ee/imyourmoderatorLinks, articles, ideas - follow the info stream at t.me/veryreasonableHear the show when it's released. Become a paid subscriber at imyourmoderator.substack.comVisit the show's sponsors:Diversify your assets into Bitcoin: https://partner.river.com/reasonableDiversify your assets into precious metals: reasonablegold.comJoin the new information infrastructure - get Starlink: https://www.starlink.com/residential?referral=RC-1975306-67744-74Other ways to support the work:ko-fi.com/imyourmoderatorDonate btc via coinbase: 3MEh9J5sRvMfkWd4EWczrFr1iP3DBMcKk5Make life more comfortable: mypillow.com/reasonableMerch site:https://cancelcouture.myspreadshop.com/https://cancelcouture.comFollow the podcast info stream: t.me/veryreasonableYouTube: https://www.youtube.com/@imyourmoderatorOther social platforms: Truth Social, Gab, Rumble, or Gettr - @imyourmoderator Hosted on Acast. See acast.com/privacy for more information.

This week, Jason Howell and Jeff Jarvis celebrate the arrival of AI Mode for Jeff! They pick apart all of the defections taking place in AI (much of it heading right for Meta's Superintelligence lab), how AI impersonation is becoming a thing even if it isn't very successful yet, and the arrival of Perplexity's $200 per month plan that includes first dibs at their agentic Comet browser. Subscribe to the YouTube channel! ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://www.youtube.com/@aiinsideshow⁠⁠⁠⁠⁠ Enjoying the AI Inside podcast? Please rate us ⭐⭐⭐⭐⭐ in your podcatcher of choice! Note: Time codes subject to change depending on dynamic ad insertion by the distributor. CHAPTERS: 0:00:00 - Podcast begins 0:01:33 - Jeff finally got his AI Mode! 0:10:55 - Circle to Search Gets AI Mode, Gaming Help Arrives, and Pixel Watch Finally Gets Gemini 0:16:51 - Apple Loses Top AI Models Executive to Meta's Hiring Spree 0:24:16 - Ilya Sutskever becomes CEO of Safe Superintelligence after Meta poached Daniel Gross 0:31:09 - xAI updated Grok to be more ‘politically incorrect' 0:35:21 - Linda Yaccarino steps down as CEO of Elon Musk's X 0:37:34 - Fake AI voice impersonating Secretary of State Marco Rubio contacts foreign ministers and US officials 0:41:18 - OpenAI tightens the screws on security to keep away prying eyes 0:46:39 - Channel 4 to offer AI-generated ads for SMEs on its streaming service 0:52:31 - How the Owner of Hidden Valley Ranch Learned to Love AI 0:57:21 - Jeff shows off Epicure for AI-generated recipes 1:00:00 - Perplexity launches a $200 monthly subscription plan 1:00:28 - Perplexity launches Comet, an AI-powered web browser 1:04:44 - Excerpt from our interview with Babak Hodjat, co-founder of the tech driving Siri 1:12:57 - Nvidia Just Became the First Company to Hit a $4 Trillion Market Cap Learn more about your ad choices. Visit megaphone.fm/adchoices

Have you ever wondered how history's dark secrets inspire modern fiction? Ready to uncover the violent past of America's most iconic locales? I'm Reenita Hora, your host of the True Fiction Project, and today I'm thrilled to welcome Ed Moser—a former writer for Jay Leno's Tonight Show, presidential speechwriter, history tour guide, and author with a knack for unearthing gripping tales. In this episode, Ed takes us through the scandal-filled history of Washington, D.C.'s Lafayette Square, as detailed in his nonfiction book, The White House's Unruly Neighborhood, which exposes 230 years of crime. Ed reads an excerpt from his novel, The Old Town Horror: Murder and Theft in America's Most Historic Locale, which transports us to a bloody investigation taking place at The Carlisle Mansion, in Alexandria Virginia.IN THIS EPISODE:(01:32) Ed reflects on his professional journey and working on The Tonight Show(04:25) Ed shares that there have been violent events over 230 years around the White House(06:47) How the events of the past become fiction in the present day at the Carlisle Mansion(08:52) Paid subscribers will hear an excerpt from The White House's Unruly Neighborhood(11:44) Excerpt from The Old Town Horror, set in modern Alexandria, Virginia, where a bloody investigation taking placeKEY TAKEAWAYS:Moser's novel The Old Town Horror draws from real historical events in Alexandria, blending past and present for a thrilling narrative.Moser's research reveals a surprising history of violence, including murders and espionage, in iconic Washington, DC locales like Lafayette Square.Moser compares writing for The Tonight Show and the White House to making sausage, as both involve blending material from multiple writers.Subscribe to Reenita's Storytelling Den on Substack for free, or become a paid subscriber to watch the video version of this episode. You will also be eligible for other extras, such as exclusive content from podcast guests, short stories, exclusive fiction, and more! https://substack.com/@reenitahora GUEST RESOURCES:THE OLD TOWN HORROR: Murder and Theft in America's Most Historic LocaleLafayette Sq. Tours of Scandal, Assassination & Spies MeetupTHE OLD TOWN HORROR: Murder and Theft in America's Most Historic Locale - AmazonLafayette Square Tour of Scandal, Assassination & IntrigueEd Moser - LinkedInHOST RESOURCESWebsiteLinkedIn Tiktok Instagram Facebook Twitter (X) Substack Threads LinkTree BIO:Ed Moser is a former writer for Jay Leno's "Tonight Show"; operator of a history tours group; speechwriter for the President of the United States; a former editor for Time-Life Books; tech/science writer/editor/manager; and biotech writer.Support this podcast at — https://redcircle.com/true-fiction-project/donationsAdvertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

התוכן הלימוד מההמאסר והגאולה דכ"ק מו"ח אדמו"ר: עבודתו של יהודי במילוי תכלית בריאותו בשלימות אפשרית רק בהיותו "בן חורין", ומאז יציאת מצרים זהו מהותו הפנימי (ואפי' הגבלות החיצוניות הן רק כדי שהוא יבחור בבחירתו החפשית לקיים תומ"צ כ"בן חורין"). וכפי שהדגיש זאת כ"ק מו"ח אדמו"ר, שגם בשבתו במאסר הראה שאינו מתפעל מהם כלל ובכל הענינים הקשורים עם הקב"ה תומ"צ הרי הוא "בן חורין". וכפי שהכריז בג' תמוז, לפני נסיעתו ל"גלות" – ש"רק גופותינו ניתנו בגלות ובשעבוד מלכיות", וגם זה גופא – ע"י הקב"ה, ובמילא מובן שאין לגלות שום שליטה על יהודי בנוגע לעניני יהדות. והנהגה זו הביאה לשחרורו לגמרי תוך זמן קצר! וההוראה: גם יהודי שהוא במצב ש"יצרו הוא שתקפו" או מפני ש"נשבה לבין העכו"ם" וכו' – מציאותו האמיתית הוא "בן חורין", בן ועבדו של הקב"ה ודבר ברור ש"לא ידח ממנו נדח"! ונתינת-כח מיוחדת להתעורר ולגלות זאת, הוא – הגאולה די"ב-י"ג תמוז, ששייך לכל יהודי אפי ל"גם את אשר בשם ישראל [רק] יכונה" [המשך יבוא]משיחת אור ליום ג' פ' בלק, י"ג תמוז ה'תשמ"ה ל"הנחה פרטית" או התרגום ללה"ק של השיחה: https://thedailysicha.com/?date=08-07-2025 Synopsis The lesson from the imprisonment and liberation of my father-in-law, the Rebbe, is that a Jew can only fulfill his purpose when is a free person. Since the Exodus from Egypt a Jew is inherently free (even the external limitations exist only to give him free will so that he can choose to keep Torah and mitzvos as a free person). As the Rebbe emphasized, even in prison he demonstrated that he was not deterred by his imprisonment at all, and in all matters of Hashem, Torah, and mitzvos, he remained a free person, as he proclaimed openly on 3 Tammuz before being sent into “exile” – “Only our bodies were placed into in exile and subjugation to the nations,” and even then, it was by Hashem; therefore it is understood that exile has no control over a Jew in all matters of Yiddishkeit, and this approach led to his complete liberation after a very short time. The lesson is that even a Jew who finds himself “forced by his inclination” or who was “taken captive among the gentiles” etc., in essence he remains a free person, and a child and servant of Hashem, and it is certain that “none who is banished will remain banished.” We are especially empowered in this regard by the liberation of 12-13 Tammuz, which is a liberation for every Jew, even one who is only “called by the name ‘Israel.'” (To be continued.)Excerpt from sichah of Monday night, parashas Balak, 13 Tammuz 5745. For a transcript in English of the Sicha: https://thedailysicha.com/?date=08-07-2025 לזכות חנה מושקא בת שטערנא שרה שתחי' ליום ההולדת שלה י"ב תמוזלשנת ברכה והצלחה רבה ומופלגה בכל בגו"ר מתוך בריאות נכונה ומנוחת הנפש והגוףנדבת הורי' ר' חיים ברוך ושטערנא שרה שיחיו אלבסקי

Sam and L Nobbins are joined by Bailey to discuss the Club World Cup performances, how the new signings got on, and what else the team needs in the summer. *This is the first 15 minutes of the show. For the full episode, and all our other content on the 93:20 player, you can join below - for less than the price of a pint of beer each month.* ninetythreetwenty.com/9320-player/about-9320-player/ SIGN UP FOR OUR NEWSLETTER! A FREE WEEKLY UPDATE WITH NEW CONTENT GUARANTEED AND A WHOLE LOT MORE. CLICK THE LINK BELOW AND ENTER YOUR EMAIL IN THE BOX. ninetythreetwenty.com/the-9320-newsletter/

In this, the first of three episodes on the subject of dying in the Lord, we ask what the Bible teaches about death, and apply it to the case of the unbeliever and the believer.    Featured Resources:  - George Curry, Preparing Unbelievers for Death, Banner of Truth Magazine, Issue 317 (Ferbruary 1990). - Excerpt from 'The Christian Man's Calling' in The Works of George Swinnock, Vol. 3 (1672; repr. Edinburgh: Banner of Truth, 1996), pages 84–86.  - Excerpt from 'The Christian Man's Calling' in The Works of George Swinnock, Vol. 3 (1672; repr. Edinburgh: Banner of Truth, 1996), page 46.    Explore the work of the Banner of Truth: www.banneroftruth.org Subscribe to the Magazine (print/digital/both): www.banneroftruth.org/magazine Leave us your feedback or a testimony: www.speakpipe.com/magazinepodcast

It is the fodder of science fiction plots: implanting a device into the human brain... the blockbuster franchise “The Matrix” comes to mind. Here in the real world, though, it's actually happening. While tiny computers have been implanted into less than 100 brains so far, their impact has been life-changing. Brain-computer interfaces, or BCIs, have done everything from allowing increased mobility to helping with speech. Could these devices become more mainstream and help the disabled do even more in the future? Dr. Iahn Cajigas, a neurosurgeon at the University of Pennsylvania who has studied brain-computer interfaces and worked with patients using them, joins USA TODAY's The Excerpt to share his insights.Let us know what you think of this episode by sending an email to podcasts@usatoday.com.Episode Transcript available hereSee Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Excerpt of the June, 1935, Go Into Your Dance radio promotion starring Al Jolson with Ruby Keeler. This is a brief clip from a ten minute radio promotion for the Jolson - Keeler flick which was then premiering all over the country. Enjoy Jolson singing "Mammy, I'll Sing About You," then listen to the rest of the show on the website, and then watch the movie! The complete broadcast circulates with other Jolson radio shows on the Official Al Jolson Website at www.jolson.org.

This conversation explores the themes of yoga as a form of power and its intersection with politics, particularly in the context of India. Sunila S. Kale and Christian Lee Novetzke discuss their book, The Power of Yoga, which examines how yoga has been historically understood not just as a spiritual practice but as a means of political expression and control. They delve into ancient texts like the Rigveda and the Mahabharata, the role of figures like the Raja of Aundh, and the implications of yoga in modern political contexts, including its use by leaders like Gandhi and Modi. The discussion highlights the evolving understanding of yoga and its relevance in contemporary society. Sunila: https://jsis.washington.edu/people/sunila-kale Christian: https://jsis.washington.edu/people/christian-novetzke/ Excerpt from the book about the film on Surya Namaskar: The Yoga of Power, Yoga as Political Thought and Practice in India:  https://thewire.in/books/the-yoga-of-power-surya-namaskar LISTEN  Apple podcast:  https://podcasts.apple.com/us/podcast/keen-on-yoga-podcast/id1509303411 Spotify: https://open.spotify.com/show/5iM9lcw52JskHUZ2eFvVxN WATCH EPISODES ON YOUTUBE https://www.youtube.com/@keenonyoga  SUPPORT KEEN ON YOGA Subscribe, like and share our videos Buy us a coffee: https://www.buymeacoffee.com/infoRf Patrons €10 per month: https://www.keenonyoga.com/patrons/ FOLLOW ADAM https://linktr.ee/Keenonyoga Website: www.keenonyoga.com Instagram:  @keen_on_yoga | @adam_keen_ashtanga Key Points ·       Yoga can be understood as a means of power and control. ·       The intersection of yoga and politics has historical significance. ·       The Rigveda presents yoga in a context of war and power. ·       The Mahabharata connects yoga with governance and leadership. ·       Yoga's meaning has evolved over centuries in various texts. ·       The Raja of Aundh used yoga for political empowerment and social reform. ·       Modern interpretations of yoga often overlook its political roots. ·       Gandhi and Aurobindo viewed yoga as a tool for political action. ·       Yoga's role in nationalism is complex and multifaceted. ·       The contemporary practice of yoga is influenced by historical political contexts.        

התוכן סיום שלישי דפ' בלק הוא "ויאמר בלעם אל בלק גו' היכול אוכל דבר מאומה, הדבר אשר ישים אלקים בפי אותו אדבר". בפסוקים שלפנ"ז מסופר רק שבלעם לא הי' יכול לעבור את פי ה' ולומר דיבורים שנאסרו עליו לומר וכיו"ב וכן שאותם הדיבורים שהקב"ה צוהו לדבר, הי' מוכרח לאמרם. ועל זה מחדש פסוק זה שבלעם מצ"ע לא הי' יכול לדבר מאומה! – בלעם, מנהיגם של כל באי עולם בזמן ההוא, ונבואתו היתה בדרגת משה רבינו [מאחר שהוא הי' הלעו"ז של משה] הנה הסדר הוא שמצ"ע לא יכול לדבר כלל! ומזה הוראה ועידוד לבנ"י, שכאשר שומע מאוה"ע דיבורים שאינם כדבעי – יש לדעת שדיבורים אלו אינם "שלהם"! ואפי' המנהיגים שלהם אינם יכולים דבר מאומה מצ"ע! ובמילא אין שום דבר שיכול למונעו מלקיים שליחותו של בעל הגאולה! כי אין שום דבר בעולם שיכול לדבר, ועאכו"כ לעשות, מאומה שאינו בהתאם לרצונו של נשיא דורנו!משיחת י"ב תמוז ה'תשמ"ה ל"הנחה פרטית" או התרגום ללה"ק של השיחה: https://thedailysicha.com/?date=06-07-2025 Synopsis The conclusion of shelishi of parashas Balak states, “Balaam said to Balak... ‘…But do I have any power to say a thing? The word that Hashem puts into my mouth, that is what I will speak.'” The earlier verses tell us only that Balaam was unable to say anything he was forbidden to say, and that he was forced to say what Hashem commanded him to say, but this verse adds a new point: that Balaam could not say anything on his own at all. Balaam was the leader of all the nations of the world at that time, and his level of prophecy was comparable to that of Moshe Rabbeinu (because he was the counterpart of Moshe in the realm of unholiness) – yet other than words put into his mouth by Hashem, he was unable to speak at all. This serves as a lesson, encouragement and empowerment for the Jewish people: when we hear the nations of the world saying improper things, it isn't really their words; even their leaders are unable to say anything on their own. Therefore, there is nothing in the world that can prevent a Jew from fulfilling the mission entrusted to him by the baal hageulah, because nothing in the world can say – and certainly not do – anything that does not align with the will of the Rebbe, the Nasi of our generation.Excerpt from sichah of 12 Tammuz 5745 For a transcript in English of the Sicha: https://thedailysicha.com/?date=06-07-2025

Tunes: Jason Rouse: Napoleon's Grand March Stables: Napoleon's Grand March Angus MacKay: Up and Waur them A' Willie, The Haughs of Cromdale, Robert Miller: The Highland Brigade at Waterloo, Lochiel's March (Pibroch of Donald Dhu) John Gow: The Highland Brigade at Waterloo Donald MacLeod: The Highland Brigade at Waterloo John McLachlan: The Highland Brigade at Waterloo David Glen: The Highland Brigade at Waterloo, The Highland Brigade at Waterloo (2nd setting), Pibroch of Donald Dhu, Donald MacDonald: Piobaireachd Dhomnuill Duibh (Black Donald Balloch of the Isles), John Grant: The Gathering of the Clans, Readings: Henry John Thoroton Hildyard: Historical record of the 71st regiment Highland light infantry, from its formation in 1777, under the title of the 73rd, or McLeod's highlanders, up to the year 1876 C.A. Malcolm: The Piper in Peace and War Allan MacDonald Thesis: The Relationship Between Pibroch and Gaelic Song: Its Implications on the Performance Style of the Pibroch Urlar +X+ Checkout Jason's Album Heavy Metal on Bandcamp: https://pipingrouse.bandcamp.com/album/miotal-trom-heavy-metal Be sure to come check out the Zoom Tune Session Thursday at 6:30 PM US Central time: https://und.zoom.us/j/95809246209 Here is the Facebook Even for the Session: https://www.facebook.com/share/1EHr9pYUKD/ Sources: +X+X+X+ Late 19thc: Napoleon's March From Henry Stables Cumbria Manuscript by way of Chris Partington and Traditional Tune Archive: https://tunearch.org/wiki/Napoleon%27s_March +X+X+ 1854: Up and Waur Them A' Willie from Angus MacKay's The Pipers' Assistant https://digital.nls.uk/special-collections-of-printed-music/archive/105007223 +X+X+ The Highland Brigade at Waterloo 1858: The Highland Brigade at Waterloo From Miller Manuscript +X+ 1817: The Highland Brigade at Waterloo from Gow's 4th Repository https://imslp.org/wiki/Gow%27sRepositoryoftheDanceMusicofScotland(Gow%2C_Niel) +X+ 1854: The Highland Brigade at Waterloo from John McLachlan's The Piper's Assistant https://digital.nls.uk/special-collections-of-printed-music/archive/105010534 +X+ 1870s: The Highland Brigade at Waterloo from the Glen Edinburgh Collection (Book 2) https://ceolsean.net/content/EdinColl/EdinColl_TOC.html +X+ 1890s: The Highland Brigade at Waterloo from David Glen's Collection of Highland Pipe Music (Book 9) https://ceolsean.net/content/Dglen/Dglen_TOC.html +X+X+X+ Pibroch of Donald Dbhu 1821: Pibroch of Donald Dbhu from Donald MacDonald https://books.google.co.uk/books?id=hdpWAAAAcAAJ&pg=RA1-PA106#v=onepage&q&f=false Check out Alasdair Boyd's Singing on Tobar an Dualchais: https://www.tobarandualchais.co.uk/track/44689?l=en +X+ 1858: Lochiel's March From Robert Miller's Manuscript +X+ 1880s: Pibroch of Donald Dhu from book five of David Glen's Collection of Highland Bagpipe Music https://ceolsean.net/content/Dglen/Dglen_TOC.html +X+ 1840: Donald Dhu, or Lochiel's March from Davie's Caledonian Repository I didn't play this on the episode https://digital.nls.uk/special-collections-of-printed-music/archive/104999413 +X+ 1816: Pibroch of Donald Dubh from Alexander Campbell's Albyn's Anthology (Lyrics by Walter Scott) I didn't play this on the episode https://archive.org/details/albynsanthologyo00camp_0/page/82/mode/2up?view=theater +X+X+X+X+ 1828: The Haughs of Cromdale From Donald MacDonald I didn't play this on the episode https://ceolsean.net/content/McDlight/Book02/Book02%2020.pdf +X+ 1844: The Haughs of Cromdale From Angus MacKay's The Pipers' Assistant https://ceolsean.net/content/PipeAsst/Book02/Book02%209a.pdf +X+X+ 1920: The Gathering of the Clans by PM John Grant from “The Pipes of War” a Collection of Original Pipe Tunes Compose during the Great War 1914-1918 https://ceolsean.net/content/Pwar/Book01/Book01%2014a.pdf +X+X+X+X+X+ Readings: George Clarke: 1876: Excerpt from Historical record of the 71st regiment Highland light infantry, from its formation in 1777, under the title of the 73rd, or McLeod's highlanders, up to the year 1876 by Henry John Thornton Hildyard https://archive.org/details/historicalrecord00hildiala 'Anecdote of the bravery of the Scotch piper of the 71st Highland Regiment, at the Battle of Vimiero', 1808 https://collection.nam.ac.uk/detail.php?acc=1971-02-33-533-12 Music Division, The New York Public Library. "The Highland Piper, George Clarke" New York Public Library Digital Collections. Accessed July 5, 2025. https://digitalcollections.nypl.org/items/510d47dc-9cac-a3d9-e040-e00a18064a99 +X+ Pipe Major Cameron: 1927: Excerpt from The Piper In Peace And War By C. A. Malcolm, M.A., Ph.D. https://electricscotland.com/history/scotreg/peaseandwar15.htm +X+ 1995: Thesis: The Relationship Between Pibroch and Gaelic Song: Its Implications on the Performance Style of the Pibroch Urlar by Allan MacDonald's https://www.cl.cam.ac.uk/archive/rja14/musicfiles/manuscripts/allanmacdonald/ +X+X+ FIN Here are some ways you can support the show: You can support the Podcast by joining the Patreon page at https://www.patreon.com/wetootwaag You can also take a minute to leave a review of the podcast if you listen on Itunes! Tell your piping and history friends about the podcast! Checkout my Merch Store on Bagpipeswag: https://www.bagpipeswag.com/wetootwaag You can also support me by Buying my Albums on Bandcamp: https://jeremykingsbury.bandcamp.com/ You can now buy physical CDs of my albums using this Kunaki link: https://kunaki.com/msales.asp?PublisherId=166528&pp=1 You can just send me an email at wetootwaag@gmail.com letting me know what you thought of the episode! Listener mail keeps me going! Finally I have some other support options here: https://www.wetootwaag.com/support Thanks! Listen on Itunes/Apple Podcasts: https://podcasts.apple.com/us/podcast/wetootwaags-bagpipe-and-history-podcast/id129776677 Listen on Spotify: https://open.spotify.com/show/5QxzqrSm0pu6v8y8pLsv5j?si=QLiG0L1pT1eu7B5_FDmgGA

For Patrons only for 1 year: We follow the tribulations of the Papacy through the aftermath of the Protestant Reformation, as the Pope's loyal soldiers in the Jesuit order are expelled from Catholic states and empires, the Church comes under attack in the French Reovlution, and Napoleon takes the Pope prisoner. We then follow the Papacy's gradual recovery of prestige -- through the reactionary rigorism of Pius IX and the 1st Vatican Council; the creation of Catholic social teaching and the intervention of the Church in the class struggle between capital and labor under Leo XIII; and the dramatic reforms of the Second Vatican Council in the 1960s. We consider the controversies and scandals of the modern church relating to fascism, the Nazi Holocaust, the Vatican Bank, and the suppression of Liberation Theology, and finally, examine the recent shakeup of the Vatican under Pope Francis, the momentous implications of the Synod on Synodality, and the clues presaging a new political assertiveness of the Church under the first American pope, Leo XIV. Please sign on as a patron to hear the whole lecture: https://www.patreon.com/posts/133266130 Image: American print showing Pope Pius IX presiding over the First Vatican Council in St. Peter's Basilica, 1869. Correction: Banker Roberto Calvi was found dead hanging from Blackfriars Bridge, London, not London Bridge.

AI chatbots are being used for mental health support — and it's raising red flags. From offering bad advice to encouraging self-harm, some mental health chatbots are crossing dangerous lines. Vaile Wright, senior director of health care innovation for the American Psychological Association, joins The Excerpt to talk about what's at stake—and how regulation could protect users.Let us know what you think of this episode by sending an email to podcasts@usatoday.com.Episode transcript available hereSee Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Please check out my new Twin Peaks podcast, Cafe Unconscious (and also keep an eye out for more Artists Love Twin Peaks). Excerpt description: “Join us for a brief exploration of the trip ‘home' in Twin Peaks: The Return Part 18. Themes include Cooper's motivation to get Laura to the Palmer house, the validity of Carrie Page's existence, the legitimacy of Odessa versus a dream-state, the journey of the persona and ego into states of self and how the haunting scream of Carrie Page acts as a happy ending.” Podcast description: Hosted by Anthony and Tommy, Café Unconscious is a "Twin Peaks theory" podcast focusing on connecting media influence, psychology, and symbolism into true understandings of the narrative. Can a Twin Peaks “theory of everything” open up NEW mysteries in Twin Peaks rather than closing down old ones? Yes indeed.Want more of this conversation?

This is an excerpt from the video episode, with the full video found on our Reality Test Patreon. The full audio is available wherever you get your podcasts (links at the bottom)!Dr.s Kay and Ray are back together in person, diving deep into the latest drama from Love Island! They unpack the betrayal of Jeremiah's exit, Nic's questionable motives, and the dynamics among the cast members that have everyone talking, as the newest model of Casa Amor took off & ended in short succession. From the cringiest moments to the most obnoxious behavior, they assign their signature awards while navigating the emotional rollercoaster of the villa.Shorter than ever before, 3-day Casa Amor included recouplings, (un)dumpings, and new castmate power! By immediately leaving one OG vulnerable, all OGs were forced to connect with new Casa castmates to keep their spots on the show. As they explore the intricacies of relationships and the impact of production decisions, Dr.s Kay and Ray keep it real with their psychological insights. Who's doing the mosTEST? Who deserves the "ProTEST This Mess" award? And what's the deal with the new coupling dynamics? Tune in to find out!What did you think about all the twists + turns of the new Casa Amor?--------------------------------------------------------Listeners! Come visit the Patreon for free at ⁠⁠patreon.com/RealityTest⁠⁠⁠ & check out some of the benefits of a free membership & the paid tier!--------------------------------------------------------Reality testing is when we check an emotion or thought we're having against objective reality.So, here in Reality Test, we're going to be testing the thoughts, emotions, interactions, and producer antics of reality television against what we know, as licensed psychologists, about objective reality.Come with us, let's Reality Test!Hosts: Dr. Kay & Dr. KayThank you to our sound extraordinaire, Connor!Patreon: patreon.com/RealityTestInstagram: @drkaypods @drraypodsTikTok: @dr.realitvFacebook Page: Reality Test PodYouTube Channel: @RealityTestPodEmail: realitycheckpodding@gmail.comShow notes created by https://headliner.appSpotify: https://open.spotify.com/episode/2QnRLOAiGVoYwmc8RxVG9i?si=TNRwcYptSYKkIP4OHuxMSAApple: https://podcasts.apple.com/us/podcast/a-brand-new-casa-amor-opens-closes-love-island-usa/id1737543427?i=1000715117706YouTube:  https://youtu.be/0fG88N5lgpMKeywords: Love Island, Reality Tv, Friendship Betrayal, Emotional Intelligence, Casa Amor, Relationship Dynamics, Reality Test, Nick And Alondria, Jeremiah'S Exit, Reality Tv Psychology, Production Antics, Contestant Chemistry, Contestant Analysis, Drama In Reality Tv, Gender Dynamics, Viewer Reactions, Reality Show Awards, Reality Tv Commentary, Social Dynamics, Contestant Relationships

The guys talk about their favorite Batman actors and movies, debating who nailed the role from Michael Keaton to Robert Pattinson and ranking the films from Nolan's classics to the more questionable ones. They also dive into Will Smith's latest music video, joking about his midlife rap comeback and how hip hop really is a young man's game. Plus, they laugh over a courtroom moment where a lawyer accidentally calls the judge “honey,” sparking a hilarious discussion about relationships and embarrassing slip-ups. All that, their favorite comedians, and much more!See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Walls. We all navigate them whether they be the walls throughout our homes, neighborhoods, and the places we choose to frequent, or the internal walls that allow us to maintain our distance from others. To what extent is divisiveness baked into our infrastructure, politic, and psyche? Anand Pandian, Professor of Anthropology at Johns Hopkins University, joins USA TODAY's The Excerpt to discuss his new book “Something Between Us.” In it, he explores the walls that divide us as a nation. Let us know what you think of this episode by sending an email to podcasts@usatoday.com.Episode transcript available hereSee Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Mike thinks through the amount of gambling we are forced into, and contributing producer Melissa Locker tells us the story of a very special 90's online newsletter. Also: Book reviews!–Become a Never Post member at https://www.neverpo.st/ for access to extended and bonus segments, and our side shows like “Slow Post”, “Posts from the Field” and “Never Watch”– Call us at 651 615 5007 to leave a voicemail Drop us a voice memo via airtable Or email us at theneverpost at gmail dot com –Intro Links What to know about online age verification laws Trial reveals flaws in tech intended to enforce Australian social media ban for under-16s Australia regulator and YouTube spar over under-16s social media ban French city of Lyon ditching Microsoft for open source office and collab tools –Posting In The Age of Chance  Trapped - the secret ways social media is built to be addictive (and what you can do to fight back) Everything in America is Gambling Now - Adam Conover Tiny Subversions (2014) - Darius Kazemi Tiny Subversions (2024) - Darius Kazemi The Online Gambling Epidemic - Drew Gooden You're Not Addicted to Content, You're Starving for Information - Hank Green –Whatever https://oasisinet.com/ And After All - Melissa's book on Oasis –Never Post's producers are Audrey Evans, Georgia Hampton and The Mysterious Dr. Firstname Lastname. This episode's contributing producer was Melissa Locker. Our senior producer is Hans Buetow. Our executive producer is Jason Oberholtzer. The show's host is Mike Rugnetta.Look,this is not the West, this isthe 21st Century but still as desolatecottonwood pollen blowing throughabandoned mansions, the ball-bearing factory,strikers with their flapjack placardswaving at a glance of trafficAt the discount cinema, gunfighters namea young Cherokee guide “Look”because of the way she stares, becauseof the way they look at her. And everyonekeeps their eyes on the horizon,Look, you've won a set of false teeth.Excerpt of Look by Sarah MesserNever Post is a production of Charts & Leisure

Ste is joined by LB and Ahsan to look back at a disappointing exit from the Club World Cup. *This is the first 15 minutes of the show. For the full episode, and all our other content on the 93:20 player, you can join below - for less than the price of a pint of beer each month.* ninetythreetwenty.com/9320-player/about-9320-player/ SIGN UP FOR OUR NEWSLETTER! A FREE WEEKLY UPDATE WITH NEW CONTENT GUARANTEED AND A WHOLE LOT MORE. CLICK THE LINK BELOW AND ENTER YOUR EMAIL IN THE BOX. ninetythreetwenty.com/the-9320-newsletter/

CONTENT WARNING: Discussion of gaslighting, spousal abuse, spousal murder, murder, misogyny. We're getting a little spooky this week with a slow-burn cult horror classic that dares to make its female characters complex and unique and its male characters thoroughly one-dimensional. Somehow it's the men that are utterly unbelievable for a change. That said, there's a pretty great movie to be found in among the wreckage, a fact that filmmakers 30 years later were utterly and completely unable to reconcile. People in 2004 thought that making a dark, subtle allegory for the horrors of the patriarchy into live-action Looney Tunes was a good idea, and then made it. And since we're completionists, we subjected ourselves to both. Join us as we enjoy 1975's and despair 2004's The Stepford Wives on Have a Good Movie! You can email us with feedback at macintoshandmaud@gmail.com, or you can connect with us on BlueSky! If you like the podcast, please subscribe, rate and review the show on your favorite podcatcher, and tell your friends. Intro and outro music taken from the Second Movement of Ludwig von Beethoven's 9th Symphony. Licensed under an Attribution-NonCommercial-NoDerivs 3.0 Hong Kong (CC BY-NC-ND 3.0 HK) license. To hear the full performance or get more information, visit the song page at the Internet Archive. Excerpt taken from the end credits to the film The Stepford Wives, written and composed by Michael Small. Copyright 1975 Palomar Pictures International, Columbia Pictures. Excerpt taken from the opening titles to the film The Stepford Wives, written and composed by David Arnold. Copyright 2004 Paramount Pictures Corporation and Dreamworks LLC. All Rights Reserved.

A 16 minute excerpt of an early release bonus episode. FULL EPISODE AVAILABLE ON PATREON at the $10 Ate Tier and above.Summary: Only Jack Robin knew the Young Man's secret. Only Young Will knew what the Young Man wanted most in the world. And only the Young Man witnessed their small, private wedding, before everything went wrong.Content Warnings: References to period-typical racism, homophobia, elitism, secrecy and fear of being known.Songs used:Whoa, Tillie, Take Your TimeBaby DollGraveyard Dream BluesI Ain't Got Nobodyby Bessie SmithWho Killed Cock Robin (folk song)Hi Nay is a podcast created by Motzie Dapul and co-created by Reg Geli. It's produced by Motzie Dapul, Yoyi Halago and Alyssa Gimenez, and is licensed under a creative commons attribution noncommercial sharealike 4.0 international license.This episode was Co-Produced by Jesse Goodsell, and written and directed by Motzie Dapul.Narrated by Motzie Dapul. Hosted on Acast. See acast.com/privacy for more information.

Released on the final day of Men's Health Month, this episode features an excerpt from a powerful conversation with Tom Golden about how men heal. You can listen to the full discussion by searching The Martin Brossman Show on YouTube, YouTube Music, or by visiting TheMartinBrossmanShow.com.Explore more of my men's work on my YouTube channel, Finding Our Fire: youtube.com/@findingourfire.Stay tuned for my upcoming book: Taboo: The Lost Codes of MenMy Success Coaching website is ⁠https://Coachingsupport.com⁠ . To join Martin Brossman's Small Business Monthly News Letter for useful tips and more, sign-up here: https://bit.ly/MartinsNewsletter If you value this podcast, share it! Email me what shows you like and what you want more of. Please include the word podcast and the show you are referencing in the subject line to martin@martinbrossman.com - Find all my online content at ⁠https://linktr.ee/martinbrossman⁠

True crime is a cultural obsession. But beneath the gripping stories of ghastly crimes and elusive perpetrators are tough questions about ethics, representation and respect. Who gets to tell these stories? Whose voices are amplified and whose are left out? And how can creators avoid retraumatizing victims? Journalism professor and true crime author Kate Winkler Dawson joins The Excerpt to unpack where the genre goes wrong, how it can do better, and why responsible storytelling matters now more than ever.Let us know what you think of this episode by sending an email to podcasts@usatoday.com.Episode Transcript available hereSee Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Excerpt from Mediator Dei by Pope Pius XIISponsored by Charity Mobilehttps://www.charitymobile.com/rtt.phpSources:https://www.returntotradition.orgContact Me:Email: return2catholictradition@gmail.comSupport My Work:Patreonhttps://www.patreon.com/AnthonyStineSubscribeStarhttps://www.subscribestar.net/return-to-traditionBuy Me A Coffeehttps://www.buymeacoffee.com/AnthonyStinePhysical Mail:Anthony StinePO Box 3048Shawnee, OK74802Follow me on the following social media:https://www.facebook.com/ReturnToCatholicTradition/https://twitter.com/pontificatormax+JMJ+

In 1969, LGBTQ+ patrons at the Stonewall Inn fought back against a violent police raid — and sparked a global movement. More than 50 years later, the fight continues. Under President Donald Trump's second term, the National Park Service quietly removed “transgender” and “T” and “Q” from the Stonewall National Monument website. USA TODAY National Correspondent Michael Collins joins The Excerpt to share his reporting on Stonewall veterans who fear history is being rewritten.Let us know what you think of this episode by sending an email to podcasts@usatoday.com.See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Climate change, global warming – we've all heard the steady drumbeat of doom. But a recent five-year forecast, by the World Meteorological Organization and the U.K. Meteorological Office, puts it starkly: The world will likely soon break another annual temperature record and, according to the Associated Press, the heat will be deadly. What would happen if we embraced the idea that the future still rests firmly in our hands? Is it in our nature to learn, adapt and change? And, equally important, is there still time? Author and climate scientist Kate Marvel dives into those questions in her new book “Human Nature,” on bookshelves now. She joins USA TODAY's The Excerpt to share her perspective.See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

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